Twenty-five Years
of the
Philadelphia Orchestra

1900-1925

By
Frances Anne Wister

PUBLISHED UNDER THE AUSPICES OF
THE WOMEN’S COMMITTEES FOR
THE PHILADELPHIA ORCHESTRA

Copyright 1925
Frances Anne Wister

Edward Stern & Company. Inc.
PRINTERS AND ENGRAVERS
PHILADELPHIA

TO
ALEXANDER VAN RENSSELAER, Esq.

DEVOTED TO
THE CAUSE OF MUSIC IN THIS CITY
AND
FIRST AND ONLY
PRESIDENT
OF
THE PHILADELPHIA ORCHESTRA
ASSOCIATION

A Road One Hundred and Fifty Years Long
“Time Was unlocks the riddle of Time Is”

Such in January, 1757, was the announcement of the first public concert in Philadelphia of which there is record. So began the approaches to the Philadelphia Orchestra, like the approaches to a great bridge which begin hundreds of feet away from the span.

There had been music in private and other entertainments previous to this public concert and in spite of the disapproval of the Society of Friends and of a number of religious sects music found its first refuge in the church. As early as 1701 Justus Falckner, a German Lutheran, wrote as follows:

“I will here take occasion to mention that many others besides myself who know the ways of the land, maintain that music would contribute much toward a good Christian service. It would not only attract and civilize the wild Indians, but it would do much good in spreading the Gospel truths among the sects and others by attracting them. Instrumental music is especially serviceable here. Thus a well-sounding organ would perhaps prove of great profit, to say nothing of the fact that the Indians would come running from far and near to listen to such unknown melody, and upon that account might become willing to accept our language and teaching, and remain with people who had such agreeable things; for they are said to come ever so far to [Pg 4] listen to one who plays even a reed-pipe (rohrpfeiffe): such an extraordinary love have they for any melodious and ringing sound. Now as the melancholy, saturnine, stingy Quaker spirit has abolished (relegiert) all such music, it would indeed be a novelty here, and tend to attract many of the young people away from the Quakers and sects to attend services where such music was found, even against the wishes of their parents. This would afford a good opportunity to show them the truth and their error.”[2]

When Falckner was ordained in Gloria Dei Church in 1703, the Hermits of the Wissahickon played on the viol, hautboy, trumpets and kettledrums (Pauken) and the service was opened with a voluntary on the little organ, all of which he doubtless arranged and enjoyed. Gradually a number of other churches followed suit and installed organs.

In regard to secular music in private houses, letters testify to its existence early in the 18th century; and Whitefield on his arrival was an ally to its opponents. One of his followers printed this information for the public in 1740, although the statement was later denied:

“Since Mr. Whitefield’s Preaching here, the Dancing School, Assembly and Concert Room have been shut up, as inconsistent with the Doctrine of the Gospel: and though the Gentlemen concern’d caus’d the Door to be broke open again, we are inform’d that no Company came to the last Assembly night.”[3]

But music was craved by some of the inhabitants or a sensation would not have been made by the Musical Clock:

“The Unparallelled Musical Clock, made by that great Master of Machinery, David Lockwood. It excels all others in the Beauty of its Structure and plays the choicest Airs from the most celebrated Operas with the greatest Nicety and Exactness. It performs with beautiful graces, ingeniously and variously intermixed, the French Horn, Pieces, perform’d upon the Organ, German and Common Flute, Flageolet, etc., Sonata’s, Concerto’s, Marches, Minuetts, Jiggs and Scots Airs, composed by Corelli, Alberoni, Mr. Händel and other great and eminent Masters of Musick.”

It was not until Mr. Palma’s concert however, that there seems to have been any music for which the public could buy tickets. This pioneer effort was followed by others. The “Subscription Concerts of Musick” became fashionable in 1764; and later the fortnightly “City Concerts” [Pg 5] under John Bentley at the City Tavern. The Amateur and Professional Concerts were a popular series. Groups of men fostered music as the years passed. Francis Hopkinson and his friends both professional and amateur assembled regularly to play “Concerti Grossi.” This group of about twelve musicians probably formed Philadelphia’s first Orchestra.

The first real musical impetus came undoubtedly from Francis Hopkinson, signer of the Declaration of Independence and later member of Congress. He was besides, a teacher, organist, poet, harpsichordist, essayist, improver of the harpsichord and the first American composer. Among his works are the song, “My Days have been so wondrous free,” the earliest American secular composition extant; and “Seven Songs” dedicated to Washington. John Adams described him as:—“One of your pretty, little curious, ingenious men. His head is not bigger than a large apple. I have not met with anything in natural history more amusing and entertaining than his personal appearance, yet he is genteel and well bred, and is very social.”[4]

Other composers were not lacking as is seen by the announcement of John Gualdo, in 1769, of a concert in which five out of thirteen numbers were composed by him. This is the first recorded composers’ concert in this country and his name appeared with those of the famous composers of Europe of the day, as Philadelphia was never far behind.

Benjamin Franklin interested himself in the art and constructed an improved Armonica or Musical Glasses. Thus two important public men of the time gave music their sanction and assisted its cause.

As the city grew the people began to feel the need of instruction in music. From early times Philadelphia had its share of music teachers, the first one to publicly advertise, being a woman. Among them were a number of excellent Englishmen who presented at concerts the works of the great masters of Europe; and there were a few Germans. One of these was an accomplished person if the following announcement which appeared in 1755, be true:

Another German was H. B. Victor, who described himself as follows:

“Mr. Victor, Musician to her late Royal Highness the Princess of Wales, and Organist at St. George’s in London, lately arrived here, takes this method of acquainting the Musical Gentry in general that he gives instructions on the Harpsichord, or Forte Piano, Violin, German Flute, etc., especially in the thorough Bass both in theory and practice, for that his pupils may soon come to a fundamental knowledge of that fine science.

“N. B. Mr. Victor intended to give a concert, and to perform on his new musical instruments, but is obliged to postpone it for want of able hands; the one he calls Tromba doppia con Tympana, on which he plays the first and second trumpet and a pair of annexed kettledrums with the feet all at once; the other is called cymbaline de amour, which resembles the musical glasses played by harpsichord keys, never subject to come out of tune, both of his own invention. He is to be met with at his house in Callowhill street near Water street.”[5]

The many quaint advertisements of those times give an idea of the musical activities of the people. Amateurs often assisted professionals.

Joseph Cézar, pupil of Viotti, in 1792, announced that: “Many amateurs of the first eminence being so kind as to honor him with their patronage, will perform,” etc. Again we hear of “a young lady who has never before appeared in public and therefore craves protection from all manner of insult.” Often the professional was “assisted by a gentleman.” Infant prodigies, who were always under ten, were numerous and they had invariably appeared before the crowned heads of Europe.

Organ dealers, spinet, harpsichord and piano makers, as well as dealers [Pg 7] in musical merchandise began to appear. Michael Hillegas, first Treasurer of the United States and first music dealer in Philadelphia, dealt in organs as early as 1753. His stock of music embraced all the popular and standard compositions of the day, and included those of Tartini, Tessorini, Pepush, Corelli, Händel, Vivaldi, Burney, Stamitz, Barbella, and Scarlatti. Besides sheet music, many other articles were to be had at his shop as we see from this advertisement:

“To be sold by Michael Hillegas, at his House in Second street, opposite Samuel Morris, Esq., an extraordinary good and neat Harpsichord with four stops; a good Violin-cello, an Assortment of English and Italian Violins, as well as common ones, as double lined, of which some extraordinary; a parcel of good German Flutes, imported here from Italy. Also imported in the last ships from London, a large Assortment of Musick, of the best Masters, viz: Solos, Overtures, Concertos, Sonatas, and Duets, for Violins, German Flutes, Hautboys, French Horns, Violoncellos, and Guitars, Voluntaries, Lessons for Organs and Harpsichords, ruled paper of various Sorts for Musick, and Musick Books, Tutors or Books of Instructions to learn to play on the Violin, German Flute, Hautboy, or Common Flute, without a Master, Song Books, Cantatas, Songs on Sheets, and a Choice Parcel of Violin Strings, etc.” (Penna. Gazette, 1759.)

John Behrent has the honor of being the first piano forte maker in this city. In 1775 his advertisement in the Pennsylvania Packet informed the public that:

“John Behrent, Joiner and Instrument-Maker living in Third street continued in Campington, directly opposite Coate’s Burying-ground, Has just finished for Sale, an extraordinary fine instrument, by the name of Piano Forte, of Mahogany, in the manner of an harpsichord, with hammers, and several changes: He intends to dispose of it on very reasonable terms: and being a master of such sort of work, and a new beginner in this country, he requests all lovers of music to favour him with their custom, and they shall not only be honestly served, but their favours gratefully acknowledged, by their humble servant, John Behrent.”[6]

[Pg 8] Familiar professional names in the early days were James Bremner, teacher of Hopkinson, John Gualdo, Stephen Forrage, George d’Eissenburg, Philip Roth, Philip Phile, John Bentley, Henri Capron, A. Juhan, Andrew Adgate, and Victor Pelissier, nearly all of whom were teachers as well as performers and were strong influences in the musical life of Philadelphia and in the training of the young who were early taught to crave the best musically.

The American Revolution caused concerts and other entertainments to be almost entirely abandoned, with the exception of the Mischianza and other affairs in which the British were the leading spirits. Little occurred during this period to advance musical art.

With the country again at peace and with the dawn of a new century, interest in music revived and early in 1820 eighty-five men organized the Musical Fund Society, so far Philadelphia’s greatest musical achievement. The officers and directors chosen on January 29th, 1820, were:

• Dr. William P. De Wees, President
• Dr. Robert Patterson, Vice-president
• Daniel Lammot, Treasurer
• John K. Kane, Secretary

Managers of the Fund: James W. Barker, Thomas Artley, Francis G. Smith, Edward Hudson, Benjamin Carr, William Strickland, Henry P. Barrekens, William Hawkins, Charles A. Poulson, Benjamin Say, George Schetky and Andrew Farrouihl.

The Charter states “That the essential objects of the said corporation shall be the relief of decayed musicians and their families and the cultivation of skill and diffusion of taste in music.” Four years later Musical Fund Hall was built at Eighth and Locust streets. For over thirty years this building was the centre of all music in Philadelphia, except opera. The Society maintained an orchestra and a chorus, and conducted an Academy of Music, which was the first school in Philadelphia permitted by Charter to confer Academic degrees in music. The orchestra of the Musical Fund Society was composed of its members, professional and amateur, and there were strict regulations as to rehearsals. They were players of no mean attainments for their time, and it is to be regretted that the influx of dazzling foreign performers was permitted to quench the ardor of the audiences and finally their own. The quality of the music performed was of a high order and compared favorably with that of Europe and of other American cities of that period. The “Creation” was chosen for the first concert, but the music could not be procured in Baltimore, New York or Boston, [Pg 9] or even in Europe, so the plan was abandoned. When it was first produced trombone players were engaged to come from Bethlehem, as there were none in this town. Indeed, the instrument itself was unknown and aroused much curiosity. Later at these concerts (1845), Beethoven’s Symphony No. 1 was given in full. It was announced as “The Entire Grand Symphony of Beethoven,” and between the movements were vocal numbers serious and comic. During the next season the Second Symphony was given in the same way, and two years later came the “Eroica,” the Overture to Oberon, and the Midsummer Night’s Dream.

When the period of the great visiting virtuosi, Jenny Lind, Henriette Sontag, Vieuxtemps, Wilhelmj, Ole Bull, Sivori, Malibran, Lagrange, Alboni, Hensler, Gottschalk and others arrived, the excitement over their first appearances caused a decrease in interest in home talent and achievements, and the activities of the Musical Fund Society were maintained with less and less enthusiasm, until finally the Academy and then the orchestra were abandoned. Another reason for this decline was the growing popularity of opera, to the detriment of personal musical effort by Philadelphians.

During the early years of the nineteenth century, as in the preceding one, Philadelphia was the abiding place of a number of excellent and hard working musicians. These carried on the labors of their predecessors by teaching the young, leading choirs and guiding the musical opinion of the city. Little recognition has been given these men, who included among their number, Alexander Reinagle, George Shetky, Benjamin Carr, Benjamin Cross, Raynor Taylor, Thomas Loud, Charles P. Hupfeldt, and later Charles Jarvis and his son, Charles J. Jarvis.

In our own time among the many musicians who have fostered music here by their own example and by training others, four should be particularly mentioned:

Dr. Hugh A. Clarke, for fifty years Professor of Music at the University of Pennsylvania, whose sway has been felt through the many students who have studied under him; Wm. W. Gilchrist, his pupil; Michael H. Cross, and Richard Zeckwer. These men wielded so potent an influence over music students and music lovers, that Philadelphians owe [Pg 10] them a heavy debt. They received the musical laying on of hands and transmitted the traditions that have existed here for two hundred years.

The important undertaking of the middle of the century was the building of the American Academy of Music.

With the growth of population and the increasing number of visiting opera companies, a demand arose for an opera house of adequate size and equipment. In 1852 the project was launched and a Charter obtained, but the amount of money needed, $400,000, was difficult to procure, and it was not until January 26th, 1857, that the Academy was opened with a grand ball. This eclipsed in size and brilliance any assemblage hitherto seen in Philadelphia, and was followed on February 25th, by the first performance of opera in the new house. “Il Trovatore” was presented with Gazzaniga, Aldini, Brignoli and Amodio, and this marked the beginning of the splendid career of the Academy of Music. Gradually other musical events were transferred to the Academy, which became, and still remains, the musical centre of the city.

Now the days of modern orchestral development are at hand. The first visiting orchestra of note was the Steiermärkisches Orchestra, of twenty musicians, under the leadership of Henri Riha, which came from Germany in 1838.

Ten years later the Germania Musical Society, from Berlin, appeared under the leadership of Carl Lenshow. Pecuniary losses caused it to disband and the members scattered. Later the Society was reorganized under Carl Bergmann. It had the honor of appearing at Sontag’s concert, in 1852.

The Germania Orchestra, instituted in 1856 and incorporated in 1860, succeeded this Society and for over forty years was an important part of Philadelphia’s musical life. Carl Sentz, the drummer of the Steiermärkisches Orchestra, became the first leader. Its concerts were given on Friday afternoons at Musical Fund Hall, at the price of two concerts for twenty-five cents, and packages of eight tickets for a dollar, which price was later raised to twenty-five cents per concert. Sentz was succeeded by Charles M. Schmitz, the cellist, who in turn was followed by William Stoll, Jr. Unlike the custom of today the Germania was governed by a conductor and officers chosen by its members. The performances were not confined to classical concerts, but it played [Pg 11] engagements for private dances, balls, festivals, oratorios, fairs, commencements, and other miscellaneous entertainments. Besides the performances at Musical Fund Hall, concerts were given on Thursday afternoons at the Pennsylvania Academy of the Fine Arts, from 1879 until 1895, inclusive. It was then customary to play one movement of a symphony each week for four weeks and at the fifth concert to play the whole. Charles M. Schmitz, who so long gave Philadelphians the satisfaction of hearing symphonic music which was their own, was the son of Adolph Schmitz, of Düsseldorf, player of the French horn. He taught woodwind and brass instruments in the Academy of the Musical Fund Society, and had the distinction of being the first musician brought to America for the purpose of teaching.

The Germania Orchestra finally disbanded and orchestral ventures were undertaken at Musical Fund Hall, Witherspoon Hall and the Academy of Music. Mr. Henry Gordon Thunder and Mr. Wm. Stoll, Jr., were active in these efforts, but lack of money hampered the results. Tickets were sold at five for one dollar and twenty for four dollars. The programmes included one or two movements of a symphony or concerto and miscellaneous selections now no longer played.

An interesting enterprise in the musical world was the Philadelphia May Festival, in 1883, of which Mr. S. Decatur Smith was President, Mr. F. T. Sully Darley, Vice-president, and Mr. George Burnham, Jr. and Mr. Hartman Kuhn among the directors. Wm. W. Gilchrist and Charles M. Schmitz were the musical directors. Aside from the advantages derived from this series of concerts, it is worthy of record that Mr. Darley was the first Vice-president of the Philadelphia Orchestra Association and Mr. Burnham and Mr. Kuhn were charter members, while Mr. Smith was one of the original guarantors.

The Philadelphia Symphony Society 1893-1900.

The need of more orchestral concerts was evidently felt, for in 1893 the Philadelphia Symphony Society was organized by amateurs and incorporated for the purpose of “the cultivation of the higher order of Orchestral Work and the fostering of all matters tending to promote the cause of music.” [Pg 12]

The Society was fortunate in procuring as its first leader, Dr. Wm. Wallace Gilchrist, founder of the Mendelssohn Club in 1875, and its conductor for forty years. Members paid no fees or dues and the three concerts given each year in the Academy of Music were supported by the Associate membership. The two upper galleries were reserved for music students in the public schools and conservatories, and about fifteen hundred such tickets were distributed for each performance. The Society possessed a musical Library and a Reading Room. Rehearsals were open to accredited music students, much to the benefit of those who were studying orchestration. It also fostered chamber music by bringing the Kneisel Quartette to Philadelphia during sixteen seasons.

After the resignation of Dr. Gilchrist, Fritz Scheel became the conductor. The list of works performed under both leaders was of the highest standard and would do credit to any professional orchestra. The place of this amateur orchestra in the symphonic succession is a noble one and one of immense influence in this community. The incentive that it gave to young players was worth all the expense and effort involved. Scheel had hesitated when asked to become leader of an amateur organization for fear of endangering his reputation. Therefore, when the Philippine Concerts were arranged, a separate committee was formed having no connection with the Philadelphia Symphony Society.

In 1900 the Society disbanded and sold to the Executive Committee of the Philadelphia Orchestra its library, a set of kettledrums and its music desks, and issued the following circular to its members:

“The Society, always active in promoting the musical interests of Philadelphia, gave its earnest and hearty assistance to the organizing of the Philadelphia Orchestra, which, now established on a firm basis and fortunate in its splendid personnel of professional musicians, is in a position to continue orchestral work in Philadelphia and carry it to a point beyond the possibilities of amateurs. For this new orchestra, which aims to do and can do so much for music in Philadelphia, the Society asks from its associate members the same generous support that heretofore has been given to our amateur organization.”

Thus ended the only connection that ever existed between the Philadelphia Symphony Society and the Philadelphia Orchestra, which was [Pg 13] that Fritz Scheel led this amateur orchestra for one season before the formation of the Philadelphia Orchestra, composed entirely of professional Philadelphia musicians.

Besides the impetus given to music in Philadelphia by the Musical Fund Society, the Germania Orchestra, and the Philadelphia Symphony Society, another group of musicians has been important in this community since 1893. The Manuscript Music Society founded by Dr. Gilchrist for the encouragement of native composers, continues to have a far-reaching effect on our musical life and is of fundamental value.

Years passed and the fact became more and more accentuated in the minds of musicians that Philadelphia, a city of 1,500,000 people, was dependent on visiting orchestras for the performance of great orchestral works. But while they were despairing of ever seeing in this city an orchestra akin to the modern ones in Europe and in other American cities, a seed was germinating. Philadelphia had had a taste of what a modern orchestra was, as far back as 1876, when Theodore Thomas played at the Centennial Exhibition, under the auspices of a Women’s Committee, headed by Mrs. E. D. Gillespie. The concerts were given up for lack of support, but a sip of ambrosia can never be forgotten. It is to Mr. Thomas and to Mrs. Gillespie, pioneers in the modern orchestral world, that we owe the Philadelphia Orchestra today. Mrs. Gillespie made another effort in 1881, on her return from a sojourn in Germany, for she realized that there were no musical advantages for students in Philadelphia to compare with those in Germany or in Boston, where Mr. Higginson had lately founded the Boston Symphony Orchestra. She invited Theodore Thomas to come to Philadelphia, give a series of symphony concerts, and share the profits. A few musicians supported this enterprise, but for the majority the programmes were severe and boring, and when after four seasons the profits were found to be $28.00, the attempt to establish a large modern orchestra in this city was abandoned. Thomas was lost to Philadelphia because the time was not ripe. This be said to our regret, not to our shame. As Mrs. Cornelius Stevenson remarked many years afterwards, one cannot feed meat to babes. Even twenty years later the majority of Philadelphia citizens felt that the season was being forced, [Pg 14] when after a number of unsuccessful attempts the Philadelphia Orchestra was founded.

However, memories of Theodore Thomas, father of American orchestras, lingered in the minds of a few music lovers, and their longing was increased by regular visits from the Boston Symphony Orchestra, which gave five and later ten concerts each season. Many people can bear witness to the joy that they felt when Gericke and Nickisch brought that orchestra here. Soon the jealousy of Philadelphia was aroused at hearing that Theodore Thomas was to settle in Chicago. The West had seized the pioneer leader whom we might have had. Philadelphia’s eyes also turned to New York City, where Dr. Leopold Damrosch and his son, Walter, and Anton Seidl led orchestras; and where the Philharmonic Society had long had an honorable career. Still Philadelphia made no move. Then, in January, 1899, it occurred to a group of women to raise a fund of $100,000 and bring to Philadelphia as a nucleus the New York Symphony Society under Mr. Walter Damrosch; fill it out with the best available musicians and call it the Philadelphia Orchestra. A circular to this effect was issued with the result that a storm of protest arose headed by another group of women, during which much newspaper publicity was given to the subject of an orchestra for this city. Finally the matter was adjusted and a committee of women issued a prospectus for a Philadelphia Orchestra of which the principal points are quoted:[7]

Prospectus of Philadelphia Permanent Orchestra

Subscriptions towards this immense sum of money—$250,000[8]—did not come in fast, and finally the proposition was abandoned under the prospect of a Philadelphia Orchestra formed on a very different and much more modest plan. There are two ways of embarking on an enterprise, one is to procure the funds in advance on faith; the other is to start the undertaking on faith and hope for the best to pay the bills. The first plan failed, the second succeeded; and after twenty years of effort, an orchestra was financially established in Philadelphia.

The last turn of the road was a long one. It led from Germany to New York, to the World’s Fair in Chicago, to San Francisco, back to New York and to Woodside Park, Philadelphia. The turn was made by Fritz Scheel.

The beginning of the Philadelphia Orchestra was the moment in July, 1899, when Mrs. Innes, wife of Bandmaster Frederic N. Innes, showed some programmes to Dr. Edward I. Keffer and asked whether he had heard Fritz Scheel and his orchestra at Woodside Park. At that moment the man for whom Philadelphia had been waiting was found; and when the place and the man come together the hour has come. Was it chance or was it fate that caused that question to be asked? Who shall determine?

Dr. Keffer speedily went to Woodside Park[9] and was so pleased with what he heard that he recommended his friends to go to hear Scheel’s masterly leading and fine concerts, besides mailing several hundred programmes to the musicians of his acquaintance. He found to his surprise that in one week a Wagner Night, a Beethoven Night and a Symphony Night were included. Many of the listeners were convinced that Scheel was the man to organize an orchestra in Philadelphia. He was competent to do it, he had no permanent position and he saw the opportunity. Mr. John Fasshauer, an active member in Mr. Thunder’s orchestra, succeeded in arranging a meeting of professional musicians, who consented to enter into a liberal agreement as to salaries and services. Still a guarantee fund seemed to be a necessity. The plan proposed was to continue the Friday afternoon concerts, long a feature here, under Fritz Scheel at the Academy of Music. A conference was held at the University Club with Mr. John H. Converse, Mr. George Burnham, Jr., and Mr. Thomas a’Becket. The question of a fund was discussed and Mr. Converse, a trustee of the proposed Permanent Orchestra, suggested that the Women’s Committee for that orchestra should co-operate. This plan did not succeed, however, and the idea of a Friday afternoon series was abandoned.

© The Phillips Studio

ALEXANDER VAN RENSSELAER, ESQ.

[Pg 17] 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:

He was to receive $1000 from each of these associations. He accepted with the provision that at the end of the season he should be given the opportunity to conduct two concerts with an orchestra of professional musicians.

The winter passed and in the early spring Scheel asked to have this part of the contract fulfilled. Like the ogre in the fairy tale, who always claims the beautiful princess, it must have seemed to the men, who had no idea how they were going to keep that promise. Scheel had given this as his only reason for staying, for he wanted a chance to show what he could do with professionals. However, having given their word, a committee was formed consisting of Mr. John H. Ingham, Mr. Oliver Boyce Judson, Dr. Edward I. Keffer, Mr. Edward G. McCollin and Mr. Oscar A. Knipe. Scheel selected his players by visiting the theatres and making notes each evening about the various musicians in the orchestras. At this point his task was easy compared to that of the Executive Committee who were responsible for the financial side of the concerts. Various benefits were contemplated and finally a decision was arrived at through the presence in Philadelphia of Lillie Langtry, who was acting for the benefit of the families of soldiers fallen in the Boer War. Why should not this undertaking be a patriotic one likewise? Why not assist the families of soldiers and sailors fallen and disabled in the Philippines? No sooner said than done. Mrs. Alexander J. Cassatt had a son in the army, and was speedily interested in a plan to raise money for the families of our own men in the service. She embraced the [Pg 18] 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:

[Pg 19]

“Committee of Women

Mrs. Alexander J. Cassatt, Chairman; Miss Harriet Buchanan, Secretary; Mrs. Frederick A. Packard, Treasurer; Mrs. C. William Bergner, Mrs. Henry C. Boyer, Mrs. Edward Coles, Mrs. Joseph G. Darlington, Mrs. Frank H. Rosengarten, Mrs. Barclay H. Warburton, Mrs. Charles S. Whelen, Mrs. J. B. Sands, wife of Captain Sands, of the Naval Home; and Miss Meade, daughter of the late General George Gordon Meade.

[Pg 20]

• “Executive Committee
• Mr. John H. Ingham, of the Melody Club
• Mr. Oliver Boyce Judson, of the Operatic Society
• Mr. Edward I. Keffer, of the Philadelphia Symphony Society
• Mr. Edward G. McCollin, of the Orpheus Club
• Mr. Oscar A. Knipe

The Philadelphia Times, March 30, 1900:

It is well to reiterate here that the Philadelphia Orchestra is not and never was a continuation of the amateur Philadelphia Symphony Society. Only one member of that organization played at the Philippine Concerts.

These concerts were so successful and so warmly received, that steps were taken to organize a committee to continue concerts by Philadelphia musicians. Later in the spring of 1900, a meeting was called in the Orpheus Club Rooms by Dr. Richard J. Dunglison, President of the Musical Fund Society. Officers of various musical organizations, representatives of the press and prominent men in civic affairs were present. A plan for organization was discussed and the necessity for a Guarantee Fund was emphasized. The same committee of gentlemen was appointed, with the addition of Mr. John C. Sims, as Treasurer. Within four weeks of the second Philippine concert, the first circular announcing the plan for forming a Philadelphia Orchestra was mailed by this Committee: [Pg 21]

“A Plan to Develop the Orchestral
Resources of Philadelphia

• “Committee:
• Henry Whelen, Jr.
• John C. Sims
• Edward G. McCollin
• Oscar A. Knipe
• Dr. Edward I. Keffer
• Oliver Boyce Judson
• April 30, 1900 John H. Ingham”

A Guarantee Fund of $15,000 was raised from one hundred and twenty people[11], a difficult task in those days, for an untried plan; and six evening concerts were given during the winter of 1900-1901.

The Committee invited four thousand women to be patronesses, and issued many circulars. It was the personal work, however, that accomplished the result in 1900, and that has continued to accomplish results during twenty-five years. Guarantors and patronesses were accorded the privilege of securing seats, for which there was no demand, in advance.

This concert was herald as a musical and social event and the newspapers were highly commendatory and friendly in tone. [Pg 23]

The first venture having been successfully concluded, business matters were attended to by issuing the first call of the Philadelphia [Pg 25] Orchestra to the guarantors, combined with which was the announcement of the formation of The Philadelphia Orchestra Association, on May 17th, 1901, with the following officers and directors:

Who was the conductor of this new orchestra, who until eighteen months before was unknown in Philadelphia?

Fritz Scheel was born in Lübeck, Germany, in 1852. His father and grandfather were orchestral conductors and his mother was a highly talented singer, from whom he inherited his remarkable memory and fine ear.

Fritz was the oldest of a large family and worked for his own and his family’s support from an early age. He received his education from the city, in return for playing in orchestras and at concerts and operas. As a boy he often had to fill sudden vacancies, and he was also able to play the horn, trumpet, trombone and tuba. He was the principal teacher of his four brothers, all musicians. As his father was a practical [Pg 26] musician, Scheel had had from his childhood an intimate experience with the details of orchestral instruments. As a boy he conducted an orchestra of his own formation, giving subscription concerts in nearby towns which were well attended. At fifteen he appeared as a violin soloist.

Scheel’s first appearance as a conductor was when he was the youthful trumpeter in the town band of Chemnitz. Like other municipal bands of Germany, this one furnished the music for all occasions and happened to be playing for the circus. The leader was taken ill, and one of the men was selected as a substitute. When the ring master heard of it, he said, “No, let that boy conduct. It is he who watches the horses’ feet, when they dance, and it is he who sets the time for the music.” Scheel became the leader of the band, and later on was employed by the town as instructor of all the band and orchestral instruments. This experience gave him an expert knowledge of technique, which proved valuable later.

In an interview given during the first season here, Scheel described conducting his first opera, shortly after receiving a life appointment as first violin in the Court Orchestra at Schwerin.

“Do I recall the first performance that I conducted?” said Mr. Scheel. “Yes, and it was an opera. Meyerbeer’s ‘Robert Le Diable.’ I was exactly nineteen and a half years old, and a lost orchestra score led to it. I was the concertmaster then in the Chemnitz Orchestra, which in summer played for the opera performances in Bremerhafen at the Court Theatre. The opera of ‘Robert Le Diable’ was announced, and when the morning of the first rehearsal came it was discovered that the entire second act of the conductor’s score had been lost. Herr Pohl, the conductor, a young man of thirty-three, refused to go on with the opera. It was too late to think of getting another score in time for the rehearsals necessary for the performance. The only way out of it seemed to be the withdrawal of the opera. Some of the singers, who had noticed the cue for their phrases that I had given them on the violin, asked whether I would not conduct. ‘If the conductor invites me I will,’ I said. When this was repeated to the conductor he promptly gave the invitation, and it was a pressing one, for they wished to give the opera and keep faith with the public. That entire second act I had to conduct from the first violin part, memory supplying the rest. The performance went without a break. That settled my career. Three days later I conducted Gounod’s ‘Faust,’ and immediately afterward ‘L’Africaine,’ of Meyerbeer, Herr Pohl himself supplying the harp part on a piano. In the years that followed many [Pg 27] were the performances that I conducted, including the entire ‘Niebelungen Ring’ of Wagner. But I never hear a fragment of Meyerbeer’s ‘Robert Le Diable’ without smiling to myself at the recollection of the time when I conducted the second act from the first violin part.”

After nine years at Schwerin, Scheel went to Chemnitz as Kappelmeister, winning the appointment over thirty-five competitors, as successor to Hans Sitt. There he also played weekly solos and conducted for the most famous virtuosi, such as Hans von Bülow, Sarasate, Wilhelmj and Joachim. He once prepared the orchestra for a Beethoven Concert under Von Bülow’s direction in an hour and a half, the programme being the Leonore Overture No. 3, the Eroica Symphony and a Concerto. The Chemnitz Orchestra was often called to different cities in Saxony, such as Dresden, Leipzig, etc., to play before crowded houses. Scheel was also elected leader of the Sitt Chor Gesangverein, a Chorus of 400 mixed voices. With this Chorus and the excellent City Orchestra he obtained marvelous results, and produced among other great works, Bach’s “Mattheus Passion” and “Trauer Ode”; Beethoven’s Ninth Symphony and his Missa Solemnis; Schumann’s “Faust Scenes,” Liszt’s “Christus” and Händel’s “Samson.” The Choral works of Mendelssohn, Schumann, and Gade were also performed, as well as many small choruses. In 1885 a Music Festival lasting three days was given to celebrate the two hundredth anniversary of Bach’s birth, and he kept in the vanguard of musical events in Germany.

During this period, Scheel spent four summers in conducting opera at a Russian watering place. Four different operas were given each week, and the repertoire included: “Tannhäuser,” “Lohengrin,” “The Flying Dutchman,” “Rienzi,” “Euryanthe,” “Der Freischütz,” “Faust,” the standard Italian operas of Verdi, Rossini, etc., for which he also trained the chorus.

After nine years at Chemnitz, Scheel was called by von Bülow to Hamburg to drill the orchestra for concerts which he and the pianist alternated in conducting. He was a devoted admirer of von Bülow and the great pianist showed his appreciation in many ways. Years later, after von Bülow had retired, he offered to play at a concert given in honor of Scheel. “I do it once more,” he said, “as gratitude for a true colleague and friend.” He played the piano Concerto in E flat major, by [Pg 28] Beethoven, and the Hungarian Fantasie, dedicated to him by his father-in-law, Franz Liszt. This was one year before his death and was his last public appearance as a pianist. Scheel also knew well Brahms, Tschaikowsky and Rubinstein.

In 1892 Dr. Ziegfeld engaged Scheel to go to Chicago the next year and give historical concerts at the World’s Fair. The enterprise failed. He then took an orchestra to the Mid-winter Fair in San Francisco, under the name of the “Vienna Prater Orchestra,” in the winter of 1893. Later he gave daily concerts, and, during two seasons, cycles of Afternoon Symphony Concerts. For a season he was engaged by Oscar Hammerstein and then he became the first leader of the San Francisco Orchestra. He introduced the great classical and modern works to the people of that city, who still speak admiringly of him and remember his success. After five years in San Francisco, Scheel came to Philadelphia, and was discovered at Woodside Park, conducting his “New York Orchestra.” The newspaper criticisms were most flattering.

The following pen picture of Mr. Scheel has been given by a man who played under his leadership and saw him under many conditions.

Many stories are told of Fritz Scheel’s early efforts with amateurs and with a group of musicians, strange to him, for in those days the requirements for orchestral players were not the present ones, and there were many obstacles to overcome. His ear was absolutely correct, and he often told the players when tuning was needed. He was on occasion obliged to use mechanical strategies to insure the proper intonation. A close friend of his tells the following anecdotes: [Pg 29]

This brief account of the first leader of the Philadelphia Orchestra explains why the Executive Committee pinned its faith to Fritz Scheel.

As the beginnings of the orchestra are recorded, how delightful it is to music lovers to know that the Musical Fund Society, itself a bold pioneer eighty years before, sponsored this most daring enterprise of our musical history. Dr. Dunglison, its president, presiding in the Orpheus Rooms on a spring afternoon in 1900, gave the blessing of the first Philadelphia Orchestra to the present Philadelphia Orchestra. [Pg 30] Like Brünnhilde, herself shorn of godly powers, sending forth her hero to do great deeds, so the Musical Fund Society, no longer composed of active musicians, sent forth the young orchestra to conquer the musical world. No magic rings, or swords, or helmets were given to aid it in surmounting difficulties. The only magic formulas known to all the people interested were hard work and an invincible spirit.

© Allen Drew Cook

FRITZ SCHEEL

With the first steps safely passed and the Philadelphia Orchestra organized, the period of financial difficulty began. In 1901-1902 fourteen pairs of concerts in the regular series, and a total of fifty-two concerts for the season were given. The deficit jumped from $14,000 to $72,000. Everything was quadrupled except the audience. That remained almost stationary. Twenty years after Theodore Thomas’s time Philadelphia was still not ready to attend symphony concerts or support an orchestra at any general sacrifice to its own purse. The general attitude was that such a project must be supported by a few persons who had time and money to spend. Indifference was widespread.

Scheel early saw the need of traveling to make the orchestra known, especially in New York and Boston, as he realized that the saying about the prophet held good for orchestras as well as for persons. He was faced with the fact that the Association could not see its way to send the orchestra to large cities. Appearances out-of-town were undertaken as early as 1901-02, in cities in Pennsylvania and New Jersey. During the next season New York, Baltimore and Washington were visited.

He well knew, however, that his work with soloists would bring the orchestra fame, and much effort was expended in preparing accompaniments. A case in point was the time that Ysaye was the soloist and was playing a Bach Concerto. At the end the violinist stood like a statue until the orchestra had finished. When Scheel went off the stage, Ysaye kissed him on both cheeks and said that the accompaniment was the finest he had ever had. Shortly after this a member of the Boston Orchestra told one of our violinists that Ysaye had been booked to play the Bach Concerto with his orchestra; but after starting it he stopped the rehearsal and said: “Not after the Philadelphia Orchestra will I play the Bach Concerto,” and another concerto was substituted. [Pg 32]

With artistic ambitions ever growing, it was discovered that some of the needed instruments were not to be found in the city and in addition to this a number of players would not accept the terms of the contract. The situation became acute, so in the summer of 1901, and again in 1902, the conductor was commissioned to seek musicians in Europe.

When it became evident that the Philadelphia Orchestra was going to be permanent, application was made in 1902 for a Charter[13] for the Association, which was granted on January 5th, 1903, to the following persons, only nine of whom are now living:

From the beginning Scheel inaugurated the polity continued ever since, of putting the orchestra in the lead artistically. “First,” performances began almost immediately. Three years after the formation of the orchestra he gave the first complete Beethoven Cycle ever presented in Philadelphia. Five successive concerts were devoted to this, ending with the Ninth Symphony, in which the Mendelssohn Club participated. This event was preceded by a series of five Young People’s Educational Concerts with lectures, by William J. Henderson, William F. Apthorp, Louis C. Elson, Hugh A. Clarke and Henry E. Krehbiel, whose subject was “Beethoven.” Other lectures were given on the same subject on the days of the concerts. [Pg 33]

Musical Courier, New York, March 25th, 1903:

Musical Courier, April 1, 1903:

“At the end, when the composer abandons absolute music and turns to song, Philadelphia’s own distinguished choral body, the Mendelssohn Club, came to the support of the musicians, and the beautiful ‘Hymn of Joy’ was brilliantly sung. As a quartet for the solo part, Mrs. Marie Kunkel-Zimmerman, Mrs. Osborne, Nicholas Douty and Mr. Schurig did brilliant work. Altogether the playing of this Ninth Symphony formed a fitting climax to this memorable week devoted to the great master’s own musical history.”

“After the performance of the overture, Scheel was presented with a floral wreath, lyre and harp, and John H. Converse on behalf of the Directors of the orchestra, bestowed upon him a bronze bust of Beethoven, in well chosen words of compliment and congratulations.”

Scheel’s one thought was the artistic development of the orchestra. The story is told of a time when new members of the Board found that the concerts were being given at a tremendous loss. They at once criticised the quality of the music, and said, “The programme must be changed; you are giving too high-class music for the people, and they won’t stand it.” The Executive Committee therefore decided that Mr. Scheel should put waltzes on his symphony programmes; and a meeting was arranged with him. This was in the early days when his English was less fluent than [Pg 35] later, and his understanding of the language less keen. It took him some minutes to find out the real purpose of the Committee. Then he expressed himself in a very formal way—somewhat in this wise: “Gentlemen, I am the head of the department of music of this association. I am elected by you. You represent the business end of this association; I stand for art. I cannot allow any one to interfere with my programme. If my programme and my management of the musical side of the association does not meet with your approval, you may get another conductor; but as long as I am conductor of the Philadelphia Orchestra, waltzes will not be played on a symphony programme.” He spoke so emphatically that there was no recourse and the subject of waltzes at the regular series was dropped.

After this decision, however, Mr. Scheel suggested giving popular concerts. The committee immediately accepted this offer, and plans were made for five. At the last minute, when the sale at the box office was found to be exceedingly small, it was considered necessary to call upon outside organizations to make the concerts a financial success, so they were given for the benefit of various charitable organizations, such as the University Hospital, Hahnemann Hospital, St. Christopher’s Hospital for Children, and others.

The first Popular Benefit Concert for the Men’s Medical Ward of the University Hospital was put in charge of the “Benevolent Aid Society” of that ward. This committee, with Mrs. William W. Arnett, as Chairman, and Mrs. S. Naudain Duer, as Vice-chairman, at ten days’ notice secured one thousand patronesses and sold out the house, David Bispham having been secured as soloist, and a popular programme having been announced. This was the first time people representing a so-called “Opera Audience” had heard the Orchestra. In 1905 this same Committee secured the orchestra and gave an afternoon of Music in the Horticultural Hall. Tea was served at tables, and two programmes, with an intermission, were given. In each of these events about one thousand dollars each was cleared by the orchestra and the Men’s Ward. While these efforts were not entirely consistent with the dignity of a great orchestra, the financial situation in which the management found itself made such overtures for money making and advertising advantageous. [Pg 36]

The Press, November 12th, 1902:

In the early days rehearsals were held in the banquet room of Musical Fund Hall, and in the room of the Commercial Museum, through the courtesy of those organizations. Later Odd Fellows Hall was rented, but since 1912 the rehearsals have been held at the Academy of Music, by a special arrangement with the management, which has always co-operated to the fullest extent with the Association.

The Strauss Concerts

During the fourth season of the orchestra’s existence, the Executive Committee took the bold step of engaging Richard Strauss to appear with it in Philadelphia. Later, two appearances in Boston with the Philadelphia Orchestra were added, as it was learned that no guest conductor was permitted to conduct the Boston Symphony Orchestra.

Strauss’s first American concert was in New York, where the practice of sending substitutes to rehearsals was common. In the middle of “Don [Pg 37] Juan” the orchestra broke down and they had to stop and begin again. Therefore, when Dr. Strauss reached Philadelphia, he was prepared for another such occurrence. He arrived for rehearsal in a perturbed state of mind, and proceeded brusquely to the conductor’s stand. Mr. Scheel, however, had spared no pains in preparation for the great event. The rehearsal was held at Odd Fellows Temple, in a small room, where the reverberations in the fortissimo passages were tremendous. After simply bowing to Mr. Scheel, Dr. Strauss began to lead. He had played but a few measures before he discovered an orchestra thoroughly proficient and well-rehearsed in his numbers. After playing a few bars he dropped his arms and allowed the orchestra to play on. There was an entire change in his manner. He turned to Scheel, and, throwing both arms in the air, exclaimed, “Famos!” Every few moments he cried, “Wunderschön!” “Ausgezeichnet!” After making one or two corrections in the parts, he stopped the rehearsal and became highly enthusiastic over the playing of the orchestra.

Great preparations were made for this event and much money was spent, for Strauss not only received a large fee, but much had to be used for advertising.

Philadelphia Inquirer, March 5th, 1904:

Philadelphia Ledger, March 5th, 1904:

City and State, March 10th, 1904:

[Pg 40] These concerts were repeated in Boston on March 7th and 8th, where they had been well advertised and both houses sold out. But when the programmes were announced there was a cry of protest from the critics and musicians of that city. “Why should Boston have to listen to Fritz Scheel conduct a symphony on each programme?” The Executive Committee replied firmly that Boston had refused to have Dr. Strauss lead the Boston Symphony Orchestra, and now the Philadelphia Orchestra Association was giving Boston an opportunity to hear Dr. Strauss conduct as guest conductor of the Philadelphia Orchestra. The programme was not changed, but Philadelphia had to explain the stand she had taken even after the orchestra had reached Boston.

Then a real contretemps occurred, trying enough to shake the strongest nerves. In those days, either moving orchestras was more difficult, or the Philadelphia Orchestra was still too inexperienced a traveler to do so efficiently. When the hour for rehearsal in Symphony Hall arrived, there was no music and there were no instruments. They had been lost en route. The explanation arrived at after much telegraphing was that these valuable possessions had been placed in a car too high to pass under the bridges on the regular route, so it had been re-routed and would probably not arrive until evening. This was a predicament for a young orchestra, none too easy in its mind at the prospect of playing in the city of the Boston Symphony Orchestra; and now deprived of rehearsal in a hall new to the conductor, as well as to every player. The day passed, evening came, the audience assembled, and still no instruments. Twenty minutes after the concert hour, heavy teams were heard outside. The day was saved, the instruments were hurriedly put in place, the men went on, and the symphony, Brahms’ No. 2, began. The Philadelphians present say that the orchestra never played so well, and at the end of the symphony Scheel was recalled six times. Mr. Elson, a most friendly critic, who had given a dinner for our conductor the night before, rushed behind, saying, “Scheel, you have conquered Boston.” At a reception given for the two conductors after the concert, Mr. Philip Hale said of Scheel: “He has the right arm of Thomas and the left arm of Nikisch.” [Pg 41]

Boston Herald, March 8th, 1904 (Philip Hale):

“The performance of the orchestra under Mr. Scheel was admirable.... Here is a conductor to be respected for many qualities, for his mastery of mechanism and for his genuine and poetic feeling.... There is no doubt that Mr. Scheel is an accomplished drill master. His patience and intelligence in rehearsal were shown by the fine performance of the supple orchestra under his direction.”

Boston Evening Transcript:

“Mr. Scheel is unquestionably a conductor of parts, whom one would gladly know better.... The wonderful beauties in the scoring of Liszt’s symphony were all made the most of, and under the hands of Mr. Scheel the dull passages became less hopeless than usual. Of the dramatic points Mr. Scheel took full advantage and with the advent of the Gretchen theme in the third movement he made an electrifying effect.”

Boston Daily Advertiser (Louis C. Elson):

A delightful anecdote is told about this visit to Boston. After the success of the evening concert, Dr. Strauss, full of enthusiasm, told Mr. Scheel that he must play the Domestica Symphony at its first performance in New York, and they arranged to play it together on the piano from the orchestral score in Symphony Hall the next morning. Scheel took the score home with him and the next morning the first playing of the Domestica in America began, Dr. Strauss taking the treble and Scheel the bass. In Strauss’s excitement he knocked the music off the rack just as the fugue started in the bassoons, but Scheel continued to play. Strauss turned to watch him, but still he played. The music was replaced and they finished the symphony. Dr. [Pg 42] Strauss then discovered that Scheel had spread the score on a trunk and studied it all night, only closing the book at daylight.

Shortly after this Dr. Keffer received the following letter:

The next event out of the ordinary in which the orchestra took part was the Special Concert conducted by Felix Weingartner, about a year later.

He was well received by the audience and by the critics, one of whom wrote thus:

Public Ledger, February 17th, 1905:

During this season Mr. Scheel presented his first programme of House Music at a reception held in his honor, and the next winter he gave six such concerts at the residence of Mrs. Spencer Ervin, as a compliment to the Women’s Committee. These concerts much resembled the concerts [Pg 44] given by Francis Hopkinson and his friends in the early days of Philadelphia, but were a complete and delightful novelty in 1905.

The most important evening of this kind was the concert given by Mr. Scheel and Philadelphia Orchestra musicians for Mrs. Roosevelt and her guests.

All was not smooth sailing during the early years or for years to come. Scheel had enemies, so did the orchestra. Many people were not pleased when plans other than their own succeeded, and there was unpleasant comment from time to time. This was gradually overcome by the sincere attitude and the industry of the conductor and the improvement in the playing of the orchestra. The Beethoven Cycle, the Strauss concerts and the appearance of Weingartner were helps to popularity, not a sudden popularity, but one achieved by real worth. Scheel was fast making a place for himself in the musical life of the city, and in 1905 he was engaged as leader of the Orpheus Club and of the Eurydice Chorus to succeed Dr. Frank Damrosch. This put added burdens onto him, but it was not understood then that the strain of leading an orchestra is enough for one man. [Pg 46]

Recognition also came from outside of Philadelphia. Scheel had the compliment paid him of being invited to lead two concerts in New York in place of Theodore Thomas, who had recently died, which concerts were to mark the semi-centennial of Thomas’s connection with the Philharmonic Orchestra. Unfortunately, conflicting dates made acceptance impossible. He was even spoken of as a possible successor to Thomas by Mr. Louis Elson, of Boston, who said:

“There is a most thorough and progressive musician, who is perfectly fitted for the Chicago position—Mr. Fritz Scheel of Philadelphia. This conductor, although he has been in America but a short time, has already won his spurs and proved his right to the highest orchestral position. He is not too conservative, an essential point with an orchestral conductor of the present.”

In the meantime the concerts in Philadelphia were constantly improving, and the number had increased from six single concerts to eighteen pairs in six years. Out-of-town concerts in nearby places had been attempted with varying financial results. The Board of Directors, the Executive Committee and various Sub-committees worked hard to advance the interests of the orchestra.

The standard of excellence was kept at a high point. Fritz Scheel, ever ambitious for this venture in America, and possessing a keen artistic sense, produced programmes of excellence, which equalled and sometimes surpassed those of older American orchestras.

To the Philadelphia Orchestra Association belongs the distinction of first having promulgated the idea of procuring assistance from Women’s Committees.

These were formed to promote out-of-town concerts in Harrisburg, Lancaster, Allentown and Trenton. In 1902-03, during the second season of concerts in those cities, it became evident that help was needed to increase interest in the concerts and procure a larger audience. Miss Mary Sergeant, sister of Mrs. A. J. Dallas Dixon, of Philadelphia, undertook this work in Harrisburg; Miss Hall became the Chairman in Trenton; Mrs. A. J. Steinman, in Lancaster; and Mrs. Robert E. Wright, in Allentown. These committees worked hard to make the Philadelphia Orchestra concerts successful.

No help of this kind seems to have been thought of for Philadelphia until the financial situation became so acute in 1904, as to endanger the life of the orchestra.

The Women’s Committee for the
Philadelphia Orchestra and the
First Ten Thousand

Each year had become more difficult financially and while the orchestra was learning many tunes the Board of Directors could remember but one. They constantly repeated the same question: “Where shall we get the money?” with variations. The Academy was not sold out; if it had been it would not have paid expenses. Nobody wanted to hear the Philadelphia Orchestra. The general attitude was that there were too many concerts, that even the Boston Symphony Orchestra gave only five in a series, and that only a few extreme musical enthusiasts went to the two Boston series, a total of ten. The Executive Committee and the Board of Directors spent hours discussing means of procuring more guarantors to meet the increasing deficit. Every improvement in players or special soloists meant money. [Pg 48]

The Guarantee Fund for a three-year term expired in the spring of 1904, and there would be an extra deficit of $16,000. The Association was facing a crisis. No contracts could be made without some financial background.

Just at this moment an idea occurred to Mrs. Edward G. McCollin, wife of a member of the Executive Committee. After approaching several friends on this subject and failing to interest them, Mrs. McCollin one day spoke to Mrs. A. J. Dallas Dixon, who persuaded Mrs. C. Stuart Patterson to call a meeting. The result was that a number of women met at Mrs. Dixon’s house, 709 Pine Street, to discuss plans to assist the orchestra, on March 11th, 1904. Mrs. Dixon was elected president and on March 13th, a Women’s Committee of twenty was formally organized. The officers and directors were:[14]

Later the following Honorary Vice-presidents accepted:

Mrs. Wm. W. Arnett, Mrs. George F. Baer, Mrs. Alexander W. Biddle, Mrs. John Cadwalader, Mrs. Alexander J. Cassatt, Mrs. Charles B. Coxe, Miss Mary K. Gibson, Mrs. Austin S. Heckscher, Mrs. Charles Edward Ingersoll, Mrs. Thomas McKean, Jr., Mrs. C. Stuart Patterson, Mrs. Frank Rosengarten, Mrs. Cornelius Stevenson, Miss Anne Thomson, Mrs. Alexander Van Rensselaer, Mrs. Henry Whelen, Jr.

MRS. ALEXANDER J. DALLAS DIXON

[Pg 49] The original of this letter is preserved in the archives of the Committee:

Committees on Guarantors, Boxes and General Subscriptions were formed and their labors began.

The first work which the women undertook at the request of the Executive Committee was to secure $10,000, in new guarantees within the first month of its existence; the Executive Committee feeling that the best indication of a desire to continue the orchestra would be shown by an increase in the Guarantee Fund.

The Committee at once went to the musical critics of the various Philadelphia newspapers and secured their hearty co-operation in the work of rousing the public to an appreciation of the musical and civic importance of the orchestra. Within the allotted time the Committee had not only secured more than $10,000 in new guarantees, but had received new orders for $5,000 worth of seats and boxes for the next season. The Association thereupon decided to continue the orchestra for one more year, hoping that public interest would continue to increase.

The Guarantee Committee appointed by Mrs. Dixon to raise this sum was composed of Mrs. Spencer Ervin, now Mrs. Harold E. Yarnall, Chairman; Mrs. Morris Pfaelzer, Mrs. Edward I. Keffer, Mrs. George D. Widener and Miss Frances A. Wister, Secretary. A careful plan was made for this attack upon the public purse and all the members of the Committee threw themselves into the task of raising this large sum for a little known and unpopular cause.

Lists of prospective guarantors were compiled and each woman was assigned her quota of people to approach. The time was short, the pace was quick and the excitement was great. To at least one member it was a [Pg 50] first experience at raising a large amount, but the novelty quickly wore off in the face of the continuous needs of the Association.

The Committee on Seats and Boxes became active at once, and Mrs. McCollin as Chairman of the Press Committee attended most ably to the publicity. Numberless articles appeared describing the Committee and its activities, and the help of the papers was very valuable.

Another way of making the orchestra and the Committee known was the parlor meetings. These were held in various places, with speakers of influence in the community. The first of these took place at the residence of Mrs. Thomas S. Harrison. Addresses were made by Dr. Alfred C. Lambdin, Mr. Constantin von Sternberg, Miss Esther Kelly and Miss Wister. No money was asked for at these meetings which were held in all sections of Philadelphia and vicinity during many seasons. The fact that Philadelphia had an orchestra was the point emphasized, as there was general ignorance of its existence. Then its importance to the musical life of the city and its needs were mentioned. Perhaps the most useful work next to procuring guarantors was the formation of the Auxiliary. These women were elected and asked to become season seat holders. The reports of the sale of boxes and season seats show thousands of dollars secured in new orders during the first years and frequent comment is made upon the improved appearance of the house through the filling of the boxes. The Friday house has been sold out for a number of years, but the Saturday house was a more difficult problem and only recently has been filled by season subscribers.

The list of activities was never-ending, and included visits to music schools, circulars, appeals, the co-operation of libraries, orchestra clubs, special rates for students, parlor meetings, of which Mrs. Keffer became Chairman in 1905, letters to friends in other cities where the orchestra was to appear and many more. The results were good. Between 1904-05 and 1907-08, the total sales of new orders for seats and boxes amounted to $29,670.00, and new guarantees amounted to $37,500.

The Germantown and Chestnut Hill
Women’s Committee

The activity of the Women’s Committee during its first year of [Pg 51] existence and the great need of the Association brought about the formation of a second Committee in Germantown and Chestnut Hill, on March 28th, 1905, under the leadership of Mrs. Francis Howard Williams, a woman prominent in every good cause.

• Mrs. Francis Howard Williams, President[15]
• Miss Anna Hazen Howell, Recording Secretary
• Mrs. Henry W. Raymond, Corresponding Secretary
• Mrs. Augustus Stoughton, Treasurer
• Miss Frances A. Wister, Secretary
• for the Guarantee Fund

No sooner were these women organized than they threw themselves enthusiastically into work in their section and have since co-operated with the Women’s Committee in every undertaking. They raised $26,825 for the Million Dollar Endowment Fund.

Mrs. Williams declined to be a candidate for the presidency in 1916 and was succeeded by the Countess of Santa Eulalia, who still holds that office. The Committee has recently celebrated its Twentieth Anniversary.

The West Philadelphia
Women’s Committee

Shortly afterwards, on April 6th, 1905, the spirit moved the women of West Philadelphia to form a third Committee. Mrs. C. Lincoln Furbush, daughter of Mr. and Mrs. Wm. Burnham, staunch supporters of the orchestra, organized it at her mother’s house, and became its first president and the youngest of Women’s Committee presidents.

The officers were:

• Mrs. C. Lincoln Furbush, President[16]
• Miss Margaretta Hinchman, Vice-president
• Miss Helen Fergusson, Corresponding Secretary
• Miss Edith Schoff, Recording Secretary
• Miss Grace Atlee, Treasurer

After one year of service Mrs. Furbush, Miss Schoff and Miss Atlee resigned, and Mrs. Monroe Smith, now Mrs. L. Howard Weatherly, Mrs. Charles L. Mitchell and Mrs. Samuel S. Fels succeeded them and still hold those offices.

[Pg 52] This active Committee has constantly been inaugurating new plans. In 1915, to commemorate its Tenth Anniversary, it presented to the Association the stage setting completed in 1918, which was used until the new plans of Mr. Stokowski made a complete change of size and shape necessary.

Entertainments of many kinds have been given and the Twentieth Anniversary was celebrated in May, 1925.

The Media, Chester and West Chester Women’s
Committee, Since 1923, The Delaware County
Women’s Committee

At the Annual Meeting of the Women’s Committees and their Auxiliaries in April, 1911, Mrs. J. Claude Bedford, an active amateur musician, then living in Media, proposed that a Women’s Committee should be formed in Delaware County. She had become convinced that work of value could be done there and with the help of Mrs. Arnett, she formed a Committee with members from nine towns within twenty-five miles of Philadelphia, including West Chester, Glen Mills, Media, Wallingford, Swarthmore, Primos, Lansdowne, Darby and Chester.

The task was a hard one. Many residents of the district were unable, on account of the distance and of poor train service, to attend the concerts. Yet there was enthusiasm and much hard work in Delaware County. After several years, Mrs. Bedford was obliged to relinquish her position, and Mrs. Matthew H. Cryer, of Lansdowne, succeeded to the office of President, which she still retains. The work of this Committee has been extraordinary and beset with obstacles. No enterprise has ever been entered into by the other Committees, in which the Delaware County Committee has not done its share and more, including bringing in its quota of $20,000 for the Million Dollar Endowment Fund. The Tenth Anniversary was celebrated in May, 1911, by a reception given at the house of Mrs. Cryer.

These four Committees are actively engaged in working for the Philadelphia Orchestra in Philadelphia, but they have been instrumental in helping the out-of-town concerts by persuading women in other places to foster concerts given there. The first of these was formed in Wilmington, Delaware. [Pg 53]

Women’s Committees in Other Places
Delaware Committee
Wilmington
Formed June 29th, 1905
Officers

Mrs. Lewis C. Vandegrift, President; Mrs. Joseph Swift, Vice-president; Mrs. William Betts, Secretary; Miss Annie T. Flinn, Treasurer.

Concerts were given in Wilmington as early as the season of 1902-03, but they were not thriving as they should. The Women’s Committee therefore sent a mission to Wilmington, where Mrs. Joseph Swift, a composer and an amateur musician of prominence, called a meeting at her house. Mrs. Dixon, Mrs. McCollin and Miss Wister were the emissaries and the visit resulted in the formation of the Delaware Committee, with the above officers and twenty-three Directors.

For fifteen years this Committee continued its active work under the successive leadership of Mrs. Lewis C. Vandegrift, Mrs. Swift, and Mrs. Robert B. Bird. It was active in selling seats, procuring the Guarantee Fund for the Wilmington Concerts, without which the orchestra could not appear, in arousing interest by giving receptions for our leaders and in other ways. It was of immense help to have an organized group of people furthering the interests of the orchestra in Wilmington. The Committee continued its labors until the concerts had to be given up on account of the press of engagements. This Committee was affiliated with the Philadelphia Women’s Committee, and always sent a representative to the Annual Meetings.

The Baltimore Committee
Formed May, 1906

Baltimore and Washington were considered fruitful fields and Philadelphia’s by right of propinquity. The Boston Symphony Orchestra had established a large clientele in these cities, but it had years of reputation, and of artistic achievement, with which to attract audiences. Not so with a new and little known orchestra. Mrs. Dixon, Miss Wister and Mrs. Thomas S. Kirkbride, Jr., paid a visit there in December, 1905, on the occasion of an afternoon concert at the Arundell Club, at which two members of the orchestra, with Mrs. Kirkbride at the [Pg 54] piano, played trios. In the following spring, Miss Mary B. Shearer organized a Committee and became the Chairman[17].

The Washington Committee

In Washington, Miss Aileen Bell, after a meeting at which Mrs. Dixon spoke, organized a group of women to assist in popularizing the orchestra, and also secured many patronesses.[18]

Washington, the abode of representatives of foreign countries and with a fluctuating population, was an easier field than Baltimore. Neither of these Committees has been active lately, because the necessity is past, but their help was much appreciated then.

The Atlantic County Committee

This Committee, which was affiliated with the Women’s Committee, was formed in Atlantic City, after a concert by the Philadelphia Orchestra in 1912, and was active until 1915.

A Committee of five women was appointed, with Mrs. Joseph H. Ireland as President, to take charge of a permanent series of concerts in Atlantic City. During the three years of its existence, they sold the tickets, carried on educational work in the schools, arranged for special students’ tickets, distributed programmes in advance as a basis for study, managed the publicity and indulged in other forms of activity.

The Women’s Committees for the Philadelphia Orchestra have been an important part of the work at home and abroad. There have been twelve:

The Twentieth Anniversary of
the Women’s Committee

The Women’s Committee, pioneer of the four in Philadelphia, celebrated its Twentieth Anniversary in March, 1924. The event was marked by a series of entertainments, beginning with a luncheon given by the Officers and Directors of the Philadelphia Orchestra Association on March 11th. After a number of speeches an anonymous gift of one thousand Dollars to the Pension Fund from a member of the Committee, in honor of the occasion, was presented to the President of the Association. By vote of the Board of Directors this has been placed in a separate fund bearing the donor’s name and the Women’s Committee has the privilege of designating a special use for the income each year.

The next event was the reception given by the Women’s Committee, in the Foyer of the Academy of Music, on March 14th, in which the members of the Auxiliary joined, and at which the guests of honor were the Officers and Directors of the Association, Mr. Leopold Stokowski and the members of the Philadelphia Orchestra.

The Treasurer’s Report at the Twentieth Annual Meeting in 1924, showed that since 1904, for dues and subscriptions to special entertainments and gifts by the Committee, $11,432.00 had passed through her hands. While for special funds such as the Scheel Memorial Bas-relief, the Philadelphia Orchestra Chorus and the Opera Supper Dances, an additional amount of $25,335.00 was received and expended, making a grand total in twenty years of $36,759.00. This does not include any money for the Guarantee or Endowment Funds, or money for tickets sold by the Committee. Two interesting items are those of $6,456.00 for the Fritz Scheel Memorial raised by the three committees; and of $7770 raised for the Philadelphia Orchestra Chorus in 1921-22.

“The time has come to talk of many things” when an account of the work of the women is to be given; for the things they have done have been as [Pg 56] diverse as the “ships and shoes and sealing wax and cabbages and kings” which so puzzled “Alice in Wonderland.”

They have ranged from guarantors, ticket selling and parlor meetings, to balls, dances and selling post cards. Not to mention the two Endowment Funds and the silhouettes, the contribution toward the Chorus in 1921, and the receptions for the various conductors and soloists during twenty-one years. While thousands of dollars have passed through the Women’s Committees for the maintenance of the orchestra, apart from the tickets they have sold, the women had no fund to fall back on until 1921, when the Women’s Committees Fund was established, to which the proceeds of the Opera Supper Dances are added each year.

In speaking of the Endowment Funds it should be recorded that the first gift ever made for such a fund came to the Women’s Committee in 1906, from Mr. Theodore N. Ely.

The Auxiliaries

With the exception of raising money for the various funds the most important feature of the four Women’s Committees is their Auxiliaries, now numbering 1985 women, attending the three Philadelphia series. It was through these that the Friday audience was built up, for Auxiliary members must have season seats. There are no dues and no other duties; but some of the best work done for the Endowment Fund and for the [Pg 57] Anniversary Ball, was done by Auxiliary members, who for years have had a deep regard for the orchestra. All women season ticket holders are eligible.

The Women’s Committees have given many entertainments, beginning with a reception in honor of Fritz Scheel on March 6th, 1905, followed by House Music under Mr. Scheel’s direction.

Others have been given in the following order:

Mr. Carl Pohlig, 1908;

Mme. Pohlig and her daughter Mme. Maillard, 1909.

Mr. and Mrs. Leopold Stokowski, 1912.

Luncheon to celebrate Tenth Anniversary of the Women’s Committee, March 6th, 1914.

Reception to Mr. Stokowski and soloists and members of the Mahler Chorus, March 4th, 1916.

Supper for Mr. Stokowski and assisting artists, March 4th, 1916, at which many out-of-town guests were present.

Receptions at the houses of Mrs. Alexander J. Cassatt, the Countess of Santa Eulalia, Mrs. Weatherly and Mrs. Cryer, in the interest of the Seven Year Endowment Fund, October, 1916.

Reception to Mlle. Guiomar Novaes, 1917.

Receptions for Mme. Olga Samaroff, M. Alphonse Catherine, M. Sergei Rachmaninoff, 1919.

Luncheon to celebrate Fifteenth Anniversary of the Women’s Committee, April 14th, 1919.

Reception at house of Mrs. Matthew H. Cryer, Lansdowne, to celebrate Tenth Anniversary of the Media, Chester and West Chester Women’s Committee, 1921.

Musicale and reception at the house of Mrs. L. Howard Weatherly, to celebrate Tenth Anniversary of the West Philadelphia Women’s Committee, May, 1915.

Luncheon for Mr. Frederick A. Stock, guest conductor, January 19th, 1924.

Reception to celebrate Twentieth Anniversary of the Women’s Committee, March 14th, 1924.

Reception to Mr. Igor Strawinsky, January 30th, 1925.

Luncheon to celebrate Twentieth Anniversary of Germantown and Chestnut Hill Women’s Committee, March 31st, 1925.

Reception to celebrate Twentieth Anniversary of West Philadelphia Women’s Committee, May 13th, 1925. [Pg 58]

Among the artists whom the Women’s Committees have entertained, the most popular one is Mme. Olga Samaroff. She is beloved by all the members, and admired, not only because she is a great artist, but on account of her unusual and delightful personality. The women will never forget what she did for the orchestra during her years of residence in Philadelphia.

The Anniversary Ball for the
Benefit of the Chorus

No mention of the entertainments of the Committees would be complete without an account of this. It was held January 24th, 1921, to mark the Sixty-fourth Anniversary of the opening ball of the Academy of Music, on January 26th, 1857. It should be called a study in co-operation, for besides the four Women’s Committees, almost the whole city joined to make it a beautiful affair and a success. The feature of the evening was the quadrille in the costume of the period to which a number of persons contributed sets, as well as the following organizations.

The Co-operating Societies were:

Matinee Musical Club, Mendelssohn Club, Musical Art Club, Musical Fund Society, Philadelphia Music Club, Philadelphia Orchestra Chorus, Philadelphia Choral Society, Treble Clef, Fortnightly Club, Pennsylvania Academy of the Fine Arts, Sketch Club, School of Industrial Art, School of Design for Women, Plastic Club, T Square Club.

Old trunks were overhauled and old papers assiduously read to get the local color of the time, so that when row after row of the dancers began to march down from the dais at the back of the stage and take their places on the floor there was a scene of beauty which brought forth rounds of applause. Mr. Charles S. Morgan, Jr., impersonated Mr. Hlasko, Master of Ceremonies, and took charge of the quadrille which he had trained.

A Loan Exhibition of much interest was held in the Foyer for which many treasures were unearthed, including “Miss Ethel Newcome,” of London, the doll dating from the Sanitary Fair. Various business firms assisted by contributing materials and allowing the Committees to use their windows for publicity of a unique kind, such as dolls and jewelry of [Pg 59] the period. Twenty years before such a joint undertaking would not have been possible, and it was a mark of the general good will felt for the Philadelphia Orchestra.

The Opera Supper Dances

A word should be said about these Dances, the Sixth Series of which has just begun. They are held in the Foyer of the Academy, after performances of the Metropolitan Opera Company. The subscription and supper are moderate in price and the affairs are much patronized. The object is to raise money yearly and have a fund that can be used when necessity arises.

When the war came a loss of interest might have been expected, but it was the reverse. Not only the weekly respite at the concerts proved a boon, but the activities of the Committees were a relief from the anxiety and rush of war work.

The Women’s Committee has had good friends in the Board of Directors. When they had no means of support, Mr. Richard Y. Cook for many years contributed towards their expenses. Without his assistance they would have been in a serious situation.

Mr. Wm. Jay Turner, the Vice-president, was an important person at the Anniversary Ball which he led with Miss Frances A. Wister, president of the Committee.

Mr. Edward W. Bok spurred the women on to victory for the Fund with a kind but firm hand. Mr. Andrew Wheeler is always friendly and interested, and so the story might go on naming every director.

First and last is Mr. Van Rensselaer, who has never lost an opportunity to assist the women’s enterprises and who is regarded as the patron saint of the Women’s Committees. Mrs. Van Rensselaer’s interest has been a great help.

The members of the Committee deserve individual mention, but space is lacking. In the early days Mrs. McCollin and Mrs. Keffer were untiring. Mrs. Yarnall and Mrs. Allen have held office for twenty-one years. Mrs. Henry is an adept at managing entertainments. Mrs. Cassatt was a most valuable officer, possessing courage and judgment and her loss is [Pg 60] constantly felt.[19] Mrs. Arnett’s direction of the work for the Auxiliary, passed on from Mrs. McCollin, has been a quiet labor with little public notice. The Recording Secretaries, Mrs. Ashton and Mrs. Wood, have been efficient in keeping the minutes.

The woman who bore most of the burden of the pioneers was Mrs. Alexander J. Dallas Dixon, whose recent death has left a gap in their ranks. Although she gave up the presidency some years ago, her influence was always noticeable and her fulfillment of the task was appreciated. A special meeting was held on October 8th, 1925, to pass resolutions for Mrs. Dixon.[20] At the concert of October 16th, these were inserted in the programme and the audience stood while the Chopin Funeral March was played, in memory of the first president of the Women’s Committee.

The four Committees and their Auxiliaries have an Annual Meeting each April, and the President of the Women’s Committee presents a general report to the Association in May. The names of some of the reports are indicative of the work, for instance: “A Calm Sea and a Prosperous Voyage,” “The Adventures of the Women’s Committees, or How We Financed the Chorus,” “Twenty Years at Hard Labor, a Motion Picture, with a Prologue and an Epilogue and Continuous Music by the Philadelphia Orchestra.” Their work has been strenuous, but the women have had many thrills and good times in the doing of it. There are pleasures in the chase only known to those who hunt, even when the quarry is an Endowment Fund.

Women are needed in every household to attend to the personal side of life, the entertainment of guests, the timely gifts, the flowers and many other things. They have even been known to help to support the establishment when the struggle seemed too hard for the men. This has been much the position occupied by the Women’s Committees during the last twenty-one years. Their entertainments have made many artists welcome to this city. Their gifts have come at just the right time: the share in the loving cup to Mr. Van Rensselaer; the silver plates to Mr. Stokowski on the completion of his tenth year as conductor; the silver vase to Dr. Rich after eighteen years of service; the porringer to little Sonia Marie Noël Stokowski, engraved with a verse from [Pg 61] Wordsworth, all give a human touch to the Association. And when the men were spent in the battle, the women worked to support the establishment.

The Women’s Committees rejoice in the work they have done for the Philadelphia Orchestra, and in blazing the trail for women elsewhere. When the first was formed twenty-one years ago it was a pioneer and a unique organization, unknown anywhere in connection with a permanent orchestra. Many persons looked on it with, at least, a question. Now the questions are of a different nature, and come from other cities where orchestras are being formed.

The value of women’s efforts in fostering music, and in making orchestras popular, seems to be recognized. Women’s work for art in America is rapidly expanding; the torch has been borne by the Women’s Committees for the Philadelphia Orchestra.

There are a few satisfactory ways of financing an orchestra, but there are a number of unsatisfactory ways, and maintaining or trying to maintain a Guarantee Fund is one of them. The devotion of the guarantors of the Philadelphia Orchestra through sixteen years of financial embarrassment is a part of the story of which Philadelphia may be proud. A group of one hundred and twenty men and women[21] constituted the first guarantors in 1900-1901.

At the close of the season this notice was issued:

[Pg 63]

When the business of this season was settled, a new fund had to be procured; forty-three Philadelphians were found who were willing to risk a three-year pledge for an untried experiment, and a number more for shorter terms.

When this three-year guarantee expired the Association was facing a crisis and was on the point of disbanding the orchestra. Then the newly formed Women’s Committee was appealed to with the information that an addition of ten thousand dollars to the Guarantee Fund, secured within two weeks, was the only hope of saving the orchestra. An account of this first effort by the women has been given in a previous chapter. They succeeded in securing a number of new guarantors for one, two and three-year terms, and completed the amount within the required time.

The story of the next sixteen years is one of constant begging on the part of everybody connected with this institution. Many methods were used to explain the financial condition. The Minutes, the programme book, and the numerous letters issued bear witness to this fact. Many were the meetings called “to consider the financial status of the Association.”

[Pg 65]

[Pg 66]

[Pg 67]

[Pg 68]

One of the difficulties was the attitude of business men who felt that after a few years the orchestra should be making a return on the investment, or at least be self-supporting. Their opinion was that an institution which was a constant expense did not deserve the support of the community. Fortunately for music, the people of Philadelphia now understand that an orchestra never can be anything but a public charge.

Beginning with 1904 the number of guarantors ranged from two hundred and fifty to three hundred and sixty per season. The Guarantee Fund ranged from forty-five to fifty thousand dollars. During some seasons [Pg 69] there was that most intolerable of all things, an extra deficit: during a few, a certain per cent of the fund only was called upon.

The discouraging part of the Guarantee Fund method of financing an orchestra lay in the fact that the work was never-ending. A certain number of guarantees expired each season and the guarantors had to be persuaded by all the arts of man and woman to renew their pledges. The fact that their money was to be immediately spent, militated, in the minds of many people, against the Fund. It is so much pleasanter to think of one’s gift safely ensconced in a permanent fund yielding an income year after year for a favorite cause.

The Women’s Committees worked hard for the Fund. Besides procuring new guarantees each year for twelve years, amounting to thousands of dollars, they obtained renewals of old guarantees or made good the loss by new ones. In 1905, they defrayed the extra deficit of $5300.00; no doubt taxing everybody’s generosity and patience to the utmost.

Much of the financial burden in the first years was borne by a few men and women, who time after time put their hands deep into their pockets. Among these may be named Mr. Alexander Van Rensselaer, the president; Mr. Thomas McKean, Jr., for some years vice-president; Miss Anne Thomson and Miss Mary K. Gibson, directors. The treasurer, Mr. Henry Whelen, Jr., was always optimistic and advanced money constantly. What the result would have been if Mr. Whelen had not done this is problematical. His untimely death in 1907 robbed the orchestra of a devoted friend.

Mr. Whelen was succeeded as treasurer by Mr. Arthur E. Newbold, of Drexel and Company, who arranged loans and advanced money and took endless trouble for the Association. The same can be said of Mr. Robert K. Cassatt, the present treasurer, who attends to many details of business.

From 1905-06 until 1910-11, Mr. Horace Churchman was the Controller of the finances, which he administered with ability and much to the satisfaction of the Board.

A glance at the figures is all that is needed to learn the story of those years so discouraging from a business point of view. [Pg 70]

Résumé of the Guarantee Fund,
1900-01-1915-16

During these distressing days Scheel was asked to dine at the Rittenhouse Club to meet some prominent men of affairs, at a time when desperate efforts were being made to procure guarantors. The hour arrived, but no Scheel and it was learned that he had not gone home to dress. His friends started out to find him, and he was discovered teaching the second bassoon player to play a syncopated passage in a Tschaikowsky symphony. The dinner was entirely forgotten in the absorption of the lesson, but he rushed home to dress and arrived only thirty minutes late. The result of the dinner, however, was an addition of several thousand dollars to the Guarantee Fund.

The total number of guarantors who defrayed the annual deficit during sixteen years was about seven hundred and fifty, and to them Philadelphia music lovers are deeply in debt. Many sighs of relief were heard when this unstable way of financing an orchestra was ended by the offer of the “Unknown Donor,” which made possible a more permanent method.

But while the Board of Directors was in a continuous state of anxiety about the expenses; and the guarantors were being kept up to the mark; and the three Women’s Committees then in existence were straining every nerve to help; and the orchestra was constantly improving through the untiring efforts of the conductor, all was not well with Fritz Scheel. In looking back over his term of leadership of the Philadelphia Orchestra, his friends realize now that his illness began at least one year, and perhaps more, before the final breakdown came. He became irascible with his players, erratic in conduct, and his good judgment in matters musical seemed to forsake him. During the first months of 1907 his programmes had to be constantly supervised to guard against excessive severity; and on one occasion he had to be restrained from playing five symphonies at one concert.

The first knowledge the public had that he was in a peculiar mental condition was at a concert of the Eurydice Chorus, held in Horticultural Hall on February 6, 1907. He had been much upset by the death of a violinist in the orchestra, who disappeared and was found drowned. During the concert he asked the audience to rise and then played a funeral march in memory of this man. He constantly talked to the audience and to the singers. It was immediately seen that he was not responsible for his actions, and a specialist was consulted. He was taken to Atlantic City for a week, but did not improve.

The news of Scheel’s illness brought forth universal expressions of regret, as witness the following:

Public Ledger, February 10, 1907

After conducting a last concert in Reading, Scheel was taken to a sanitarium where he died of paresis on March 13th, 1907.

One of his last hallucinations was to write letters to prominent musicians in Europe, offering them large sums to come to Philadelphia and teach in a conservatory that he was about to found. During his stay at the sanitarium he organized the nurses and orderlies into a chorus and made them sing part songs, grouped about his bed. This was a unique occurrence in the conduct of sanitariums, and he was soon much beloved by the attendants, whose tears at his funeral bore witness to their feeling for him.

“Fritz Scheel, Fighter,” would have been a good name for the first leader of the Philadelphia Orchestra. His death was generally attributed to overwork, but modern psychologists insist that no man ever came to his death by work. It was the strain of conquering, handicapped by the financial condition of the Association, that killed Scheel—conquering first his musicians, then the musical public, then the opposition to a Philadelphia Orchestra, and last the general apathy, most difficult foe of all to subdue. If he had not been a fighter, the Twenty-fifth Anniversary of the Philadelphia Orchestra would still be several years ahead. [Pg 74]

Philadelphia Inquirer, March 14, 1907:

Philadelphia Press, Thursday, March 14, 1907:

Funeral services for Fritz Scheel were held on March 16th in the Lutheran Church of the Holy Communion, on Chestnut Street above Twenty-first. The immense gathering was a tribute to the conductor and a proof of his personal, as well as musical, popularity in Philadelphia.

The list of honorary pall-bearers was a long one and included representatives from almost every branch of musical activity in Philadelphia:

Besides these, the Board of Directors of the Association and the Women’s Committees for the Philadelphia Orchestra attended in two large groups.

Although the orchestra had disbanded for the summer enough of the musicians were still in Philadelphia to play the slow movement of the Eroica symphony as the cortège entered the church. The Orpheus Club sang “The Long Day Closes,” by Arthur Sullivan, and “Holy Peace,” by Abt. At the grave the horn quartette of the orchestra played Mozart’s “Ave Verum.” His baton and the score of the Ninth Symphony were buried with him.

Telegrams and messages of sympathy poured into the offices of the Association from musicians in all parts of the country and from foreign artists, sojourning here.

A special meeting of the Board of Directors was held on March 14th, 1907, and this resolution adopted:

[Pg 77] 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?

The predicament of the Board of Directors during Scheel’s illness and after his death can hardly be described. Apart from the feeling of personal loss, the Association was pledged to give a series of concerts in Philadelphia and elsewhere. All the best conductors in America were engaged in mid-season and the best European ones, if available, were to be had only at impossible prices. [Pg 78]

The concerts of February 7th and 8th during the first week of his illness were conducted by August Rodemann, the assistant conductor and first flutist; and Dr. Otto Neitzel, who was included in the programme as lecturer, directed the Ninth Symphony. The remaining ones were led in an atmosphere of sadness and apprehension by Leandro Campanari.

The Scheel Memorial Tablet

Immediately after the death of Fritz Scheel the Women’s Committee proposed to raise a fund for a memorial to him to be placed in the lobby of the Academy of Music. A committee was appointed with Mrs. Wm. W. Arnett as Chairman. The circular printed below was sent out, to which there was an immediate and generous response.

FRITZ SCHEEL MEMORIAL FUND

[Pg 79] Mr. Charles Grafly had taken a death mask of Scheel and produced a fine work of art and a most excellent likeness of the man. The setting was designed by Mr. Edgar V. Seeler. The Tablet cost six thousand dollars, and enough money was raised in addition to purchase a lot in West Laurel Hill Cemetery, and to place on Scheel’s grave a suitable tomb-stone and some shrubbery. Perpetual care was arranged for, a great satisfaction to Miss Scheel and to all his friends and admirers. For many years the Women’s Committee has placed a wreath on the memorial tablet on the anniversary of Scheel’s death, thus keeping alive the memory of the man and what he did for music here.

One year after Scheel’s death a memorial meeting was held at the Academy of Music at which time the tablet was unveiled.

Programme of Ceremonies

“FRITZ SCHEEL MEMORIAL

“Academy of Music
Wednesday, March Eleventh
Nineteen Hundred
and Eight
at Three O’clock”

“FRITZ SCHEEL

“A Tribute
“By Florence Earle Coates

“In Memoriam

“By Harrison S. Morris

[Pg 80]

“Program

“In Memoriam
“Fritz Scheel
“Born Lübeck, 1852; Died Philadelphia, 1907”

“Richard Wagner—Vorspiel, “Parsifal”
“Address
“Mr. Owen Wister

“Richard Strauss, Tone Poem, Opus 28,
“Tod und Verklärung,
“(Death and Transfiguration).”

Evening Bulletin, March 11, 1908:

The Future

The Board of Directors immediately began to look for a successor to Fritz Scheel. Various proposals were made, among them one to Franz Kneisel, who was forced to decline by a storm of protest from his New York admirers. At the Annual Meeting held May 14, 1907, this announcement was made:

“Though the association has sustained a great loss in the death of Mr. Scheel, who labored with untiring zeal, achieving successful results in bringing our orchestra to a high plane of musicianship, the public may be assured that his place will be worthily filled. At the present moment, however, the Executive Committee is compelled to face a question of some embarrassment in selecting the successor to the late Mr. Scheel. Fortunately, your committee is in receipt of applications that include many of the representative conductors in the world of music, and, in consequence of this wealth of material from which to select a conductor, the question of arriving at a decision is rendered somewhat puzzling. The public may rest assured, however, that a conclusion may be speedily reached, and a conductor named who will meet with the approval of all.”

The Musical Record
1900-1907

Fritz Scheel’s musical achievements were outstanding, considering that he was organizing a new orchestra under difficulties, both artistic and financial. The list of important works presented by him is of interest, for besides the compositions of European composers, he also brought forward those of American and Philadelphia musicians. [Pg 84]

Scheel possessed a fine music library, which was an asset to an orchestra just starting out in an almost penniless condition. It contained standard orchestral scores of symphonies, overtures, violin and piano solos with orchestra, as well as music suitable for popular concerts, operatic selections, and smaller orchestral works. He was never handicapped on account of the lack of music for besides this the Association was constantly purchasing what was needed. In addition to first performances in America, there were constant novelties at the concerts and the artistic standard was high from the outset. A glance over the programmes shows that while on occasion minor works were presented which are now not generally played, the works of the great masters predominated. In this way the taste of the audience was trained and for this education Philadelphia owes to Fritz Scheel much of its ability to appreciate and enjoy music today.

SCHEEL MEMORIAL TABLET

[Pg 85]

A Tribute

[Pg 86]

[Pg 87]

The Board of Directors was now obliged to find a new conductor for the Philadelphia Orchestra. A survey of America did not bring fruitful results. Orchestral conductors were few in this country in those days, and the Board was determined to engage no man but one competent to carry on the work so well begun. Therefore it was decided to send the business representative of the Association, Charles A. Davis, abroad on this quest. After visiting Steinbach in Cologne and Mottl in Munich, who both recommended Carl Pohlig, Mr. Davis went to Stuttgart, where Pohlig was the director of the Court Orchestra of the King of Würtemberg. After consultation with the officers, an offer was made to him to become the leader of the Philadelphia Orchestra for a term of three years, which was accepted.

Carl Pohlig was born at Teplitz, Bohemia, in 1864. Like Robert Schumann, he was the son of a bookseller. His first musical studies were at the piano. Early in life, while attending the gymnasium at Weimar, the talented boy was cordially received by Franz Liszt, and was permitted to accompany the master on his journeys to Rome, Budapest and other cities, this privilege being shared only by Tausig, von Bülow and Rubinstein. He thus learned many Liszt traditions.

After having toured Germany, Austria, Russia, Scandinavia and Italy, he became Kapellmeister at Graz. Later he was associated with Mahler at the Opera in Hamburg: then at Covent Garden, and Bayreuth, where he trained artists for the Wagner Festival. Pohlig conducted symphony concerts following this operatic experience and appeared in Coburg, Stuttgart, Berlin, Frankfort, Munich and other cities. Finally he was offered the position of First Court Kapellmeister to the King of Würtemberg, whence he came, by permission, to Philadelphia.

The “Neue Musik Zeitung,” one of the best musical journals in Germany, speaks thus of Carl Pohlig as conductor: [Pg 90]

The new conductor entered upon his duties in Philadelphia in the autumn of 1907, presenting for his first concert the following programme:

© Haeseler

CARL POHLIG

Pohlig was warmly received by the audience and acclaimed by the critics as the following will show:

North American, October 19, 1907:

Name and date of newspaper unknown:

A Philadelphia Newspaper, November 7th, 1907:

The Same, November 7th, 1907:

At the expiration of Pohlig’s contract the Association renewed it for three years more.

Pohlig was a fine-looking man of German military style, more popular in America previous to 1914 than it has been since. His platform manner was excellent and his appearance was elegant, and he made a good impression on his audience. He was, however, of a difficult disposition, which made dealings between him and the musicians, and the Board of Directors, trying and difficult. This was the final cause of his resignation, presented on June 10th, 1912.

The Musical Record, 1907-1912

Under the direction of Carl Pohlig, the orchestra continued to develop and improve. He was a competent and well-trained musician, and was on his mettle to do his best in an artistic way to keep up the precedents established by the first conductor. He continued to give unusual performances and to keep abreast of the day by producing modern works, among them his own symphony, “Per Aspera ad Astra” (“A Hero’s Death and Apotheosis”), in which members of the Eurydice Chorus took part. [Pg 95]

[Pg 96]

[Pg 97]

The summer of 1912 brought the Board of Directors, for the second time in five years, face to face with the problem of securing a conductor. Again the place was waiting for the man, but under far different conditions from those in the summer of 1899, when Fritz Scheel was found at Woodside Park. Philadelphia had a good orchestra, a growing audience tended carefully by the four Women’s Committees, and a Guarantee Fund in a more or less satisfactory condition. It was an opportunity. The Board of Directors looked around the field again. They had heard of a young man, Leopold Stokowski, recently conductor of the Cincinnati Orchestra, and heard well of him. Mr. Andrew Wheeler knew him and suggested approaching him. He was then in Europe, so he was cabled to, and accepted the position.

The first concerts under Mr. Stokowski took place on October 11th and 12th, 1912, with the following programme, which inaugurated the third period of the Philadelphia Orchestra, and one which has been a story of constant artistic development, until now this orchestra ranks with the great orchestras of the world.

Public Ledger, October 12th, 1912.

© R. T. Dooner

LEOPOLD STOKOWSKI

It soon became apparent that Philadelphia had something very unusual in Leopold Stokowski. He was young, but rarely gifted, and he dedicated himself to reaching a high artistic goal for the Philadelphia Orchestra. His plans were of a daring character and at times almost took away the breath of the Board of Directors; for instance, when the idea of giving Mahler’s Eighth Symphony was presented and Mr. Stokowski announced that it would cost $14,000. There was much discussion, as the Board was convinced that this performance would be unpopular and not a success from a financial point of view. However, the desire to have the name of the orchestra connected with productions of an unusual nature and to keep ahead of the times musically, won the day, and it was decided in 1915 to produce this gigantic choral work in March 1916.

The story of this production is dramatic from the moment that Leopold Stokowski, after having secured the rights for the first American performance, escaped from Munich in August, 1914, with the score in a handbag, all he had time to pack. Mr. Stokowski was at that time still a British subject, having only taken out his first papers for American citizenship.

Having secured the consent of the Board of Directors to produce this symphony, this announcement was issued. [Pg 102]

Work with the two choruses which sang in German and in Latin began in October, 1915. Hitherto the orchestra had had no chorus of its own, but was obliged to depend on the good will of Philadelphia choral organizations to co-operate in producing choral works. Now for the first time the name “Philadelphia Orchestra Chorus” appeared, and, as the first chorus of 400 members, was trained by Mr. Stokowski. The second chorus of 400 voices was rehearsed by Mr. Henry Gordon Thunder.

The requirements were severe as to personnel and rehearsals. The spring was occupied in the selection of voices. When rehearsals began in October, men and women were rehearsed separately until January. After that they had weekly rehearsals together. Singers who were inattentive or who skipped rehearsals were not retained, and towards the end everybody was over-worked and wrought up to a pitch of excitement.

Augmented Orchestra of 110

First Chorus:
The Philadelphia Orchestra Chorus, 400

Second Chorus:
Philadelphia Choral Society, Mendelssohn Club
and The Fortnightly Club, 400

Children’s Chorus of 150
The English version (by Mr. Philip H. Goepp)
of Specht’s Analysis
may be obtained in the lobbies of the Academy

While there were varying opinions about the musical value of this symphony, the manner of producing it evoked but one. In order to make the event national in character, prominent musicians from all parts of America were invited to be present at the first performance. Among the many notable persons from other cities were: Mr. and Mrs. Ossip Gabrilowitsch, Mr. and Mrs. Harold Bauer, Mr. and Mrs. Josef Hofmann, Mr. and Mrs. Ernest Hutcheson, Dr. and Mrs. Ernest Kunwald, Mr. and Mrs. Harold Randolph, Mr. and Mrs. Ernest Schelling, Mr. and Mrs. David Mannes, Mr. and Mrs. Samuel Untermeyer, Mr. and Mrs. Gustav Strube, Judge and Mrs. J. Butler Woodward, Mr. and Mrs. J. Fred Wolle, Mrs. Werrenrath, Mrs. William M. Bannard, Miss Kitty Cheatham, Dr. A. G. Rolfe, Oscar G. Sonneck, Albert Spalding, Kurt Schindler and Theodore Spiering.

© Bell & Fischer

THE PHILADELPHIA ORCHESTRA
AND MAHLER CHORUS

[Pg 105]

Public Ledger, March 3rd, 1916:

[Pg 108] After the third performance the Women’s Committees for the Philadelphia Orchestra gave a reception to Leopold Stokowski, and the soloists, in the foyer of the Academy. This was followed by a supper at the Bellevue-Stratford in their honor and for a few distinguished guests.

The news of this production spread over America and Europe, and in Philadelphia created more excitement than had arisen in a generation. The demand for seats was so great, that it became necessary to announce extra performances in this city, and four more were given, making a total here of nine, including two public rehearsals. After the last, orders for seats, amounting to over $10,000 in Philadelphia alone, had to be refused. The dress rehearsal on Wednesday was open to the families of the performers and some others at a special price. A dress rehearsal was later given for public school children. The first performance was on a Thursday night, and then followed two in the regular season series. By the time four audiences had heard the symphony, all who had not heard it were seized with an overpowering desire to witness this extraordinary event.

The New York Performance

Such a journey was never before undertaken in musical circles here or abroad. Twelve hundred people left Philadelphia by private trains, totalling seventeen cars, about noon on Sunday, April 9th, reached New York in time to have a rehearsal and dine and dress at a hotel and at 8.15 appeared before a packed audience which included all the musicians then in America.

It was an inspiring occasion and one long to be remembered. That evening New York unreservedly acclaimed the Philadelphia Orchestra. Scenes of enthusiasm followed the first half, after a tremendous burst of applause when the curtain rose. But at the end the audience let itself go in a way never seen in Philadelphia.

There were many musicians in the house, including Ignace Paderewski, the members of the Flonzaley Quartet, Mme. Alma Glück and Efrem Zimbalist, Pablo Fasals, Henry Hadley, Mr. and Mrs. Ossip Gabrilowitsch, Rubin Goldmark, Dr. Frank Damrosch, Victor Harris, [Pg 109] Harold Bauer, George W. Chadwick, Mischa Elman, Emma Eames, Leopold Godowsky, Rudolph Ganz, Arthur Foote, David Bispham, Percy Grainger, Arthur Hinton, Alfred Hertz, Franz Kneisel, Daniel Gregory Mason, Ernest Schelling, Walter K. Spalding (Department of Music, Harvard University), Josef Stransky, Arthur Whiting, Marcella Sembrich, Antonio Scotti, Cornelius Rübner (Columbia University), Fritz Kreisler, Mme. Schumann-Heink, and others.

New York Sun, April 10th, 1916:

Although the Philadelphia Orchestra is a serious working organization, it has its moments of relaxation and pleasure. Such a one was the reception and dinner given by Mr. Van Rensselaer to the members of the Mahler Chorus on March 16th, 1916, at which the following programme was presented:

[Pg 111]

This occasion was much enjoyed by about 1200 guests, to whom an evening of musical fun was somewhat of a novelty.

After the production of the Mahler Symphony the Philadelphia Orchestra became the most talked of orchestra in America. Its reputation was made. This success, however, did not bring about any abatement in the conductor’s zeal, or make him relinquish his aims for the perfection of the orchestra.

On the part of the Board of Directors the result was a determination to put the orchestra on a firm financial basis. This desire was so great on the part of one of them, who wished to remain unknown, that he planned a course of action which involved a large expenditure on his part, but which with the co-operation of 1200 Philadelphians made it possible to roll up in seven years a fund of approximately $800,000.

The question of placing the Philadelphia Orchestra on a firm financial foundation had been under consideration for a long time by the Board of Directors. Each year the Guarantee Fund was becoming more difficult to secure and more of a burden; besides which hand-to-mouth financing is not a very creditable path to travel indefinitely. When these discussions arose, the first question always was “How can we solicit money for a permanent fund and beg for a Guarantee Fund at the same time?” That question always ended against a blank wall. No answer suggested itself until in May, 1916, Mr. Van Rensselaer received a communication from a person who wished to remain unknown, so he later received the title “Unknown Donor.”

The proposition was accepted by the Board and later by the Association, and was issued in a circular of which a copy is printed below.

The way out was found—at least the beginning of the solution was in sight.

The proposal was widely circulated and everybody connected with the Association began to work to raise the amount, which was to reach $500,000 in five years. This was later extended to seven years and now bears the name of “Seven Year Endowment Fund.” All persons connected with the Association threw themselves enthusiastically into the work of fulfilling the agreement with the Unknown Donor.

A meeting was called of the four Women’s Committees and their Auxiliaries, at the auditorium of the Curtis Building through the courtesy of Mr. Bok; the plans were explained and met with a vigorous response. The women were to raise money in two ways. One was to procure five-year subscriptions of large sums. The other was to secure small subscriptions by the Group Plan. This idea was suggested because the business management could not arrange to take care of sums of less than $25.00. The accumulation of such, therefore, was undertaken by the women, with Mrs. Arnett as Chairman. This piece of work was as trying as any ever entered upon, on account of the detail of keeping small accounts yearly for so long a period.

A group might include any number of persons but the minimum amount for each group could not be less than $25.00 yearly, for five years. The sum of $14,632.00 was raised by seventy-nine Groups, including two Junior Groups; but the most important feature of the plan was that it secured the interest of a number of hundred people who would otherwise have been deprived of the pleasure of assisting this cause. This was of infinite value to the Association. To Group Captains, who kept up their quotas of $25.00 yearly for five years, the orchestra owes much, for members often had to be replaced. The Women’s Committees have long acted [Pg 115] on the principal that the active interest of many people was a necessity in building up an orchestra, and never was their belief more justified than at that time.

The work of the women was prosecuted with enthusiasm and the response was remarkable, not only from Philadelphia, but from Pennsylvania towns as far west as Harrisburg and in New Jersey as far south as Atlantic City.

Other ways of raising money were resorted to, such as chains of card parties, inaugurated by Mrs. John B. Thayer, Jr., whose own chain amounted to $2870, and various entertainments and concerts given by young people. These were necessarily gifts for one year and could not be included in the required $100,000.

The amount including large subscriptions and groups collected by the four Women’s Committees was a total for five years of $186,000, this being twenty-five per cent of the Fund.

In November, 1916, it was announced that the amount guaranteed for five years was over $500,000, more than stipulated under the contract with the Unknown Donor. It was then decided to ask the contributors to extend their yearly subscriptions two years longer, and many responded heartily. The name was changed to Seven Year Endowment Fund, and in 1923, the total had reached $788,400. About twelve hundred individuals contributed at this time, and through the groups over five hundred more.

The “Unknown Donor” disclosed himself in 1920, and proved to be Mr. Edward W. Bok. The satisfaction was great of knowing at last the name of this generous friend of music, who had enabled the Philadelphia Orchestra to place itself on a firm foundation.

One year after the offer of the Unknown Donor had been accepted by the Board of Directors, the United States was in a state of war. The condition of Europe during the past three years had in a way been disturbing in orchestral circles, because no men could leave Europe and players were scarce. Also, foreign men were called home, leaving vacancies that were difficult to fill. Still, the orchestra had flourished and continued to advance artistically under Mr. Stokowski’s guiding hand.

In April, 1917, however, musical organizations in America were facing a different and a serious situation. In everybody’s mind the questions lingered and would not be put away: “How is the Philadelphia Orchestra going to survive a war?” “Will there be any players, and will there be any money for music?” Philadelphians spoke not these words aloud, but they feared for the existence of the city’s most beloved art organization.

In December, 1917, the four Women’s Committees were desirous of making a patriotic demonstration with the orchestra, and at the suggestion of Mrs. J. Sellers Bancroft, an American flag was presented at each of a pair of concerts.

[Pg 117] Ledger, December 23rd, 1917:

At a special meeting of the Board of Directors, December 13th, 1917, the following Resolution was unanimously adopted:

The next patriotic demonstration was the concert at Camp Dix, N. J.

Public Ledger, January 3rd, 1918:

[Pg 119] Besides this concert, men in the service stationed at Philadelphia were given many opportunities to enjoy the orchestra. Beginning in November, 1917, subscribers were requested through a notice in the programme to send tickets that they could not use to the manager, to be placed at the disposal of soldiers and sailors and it was a common sight to see men in uniform at the Saturday evening concerts.

On January 23rd the promised Red Cross Concert was given at the Metropolitan Opera House before a large audience. The affair was most successful financially, the amount turned over being $7045.00.

Liberty Loans

The subject of Liberty Loans was more and more occupying the public mind and soon claimed the attention of musicians.

The first booth during the Third Liberty Loan of May, 1918, was in front of 1427 Chestnut Street, and was presided over by Mr. and Mrs. Stokowski on two Saturday mornings. A quartet of trombones from the orchestra offered their services at the booth and attracted large crowds. The result of these two mornings was $114,000.

During the next loan, the Fourth, the booth, which was a shell dug-out in front of the Union League, was in charge of the four Women’s Committees. For the first time in their existence the Committees diverted their minds from the orchestra for a brief space to participate in a patriotic act. This loan occurred at the time of the influenza epidemic and the women who served did so at some risk. No member, however, contracted the disease, or was the worse for the experience.

The booth was open for two weeks only, but with the assistance of members of the orchestra, the amount collected was $896,000.

When the Victory Loan was announced for May, 1919, the Women’s Committees were asked to again take charge of a booth for three weeks at the same place. Miss Frances A. Wister acted as Chairman for the second time, and they were assisted by a Committee of Musicians from the orchestra, when their engagements permitted; and a Committee from the Business Management. Seventy-six members of the Women’s Committees [Pg 120] served during the Loan, as follows: Women’s Committee 27; Germantown and Chestnut Hill, 13; West Philadelphia, 22; Media, Chester and West Chester, 14. The total number of subscriptions received was 825, amounting to $691,300.

This, added to the total of $896,000 for the Fourth Loan and that of $114,000 at the Third Loan, made a grand total of $1,701,300.

Music at the booth was furnished without expense by members of the Philadelphia Orchestra, and ten other well-known artists, including Mr. David Bispham. Mr. Albert N. Hoxie gave a patriotic demonstration one day, with a parade and a chorus of one thousand, and the First Regiment Marine Corps Band.

The Tribute Trees

Another patriotic enterprise in which the Board of Directors and the Women’s Committees took part was the planting of tribute trees in honor of men in the service, on Fairmount Parkway, at the invitation of the Civic Club of Philadelphia. Fifty-five trees were planted on the Parkway at Twenty-second Street, and the Board and the Committees were represented at the ceremonies on April 25th, 1919.

The Association did all in its power to assist in war time. Nearly $300,000 of the Endowment Fund was invested in Liberty Loans. On account of railroad congestion traveling was largely eliminated, but this was the only American orchestra permitted to cross the Canadian border, which journey was made for the Toronto Festival.

The audience was not allowed to forget the nation’s situation, as Mr. Stokowski had at the first concert of the season inaugurated the ceremony of playing the Star Spangled Banner, orchestrated by himself, at the beginning of every concert, while the house stood. Later he organized and led a band of nearly two hundred pieces at Franklin Field, when funds were being raised for a special War Chest, and he did the same for the Service Star parade.

Eight of the musicians went into the service.

To mark the signing of the Armistice, special ceremonies were held at the concert of November 15th, 1918. Representatives of the Allied Nations appeared on the stage with their flags while their national anthems were played. The audience stood during the playing of [Pg 121] MacDowell’s “Dirge,” from the Indian Suite, which was played in memory of those Americans who had died in the war.

When Philadelphia realized that the orchestra had survived in its full strength and with little curtailment of its schedule, except for out-of-town concerts, and the postponement of two pairs of Philadelphia concerts on account of the epidemic, there was a sigh of gratitude. After such labors to procure an orchestra for Philadelphia, its abandonment would have been a tragedy and a calamity.

During the war the Seven Year Endowment Fund continued to be paid in showing that Philadelphians were learning to prize what they had. But the Board of Directors was now faced with another problem, the fact that the increased cost of everything in life made it evident that even the Seven Year Fund was going to be insufficient to meet the yearly deficit. Mr. Edward W. Bok then suggested that the Association should conduct a campaign to raise $1,000,000 during the month of October, 1919, in honor of the twentieth season of the Philadelphia Orchestra. This was in January, 1919, and after the Board of Directors had decided to take this bold step, a Campaign Committee was appointed by Mr. Van Rensselaer, of which Mr. Bok was made chairman; in such fashion do one’s sins return to one.

This Committee met at intervals during the winter, and Mr. Bok, fertile in ideas, formulated his plan of action. This was to have a Committee of Fifty Campaign Chairmen, men and women, each of whom should raise $20,000. Luncheons were to be held twice each week during the month at which reports were to be made. Chairmen having less than $2000 were obliged to announce “No report.”

A circular was widely distributed in order to inform the public of the plans of the Association.

Mr. Joseph E. Widener provided the Campaign Headquarters in the Ritz-Carlton Hotel where an office force was installed and the bi-weekly luncheons held.

Dr. Hart worked hard to procure the fifty Chairmen and fifty-three people consented to serve, but some dropped by the wayside. At the opening campaign luncheon, on September 29th, 1919, there were in actual service only forty-two. As was to be expected, some collected more than their quotas and some less. Women chairmen predominated, there being twenty-eight of these to fourteen men. Their names should be recorded.

Chairmen

Messrs. Edward W. Bok, John F. Braun, Charles D. Hart, Henry McKean Ingersoll, Alexander Van Rensselaer and Andrew Wheeler of the Board of Directors; and from outside, Messrs. Henry G. Brengle, W. W. Fry, J. B. Henkels, Jr., George I. Bodine, G. H. Lang, Maurice Speiser, Herbert J. Tily and Wm. Jay Turner.

Women Chairmen

Mrs. Alfred Reginald Allen, Mrs. Wm. W. Arnett, Mrs. Thomas G. Ashton, [Pg 125] Mrs. Charles Carver, Mrs. Herbert L. Clark, Mrs. Matthew H. Cryer, Mrs. Joseph M. Gazzam, Mrs. Charles W. Henry, Mrs. Henry S. Jeanes, Miss Lea, Mrs. Joseph Leidy, Mrs. Wm. S. Newcomet, Mrs. Thomas Robins, Countess of Santa Eulalia, Mrs. Wm. A. Slaughter, Mrs. John B. Thayer, 3rd., Mrs. L. Howard Weatherly, Miss F. A. Wister, Mrs. Harold E. Yarnall and Mrs. Camille Zeckwer, all members of the Women’s Committees.

In addition to these women, able assistance was given by Mrs A. J. Dallas Dixon, Mrs. L. Chandler Williams, and six women who had not up to this time been connected with the Philadelphia Orchestra, except as enthusiastic patrons. These were Mrs. Frederic W. Abbott, in charge of the Matinee Musicale Club Committee, Mrs. Frank T. Griswold, Mrs. Joseph N. Snellenburg, Mrs. John B. Thayer, Mrs. J. William White, and the Motor Messenger Service under Mrs. Thomas L. Elwyn.

The Germantown and Chestnut Hill and the Media, Chester and West Chester Committees acted under their own presidents. The work of this committee under Mrs. Cryer and that of Mrs. Wm. A. Slaughter in West Jersey deserve special mention on account of the distances covered.

Synopsis of the Results:

This was 53% of the Fund, but the women Chairmen were two to one against the men.

Besides the collections made by the Committee of Fifty, amounts came in from other sources, such as, members of the Philadelphia Orchestra Chorus, the Van Rensselaer Tribute, the two Wister Tributes, the Van Rensselaer-Bok Telegram to business firms, the Telephone Circular, the Main Line Bonds, other Liberty Bonds, contributions received at the office, etc.

A unique feature of the campaign was the memorials and tributes which gave people an opportunity to place the names of family or friends on special tablets to be placed in the Academy of Music. No less than $1000 was accepted for each memorial. [Pg 126]

ENDOWMENT FUND
MEMORIAL TABLET

[Pg 127] Miss Wister’s name was placed on the tablet by the contribution of two large amounts, one from the Women’s Committee and one from the Auxiliary.

The tablets beautifully designed by Mr. Paul Cret, the noted architect, are placed on each side of the entrance to the inner lobby.

The delightful luncheons held bi-weekly instilled in the workers much enthusiasm and were attended by from 300 to 400 people each time. At these the following well-known public and private individuals and artists appeared, all giving freely of their time and often of their money to help the great cause:

Miss Margaret Anglin, Mr. David Bispham, Mrs. A. J. Cassatt, Mrs. Edward H. Coates, Mr. Cyrus H. K. Curtis, Mr. Walter Damrosch, Mrs. [Pg 128] Minnie Maddern Fiske, Sir Johnston Forbes-Robertson, Mr. Walter Hampden, Dr. John Grier Hibben, Mr. Josef Hofmann, Miss Estelle Hughes (Winner of Stokowski Medal), Mr. Sascha Jacobinoff, Mr. Otto H. Kahn, Mr. Hans Kindler, Rabbi Krauskopf, Mme. Matzenauer, Miss Violet Oakley, Judge Patterson, Bishop Rhinelander, Dr. Thaddeus Rich, Mme. Samaroff, Mr. Oscar Schwar and a group of men from the orchestra.

The thrill of these occasions will never be forgotten by the campaigners. Only those who participated can have any idea of the enthusiasm and excitement prevailing among the workers who eagerly awaited the reports. After speeches and music of a very delightful nature, the chairmen were called by name and saw their totals written on a large black-board. Many of them went to bed the night before with nothing in their pockets and arrived at headquarters in the morning to find their able assistants had brought in the required two thousand and more. It is marvellous that Mr. Bok could, besides running a campaign, manage such brilliant affairs as these were, twice each week. It was no unusual sight to see four hundred men and women come in exhausted and discouraged, and go forth with renewed vigor to beg money. The spirit of excitement ran through it all, for raising money is as uncertain as gambling in that the pursuer never knows when he accosts a victim what the outcome will be, large, small, or nothing, and many surprises were experienced. The competition was great, for Mr. Bok had offered $1,000 each to the first ten committees to raise their quotas.

The Officers and Directors and the members of the Women’s Committees and their Auxiliaries swarmed at the Ritz. Over it all was the influence of Mr. Van Rensselaer, with a courteous and cheerful word for all the harassed.

Philadelphia Press, September 28th, 1919:

ENDOWMENT FUND
MEMORIAL TABLET

[Pg 129]

The publicity for the campaign was brilliantly conceived and executed by Mr. Bok.

In the spring “The Orchestra News” began to appear monthly, with the idea of making the story of the organization much more widely known than it had heretofore been. Its pages were “instructive and entertaining” as the expression was in old times. So were the various folders and leaflets sent out during the campaign itself. Persons of importance in the business world helped with the publicity as well as with large contributions.

The newspaper publicity was very fine and the programme books were also pressed into service, to further the campaign. Mr. Bok’s and Mr. [Pg 132] Stokowski’s clever appeals kept the subject well in the minds of the audiences during that month by the following appeals:

Programme, October 17th, 1919:

Programme, October 24th-25th, 1919:

“It is not a campaign-slogan:
it is the truth when we say:

The appeal sent to telephone subscribers ran as follows:

In December two concerts were given for these contributors who numbered several thousand.

When October 31st arrived and the million dollars was neither in hand nor in sight, the campaign was extended for one week. The appeals became more and more urgent. [Pg 135]

Programme October 31st, November 1st.

[Pg 136]

Finally the goal was won and the event was celebrated by a great dinner at which there was much enthusiasm and rejoicing, when it was announced that $1,100,000 had been contributed.

The twenty-eight women Chairmen expressed their appreciation of Mr. Bok’s leadership in the following letter, which was read:

[Pg 137] The campaign under the able leadership of Mr. Bok was inspiring and exciting to a degree. He gave time and money, but best of all, he gave ideas, and he proved himself an accomplished beggar and a clever general.

The Association was not unmindful of his masterly achievement. At a meeting of the Board of Directors held November 26th, 1919, this resolution was passed:

Also this one passed at the Annual Meeting of the Association, May 25th, 1920:

Gifts ranged from one penny, given by a blind child, to $100,000. Many men and women of moderate means deprived themselves of necessities in order that the orchestra might live. Others gave time and others again gave both time and money, but never one word of regret has been heard. [Pg 138]

The Chairman’s parting shot appeared in the programme book a week later:

November 14th-15th, 1919:

Thus the creation of an Endowment Fund was achieved by the most extraordinary campaign ever conducted in Philadelphia, and through the contributions of more than 13,000 people who wished to place a Philadelphia musical institution on a permanent foundation.

The Twentieth Anniversary of the Philadelphia Orchestra was celebrated on November 19th and 20th, 1920; and great was the rejoicing that this city possessed an orchestra of such attainment, brought to its present high state by a distinguished conductor, and endowed by a large number of citizens of Philadelphia and vicinity. The long labors of the officers and directors, and of the Women’s Committees, were bringing their recompense. The occasion was celebrated by the playing of the first programme given by Fritz Scheel in 1900; and the presentation of a silver loving cup, bearing the following inscription, to Mr. Van Rensselaer:

Public Ledger, November 20th, 1920:

Public Ledger, November 20th, 1920, Editorial:

To those who had devoted years of effort to the orchestra, this occasion was full of interest. Their thoughts flew back to memories of Fritz Scheel and the early struggles; to the advent of Leopold Stokowski and the advance of the orchestra to its present position; to the changed attitude of the public. A procession of events seemed to march down the years; the inauguration of a Pension Fund; the Mahler Symphony and the Chorus; the Peoples’ Concerts; the University of [Pg 142] Pennsylvania Concerts; the effort for Popular and Sunday Concerts. Such recollections made the life of the Philadelphia Orchestra seem full and vigorous.

The twentieth season was especially fine musically. It marked the inauguration of the Special Monday Evening Concerts, three in number, which have gradually been increased to ten.

Other musical features of the year were Beethoven’s Ninth Symphony; the playing in November, 1920, of “The Pilgrim Vision” by John Alden Carpenter, commemorating the 300th anniversary of the landing of the Mayflower: the three performances in March, 1921, of the Brahms Requiem; and the presentation of Mahler’s Second Symphony, both with the Chorus, trained by Mr. Stephen Townsend, of Boston.

It also marked the first appearance, as guest conductor, of the celebrated leader, Willem Mengelberg, of Amsterdam.

The year was one of great satisfaction to all lovers of the Philadelphia Orchestra. An organization founded on faith that it would succeed artistically; and on faith that Philadelphia would eventually cherish it to the extent of placing it on a permanent financial basis, had justified the hopes of the founders in both these particulars. The number of musicians had been augmented from eighty-five in 1900, to ninety-six in 1920, and the audience had so increased that hundreds of people were often turned away.

All persons therefore interested in the progress of music in the city and especially the ones whose efforts had helped to bring about this result rejoiced in the position now occupied by the orchestra.

In addition to delighting music lovers here and elsewhere, the Philadelphia Orchestra was carrying the name of Philadelphia gloriously around the world.

Occasionally philanthropic citizens express the wish that the Philadelphia Orchestra was not conducted exclusively for a few idle rich. Therefore, it is well to record some of the things that the orchestra has done for the general public in this city.

The policy of the Association from the beginning has been to make the orchestra the centre of Philadelphia’s musical life in an inclusive, not an exclusive sense. Hence it has always been ready to reciprocate any assistance rendered to it by giving its services free of charge on numerous occasions. Often, of course, financial conditions had to be considered first. Among the societies that have co-operated in choral performances, without recompense, and, no doubt, at considerable expense to themselves, are: the Eurydice Chorus, Fortnightly Club, Jungermaennerchor Singing Society, Mendelssohn Club, Philadelphia Choral Society. Outside of Philadelphia the Bach Choir of Baltimore,[37] Schola Cantorum of New York, and Pittsburgh Chorus.

On its part the orchestra has given a number of special performances without remuneration, such as the concert for the Manuscript Music Society in 1913, the concert in collaboration with the Mendelssohn Club in honor of Dr. Wm. Wallace Gilchrist two years later; a performance at Camp Dix and a concert for the benefit of the American Red Cross, 1918; a French War Relief Benefit the next year; the music at the presentation of the Philadelphia Award for four years beginning in 1922, and the concert with the Mendelssohn Club to celebrate its Fiftieth Anniversary in January, 1925. Special concerts were given for the National Federation of Music Clubs in 1911, and for the National Convention of Music Supervisors in 1920.

It must be remembered that such concerts undertaken in addition to the regular engagements for the season have entailed special preparation and have been an added burden to the busy conductor.

[Pg 144]

From the earliest days an effort was made to give music to the numbers of people who enjoy lighter programmes. Popular concerts at low prices were inaugurated by Mr. Scheel in 1903, at which time the name “Popular” was such a misnomer that they had to be given in the form of benefits on a fifty per cent basis of profit. Such concerts were given at intervals after this for some years, and consecutively from 1909-10 to 1914-15 inclusive. In May, 1916, an effort was made to institute “Pop” Concerts after the manner of the Boston Orchestra, at the close of the regular season. The Academy parquet was floored over and light refreshments were served at tables. The first season of eleven evenings went off brilliantly, under the alternate leadership of Mr. Stokowski, Dr. Rich and Mr. C. Stanley Mackey, and left a small surplus on hand. Prices ranged from fifteen to fifty cents. The second season the number was increased to eighteen, and for reasons not understood the Association was left with a deficit, which caused the venture to be abandoned.

An early enterprise of a philanthropic nature was the “People’s Concerts” planned by the Executive Committee but placed in charge of the Civic Club, with a committee composed of Mrs. Edward I. Keffer, Chairman; Mrs. Spencer Ervin, Mrs. C. Howard Clark, Mrs. Frank Rosengarten and Mrs. Walter Horstmann.

The first programme would have pleased the most fastidious of tastes:

In the Annual Report of the Civic Club for 1904 this account is given:

There was no doubt about the success of these concerts from the point of view of the enjoyment of the audiences. The hall was crowded almost to the danger point, and the enthusiasm was unrestrained. The Women’s Committees were much interested and kept in touch with Mrs. R. R. Porter Bradford of the Lighthouse, Kensington, who knew the value of such music in a section where the shutting down of textile mills for a winter often made the price of a ticket unavailable. The Committees used their persuasive powers with the Board of Directors to continue these concerts at considerable expense, until a fight between two labor unions made it impossible to rent the hall, the only one in the neighborhood, and the concerts were no longer given. They were the means, however, of procuring a number of guarantors, who were interested in the orchestra from a philanthropic, instead of from a musical point of view. [Pg 146]

From the first, special rates were offered to music students through the music schools of Philadelphia, for the attendance of the young was especially desired. Tickets were also distributed free, but the response was not encouraging.

Special prices were offered to boarding schools in and near Philadelphia, but they too were not eager to patronize symphony concerts.

In 1909, through the Women’s Committee, about 43,000 circulars about the orchestra were sent out by the music schools and other schools with their prospectuses, a favor much appreciated.

Special Concerts were given for the students at Weightman Hall, University of Pennsylvania, from 1909-1922. These were conducted under the auspices of a committee composed of representatives of the student body, of the Faculty Tea Club (of which professors’ wives were the members) and of the West Philadelphia Women’s Committee for the Philadelphia Orchestra. Although the hall was unsuited to orchestral performances, and the stage inadequate in size, these concerts were very popular, and the orchestra was always treated in college style. Press of engagements combined with the unsatisfactory physical conditions there caused the abandonment of these.

Through the generosity of Mr. Cyrus H. K. Curtis two series of eight “Public Ledger Educational Concerts” were given for public school children in 1915-16 and 1916-17.

Public School Concerts have been given at the Academy of Music, with all tickets at fifty cents, during the last two seasons.

Also for many years the orchestra played for the benefit of the Stetson Hospital under a special business arrangement.

Free Sunday Concerts were inaugurated at the Metropolitan Opera House in 1915-16, with a series of three, and continued during the next season.

The Public School Concerts given in 1915-16 and led by Dr. Rich must not be forgotten. They took place at the Normal School, Wm. Penn High School, Philadelphia High School for Girls, Boys’ Central High School, Germantown, West Philadelphia, Frankford and Southern High Schools.

The Young People’s Educational Concerts should be mentioned. Such a series of five concerts was first given by Fritz Scheel in 1902-03, at [Pg 147] the Broad Street Theatre, with lectures by Wm. J. Henderson, Wm. F. Apthorp, Louis C. Elson, Hugh A. Clarke and Henry E. Krehbiel. During 1903-04 and 1905-06 they were continued, and after a long intermission came to life again in the Children’s Concerts, instituted in 1921.[38] A special committee was organized in which many associations were represented and the concerts were so successful that a second series is now given in order to meet the demand. There is no more inspiring sight than to watch the Academy filling up with eager-faced children or than to hear their quick response to Mr. Stokowski’s remarks. The first series was devoted to an explanation of the instruments and the programmes are progressing educationally year by year. The principal difficulty so far encountered is to prevent grown-up children from attending.

This short account demonstrates that the Philadelphia Orchestra is a neighbor of much value to the community in which it dwells.

Long before the project of a permanent orchestra for Philadelphia received any degree of public support, the newspapers of this city in a body used their influence in favor of such an institution. Some one has spoken of newspaper life as a “career for patriots,” and surely the editors of the daily papers deserve this title, if any newspaper men do. No stone was left unturned to further the effort for a first-class modern orchestra in this city. Paid-for space announcing performances is one thing. Editorials by the column and general information, besides the work of the music critic for each paper are another. In the orchestra archives are scrapbooks filled with editorials of immense value to the cause. For the newspaper is a marvelous teacher of public taste and a molder of public opinion. What would the task have been for such a small number of people, first five, then eight, then twenty-four, to which were presently added twenty-one women, if such support had not been prompt and constant? The gallant list of newspapers, some of which no longer exist is, the Evening Bulletin, the Evening Ledger, the Evening Telegraph, the Item, The Inquirer, the North American, the Press, the Public Ledger, the Record, the Times. Not only was support given to the orchestra itself, but to the Women’s Committees in every undertaking. For this publicity the Philadelphia Orchestra is in deep debt to the Philadelphia papers.

Of the music critics it can be said that they are human in their likes and dislikes, but have always been really interested and friendly.

One newspaper writer must be mentioned. Mrs. Cornelius Stevenson, as “Peggy Shippen” used her clever pen to further the cause and especially the work of the Women’s Committees; and was an honorary vice-president from the beginning until her death. She was also one of the original guarantors. She was not a music critic, but in her youth she had possessed a fine contralto voice and she was a devoted music-lover.

So many articles and extracts have already been given that only one [Pg 149] more will be added in order to prove that Philadelphia newspapers and many others have been warm friends of the Philadelphia Orchestra.

Evening Telegraph, March 18th, 1901, Editorial:

The largest portion of this story has been devoted to the orchestra itself, and the people who founded it, supported it and endowed it. Now comes the turn of the party of the third part, the audience. An orchestra may be wonderfully trained, superbly led, comfortably supported, and yet miss the main point of existing. For without listeners, even in the days of radio, an orchestra is incomplete.

In 1900 it was difficult to lure listeners into a concert hall, where symphonic or severely classical music was to be played. Philadelphians began by listening to symphonies in bits and in the late nineties it was the custom for the Germania Orchestra to play one movement of a symphony each week for four weeks, and play the entire work in the fifth week. Theodore Thomas did not do this, but he could not get an audience in 1876 or even in 1881.

It is an inspiring sight of a Friday afternoon or Saturday evening to see the crowds bound for the Academy of Music. Equally inspiring, is it to see the audience standing on the steps of the Academy and on the street for two and three hours before admission can be had to the Amphitheatre for fifty cents. True lovers of music these.

One of the methods employed to persuade people to take season seats was the membership in the Auxiliary of the Women’s Committees. Another was the lure of big soloists. Year by year, this musical organization was obliged to attract by advertising the appearances of great artists. But once the audience was procured, it stayed; and today soloists are on the verge of becoming unpopular. Such is the influence of symphonic music.

The right to interrupt the progress of a concert by demands for repeated encores was one which the audience gave up with little grace. In 1913 a paragraph appeared on the programme, stating that:

“The management has decided in no case
to permit more than one encore.”

And again: [Pg 151]

“As encores tend to disturb the unity of an
orchestral programme the patrons of the
Philadelphia Orchestra Concerts are respectfully
informed that encore demands cannot be granted.”

The conductor had one or two bad experiences, which occupied some minutes, but finally patience won the day and the audiences realized that this pleasure, if it was a pleasure, was over forever at a symphony concert.

Next came the hat question. It is not a new one, for in 1841 the Musical Fund Society placed this notice in one of its programmes:

“Ladies are particularly requested not to
wear their bonnets in the concert room.”

This makes one realize that Philadelphia women were always devoted to their hats. The war on hats was a merry one and began as early as 1906, at a time when hats were large. It is rumored that the fashion at the moment required pinned on hair, so hats could not be removed. This matter was taken up in the Women’s Committee, thought by some to be like the complaint desk of a department store; a situation of which they are proud, as it shows how the public turns to the women. Much discussion arose and notices began to appear in the programmes:

[Pg 152] The “hat question” would not down, but in Philadelphia the situation was nothing to what it was in Boston, for the management was obliged to put the following alarming announcement in the Programme Book:

Hats today are small, but all the listeners are not yet converted.

The next most disturbing element was, and is, the restlessness of the audience.

There is a mistaken idea that coming late and leaving early is peculiar to the modern era, and this day of haste. Far back in 1882 we know that people left concerts early from this notice in a programme of that year:

Coming late is the habit of the American world at least, even when taking trains. Being locked out does not remedy this habit, it only evokes a few growls. [Pg 153]

Again the management took up the subject through the programme:

However, Philadelphia audiences have improved in concert manners since the olden time. Then the audiences, although considered ill-behaved, were much like European ones; they did throw things at the singers and did not hesitate to express their opinions of the performance. But the city has advanced, as can be seen by the following notice:

“Pistole Reward—To whoever can discover the person who was so very rude as to throw Eggs from the Gallery upon the Stage, last Monday, by which the Cloathes of some Ladies and Gentlemen were spoiled and the performance in some measure interrupted!”[39]

Now we do not throw things, the performance is only “in some measure interrupted” when we cough and sneeze during concerts and operas and occasionally come in late. Frequent interruptions of a performance by the screams and calls of displeased listeners, to say nothing of constant conversation were the order of the early days of public music. [Pg 154] Not worse here than elsewhere, but annoying just the same. Now a whisper is hardly ever audible at concerts, and a hiss is called forth only by a modern composition too terrible to allow to pass unnoticed. A hiss every now and again is not an unhealthy sign. It shows that someone is listening; and there are a few coughs but always behind the conductor’s back.

Early in the life of the orchestra the public began to write letters of complaint to the management and to the newspapers. The management feels that this is a sign of healthy interest and welcomes these comments. It shows how strong the sense of possession of the orchestra is with its patrons.

Encores have vanished like the missiles of the past. Hats and restlessness are going out of fashion. The audiences of the Philadelphia Orchestra are wonderful groups of people, some of whom have held seats continuously since 1900. Their regular attendance has encouraged the Board of Directors and inspired the conductor and the musicians to artistic achievements. The party of the third part is doing its share toward making the concerts a success.

Anniversaries are times for reminiscences and a general survey of affairs.

The Corporation known as “The Philadelphia Orchestra Association” today consists of four parts:

First, the Association:[40] comprising the subscribers to the Endowment Funds of $25.00 or more, and the yearly subscribers to tickets for the regular series of concerts; and a Board of Directors elected by them (one-third annually), who in turn elect the officers;

• Second, the Philadelphia Orchestra;
• Third, the four Women’s Committees;
• Fourth, the Business Management.

It is hardly necessary to mention the interdependence of this quartette of activities, or to explain how many people have worked to procure an orchestra for Philadelphia.

In 1900-1901 the Philadelphia Orchestra, composed of 85 musicians gave six evening concerts. In 1925-26 this orchestra, composed of 106 musicians, will give performances as per the following schedule:

[Pg 156] A more perfect fulfillment of obligations would be hard to find.

The regular series of symphony concerts in Philadelphia has been the primary object and main concern of the Association. Other performances have been included when the Philadelphia demand did not consume all the time of the orchestra. Now a third series is being built up, consisting of ten Monday evening concerts, at which the programmes are identical with those of ten of the regular series. More and more this city is absorbing its own orchestra.

During these twenty-five years much traveling has been done. The first journey was to Reading in 1900. The next year concerts in five Pennsylvania cities were added as well as in Trenton and Wilmington. In 1902-03 the first concerts in Baltimore and Washington were attempted and the first New York appearance was made. Growing bolder with advancing years appearances were made in new cities each year, of which the following are the most important: Boston (1903-04); Baltimore and Washington, five each (1906-07); Pittsburgh, one (1911-12), five pairs (1916-17); New York City, five afternoon concerts (1918-19); Toronto, three concerts (1919-20); New York City, ten concerts (1922-23).

The orchestra has traveled as far east as Portland, Maine; as far west as Detroit and Ypsilanti, Michigan; as far south as Richmond, Virginia, and as far north as Toronto, Canada. During the coming season Chicago will be added to this list.

Traveling has been tinged with adventure. In 1908, when returning from Wilmington, the special train carrying the orchestra was wrecked near Chester. Mr. Pohlig and six musicians were injured, when the cars were derailed and rolled down a steep embankment. Fortunately, there were no serious injuries and all the instruments were unhurt.

Ten years later the orchestra reached Kalamazoo, Mich., with difficulty during a severe blizzard, en route for Grand Rapids, where a concert was to be played. The thermometer fell to 27° below zero in a sixty mile gale. The concert was postponed but later given.

The last experience of winter weather was in Canada in 1924, when the Ottawa concert was cancelled after the audience had waited in perfect [Pg 157] good humor for three hours, hoping that the train carrying the orchestra could push through the snow.

In the past special trains were almost invariably used. Since railroad transportation has more than doubled, and since the charge for a special train has also been raised, the management wherever possible has availed itself of regular trains, generally running as a second section. Since the party now constitutes upwards of one hundred and twelve people, five twelve-section drawing room cars and one baggage car make up the equipment for night trips. Going to New York, two coaches are attached to an early afternoon train, and a special train home is provided after the performance.

The labors of the officers and directors have been continuous. The Executive Committee, chosen from the Board in the early days; a sub-committee composed of Dr. Keffer and Mr. McCollin; the Committee of Three, consisting of Mr. Norris, Mr. Wheeler, and the late Mr. Charles A. Braun, who with the president, met daily from 1908 until 1920, shouldered most of the responsibility. Under the new By-Laws the Administration Committee composed of Messrs. Edward W. Bok, James Crosby Brown, Samuel S. Fels, Charles D. Hart, Effingham B. Morris, William Jay Turner, Alexander Van Rensselaer, and Andrew Wheeler, perform the arduous task of meeting every week regularly to dispose of the business of the Association.

In the early days Mr. Henry Whelen, Jr., made it possible to carry on the orchestra under financial difficulties, from 1900 until his death, which, coming so soon after the loss of Fritz Scheel, was a double blow. On May 22nd, 1907, this resolution was passed by the Board of Directors:

Mr. Thomas McKean, for many years Vice-president, was one of the officers who was always ready to assist in a financial crisis. Mr. Richard Y. Cook and Mr. Theodore N. Ely were especially devoted members of the Board, but all the membership should be included in this category.

The social end, besides many others, has been taken care of by Mr. Van Rensselaer, who has constantly given entertainments.

Of the many friends outside of the officers and directors, Mr. Philip H. Goepp has worked as hard as any man. From 1901-1902 until 1920-1921 inclusive he was annotator of the programme and well fitted for the task, as he is a musician, composer, and author of the series on “Symphonies and their Meaning,” authoritative works on this subject. He gave his time and his knowledge to the Association, at first without remuneration, so great was his enthusiasm over the continued development of the orchestra. Many days and nights through the years were devoted to the study of the works performed, and the Association is greatly in his debt.

During the period of his leadership Mr. Stokowski has had various honors bestowed upon him. After the second performance of the Mahler Symphony he was presented with a bronze wreath; on the completion of ten years as conductor in 1922, by the Women’s Committees with a set of twelve silver plates, and with a silver tankard by the Association; the University of Pennsylvania conferred on him the Honorary degree of Doctor of Music in 1920; and in 1922 he was the first recipient of the Philadelphia Award of Ten Thousand Dollars. His appearances in Europe in January 1923, when as guest conductor he led orchestras in France and Italy were greeted with enthusiasm and with press notices of a laudatory nature.

[Pg 159]

Although it is a rented building, the Academy of Music is the only dwelling place the orchestra has known, and the auditorium with its architectural beauty and perfect acoustics is a marvelous place for orchestral concerts. Having been built in 1857, its traditions link the past with the present and cast a spell over the music.

The present stage setting, which replaces the gift of the West Philadelphia Women’s Committee, is from the design of Mr. Huger Elliott, and was executed as a labor of love by the students of the Pennsylvania Museum and School of Industrial Art for the Association.

A possession of the Association is the orchestral library that has gradually been accumulated. Beginning with the purchase, for $600.00, of the library of the Philadelphia Symphony Society and augmented in 1911 by Fritz Scheel’s collection, and by the constant addition of new works, it is now suited to the needs of the orchestra and valued as a great asset. It contains twelve hundred works with scores, and orchestral parts for one hundred and ten men, besides four hundred and thirty scores without orchestral parts.

Advantage is often taken of modern musical inventions. For some years much care has been given to the making of Victor Records, which are popular the country over. There is now a list of forty-six, all exceptionally good, and they have brought the orchestra many friends. Radio transmitters are not used at performances. The Board of Directors feels that it is unfair to patrons of the orchestra, who pay for tickets and take the trouble to attend the concerts in person, to broadcast the music throughout the country.

Mr. Stokowski recently secured the rights for the first presentation of the new Hammond Pedal, invented by John Hays Hammond, Jr. The first public performance on the piano with this attachment was at the Philadelphia regular series of concerts, on October 30th and 31st, 1925, when Lester Donahue played the Rachmaninoff Second Concerto. The invention will also be used in Washington, New York City and on the Western tour. [Pg 160]

In looking back over the years, details come to mind. Much anxiety used to be felt about Saturday nights, as bad weather meant a poor audience and knocked the box office receipts. Now, the audience is anxious for fear of uncomfortable delays on the steps during a storm, on account of the crowd.

Another detail was the efforts that the women made long ago to brighten up the appearance of the Saturday evening house, by asking their friends in the boxes to wear gay clothes.

The policy of the Philadelphia Orchestra Association has always been to sell tickets at moderate prices. Tickets for the best seats for the first regular series of six concerts sold for $8.00. Students could buy tickets for the amphitheatre for $1.75 for fourteen rehearsals and $2.00 for fourteen concerts. The price of tickets has increased seventy per cent and operating expenses have increased five hundred per cent in twenty-five years, but considering this, the tickets are still moderate. A story is told by Mr. George T. Haley, of the Academy of Music Ticket Office, loyal friend to the orchestra, of how as a young assistant agent he was in charge of the window on the first day of the first sale for the Philadelphia Orchestra. He opened promptly at 8.30 a. m.; the first sale was about ten and the next about four in the afternoon. Now, his principal business in connection with the orchestra is to placate the people who cannot get the seats they want or get any seats at all.

The Business Management of the Association has been since 1915 in the hands of Mr. Arthur Judson, whose ability and that of the Assistant Manager, Mr. Louis A. Mattson, is well known. Mr. Judson manages, likewise, the Philharmonic Orchestra of New York and the Cincinnati Orchestra. Mr. Mattson manages the summer concerts in Fairmount Park, for which a number of Philadelphia Orchestra men are engaged. The ease with which a large amount of business is conducted, and one in which there is much detail, is due to the organizing talents of Mr. Judson and to the devotion and long training of the office staff under him. The [Pg 161] Association is fortunate in having a manager of such rare business acumen, whose talents have developed as necessity arose; until it is safe to say that there is no more ably managed musical organization in the country than this. To Mr. Mattson falls the task of distributing the seats, no easy one in 1925, when there are almost none to dispose of. No mention of the business end of this enterprise would be complete without the names of Miss Ruth O’Neill, Miss Elizabeth M. Russell and Miss Margaret E. Pringle, not to forget Mr. Stokowski’s private secretary, Miss McGinty, who eases the thorny business path of an artist.

Speaking of business, the Endowment Funds of the Association were at first in the hands of three trustees but now are in the care of a Corporate Trustee, the Girard Trust Company.

But enough of details! Many forces have combined to make it possible to maintain an orchestra.

Some years ago Peggy Shippen wrote:

The Philippine Concerts which occurred on March 29th and April 5th, 1900; and which were the forerunners of the Philadelphia Orchestra, were commemorated at the concerts of March 27th and 29th and April 3rd and 4th, 1925, by a notice in the programme and by the playing of certain numbers played at those concerts. They marked the first appearance of Fritz Scheel with an orchestra of professional musicians in Philadelphia.

The Twenty-fifth Anniversary of the first concert on November 16th, 1900, is being celebrated at the concerts of November 13th and 14th, 1925, by simple ceremonies and a repetition of the first programme. It is a long way from the total of seven concerts in 1900, to the one hundred and five concerts arranged for this season. The road has been discouraging and difficult, but the twenty-fifth anniversary is a cause for rejoicing to all lovers of the Philadelphia Orchestra.

Little did the small group of men in 1900 dream that the orchestra they founded would twenty-five years later be known throughout America and Europe.

The “Road One Hundred and Fifty Years Long” has been worth traveling to Philadelphians, to reach the present milestone in the symphonic succession, so far the most important achievement in the city’s musical history. If Baedeker were to write a “Guide to Music in America” he would put three stars against the Philadelphia Orchestra.

The point of the story is the music that the Philadelphia Orchestra makes. It would be a tragedy if after twenty-five years anyone could ask “Why?” A tragedy for the officers and directors, for the Women’s Committees, and for the reader and writer of this book. For the musicians and for Leopold Stokowski it would be more than a tragedy, the object of life would cease to exist.

Beginning in 1912 the musical record becomes more and more interesting. The leader has poured out his talents for Philadelphia and the feast has been lavish. Programme after programme of the works of the great, interpreted by the brain of Leopold Stokowski have enthralled his audiences. Only a few special selections and occasions can be mentioned, but a perusal of the programmes for thirteen years shows that the average of Philadelphia Orchestra concerts is far above the usual average, for he is a master maker of programmes.

1912-13: Gustav Strube, “Puck”; Herman Sandby, Prelude to Act IV “The Vikings of Helgenland”; Edward Elgar, Symphony No. 1; Guiseppe Martucci, Symphony No. 1; Sigismund Noszkowski, “Die Steppen”; Richard Strauss, “Liesbes Scene” from “Feursnot,” “Salome’s Tanz”; Henri Rabaud, Symphony No. 2[42]; Ernest Schelling, “Légende Symphonic.”[43]

1913-14: Hans Erich Pfitzner, “Käthchen von Heilbronn,” overture; Fernandez Arbos, “Guajiras,”[44] violin and orchestra; Florent Schmitt, “Rapsodie Viennoise”[45]; Albert Roussel, Evocation No. 2 “La Ville Rose”[46]; Henry Hadley, Symphony, “North, East, South and West”; Erich [Pg 164] Korngold, “Schauspiel” Overture; Otto Mueller, member Philadelphia Orchestra, “Dramatic Overture”; Henry A. Lang[47], Symphony “Fantasies of a Poet”; Beethoven, Ninth Symphony with Chorus.

1914-15: Jan Sibelius, “Finlandia”; Bach, triple concerto, piano, violin and flute; Paderewski, Symphony B minor[48], Special Concerts for the Benefit of the Pension Fund; Mendelssohn, “Lobgesang Symphony” with soloists and sixteen Choral Societies; Wagner Programme. Frederick Stock, Symphony C minor; Feruccio Busoni, Indian Fantasy, piano and orchestra;[49] Sandby, Suite from “The Woman and the Fiddler”; Mrs. H. H. A. Beach, Symphony “Gaelic”; Georges Enesco, “Roumanian Rhapsody.”

1915-16: Gustav Strube, “Variations on an Original Theme”; Camille Zeckwer[50], Symphonic Poem, “Sohrab and Rustum” (conducted by composer); Enrique Granados, Intermezzo and Epilogue from Goyescas; Gustav Mahler, Eighth Symphony for orchestra soli and chorus;[51] Strauss “Alpensymphonie.”[52]

1916-17: Frederick A. Stock: Violin Concerto, D minor; Arne Oldberg “June” (conducted by composer); Gustav Mahler, “Das Lied von der Erde,”[53] symphony for soli voices and orchestra; Max Bruch, Concerto for two pianos written for Rose and Ottilie Sutro (first world performance); Michel Dvorsky, “Chromaticon” piano and orchestra, Josef Hofmann, pianist; Debussy, “The Blessed Damosel” after Rosetti for soprano and Chorus of Women; Schelling, “Impressions,” variations for piano and orchestra, composer at the piano; Liszt, Eine Faust Symphonie, orchestra, tenor and bass soli and chorus; Bach, Matthäus Passion, orchestra, soli, Philadelphia Orchestra Chorus, Chorus of Girls from Philadelphia Normal School and Girls’ High School.

1917-18: American Programme, Edgar Stillman Kelley Symphony “New England,” compositions by Philip H. Goepp, Arthur Foote; Skryabin, “Poème de l’Extase”; Beethoven, Three Equali for four Trombones; Bach, Concerto, three pianos and orchestra, Mme. Olga Samaroff, Bauer, Gabrilowitsch; Sinding, Symphony; Ernest Chausson, “Poème” violin and [Pg 165] orchestra, Thaddeus Rich, violinist; Bloch Programme, concert conducted by composer; Selim Palmgren concerto “The River,” piano and orchestra.

1918-19: MacDowell “Indian Suite” dirge in memory of fallen Americans; Dvorsky, “The Haunted Castle”; Debussy “Sirènes,” orchestra and women’s voices; Lorenziti, Suite for Viole d’Amour, Henri Casadesus, soloist; Rachmaninoff, Air for a Choir of Solo Violins with orchestra; Programme of four American composers, Frederic S. Converse, H. Clough-Leiter, John Alden Carpenter, Cecil Forsyth; Leo Ornstein, piano soli, composer at the piano; Chadwick, “Tam o’Shanter”; Ernest Bloch, Symphony No. 1; Louis Garnier, “Vision” Poème for Orchestra.

1919-20: Beethoven, Choral Fantasy in C minor, piano, orchestra and chorus, Mme. Samaroff, pianist; Malipiero, “Pause del Silenzio”; Loeffler “A Pagan Poem” for Orchestra, with piano, English horn and three trumpets obligato, Bauer pianist; Charles T. Griffes, four compositions for orchestra; Rachmaninoff, Concerto No. 3, piano and orchestra, composer at the piano; Symphony “The Bells”[54] (after Poe), orchestra solo voices and Philadelphia Orchestra Chorus; Lorenziti, Concerto for Viole d’Amour, double bass and orchestra, Thaddeus Rich and Anton Torello, soloists; Weber, Concertino in F for bassoon and orchestra, Richard Krueger, soloist; André Maquarre, two compositions for orchestra; Mozart Opus 30, arranged as a Concerto for oboe and small orchestra, Marcel Tabuteau, soloist; Beethoven, Ninth Symphony, Philadelphia Orchestra Chorus, marking Ninety-sixth Anniversary of first performance, 1824.

1910-21: Leo Sowerby “Comes Autumn Time”; J. Guy Ropartz, Symphony No. 4; Cyril Scott, concerto piano and orchestra, composer at the piano; John Alden Carpenter “A Pilgrim Vision” to mark Tercentenary of Landing of the Mayflower; Beethoven, Ninth Symphony with Philadelphia Orchestra Chorus; Brahms; double concerto violin and cello, Rich and Penha, soloists; Brahms, “Requiem,” soprano and baritone soli, chorus and orchestra; Gilchrist[55], Symphonic Poem, unveiling of Gilchrist memorial; Mahler, Symphony No. 2, for orchestra, chorus and solo soprano and contralto. [Pg 166]

1921-22: Sibelius, Symphony No. 5[56]; Alfredo Casello, “Pages of War” for orchestra; Gregor Fitelberg, Polish Rhapsody[57]; Bloch, Suite for viola and orchestra; Schoenberg, Five Orchestra Pieces; Vincent d’Indy “Poème des Rivages,” d’Indy, guest conductor (first performed on present tour); Bach Passacaglia, orchestrated by Leopold Stokowski (first time); Strawinsky “Sacre du Printemps”[58]; Manuel de Falla, excerpts from “El Amor Brujo”[59]; Otto Mueller, Carnival Overture “Schlaraffiada.”

1922-23: Debussy “La Cour des Lys”; Ravel, “La Valse Choreographic,” Poem for Orchestra; Strawinsky, “Feuerwerk”; Franck Centenary, Symphony D minor. The orchestra was engaged by Dr. Richard Strauss for four New York concerts of his own works exclusively. Dr. Strauss also conducted one in Philadelphia.

1922-1923: Camille Zeckwer, “Jade Butterflies”; Strawinsky, “Trois Poésies de la Lyrique Japonaise”; Enesco, Symphony E flat, Roumanian Rhapsody, Enesco, guest conductor; Brahms, concerto for violin, Enesco, violinist; January 26th and 27th, 1923, compositions by Milhaud, Poulenc, Auric, Satie; Schelling, “A Victory Ball”; Pick-Mangiagali, “Sortilegi,” Symphonic Poem, piano and orchestra; D. G. Mason, Prelude and Fugue, piano and orchestra; Henry Eichheim, Oriental Impressions for Orchestra; Schoenberg, “Kammersymphonie”.

1923-24: Strawinsky, “Chant du Rossignol”[60]; Bach concerto for harpsichord; Händel, concerto for harpsichord, Wanda Landowska, soloist; Strawinsky, “Symphonie d’Instruments à Vent”[61]; Josef Hofmann, compositions for piano and orchestra, East and West, Caliedescope, the Haunted Castle, “Chromaticon” (Dvorsky); Ottorino Respighi, “Sinfonia Drammatica”; Deems Taylor, Suite “Through the Looking Glass”; compositions by Magnard, Jean-Jules-Amable Roger-Ducasse; Hand Krása; Strawinsky, “Renard,” burlesque for Chamber Orchestra, two tenors, two basses; Beethoven, Ninth Symphony with Toronto Choir.

1924-25: Nicholas Medtner, piano concerto, composer at piano; Edgar Varese, “Hyperprisms”; Paul Hindemuth, Nusch-Nuschi Dances; Karl [Pg 167] Szymsanowski, violin concerto[62]; Kurt Atterberg, Symphony No. 2; Henry Joslyn, War Dance from Suite, “Native Moments”; Strawinsky programme, Strawinsky guest conductor; Prokokieff, Suite Scythe, “Ala and Lolli”; Arthur Bliss, “Mêlée Fantasque”; Germaine Taillefer, Concerto[63] for piano and orchestra; Isaac Albeniz, “Fête Dieu à Séville”; Edward Burlingame Hill, Arthur Bliss, compositions for two pianos and orchestra.

It must not be supposed from the above that the usual standard works are not performed. The list is given to show the wide musical range to which Philadelphians are treated. No mention has been made of the many Wagner and Tschaikowsky programmes that have been presented. They have occurred every year and are always a delight.

It is a pleasure to mention the principal players in the orchestra, who are not generally known personally by the audience. It is a case of “by their voices you shall know them,” and their voices enthrall the listeners week by week. First comes Dr. Thaddeus Rich, most popular of concertmasters and an assistant conductor of no mean attainments, who is sometimes called to take the conductor’s place at the last minute, where he acquits himself with honors. As we look farther there are: David Dubinsky, first second violin; Samuel Lifschey, first viola; Hanns Pick, violoncello; W. M. Kincaid, flute; Marcel Tabuteau, oboe; Daniel Bonade, clarinet; Anton Horner, horn; Walter Guetter, bassoon; Sol. Cohen, trumpet; Gardell Simons, Paul P. Lotz, C. E. Gerhard, trombones; Philip A. Donatelli, tuba; Anton Torello, bass; Vincent Fanelli, Jr., harp; and last but not least, Oscar Schwar, tympani. These players all possess the requisites, which seem to be ability to play and ability to obey, for the response of their wills to the will of the leader is what makes success in an orchestra. One noticeable feature about the musicians is their youth; this is patent to the eye, and to the ear, from the virility of their performance.

To those who do not see farther than the Academy stage, it would be useless to explain that the conductor’s activities are not confined to stepping briskly onto the platform and leading concerts. People who have given the matter thought must know that he is working all the year [Pg 168] round for the Philadelphia Orchestra. The rehearsals are very exacting and the players are wonderfully prepared. Conducting a concert means a physical, mental and emotional strain which is only understood by those who have seen the conductor as he comes off the stage. Leading without a score requires perfect concentration. Painstaking effort and patience on the part of Mr. Stokowski bring their reward in the finish of the performance, but it looks so easy! And therein is shown his skill. Next there is the constant search for new works and the mastering of them before rehearsals can begin. Much time is occupied in hearing and selecting players, for no stone is left unturned to find the best artists for each position. The mail is also a subject of importance, as correspondence is kept up with individuals and publishers and then there are letters of complaint or approval, all to be answered. The conductor is a busy man, whose brain never stops working, planning, devising for the orchestra.

Leopold Stokowski’s musical gifts are of a nature difficult to describe. What thrills come to one at the remembrance of certain moments, the first hearing of the Bach “Passacaglia,” the “Prelude and Liebestod” from Tristan, the symphonies of Brahms, Schubert and Tschaikowsky, Mahler’s Eighth, where the chorus “Alles Vergängliches ist nur ein Gleichniss” soars aloft, Beethoven’s Seventh, and the Ninth with the Mendelssohn Choir of Toronto. But why mention special moments? The audiences have come to expect every concert to be a “special moment.”

Philadelphia is to be congratulated that the orchestra bearing its name is in the hands of Leopold Stokowski, master musician. It is constantly advancing. When one peak on the climb is reached, the clouds roll away and another comes into view. Let no man speak its doom by proclaiming that the summit of Parnassus has been reached by the Philadelphia Orchestra.

The name of Alexander Van Rensselaer, Esq., appears on the first page of this book. It is fitting that it should also appear on the last, for the president’s activities encircle the orchestra. Many records of his deeds appear in the annals of the Association, and many more are [Pg 169] engraved in the hearts of his fellow-workers and fellow-townsmen. He is the only person, however, who knows what sacrifices his devotion has entailed. For although a president may appear to enjoy more sunshine than other individuals, he also bears the shock of all the storms. The responsibility of such a post for twenty-five unbroken years is a heavy burden for a man to bear. To say that he has borne it and continued to hold the respect and affection of Philadelphians is the finest tribute that could be paid him.

The story told in this book has been made possible by the president of the Philadelphia Orchestra Association. [Pg 170]

[Pg 171]

[Pg 176]

Charter
of
The Philadelphia Orchestra Association

(Adopted November 1, 1902)

The subscribers hereto, all of whom are citizens of the Commonwealth of Pennsylvania, have associated themselves together for the purpose herein below set forth and being desirous of becoming incorporated agreeably to the provisions of the Act of the General Assembly of the Commonwealth of Pennsylvania, entitled, “An Act to provide for the incorporation and regulation of certain corporations,” approved the twenty-ninth day of April in the year of our Lord one thousand eight hundred and seventy-four, and the supplements thereto, do hereby declare, set forth and certify that the following are the purposes, objects, articles and conditions of their said Association for and upon which they desire to be incorporated.

Article 1.—The name of the corporation shall be The Philadelphia Orchestra Association.

Article 2.—Its object is to encourage the performance of first-class orchestral music in the City of Philadelphia and for that purpose to establish and maintain The Philadelphia Orchestra.

Article 3.—The place in which the business of the said corporation is to be transacted is the City of Philadelphia.

Article 4.—The said corporation is to exist perpetually.

Article 5.—The said corporation shall have no capital stock.

Article 6.—The number of Directors of the said corporation shall be twenty-four, and the names and residences of those who are chosen for the first year are as follows:

Witness the hands and seals of the subscribers this first day of November, in the year of our Lord one thousand nine hundred and two (1902):

• A. Van Rensselaer (L.S.)
• A. J. Cassatt (L.S.)
• Geo. F. Baer (L.S.)
• Henry Whelen, Jr. (L.S.)
• John H. Converse (L.S.)
• C. Hartman Kuhn (L.S.)
• Geo. Burnham, Jr. (L.S.)
• Edwd. G. McCollin (L.S.)
• Clement B. Newbold (L.S.)
• Jas. W. Paul, Jr. (L.S.)
• John H. Ingham (L.S.)
• E. I. Keffer (L.S.)
• State of Pennsylvania
• City and County of Philadelphia

Before me, the Recorder of Deeds for the County of Philadelphia, on this twenty-first day of November A. D. 1902, personally appeared Henry Whelen, Jr., John H. Ingham and Edward I. Keffer, three of the subscribers to the foregoing certificate of incorporation and duly acknowledged the same to be their act and deed, and desired that the same might be recorded as such,

Witness my hand and official seal the day and year aforesaid.

Jos. K. Flescher, Deputy Recorder of Deeds (L.S.)

Filed in the office of the Prothonotary of the Court of Common Pleas No. 4 as of December Term 1902 No. 845, on the Fourth day of December A. D. 1902.

C. B. Roberts, Deputy Prothonotary.

Recorded in the office for recording Deeds etc. in and for the County of Philadelphia in Charter Book No. 28, page 53 etc.

Witness my hand and seal of office this seventh day of January A. D. 1903.

Wm. S. Vare, Recorder of Deeds (L.S.).

Executive Committee of The Philadelphia Orchestra
elected at the Orpheus Club Rooms,
May, 1900

• Henry Whelen, Jr.
• John C. Sims
• Edward G. McCollin
• Oscar A. Knipe
• Edward I. Keffer
• Oliver Boyce Judson
• John H. Ingham, Secretary.

Officers and Directors of The Philadelphia
Orchestra Association
1900-1925

1901-1902
OFFICERS

Alexander Van Rensselaer, President
F. T. Sully Darley, Vice-president
John H. Ingham, Secretary
Henry Whelen, Jr., Treasurer

1902-1903
OFFICERS

Alexander Van Rensselaer, President
Thomas McKean, Vice-president
John H. Ingham, Secretary
Henry Whelen, Jr., Treasurer

1903-1904
OFFICERS

Alexander Van Rensselaer, President
Thomas McKean, Vice-president
John H. Ingham, Secretary
Henry Whelen, Jr., Treasurer

1904-1905
OFFICERS

Alexander Van Rensselaer, President
Thomas McKean, Vice-president
John H. Ingham, Secretary
Henry Whelen, Jr., Treasurer

1905-1906
OFFICERS

Alexander Van Rensselaer, President
Thomas McKean, Vice-president
Andrew Wheeler, Jr., Secretary
Henry Whelen, Jr., Treasurer [Pg 183]

1906-1907
OFFICERS

Alexander Van Rensselaer, President
Thomas McKean, Vice-president
Andrew Wheeler, Jr., Secretary
Henry Whelen, Jr., Treasurer

1907-1908
OFFICERS

Alexander Van Rensselaer, President
Thomas McKean, Vice-president
Andrew Wheeler, Jr., Secretary
Arthur E. Newbold, Treasurer

1908-1909
OFFICERS

Alexander Van Rensselaer, President
Thomas McKean, Vice-president
Andrew Wheeler, Jr., Secretary
Arthur E. Newbold, Treasurer

1909-1910
OFFICERS

Alexander Van Rensselaer, President
Thomas McKean, Vice-president
Andrew Wheeler, Jr., Secretary
Arthur E. Newbold, Treasurer

1910-1911
OFFICERS

Alexander Van Rensselaer, President
Thomas McKean, Vice-president
Andrew Wheeler, Jr., Secretary
Arthur E. Newbold, Treasurer [Pg 185]

1911-1912
OFFICERS

Alexander Van Rensselaer, President
Thomas McKean, Vice-president
Andrew Wheeler, Jr., Secretary
Arthur E. Newbold, Treasurer

1912-1913
OFFICERS

Alexander Van Rensselaer, President
Thomas McKean, Vice-president
Andrew Wheeler, Jr., Secretary
Arthur E. Newbold, Treasurer

1913-1914
OFFICERS

Alexander Van Rensselaer, President
Thomas McKean, Vice-president
Andrew Wheeler, Jr., Secretary
Arthur E. Newbold, Treasurer

1914-1915
OFFICERS

Alexander Van Rensselaer, President
Edward W. Bok, Vice-president
Andrew Wheeler, Jr., Secretary
Arthur E. Newbold, Treasurer

1915-1916
OFFICERS

Alexander Van Rensselaer, President
E. T. Stotesbury, Vice-president
Andrew Wheeler, Jr., Secretary
Arthur E. Newbold, Treasurer [Pg 187]

1916-1917
OFFICERS

Alexander Van Rensselaer, President
E. T. Stotesbury, Vice-president
Andrew Wheeler, Jr., Secretary
Arthur E. Newbold, Treasurer

1917-1918
OFFICERS

Alexander Van Rensselaer, President
E. T. Stotesbury, Vice-president
Andrew Wheeler, Jr., Secretary
Arthur E. Newbold, Treasurer [Pg 188]

1918-1919
OFFICERS

Alexander Van Rensselaer, President
E. T. Stotesbury, Vice-president
Andrew Wheeler, Jr., Secretary
Arthur E. Newbold, Treasurer

1919-1920
OFFICERS

Alexander Van Rensselaer, President
E. T. Stotesbury, Vice-president[65]
Andrew Wheeler, Jr., Secretary
Arthur E. Newbold, Treasurer [Pg 189]

1920-1921
OFFICERS

Alexander Van Rensselaer, President
William Jay Turner, Vice-president
Andrew Wheeler, Jr., Secretary
Robert K. Cassatt, Treasurer

1921-1922
OFFICERS

Alexander Van Rensselaer, President
William Jay Turner, Vice-president
Andrew Wheeler, Jr., Secretary
Robert K. Cassatt, Treasurer [Pg 190]

1922-1923, 1923-1924, 1924-1925
OFFICERS

Alexander Van Rensselaer, President
William Jay Turner, Vice-president
Andrew Wheeler, Jr., Secretary
Robert K. Cassatt, Treasurer

First Guarantors of the Philadelphia Orchestra
1900-1901

Summary of Concerts Played by
The Philadelphia Orchestra
Seasons 1900-1901 to 1924-1925, Inclusive

1—	Season 1900-1901:
	Six Concerts			6
	Reading, Penna.			1
	Total			7
2—	Season 1901-1902:
	Regular Series Concerts	14		28
	Public Rehearsals	14
	Allentown, Harrisburg, Lancaster, Reading, York,
	Penna., Trenton, Wilmington, three (3) each			24
	Total			52
3—	Season 1902-1903:
	Regular Series Concerts	14		28
	Public Rehearsals	14
	Beethoven Cycle			5
	Popular Concerts			5
	Young People’s Educational Series			5
	Allentown, Harrisburg, Lancaster, Reading, York,
	Penna., Wilmington, three (3) each			18
	Baltimore, Carlisle, Lebanon, Lock Haven, Scranton,
	Wilkes-Barre, Williamsport, Penna., New York City,
	Trenton, Washington, one (1) each			10
	Total			71
4—	Season 1903-1904:
	Regular Series Concerts	14		28
	Public Rehearsals	14
	Young People’s Educational Lecture Concerts			5
	People’s Concerts			5
	Special Concerts			2
	Popular Concert			1
	Special (Thibaud) Concert			1
	Allentown, Harrisburg, Lancaster, Penna., Wilmington,
	three (3) each			12
	Boston			2
	Reading, Lebanon, Penna., New York City, one (1) each			3
	Total			59 [Pg 194]
5—	Season 1904-1905:
	Regular Series Concerts	15		30
	Public Rehearsals	15
	People’s Concerts			5
	Weingartner Concert, Special			1
	Harrisburg, Washington, one (1) each			2
	Total			38
6—	Season 1905-1906:
	Regular Series Concerts	18		36
	Public Rehearsals	18
	Lecture Concerts			4
	Baltimore, Washington, Wilmington, three (3) each			9
	Lancaster, Reading, New York City, two (2) each			6
	Trenton, Easton, Brooklyn, one (1) each			3
	Total			58
7—	Season 1906-1907:
	Regular Series Concerts	20		40
	Public Rehearsals	20
	People’s Concert, Kensington			1
	Baltimore			5
	Washington			5
	Wilmington			4
	Harrisburg			3
	Trenton			2
	Easton, Reading, Penna., one (1) each			2
	Total			62