sickens eo alaice esata 7 OG Lp RD Lake Pera IRE pny se Re ee Rip ae to RAT ‘r: git z ghee Sale oe St = = ap nt ane) ¥ ie ep ade of one : Ps ye ae Ki ise Stay ‘3 ft cd a s | “s 4 —. apn en t. ek ew Ket ’ if Twenty-five Years of the Philadelphia Orchestra Tgo00-1929§ By Frances ANNE WISTER PUBLISHED UNDER THE AUSPICES OF THE WOMEN S COMMITTEES FOR THE PHILADELPHIA ORCHESTRA beat *' Js ’ LAI MY 4 % "1 ; a ‘ oh ‘ | ) ; ; | ‘ : by | | , . , f A! : i os | | | | NE , > , ; J ; | Soa ee *e ‘ Copyricut 1925 Frances ANNE WISTER | ; 4 \ ‘ : . = ; Epwarp STERN & Company, In PRINTERS AND ENGRAVERS | PHILADELPHIA A eta , THE GETTY RESEARC INST.TUTE LIBRA WEN AY aa er TO ALEXANDER VAN RENSSELAER, Esa. DEVOTED TO THE CAUSE OF MUSIC IN THIS CITY AND FIRST AND ONLY PRESIDENT OF THE PHILADELPHIA ORCHESTRA ASSOCIATION FOREWORD Tuts 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 I goo- I 925 CONTENTS Part I an 3 A Roap Ong HunpbrRED AND Firry YEArRs LonG Music in Philadelphia before 1900. ev awa es 16 Tue Last TurN OF THE Roap 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. Ot ne ik we Oecd ep bu ee ees 31 Earrty YEARS Financial difficulties. Incorporation 1903. The Beethoven Cycle. The Richard Strauss Concerts. Popular Concerts. RE NE a Py Oy aw dhe cn aw be nla Gk ees 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 Phila- delphia Women’s Committee. The Media, Chester and West Chester Women’s Committee. Committees in Delaware (Wilmington), Balti- more, Washington and Atlantic County. CHAPTER Wi Sines oe os he Oe a th 62 THe GUARANTORS AND THE GUARANTEE FUND CHAPTER Vil eo Ae eee ri Tue Deatu or Fritz SCHEEL Illness and Death of Fritz Scheel. The Memorial Tablet to Scheel. The Musical Record. CHAPTER Iie oi eee ei aS Ge es be ee 89 Tue Next Step Engagement of Carl Pohlig as Conductor. Sketch of Pohlig. The Musical Record. Part III CHAPTER Doo e ee ed Ou be as ole ale 99 THE CoMING OF LEopOLD STOKOWSKI The engagement of Leopold Stokowski 1912. First programme. The Mahler Symphony. The Philadelphia Orchestra Chorus. CHAPTER ID... ee oa. 113 THE SEVEN YEAR ENDOWMENT FuND Dissatisfaction with the Guarantee Fund. The proposition of the “Unknown Donor,’’ 1916. CHAPTER IIl..... 2. 0 a 116 THE OrcHestrA DurRING THE WORLD WAR Presentation of Flags by Women’s Committees. Concert at Camp Dix. Red Cross Benefit Concert. The Liberty Loans. CHAPTER IV... ccc oe 122 Tue TWENTIETH ANNIVERSARY MILLION DOLLAR ENDOWMENT FuND CAMPAIGN CHAPTER Vow a eee eR 139 TwENTy YEARS OF PROGRESS Twentieth Anniversary 1920. Presentation of Silver Tankard to the President. ee law du baw ebuvevas 143 Musica NEIGHBORS The eye ton of musical associations with the orchestra. Philan- thropic undertakings. TE SS a Aa ae 148 IE CR ys oka a ghee eee peep ewe 155 Tue TwEeNnty-FirtH ANNIVERSARY A General Survey. eid rs hile ee ee ge bec eee dene 163 Tue Point or Toe Story Re re si hay cn inp inn a ee 6 os w Ale wpa hale es 170 APPENDIX ee a ace Dewees es 178 CHARTER OF [THE PHILADELPHIA ORCHESTRA ASSOCIATION yc, ks ee ck tee wan dye eee 180 ExEcuTIVE COMMITTEE OF THE PHILADELPHIA ORCHESTRA I900-I90I MI TE CREO eg oh i gb A leche de doa pes wpdvarw wield voy eh s 181 OFFICERS AND DIRECTORS OF THE PHILADELPHIA ORCHESTRA ASSOCIATION I900-1925 ie Bn SN ee ee 191 THe GuaRANTOoRS OF THE PHILADELPHIA ORCHESTRA ASSOCIATION I900-1901 ee a, coteena aud ae atee, 193 SUMMARY OF CONCERTS BY THE PHILADELPHIA ORCHESTRA SEASONS I900-190I TO 1924-1925 INCLUSIVE APPENDIRG ESE nok tebe cl (ea Oe ne er Fa, ont ConbDucToRS PERSONNEL OF THE PHILADELPHIA ORCHESTRA 1900-1925 PERSONNEL OF THE PHILADELPHIA ORCHESTRA CHORUS 1920-1921 MANAGERS Orrice STAFF ARBRE NODA Gea ee pie ave odes «s/o 000th 216 AssisTANT Conpuctors. GuEstT CONDUCTORS ORGANIZATIONS THAT HAVE APPEARED WITH THE PHILADELPHIA OrcHEsSTRA. SOLoIsts WHo Have APPEARED WITH THE PHILADELPHIA ORCHESTRA APPENDIX Hye. hoe ae es ee 228 SOME OF THE PRINCIPAL PLAYERS IN THE VARIOUS SECTIONS OF THE PHILADELPHIA ORCHESTRA APPENDIX I.os. cs ccegeee esses sites: 232 ParTIAL List or ‘‘First PERFORMANCES IN AMERICA APPENDIX J... 2. 2c0e cubes eed ce ves ssh 234 PROGRAMMES OF S1x CONCERTS OF THE PHILADELPHIA ORCHESTRA I900-190I APPENDIX Ko... ade eee cet) cen Lees THE WoMEN’s COMMITTEES FOR THE PHILADELPHIA ORCHESTRA APPENDIX De... o.oo eee ee ee ce oe ee rr 242 ANNOUNCEMENT OF CHILDREN’S CONCERTS APPENDIX M..) 0.0.0.0 0000050000. 244 PHILADELPHIA PERMANENT ORCHESTRA Prospectus Marcu 3, 1899 APPENDIX Nin. oe a. 250 LITERATURE OF EarzLy Days ILLUSTRATIONS ALEXANDER V AN RENSSELAER, EsQ............ Opposite 16 oe dee ee Pum posricm at Mrs. ALEXANDER J. Datitas Dixon .......... Opposite 48 Scuert Memoriat TABLET ................. Opposite 85 Se ee ee es Opposite 90 Me TGOROWSKI Gc ee ee Opposite 100 PHILADELPHIAORCHESTRA AND MAHLERCHORUS, Opposite 105 ENDOWMENT Funp MemoriaL TABLET ....... Opposite 126 ENDOWMENT Funp MEMorRIALTABLET....... Opposite 128 = ; hs i " nT a aes ey ] ni t, M F | mt 9 } Wha { a? t} i i { + 6 4 i) - ‘ ' = i ) j = 174 ( ' d ‘ ~ t ; , Ae 4 i . ‘ . e ' ‘ i , ‘ , 4 i fi i 4 t é 17 ' { f i 2! M i ‘ 4 i! re ‘ & r I : Cat vr, ta he ' i J 4 ‘ / er a! a ye , Be I i, ® 4 i he ‘i, ak f nea aSees Twenty-five Years of the Philadelphia Orchestra I goo- I 925 CHAPTER [| A Roap One HunpreD AND Firty Years Lone “*Time Was unlocks the riddle of Time Is’’ ‘“By PARTICULAR DESIRE “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 aticket.”’ 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 disap- proval 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: “T will here take occasion to mention that many'othetrs besides myself who know the ways of the land, maintain that music would contrib- ute 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-sound- ing 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 will- ing 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 extra- *O. G. Sonneck: ‘‘Early Concert Life in America.”’ [3] ordinary. 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.’’* 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 ser- vice 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 fol- lowers 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 Doc- trine 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.’’f 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. Handel 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 ees 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 Pro- *J. F. Sachse: ‘‘The Missive of Justus Falckner of Germantown, Concerning the Religious Condition of Pennsylvania in the Year 1701.”’ tRobert R. Drummond: ‘‘Early German Music in Philadelphia.”’ [4] fessional Concerts were a popular series. Groups of men fostered music as the years passed. Francis Hopkinson and his friends both professional and amateur assembled reg- ularly 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 Inde- pendence 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 amus- ing and entertaining than his personal appearance, yet he is genteel and well bred, and is very social.’’** Other composers were not lacking as is seen by the an- nouncement 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 con- structed 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 adver- tise, being a woman. Among them were a number of excel- lent 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: **Sonneck: ‘Francis Hopkinson and James Lyon."’ is] ‘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 eculiar 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 Mattuias KRAMER” Another German was H. B. Victor, who described him- self 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 kettle- drums 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 gireel.ae 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 ublic and therefore craves protection from all manner of insult.’’ Often the professional was ‘‘assisted by a gentle- man.’ 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. *Drummond: ‘‘Early German Music in Philadelphia."’ [6 ] 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 ane those of Tartini, Tessorini, Pepush, Corelli, Handel, Vivaldi, Bur- ney, Stamitz, Barbella, and Scarlatti. Besides sheet music, many other articles were to be had at his shop as we see from this advertisement: ‘Tobe sold by Michall Hillegas, at his House in Second street, oppo- site 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, Haut- boys, 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 Penn- sylvania 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.’’* 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. *Drummond: ‘Early German Music in Philadelphia.” ('7 J The American Revolution caused concerts and other en- tertainments 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 thecountry againat peaceand with the dawn ofa new century, interest in music revived and early in 1820 eighty- five men organized the Musical Fund Society, so far Phila- delphia’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, pro- fessional 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 atdor 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 [8] abandoned. When it was first prone 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 appear- ances 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. An- other 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 [9] 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 num- ber of visiting opera companies, a demand arose for an opera house of eee size and equipment. In 1852 the project was launched anda Charter obtained, but theamount 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 bril- liance any assemblage hitherto seen in Philadelphia, and was followed on February 25th, by the first performance of opera in the new house. “‘I] 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 Steier- markisches Orchestra, of twenty musicians, under the leadership of Henri Riha, which came from Germany in 1838. Ten years later the Germania Musical Society, from Ber- lin, appeared under the leadership of Carl Lenshow. Pecu- niary 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 incorpor- ated 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 Steiermarkisches Orchestra, be- came the first leader. Its concerts were given on Friday after- noons 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 per- formances were not confined to classical concerts, but it [ 10 | played engagements for private dances, balls, festivals, ora- torios, 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 move- ment 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 Diisseldorf, player of the French horn. He taught woodwindand brass instruments in the Academy of the Musical Fund Society, and had the distinction of be- ing 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, Wither- spoon 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 pro- grammes 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. Deca- tur 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 organ- ized 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. [rr] 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 bring- ing 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 orches- tra 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 orches- tra, 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 [ 12 ] this amateur orchestra for one season before the formation of the Philadelphia Orchestra, composed entirely of pro- fessional 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 Manu- script 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 mote accen- tuated 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 Exhibi- tion, 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 forgot- ten. 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 con- certs, 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 Steven- son 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, [33 ,)] when after a number of unsuccessful attempts the Phila- delphia Orchestra was founded. However, memories of Theodore Thomas, father of Amer- ican 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 Sym- phony 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 prin- cipal points are quoted :* Prospectus OF PHILADELPHIA PERMANENT ORCHESTRA ab * * * * ‘In order to establish an orchestra such as would be a distinct credit to the city, it is necessary to havea 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. W1LL1AM BERGNER Cuas. C. Harrison Joun H. Converse C. Hartman Kun SAMUEL A. CROZER Simon A. STERN Geo. W. Cuitps Drexen James F. SuLttivan Tuos. B. WANAMAKER *For full text of Prospectus, see Appendix M. [14 ] The Trustees shall invest $200,000 of the fund, using only the interest thereof and the additional $50,000 shall be used for cur- rent 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. 46 *. * * K #* 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.’ * * *F * Subscriptions towards this immense sum of money — $250,000*—did not come in fast, and finally the proposition was abandoned under the prospect of a Philadelphia Orches- tra 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. *After a year of work the total sum promised was $50,000. ese CHAPTER II Tue Last Turn oF THE Roap The last turn of the road wasa long one. It led from Ger- many 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* 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 musi- cians of his acquaintance. He found to his surprise that in one week a Wagner Night, a Beethoven Night and a Sym- phony Night were included. Many of the listeners were con- vinced that Scheel was the man to organize an orchestra in Philadelphia. He was competent to do it, he had no per- manent 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 neces- sity. The plan proposed was to continue the Friday after- noon 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 Per- manent Orchestra, suggested that the Women’s Committee *At this time Willow Grove Park, fifteen miles out of Philadelphia, was the foremost summer musical center. [16 ] (©) Vhe Phillips Studio ALEXANDER VAN RENSSELAER, ESQ. for that orchestra should co-operate. This plan did not succeed, however, and the idea of a Friday afternoon series was abandoned. 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 ee aces). 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 mak- ing 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 con- templated and finally a decision was arrived at through the i age in Philadelphia of Lillie Langtry, who was acting or 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 rz] 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. Vuapimtr DEPACHMANN PROGRAMME Weber... 0.50. (S500 aes ee Overture ‘‘Euryanthe”’ GOLDMARK . $cc ates seek eee Symphony, ‘‘A Rustic Wedding”’ COPING 0050.) alas shin ae ea ee Concerto in F minor SCHUMANN: i). 005 + 0a bu eS ohh clu ste ay th a ‘“Abendlied”’ Bizer.. so ks oe ee Scherzo, Suite Roma LASET 6 cove tisk ee ee Rhapsodie Ongroise, No. 2 Soloist for second concert: M. Epouarp 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. Epouvarp DE Reszxz, the famous Basso, will sing. PROGRAMME BEETHOVEN.......... act seh alga eet or Symphony “‘Eroica’’ MEYERBEER..... Aria, ‘‘O Jours Heureux’’ (from L’Etoile du Nord) WAGNER IG), sc win Gk sists bea oe oe Vorspiel, ‘‘Lohengrin”’ HOPMANN) os ooo ds a ‘Im Sonnenschein”’ VERT censure ecm eles ae eee Aria, ‘‘Infelice’’ CErnani) Liszt gk Poe oa Se First Hungarian Rhapsody ‘THe PxitippInE CoNncERTs* MarcH 29, 1900-APRIL 5 © UNDER THE PATRONAGE OF 800 PHILADELPHIA MEN AND WOMEN *Programme of March 27th and 28th, 1925. [ 18 | “Philadelphians generally do not know that The Philadelphia Orchestra first appeared in this City of Brotherly Love in disguise, a Beene one, but none-the-less, a disguise. Had it tried to stalk oldly 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 Philip- pines 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 wat 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 great- est treasure we possess, remember only too well the days when Phila- delphia 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.’’ ‘““ Statens 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 neatly $5000 due to increase in salary of conductor, increased rent of Academy of Music and increased charges for advertising, etc.”’ * * «KK #* * ‘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.’ * * * *K * “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 Hata 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 RENssELAkER, President’’ *See Page 69. [ 66 | PROGRAMME Boox ‘*Tae PHILADELPHIA OrcHESTRA ASSOCIATION Owes Mucus orf tts Success To THE DEvoTED Lasors OF THE FOLLOWING WoMEN’s CoMMITTEES Any Member ofr Wuicu WILL BE Guab To RECEIVE Your SUBSCRIPTION OF TWENTY FivE Dotuars, 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 Paint- ing and Literature. It is the function of THe PHitapELPHIA 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.”’ * *K *£ *K “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 organi- zation for public service. | ‘In the nature of things such an institution cannot be self-support- ing. 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.” [ 67 | PROGRAMME Boox ““A Cau TO PATRIOTISM ‘Tue Catt To Civic Prive Is In THE Arr. ‘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 aul 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? ‘Tue Mempers 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 con- tributing from their private means, in the past nine years, approxi- mately $468,000 to maintain and operate THE PHILADELPHIA ORCHES- TRA, an institution of which every good Philadelphian has reason to be proud. ‘Toe MemBeErsHIP OF THIs Society of liberal and public-spirited citizens known as THe PHILADELPHIA OrcHESTRA ASSOCIATION, num- bered 43 in the season of 1901-02. Last season there were 263 members.’’ * * * * * “Witt You Not Suow Your Parriotism, 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 mak- ing a return on the investment, or at least be self-support- ing. Their opinion was that an institution which was a constant expense did not deserve the support of the com- munity. 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 [ 68 | intolerable of all things, an extra deficit: during a few, a certain is 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 atts 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 peananen: fund yielding an income year after year for a avorite 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 trea- surer, 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 de- voted 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. [ 69 ] Résumé of the Guarantee Fund, 1900-01-1915-16 Number of Amount Season Concerts Total Guarantors Collected Extra Deficit 1900-01 6 $15,720 120 $13,299 (84%) $40,000 I9O0I-O2 I4pairs 32,000 43 32,000 30,000 1902-0} VTA aS. 000 113 38,000 16,000 very) til beh eet) bhive'are, 127 42,000 5300 TOCA 5 Oe St LOCK) 259 48,000 1905-06 18 ‘‘ 50,000 315 47,000 (95%) 1906-07 20 ‘* 46,840 281 41,900 (90%) TOOTHOS | TNE, ieee 273 40,100 (95% 1908-941 199 7 ick! Uae Ta 352 42,800 (95% LG05-1O 22 44,800 359 44,800 £O1Cstt 25 42, 400 311 42,400 I9lI-Iz 25 42,100 309 42,100 FGi7- 14 yeas Ay OO ee tA 43,200 lz ia 2s 46,000 335 46,000 AGT AOL id) 452309 325 452300 POIS “fOr 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 teach- ing the second bassoon player to play a syncopated passage in a Tschaikowsky symphony. The dinner was entirely for- gotten 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 perman- ent method. [70 ] CHAPTER VI Tue Deatu 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 Com- mittees then in existence were straining every nerve to help; and the orchestra was constantly improving through ae 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, efratic in conduct, and his good judgment in matters musi- cal seemed to forsake Biotin 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 what- ever 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 itl Scheel’s artistic personality, that his withdrawal at the end of what had been a most prosperous and buoyant season leaves the great con- stituency built up for it in these seven years with a sense of bereave- ment 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 en er circle of the orchestra and the musical societies that he has directed.”’ * *« %k «K * “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 charac- teristically 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. * * -K *K ‘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 sur- prisingly 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 MUSOU ALOT 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 after- noon another group and in the evening the entire orchestra. At his meals he arranged the sugar bow] 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 [72] 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."’ ‘*Looxs 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 hysician. He looked haggard and spoke in an excited, almost hyster- ical 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 orderlites 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 psy- chologists 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. [73] Philadelphia Inquirer, March 14, 1907, ““ScHEEL, Martyr TO OrcHEsTRA HE CreateD, Is DEAD. CONDUCTOR Known TrrouGcHout THis COUNTRY AND Europge 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, en- couraged 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 pad also wrought the music lovers of Philadelphia up to a high pitch of enthusiasm.”’ Philadelphia Press, Thursday, March 14, 1907: ‘“Macic 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.”’ * * KF * * “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 vivac- ity 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. [74 ] A epee Th oa oy ars ‘‘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. “Tt 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 Pee for nothing is more certain than that any community oes 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 grou 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 Chest- nut 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 musi- cal 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. [75 ] 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 Leef- son, 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 Orches- tra 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 cortége 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. “Tf 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 orches- tra 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.” [76 ] 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. Ortro NeitzeL, Pianist QuaRTET Marigz KuNKEL-ZIMMERMAN, Soprano Nicuotas Douty, Tenor Emity Stuart Keiioce, Contralto Freperic Martin, Bass Tuer MENDELSSOHN CLUB (Through the courtesy of Dr. W. W. Gilchrist, Director) Lupwic 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. g, in D Minor (Choral), Op. 125 Finale on Schiller’s ‘‘Ode to Joy”’ For Soli, Chorus and Orchestra _ Alletro 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 ihe ged 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. [77 | 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. Tue 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 com- mittee was appointed with Mrs. Wm. W. Arnett as Chair- man. 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 ess & 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, Penn- sylvania Building, Fifteenth and Chestnut Streets, or to Mrs. Alfred Reginald Allen, Treasurer, 111 South Twenty-first Street, Philadel- phia. Contributions of any amount, large and small, are solicited. ‘It is important that all contributions be made by June ist in order that the bronze may be completed before the termination of the next Orchestra season.’’ * * * * * [78 ] 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, Marcu 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.’’ [79 | ‘*‘PROGRAM ‘In MEMORIAM “Fritz SCHEEL “Born Lueck, 1852; Diep PHILADELPHIA, 1907" ‘“RicHARD WAGNER—VORSPIEL, \PARSIFAL” ““‘ADDRESS ““Mr. Owen WISTER ‘‘RICHARD STRAUSS, TONE Poem, Opus 28, ‘‘Top UND VERKLARUNG, ‘(Death and Transfiguration).”’ * * * %+* * ‘*Unvert 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.”’ **GrREAT Crowp 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 attaches of the Academy, and although hun- dreds 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. * * %#F * ‘“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: [ 80 | = " hs, a : ps a = \, 2 _ “ = - yy am - ’ 7 .- _ “2 = =). ae . = oe 4 - ad - as, = ia _ > a. “a: ~ . y Cc} = a rs. 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. | LEopoLtp STOKOwsKI.’’ [85 ] Un =» ry LU rf an) a y a UL 5 et : ) Sian Al ' i y f a , 1 , ‘ i ‘ % ; . A t ’ LY ‘ —— ‘ . . * ’ + W apad a Pa cee aac i“ , fii ad Wty 7a :o CHAPTER [| Tue Next STEp The Board of Directors was now obliged to find a new con- ductor 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 deter- mined 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 Witirtemberg. 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 attend- ing the gymnasium at Weimar, the talented boy was cor- dially received by Franz Liszt, and was permitted to accom- pany the master on his journeys to Rome, Budapest and other cities, this privilege being shared only by Tausig, von Biilow and Rubinstein. He thus learned many Liszt traditions. After having toured Germany, Austria, Russia, Scandi- navia 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 con- certs 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 Wiirtemberg, whence he came, by permission, to Philadelphia. The “Neue Musik Zeitung,’’ one of the best musical es in Germany, speaks thus of Carl Pohlig as con- uctor: [ 89] ‘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 clear- ness 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 Philadel- phia in the autumn of 1907, presenting for his first concert the following programme: THE PHILADELPHIA ORCHESTRA Caru Pou tic, 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. Lupwic 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 Ill. Allegro-Allegro, Presto 2. Richarp WAGNER (1813-1883 ) 4. Vorspiel, ‘‘Meistersinger’’ 5. ‘Siegfried Idyll”’ 6. Overture, ‘‘Tannhaeuser’’ Pohlig was warmly received by the audience and acclaimed by the critics as the following will show: North American, October 19, 1907: ‘‘SocrgTY, FASHIONABLE AND CULTURED, CHEERS PouLic. Music Lovers Turn Out IN Force To Hear Tuis 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."’ [ 90 ] © Haeseles CARL POHLIG “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 direc- tor'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 expec- tation.’’ ee at ae ee 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 ener- getic 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: ““Crry Taxzs COMMANDING PLACE IN CounTRY’s MusIcau GrowTu. Cary Pouiic, New SymMpHony ConDUCTOR, Tuinxs AMERICA’S FuTrurE Puace WILL BE First ‘‘A dozen years ago, a symphony concert in Philadelphia meant the atrival 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 Sym- phony 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 musicin the various large communities. “So different is the story today, that one is almost puzzled to ac- count for a change, which has led Herr Pohlig, the new Conductor of the Philadelphia Orchestra, to remark: ‘Musically Hemme Ger- many 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 inau- gurate season upon season of successful concerts given by its owa orhcestra, that Chicago’s magnificent organization created by Theo- [91] dore Thomas, is now on a self-supporting basis, and that Pittsburgh, Boston, New York and Minneapolis are musical communities of great importance.’ * -* K * * “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 pre- vious programmes show it has been getting it. And, of course, it must get everything. All schools of music should be represented. If any- thing, a modern conductor must be cosmopolitan.’ ‘His mode of arranging his programmes will be new to Philadel- phia 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 composi- tions of European contemporaries. ... . 2 * * * * Pohlig’s first New York concert on November 5th, 1907, did not meet with approval, which considering the pro- gramme 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: ‘*PoHitic IN New York. Fiincs sy Musica 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 em- ployed 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; [ 92 ] 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 con- sideration 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 ‘pre- sented 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 ‘effectu- ally removed previous impressions and stamped himself at once as a thorough musician, a graphic conductor of real distinction, possess- ing authority, temperament, magnetism, poetic feeling and imagina- tion. One could quarrel with his rather slow tempi and liberties of phrasing, if inclined to be ap pons) 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 atti- tude 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 in- habited 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 in- habitants 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 endorse- [ 93 | ment 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 appear- ance 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 roth, 1912. Tue Musica Recorp, 1907-1912 Under the direction of Carl Pohlig, the orchestra con- tinued 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 perform- ances 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*, “‘Legende’’; Philip H. Goepp*: Aca- demic March. *Philadelphian. [94] Feb. 26th —- 27th, 1909: Mendelssohn Centenary: Midsummer Night's Dream with Ben Greet Players. Chaminade: Concertstiick, 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 con- ductor; Wm. W. Gilchrist*, 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. Saéns, Symphony No. 3, in honor seventy-fifth birthday of composer: Louis von Gaertner*, Tone Poem ‘‘Macbeth.”’ Celeste D. Heckscher,* ‘‘Dances of the Pyrenees.”’ 1g11-12: October 27th — 28th: Liszt Centenary. Henry Hadley, Sym- phony No. 3, B minor. March 8th — oth: 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). *Philadelphian. [95 ] vie he RYE ENS Lis Uhr ” ; ib PART III CHAPTER | 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 audi- ence 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 pro- gramme, 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 CINCORPORATED ) MAINTAINING Tue PHILADELPHIA ORCHESTRA (Founded 1900) Lzoprotp Stoxowsk1, Conductor First Parr or SYMPHONY CONCERTS Friday afternoon at3.00 — Saturday Evening at 8.15 October 11th and 12th, 1912 PROGRAMME 1. Lupwic vAN BEETHOVEN............ Overture, “‘Leonore No. 3”’ (1770-1827) 2. JOHANNES BRAHMS......... Symphony No. 1, in C minor, Op. 68 (1833-1897) [99 | 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. Micuazt Ippotirow-Iwanow..... ‘Sketches from the Caucasus”’ CIS or ie I. In the Mountain Pass II. The Mountain Village III. March of the Sirdar (First Time at These Concerts) 4, RICHARD WAGNER eyo) we ee Overture ‘‘Tannhauser’’ (1813-1883 ) Public Ledger, October 12th, 1912. ‘“*\7ew 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 him- self, 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, [ 100 | ©r . T. Dooner LEOPOLD STOKOWSKI the arcs and parabolas he describes tell of a kind of geometrical trans- lation going on in his mind, whereby he visualizes the confluent rhythms in outward action. At impassioned moments his move- ments 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." 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 con- vinced 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 produc- tions of an unusual nature and to keep ahead of the times musically, won the day, and it was decided in 1915 to pro- duce 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 sub- ject, 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. [ ror | THE PHILADELPHIA ORCHESTRA Lzopoip Stoxowsk1, 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: FLor—eNceE HInkK iE, Soprano ADELAIDE FiscuEr, Soprano Inez Barsour, Soprano MarGarET Keyss, Contralto SusANNA Dercum, Contralto LaMBERT Murpny, Tenor REINALD WERRENRATH, Baritone 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 announc- ing three performances in Philadelphia of Gustav Mahler’s Eighth Symphony and, under the auspices of the Society of Friends of Music, one sedate ean 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 organi- zations 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 Phila- delphia performances alone of approximately $15 ,000.”’ * * KF * “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 doubt- ful 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. [ 102 | ‘“PRICES OF TICKETS FOR THE First PERFORMANCE AT THE Acapemy oF Music, Taurspay Eventnc, Marcu 2, aT 8.15 Bee eed CONV DOX SCAS os se ns ee ge ogee dew vee $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 epeand Fourth Rows, Family Circle... 202.066... eee. 1.50 (OVS CEST BUSEY 3) (ESRI a a 1.00 Re i cieat eer Pel L WO ROWS .65 0625 c ec ees ties ee caer ses 1.00 ERD eMMOTCSELVCC Jon oho yy gd cee else ee eka dees .50 * * %«* +« (The Friday Afternoon and Saturday Evening performances bein already sold out, no orders can be taken for these two eerie ARTHUR Jupson, 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-oper- ate 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 re- hearsals. 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 inatten- tive or who skipped rehearsals were not retained, and to- wards 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 Lzopro.tp Stoxowsk1, Conductor PROGRAMME SRE Gh Pokies ks oacchgh ate se) bend 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) [ 103 | ASSISTING FORCES: Una Poenitentium, Florence Hinx1ez, Soprano Magna Peccatrix, Inez Barsour, Soprano Mater Gloriosa, ADELAIDE FiscHER, Soprano Mulier Samaritans, MARGARET Keyes, Contralto Maria Aegyptiaca, Susanna Dercum, Contralto Doctor Marianus, Lampert Murpuy, Tenor Pater Ecstaticus, REINALD WERRENRATH Pater Profundus, CLARENCE WHITEHILL, Basso Augmented Orchestra of 110 First Chorus: Tue 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 Gorpon THUNDER at the Organ Mr. WILLIAM SILVANO THUNDER at the Harmonium Mr. HEeppa VAN DEN BezeEmrT at the Celesta While there were varying opinions about the musical value of thissymphony, the manner of producing it evoked but one. In order to make the event national in character, prominent musiciansfrom 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 Kun- wald, 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 Go Sonneck) Albert Spalding, Kurt Schindler and Theodore Spiering. [ 104 ] iC Sisek boone Secon & o < ¥ x ul ke = tw uv z 4 x “ re) uw x wl a 3 0 «& te ate Gustav MAHLER'S “EreHTH: SD ‘ ere ee: YM.PHORNY: » THe Pooitabecenia OrcHESTRA, LeEoroLb DroKxowski, Conpuctor Beut & Fischer 2 ISI6_ ARCH sig [7 v Demy oF M CA A © Bell & Fischer THE PHILADELPHIA ORCHESTRA AND MAHLER CHORUS Public Ledger, March 3rd, 1916: ““MAHLER’S WORK AND STOKOWSKI SCORE TRIUMPH THousANps AT ACADEMY oF Music ArousED To HiGuH Pitcu or EntuusrasmM. Notep Musicians Give PratszE to PropucTION PROMINENT PERSONS FROM ALL OVER CountTRY 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 premiére of Gustav Mahler’s Eighth Sym- phony. He carried along with him to triumph an orchestra numbering I10 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 evety one who is any one in musical America was here for the Mahler American premiére last night or will be here when the tre- mendous 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 ‘touche’ 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 gitls, 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 and, 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 1s comparable. [ 105 | ote This occasion is memorable not only because the Mahler Sym- hony 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 instru- ments, 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 couleeenm 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 plea- sure in presenting the victor’s crown of laurel, made in perpetual bronze.’ Repiy or Mr. Stoxowsk1 “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 Philadel- phia 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 ie 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.’ [ 106 | Orrers or $100 TO OBTAIN SEATS “Popular interest in the Mahler Symphony’s American premiére 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 after- noon, braving the ee 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 Philadel- phia streamed into the building. The stage door was besieged by the neatly 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 dur- ing the last twelve months. “Mr. Stokowski was given two great demonstrations; the first during the intermission, the second at the conclusion of the perform- ance. 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 pian- ist, 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 Bodan- sky, of the Metropolitan Opera and of the Cincinnati Symphony, are expected to be present at today’s performance. Other saeeeee 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 perform- ance of the Mahler Symphony on April 4th have been sold."’ | 107 | 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 perform- ances 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 pub- lic school children. The first performance was ona 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. Tue New York PERFORMANCE Such a journey was never before undertaken in musical circles here or abroad. Twelve hundred people left Philadel- phia by private trains, totalling seventeen cars, about noon on Sunday, April 9th, reached New York in time to havea rehearsal and dine and dress ata 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 remem- bered. 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 ina way never seen in Philadelphia. There were many musicians in the house, including Ignace Paderewski, the members of the Flonzaley Quartet, Mme. Alma Gltick and Efrem Zimbalist, Pablo Fasals, Henry Had- ley, 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, [ 108 ] Percy Grainger, Arthur Hinton, Alfred Hertz, Franz Kneisel, Daniel Gregory Mason, Ernest Schelling, Walter K. Spald- ing (Department of Music, Harvard University), Josef Stransky, Arthur Whiting, Marcella Sembrich, Antonio Scotti, Cornelius Rtibner (Columbia University), Fritz Kreis- ler, Mme. Schumann-Heink, and others. New York Sun, April 1toth, 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 ambi- tious concert last evening in the Metropolitan Opera House. The novelty chosen was Gustav Mahler’s Eighth Symphony, which re- cently 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 thanks- giving, the interpretation was considered with reverence and rapture, and the concert had to be—or at any rate was—trepeated 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 Chil- dren’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 Aa Box OrricE 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 considera- tions when he wrote the composition. He had a purpose, which he catried 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?”’ [ 109 | ‘After the New York performance, W.J. Henderson said: ‘‘If Phila- delphia 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, author- ity, 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 work- ing organization, it has its moments of relaxation and plea- sure. 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 Burret 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: ... >. 205 eee Mozart 1787, German Allegro Minuetto Maestoso Adagio cantabile Presto (Ten Minutes Intermission at this Concert Only) Concerto Brosso'(1916))\,. 3.5; tee Composer unknown Probably an American, Philadelphian Preferred (First time at these concerts) Adagio Andante Soustenuto Large-o Tone Poem: Tausend Kiinstler”... 0...) ee Schreiner (Augmented Orchestra) 1850-1916, Bavarian Conductor sh aa en we Sig ad Lib. RippEus Tuatcu, Actor-conductor [ 110 | ““Note—Owing to the exceptional acoustic properties of the Hall, the Audience is requested to refrain from ite as the slightest murmur might be disconcerting to the performers. It is earnestly re- quested 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 Yxpp. 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 OO CL ASS) 6) CO re 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 ‘Futt orchestra and are very effec- tive, provided they are ‘Futt ENouGu.’ * * * *K xX ‘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—somE- TIMES (?). There is much fervor in this movement and some wron notes in the horns, but why worry; they are printed in the score, oa are consequently correct. ‘ * * *k Ok * ek as as ee Wig oaceerbule os @U i ha es 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 composi- tion. He has ‘hit them’ very often and possesses an unusual amount of eenry | originality. ‘To Sze 17 1s 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. Wrrzemann, Schroon Lake, N. Y- F. W. Coox, Hampton Beach, N. H. Emit Haunt, Willow Grove, Pa. Louis Bogusez, 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 Phila- delphia 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 1n seven years a fund of approximately $800,000. perm CuHapter II Tue SEVEN YEAR ENDOWMENT Funp, 1916 The question of placing the Philadelphia Orchestra on a firm financial foundation had been under consideration for a long time by the Board of Directors. Each year the Guaran- tee Fund was becoming more difficult to secure and more of a burden; besides which hand-to-mouth financing is not a very creditable path to travel indefinitely. When these dis- cussions arose, the first question always was ‘“‘How can we solicit money for a permanent fund and beg for a Guarantee Fund at the same time?’’ That question always ended against a blank wall. No answer suggested itself untilin May, 1916, Mr. Van Rensselaer received a communication from a per- son who wished to remain unknown, so he later received the title “Unknown Donor.’ The proposition was accepted by the Board and later by the Association, and was issued in a circular of which a copy is printed below. ‘*‘ENDOWMENT FUND ‘*To THE FRIENDS OF THE PHILADELPHIA ORCHESTRA: ‘A friend of the Philadelphia Orchestra Association, who desires to remain unknown, has offered to meet any deficit of the Orchestra for each of five years, beginning with the season of 1916-1917. ‘The conditions under which this gift will become available are as follows: ‘““y. That an Endowment Fund of $100,000 yearly for five years shall be created by the Orchestra Association, so that the total Fund may be $500,000 at the end of this period. “2, That the contract of the present conductor, Leopold Stokowski, shall be extended to cover this period of five years. “3. It is earnestly desired that each friend of the Philadelphia Orchestra will pledge a generous amount in order to create this En- dowment Fund. eine all subscriptions to the Philadelphia Orchestra have been spent year by year, to meet the annual deficit. Under this offer the money now contributed will not be so spent, but will be invested to insure the permanency of the Orchestra as an insti- tution of Philadelphia. ‘The Orchestra is a civic asset. If it is to fulfill its destiny and place Philadelphia in the front rank among the musical cities of the world, it must be endowed. In order to do this, the Orchestra Association [113 | must depend upon the generosity of its friends. We ask that the en- closed blank be signed and returned to us at your earliest opportunity. While it is hoped that all gifts may be for a period of five years, yearly contributions will be gratefully accepted. Payment of subscriptions will be on November ist and March ist of each year, beginning with November, 1916. ““ALEXANDER VAN RENSSELAER Frances A. WisTER Epwarp W. Box Endowment Committee’ The way out was found—at least the beginning of the solution was in sight. The proposal was widely circulated and everybody con- nected with the Association began to work to raise the amount, which was to reach $500,000 in five years. This was later extended to seven years and now bears the name of ‘Seven Year Endowment Fund.’’ All persons connected with the Association threw themselves enthusiastically into the work of fulfilling the agreement with the Unknown Donor. A meeting wascalled of the four Women’s Committees and their Auxiliaries, at the auditorium of the Curtis Building through the courtesy of Mr. Bok; the plans were explained and met with a vigorous response. The women were to raise money in two ways. One was to procure five-year subscrip- tions of large sums. The other was to secure small subscrip- tions by the Group Plan. This idea was suggested because the business management could not arrange to take care of sums of less than $25.00. The accumulation of such, there- fore, was undertaken by the women, with Mrs. Arnett as Chairman. This piece of work was as trying as any ever entered upon, on account of the detail of keeping small ac- counts yearly for so long a period. A group might include any number of persons but the minimum amount for each group could not be less than $25.00 yearly, for five years. The sum of $14,632.00 was raised by seventy-nine Groups, including two Junior Groups; but the most important feature of the plan was that it secured the interest of a number of hundred people who would otherwise have been deprived of the pleasure of assisting this cause. This was of infinite value to the Association. To Group Captains, who kept up their quotas of $25.00 yearly for five years, the orchestra owes much, for members often had to be replaced. The Women’s Committees have long [114] acted on the principal that the active interest of many peo- ple was a necessity in building up an orchestra, and never was their belief more justified than at that time. The work of the women was prosecuted with enthusiasm and the response was remarkable, not only from Philadel- phia, but from Pennsylvania towns as far west as Harris- burg and in New Jersey as far south as Atlantic City. Other ways of raising money wete resorted to, such as chains of card parties, inaugurated by Mrs. John B. Thayer, Jr., whose own chain amounted to $2870, and various enter- tainments and concerts given by young people. These were necessarily gifts for one year and could not be included in the required $100,000. The amount including large subscriptions and groups col- lected by the four Women’s Committees was a total for five years of $186,000, this being twenty-five per cent of the Fund. In November, 1916, it was announced that the amount guaranteed for five years was over $500,000, more than stipulated under the contract with the Unknown Donor. It was then decided to ask the contributors to extend their yearly subscriptions two years longer, and many responded heartily. The name was changed to Seven Year Endowment Fund, and in 1923, the total had reached $788,400. About twelve hundred individuals contributed at this time, and through the groups over five hundred more: The “‘Unknown Donor”’ disclosed himself in 1920, and proved to be Mr. Edward W. Bok. The satisfaction was great of knowing at last the name of this generous friend of music, who had enabled the Philadelphia Orchestra to place itself on a firm foundation. bay CHapter III THE OrcHEstrA DurRING THE WorRLD WAR One year after the offer of the Unknown Donor had been accepted by the Board of Directors, the United States was in a state of war. The condition of Europe during the past three years had ina way been disturbing in orchestral circles, because no men could leave Europe and players were scarce. Also, foreign men were called home, leaving vacancies that were difficult to fill. Still, the orchestra had flourished and continued to advance artistically under Mr. Stokowski’s guiding hand. In April, 1917, however, musical organizations in America were facing a different and a serious situation. In everybody’s mind the questions lingered and would not be put away: ‘How is the Philadelphia Orchestra going to survive a war?’ ‘Will there be any players, and will there be any money for music?’’ Philadelphians spoke not these words aloud, but they feared for the existence of the city’s most beloved art organization. In December, 1917, the four Women’s Committees were desirous of making a patriotic demonstration with the orchestra, and at the suggestion of Mrs. J. Sellers Bancroft, an American flag was presented at each of a pair of concerts. “PRESENTATION OF FLAG To the Philadelphia Orchestra Association by the Women’s Committees for the Philadelphia Orchestra Presentation of Flag Miss Frances A. WisTEerR, President The Women’s Committees for The Philadelphia Orchestra The audience is requested to join in singing the National Anthem: The Star Spangled Banner (x verse) Acceptance of flag for The Philadelphia Orchestra Association: Mr. ALEXANDER VAN RENSSELAER, President The Philadelphia Orchestra Association Acceptance of Flag on behalf of the Orchestra: Mr. Leorotp Stoxowsk1, Conductor The audience is requested to join in singing ‘America’ (2 verses) [ 116 | Ledger, December 231d, 1917: “Viewed in the light of all that has been written, said and done regarding the relation of the musical art and its interpreters to the war and the conception of the majority as to what constitutes patrio- tism, the public action of the Women’s Committee of the Philadelphia Orchestra last week, on December 14th and 15th, when their presi- dent, Miss Frances Wister, introduced by Alexander Van Rensselaer, president of the Philadelphia Orchestra Association, presented the orchestra with a flag which was accepted by Leopold Stokowski, seemed full of deepest significance. In presenting the flag, Miss Wister made a graceful little speech about the relation of patriotism and art and said, among other things: ‘““ "In order to express our loyalty to our country’s cause and to the Association which we have fostered so long, and to testify to our belief in the necessity for music as a mighty inspiration, a profound solace during times of stress, we take pleasure in presenting to the Philadelphia Orchestra Association and to the Orchestra a flag. ‘““ “This is the visible demonstration of the patriotism of this organization and of the Women’s Committees during our period of national peril.’ “Both Mr. Van Rensselaer and Mr. Stokowski spoke words of appreciation of the Women’s Committees’ offering. The former read the resolutions adopted by the Association, and the most popular of musical leaders, Mr. Stokowski, on behalf of the orchestra announced that he and the men meant to give their services in a concert for the benefit of the American Red Cross, which statement naturally was greeted with responsive applause by the huge audience. ‘The remarks by which Mr. Stokowski declared the Orchestra's loyalty to the United States were gracefully made, and his action necessarily was profoundly appreciated by his many friends and admirers whose numbers have already increased accordingly. ‘The ceremonies closed with two verses of ‘America’ in which everyone joined heartily. The effect was thrilling. Many eyes were moist and many hearts were moved. ‘““These are trying times that test men’s souls and it does not take much to force to the surface deep, pent-up emotions that long training ' had suppressed.”’ * * * #K * At a special meeting of Board of Directors, December 13th, er the following Resolution was unanimously adopted: ‘‘Wuereas the Women’s Committees for the Philadelphia Orchestra are presenting to the Philadelphia Orchestra Association and the Philadelphia Orchestra two American flags as an expression of the patriotic spirit animating their organization of two thousand women, ‘Bg Ir Rusotvep by the Board of Directors of the Philadelphia Orchestra Association in behalf of the fifteen hundred contributing [ 117 ] members of the Association, that these flags be accepted in the spirit with which they are given, with the thanks of the Association, and that the management be instructed to display them on the stage of the Academy at each concert given by the Orchestra. ‘Be Ir Furtuer Resotvep by the Board of Directors, that it pledges the loyalty of the Association to the Government and people of the United States in this crisis in the affairs of the nation, and offers its services to be made use of in any way in which the Government of the United States may deem wise.”’ The next patriotic demonstration was the concert at Camp Dix, N. J. Public Ledger, January 3rd, 1918: ‘ORCHESTRA PLAYS FOR CAMP DIX MEN 100 MusIc1ANS UNDER LEOPOLD STOKOWSKI ENTERTAIN 3000 SOLDIERS ‘The Philadelphia Orchestra, led by Leopold Stokowski, aroused more than 3000 khaki-clad men here in the big Y. M. C. A. audito- rium to outbursts of enthusiastic applause, when they concluded an entire Tschaikowsky programme, including the Symphony Pathé- tique, the famous ‘Nutcracker’ Suite, and the stirring overture Solennelle. The concert was made possible through the courtesy of the Philadelphia Orchestra Association. ‘The large auditorium was crowded to the doors with the privates in training for the National Army, while the officers occupied a square patch of seats in the center. Alexander Van Rensselaer, Presi- dent of the Orchestra Association, and Edward Bok and Charles D. Hart, directors, were among the officials who accompanied the orchestra. With the party also was Noah Swayne of the Orpheus Club. The party arrived in Camp on a special train, and the musicians were escorted to the Y. M. C. A. hostess house and served a luncheon by society girls. ‘Mr. Van Rensselaer, Mr. Bok, Mr. Stokowski and Mr. Swayne were entertained at the division headquarters mess. “When Mr. Stokowski took his place at the stage, he was given an ovation, and throughout the four movements of the symphony, the men watched the discipline of the players with an interested eye. “The contrast of the dark evening suits of the orchestra with the mud-stained puttees and brown uniforms of the thousands of enlisted men formed a novel sight. One officer was overheard saying to another: ‘’ ‘How would you like to be captain of those collective artistic temperaments?’ ‘After the first movement of the symphony was ended in a crash of tympani, the same officer said: ““ “Well, if we can train a million men of the National Army to such precision and such discipline as that, we will have no trouble in beating the Huns.’ ‘During the intermission, the entire audience did a sort of ‘eyes right’ when a group picture of the concert was taken.”’ [ 118 ] Besides this concert, men in the service stationed at Philadelphia were given many opportunities to enjoy the orchestra. Beginning in November, 1917, subscribers were requested through a notice in the programme to send tickets that they could not use to the manager, to be placed at the disposal of soldiers and sailors and it was a common sight to see men in uniform at the Saturday evening concerts. On January 23rd the promised Red Cross Concert was given at the Metropolitan Opera House before a large audi- ence. The affair was most successful financially, the amount turned over being $7045.00. Liserty Loans The subject of Liberty Loans was more and more occupy- ing the public mind and soon claimed the attention of musicians. The first booth during the Third Liberty Loan of May, 1918, was in front of 1427 Chestnut Street, and was pre- sided over by Mr. and Mrs. Stokowski on two Saturday mornings. A quartet of trombones from the orchestra offered their services at the booth and attracted large crowds. The result of these two mornings was $114,000. During the next loan, the Fourth, the booth, which was a shell dug-out in front of the Union League, was in charge of the four Women’s Committees. For the first time in their existence the Committees diverted their minds from the orchestra for a brief space to participate in a patriotic act. This loan occurred at the time of the influenza epidemic and the women who served did so at some risk. No mem- ber, however, contracted the disease, or was the worse for the experience. The booth was open for two weeks only, but with the assistance of members of the orchestra, the amount collected was $896,000. When the Victory Loan was announced for May, 1919, the Women’s Committees were asked to again take charge of a booth for three weeks at the same place. Miss Frances A. Wister acted as Chairman for the second time, and they were assisted by a Committee of Musicians from the orches- tra, when their engagements permitted; and a Committee from the Business Management. Seventy-six members of the Women’s Committees served during the Loan, as fol- [119 | lows: Women’s Committee 27; Germantown and Chestnut Hill, 13; West Philadelphia, 22; Media, Chester and West Chester, 14. The total number of subscriptions received was 825, amounting to $691,300. This, added to the total of $896,000 for the Fourth Loan and that of $114,000 at the Third Loan, made a grand total of $1,701,300. Music at the booth was furnished without expense by members of the Philadelphia Orchestra, and ten other well- known artists, including Mr. David Bispham. Mr. Albert N. Hoxie gave a patriotic demonstration one day, with a parade and a chorus of one thousand, and the First Regiment Marine Corps Band. THE TRIBUTE TREES Another patriotic enterprise in which the Board of Direc- tors and the Women’s Committees took part was the plant- ing of tribute trees in honor of men in the service, on Fair- mount Parkway, at the invitation of the Civic Club of Phila- delphia. Fifty-five trees were planted on the Parkway at Twenty-second Street, and the Board and the Committees were represented at the ceremonies on April 25th, 1919. The Association did all in its power to assist in war time. Nearly $300,000 of the Endowment Fund was invested in Liberty Loans. On account of railroad congestion traveling was largely eliminated, but this was the only American orchestra permitted to cross the Canadian border, which journey was made for the Toronto Festival. The audience was not allowed to forget the nation’s situa- tion, as Mr. Stokowski had at the first concert of the season inaugurated the ceremony of playing the Star Spangled Ban- ner, orchestrated by himself, at the beginning of every con- cert, while the house stood. Later he organized and led a band of nearly two hundred pieces at Franklin Field, when funds were being raised for a special War Chest, and he did the same for the Service Star parade. Fight of the musicians went into the service. To mark the signing of the Armistice, special ceremonies were held at the concert of November 15th, 1918. Repre- sentatives of the Allied Nations appeared on the stage with their flags while their national anthems were played. The audience stood during the playing of MacDowell’s “‘Dirge,”’ [ 120 ] from the Indian Suite, which was played in memory of those Americans who had died in the war. When Philadelphia realized that the orchestra had sur- vived in its full strength and with little curtailment of its schedule, except for out-of-town concerts, and the post- ponement of two pairs of Philadelphia concerts on account of the epidemic, there was a sigh of gratitude. After such labors to procure an orchestra for Philadelphia, its abandonment would have been a tragedy and a calamity. [prain | CHAPTER IV THE TWENTIETH ANNIVERSARY Mirtytion Dottar ENDOWMENT FunpD, 1919 During the war the Seven-Year Endowment Fund continued to be paid in showing that Philadelphians were learning to Pa what they had. But the Board of Directors was now aced with another problem, the fact that the increased cost of everything in life made it evident that even the Seven Year Fund was going to be insufficient to meet the yearly deficit. Mr. Edward W. Bok then suggested that the Asso- ciation should conduct a campaign to raise $1,000,000 dur- ing the month of October, 1919, in honor of the twentieth season of the Philadelphia Orchestra. This was in January, 1919, and after the Board of Directors had decided to take this bold step, a Campaign Committee was appointed by Mr. Van Rensselaer, of which Mr. Bok was made chairman, in such fashion do one’s sins return to one. This Committee met at intervals during the winter, and Mr. Bok, fertile in ideas, formulated his plan of action. This was to have a Committee of Fifty Campaign Chairmen, men and women, each of whom should raise $20,000. Luncheons were to be held twice each week during the month at which reports were to be made. Chairmen having less than $2000 were obliged to announce “‘No report.”’ A circular was widely distributed in order to inform the public of the plans of the Association. “THE PHILADELPHIA ORCHESTRA ENDOWMENT CAMPAIGN ‘The next season of the Philadelphia Orchestra marks the Twentieth Anniversary. To mark this event, the people of Philadelphia will be asked to complete the Endowment Fund beet in 1915, which was interrupted by the war. For nineteen years, a group of Philadelphia men and women have sustained the annual deficit of the Orchestra. This group has maintained the Orchestra until it reached its present unquestioned position as the leading symphony orchestra in the United States. The Association now feels that the Philadelphia public should place the Orchestra, once for all, on a permanent financial basis. This can be done by completing the Endowment Fund.”’ Bova) ‘THe ENDOWMENT FunNpD 4s 1T STANDS ‘The present Endowment Fund consists of $500,000. In addition to this, there are pledges not yet matured which will bring the amount, within two years, to $800,000. Carefully invested, this total fund will insure the Orchestra a net income of approximately $36,000 a year. This is not sufficient to carry the annual deficit. ‘*THe OrcHEstrA’Ss ANNUAL DEFICIT The cost of the Orchestra per season is....... $304,000 The income jae SOANOMDIIS OMe sitar ate. cia pani ey 238,000 feast year s detict was, therefore. ............ 66,000 “With increasing costs, the estimated deficit for future years will be $80,000. ‘WHAT THE COMPLETE ENDOWMENT FunND WiLL MEAN “To the present Endowment Fund, therefore, must be added ONE Mition Do.iars. This would mean an estimated income of $81,000, on a total fund of $1,800,000. “It is this additional One Million Dollars that it is now proposed to ask the Philadelphia public to subscribe. “It should be borne in mind that not a penny of this amount is spent; all is permanently invested, and only the interest therefrom is used to maintain the Orchestra. ‘*‘WHERE THE Money GOES 93 cents out of every dollar of income is spent on the Orchestra; put back into the Orchestra, in other words, in order to increase its efficiency: oeé peiatienror Orchestra members... .. 25.05... 55-61% Expense of rentals, etc., of concerts at Philadel- Ila ge dGut-Of-tOWns.. 02.6. ie ee 34.61% Miscellaneous expenses (Orchestra music, insur- MRM he 550k Sn ale oh og ee heen 2.78% PSUITIEISELACLOIL CX PCUSCS, 2.0.5. o/s ace ose dy cleats 7.00% ‘*Tur SMALLNESS OF THE OrcHESTRA DEFICIT ‘The annual deficit of the Philadelphia Orchestra of $66,000 is one of the smallest of any of the large symphony orchestras of the United States. These deficits average from $85,000 to $125,000 per year. And yet, with one exception, the Philadelphia Orchestra is the largest symphony orchestra in number of musicians, in the United States, and plays a longer season. ‘*THe DETAILS OF THE CAMPAIGN TO RAISE One MiIxLiti0on DoLuars “It will begin October 1st, 1919, and continue throughout the month. ‘*The amount to be raised 1s One Million Dollars. pi23% “There will be 50 Committees, each Committee to raise a minimum of $20,000. “These 50 Committees will be under the general chairmanship of Dr. Charles D. Hart. ‘The headquarters will be, during October, at the Hotel Ritz- Carlton, Broad and Walnut Streets. ‘The territory for the campaign will include the counties of Phila- delphia, Montgomery, Delaware, Chester and Bucks. “Pledges will be payable in cash (much preferred) or 50% payable January 1, 1920, ee 50% payable May 1st, 1920. ‘The Depository for the Fund will be Messrs. Drexel & Company, to whom all checks should be drawn. “All pledges should be delivered to Dr. Charles D. Hart, or Miss Frances A. Wister, at the Ritz-Carlton Headquarters. ‘*THE ENDOWMENT CAMPAIGN COMMITTEE Epwarp W. Box, Chairman } Joun F. Braun’ Dr. CoartesD. Hart Mauss Frances A. WIsTER SAMUEL S. Fets ErrinGHaM B. Morris CHARLTON YARNALL ALEXANDER VAN RENSSELAER General Chairman of Committees Dr. Cuartszs D. Hart”’ Mr. Joseph E. Widener provided the Campaign Head- quarters in the Ritz-Carlton Hotel where an office force was installed and the bi-weekly luncheons held. Dr. Hart worked hard to procure the fifty Chairmen and fifty-three people consented to serve, but some dropped by the wayside. At the opening campaign luncheon, on Sep- tember 29th, 1919, there were in actual service only forty- two. As was to be expected, some collected more than their quotas and some less. Women chairmen predominated, there being twenty-eight of these to fourteen men. Their names should be recorded. CHAIRMEN Messrs. Edward W. Bok, John F. Braun, Charles D. Hart, Henry McKean Ingersoll, Alexander Van Rensselaer and Andrew Wheeler of the Board of Directors; and from out- side, Messrs. Henry G. Brengle, W. W. Fry, J. B. Henkels, Jr., George I. Bodine, G. H. Lang, Maurice Speiser, Herbert J. Tily and Wm. Jay Turner. WoMEN CHAIRMEN Mrs. Alfred Reginald Allen, Mrs. Wm. W. Arnett, Mrs. Thomas G. Ashton, Mrs. Charles Carver, Mrs. Herbert L. [124 ] Clark, Mrs. Matthew H. Cryer, Mrs. Joseph M. Gazzam, Mrs. Charles W. Henry, Mrs. Henry S. Jeanes, Miss Lea, Mrs. Joseph Leidy, Mrs. Wm. S. Newcomet, Mrs. Thomas Robins, Countess of Santa Eulalia, Mrs. Wm. A. Slaughter, Mrs. John B. Thayer, 3rd., Mrs. L. Howard Weatherly, Miss F. A.'Wister, Mrs. Harold E. Yarnall and' Mrs. Camille Zeckwer, all members of the Women’s Committees. In addition to these women, able assistance was given by Mrs A. J. Dallas Dixon, Mrs. L. Chandler Williams, and six women who had not up to this time been connected with the Philadelphia Orchestra, except as enthusiastic patrons. These were Mrs. Frederic W. Abbott, in charge of the Matinee Musicale Club Committee, Mrs. Frank T. Griswold, Mrs. Joseph N. Snellenburg, Mrs. John B. Thayer, Mrs. J. William White, and the Motor Messenger Service under Mrs. Thomas L. Elwyn. The Germantown and Chestnut Hill and the Media, Chester and West Chester Committees acted under their own presidents. The work of this committee under Mrs. Cryer and that of Mrs. Wm. A. Slaughter in West Jersey deserve special mention on account of the distances covered. SYNOPSIS OF THE RESULTS: Twenty members of the four Women’s Com- Mattes asindividual chaitmen,........... $396,292.36 Women Chairmen outside of Women’s Com- OSS © 7) SIS ge ee 191,832.55 formiaorac women'Ghaitmen. 220. ..7... $588,124.91 This was 53% of the Fund, but the women Chairmen were two to one against the men. Besides the collections made by the Committee of Fifty, amounts came in from other sources, such as, members of the Philadelphia Orchestra Chorus, the Van Rensselaer Tribute, the two Wister Tributes, the Van Rensselaer-Bok Telegram to business firms, the Telephone Circular, the Main Line Bonds, other Liberty Bonds, contributions re- ceived at the office, etc. A unique feature of the campaign was the memorials and tributes which gave people an opportunity to place the names of family or friends on special tablets to be placed in the Academy of Music. No less than $1000 was accepted for each memorial. [125 | MEMORIALS AND TRIBUTES in THe PHILADELPHIA OrcHESTRA ENDOWMENT FUND rae MEMORIALS TO THE FALLEN IN THE WoRLD War Major ALFreD REGINALD ALLEN, U.S. A. Tue AMERICAN HEROES IN THE GREAT WAR, UNKNOWN AND UNsuNG LizuTENANT Mortimer P. Crane, B. A. LIEUTENANT WILLIAM Bou.ton Dixon, U. S. A. EnsiGn GeorGE B. Evans, Jr., U.S. N. Air Service LIEUTENANT Rosert H. Gama zg, U. S. A. LizUTENANT WILLIAM B. Kuenn, U. S. A. LIEUTENANT Pau Borba Kuriz, U. S. A. _ Rarrex Lesxtre Metvitte, B. A. Mayor Tatsot Mercer Papineau, M. C. Corporal ABRAM K. Street, U. S. A. LIEUTENANT ARTHUR RICHMOND Taper, U. S. A. MEMBERS OF STRAWBRIDGE & CLOTHIER CHORUS ArtTHUR Howe. Witson, U. S. A. TWELVE PHILADELPHIA Boy Scout HEROES TRIBUTES OF THANKSGIVING for the safe return of LIEUTENANT WILLIAM Curtis Box, U.S. N. HaMILTON DisstoNn CARPENTER, U. S. A. LIEUTENANT LEONARD E. PowkLu LIEUTENANT SYDNEY Tuayer, Jr., U.S. M. C. LIEUTENANT GEorGE Bower, U. S. M. C. JOHN FREDERICK SIEBERLING, U. S. A. Harowp Francis Weston, B. A. PErRsONAL MEMORIALS AND APPRECIATIONS In Memory of JOSEPHINE L. S. Apams G. Martin Britt BLANCHE BALDWIN Ricuarp Vaux BuCcKLEY Beutau Hecker BANCROFT WILLIAM BuRNHAM GEORGE BARRIE Lois BucHANAN CASSATT Maupbe Ecxert BENSON ° WILLIAM T. CARTER RupoipeH BLANKENBURG FREDERICK TAYLOR CHANDLER JoszpH B. BLoopGoop Mrs. Anna L. ComsGys Mary Frances BLoopGoop “Ricoarp Y. Coox > SIEKE GERTRUDE Box Hucu Craie, Jr. EvizaBETH S. BRAUN MicHaeEt H. Cross Louis Brécy > CHARLES Howrz CuMMINGS ARTHUR Brock Harry K. CummMincs Crartis Hatt Brock Louise Knapp Curtis [ 126 | ur BHILADELPHIA @RCHESTRA ENDOWMENT FUND CAMPAIGN Hes 2) aS) oN MEMORIAES TO THE FALLEN iN. THE GREAT. WAR MAIOR ALERED -REGINALDOALLEN UL. WIELIPENANT MORTIMER RO CKANE. B.A MEL PENANT WILLIAM BOULTON DIXON, G.5..% PENSE GEORGE 8 EVANS: JR. AL SUN. AIR SERVICE UELTENANT ROBERT H GAMBLE. US. A UELTENANT. PAUL BORDA KURTZ. tS A RALPH LESUR MELVILLE: BoA: MAJOR TALBOT MERCER PAPINEALL M,C LIEUTENANT ARTHUR RICHMOND TABER, U.S. A ARTHUR HOWELL WILSON, US. A VEMBERS OP STRAWBRIDGE AND. CLOTHIER CHORUS UEUTENANT WILLIAM Bo KUEN U.S. A CORPORAL ABRAM K. STREET. USA PHILADELPHIA. BOY SCOUTS WHO FELL iN THE WAR -MESAMERICAN HEROES IN THE GREAT: WAR WHO-ARE UNKNOWN AND. UNSUNG TRIBUTES OF THANKSGIVING FOR THE SAFE RETURN OF HEOTIUSAN TE VILTIAM CURTIS BOX USN MEMTTENANT GEORGE BOWER: Us M€ fue HAMILFON -fsstON CARPENTER. Us. A DIRUTENAN LEONARD £ POWELL: US. 1D Cc OHM FREDERICK SIEBERLING uU Boh PA “CONANT SYDNEY THAYER. JR. s Moc HAROLD FR ANGIS WESTON B A em ENDOWMENT FUND MEMORIAL TABLET Ay Epwarp Tonkin Dossins FRANKLIN DUANE GzorGE W. ELxins Apam H. Fetrerotr, LL. D. Srmon B. FLEIsHER Rospert H. ForrpgErRER Rev. Freperic GARDINER Dr. W. W. GitcuHrist ANNE STARR GRISCOM Harry B. Hay Joun Witit14AM HaLiaHANn, 3RD GrorceE W. Harrau THOMAZINHA E. Harrau Maria Amgs Harte SarAH Kent How Max LivinGsTton Harriet ANNE Lucas Maser ELeEANorR McCanan Joun R. McDoweELu Henry J. Maris Dr. Cuarvtes Mone JoHN Paut Morris Joun THompson Morris Haran Pace RreEHLE MemoriaAL Funp Heten HamItton Rosins THEODORE ROOSEVELT RicHarD RossMASSLER EpwarbD CoLiin RossMASSLER Joun C. SCHAEFER Fritz SCHEEL Mrs. Francis SCHROEDER Mrs. WiLx1AM SIMPSON, JR. Henry M. Steet Joun M. StTEFFAN Joxun B. STEtTson Dr. Revert STEWART WittraM STOLL, JR. Roxranp Leste Taytor, Jr. ARCHIBALD GRAHAM THOMSON FraNK THOMSON JAMeEs TiLy S. Letitia Tity Epwarp K, Tryon, Jr. Auice Doucias TURNER IsaBEL G. WALKER FREDERICK WEBER . Witt1am Waite, M. D. LEANOR MERCER VANDERBILT WILLIAM F. VacHE Mary CHANNING WISTER WILLIAM BREwsTER Woop Haroup Extuis YARNALL In APPRECIATION OF Epwarp W. Box ALEXANDER VAN RENSSELAER LEopoip SToKOWwsKI Frances ANNE WISTER OutGa STOKOWSKI Miss Wister’s name was placed on the tablet by the con- tribution of two large amounts, one from the Women’s Committee and one from the Auxiliary. The tablets beautifully designed by Mr. Paul Cret, the noted architect, are placed on each side of the entrance to the inner lobby. The delightful luncheons held bi-weekly instilled in the workers much enthusiasm and were attended by from 300 to 400 people each time. At these the following well-known public and private individuals and artists appeared, all giv- ing freely of their time and often of their money to help the great cause: Miss Margaret Anglin, Mr. David Bispham, Mrs. A. J. Cassatt, Mrs. Edward H. Coates, Mr. Cyrus H. K. Curtis, Mr. Walter Damrosch, Mrs. Minnie Maddern Fiske, Sir [127] Johnston Forbes-Robertson, Mr. Walter Hampden, Dr. John Grier Hibben, Mr. Josef Hofmann, Miss Estelle Hughes CWinner of Stokowski Medal), Mr. Sascha Jacobinoff, Mr. Otto H. Kahn, Mr. Hans Kindler, Rabbi Krauskopf, Mme. Matzenauer, Miss Violet Oakley, Judge Patterson, Bishop Rhinelander, Dr. Thaddeus Rich, Mme. Samaroff, Mr. Oscar Schwar and a group of men from the orchestra. The thrill of these occasions will never be forgotten by the campaigners. Only those who participated can have any idea of the enthusiasm and excitement prevailing among the workers who eagerly awaited the reports. After speeches and music of a very delightful nature, the chairmen were called by name and saw their totals written ona large black- board. Many of them went to bed the night before with nothing in their pockets and arrived at headquarters in the morning to find their able assistants had brought in the required two thousand and more. It is marvellous that Mr. Bok could, besides running a campaign, manage such bril- liant affairs as these were, twice.each week. It was no un- usual sight to see four hundred men and women come in exhausted and discouraged, and go forth with renewed vigor to beg money. The spirit of excitement ran through it all, for raising money is as uncertain as gambling in that the pursuer never knows when he accosts a victim what the out- come will be, large, small, or nothing, and many surprises wete experienced. The competition was great, for Mr. Bok had offered $1,000 each to the first ten committees to raise their quotas. The Officers and Directors and the members of the Wo- men’s Committees and their Auxiliaries swarmed at the Ritz. Over it all was the influence of Mr. Van Rensselaer, with a courteous and cheerful word for all the harassed. Philadelphia Press, September 28th, 1919: ‘*400 ENLISTED FOR CAMPAIGN TO SAVE PHILADELPHIA ORCHESTRA. VOLUNTEER WORKERS WILL RECEIVE FINAL INSTRUCTIONS AT Ritz-caARLTON LuNCHEON TOMORROW $1,000,000 FuND THE GoAL FarturE MAY MEAN Loss To City oF Asset oF INCALCULABLE VALUE ‘“Musical Philadelphia is watching with a great deal of interest and anxiety, the movement on foot to ‘make the Philadelphia Orchestra safe for Philadelphia’ by raising the endowment of $1,000,000, for [ 128 ] a es ain a THE AHILADELPHIA ‘ENDOWMENT FUND CAMPAIGN @RcHestra LQ YG ess IN MEMORY OF JOSEPHINE LS ADAMS BLANCHE GALUWIN BEVLAE HACKER BANCROFT GEORGE HARRIE MAGI FCKERT HENSON RUDOLPH BLANK ENBURC JOSEPH & BEAODOOOD MARY FRANCES BLOODGOOD SIEKE CERTRUDE BOK FLIZABETHES BRAUN LOUIS KKEOY oC. MARIN: BRL ARFHUR BROCK CHARLES MALL WICK RICHARD VAUX BUCKLEY WILLIAM BUKNHAM WALLIAM “1 CARTER LORS BUCHANAN CASSATT FREDERICK YAYLOK CHANDLER MRS ANNA [ COMEGYS RICHARD ¥ COOK HUGH CRAIG. IK MICHAEL 1h CROSS _ GHNKLES HOWE CUMMINGS” HARRY K CUMMINGS LOUISE KNAPP CURTIS POWARLD TONKIN DOBRINS FRANKLIN DUANE GRORCE W CLKINS ADAM HO FETTERGLE LhOD SIMON HPPPISTIER - ROK 1 KORRODA DR" RLY. FREDERIC CARDINER PR AWW CILOTRIST ANNE STARR CRISCOM HARKY TB HALL +> oe 5 Washington.........52.. 0.455022 2 5 Wilmington. . ooo... ee + ee 4 Harrisburg. .... 2. «4s dp a's oo ae ee 0 ee 3 Trenton... 6.06)... Mi pew als) oe er a Easton, Reading, Penna., one (1) each 25 eee 2 TOTAL. o) eo ye sind ene ew oles 60 62 8—SEASON 1907-1908: Regular Series Concerts, 22: pairs, (9. sn 44 “In Memoriam’ Concert, Fritz Scheely ee I Baltimore... 0. shh saa a) oe 5 Washington. 0... fies els cee oe 5 Wilmington. ..°).....0..0) 2.5 5-5 a 4 Lancaster... ose eel x New York City, Trenton, one (1) cache 2 TOTAL... os cowie we os 63 9—SEASON 1908-1909: Regular Series Concerts, 22. pairss (yee 44 University of Pennsylvania... ... 2209 2 People's Concerts, Kensington. |. +) 2.2 2 Baltimore... 2.000) eee ee eo oe 5 Washington... 0. 65.0.50.5. 120) de 5 DS a a AR ES a a eR Ae, Or 4 ae eh ke Ae ON OA fsbo elle ewan 2 New York City, Brooklyn, Princeton, one (1) each 3 RN Sh oy i 2s vis 0a pan aes 67 IO—SEASON I909-19I10: Rees) COLCCLES, 22: Pails. os eee elec thoes 44 DOT VETOES Ss 0 Sa aE 10 eee VIO CORSY | Vatia.. 6... sees ee ees 6 er eestocrcerts, KCnSiINpton is... ne eee ls 3 oa EY OST Se a ag rae a I NN a lyin ts vigkg mb onto lw bse othe sla se ae 5 Se a iin paid en ead vieidie Lee e ves yes 5 EE ef hw 0 gx 2 dein ern sn natn Bee sien 4 ES Oe Se a 2 ORAL cy hg RT Raa Gr ae ee 80 II—SEASON I9IO-IQII- eee vatses COMCCITS, 25 PallSe- ssn neces es enees 50 DE RO Rae yim sea < s0 0G 5 03 iese ns II National Federation of Music Clubs, Special......... I Reames CiCeresRCTISINOTON <2 2 oc es ei ee et 8s 3 Ree PE CHNSV IV ANIA se cw em tine nok or 2 a en es ees bev oe 4 nnn ve I St oe ook eet + ite 9 ois 0 wala ps 5 a Oe eT Ee ag die ayo Sf oon a ne Hove ase 4 Sa RC pg ic 6 )e sb aw wis po ch @ mp 09 2 ees 21 eng ccinie. egies: wegen «4 ds oi 79 12— SEASON I9II~-I1912: Bet pt eet es CONCETES: 2.50 PAILS oer sos wie ies deel s ysl es 50 Two pairs of Concerts for the Guarantee Fund........ 4 DME ICE LES Se toio soo. pt ie elsieclg Gn a ty eigen 6 pecrareeontctts, Kensington yey 562 dae sti eit 4 Paver onrcnusylvania Concerts...........+.< 4 40s 9 85 I4—SEASON 1913-1914: Regular Series Concerts, 2.5 pairs... 0 ee 50 Special Concert in Afternoon Series...2 95.) ee I Popular Concerts...) <4. ..ds oka 6 People’s Concerts, Kensington... ...) ieee 3 University of Pennsylvania:...... 2.29.3 2 Stetson Concert)... kins so I Atlantic City... oo 0..aiy a 4 Princeton. o.oo ea eo 4 8h 2 Washington... 6 0...0...0.. 19.95 0) 3 Wilmington. 20... 0060. de ea ae 5 4 Oberlin, Akron, Cleveland, Ann Arbor, Detroit, Bos- ton, North Adams, Mass.; Meriden, Middlebury, Bridgeport, Waterbury, Norwich, Conn.; New York City, Pittsburgh, Easton, Reading, Scranton, one (reach. 22.0.0... 17 TOTAL. . oo. 5 eos be ee es Oe 93 15 SEASON I9I14-1915: Regular Series Concerts, 25 pairs... (se eee 50 Special “Pension Fund”. Concerts 3.2 2 Concert for Young People. ...... 1.25. I University of Pennsylvania: <<... ae 2 Richmond. . ...2...20.. 0420-41", rr 3 Washington... 0.0.00) 0 3 Wilmington. 2.20. ode es he en) Sig Atlantic City... 0.0.0... 0. 00 2 Se 2 Reading... 0.0. 2 2 Oberlin, Akron, Ann Arbor, Detroit, Baltimore, Buffalo, Cleveland, Erie, Indianapolis, New York City, Princeton, one (1) cach.’. .... 4) eee rr TOTAL. 0.003 cetacean a a clastic 80 I16—SEASON I9I5—1916: Bem erateocrics CONCCItS, 25 Pails. os ee ae ee oe 50 Mahler's Eighth Symphony, extra performances....... 7 Public School (‘Public Ledger’’) Concerts. .......... 8 Precio dayentecmnoon Concerts. 2.2)... 5... eb 3 Divers pyrotiPcnnsylvania... 2.2... eles ks 3 MRR OCLC rR eh ie ee a ie has Va g eee I OR SE SI gl re eae Pe 5 SUH OE 2D pul aig cs a een an ar 4 OLS NS a cn ae La 2 Baltimore, Bryn Mawr, Buffalo, Oberlin, Cleveland, Columbus, Dayton, Detroit, Ypsilanti, Mich.; James- town, N. Y., New York City, Norristown, Easton, Lancaster, Lebanon, Reading, Penna., Princeton, one LP DENSI 2 SUG GS er ot ee nea Or Ur 17 I17—SEASON 1916-1917: Pee rm mperies CONCEIIS. 26 Pairs, 4.6 oive dds ee 50 Special performance of Bach St. Matthew Passion..... I Public School (‘‘Public Ledger’’) Concerts. .......... 8 hoor encaveuctern0on Concerts. . 2... ses ee ey 3 Poretstey Got Pennsylvania Concerts... ..0...4....5:. 3 SL CS al AN OS I Pivcipaits or Concerts in ‘Pittsburgh... ...).2....54.. 10 JO SEL AN 3, US ITDS C1 6S 7 GES tel ce en 5 MCE Ua er ee, 5 ok wee Rie cn ale Ss 5 Some EEN EE: s Sioa eels a a oot BE wes 2 Albany, Buffalo, Cleveland, Oberlin, Lima, Springfield, Columbus, Dayton, Detroit, Ypsilanti, Grand Rapids, Jamestown, N. Y., New York City, Portland, Maine, Princeton, Lebanon, Reading, Penna., Richmond, Va., Wheeling, W. Va., Williamstown, Manchester, Mass., one Gs ACT Se a 8 C5 eet ert Meh tall oN Ps nnn a eet 2I 18—SEASON 1917-1918: Weutuerenctics (CONCCItS, 25 Palrs... «0 144 epee Ue 50 rerireatron Conceit Special i.) by eae a I meeanmeoncett.. opecial 06 v... c1oe iy omen ene I Memes CONCeIt, Opecial .. 94:01 ek. ose eee ee I People’s Concert at Stetson Auditorium.............. I MRE S DAITS .\-.1.0hink. pices ae doth Oo Rite oR aan 10 Pema a Ait. 5 otra stad Bae yn eR cha ae mee A 5 eS at iar ee rep oan GREY Nee Coat 5 (EL POG 90) Sg Pe SES, Oe RN Pere sin 5 IN a. system ens oth eee ae EE 2 Cleveland. 2.2 o. ec a z. Toronto, Canada ,.i.0 5620 vi). . oeldawd ale Camp Dix, N. J., Columbus, Dayton, Detroit, Grand Rapids, Kalamazoo, Ypsilanti, Mich., Buffalo, Ro- chester, Ithaca, N. Y., New York City, Princeton, one (1) each. ooo nl ae 12 TOTAL, fii ge ec oy alee gee 98 I19-—SEASON 1918-1919: Regular Series Concerts,.25 pairs... 700 50 French War Relief Benefit... ....... 77s eee I Roosevelt Memorial Concert... ). 20 ee I Wanamaker Concert: . 3. ..3. 0... er ‘oy Stetson Anditorium......0...05. : University of Pennsylvania.......-. Sau z Pittsburgh, § paits... 0... <1. 0s 0 10 Washington... 6.5 ae eels eae 5 Baltimorei200 3. as vee es on Sa 5 Wilmington... 2. ...00.0... 1... oe 5 New. York City CAfternoon)... ... gue 5 New York City, Vacation Association Benefit........ I Cleveland. 60. i sienay > dyn) on 3 TOrontO. 260. cdae eee ed ede 3, Oberlin... 0. eb ol ee ey oe ear 2 Wheeling, W. Va., Pottsville, one (1) each.......... rh House of Representatives, Harrisburg, Penna......... I TOTAL. 5 4. ise bee eee se ot 98 20—SEASON I9I19-1920: Concerts, 25 paifs.... 6s. ss. bo 50 Endowment Fund Concerts (telephone subscribers).... 2 Wanamaker, Special. ...)........308 I Supervisors of Music, Special: .. 2a ee I Aeolian Concert, Special... -.... 5a Pe Stetson Auditorium... ........7. 2 eee I University of Pennsylvania: .. >. 5.3 5 New York City (Evening)... °. ..7 2 5 Pittsburgh, § pairs.'...5.......5 +. 0): er 10 Washington... ..... 0.5 2..234..) 5 Baltimore... 4.4.25 0. sees 5 Wilmington. 3.0... ..c05 054. 0 5 Toronto... cee eee eee oes ees Cleveland. .........0.5 2.400 + ev 3 Hatrisburg.......5.......8.35) 40) ri Buffalo, Ithaca, Columbus, Oberlin, Detroit, Pottsville, Princeton, one (1)-each: ..... 20. ee 7 TOTAL. occa nee ee eee ae ee 107 2I—SEASON 1920-1921: Pew eosties CONCEITS, 2.5 Pails..i4 ews. cee hs aes 50 i ces pele cpcse ais a whan oS 4 Sadie Ph 3 Peopic siConcert at Stetson Auditorium.............. I SSS) MST Ca rr 5 aE ARES SCTICS Jie yy 5 in, woh ik nov wie eb Ga alee 8 Beeeeuea mic, New York, Special... ei scenes s I RT es. Be ial vatbdetalal os 5 ie en eR ee yeah Sig 5 4 8 Sue NY baw eo eg 5 ESE SRT 1 es RTE a ee ae ee 5 OE SM TANTS Fe Ge eth, Liens fate ole aseness 2 vata inh IO UU EE on 18 Se 7 ee OR ra 5 RE) PS ale arn wg a Sone 4 steno a 4 Reet ton Otrsville, one (1). each... 2.8 fis balun) vi BR RTs ce ch olga ae bike) 2 cache 104 22—SEASON 1921-1922: Pepe eee cries CONcciisy2§ pais... 26 22 ee 50 tm Se ACONCCLES. Fo cic lice hk es wr foe aes 3 pM DCC TIS eh co ee ek aa de ade BN 3 eos aor gtiicis! aa nag wie orem Hes I Re Oe ey as Sine ape wees picid sie I Ber Me PRESTO eae gdp descese 5 ¢ aur nynee 9 I eater Os emIsy Vania. go. ie. ed cap sw oe cee 5 Remar R CO TEMECOCTICN) oh 8) 0c ox Sede wale gol 10) MOL OLK ODOC Abe ee kes a cg fe gs cle aly «ooh 4 REE EE I TI 6 in ak ea uhh ght vie Seis 5 RM MN ie ek oes oy cs Se wy oe 5 Oe ME CS 8. elaine eres eile alae IO (RUINED et SU ie a 5 RN MSs Piva pins ecules wf glee tevin aes 4 Pemearorerortsviiic, one (1) cach..........02.0020+ pe STON 2 aN i ALR as OPA 109 23— SEASON 1922-1923: ee arene res ONCCTIS, 26 Pairs. oie. ne Seen s pens 52 Poe aie CONCETIS. «os ee eee ne ie we ee 4 De eeOUCEL(S, 3 PAILS, syen sow bee dad oe eric 6 Bye ONCert Special... i discus ooo nele I RRC aE Ter S OCIA ih i Fc roieic eth mavie die cade pect ma I Mer eM RCO TEL 0, 2,07. hel > apt 2 ahckely i gba ye 4s ane I eo iincensiia Award’: )' Concert)... y4.qet ime uewns I een ee LOCUUID 2 ect nig! acces ha eta pa Gene I LS GOA Oa ere ie RE Ny M7 RA TERE SPS Or IO MePmER DEE SUMESIIYAITS 3. 2s dpoa et nen Pome oe sae Ae 6 Seeman aecciiiiren.s Concerts e112 ee ea 3 RI OTe as ier ee ie abe en he tee Bea 5 eC re eg 02S Een heirs waiter wilh stare Gind Wier Ak 5 Seat at 3, 0, Sad area ea Pern aL eth Fina (ies 4 TOC COGS en MCP Sry be PE TE eke rer EN 3 Peco. rottsville; one (reach 2. aeaccp sess. ue ing orp RR a arte te abr ar nnn A LOD Tum pe Ree iene IAC 105 24—SEASON 1923-1924: Regular Series Concerts, 26 pairs: ..... 52 Monday Evening Concerts: ). 22. ).), 00.75. 6 Children's Concetts; 4 pairs... <......% 8 Philadelphia ‘‘Forum,’’ Lecture Concerts............ 4 Public School Children. iii. 0. ee 3 Teachers’ Convention, Special... {722 I Philadelphia Award)... ... 0. Sea I Mendelssohn Choir of Toronto, Philadelphia shea I New York City. 0000.00. .0.% Ol 10 Mendelssohn Choir of Toronto, Special, in New York.. 2 Washington) .2.. 35.000... 2s (ae 5 Baltimore. eu hy oe ae alos ec 5 Toronto...) iseades cee on) ee 4 Montreal,’Princeton, one (1) cach! Ge 2 TOTAL, ¢ 0. nis ed las 2h er 104 25—SEASON 1924-1925: Regular Series Concerts, 29 pairs. ...20 a 58 Monday Evening..............5+. sess ceesseeses eee 8 Children’s‘Concerts, 4 pairs ...) 23) 2 8 Public School Children... 2... .. <9 3 Philadelphia ‘‘Forum”’. <2. 2.25) 2-9 3 Philadelphia Award Concert, Specialy 2) I New York City... 020052. aiss Ye eee 10 Washington... 2... issn ass: oe 5 Baltimore... 4. aye et 5 TOrOnto ... sg ca tis ase pb cele et = Re 4 Buffalo, Princeton, one (1) cach.) 2 2 TOTAL. 4c ey ine clea n'alolels ses 0 ee 107 [ 200 | APPENDIX F PERSONNEL OF PHILADELPHIA ORCHESTRA 1900-1925 CoNDUCTORS PERSONNEL OF PHILADELPHIA ORCHESTRA CHORUS 1920-1921 MANAGERS I900-1925 Orrice STAFF 1925 Fritz SCHEEL 1900-1907 LEoroLD SToKOWsKI 1912 S. ABAs Puitie ABBAS Harry ALEINIKOFF Paut ALEMANN Louis ANGELOTY P. ANTONELLI Rurus M. Arty BERNARD ARGIEWICZ WILLIAM L. ARKLESS J. ASCHKE ANTON ASENMACKER J. AYALA F. V. BADOoLLET Harry J. BAKER Irvinc J. BANCROFT Puitre BANSBACH W. BAaRCHEWITZ CLEMENTE BARONE RicHARD BARONE HERMAN BassE Gus BaTTLEs Victor Bay Jacos H. Brcx WituiaM J. Becx Mirko BELINSsKI J. F. Bexrots CoNDUCTORS PERSONNEL Violin Cello Violin Clarinet Violin Horn Clarinet (Principal) Cello Violin Viola Piccolo Cello Trumpet Flute Battery Violin Viola Violin Flute and Piccolo (Principal 1907-10) Violin Trumpet (Principal 1904-05, 1914-15) Flute Violin Trumpet Violin Cello Violin [ 201 | Cart PoHLiG 1907-1912 IQOI-O2 1916-17 1915-25 1904-25 1908-22 1920-23 1923-24 1917-19 1924-25 1900-01 1915-18 IQOI-O2 1917-19 1916-17 1901-04 1923-24 1916-25 1919-22 1901-04 1900-01 1904-10 1923-24 1904-05 1914-17 1906-09 1922723 1900-01 1906-09 1904-09 1900-01 Jort BELov SAMUEL BELOV JosEpH BENAVENTE Avucust BENDER F. BENETER IsaDORE BERV FREDERICK BETTONEY P. BranNcuLui Henry BieLo Jutius BreLo ANTONIN BLAHA Max BLeYER Max BLUMENFELD H. Boney Gustav BorEHM Louis BorHsE DANIEL BONADE Mitton BorRNSTEIN Rosario BouRDON Domenico Bovr IsADoR BRANSKY Horace Britt Rocer Britt JosEpH Bropo LzeoroLD BROECKAERT H. I. Brown J. H. BurKarTMAEIR NatTHAN CAHAN P. Canon L. CatLuiet H. Camrowsky HERMAN Carow Huco Carow S. H. CaurFMAN Harry CHAZIN S. CHEIFETZ Joser CHuDNowsKY JoHNn A. CIANCIARULO GiusEPPE CIMINO Davip CoHEN SoLoMON CoHEN Violin Viola Cello Trumpet Violin Horn Bassoon Violin Bassoon Bass Violin Trumpet (Principal 1903-04) Violin Violin Violin Bass Clarinet Violin Cello Violin Viola Cello (Principal) Violin Violin Flute Violin Violin Bass Cello Clarinet Violin Violin Viola Cello Violin Viola Violin Violin Horn Violin Trumpet [ 202 | 1912-20 1923-24 1908-20 1917-18 I9OI-03 I9OI-O2 1923-25 1917-20 1913-14 1920-22 1920-22 1906-08 1909-12 1903-08 1904-06 1903-04 1900-01 1904-07 1908-25 1917-22 1924-25 1921-25 1904-08 1917-23 1924-25 1919-20 1907-08 1914-20 1918-24 1904-05 1921-25 1900-01 1900-24 I9OI-02 1916-25 1903-17 1920-23 1916-18 1900-04 1908-21 1901-02 1903-04 1919-23 1924-25 1913-24 1900-01 1903-05 1918-19 1918-25 1918-25 Lucius CoE FrepericK W. Coox CarLTON CooLey WILLIAM ConrRAD S. CorTADELLA FrANCEsco CorTESE R. Cras Henri CzZAPLiNnsKI S. DaBrowskI BENJAMIN D’AMELIO J. De Borr GEORGE DECHERT Grorce Dr CLEercK VICTOR DE GOMEZ Frank Deu Gatti F. Det NzecrRo EuGEene Devaux WiLuiAM DIEsSTEL Fritz DIrTERICHS JosepH Di NaTaLE WiLu1AM F. DopGE Carxt DoELu P. A. DonaTELLI FREDERICK DoNATH Paut Donats Max DonNER Joun D’Or1o ALFRED DoUcET Davip DuBINsky VLADIMIR DUBINSKY A. Dupuis W. B. Esann Sou EcxsTEIN Oscar E1Ler Bruno EINHORN BENJAMIN EIsENBERG Maurice EIsENBERG Henri ELKAN S. Etx1np Orto Extst Rupo.ipx ENGEL Davip EpstTeIN LEONARD EpsTEIN Meyer B. Epstein D. H. Ezerman Violin Violin Viola Bassoon Bass Harp Horn Violin Violin Violin Violin Trombone Viola Cello Viola Violin Bassoon Oboe Viola (Principal) Clarinet (Principal) Violin Violin Violin CConcertmaster) Tuba Viola and Celesta Violin Violin Horn Oboe (Principal) Violin Viola Violin (Principal 1912-25) Cello (Principal) Oboe Cello (Principal) Bass Clarinet Cello Cello Violin Cello Viola Bass Trombone (Principal) Viola and Trumpet Viola Viola Violin Cello [ 203 ] 1905-19 1906-24 1919-20 B22. 2. 1923-24 1900-01 1919-20 1924-25 1923-25 1919-24 1901-02 1901-04 1912-19 1916-19 1920-21 1927-27 1s ply eer is I9IO-II E908-15 I9OI-I2 1917-18 1906-07 1900-01 oe Ld hk fer aes ao 1907-17 1907-08 1910-18 1921-25 1902-13 1900-01 I9OI-O2 1908-25 1906-07 1916-18 1901-02 1900-O1 1912-14 1913-17 1918-19 1917-19 1920-25 1921-22 1906-16 1904-25 1922-25 1920-24 1923-24 I9OI-O2 PasQuaL Fasris Rupo.pH FAHSBENDER Jutius Fatx VINCENT FANELLI, JR. Cart FassHAUER JOHN FassHAUER Henry W. FEHLING Harry FELDMAN W. FENSTEL EmiLe Ferir ANTONIO FERRARA Luic1 FERRARA Pauw Fitisack JOHN Fisnar Joun A. FiscHER R. FiscHer CLARENCE FoGG Emit FLOGMANN C. FRANKE GrorGE O. Frey NaTHAN Frey A. FRIESE Max FrRogticu Joun FRuNCcILLO Pau Fucus Mario GARAFFONI Epcar A. GASTEL Erwin GASTEL Frep GEIB Epwarp W. GEFFERT Victor GEOFFRION C. E. GeruarD A. GInsBURG ANGELO GiURATO Harry GLANTz BEAUMONT GLAss JosepH GLASSMAN ABRAM GOLDFUSS JEROME GOLDSTEIN A. GORODETZKY Violin Bass Violin Harp Violin Bass Violin (Principal) Violin Cello Viola (Principal) Violin Violin Violin and Clarinet Bassoon Flute and Piccolo Cello Viola Cello Violin Tuba Trombone and Euphonium Viola Battery Cello Viola Bassoon Bass Violin Cello Tuba Trombone Bass Trombone Violin Violin Trumpet Violin Bass Violin Violin Violin [ 204 ] 1924-25 1920-23 1900-03 1913-25 1912-18 1900-05 1907-21 1900-01 1923-24 1900-01 1918-19 1916-20 1921-23 1924-25 1917-18 1919-25 1901-24 1922-25 1909-25 1902-03 1900-02 1903-04 1906-08 ~ 1919-20 1921-25 I9OI-O2 1921-23 1923-24 1921-24 I9OI-O5 1918-20 1900-01 1902-08 1924-25 1900-01 1900-01 1904-05 1917-21 1922-25 1900-01 1904-09 1921-25 1924-25 1900-01 1915—17 1910-17 1917-18 1918-21 1917-21 1920-25 CHARLES GREBE Frep P. Greims H. Greims HERMAN GREVESMUHL WILL1AM S. GREENBERG GEORGES GRISEZ JOHANN GROLLE R. GrossMAN Harry F. Grover WILLIAM GRUNER WALTER GUETTER B. GusIKorF IsADORE GUSIKOFF WiiiiamM H. GussEN Wiuit1am H. Guyon Cari HAFERBURG L. M. HarersurG Emit Hanyu Raymonp J. Haty Ericu HALTENORTH H. HALTENoRTH Cuarzes F. HAMER SIDNEY HAMER Paut HANDKE F. H. Har TMANN H. Hartman A. Hasz ALBERT Hasz Orro HAvuBENREISSER Gustav Hem A. Herne HERMAN HELLER JOHN HELLBERG P. HENKELMAN Otrto HENNEBERG Rupotex# HENNIG Dayton M. Henry A. HeyNen Hans HiIMMER H. J. HorNBERGER ANTON HorNER JosepH HorRNER Ernest Huser Cello Cello Viola Violin Viola Clarinet (Principal) Violin Cello Viola Bassoon (Principal 1906-07) Bassoon Cello Cello Violin Flute and Piccolo Viola Viola Viola Cello Violin Viola Violin Cello Cello Trumpet (Principal 1902-03) Trombone Bass Bass Bass Violin Trumpet (Principal) Violin Violin Bassoon Oboe and English Horn Horn Cello (Principal) Violin Bassoon Cello Violin Horn (Principal) Horn Bass [205 } 1900-01 1903-04 1908-17 1900-01 1901-02 1902-03 1923-25 1922-23 1902-05 1907-11 I9OI-02 1918-19 1906-17 1922-25 1920-25 TOl7-25 1900-01 1907-09 19OI-02 1903-05 1902-03 1902-19 1920-23 1901-02 1904-24 1903-04 1919-20 1918-22 1901-03 1900-01 1900-01 1904-06 1920-25 I9OI-O4 1905-09 1905-07 1903-04 1900-02 1900-01 I9OI-25 1905-25 1900-01 1918-25 IQOI-O2 1904-14 1900-04 1902-25 1900-01 1902-25 1919-20 A. Huster L. Hutinet Rotanp Hux ey Joun G. INGLE WILLIAM JAEGER JoszpH A. JAKOB Sot E. JAaRRow Lewis C. JocHER CLARENCE JORDAN Ernest K AEHLER Maurice KAPLAN ALFRED KASTNER JosepH E. KEARNEY Oscar KELLER GEOERGE WILLIAM KEyYsER Cari KinLMAN W. M. Kincarp Hans KinDLER SAMUEL KLIACHKO Kartu Kiupp Cart KNEISEL F. H. KNorr Henry Kocu A. KorHLeR H. Kogenic JAN Korrt BENJAMIN KoHON A. Kors ELKan KosMAN Fasien KoussEvVITZKY Boris KoutTzEN Huco KReisLer Emit KreEssz GEORGE KRESsSE CHRISTIAN KRIENS RicHARD KRUEGER E. KruGer Ortrto KruGER Paut KRuMMEICH WILLIAM Kruse, JR. Violin Trombone Violin Violin Trumpet Horn Viola Bass Violin Violin Viola Harp Viola Clarinet Viola Violin Flute (Principal) Cello (Principal 1916-20) Cello Horn Cello Bass Horn Trumpet Violin Violin Viola (Principal) Bassoon (Principal) Violin Violin CConcertmaster) Bass Violin Cello Violin, Tympani and Battery Violin Viola Bassoon (Principal) Violin Violin Violin Bassoon [ 206 | I9OI-02 1916-17 1906-08 1900-01 1900-01 1909-10 1905-06 1900-01 1907-13 1924-25 1900-01 1907-13 1920-25 I9OI-02 1903-04 1903-04 1902-04 1908-19 1903-19 1920-25 1914-20 1920-22 1901-04 1908-17 1919-22 1900-01 1900-01 1903-04 1903-04 1900-02 1902-08 1912-15 1901-06 1901-02 1923-25 1924-25 1906-07 I9OI-O2 1904-25 1901-03 1906-07 1902-04 1901-06 1907-08 1909-12 IOIS~22 be seb i 1905 -*7 1903 7 1920-21 Avexis Kupiscu Juuius G. KumMMg Max LacamMuTH JoszpH La Monaca F. M. Lapetina Francis J. Laprrino Emite Latiscu VINCENT Lazarro, JR. H. C. Lz Barsizr Morris Len J. W. F. Leman Mitn Lemiscu ALFRED LENNARTZ B. F. LeventTHar Harry Levy Rosert LINDEMANN A. Lipkin GzorGE LivorTi GusTAvE A. LozBEN ALFRED LORENZ Franz LorENzZ Paut P. Lotz H. Lucas ArtHur Luck C. STANLEY Macxry Rosert MADLER E. Magstre E. Maracu THEODORE MANSFELT ANDRE MAQuARRE DaniEL MaQuarRReE ATTILLIO MARCHETTI Joun MarquarDT Mrs. JoHN MarQuaRDT HerMAN MartTONNE Gustav Mayer Henry Mayer, Jr. ALBERT MEICHELT Nicota MELatTT1 Emiztio Meriz Hersert G. Mertz J. Messras Harry W. MEYER Joon A. MEYER Paut MgyEer Violin Viola Oboe and English Horn Flute Viola Harp Bass Bass Trumpet (Principal) Trumpet Viola Viola Cello Viola Violin Clarinet (Principal) Violin Violin Viola and Celesta Violin Viola (Principal) Violin Cello Trombone Viola Bass Tuba Bass Cello Bass Cello Flute (Principal) Flute (Principal) Oboe (Principal) Violin CConcertmaster) Harp Violin Battery Battery Trumpet Violin Violin Violin Cello Violin Violin Violin [ 207 ] 1918-19 1900-01 1900-01 1910-25 1900-01 I9II-I3 1910-17 1921-25 1909-14 T2325 1908-18 1900-O1 1902-16 IST 1-23 1918-19 1913-17 1922-25 1923-24 1919-25 IQOI-O2 1903-17 1917-18 1918-25 1909-17 1900-01 1909-25 I9OI-O2 1914-18 1900-04 1905-15 1902-07 1922-24 1918-19 1904-05 1918-20 1910-18 1913-15 1902-03 1902-03 1917-20 1916-23 1907-23 1902-04 1922-24 1917-18 1919-20 I9OI-O2 1904-15 1900-01 1914-21 Henry J. Micoaux CHARLEs S. MILLER Rosert MinsEL Oskar Mopess BERNHARD MOLLENHAUER Joun W. Motioy AuBERT R. Morer Frank S. Morton HerMAN MUELLER MatrHew J. Muz Lier Otro MuELLER C. H. MuLier G. Munscu CHARLTON Lewis MurpHy Epwarp Murray Lupwic Nast GENNARO M. Nava F. A. NicoLettTa Davip NowInsk1 BrAM OBERSTEIN W. OEsTERREICH Max OLANOFF Gustav OLK Huco O.x SAMUEL OLLSTEIN GusTAv PAEPKE Matyas Pautt L. PELLEGRINI Micnet PEenua WILLIAM PFANNKUCHEN WALTER PFEIFFER Earu Prouts Pauw PizscHEL STEPHEN PILLISCHER Pau. PirKowsky Paut PLANERT BENJAMIN PoDEMSKI ALEXANDER PoporF P. Popperyu M. Pottac MILTON PRINZ Kari QuERENGAESSER Pau. RauMIG Epwarp RaHo Viola (Principal 1915-17) Violin Horn (Principal 1901-02) Bassoon (Principal) Violin Violin Violin Violin Viola and Bassoon Bassoon Violin Violin Bass Clarinet Violin Viola Cello Viola oR Violin Cello Flute and Piccolo Violin Viola Violin (Principal) Violin Violin Bass Violin Cello (Principal) Bassoon Violin Violin (Principal part of seaSOn I911-12) Bassoon (Principal) Violin Violin Bass Battery Violin Violin Horn Cello Bass Bass (Principal 1901-14) Oboe [ 208 | 1915-25 1918-19 1901-04 1900-01 1900-01 1920-25 1902-20 1906-07 1910-17 1917-25 1922-25 1907-14 1921-24 1900-01 I9OI-O2 1900-01 1924-25 1902-04 1922-23 1923-25 1906-17 1923-24 1903-04 1918-19 1903-04 1902-04 1920-22 1902-05 1922-24 1918-23 1919-20 1920-25 1906-07 1910-19 1911-18 1908-09 1924-25 1921-25 I9OI-05 1923-25 1923-25 1901-02 19OI-02 1924-25 I9OI-I5§ 1901-17 1919-20 1924-25 1913-76 Lewis Rano Howarp F. Rattray Harouip W. Renric JoszpH REITER A. Renscu KautMAN Reve J. RHopEs L. M. Rice THADDEUus RicH ALBERT RIEsE HERMAN RIETZEL ALBERT RITTER A. RitzKE Aucust H. RopEMANN C. H. RopENKIRCHEN EpMoNnD RoELOFSMA B. RozscHMANN JEAN RoGisTER Sam Rosen M. Rots E. Rozaneu R. RyKMans ALFRED SAAL HERMAN SANDBY ApDOLPH SAUDER Hersert F. Saytor Fritz SCHAEFER Juxrus SCHEEL Pau SCHEELE REINHOLD SCHEWE K. ScHINNER WILLIAM SCHLECHTWEG Hans SCHLEGEL ALEXANDER SCHMIDT Emit SCHMIDT Emiu F. Scamipt GEORGE SCHMIDT Henry SCHMIDT RicHarD SCHMIDT Wiii1am A. ScHMIDT Oboe Violin Trumpet Horn (Principal) Oboe Violin Viola Viola Violin (Concertmaster) Horn Oboe Tympani Clarinet Flute (Principal) Trumpet (Principal 1907-09) Clarinet Violin Viola Viola Violin Trumpet Bass Cello (Principal) Cello (Principal) Oboe Violin Viola Violin (Principal) Viola Violin Horn Trombone Flute and Piccolo Violin Viola Violin Viola Violin Viola (Principal) Cello [209 ] 1918-24 1905-06 LGIA215 1900-01 19OI-O2 5OL3=1 4 1901-02 1902-03 1906-25 1904709 1910-25 1911-13 1902-03 1900-01 1902-07 1907-09 IQII-15 1902-20 1900-01 1903-04 1923-24 1919-20 1921-25 1924-25 1917-18 1901-02 1904-06 1902-04 1908-16 1900-01 1904-05 1904-05 I9OI-12 1904-15 1900-01 1907-16 1901-02 1904-15 1916-25 1908-12 1900-01 1900-01 1903-04 1908-23 1902-11 1920-25 1900-01 1903-04 IQII-I2 1914-25 Cuar es M. Scum1tTz Puitippe SCHMITZ CuHarues F. SCHOENTHAL GEROLD SCHON Joun G. ScHon GEORGE SCHOTT FreD SCHRADER B. ScHREIBMANN B. Scuucn EpMUND SCHUECKER JosEPpH SCHUECKER Max ScHuLz RicHARD SCHURIG Oscar SCHWAR Mice Scraprro Max SELINSKI FRANK SELTZER ERNEST SERPENTINI Juxzs J. SERPENTINI Davip SHAIEVITCH J. Byron SHANNON Marcus SHERBOW JosEpH SHERMAN S. SIANI ADRIAN SIEGEL BERNARD SIEGERT IsRAEL SIEKIERKA Harry SILBERMAN Emi1Le SIMON GARDELL SIMONS Jacos SIMKIN J. C. Smarn Joser SMIT IsaDOR SOKOLOFF Max SoTTNEK WILLy SPECKIN ALFRED SPEIL S. Spoor GusTAv STANGE L. STARZINSKY Rosert STEIN Bruno STEINKE Bruno STEYER Karu STIEGELMAYER Water H. Stosse Cello Cello Flute (Principal 1900-01) Cello Bassoon Cello Trombone (Principal) Trumpet Violin Harp Har Violin Bass (Principal) Tympani Violin Violin Trumpet Oboe Clarinet Flute Bass Violin Violin Bass Cello Cello Violin Violin Cello Trombone Violin Piccolo Cello Cello Violin Bass Violin Violin Trombone Viola Cello Cello Viola Oboe Battery [ 210 | 1900-01 1903-13 1919-25 1900-01 1909-10 1918-20 1916-20 1912-18 1904-06 1921-23 I9OI-02 1904 1909-11 1902-05 1900-02 1903-25 1914-15 1907-14 1907-11 1924-25 1920-25 1905-06 1920-24 1900-04 1923-25 1924-25 1922-25 1920-21 1924-25 1917-18 1907-14 1915-25 1920-23 1924-25 1900-01 1924-25 1914-18 eee 1903-04 1905-10 I9OI-03 1919-20 1902-04 I9OI-02 1903-10 1902-03 1919-20 - 1924-25 I90I-I0 1900-01 WiuuraM R. Stosse A. F. StocxBrIDGE Lzon STOLL WILLIAM STOLL, JR. ALFONS STORCH P. STRAHLENDORF K. STREUBER Epwarp A. STRINGER Jacos STROBLE Juxius STURM MicHAEL SVEDROFSKY Marce. TABUTEAU Epuarp Tax Morris TARTAS ALEXANDER J. THIEDE ANDREW THOMAS Hans TIEDGE ANTON TORELLO Lupwic TREIN R. UNGER G. UNGLADA Emit Ursasu James VALERIO F. W. Van AMBURGH Heppa VAN DEN BEEMT AuGust VAN LEUWEN IsRAEL S. VAN SCIVER ALBERT VAN STRATUM AMEDEE VERGNAUD Romain VERNEY A. VILLANI ApoupH VOGEL J. Voce. Henry F, Vo_tMer Louis VoLMER Ernst WAGNER FREDERICK E. WAGNER Joszer WALDMAN Rosert WALTER Henry WARNER Emit WascHEK Frank S. WATSON NeELson J. Watson HERMAN WEINBERG Kart WEINELT Tympani Violin Viola Violin Violin Violin and Bass Clarinet Bass Violin Violin Cello Violin CConcertmaster) Oboe (Principal) Violin Viola Violin Tuba Violin and Battery Bass (Principal) Cello Cello Violin Flute and Piccolo Battery Clarinet Violin (Principal 1906-07) Celesta Flute Battery Violin Viola Viola (Principal) Bass Cello Trombone Viola Cello Trombone Trumpet (Principal 1900-01) Violin Violin Violin Viola Cello Bass Violin Horn Pre | 1900-01 1906-07 1900-01 1900-01 1904-06 I9OI-02 I9OI-O2 1900-01 1900-01 1902-04 1904-06 1915-25 1905-06 1919-20 1920-25 1915-21 1902-17 1914-25 1900-02 1903-04 1907-11 1901-02 1908-12 1902-03 1924-25 TOi2-13 1901-07 I9II-20 1920-24 I9OI-02 1900-01 1905-06 1924-25 1920-25 1922-23 1921-25 I9OI-02 1900-01 1900-01 I90I-04 1900-01 1917-21 1912-16 1903-06 1900-02 1905-06 1918-25 1923-24 1919-25 1904-05 H. WEIssENBORN WILLIAM WELKER DANIEL R. WELLS Witt1aAM M. WELLs M. F. WENNING CHarues R. WENZEL FLORENZ WERNER L. WERTHEIM Cart WHITAKER G. WIcKING Heinrich WIEMANN Ernest S. WILLIAMS BENJAMIN H. WINTERSTEIN FLor1AN WITTMAN H. WirrMann Joun K. WitzEMANN M. WoLiLENBERG Joun WuLF G. Zapp Karu W. ZEISE LEON ZEITZEW ALEXANDER ZENKER Pau. ZIEROLD L. Z1porKIN ALBERT ZOELLNER Clarinet 1900-01 Violin 1900-01 Viola 1900-02 Cello 1900-04 Violin and Bassoon 1901-03 Cello 1904-06 Violin I9OI-03 Viola (Principal) I9OI-02 Bass 1900-01 Violin 1902-03 Bass 1924-25 Trumpet 1917-23 Violin 1916-18 Viola 1922-23 Bass 1900-01 Violin 1900-17 Bass 1906-07 Bass 1907-19 Violin I9OI-O2 Cello 1922-24 Violin 1920-21 Violin 1916-25 Cello 1905-07 Bass 1917-19 Horn 1900-01 NOTE—This list includes only those men who completed a season’s work. PHILADELPHIA OrcHESTRA CHoRUs* DECEMBER 1920 First Sopranos Mrs. G. W. ANDERSON ‘19 Mrs. ANNABEL I. BELL ‘19 Miss Mitprep S. BENNERS ‘20 Miss Heten G. BLaKELy ‘19 Mrs. Mitprep S. CascaDEN ‘19 Miss BLaNcHE E. CascaDEN ‘19 Miss MitprepD Castor ‘20 Miss Diana A. CAUFFMAN ‘19 Mrs. M. CurisTIE ‘15 Mrs. P. BENsoN COLLARD ‘19 Miss GERTRUDE ELy ‘15 Mrs. H. B. Ewine ‘15 Mrs. Peart M. Giipay ‘20 Mrs. Rosert C. GLENN ‘19 Miss WINFREY GLENN ‘19 Mrs. HaroLtD GREENE '20 Miss Naomi V. Grosz ‘20 Mrs. Haroitp H. Happoip ‘20 Miss Acnzs M. HicsBze ‘16 Miss Crara L. HoipeEn ‘15 Miss H. G. HutistrRuNG ‘20 Mrs. GERTRUDE M. JoNEs ’20 Mrs. A. H. Korut '20 Mrs. H. C. Kressty ‘19 Mrs. Mitton Kutz ‘19 Miss Erra C. LeVine ‘20 Miss Hexen B. Lewis ‘15 Mrs. Howarp McMoraris ’20 Miss Irma F. Matponabo ‘20 Miss Sopu1a MALESON ‘19 Miss Grace E. Manorter '20 Miss M. Ex1z. Morrison ‘19 Miss Crara A. NaGEL "19 Miss ANNA L. Nett ‘15 Miss Ipa H. Ogtrer ‘16 Miss Dorotuy E. Pierce ‘19 Miss Ex1zasETH Powers ‘20 Miss Marian M. RIpDLe ‘19 *NOTE—Figutes following names denote year of admission. Fiera gt Miss Etuet K. RipGs ’20 Mrs. Lit1an S. Toupy *20 Miss ALVA SERGEANT "14 Miss Vorita WELLS ‘19 Mrs. ALBERT E. S—yMour '20 Mrs. M. N. WiLi1aMson ‘20 Mrs. Masts T. Suck ’20 Miss FreEDA WOLLEY ‘19 Mrs. Puiuip STERLING '20 Miss JOSEPHINE E. Zwick ‘19 Miss Emma L. StraTTon ‘19 Miss A. EvisE HARTMAN ‘19 Mrs. M. L. Sutton ‘20 Miss Marcaret S. Lewis "15 Second Sopranos Mrs. GitBert P. ALBRECHT ‘15 Miss JEAN P. Mumrorp ‘19 Miss Faye ATKINSON '19 Mrs. R. S. B. Perry '19 Miss CaroLinE AUSTIN '20 Miss HELEN C. Puruips ’19 Miss Heten M. Batten '14 Miss JoANNA L. PoTTER ‘14 Miss AMELLA E. BEIN '14 Miss Emma M. Rza ‘19 Miss Mitprep E. CascaDEN ‘20 Miss Exsiz G. RopGErs '15 Mrs. Grace COLGAN ’20 Miss E. A. RossMAssLER ‘15 Miss Marion W. EIsENHART '20 Miss Bernice RussELL ‘19 Miss THEo R. EtpRreDGE ‘19 Miss Louise P. Scowarz ‘14 Mrs. Ruts F. Extasson '19 Miss C. EvEtyn SMITH ‘15 Miss Mary Date Hackett ‘14 Miss Marcuerite D. Smita ‘19 Miss Erste M. Hauck ‘19 Miss PHorBe Hart SMITH ‘19 Miss Marie L. Henry ’20 Miss HELEN R. SNYDER ‘19 Miss Grorpiz P. JoLineE 15 Miss Mitava STANKOWITCH ‘14 Mrs. ALBERT G. KLEEFELD ‘15 Mrs. JouHn B. Tuayer, 3rd ‘16 Miss Kato. W. McCottin ‘16 Mrs. Anna M. WILT ‘19 Miss EpitH M. MiLzer ’20 Miss HELEN B. WINELAND ‘15 First Altos Miss Outve I. Berry ‘14 Miss Ciara A. JEWELL ‘19 Miss Apa Bzss ‘20 Miss EvizaBETH K. JONEs ‘15 Miss J. R. BONNIWELL ‘19 Miss Exriza KANNEGIESER ‘15 Miss Joyce Bowers ‘19 Miss HELEN R. KERN '19 Miss HELEN I. CHAMBERS ‘19 Miss Mitprep E. Locke ‘15 Miss Frances B. CoDLINnG ‘20 Miss Morton J. Meyers '14 Miss May CoLtpraNn ‘20 Miss Marcaret MontTGoMERY ‘19 Miss ANNA E. ELLWANGER 'I5 Miss Sarieta M. RENTON '15 Miss ADELE L. Fox 16 Mrs. E. M. ReYNOLDs '20 Miss ANNE GEYER ‘19 Miss Ciara L. RIsTINE ‘15 Miss CrepA GLENN ‘19 Mrs. R. J. RoBinson ‘19 Miss K. Marte Goon ‘15 Miss Carouine L. RoTHMAN ’20 Miss MARGARET GREAVES '20 Miss PauLinE C. Rumpp ‘15 Miss Frora E. GRuNING '20 Mrs. Lzopotp SEYFFERT ‘16 Miss Marton W. GusHEE 20 Miss Lypra P. WIsE ‘15 Miss MarGueritE E. IncramM ‘15 = Mauss Ottve Wo tr ‘16 Mrs. Davin J. WriGHT ‘20 Second Altos Miss Marig M. Barr ‘14 Miss Frorence H. Burk ’19 Mrs. JosepH M. Beckett ‘19 Miss Apa V. CLOUDEN '14 Miss Epita M. Boyp ‘14 Miss ANNA COHN ‘15 NOTE—Figures following names denote year of admission. [213 ] Miss Susie J. DatLey ‘15 Miss F. Epna Davis '15 Miss F. Carotyn DEAvER ‘19 Miss M. P. EucHELBERGER '19 Mrs. Cuares W. Foust '15 Miss IRENE F. GOENNER ‘16 Miss Atma L. KELLMER ‘20 Miss Roperta Lairp ‘15 Mrs. Joun H. McCracken '14 Mrs. Ipa A. McGirr ‘20 Mrs. Harry A. Mackey ‘15 Mrs. Maurice Marxktey ‘16 Miss ANNETTA R. Mastanp ‘20 Miss Georcia P. PALMER ’15 Miss Mary M. Pearson ‘19 Mrs. Witt1am Pottock ‘19 Miss Ray RAWLINGS ‘20 Miss Eruet H. Stewart ‘14 Miss Heten A. STRAUGHN ‘15 Miss Atma M. TEGGE '19 Miss JANE WHITEHEAD ‘19 Miss E. May WILLIAMSON ‘14 First Tenors Mr. Gitpert P. ALBRECHT "14 Mr. A. W. ALLEN ’20 Mr. Donatp G. Bairp ’20 Mr. Henry W. Cravier, Jr. ‘15 Mr. Aan C. CUNNINGHAM ‘15 Mr. Rosert Dewar ‘20 Mr. Caress E. Frew '15 Mr. Josepuus J. Frost "15 Mr. AtFrep H. GoNZALEs '15 Mr. ArtHuR G. GraHaM, Jr. ‘19 Mr. Henry K. HouiinceEer ‘20 Mr. J. MitcHett Hooper ‘19 Mr. Cuas. A. HUNSBERGER ‘14 Mr. WILLIAM JAMISON ‘15 Mr. ApotpH MEHNEN ‘15 Mr. Samuet ALBERT Nook ‘20 Mr. GeorceE D. Puitiirs ‘20 Mr. Benjamin W. PRIcE '15 Mr. Harotp C. Rawtey ‘14 Mr. AvBert E. SzyMour ‘14 Mr. Geo. H. STANIFORTH '15 Mr. Ermer E. Travs ‘15 Mr. J. Henry WarRREN ‘19 Second Tenors Mr. Joun E. ABNETT, JR. ‘19 Mr. Avotr Batop 20 Mr. Jos. K. BaRTHOLOMEW '15 Mr. Epwin S. BarTLeTT ‘14 Dr. Cuarues A. BEHNEY '20 Mr. Joun W. Cup '20 Mr. Epw. W. Dretscu '20 Mr. C. SzymMour Evans ‘15 Mr. L. J. Finnan, Jr. ‘16 Mr. Ws. D. Hamitt ‘15 Mr. Wo. Lioyp Harpine ‘19 Mr. EuGene Mutter '16 Mr. Tuomas NEtson, JR. '20 Mr. Apam H. Patrerson ‘19 Mr. WILLIAM PoLtock 15 Mr. J. R. SATTERTHWAITE '19 Mr. Rzezse R. SmitH ‘20 Mr. ALEXANDER STEWART ‘20 Mr. Atxan F. Titus ’20 Mr. GeorGcE R. Tyson ‘19 First Bassos Mr. H. Cart ALBRECHT ‘14 Mr. Cares A. BjorKLUND ‘19 Mr. GeorcE P. Boaas ‘20 Mr. Raymonp T. Boun '20 Mr. ALBERT W. BRAEUNINGER ‘15 Mr. Joun A. Broox ’20 Mr. Henry T. DensBy ’20 Mr. Bertram F. Everirt ‘15 Mr. Wo. H. Favitze '19 Mr. R. H. Firemine ‘14 Mr. GzorGcE S. GENGENBACH ‘19 Mr. Rosert C. GLENN '15 Mr. Jas. B. GREENWOOD ‘20 Mr. J. CourTLaAND Hamer '15 Mr. RaymMonp E. Hess ’20 Mr. W. Custer Hitt ‘20 Mr. Epwarp E. HipscHer ‘20 Mr. AtvaH H. Korat ’20 Mr. FrepEerick LANDSTREET ‘15 Mr. EuGene Mags ‘19 NOTE—Figures following names denote year of admission. [214] Mr. Witit1am MiLieaM ‘15 Mr. Ricnarp M. SutrTon ‘19 Mr. Hues R. ParrisH ‘19 Mr. ARTHUR SYNNESTVEDT ‘15 Mr. Francis H. Rockett ‘20 Mr. Frank B. Titus ’20 Mr. Wo. J. SEARLE, Jr. ’20 Mr. Epwarp L. WALLACE '20 Mr. Howarp F. Srory '20 Mr. Bernarp G. Wis, JR. ‘20 Mr. WILLIAM ZIMMERMANN ‘19 Second Bassos Mr. Jas. H. W. AttHouseE '15 Dr. Eucene K. Krause ‘16 Dr. Joun H. ARNETT '20 Mr. Wm. McGowan, Jr. ’20 Mr. Harry BrozseE '15 Mr. Ray MILuer ‘20 Mr. Cruinton M. CurisTINE ‘15 Mr. Cart F. Rumpp ’19 Mr. A. P. Cute ‘14 Mr. Otiver F. Saytor ‘19 Mr. STEPHEN T. Conway '20 Mr. Dennis SosNOwWSsKI ‘19 Mr. W. R. Crawrorp ‘20 Mr. Mitton B. STALLMAN ‘16 Dr. F. H. Eaton ‘20 Mr. Husert SYNNESTVEDT ‘16 Mr. C. L. Farrapay ‘15 Mr. Geo. B. WHIDDEN ‘14 Mr. Franx A. HarTRANFT 14 Mr. Frank J. WILLIAMs ‘20 Mr. WittraM C. Hgss ’20 Mr. Frank D. WITHERBEE ‘19 Mr. Harry K. Kirk '16 Mr. J. C. WRENSHALL, JR. ‘19 NOTE—Figures following names denote year of admission. MANAGERS OF THE PHILADELPHIA ORCHESTRA 1900-1925 OtiverR Boyce JuDson, 1901-02 GeorGcE P. EckEts, 1902-03 Joun MAHNKEN, 1903-04, 1904-05 Ernest J. Lanican, 1905-06 Cuarxtes Aucustus Davis, 1906-07 to 1909-10 Harvey M. Watts, 1911-12, 1912-13 RaitpH EDMUNDS, 1913-14, 1914-15 ARTHUR JUDSON, 1915-16 Horace CourcHMAN, 1910-11, Controller Orrice STAFF SED) ARTHUR JUDSON, I915 Louis A. Mattson, 1907 ExizasetH M. Russe, 1917 MarcGareT E. PRINGLE, 1916 Mary A. McGinty, 1917 Ruts M. O'NEILL, 1910 [215 ] APPENDIX G AssISTANT CONDUCTORS Gurst CONDUCTORS ORGANIZATIONS THAT Have AppEARED WITH THE PHILADELPHIA ORCHESTRA Sotoists WHo Have APPEARED WITH THE PHILADELPHIA ORCHESTRA AssISTANT CONDUCTORS A. H. Ropremann, 1907: Philadelphia, February 15-16, conducted tegular concerts during Scheel’s illness. Tuappegus Ricu, 1914: Assistant Conductor, Kensington, Philadel- hia, April 8; November 5-6, 1915, entire programme with exception choenberg’s Kammer-symphonie; November 9, 1915, Stetson concert; Norristown, January 11, 1916; Philadelphia regular concerts, January 28-29, 1916; Philadelphia Girls’ High School, January 31, 1916; Lan- caster, Pa., February 1, 1916; Easton, Pa., February 17, 1916; Reading, Pa., February 22, 1916; University of Pennsylvania, February 24, 1916; Boys’ Central High School, March 7, 1916; Germantown High School, March 30, 1916; Frankford High School, April 13, 1916; Stetson Con- cert, January 9, 1917; Atlantic City, N. J., January 22, 1917; Reading, Pa., February 20, 1917; University of Pennsylvania, February 21, 1917; Stetson Concert, November 7, 1917; Pittsburgh, Pa., February 11, 1918; Oberlin, Ohio, February 13, 1918; Philadelphia, December 28, 1918; Toronto, February 22, 1919; Philadelphia, March 21-22, 28-29, April 12-15-16, 1919; Stetson, March 25, 1919; Wilmington, March 24, 1919; Stetson, November 15, 1921; University of Pennsylvania, January 18, 1922; Philadelphia regular concerts, January 20-21, 1922; University of Pennsylvania, February 8, 1922; University of Pennsylvania, March 1, 1922; University of Pennsylvania, March 22, 1922; Pittsburgh, Novem- ber 10, 1922, January 13, 1923, and March 23, 1923, conducted Chil- dren’s concerts; Stetson, November 14, 1922; Harrisburg, March 22, 1923; Pittsburgh, March 23, 1923; Philadelphia regular concerts, Jan- uary 19-20, 1923; Philadelphia regular concerts, January 11-12, 1924; Princeton, March 18, 1924; Philadelphia regular concerts, January 23- 24, 1925; Princeton, March 2, 1925. Guerst ConDUCTORS Ernest Broca, 1918: Philadelphia, January 25-26, conducted pro- gramme of his own works. LzanprRo Campanari, 1907: Philadelphia, February 22-23, March 1-2; Harrisburg, February 19; Trenton, February 21; Reading, February 25; Washington, February 26; Baltimore, February 27, during Scheel’s illness. ALFREDO CasELLA, 1921: Philadelphia, October 28-29, conducted his own ‘‘Pages of War.”’ [ 216 | ALPHONSE CATHERINE, 1919: Philadelphia, January 31-February 1, conducted entire programme. FRANK GUERNSEY CAUFFMAN, 1909: Philadelphia, March 5-6, con- ducted his own “‘Legende.”’ GrorceE W. Cuapwick, 1911: Philadelphia, March 29, conducted his own Suite Symphonique at National Federation of Musical Clubs Concert. Vincent D’Inpy, 1922: Philadelphia, January 6-7; Princeton, Jan- uaty 9; Washington, January 10; Baltimore, January 11; Harrisburg, January 12; Pittsburgh, January 13-14, conducted entire programme. Grorczs Enesco, 1923: New York, January 2; Philadelphia, January 5-6; Washington, January 9; Baltimore, January 10; Harrisburg, Jan- uaty 11; Pittsburgh, January 12-13; Pottsville, January 17, conducted entire programme. Ossie GABRILOWITSCH, 1920: Philadelphia, April 3-5, conducted entire programme. Puitie H. Gorpp, 1909: Philadelphia, March 5-6, conducted his own Academic March; February 1, 1911, conducted his own Wedding March; April 2, 1913, conducted his own Wedding March, one number by Wm. Gerstley and one by H. Pfitzner—all Philadelphia. SAMUEL GaRDNER, 1919: Philadelphia, October 24-25, conducted his own ‘New Russia.”’ Henry Haptey, 1910: Philadelphia, November 25-26, conducted his own “Culprit Fay’’; New York, March 9, 1920, conducted his own overture, ‘‘Othello.’’ Victor Hersert, 1912: Philadelphia, February 16-17, conducted the prelude to Act III of his own ‘‘Natoma.”’ Henry Apert Lana, 1911: Philadelphia, March 1, conducted his own Fantastic Dances ope Concert); Philadelphia, April 2, 1913, conducted his ‘‘Fantasies of a Poet’’ (Manuscript Music Society Caneeey Wassiti Leps, 1908: Philadelphia, February 21-22, conducted entire Programme on account Pohlig’s injuries from railroad accident; also Philadelphia, March 13-14, 1908, and March 5-6, 1909, conducted his own ‘‘In the Garden of the Gods’’; Philadelphia, February 15, 1911 (Popular Concert), conducted Clarence Bawden’s ‘‘Ballade’’ for Piano; Wilmington, February 5, 1912, conducted entire Wagner programme; Philadelphia, April 2, 1913 (Manuscript Music Society Concert), con- ducted his own aria for soprano and orchestra, ‘‘Nirvana.”’ Wittem MENGELBERG, 1921: Philadelphia, March 18-19, conducted entire programme. Darius Mityaup, 1923: Philadelphia, January 26-27, conducted entire programme. Orro Muster, 1913: Philadelphia, April 2, conducted his own Symphonic poem “‘Atlantis,’’ at Manuscript Music Society Concert. Horatio Parker, 1911: Philadelphia, March 29, conducted his own aria ‘‘Crépuscule,’’ at National Federation of Musical Clubs Concert. SeRGEI RACHMANINOFF, 1909: Philadelphia, November 26-27, con- ducted his own Symphony in E minor and Moussorgsky’s fantasy, ‘Une nuit sur le mont chauve’’; also played group piano soli. HERMAN Sanpbsy, 1915: Philadelphia, Ae 19-20, conducted his own orchestral suite, ‘‘The Woman and the Fiddler.”’ ed Cyrrit Scott, 1920: Philadelphia, November 5-6, conducted his own “Two Passacaglias for Orchestra.”’ FREDERICK STocK, 1924: Philadelphia, January 18-19-21; Washington, January 22; Baltimore, January 23, conducted entire programme. RicHarp Strauss, 1904: Philadelphia, March 4-5; Boston, March 7-8; conducted ‘“Tod und Verklarung,’’ ‘‘Till Eulenspiegel,’’ also a group of his own songs; Philadelphia, November 30, 1921; New York, October 31, 1921; November 15, 1921, December 13, 1921, December 27, 1921; Philadelphia, December 23-24, 1921, conducted entire programme. Icor STRAWINSKy, 1925: Philadelphia, January 30-31, conducted entire programme of own works. Gustav STRUBE, 1915: Philadelphia, December 31-January 1, 1916, conducted his own ‘“‘Variations on an Original Theme.”’ Heppa Van Dew Beemt, 1913: Philadelphia, Manuscript Music Society Concert, April 2, conducted his own “Introduction and Scene”’ for orchestra, ‘‘Aucassin et Nicolette’; Philadelphia, April 3-4, 1914, conducted same composition. Wittem Van HoocstraTEN, 1925: Philadelphia, January 16-17-19; Washington, January 20; Baltimore, January 21, conducted entire programme. Louis Von GAERTNER, 1910: Philadelphia, December 22-23, con- ducted his own Tone Poem, “‘Macbeth.”’ Ferix WEINGARTNER, 1905: Philadelphia, February 16, conducted entire programme—special concert. CaMILLE ZECKWER, 1916: Philadelphia, February 4-5, conducted his own ‘‘Sohrab and Rustum.”’ ORGANIZATIONS WHIcH HAvE APPEARED WITH THe PHILADELPHIA ORCHESTRA Bacu Cuore oF BALtimorE (1907), Baltimore. Eurypice Cuorus oF PHILADELPHIA (1908, 1912). ForTNIGHTLY CLuB oF PHILADELPHIA (1908, 1916). Ben Greet Prayers (1909). Juncer Maennercnor SINGING Society OF PHILADELPHIA (1914). MENDELSSOHN CHorr oF Toronto (1924), Philadelphia. MENDELSSOHN CLUB OF PHILADELPHIA (1903, 1904, 1907, I9II, 1913, 1914, 1916, 1919). PHILADELPHIA OrcHESTRA Cuorus (1916, 1917, 1919, 1920, 1921). PirrspurGH Cuorus, trained by Charles Heinroth (1921), Pittsburgh. ScHOLA CANToRUM oF New York (1919), New York. Organizations participating in the Lobgesang Symphony: CAaNTAVEs Cuorus, Eurypice Coorus, FELLowsH1P CLus, FORTNIGHTLY Crus, GERMANTOWN CuorAt Society, Haypn Crus, JuNGER MANNER- cHor, Lyric Crus, Matingz Musicat Crus, MENDELSSOHN CLUB, OrpHeus Crus, PHILADELPHIA CHORAL SocIETY, STRAWBRIDGE AND CLoTHIER CHoraut Society, TREBLE CLeF Cius, Vocat ArT Society, WANAMAKER CHORAL SOCIETY. Outside organizations participating in the performance of Bach's “St. Matthew Passion’’: Girts’ NorMat ScHoot and Giris’ Hicu ScHoou Cuorusszs. [ 218 | Sotoists WHo Have APPEARED WITH THE PHILADELPHIA ORCHESTRA Puitrp ABBAS MaBELLE ADDISON Frances ALDA PrerLey DuNN ALDRICH Mertz AtcocKk Paut ALEMANN EtrHet ALTEMUS Paut ALTHOUSE Horace ALWYNE PasQuaLE AMATO Rurus M. Arty Rosert ARMBRUSTER Prprto ARRIOLA AbDELE Aus DER OHE CrciLeE AYRES WILHELM BacHAus Dexia BAKER Inez BarsBour JoHN Barciay Louise BARNOLT Mary Barrett VERA Barstow 1900-1925 Cellist Contralto Soprano Baritone Contralto Bass Clarinet Pianist 1907, Tenor Pianist Baritone Clarinetist Pianist Pianist Pianist Pianist Pianist 1912, Soprano Soprano Baritone 1921, Contralto Soprano L915; Violinist GrorRGIA RICHARDSON BASKERVILLE Pianist Haroip BAvuER Epna Harwoop BAuGHER CLARENCE BAWDEN Dan BEepDpDOoE Wassity BESEKIRSKY Louis BarLtiy Davin BispHAM Litt1aNn BLAUVELT FANNIE BLOOMFIELD ZEISLER Epita Wetts Bry GiusEPPE BOGHETTI Epwarp BoNHOTE EL1zABETH BONNER LEONARD Borwick Rosario BouRDON DomeENIco Bove SopHIE BrasLAu Joun F. Braun Rosert BRAUN ExL1IzABETH PRITCHARD BREY BertHa BRINKER Horace Britt VioLta BRODBECK 1914, I9II, 1912, 1914, 1916, 1922, 1918, 1917 I9I5 1914 1910 1921 1923 1916 1916 192.4 1910 1924 1916 1910 1903 1914 1923 1920 1921 1924 I9II 1919 1916 1915 Pianist 1902, 1908, 1914, 1916, 1917, 1918, 1919, 1920, 1922 Soprano 1912 Pianist 1910, 1911 Tenor IQI5 Violinist 1915, 1916 Viola 1921 Baritone 1903, 1904, I9II, 1921 Soprano 1900, 1903, 1904 Pianist 1902, 1903, 1904, 1907, 1908, 1915, 1916 Pianist 1910, 1916 Tenor 1915 Baritone 1910 Contralto 1919, 1923 Pianist 1914 Cellist 1907 Violinist 1916 Contralto 1915 Tenor 1902, 1908, 1911, 1914, 1915 Pianist 1915 Soprano 1922 Soprano 1912 Cellist 1907, 1908 Soprano 1913, 1915 [219 ] Eppy Brown HELEN BucHANAN RicHarpD BuHLIG Mrs. JosepH BUNTING Axoys BuRGSTALLER Tom BurkKE RicHARD BuRMEISTER Ferruccio Busoni Mane. CHar es CAHIER GrusEpPpE CAMPANARI TERESA CARRENO PaBLo CasALs ANNA CaAsE MarizE CasLtova ALFREDO CASELLA CrciLE CHAMINADE Kirry CHEATHAM WALTER CLAPPERTON Jut1a CLAUSSEN ACHILLE CocozzA Davip CoHEN Sot CoHEN Frank M. Cony Horatio CONNELL LuTHER CONRADI Emit1a Conti Extsa Lyons Coox CaRLTON CooLey Winner of Stokowski Medal ALBERT CORNFELD ALFRED CorTOT Cuarxes M. Coursoin MarRcELLA CRAFT Jura Cup CLAUDE CUNNINGHAM Royat DapMuN EuGENE D’ ALBERT MarGuERITE D’ ALVAREZ Murray Davey Resecca Davipson ELEANORE DE CISNEROS EmILIo DE GOGORZA Jose DELAQUERRIERE F. Det Necro Mary Hissem pg Moss VLADIMIR DE PACHMANN SUSANNA DERCUM Emmy DegsTINN Mina Dotores Violinist 1918, 1920 Soprano 1914, 1915, 1919 Pianist 1907, 1908 Soprano 1904 Tenor 1903 Tenor 1922 Pianist 1902 Pianist IQII, 1915 Contralto 1922 Baritone 1905, 1908 Pianist 1901, 1908, 1909, 1913, 1914 Cellist 1915, 1918, 1920 Soprano I9II, 1917 Violinist 1916 Pianist 1921, 1923 Pianist 1908 Interpreter of Children’s Songs 1913, 1914 Basso 1922 Mezzo-Soprano 1918 Violinist I9IO Violinist 1917 Trumpet 1923, 1925 Basso I9QII Bass-Baritone 1912, 1914, 1917 Pianist 1908 Soprano 1914 Soprano 1915, 1917, 1919 Violinist 1921 Violinist : 1915 Pianist 1918, 1920, 1922, 1925 Organist 1922 Soprano 1916 Lieder Singer 1914, 1916 Baritone 1906 Baritone 1920, 1921 Pianist 1905 Contralto 1922 Basso I9I2 Pianist 1917 Mezzo-Soprano 1908 Baritone 1907, 1915, 1916 Tenor 1924 Bassoon 1923, 1924 Soprano 1908 Pianist 1904, 1907, I9II Contralto 1915, 1916 Soprano 1915 Soprano 1923 [ 220 | P. DoNATELLI ALFRED Doucet Nicuotas Doutry VLADIMIR DUBINSKY Marcet Dupre CuiarrRE Dux W. B. Esann Miscoa ELMAN MyrtiLze Etvyn GrorGES ENEsco Epwin Evans MILpRED Faas Jues FaLk VINCENT FANELLI, JR. FRANK L. FarreELu GERALDINE FARRAR Maube Fay IpETTE FEINMAN Mrs. LoGAN FELAND EmiLe FErir AuiceE FIDLER ADELAIDE FIsCHER Joun A. FiscHER Car FLEsca Feuix Fox Mary WoopFtzLD Fox CorNELIUS FRANKE OLIVE FREMSTAD Cart FRIEDBERG BLANCHE FRIEDMANN Moe. Povta Frijsu Rupo.F FRIML CLARENCE FUHRMAN Ossip GABRILOWITSCH JoHANNA GADsKI Rupo.ipeH GANZ SAMUEL GARDNER Mase GARRISON Epitn L. Gaste. Lucy GaTEs Eva GAUTHIER ELENA GERHARDT JEAN GERARDY JEANNE GERVILLE-REACHE Dinu GILLY FRANK GITTELSON THELMA GIVEN Tuba 192 Oboe Bae Tenor 1905, 1907, 1914, 1918 Cellist 1907 Organist 1922 Soprano 1922 Cellist 1902 Violinist 1909, 1912, 1913, 1914, 1915, 1916, 1917 Pianist 1914 Violinist 1923, 1924 Baritone 1915, 1919 Soprano 1914, I915, 1919 Violinist 1910 Harpist 1914, 1923 Pianist 1914 Soprano 1919 Soprano 1916 Pianist 1917, 1922 Soprano 1913 Viola 1918 Contralto 1918, 1919, 1920 Soprano 1916 Flutist 1922, 1923, 1925 Violinist 1914, 1923, 1925 Pianist 1903 Pianist IgII Violinist 1902 Soprano 1917, 1918 Pianist 1917 Soprano I9II Soprano 1918, 1919 Pianist 1905 Pianist 1915 Pianist 1900, 1902, 1907, 1915, 1916, 1917, 1918, 1919, 1920, 1923 Soprano 1905, 1906, 1907, 1908, 1915 Pianist 1913, 1920 Violinist 1919 Soprano 1916, 1917, 1924 Soprano 1912 Soprano 1916 Mezzo-Soprano 1922 Soprano 1913, 1915, 1916, Lieder Singer 1917, 1921, 1922 Cellist I9OI, 1905, 1922 Contralto 1912, 1913 Baritone 1913 Violinist 1914, 1916 Violinist 1920 [221 | Atma GLuck Soprano 1910, I9II, 1914, 1915, 1916 LEOPOLD GoDowskyY Pianist 1912, 1916 Dorotuy GoLDsMITH Pianist 1912, 1917 Erriz LEtanp Goz Violinist 1915 KATHARINE GooDsoNn Pianist 1908, 1909, 1913, 1914, 1920 Percy GRAINGER Pianist 1916 Mrs. WitL1AmM Houston GREENE Soprano I9II, 1913 CHARLES GREGOROWITSCH Violinist 1901 HERMANN GREVESMUHL Violinist 1903 Davip GRIFFIN Baritone 1915 Bonarios GRIMSON Violinist 1913 GEORGES GRISEZ Clarinet 1923 Maup Grove Contralto 1910 WALTER GUETTER Bassoon 1923, 1925 Henry GURNEY Tenor 1915 ARTHUR HacKkETT Tenor 1920, 1923 Emity Stoxes HaGar Soprano 1915 MarcGuEritE HAaty Contralto 1904 Marie Hay Violinist 1905 Marx HamsourG Pianist 1902, 1907 RacuHet HaMILTon Soprano 1917 VaHRAH HANBURY Soprano 1920 Este STEwart Hanp Pianist 1903 Harotp HansEN Tenor 1924 THEODORE Harrison Baritone 1914, 1915 ARTHUR HARTMANN Violinist 1906 Suz HarvarpD Soprano 1913 Huco HEERMANN Violinist 1905 JascHa Herretz Violinist 1918 ALEXANDER HEINEMANN Baritone and Lieder Singer 1912 ANTON HEKKING Cellist 1907 Otto HENNEBERG Horn 1923 Rupotpx HENNIG Cellist 1901 Myra Hess Pianist 1922 FLoRENCE HINKLE Soprano 1910, I9II, 1912, 1913, 1914, 1915, 1916, 1917, 1920, 1921, 1922 ALLEN C. HINcKLEY Basso 1909 JoserF Hormann Pianist I9OI, 1902, 1904, 1907, 1913, 1915, 1917, 1918, 1919, 1922, 1923, 1924 LoutsE HoMER Contralto 1905, 1908, 1913, 1914 Horace R. Hoop Baritone 1913 ANTON HorNER Horn 1923 JosepH HoRNER Horn 1923 Henry Hotz Basso 1918 Mae Hotz Soprano 1917, 1919 BRoNIsLAaw HuBERMAN Violinist 1922, 1923 CaROLINE Hupson-ALEXANDER Soprano | 1914 EsTELLE HuGHEs Soprano 1919, 1920 Winner of Stokowski Medal see) i i a el) Extsa Atves HuNTER Ernest HutcHEson Maria IvoGun SASCHA J] ACOBINOFF RAFAEL JOSEFFY Ciara Yocum Joyce FRANCESKA K aspAR-LAWSON ALBERT KASTNER Emity Stuart KELLOGG Grace KERNS MarGARET KEYES W. M. Kincarp Hans K1nDLER Karu KieEIn CuHar.es E. Knauss Paut KocHANnskKI Titty KoENEN Aucusta KouNLE BENJAMIN KoHoNn Nina KosHetz ELKan KosMAN Fritz KREISLER RicHARD KRUEGER JoszepH La Monaca FrepgerRIc LAMOND Wanpba LANDOWSKA Epwarp LANE Soprano 1920 Pianist 1906, 1908, 1910, 1915, 1921 Soprano 1922 Violinist 1917, 1918 Pianist 1904 Contralto 1913 Soprano 1908, 1909, I9II, 1912 Harpist I9OI Contralto 1907 Soprano 1913 Contralto 1911, 1914, 1916, 1917 Flutist 1922, 1923, 1924, 1925 Cellist 1915, 1916, 1917, 1918, 1919, 1921, 1922, 1923, 1924, 1925 Violinist 1907 Pianist 1905, 1906, 1907, I9II, 1913 Violinist 1921, 1923, 1924 Contralto and Lieder Singer 1910, 1916 Contralto 1913 Bassoon 1914 Soprano 1922, 1923, 1924 Violinist I9OI, 1902 Violinist 1901, 1902, 1905, 1907, 1908, 1910, 1913, 1915, 1917, 1920, 1921 Bassoon 1920 Flutist 1925 Pianist 192.4 Pianist and Harpsichordist 1923, 1924 Pianist 1922 Winner of Stokowski Medal Mariz SToNE LANGSTON Epwarp LANKOW Francis LAPITtINO Earzz Laros _ FroreNnce LARRABEE Hutpa LasHANSKA Roserta LEE Maurits LEEFSON ALFRED LENNARTZ Wassix1 Leps Emi.ig Fricke LesHER Miscua LevitTzx1 JoseFr LHEVINNE JosEF AND Rosina LHEVINNE James LresLinG ALBERT LINDQUEST Mezzo-Soprano = 1911, 1913, 1914 Baritone 1920 Harpist I9II, 1912 Pianist 1914, 1916 Pianist 1915 Soprano 1921, 1924 Soprano 1919 Pianist 1907 Cellist and Organist 1915 Pianist 1908, 1910, IQII, 1912 _ Pianist | 1922 Pianist 1921 Pianist 1907, 1909 Pianists 1922 Cellist 1914 Tenor 1917 [223 | HusBertT LinscotTtT S. H. Lipscavetz Caro LITEN ALFRED LORENZ WaLDEMAR LuTsCHG MapELEINE McGuican J. CampsBeLt McINNEs MarGaret McMuLtLtiIin Guy Malrer ANDRE MAQuaRRE DaniEL MAQuaRRE MarviINnE MaAaZzEL Epwarp MacDowELu Witt C. MacFarLtaNng C. STANLEY Macxry Francis MacMiLien HeLten MacNamMez-Bentz CHARLOTTE MaconpDa JoHN MAarQuaRDT Mrs. JoHN MarqQuaRDT Hetena Marsu Henri MarTEAU FrREDERIC MARTIN GurNneEY Matrox MarGARET MATZENAUER GEORGE MEADER NicHoLtas MEDTNER Exusa MEIsKEY Katuryn MEIsLE YOLANDA MERO CAROLINE Minr-Harpy GwILyn MILEs Letit1a RapcuirreE MILLER SELDEN MILLER MarGaret ASHMEAD MITCHELL BENNO MolIsEIwITscH GrisHA MoNASEVITCH Basso 1924 Basso 1912, 1913 Dramatic Reader 1918 Violinist 1904 Pianist 1905 Violinist 1915, 1916, 1917 Baritone 1920 Soprano 1919 Pianist Cwith Lee Pattison) 1924,1925 Flutist 1919, 1920, 1921 Flutist IQII, 1912, 1913, 1914, 1915, 1916, 1918 Pianist 1920 Pianist 1901 Organist 1917 Tuba 1914 Violinist I9II Soprano IQII, 1913, 1914, 1915 Soprano 1903 Violinist 1903 Harpist 1903 Contralto 1923 Violinist 1906 Basso 1907 Violinist 1915 Contralto 1917, 1918, 1919, 1920, 1921 Tenor 1921 Pianist 1924 Soprano 1917 Contralto 1918 Pianist I9II, 1913, 1916, 1921, 1924 Soprano 1904, 1905 Baritone 19OI Pianist 1916 Pianist and Organist 1905, 1906 Soprano 1915 Pianist 1919, 1923 Violinist 192.4 Winner of Stokowski Medal Mezzo-Soprano 1923 Winner of Stokowski Rutu MontTaGuE Epwarp Mumma Morris LAMBERT MurpuHy MarGUERITE NAMARA-LOYE Haroip Nason AGNEs THOMSON NEELY Orro NE&ITZzEL ANNA NEWHOFF Pianist Tenor Soprano Pianist Soprano Pianist Pianist [224 ] edal 19744955 1916, 1917, 1920 1912 1907 1906 1906, 1907 1920 Frank A. NicoLetra Harpist 1923 Mitya NixiscH Pianist 1924 Ersiz Nortu Soprano I9II Guiomar Novags Pianist 1917, 1921 MAarGARETE OBER Soprano 1915 Huco OLx Violinist 1902, 1903 SIGRID ONEGIN Contralto 1922 Lo ORNSTEIN Pianist 1919, 1921, 1925 ANNA OTTEN Violinist 1902 IGNacE JAN PADEREWSKI Pianist 1914 Witu1aM H. Pacpin Tenor 1908 KATHLEEN ParRLow Violinist 1911, 1916, 1921 Lex Pattison Pianist Cwith Guy Maier) 1924, 1925 FREDERICK PATTON Basso 1920 Micuet PENHA Cellist 1920, 1921, 1922, 1923, 1924 Louis PERsINGER Violinist 1912 ALEXANDER PETSCHNIKOFF Violinist 1906, 1908 May Prterson Soprano 1916, 1921 FERNAND PoLiaIN Violoncellist 1918 Mitprep Potter Contralto 1915 Joun Powe i Pianist 1917, 1923 Maup PowE Li Violinist 1914, 1916 MicHazt Press Violinist 1924 Raout Pucno Pianist 1903, 1906 RoBert QuaiT Tenor 1920 AGNES CLUNE QUINLAN Pianist 1910 SERGEI RACHMANINOFF Pianist 1909, 1919, 1920, 1921 Paut RaHMIG Double Bass 1914 Harotp RANDOLPH Pianist 1906, 1909, 1910, 1913, 1915 ALFRED REISENAUER Pianist 1905 GERTRUDE RENNYSON Soprano I9II, 1914 THapbpeEus Ricu Violinist 1906, 1907, 1908, 1909, 1910, I9II, 1912, 1913, 1914, 1915, 1916, 1917, 1918, 1919, 1920, 1921, 1922, 1923, 1924, 1925 ALBERT RrEsE Horn 1923 Mrs. ALBERT M. Rigi Soprano 1904 Emma Roserts Mezzo-Soprano 1915, 1920 CuRIsTIAN RODENKIRCHEN Trumpet 1914 Max Rosen Violinist 1918 Moriz RosENTHAL Pianist 1906, 1907 ARTHUR RUBINSTEIN Pianist 1906, 1922 CorNELIuUS RUBNER Pianist 1908, 1910 Z1PPORAH ROSENBERG Soprano 1912, 1913 Exsa RUEGGER Violoncellist 1903, 1906 Exita RumsgEy Contralto 1920 ALFRED SAAL Violoncellist 1905, 1906 CAMILLE SAINT-SAENS Pianist 1906 Cartos SALZEDO Harpist 1918, 1919 Caros SALZEDO Pianist 1924 [225 ] ve Ouca SAMAROFF Pianist 1905, 1906, 1907, 1909, 1914, 1915, 1916, 1917, 1918, 1919, 1920, 1921, 1922, 1925 HERMAN SANDBY Emit SAUER EmiILe SAURET ErNeEsT SCHELLING Hans ScHLEGEL Emi F. Scamipt E. Rosert ScHMITz ALEXANDER SCHMULLER ARTUR SCHNABEL ALWIN SCHROEDER EDMUND SCHUECKER Max ScHULTZ Violoncellist 1902, 1904, 1908, 1909, 1910, I9II, 1912, 1913, 1914, 1915, 1916 Pianist 1908 Violinist 1905 Pianist 1905, 1913, 1915, 1917, 1922 Flutist 1925 Violinist 1920 Pianist 1920 Violinist 1921, 1922 Pianist 1923 Violoncellist 1905, 1908, 1909 Harpist 1909 Violinist 1904 Contralto 1902, 1904, 1906, 1907, ERNESTINE SCHUMANN-HEINK Oscar SCHWAR Cyrit ScoTr Henri Scott Oscar SEAGLE VIVIENNE SEGAL Mrs. F. A. SEIBERLING ToscHa SEIDEL JOHANNES SEMBACH MarcELLA SEMBRICH ARRIGO SERATO Juxes J. SERPENTINI IRMA SEYDEL ARTHUR SHATTUCK Oscar SHUMSKY ALEXANDER SILOTI Bruce SIMONDS GARDELL SIMONS MARGARET SITTIG JEAN SKROBISCH Mrs. FarrRINGTON SMITH Davip SOKOLOVE ALBERT SPALDING AuGust SPANUTH JANET SPENCER THEODORE SPIERING Maup SpROULE HELEN STANLEY EvELYN STARR GERTRUDE May STEIN FRIEDA STENDER S. Tupor STRANG G. RussELL STRAUSS PauLINE STRAuUSS-DE AHNA Henry Sucu IQII, 1912, 1914, 1916 Tympanist 1923 Pianist 1920 Basso 1915 Baritone 1915 Soprano I9I§ Contralto 1913 Violinist 1918, 1919 Tenor 1915, 1916, 1917 Soprano 1902, 1913 Violinist 1921 Clarinet 1923 Violinist 1913 Pianist 1918 Violinist 1924 Pianist 1922, 1923 Pianist 1922 Trombone 1924 Violinist 1921 Tenor 1915 Soprano 1916 Pianist 1924 Violinist 1915, 1916 Pianist 1903 Contralto 1908 Violinist 1917 Contralto 1902 Soprano PASaE zee Violinist 1915 Soprano 1902 Soprano 1906 Organist 1910, I9II Baritone 1909 Soprano 1904 Violinist 1912 aoe Rosg and Ortixrz Sutro MicHakEL SVEDROFSKY Noa H. Swayne, 2D MarGueERITE SYLVA Marceu TABUTEAU PasQUALE TALLARICO Emit TELMANYI Macaig TEYTE Jacques THIBAUD DoroTHEA THULLEN Henry Gorpon THUNDER WILLIAM SYLVANO THUNDER ANTON TORELLO Ruts TowNnsEND EvaLyn Tyson ALINE VAN BARENTZEN Marcia VAN DressER ExLiison Van Hoosz Henri VARILLAT Ferenc VECSEY Romain VERNEY Paut VoLKMANN CoNsTANTIN VON STERNBERG JULIAN WALKER HELEN WARE ALMA WEISSHAAR HuntTER WELSH FLORENZ WERNER REINALD WERRENRATH CLARENCE WHITEHILL CHARLOTTE DeMuTH WILLIAMS Ernest WILLIAMS Evan WILLIAMS ArTHUR HoweELit WILSON ~Frora WILson Rosatig WIRTHLIN HERBERT WITHERSPOON Joun K. WitzEMANN Lupwic WULLNER EuGENE YSAYE CAMILLE ZECKWER Mariz ZECKWER-HOLT ErremM ZIMBALIST MariE KuNKEL ZIMMERMAN AuGustaA ZUCKERMANN Pianists 1916 Violinist 1905, 1906 Basso 1911 Soprano IQII Oboe 1915, 1917, 1920, 1921, 1923, 1924 Pianist I9II, 1913 Violinist 1921 Soprano 1919, 1920 Violinist 1903, 1904, 1917, 1918, 1919, 1920, 1921, 1922 Soprano 1913 Organist 1916 Organ and Harmonium 1915, 1916, 1917, 1920, 1921 Double Bass 1914, 1917, 1920, 1921 Mezzo-Soprano 1915 Pianist 1919 Pianist 1916, 1917 Soprano 1918, 1919 Baritone 1903, I912 Baritone 1912 Violinist 1921 Viola 1921, 1922, 1923 Tenor 1904, 1908 Pianist 1903, 1905, 1910, 1916 Basso 1904 Violinist 1913, 1914 Soprano 1912 Pianist 1914 Violinist 1902 Baritone 1916, 1917, 1920, 1921 Baritone I9II, 1916 Violinist 1921 Trumpet 1921 Tenor 1913 Pianist I9IO, I9II Soprano 1910 Contralto 1917 Basso 1915, 1917 Violinist 1902, 1903, 1904, 1906, 1910, 1913, 1915, 1916 Reader and Liedersinger 1908, 1910 Violinist 1904, 1913 Pianist 1904, 1913, 1914 Soprano 1907, 1908, 1910, 1917 Violinist 1912, 1914, 1916, 1918, 1919, 1921 Soprano 1902, 1905, 1906, 1907 Pianist 1902 [227 ] ee APPENDIX H SOME OF THE PRINCIPAL PLAYERS IN THE VARIOUS SECTIONS OF THE PHILADELPHIA ORCHESTRA 1900-1925 Tuappeus Ricu, Assistant Conductor and Concertmaster Dr. Thaddeus Rich, who has been the concertmaster of the Philadelphia Orchestra since 1906, was born in Indianapolis. He began to play the violin in 1893, and when he was twelve years old showed such remark- able talent that he was sent to Leipsig, where he entered the Leipsig Conservatory, graduating with honors at the age of fifteen. In 1901 he accepted a position as first violinist with the famous Gewandhaus Orchestra under Arthur Nikisch, and two years later he went to Berlin as concertmaster of the Charlottenburg Opera. Here he studied violin with Joachim and composition with Pfitzner. In 1905 he returned to America, and Fritz Scheel, who was then conductor of the orchestra, heard him play and immediately engaged him as concertmaster. At his performances in Philadelphia he has played nearly every modern and classic concerto of value in violin literature. Hans Kinpter, First Violoncellist—19 16-20 Hans Kindler was born in Rotterdam, Holland, and was educated in in the High School and University of that city. When he was nine years old he began to play the ’cello, and later he attended the Rotterdam Conservatory, where he studied under Mossel, Jean Gerardy, and Casals. He was for two years solo cellist with the Deutsches Opernhaus, Berlin- Charlottenburg, and during his residence in Berlin he taught the ‘cello at the Scharwenka Conservatory. Mr. Kindler has appeared with the principal orchestras in Berlin, Amsterdam, Birmingham, and Hanover, under such famous conductors as Mengelberg, Kunwald, Schonberg, Landon Ronald, etc. He has also played in joint recitals with Julia Culp, Xaver Scharwenka, and Ferruccio Busoni, who dedicated to him a transcription of a Chromatic Fantasy by Bach. He has also played for the Queen of Holland and for the Prince and Princess of Wied in Berlin. Davin Dusinsxy: First second Violinist, was born in Odessa, Russia, educated in Philadelphia. Began his musical education at the age of eleven. Studied the violin under-Schradieck and Sauret. Original mem- ber of Philadelphia Orchestra. Four seasons in Pittsburg Orchestra under Emil Paur, serving as principal second violin. Played in Cincin- nati Orchestra in May Festivals of 1906 and 1914 Boston Festival Orchestra. Engaged for Philadelphia in 1908. Romain JosepH Verney: First Viola, was born in Paris, France, grad- uated with honors from the Paris Conservatory, where he studied under [ 228 | Theophile Laforge, at the age of eighteen. Was one of the principals at the Opera Comique and played in the Concerts Colonne. Came to this country in 1906 to be first viola with the New York Symphony Orches- tra, where he remained for five years, and from there went to the Chicago Grand Opera Company. Engaged for Philadelphia Orchestra 1920. Wirit1amM Morris Kincarp: First Flute, was born in Minneapolis, educated at Punahan, Honolulu, also Columbia University. While liv- ing in Hawaiian Islands began to study the piano at the age of seven, flute at the age of eight, and after moving to the United States, the organ. He studied the flute at Institute of Musical Art with George Barrére, from which he graduated in the regular and artist course. He played with New York Symphony Orchestra for five years. Soloist at concerts in and around New York and on tour with New York Sym- phony and New York Chamber Music Society. Engaged for Philadelphia Orchestra in 1921. Marcet Tasuteau: First Oboe, was born at Compiégne (Oise), France. He began his musical studies at the age of six, with his brother-in-law, a well-known violinist. At the age of thirteen he became a pupil at Paris Conservatory under Georges Hillet, the famous master of the French Oboe School, where he studied five years. In 1904 was awarded the first prize at Paris Conservatory. His teacher advised him to come to this country and recommended him to Walter Damrosch, with whom he played for several seasons, and in 1908 was engaged by Toscanini at the Metropolitan Opera House. Engaged for Philadelphia Orchestra in 1913. ANTON Horner: First Horn, was born in Gossengrun, Bohemia. He began to play the violin at the age of eight under his father’s instruc- tion, who was a professional musician; began to learn the horn at thir- teen, entered Leipsig Conservatory at fourteen where he studied for over three years, violin under Hans Becker, and horn under Frederick Gumbert. Three years with Pittsburgh Orchestra. (Also plays violin.) Engaged for Philadelphia Orchestra in 1902. RicuarD Krtcer: First Bassoon, was born in Berlin, Germany. Re- ceived private instruction in violin and piano from the age of twelve to fourteen; then four years at the Parlow Conservatory of Music, Berlin, being a pupil of Otto Schoenberg in the study of the bassoon. Played. with Symphony Orchestra at Aix-la-Chapelle and Cologne, and under the direction of Richard Strauss, Felix Weingartner, Felix Mottl and Fritz Steinbach, also with Theodore Thomas Orchestra in Chicago. (Also plays piano and violin.) Engaged for Philadelphia Orchestra rgor. Antonio Toretuto: First Double Bass, was born at San Sadurni de Noya, Province of Barcelona, Spain. Received his musical education at the Municipal School of Music at Barcelona. Began to play bass at the age of ten, played in an orchestra and at fourteen was playing solos. Played in the following orchestras: Associacion Musical de Barcelona, Boston Opera Orchestra, Boston Festival Orchestra, has been heard as [229 |] soloist in Spain, Portugal and Madeira Island, and in the United States during the Boston Festival Orchestra tour in 1911, all through the New England States, Pittsburgh, Denver, Cleveland, etc. Came to America in 1909. Engaged for Philadelphia Orchestra in 1914. Daniet Bonave: First Clarinet, was born in Geneva, Switzerland. Studied the clarinet under M. Lefébre (solo clarinet at Paris Opera) in 1904, and won first prize at Paris Conservatory in 1913. Played in Paris in Sechiari Symphony Orchestra and in Monteux Symphonic Orchestra (Paris). Engaged for Philadelphia Orchestra in 1917. SoLoMON CouEN: First Trumpet, was born in New York City. Began studying trumpet in 1912 under Mr. Shlossberg of the New York Phil- harmonic; then studied harmony under Hedda van dem Beemt. Engaged for Philadelphia Orchestra 1918. J. Water Guetter: First Bassoon, was born in Philadelphia. Studied violin from nine to fourteen years of age; at fourteen began study of bassoon and piano. From r1g1o to 1914 studied at Klindworth Schar- wenka Conservatory of Music, Berlin, under Adolf Guetter, principal bassoonist of former Royal Opera. With Chicago Symphony Orchestra from 1915-22. Appeared as soloist with local Orchestra at St. Markner- kirchen, Saxony, in 1914; in Chamber Music Concerts in Chicago and Philadelphia; with Philadelphia Orchestra at Children’s Concerts in 1923. Engaged for Philadelphia Orchestra in 1922. Micuet Penua: First Cellist, 1920-1925, was born in Amsterdam, Holland. He began his general musical education at Amsterdam Con- servatory, and studied under Professors Mossel, Hugo Becker and Joseph Salmen. Toured as soloist in Europe, Indies, South America and United States. Engaged for Philadelphia Orchestra in 1920. Wiii1aM Oscar ScHwar: Tympanist, was born in Bautzen, Saxony, Germany. Began to play the violin at the age of ten. Studied tympani under Mr. Heinemann, first tympani player at the Royal Opera and teacher at Royal Conservatory at Drader Germany. Was a member of the Royal Opera at St. Petersburg, and has played in all the leading cities of Germany and European countries under the following musical directors and in the cities here cited: Felix Mottl, Karlsruhe; Treckler, Dresden; Sauer, Coblentz, Frischen, Hanover. Shortly after joining the Philadelphia Orchestra he made a sensation by his wonderful playing in the overture ‘Romeo and Juliet’’ by Tschaikowsky. When he had fin- ished, the entire orchestra applauded him with great enthusiasm, an action which is seldom pacaed a member of an orchestra in rehearsal by his colleagues. (Also plays snare drum, bells and xylophone.) En- gaged for Philadelphia Orchestra in 1903. GarDELL Simons: Trombone, was born at Allegan, Michigan. He began the study of the trombone at the age of nine and a few years later com- menced a systematic course of study in Chicago. Since it was difficult at that time to get instruction of a high order from Trombonists he relied mostly upon singers and instrumentalists of repute for his instruction in [ 230 ] breathing, phrasing, articulation and expression, and at length became one of the originators of the Modern School of trombone playing; also studied harmony and composition to some extent. Played first trom- bone with Philharmonic Orchestra, New York City, Arens ‘‘People’s Symphony,’’ Volpe Symphony and others. Wide experience as soloist with concert bands and concert companies, etc., and plays mostly his Own compositions or violin music adapted by himself to the trombone. Engaged for Philadelphia Orchestra 191s. DanireL Maquarre: First Flute, 1910-1918, was born in Brussels. When five years old he began the study of music in Paris, and in 1893, entered the National Conservatory of Paris to study flute and harmony; in 1896 he won the first prize for the flute. Toured in the United States as soloist with Mme. Emma Nevada in 1901, and was for two years soloist with Longy Club, of Boston. In 1902 became member of the Bos- ton Symphony Orchestra, where he remained for seven seasons; also one season with New York Philharmonic. Organized the D. Maquarre Ensemble of Instruments in fall of 1913 in Philadelphia. Engaged for Philadelphia Orchestra 1910. AnpDrE Maquarre: First Flute, 1918-1920, was born in Brussels. Began his musical studies at the age of eight at the Paris Conservatory, with Solfegio and Piano under Martini, also studied Harmony with Landon, Flute with Henry Altes and Composition with Massenet. Played in several orchestras in Paris, also Opera. Joined the Boston Symphony Orchestra in 1898 as solo flute, and from 1906-1917 was con- ductor of the Boston Symphony Orchestra during the period of the ‘‘Pop’’ Concerts season at Symphony Hall. Wide soloist experience in Symphony orchestras, chamber music organizations, also obligato with singers, such as Melba, Gilibert and others. Founded the Maquarre Sextet in Boston in 1901. Composed three operas and a number of orches- tral pieces in Symphonic form, an overture played by the Boston Sym- phony Orchestra; and chamber music for wind choir and songs. Engaged for Philadelphia Orchestra 1918. Peter HENKELMAN, First English Horn and Oboe, was born in Heusden, Holland. Attended school in Holland, and at the age of seven began to study the violin. A few years later he began the study of the piano, and at the age of thirteen entered the Royal Conservatory at The Hague, where he started to study the oboe and English horn, as well. as continuing his studies of the violin, piano and theory. He has played with the City Symphony Orchestra at Haarlem and Utrecht, the Winderstein Orchestra of Leipzig, the Symphony Orchestra of Budapest, the City Orchestra of Heidelberg, as well as with the Concertgebouw of Amsterdam. Engaged forthe PhiladelphiaOrchestra 1901. [231] APPENDIX | ParTIAL List oF ‘‘First PERFORMANCES’ IN AMERICA Avuric—Nocturne (January 26-27, 1923) Briss—Mélée Fantasque (February 27-28, 1925) Braunrets—Fantastic Variations (October 14-15, 1921) CarpENTER—'‘A Pilgrim Vision’’ (November 26-27, 1920) ConversE—'‘The Mystic Trumpeter’’ (March 3-4, 1905) Dz Fatta—Excerpts from ‘‘El Amor Brujo’’ (April 15-17, 1922) D'Inpy—Symphony No. 2, in B flat (December 30-31, 1904) D'Inpy—'‘Wallenstein’’ (December 19-20, 1902) Dvorax—Heldenlied (December 27-28, 1901) FITELBERG—Polish Rhapsody (November 4-5, 1921) GLazounow—Scénes de Ballet (February 24-25, 1905) pe neapa testi and Epiloque from ‘*‘Goyescas’’ (March 10-11, 1916 HausEGGER—Symphonic Poem, ‘‘ Wieland der Schmied’’ (October 17-18, 1913) Maxuvter—Symphony No. 8 (March 2, 1916) Mauiter—Das Lied von der Erde (December 16, 1916) DanitEt Gregory Mason—Symphony No. 1, in C minor (February 18-19, 1916) Purcett—Trumpet Prelude (December 26-27, 1924) Rasaup—Symphony No. 2, in E minor (October 24-25, 1913) RacHMANINOFF—Symphony No. 3, ‘“The Bells’’ (February 6-7, 1920) Rimsky-Korsaxow—Excerpts from ‘‘Kitesch’’ (Solitude and The Battle), (October 26-27, 1923) ScHELLING—A Victory Ball (February 23-24, 1923) amie aC No. 3, ‘‘Le Divin Poéme’’ (November 19-20, 1915 S1nELIUs—Symphony No. 5, in E flat (October 21-22, 1921) RicHarp Strauss—Alpensymphonie (April 28-29, 1916) Strawinsky—Le Chant du Rossignol (October 19-20, 1923) STRAWINsSky—Symphonies d'Instruments 4 Vent, a la mémoire de Claude Achille Debussy (November 23-24, 1923) Strawinsky—Sacre du Printemps (March 3-4, 1922) [232 ] CoNCERTOS Max Bruca—Concerto for two Pianos and Orchestra (December 29-30, 1916) First World Performance. Merptner—Concerto in C minor for Piano and Orchestra (October 31- November 1, 1924) aay Concerto for Piano and Orchestra (February 13-14, 1925 oon for Violin and Orchestra (November 28-29, 1924 TAILLEFERRE—Concerto for Piano and Orchestra (March 20-21, 1925) Performances of the Ninth Symphony of Beethoven: March 26, 1903; January 1-2, 1904; February 7-8, 1907; February 27, 1907 (Baltimore); March 13-14, 1914; May 7-8, 1920; December 3-4, 1920; April 8, 1921 (Pittsburgh); February 21, 1924 (Toronto); March 4, 1924 (New York); March 6, 1924 (Philadelphia with Mendels- sohn Choir of Toronto) [233 ] APPENDIX J PROGRAMMES OF S1x CONCERTS OF THE PHILADELPHIA ORCHESTRA First SEASON 1900-1901 PHILADELPHIA ORCHESTRA Mr. Fritz Scuze., Conductor FIRST CONCERT Friday, November 16, 1900, at 8.15 P. M. PROGRAMME Cart GOLDMARK Wi. oe eee ee Overture, ‘‘In Spring,’’ Op. 36 Lupwic VAN BEETHOVEN......... Symphony No. 5, C. minor, Op. 67 E. Allegro con-brio............7., rr tA II. Andante con moto........-... sp 3-8 It, Allegro.) oe 41—4 IV. Allegro. 2.02.6 oss ley er 4-4 Intermission of ten minutes Prter Ititsch TscHAIKOWSKY......... Concert for Pianoforte, No. 1, B. flat minor, Op. 23 I. Allegro, non troppo e molto maestoso.......... 3-4 TI. Andantino simplice: ......... she 6-8 WW. Allegro con fuoco,. >... J.4 ) 2 3-4 Kart Marta von WEBER......... ‘Invitation to the Dance,’ Op. 65 Orchestration by Felix Weingartner Ricnarp WAGNERi sce ee Entry of the Gods into “‘Walhalla’”’ Mr. Ossip GasritowlTscu, Soloist SECOND CONCERT Friday, December 14, 1900, at 8.15 P. M. PROGRAMME Lupwic vAN BEETHOVEN... 4.4... Overture Leonore, No. 3 JOHANNES BRAHMS...) 20 ven ns ae Symphony No. 2, D major, Op. 73 I. Allegro non troppo II. Adagio non troppo III. Allegretto grazioso (Quasi Andantino) IV. Allegro con spirito AMBROISE, THOMAS... .2.... . s8) cte ‘“Mad Scene’ CHamlet) Intermission of ten minutes Prrsr I: TschatKowsky-. 3.22.54) ee Serenade for Strings, Op. 48 Andantino non troppo—Allegro Moderato Moderato, Tempo di Valse—Larghetto Elegiaco—Andante, Allegro con spirito [234 ] Songs “Spring Has Come’’ (Hiawatha), Tyler “Skylark,’’ Handel “An April Birthday,’’ Ronalds Pee MOE ANN ci ee ee cee es “Vitava’’ CMoldau) From Symphonic Poem ‘‘My Fatherland”’ Mme. Litxt1an Buavve tt, Soloist SELDEN MitiEeR, Accompanist THIRD CONCERT Friday, January 18, 1901, at 8.15 P. M. PROGRAMME Ok COL Le A Faust Overture Lupwic vAN BEETHOVEN.................. Symphony No. 4, Op. 60 I. Adagio—Allegro Vivace II. Adagio Ill. Allegro Vivace IV. Allegro ma non troppo Intermission la VES 9 a ge Concerto No. 2, Op. 19 I. Allegro II. Andante III. Rondo—Allegro NGULBee) FIUMPERDINCK..-. 4.26.65 e ieee eae Moorish Rhapsody I. Tarifa (Sunset Elegy) Il. Tanger (A Night in a Moorish Cafe) III. Tetuan (A Ride in the Desert) Mr. Fritz Kreister, Soloist FOURTH CONCERT Friday, February 8, 1901, at 8 P. M. PROGRAMME Sem EC ITICRIST oe ak ct ee eee agen Symphony in C I. Introduction, Vivace Impetuoso. Allegro Molto II. Adagio, Andante Moderato ME Scherzo, Vivace IV. Finale, Molto Allegro ee NIACLIOWELL. 2 oe vee ee 8s Concerto for Piano No. 2 I. Larghetto. Poco piu Mosso e con Passione II. Presto Giocoso III. Largo. Molto Allegro PART OLADYA VON WEBER, .... 0 ce ecee ta ce ces Overture ‘“Oberon"’ SC CT ere Berceuse for Strings, from Op. 68 Miminnich HOFPMANN..,.........0300% Elves and Giants, from Op. 22 METTNET VOU AM 8s ss inns sneaks Slavonic Dances III and VII Epwarp MacDowEg 1, Soloist [235 ] FIFTH CONCERT Wednesday, March 6, 1901, at 8.15 P. M. PROGRAMME Cart! GOLDMARK Onc ue ay se ene Overture “‘Sakuntala,’’ Op. 13 AUGUSTU LINDNER Hahn Gees Concerto for Violoncello, E minor a. Serenade—Andante b. Tarantelle—Allegro Vivace Prrer [scHAIKOWSKY).». 2.00.0 <2 Symphony ‘‘Pathétique,’’ Op. 74 I. Adagio—Allegro non troppo II. Allegro con Gracio III. Allegro Molto Vivace IV. Finale—Adagio Lamentoso Pranz Drszv. pois Scene 5s soon oo ee Les Préludes Mr. Rupotex Hennic, Soloist SIXTH CONCERT Friday, April 19, 1901, at 8.15 P. M. PROGRAMME JoacHim RARE. oi) Pe ee ee Symphony ‘‘Im Walde”’ I. Allegro II. Largo—Allegro Assai III. Allegro Enuarn GRikg (5 sick ak ss ae ee Concerto for Piano in A flat I. Allegro Moderato II. Adagio III. Allegro Moderato Peter TsCHAIKOWSKY........ Overture—Fantasie, ‘‘Romeo and Juliet”’ Mone. TEeresA CarRENO, Soloist [ 236 ] APPENDIX K THE WoMEN’s CoMMITTEES FOR THE PHILADELPHIA ORCHESTRA 1924-1925 : (Formed March, 1904 Miss Frances A. WisTer, President Mrs. Haroup Ettis YarNALL, Vice-president Mrs. Cuartes W. Henry, Vice-president Mrs. Cuartzs R. Woop, Recording Secretary Mrs. Witt1am W. Arnett, Corresponding Secretary Mrs. ALFRED REGINALD ALLEN, Treasurer Miss Frances A. WistEr, General Secretary for the Endowment Fund HonorARY VICE-PRESIDENTS Mrs. ALEXANDER W. BIDDLE Mrs. ArTHuR E. NewBoip Mrs. JoHN CADWALADER Mrs. Morris PFaELZzER Mrs. A. J. Datias Dixon Miss ANNE THOMSON Mrs. GeorcE W. C. DrexEn Mrs. Wm. Austin SLAUGHTER Miss Mary K. Gipson Mrs. Epwarp T. STOTESBURY Mrs. Austin S. HeckscHER Mrs. CHARLEMAGNE TOWER Mrs. Cuartes E. INGERSOLL Mrs. ALEx. VAN RENSSELAER Mrs. C. Hartman Kuun Mrs. J. Witt1am WHITE Mrs. James McCrea Mrs. CHARLTON YARNALL Mrs. THomas McKean DrrEcToRS Mrs. THomas G. AsHTON Miss Nina Lea Mrs. RusseELt DuANE Mrs. JosepH Lripy Miss GERTRUDE ELy Mrs. THomas Rosins Mrs. Simon B. FLeisHER Mrs. JoHN B. THAYER, 3D Mrs. JosepH M. GazzamM Mrs. SypNEY THAYER Mrs. Frank T. GriswoLp Mrs. Joun B. TowNnsEND Mrs. Henry S. JEANES Mrs. GreorcE F. Tyter Ex-oFFICIO Germantown—CounTess oF SANTA EULALIA West Philadelphia—Mrs. L. Howarp WEATHERLY Delaware County—Mrs. Matruew H. Cryer GERMANTOWN AND CHESTNUT Hitt WoMEN’s COMMITTEE (Formed March, 1905) CounrTEss OF SANTA EvLatiA, President Mrs. Cuaruzs E. Moreau, First Vice-president Mrs. Henry W. Raymonp, Second Vice-president Mrs. Witu1aM Jay Turner, Third Vice-president Miss RossmassLtER, Recording Secretary Mrs. W. Beaumont Wuitney, Corresponding Secretary Mrs. Ricuarp RossMassLeR, Treasurer Miss Frances A. Wister, General Secretary for the Endowment Fund [237 ] Mrs. Mrs. Mrs. Mrs. Mrs. Mrs. Mrs. Mrs. Mrs. Mrs. Mrs. Mrs. Mrs. Mrs. D1rEcTORS FRANKLIN BAKER, JR. Mrs. TuEron I. Crang Wo. L. Barciay Mrs. Norton Downs, Jr. GrorcE C. Bowker Mrs. Wo. W. Frazier, 3D Wo. P. M. Braun Mrs. FrEDERIC GARDINER Henry W. ButTrERwortTH Mrs. GeorGE Horace Lor1MER Cartes S. CHESTON Mrs. JosepH A. LoucHHEIM J. Hamitton CHEsTON Mrs. Wo. Prick NEWHALL Epw. W. Cuark, 3D Mrs. Epwarp A. SCHUMANN Morris LLEWELLYN CooKE West PHILADELPHIA WOMEN’s COMMITTEE (Formed April, 1905) OFFICERS L. Howarp WEATHERLY, President C. Lincotn Fursusu, First Vice-president Wit1am S. Newcomer, Second Vice-president AuFreD H. Perrrer, Recording Secretary Cuarues L. MitcHeti, Corresponding Sectetary Mrs. SAMUEL S. Fes, Treasurer Miss Frances A. WisTerR, General Secretary for the Endowment Fund D1rEcTORS Mrs. PErtey DuNN ALDRICH Mrs. Joun S. W. Hotton Miss MARGUERITE BEMENT Mrs. Wy tus K. INGERSOLL Mrs. Haroip BorrIcKE Miss AMELIA JUSTI Mrs. JoHn J. BorRIckE Mrs. Joun M. KENNEDY, JR. Mrs. Epwarp W. Box Mrs. H. McKnicut Moore Mrs. Joun F. Braun Mrs. Epwarp L. Perx1ns Miss Mary BurNHAM Mrs. Frank REap, Jr. Mrs. CHARLES CARVER Mrs. Harotp E. Roserts Mrs. Lewis R. Dick Mrs. A. M. Starr Mrs. F. W. Fercuson Mrs. Witt1AmM A. SULLIVAN Mrs. G. W. B. FLetcHer Mrs. W. Mosgetzey Swain Mrs. Cotutin Foutxrop Mrs. ARTHUR WILSON Mrs. James Woops Fry Mrs. CAMILLE ZECKWER Mrs. Herspert T. HERR DELWARE County WoMEN’s COMMITTEE (Formed May, 1911) BOARD OF MANAGERS OFFICERS Mrs. Martuew H. Cryrzr, President Mrs. Samuet S. Buran, First Vice-president Mrs. J. S. C. Harvey, Second Vice-president Mrs. Harry H. Battuzs, Third Vice-president Mrs. Henry VotkKMAr GuMMERE, Secretary Miss BeuutaH C. GARRETSON, Treasurer [238 ] 0 a Mrs. Mrs. Mrs. Mrs. Mrs. Mrs. Mrs. Mrs. Mrs. Mrs. Mrs. Mrs. Mrs. Mrs. Mrs. Mrs. FRANK AYDELOTTE J. CraupE Beprorp Wixu1AM H. BissTer SAMUEL DyER CLYDE Morton P. DickEson WILLIAM Eassy ALBERT Fox Harotp C. Gopparp Epwarp F. Hitcuacocx BENJAMIN R. HorrmMan Epwarp K. Inngs Rosert F. Irwin Wits D. JamMEsOoN E. R. Keiier N. B. Ketry Mrs. S. LEonarp Kent, Jr. Mrs. Gipson McItvaIne Mrs. Rospert L. McLean Mrs. JoHn A. MILLER Mrs. T. HatpEAN Moore Mrs. CHarzes Musser Mrs. Gseorce BisPpHAM PAGE Mrs. A. A. PARKER Miss Epita Prerers Mrs. Ricuarp PEetsrs, Jr. Mrs. J. FrepErick Petry Mrs. J. Lorp Ricsy Mrs. Joun Davip SHattuck Mrs. CHANNING Way Mrs. Henry M. Wirz COMMITTEES OUT-OF-TOWN Tue DeLAwarE CoMMITTEE (1907-1908) (Wilmington) for THe PHILADELPHIA ORCHESTRA Formed May, 1905 Mrs. Lewis C. VANpEGRIFT, President Mrs. Josepa Swirt, Vice-president Mrs. Witxiam Betts, Secretary Miss ANNIE T. FLINN, Treasurer Mrs. Orno Now.anp, Chairman Guarantee Fund Mrs. Ettwoop C. Jackson, Chairman Auxiliary Committee Mrs. A. H. Beruin, Chairman Press Committee JoHN BANCROFT Mrs. ALFRED R. JONEs Mrs. JoHn B. Birp Mrs. A. E. Kruse Miss MartHa BRADFIELD Miss Kurtz Mrs. Daniet M. BatTzs Miss Lorz Mrs. T. Lest1z CARPENTER Mrs. D. J. REINHARDT Mrs. ALLAN J. COLBY Mrs. J. E. Smrru Mrs. W. F. Curtis Mrs. Harry J. STOECKLE Mrs. Wiuu1AM K. pu Pont Mrs. CaLvin SWAYNE Mrs. Hartan GAUvusE Mrs. WILLIAM F. SELLERS Mrs. CuHartes E. GRIFFITH Mrs. Henry B. THompson Mrs. Norman Hux ey Mrs. Jamzes P. WINCHESTER Tur WASHINGTON COMMITTEE (1907-1908) for Tue PHILADELPHIA ORCHESTRA Formed May, 1906 Miss A1LEEN Bei, Acting Chairman (Thenames of alargeCommittee and a list of Patronesses are unavailable.) [239 | Tue BaLtimore ComMITTEE (1907-1908) FOR [THE PHILADELPHIA ORCHESTRA Formed May, 1906 Lawrason Riaos, Esqg., President His EMINENCE CARDINAL GIBBONS His ExcetteNcy GOVERNOR EDWIN WARFIELD Ricut REVEREND BisHop WILLIAM Paret, D.D. Hon. Cuarzes J. BONAPARTE BERNARD N. Baker, Esq. Frank Frick, Esq. J. Swan Frick, Esq. Gaun M. Hutton, Esa. Dr. Henry Barton Jacoss SiGNoR Pietro MINeETTI Puitip OGDEN, Esq. WILtson Patterson, Esq. Dr. THomas L. SHEARER R. Manson Situ, Esq. Joun MarsHatt Tuomas, Esq. Epwin L. Turnsu tt, Esq. JERE H. WHeEetwricat, Esa. J. B. Nozt Wyatt, Esa. Vice-presidents Mrs. Bernarp N. BAKER Mrs. Cuar.es J. BONAPARTE Mrs. Davin L. BarTLeTT Mrs. WiLu1aAM ELLicoTT Mrs. T. Harrison GARRETT Mrs. JoHN GILL Mrs. Gaun M. Hutton Mrs. Henry Barton JAcoss Mrs. Howarp MuNNIKHUYSEN Mrs. WILLIAM PARET Mrs. WiLtson PATTERSON Mrs. Netson PEerin Mrs. R. Manson SmitTH Mrs. JAMEs Mapison THOMPSON Mrs. Epwin WARFIELD Mrs. JERE WHEELWRIGHT Miss SHEARER, Chairman Honorary MANAGERS Mrs. W. S. BeLpING Mrs. JouN S. Berry Miss Ocravia BATEs Mrs. Freperick M. Cotston Mrs. J. S. ELtarp Mrs. Cartes M. FRANKLIN Mrs. RicHarD GRIFFITH Mrs. Paut Haupt Mrs. Davip HuTzLer Mrs. Grier HErsH Mrs. CHarves KEIpEL Mrs. C. ManiGauLt Morris Miss Mary L. Parxer Mrs. Freperick B. STIEFF Mrs. Witu1AM S. THAYER Mrs. SipNEyY TURNER Rev. F. Warp Denys Mites Farrow, Esq. Dr. CHaruses M. FRANKLIN EpwIn Frank, Esq. Maurice Greco, Esa. Dr. B. Merritt Horxinson EpwIn ScHENcK, Esq. CHARLES WEBER, JR., Esq. ActTIvE MANAGERS Miss BLoopGoop Miss BzesstzE CAMPBELL CLARK Mrs. Isaac Dixon Mrs. J. HAMsLEY JOHNSON Mrs. Ernest KNABE Miss LurRMAN Mrs. Epwarp H. McKzon Mrs. S. C. RowLanp Mrs. SIGMUND SONNEBORN Mrs. Oscar A. TURNER Mrs. CLARENCE WATSON Mrs. Rosert W. Woop Mrs. GeorGceE L. ZELL Freperick M. Cotston, Esq. Cuarzes E. Doug, Esa. Freperick H. Gortuies, Esq. Dr. Joun HEMMETER Rev. Outver HucKxeu ERNEST JENKINS, Esq. Rosert Oxiver Lenr, Esq. THEeoporE Marsurc, Esq. Rev. Joon Timotuy STONE Tue WomMEN’s COMMITTEE FOR THE PHILADELPHIA ORCHESTRA invites you to be present at a meeting in the interest of THe PHILADELPHIA ORCHESTRA to be held at the ARUNDELL CLUB 1000 North Charles Street, Baltimore, on Thursday afternoon, December fourteenth (1905) at half after three o’clock Under the patronage of Mrs. Josran Law BiackwELL Mrs. ALEXANDER BROWN Mrs. Grorce Datuas Dixon Mrs. S. Naupain DuER Mrs. Wiiit1am M. Exticorr Mrs. GEorGE T. GiBson Mrs. Daniet C. GILMAN Mrs. JoHn P. Pork Mrs. Harotp RANDOLPH Miss Mary BuTLerR SHEARER Mrs. W. PLuNKETT STEWART Mrs. JEssE Tyson Mrs. GreorceE L. ZELL Music by Mrs. Tuomas S. Krrxsribe, Jr., Pianist and Mr. JoHn WitzEeMann, Violinist and Mr. AtrreD SaaL, Violoncellist Members of the Philadelphia Orchestra [241 | APPENDIX L ANNOUNCEMENT OF CHILDREN’S CONCERTS THe PHILADELPHIA ORCHESTRA ASSOCIATION Founded 1900 Maintaining and Operating THE PHILADELPHIA ORCHESTRA 104 Musicians Lrorotp Stoxowsk1, Conductor Special Announcement Children’s Concerts Season 1921-1922 Wednesday Afternoons at Four December 14th, 1921 February 1st, 1922 March 8th, 1922 Academy of Music In Answer to a Long-Felt Need The Philadelphia Orchestra Association announces a Series of Three Children’s Concerts for the coming season under the auspices of: Tue Matinzz Musicay Cius THE CITIzEN's COMMITTEE Mrs. Frederick W. Abbott, Mrs. Frederick Rosengarten Chairman Chairman Mrs. Edwin B. Garrigues Mrs. Robert Von Moschzisker Mrs. Helen Pulaski Innes Mrs. John Hampton Barnes The Board of Education Dr. Edwin C. Broome, Superintendent of Schools, Philadelphia Dr. Enoch W. Pearson, Director of Music in the Public Schools Dr. Hollis Dann, Director of Music, State Dept. of Education The Women’s Committee for the Philadelphia Orchestra The Germantown & Chestnut Hill Women’s Committee for The Philadelphia Orchestra. | The West Philadelphia Women’s Committee for The Philadel- phia Orchestra The Media, Chester & West Chester Women’s Committee for The Philadelphia Orchestra The Civic Club of Philadelphia The New Century Club [242 ] The Philomusian Club The Pennsylvania Federation of Music Clubs The Philadelphia Association of Settlements These Concerts will be conducted by Mr. Stokowski, who has atranged a series of programmes lasting one hour, during which short talks will be given about the instruments, as well as about the selections played. The Concerts are for Children, and no adult will be admitted unless accompanied by one or more children. CoMMITTEE ON CHILDREN’S CONCERTS Miss Frances A. WisTER, Chairman Mr. Epwarp W. Box Dr. Cuarvzs D. Hart SCHEDULE OF PRICEs paige (No Tax) Concerts Patreranc oeicOny DOXES, Scating S1X.... 6... -6 6. esse ee $18.00 Beaueenopaicony Boxcs, s¢ating four. ...............5+. 12.00 fee iere eatcqueet Circle and Balcony Seats................5% cao ERE 0k ARES Sie eae a rr 1.50 SE Siy Oye ch AR eA cas [243 | APPENDIX M PHILADELPHIA PERMANENT ORCHESTRA PROSPECTUS March 3, 1899 The musical life of this city has reached a stage in its development that must make it apparent to all who are interested in the advancement of matters of art and education that if we are to continue the progress of the past few years and take our place as a city of any musical impor- tance, the next and most necessary step is the founding of a Permanent Philadelphia Orchestra. Such an undertaking is one that requires serious consideration, and the co-operation not only of our music-loving public but of all citizens who are interested in our civic progress. In order to establish an orchestra such as would be a distinct credit to the city, it is necessary to have a paid-up fund of not less than $250,000. The following Committee, before issuing this circular, have given the matter great consideration, carefully looked into various organizations in other cities, and feel confident that if they meet with liberal response Philadelphia will have in a few years an orchestra second to none in America. When Boston, Chicago, Cincinnati, Buffalo, Pittsburgh, and other cities, not nearly so large or so wealthy, have established perma- nent orchestras, it is surely time that we should interest ourselves and unite in aiding to form an organization in keeping with our size and importance. This will not be possible with less than the sum before mentioned, which they trust you will aid them in securing upon the fol- lowing terms and conditions: 1. Subscribers shall not be bound by their subscriptions unless the sum of $200,000 shall have been subscribed. 2. The fund shall be used only for the purpose of establishing and maintaining a permanent Philadelphia Orchestra, and it shall be applied for that purpose by the following Trustees: C. WiLL1AM BERGNER C. Hartman KuHN JouN H. ConvERsE Stmon A. STERN SAMUEL A. CROZER James F. SuLtitivan GrorGceE W. Cuitps DREXEL Tuomas B. WANAMAKER CHARLES C. HARRISON or their successors. The discretion of such Trustees shall be absolute as regards the administration of the fund, and they shall have power to fill any vacancy occurring in their number, they having agreed to abide by the conditions herein stated. The Trustees shall invest $200,000 of the fund, using only the interest thereof and the additional $50,000 shall be used for current expenses of the first few years, when the expenses will be heavier and the deficit greater. [244 | 3. The orchestra shall be composed, first, of the best musicians resi- dent in Philadelphia; then, of the best musicians obtainable either in this country or abroad. In order to insure the success of the enterprise, it is absolutely necessary that the highest standard be maintained, that the reputation of the orchestra can be established in other cities beside our own, for it is not possible for an orchestra to become self-supporting that cannot command engagements outside the city to which it belongs. 4. The Board of Trustees, when it considers that the completion of the fund is assured, shall select the leader upon the careful and unbiased consideration of the merits and records of all candidates submitted to it. Such candidates, however, to be only men of the highest reputation either in Europe or America, and the leader one whose name will add to the prestige of the orchestra both here and in other cities. 5. The selection and placing of the musicians shall be made by the leader, subject to conditions in paragraph three. 6. As the subscribers contribute to the fund solely for the benevolent purpose of advancing the cause of music in Philadelphia and release all control over said fund, they shall not be considered as partners with each other, or with the Trustees in the conduct or management of said orchestra. 7. The Board of Trustees shall never exceed nine in number. 8. Subscribers to the permanent fund shall have choice of seats in advance of the general public for all Symphony Concerts. The Committee earnestly requests all who are interested and who will aid them by subscribing to the Fund, to kindly give the matter their prompt attention, and send in any subscription or communication as soon as possible, for if the Orchestra is to be established by next season, it is necessary to push matters without delay. CoMMITTEE Philadelphia Permanent Orchestra* Miss Batcu Miss Mary Moss Mrs. WiLL1AM BuRNHAM Mrs. CLEMENT B. NEwso.tp Mrs. Louis F. BENson Mrs. CHarces Pxuatt, Jr. Miss BriGHT Mrs. JoHN WILLIAMS PATTEN Mrs. Georce W. C. DrexeEL Miss EtuHer ParrisH Mrs. CHANCELLOR C. ENGLISH Mrs. W. H. H. Rosinson Mrs. Simon B. FLEISHER Mrs. CorNELIUS STEVENSON > Miss M. K. Gipson Mrs. C. Morton SMITH Mrs. ALFRED C. Harrison Miss Susan STEVENSON Mrs. JoHN Harrison Mrs. Monroe SMITH Mrs. Epwarp IuNGERICH KEFFER Mrs. JoHN THoMpPsON SPENCER Mrs. JoszpH Lerpy, JR. Mrs. WILLIAM PENN TROTH Mrs. Wiiit1am L. McLEAN Miss Frances WIsSTER Miss ApA ExizABeETH MILES Mrs. Cuarwzes 8S. WHELEN Miss Evita Lez Hutcuinson, Secretary, 1936 Wallace Street *The officers were: Chairman, Mrs. W. H. H. Robinson; Treasurer, Mrs. Edward I. Keffer; Secretary, Miss Edith Lee Hutchinson. [245 ] ENDORSERS Mr. and Mrs. W. W. Arnett Miss Margaret Harvey Mr. Francis R. Abbott Mr. Ellis Clarke Hammann Mr. and Mrs. Samuel T. Bodine Mr. Alfred Curtin Hirsh Mr. Richard S. Brock Mr. Max Heinrich Mr. James M. Beck Mr. Samuel B. Huey Mrs. William Bucknell Mr. James Hay Mr. and Mrs. James M. Bennett Mr. H. H. Hallowell Mr. Henry C. Blair Mr. John H. Ingham Mr. David Bispham Mrs. Charles E. Ingersoll Miss Emma M. Boyles Mr. Henry McKean Ingersoll Dr. Edward Brooks Miss Hilda Justice Blasius & Sons Mr. J. George Klemm Mr. Charles A. Braun Dr. Edward Iungerich Keffer Mrs. M. M. Baltz Mr. and Mrs. J. L. Ketterlinus Mr. Samuel Castner, Jr. Mr. and Mrs. George B. Kester Mr. Richard Y. Cook Miss Florence Keen Mrs. Edward H. Coates Mr. Edward Knapp Mrs. J. Gardner Cassatt Mr. and Mrs. Arthur Lea Mrs. Edward Coles Mr. August B. Loeb Mrs. William T. Carter Mr. Algernon Sidney Logan Mr. Harrison K. Caner Mr. and Mrs. Thomas McKean Mr. and Mrs. W. W. Curtin Mrs. Henry Pratt McKean Miss Mary M. Cohen Mr. Edward Garrett McCollin Mr. and Mrs. J. deW. Cookman Mr. James C. Miller Dr. Hugh A. Clarke Mr. Selden Miller Mr. Gilbert Raynolds Combs Miss Alice Lewis Murphy Mr. and Mrs. Frederick S. Dickson Miss Agnes Morrison Mr. F. T. Sully Darley Mr. and Mrs. Harrison S. Morris Mr. Frederick Douredoure Mr. Charles T. Murphy Mr. and Mrs. Stephen P. Darlington Mr. Frederick R. Meigs Mr. Nicholas Douty Mrs. Markoe Mr. William L. Elkins Miss Helen L. Murphy Mr. Carl Edelheim Mrs. J. P. Merion Mr. Chancellor C. English Miss Mary Wanamaker Miller Mr. Henry Erben Miss Adelaide Madeira Mrs. Charles Este Mr. Edmond Morris Mrs. George Harrison Fisher Mr. G. Heide Norris Mr. and Mrs. Caleb Fox Mr. Charles E. Pugh Mr. and Mrs. George C. Fletcher Miss Marie Virginia Peck Mr. Charles N. Fahnestock Mr. Charles R. Peck Mr. Charles Fearon Mrs. Frank Pleasanton Miss Elizabeth Wilson Fisher Mrs. John Worrell Pepper Mr. and Mrs. W. W. Gibbs Mr. Frederick Peakes Mr. and Mrs. Wm. B. Gough Mr. Enoch Pearson Mrs. J. Ernest Goodman Mr. Joseph Rosengarten Mr. W. W. Gilchrist Mrs. Frank H. Rosengarten Mrs. Charles W. Henry Dr. J. M. Reeves Mr. and Mrs. Byerly Hart Mr. and Mrs. Richard Rossmaessler Mr. Edward I. H. Howell Mrs. Harry B. Rosengarten [246 ] Dr. Henry C. Register Mrs. Eliza D. Turner Miss Elsé West Rulon Mr. S. S. Thompson Mrs. Thomas A. Scott Mr. and Mrs. W. H. Tenbrook Mr. Justus C. Strawbridge Mr. Louis C. Whitney Mr. N. A. Stout Mr. and Mrs. Owen Wister Mr. Monroe Smith Dr. George Woodward Mr. and Mrs. John Hasletine Shinn Mr. Massah M. Warner Mr. A. M. Sheppard Mr. Clarence Wolf Mr. Calvin Mason Smith Miss Woolman N. Stetson & Co. Mr. Albert B. Weimer Mr. Constantin von Sternberg Mrs. Wm. Rotch Wister Mr. Frank Thomson Mr. Andrew Wheeler, Jr. Mr. George C. Thomas Mr. E. Burgess Warren Mrs. Charles Newbold Thorpe Mr. P. A. B. Widener Miss Kate Tilge Mr. Richard Zeckwer The following members of the Board of the Musical Fund Society: Mr. Wo. F. Bippie Mr. Geo. P. KimBaty Mr. O. C. BosBysHELL Dr. ALFRED C. LAMBDIN Mr. Joun H. Carr Mr. Epw. G. McCo.iin Mr. H. G. Cray Mr. R. P. Rosins Dr. Ricnarp J. DuNGLIsON Mr. Cuartes M. Scumitz Mr. Jas. W. HazLenurst Mr. CuHaruzs P. TurNER Mr. Wo. H. Hottis Mr. C. WETHERILL Manuscript SociETY OF PHILADELPHIA W. W. Gitcarist, President Tue SympHony Society oF PHILADELPHIA Dr. E. I. Kerrer, President A Philadelphia newspaper 1899: ‘“‘How To Get AN ORCHESTRA” “It need not be difficult in Philadelphia to form as fine an orchestra as anybody is willing and able to pay for. A permanent orchestra is a very costly institution. It involves the permanent employment of anywhere from fifty to a hundred good musicians, at salaries sufficient to secure their constant and exclusive services as orchestra players throughout the active portion of the year. A simple calculation will show that the expense of this mounts quickly by tens of thousands. “Even in a great city, with a very large public interested in orchestral music, it is scarcely possible to meet this expense by the receipts from local concerts. There is a limit to the number of concerts that can be prepared or that can find hearers in one place, so that a large fixed orchestra can hardly earn its living—unless in some great place of popular resort, like the Crystal Palace at London or the Trocadero at Paris. Boston, an exceptionally self-reliant metropolis, provides two full audiences a week for the symphony concerts in Music Hall for [247 ] twenty-four weeks in the year, but it is known that this does not meet the expense of the orchestra. Experience furnishes no evidence of any such hunger for orchestral music among the general public of Philadel- phia as would justify a reliance on its financial support for an orchestra of the class of that which private generosity has maintained at Boston and that has established a standard with which, as a business enter- prise, it would be necessary to compete. “Clearly, therefore, such an enterprise, if undertaken here, must be undertaken either in a missionary spirit by those who regard music as an elevating influence in the community, or for their own gratification, by those who wish for greater musical opportunities for themselves. In either case, or both, the promoters must expect to pay the piper. And this being the case, we should say that those who pay have an entire tight to choose their piper—to organize their orchestra in their own way and put it in charge of whom they please. ‘The discussion that has been going on recently upon this subject has run wide of the mark. It is not a question of the best way to organize an orchestra, but simply whether there is anybody ready to put up the money to have an orchestra at all. If there is not, the whole discussion is futile; if there is, we cannot see that the details concern anybody else. The rest of us can pay for our tickets and find fault, or we can let it alone, as we have done with so many excellent orchestra concerts, past and present. Something beside the purely musical appeal is required to attract an audience, very few of whom can know the actual difference between one band and another, except in size and in some of the more meretricious technical effects, and if this can be supplied by personal, social or fashionable interest and influence, there is that much gained. “It is an old rule in Philadelphia, that when anybody undertakes to do anything, everybody else proposes a different way. This has always prevented the natural development of a local orchestra, and always will do so as long as the matter is open to public contention. The first essen- tial to the establishment of a high-class orchestra is capital. If that is provided, the rest can be obtained, and those who provide it have the right to determine how to spend it, and the right also to command appreciation and support. Without this we can dispute till the cows come home with no more result than at any other time in the past forty years, during which time everybody has been agreed that Philadelphia should have such an orchestra, but no two agreed as to who should conduct it, or how it should be maintained.”’ Public Ledger, March 4, 1899: ‘‘A PHILADELPHIA ORCHESTRA ‘The movement which has long been on foot to establish a permanent symphony orchestra in this city, one which should from its inception challenge favorable comparison with any other orchestra in the United States, and one in which all who take an interest in music might feel a justifiable pride, has now taken such definite shape that its accomplish- ment is practically assured. [248 | ‘A perusal of the prospectus of the Philadelphia Permanent Orchestra which was issued yesterday by the committee who have piloted the undertaking into its present haven, and which will be ati published in full on another page, shows that a paid-up fund of $250,000 is neces- sary for the work in hand. All who are interested in the civic progress of the city, and those in particular who are interested in music, are invited to contribute to the fund. “The details of the scheme speak for themselves, but the pith of the understanding is that $200,000 of the fund shall be permanently invested and the interest used for the advancement of the orchestra, while the $50,000 cash balance is to be devoted to the current expenses of the first few years. Preference is to be given to musicians resident in Philadel- phia, and the Board of Trustees is to select the leader from conductors of acknowledged reputation at home or abroad. ‘That such an institution will be of great and permanent value to the city, there can be no possible doubt. A symphony orchestra of the calibre proposed ts as essential to the musical taste of the rising generation as a well endowed public library is to their literary education. Without an acknowledged standard to judge by, musical taste and musical judg- ment become chaotic, and degenerate by feeding without discrimination on what is inferior. “That such an organization will draw full houses, those who have seen the Academy packed to the ceiling at every concert given by the Boston Symphony Orchestra will not doubt, and the fact that Philadel- phia has enabled a grand opera company of the first magnitude to give an extended season here with a large margin of profit for the past two years, is another demonstration of the existence of a large musical pub- lic. It must be admitted that the musical public of Philadelphia 1s peculiar in some respects; it has a rooted antipathy to mediocrity and an invincible dislike of being managed from New York. But the public know what they want. They have long wanted an orchestra—a real orchestra—of their own. Various obstacles have cropped up from time to time in the way, but the last one—the war with Spain—no longer exists; the way has been cleared and the time is ripe for the accomplish- ment of its desire. “The names of the committee who will direct the affairs of the orches- tra are substantial guarantees of an able, impartial and business-like administration of its affairs, and the names of those who have endorsed it financially, a list that will be doubled and trebled in a few days, are certain indications that the orchestra will shortly be an accomplished 6 a ey [249 ] ApPENDIx N LITERATURE OF Earzty Days First CirncuLAR ANNOUNCING THE PHILADELPHIA ORCHESTRA MAILED IN SEPTEMBER, 1900, TO ABOUT 4000 PEOPLE THE PHILADELPHIA ORCHESTRA 85 Performers Mr. Fritz ScHEeL, Conductor A series of six Symphony Concerts will be given at the Academy of Music during the season of 1900-1901, on the following dates: Friday evening, November 16; Friday evening, December 14; Friday evening, January 18; Friday evening, February 8; Wednesday evening, March 6; Friday evening, April 19. | Soloists of the first rank will assist at the concerts, and names will be announced as soon as pending engagements have been made. The prices of season tickets, with reserved seats to the six concerts, ate: Boxes with six seats $75; boxes with four seats $50; other seats $8, $6 and $4; proscenium boxes on application. Sale of seats to holders of Patronesses’ Cards will begin at Miss Harris’s office, No. 1115 Chestnut Street, on Wednesday morning, October 10, at 9 o'clock. The series announced above is the outgrowth of two Symphony Con- certs given last winter for the benefit of sufferers by the Philippine War. The committee in charge was the auxiliary to the committee of ladies who supervised the Philippine concerts, and it is intended that the man- agement of the series of the coming season shall be generally the same. To cover expenses of the concerts a guarantee fund has been subscribed, the amount of which is sufficient to meet the requirements of the present undertaking; but it is hoped that our people will give the concerts such liberal support as to prevent a deficit at the end of the season. * * KF K The Philippine concerts paige the availability of many of our resi- dent musicians for work of the highest grade, and the committee has undertaken the task of organizing this series of concerts because it believes that with a sufficient number of rehearsals, under capable direc: — tion, our home players will be able to render great orchestral composi- tions efficiently and acceptably. Mr. Scheel will insist upon frequent and thorough rehearsals of the music; and no labor nor expense will be spared to make the work of preparation complete and the musical results wholly satisfactory. he committee feels, however, that without a widely spread interest among the people of Philadelphia, its chief object would not be realized. That object is largely to promote the musical culture of the city, and to improve its status as a center of musical effort. Therefore, an appeal is [250 ] made to every Philadelphian who understands what this undertaking may mean to the city’s future musical life for active interest and co-operation. Most useful help can be given to the movement by making its object known to friends and acquaintances; all personal effort will be an effec- tive aid to the committee’s work. Whether or not the receipts equal the expenses of the concerts, it is the hope of the committee that this movement for music in Philadelphia will receive hearty encouragement and support from every one who has a pride in the city’s artistic life. Committee: Henry WHELEN, JR. Joun C. Sims Epwarp G. McCotiin Oscar A. KNIPE Dr. Epwarp I. Kerrer Ouiver Boyce Jupson Joun H. Incuam, Secretary, 508 Chestnut Street, CircuLtaArR LetreR MAILED To PATRONEssEs WHO Hap Nor PurcHaseD Tickets ABout TEN Days BErorzE SALE To Pusric, OcroBEr, 1900: THE PHILADELPHIA ORCHESTRA 85 Performers Mr. Fritz Scneet, Conductor The Management of the Philadelphia Orchestra wishes to inform those interested in the concerts that the sale of season tickets has pro- gressed most favorably. Of the forty-nine boxes forty-one have been sold, and about thirteen hundred seats have been taken. There now remain unsold but 140 seats in the Parquet, 103 in the Parquet Circle and 76 in the Balcony. Prompt application at Heppe’s Piano Rooms, 1115 Chestnut Street, will be necessary to secure choice places. Should these seats be disposed of, there will, of course, be no sale of reserved seats for single concerts. Such wide-spread support is the best proof that the public of Phila- delphia has undoubted faith, not only in the musical ability of Mr. Scheel and his men, but also in the value of this effort to advance the cause of orchestral music in our community. The attitude of the musical profession toward the project is clearly set forth in the enclosed circular. Committee: Henry WHELEN, JR. Joun C. Sims Epwarp G. McCotiin Oscar A. KNIPE Dr. Epwarp I. Kerrer Otiver Boycr JuDson Joun H. IncHam. [251] CircuLar Issuep ABout OcTOBER 15, 1900, FOR PREss AND FOR SOLICITING PATRONESSES, TO BE ENCLOSED Wit OTHER LITERATURE: THE PHILADELPHIA ORCHESTRA Mr. Fritz Scueei, Conductor Believing that the public would be glad to hear what the Musical Profession in Philadelphia thinks of this undertaking, the committee in charge has written to a few of the leading musicians, asking for their views. Extracts from their replies are given below. The intelligent and keen critical standpoint from which their life's training enables them to judge, gives weight to their words, and the complete unanimity of opinion which they express is noteworthy. From Mr. Thomas a’Becket, President, Pennsylvania State Music Teachers’ Association: “Without a doubt the best man who has taken up residence in Phila- delphia during the past forty years. This opinion is shared by the older of our orchestral musicians; also by men who have recently played under his conducting. It has been fully demonstrated, first, that Mr. Scheel has wonderful ability in handling musicians—amateur as well as professional—and drawing from them their best work; second, that there is in Philadelphia—which I have maintained for twenty-five years—the nucleus for a good orchestra. The great need has been the proper man to bring together conflicting elements. (The movement) has, indeed, my heartiest support.’’ From Dr. Hugh A. Clarke, Professor of Music, University of Pennsyl- vania: “I believe Mr. Scheel to be a leader of first-rate ability in every respect. His work during the past winter gives ample evidence of his high standing as a musician and a conductor. The movement for the establishment of an orchestra in Philadelphia has my most cordial sup- port, as I am convinced that it has now taken the right shape and is in the hands of the right people.”’ From Mr. W. W. Gilchrist, Principal of the Central Conservatory of Music, Leader of the Mendelssohn Club, Leader of the Harrisburg Oratorio Society, etc.: ‘‘Those in whose judgment I have confidence speak very highly of him. The movement has my cordial support.”’ From Dr. Alfred C. Lambdin, Musical Editor, of ‘“The Philadelphia © Times.” ‘To the broad musical knowledge, the imaginative perception, the technical accomplishment that makes up the interpretive artist of high tank, he seems to add those peculiar personal qualities, the power of expressing his musical ideas through the medium of others, that differ- entiate the real ‘conductor.’ The value of such a man in any musical ers community 1s measured only by his opportunity. The great value of Mr. Scheel’s work this winter has been in the fresh and full artistic authority, which he has brought to bear upon our disorganized musical forces here. The two concerts at the Academy abundantly demon- strated what can be done under such leadership and how it can be done. The movement, therefore, to continue that work, and develop it on the lines already laid down, commands my most cordial support.’’ From Mr. D. D. Wood, Organist of St. Stephen’s Church, Instructor at Philadelphia Musical Academy, Teacher of Harmony, Counterpoint, Rte: “Mr. Scheel is possessed of all those rare qualifications which go to make up a great leader. “He is most excellent musician of large and varied experience, an earnest and conscientious worker, a man of great personal magnetism, and thoroughly capable of making the very best of the means at his disposal. As a conductor he deserves a place in the very first rank. ‘The work accomplished by Mr. Scheel during the past winter has been eminently successful, and deserves the cordial recognition of all true lovers of musical art, and of all who are interested in the progress of that art in our city. ‘IT am in hearty sympathy with the movement set forth in your citcular.’’ [253 ] ae ie ~ GETTY CENTER LIBRARY TL 13 ACTS CT 5468