CHAPTER I

THE COMING OF LEOPOLD STOKOWSKI

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

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

THE PHILADELPHIA ORCHESTRA ASSOCIATION (INCORPORATED) MAINTAINING THE PHILADELPHIA ORCHESTRA (Founded 1900) LEOPOLD STOKOWSKI, _Conductor_ FIRST PAIR OF SYMPHONY CONCERTS Friday afternoon at 3.00 Saturday Evening at 8.15 October 11th and 12th, 1912

PROGRAMME

1. LUDWIG VAN BEETHOVEN Overture, “Leonore No. 3” (1770-1827) 2. JOHANNES BRAHMS Symphony No. 1, in C minor, Op. 68 (1833-1897)

I. Un poco sostenuto; Allegro (6/8) II. Andante sostenuto (3/4) III. Un poco allegretto e grazioso (2/4) IV. Adagio-piu andante; Allegro non troppo, ma con brio (4/4)

3. MICHAEL IPPOLITOW-IWANOW “Sketches from the Caucasus” (1859- )

I. In the Mountain Pass II. The Mountain Village III. March of the Sirdar (First Time at These Concerts)

4. RICHARD WAGNER Overture “Tannhäuser” (1813-1883)

_Public Ledger_, October 12th, 1912.

“NEW CONDUCTOR OF PHILADELPHIA ORCHESTRA TENDERED OVATION IN ACADEMY

“Leopold Stokowski made his début yesterday afternoon at the Academy as conductor of the Philadelphia Orchestra, in the opening concert of its thirteenth season. Every seat was taken and the extra chairs had been placed within the orchestra rail. There was much enthusiasm, manifesting itself at the beginning in prolonged applause as Stokowski came forward with bowed head, evidently pondering the content of his musical message. Those who went forth to see a hirsute eccentricity were disappointed. They beheld a surprisingly boyish and thoroughly business-like figure, who was sure of himself, yet free from conceit, who dispensed with the score by virtue of an infallible memory, and held his men and his audience from first note to last firmly in his grasp.

“Mr. Stokowski has known the players, and they have known him, for only four days of actual rehearsal, and it was not to be expected that the organization at the outset would manifest the homogeneity to be expected later. Yet in this brief time the new leader has been surprisingly successful in welding the several choirs into a single coherent entity. They played yesterday with a unity of purpose—particularly among the first violins—not usually attained until mid-winter. They brought out the full value of the lights and shadows. The climaxes were duly accentuated, the pianissimos with the utmost delicacy and refinement were contrasted with the full throated polyphony.

“METHODS OF CONDUCTOR

“Mr. Stokowski’s conducting is after the order of Nikisch, whom he frankly admires. He does not tear a passion to tatters. He holds his thunders and the winds of Aeolus in a leash. His gestures are graphic, the arcs and parabolas he describes tell of a kind of geometrical translation going on in his mind, whereby he visualizes the confluent rhythms in outward action. At impassioned moments his movements have the freedom of a violinist’s bow arm; at other instants he brings his fists against his shoulders with vehement concentration, or his uplifted eloquent left hand pleads with some suppressed choir to come forward and assert itself in power. There is, from first to last, no languor or slackened moment; he directs with a fine vigor and intensity that mounts to ecstasy yet does not lose its balance or forget its sane and ordered method.

* * * * *

“TRIBUTE PRESENTED”

“At the close of the symphony a laurel wreath was laid on the dais ere Mr. Stokowski found his way to the footlights in response to the tumultuous applause. The wreath was so large that he stood in it while he called upon his musicians to rise, himself applauding their efforts and modestly disavowing his leonine share of the credit.”

[Illustration: © R. T. Dooner LEOPOLD STOKOWSKI]

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

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

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

THE PHILADELPHIA ORCHESTRA LEOPOLD STOKOWSKI, _Conductor_

First Performances of the Mahler Eighth Symphony Academy of Music, Philadelphia Thursday Evening—Friday Afternoon—Saturday Evening March 2, 3, 4, 1916 Metropolitan Opera House, New York Sunday Evening, April 9, 1916

With Orchestral and Choral Forces of Over One Thousand and the Following Soloists:

FLORENCE HINKLE, Soprano INEZ BARBOUR, Soprano SUSANNA DERCUM, Contralto REINALD WERRENRATH, Baritone ADELAIDE FISCHER, Soprano MARGARET KEYES, Contralto LAMBERT MURPHY, Tenor CLARENCE WHITEHILL, Basso

First Chorus—The Philadelphia Orchestra Chorus, 400 Children’s Chorus, 150

Second Chorus—Philadelphia Choral Society, Mendelssohn Club and the Fortnightly Club, 400

“The Philadelphia Orchestra Association takes pleasure in announcing three performances in Philadelphia of Gustav Mahler’s Eighth Symphony and, under the auspices of the Society of Friends of Music, one performance in New York. The first Philadelphia performance is the first presentation of this work in America, and is given under an exclusive contract with the publishers. Although other famous organizations had approached the Universal-Edition in Vienna, to the Philadelphia Orchestra fell the honor and artistic responsibility of presenting this work for the first time to the American public. The production of the work, requiring three choruses aggregating 950 voices, an orchestra of 110, and 8 soloists, entails a cost for the Philadelphia performances alone of approximately $15,000.”

* * * * *

“The New York performance owes its possibility to the public spirit and generosity of the Society of Friends of Music, and will be given with the complete forces employed in Philadelphia. This single production will cost approximately $12,000.

“Owing to the great magnitude of the work and the great demand which it makes on the musical forces employed, it is extremely doubtful whether it can receive many performances in America. Two years have been spent in preparation in order that the rendition of the work might realize the ideals of the composer. That the value of the work is appreciated is shown by the fact that orders for seats have been received from all over the eastern and middle western sections of this country. The Friday and Saturday performances in Philadelphia are sold out and many mail orders have been received for Thursday night. An early application for seats should be made.

“PRICES OF TICKETS FOR THE FIRST PERFORMANCE AT THE ACADEMY OF MUSIC, THURSDAY EVENING, MARCH 2, AT 8.15

Parquet and Balcony Box Seats $3.00 Parquet and Parquet Circle, first two Rows in Balcony 2.50 Remainder of Balcony and first two Rows in Family Circle 2.00 Third and Fourth Rows, Family Circle 1.50 Remainder of Family Circle 1.00 Amphitheatre, First Two Rows 1.00 Amphitheatre (Unreserved) .50

* * * * *

(The Friday Afternoon and Saturday Evening performances being already sold out, no orders can be taken for these two concerts.)

ARTHUR JUDSON, _Manager_ LOUIS A. MATTSON, _Asst. Manager_”

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

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

NINETEENTH PROGRAMME

Friday, March 3rd, at 3.00 Saturday, March 4th, at 8.15

THE PHILADELPHIA ORCHESTRA LEOPOLD STOKOWSKI, _Conductor_

PROGRAMME Symphony No. 8 GUSTAV MAHLER (1860-1911)

## Part I. Hymn, “Veni, Creator Spiritus”

## Part II. Final Scene from Part II of Goethe’s “Faust”

(First performance in America)

ASSISTING FORCES: Una Poenitentium, FLORENCE HINKLE, Soprano Magna Peccatrix, INEZ BARBOUR, Soprano Mater Gloriosa, ADELAIDE FISCHER, Soprano Mulier Samaritans, MARGARET KEYES, Contralto Maria Aegyptiaca, SUSANNA DERCUM, Contralto Doctor Marianus, LAMBERT MURPHY, Tenor Pater Ecstaticus, REINALD WERRENRATH Pater Profundus, CLARENCE WHITEHILL, Basso

Augmented Orchestra of 110

First Chorus: THE PHILADELPHIA ORCHESTRA CHORUS, 400

Second Chorus: PHILADELPHIA CHORAL SOCIETY, MENDELSSOHN CLUB and THE FORTNIGHTLY CLUB, 400

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

MR. CONSTANTIN VON STERNBERG at the Piano MR. HENRY GORDON THUNDER at the Organ MR. WILLIAM SILVANO THUNDER at the Harmonium MR. HEDDA VAN DEN BEEMT at the Celesta

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

[Illustration: © Bell & Fischer

THE PHILADELPHIA ORCHESTRA AND MAHLER CHORUS]

_Public Ledger_, March 3rd, 1916:

“MAHLER’S WORK AND STOKOWSKI SCORE TRIUMPH

THOUSANDS AT ACADEMY OF MUSIC AROUSED TO HIGH PITCH OF ENTHUSIASM. NOTED MUSICIANS GIVE PRAISE TO PRODUCTION PROMINENT PERSONS FROM ALL OVER COUNTRY ATTEND RENDITION HERE

“Every one of the thousands in the great building was standing, whistling, cheering and applauding, when Leopold Stokowski, his collar wilted, and his right arm weary, but smiling his boyish smile, finally turned to the audience in the Academy of Music last night.

“He had scored, so famous musicians agreed, the greatest triumph of his career, the greatest triumph the Philadelphia Orchestra has known in its sixteen years of life and he had done it on a stupendous scale with the American première of Gustav Mahler’s Eighth Symphony. He carried along with him to triumph an orchestra numbering 110 pieces and a chorus of 958 singers, to say nothing of the city’s music lovers and scores of musical pilgrims from other cities.

“For every one who is any one in musical America was here for the Mahler American première last night or will be here when the tremendous work is repeated this afternoon and tomorrow night. The boxes were filled with famous musicians and musical authorities. One and all stood, applauding Mr. Stokowski and the symphony, while the orchestra members blared a ‘touché’ in honor of their leader.

“The scenes at the Academy set nerves tingling. Two weeks before the performance every seat had been sold. Fifteen minutes before Mr. Stokowski swung his baton upon his augmented orchestra and upon the great chorus, banked 24 tiers high, horns blew a fanfare in the foyer of the Academy of Music, following an ancient custom at Bayreuth. The curtain rose and the audience gasped.

“The 958 singers filled the great stage from footlights to roof and the orchestra was upon an apron that has been built out into the house.

“The first twelve rows of singers were women, dressed in white. Above them were twelve rows of men, with a gardenia-like spot of girls, members of the children’s chorus, pinned, it seemed in their midst.”

* * * * *

“Alexander Van Rensselaer presented a wreath for the orchestra. It was inscribed ‘To Leopold Stokowski in commemoration of the first performance of Mahler’s Eighth Symphony in America, March 2nd, 1916.’

MR. VAN RENSSELAER’S REMARKS

“In presenting the wreath, Mr. Van Rensselaer said:

“‘The directors of the Philadelphia Orchestra Association feel that the presentation of this Eighth Symphony of Mahler this evening, for the first time in America, marks an epoch in the musical history of Philadelphia to which no other event is comparable.

“‘This occasion is memorable not only because the Mahler Symphony is such an extremely difficult work, but because we have here in Philadelphia been able to follow out the precise instructions of the composer in welding into one vast instrument these great choral and orchestral forces which are here assembled. These two choruses of 400 trained voices each, together with the large chorus of boys and girls selected from the best choirs of this city, the eight soloists of metropolitan reputation, and the augmented orchestra of 120 instruments, all have been trained into one vast harmonious instrument by you.

“‘We of Philadelphia are indebted for the production of this great work to you, our brilliant and talented conductor. It was you who first conceived the idea more than two years ago of producing this work; it was you who made the arrangements with the publishers and guaranteed to them that we would produce it in the manner indicated by the composer and obtained from them the rights for the first performance in this country; it was you who chose and trained Chorus No. 1 and intrusted Chorus No. 2 to the able direction of Henry Gordon Thunder, to whom our thanks are also due; it was you who arranged with the best choirmasters of Philadelphia to train this large body of boys and girls in their respective parts and it was you who brought together these large agencies and trained them in the final ensemble of this great work.

“‘We feel that not only the musical public of Philadelphia, but the entire city, owe you a debt of gratitude that never can be repaid. And as a testimonial from the Board of Directors of the Philadelphia Orchestra Association, and as an expression from them of their thanks to you for the successful completion of this grand work, I have pleasure in presenting the victor’s crown of laurel, made in perpetual bronze.’

REPLY OF MR. STOKOWSKI

“Mr. Stokowski lifted the wreath, and when the applause died down, turning to Mr. Van Rensselaer, said:

“‘It is impossible for me to put into words my emotions tonight. This stupendous and noble work was written six years ago. For six years I have been meditating the possibility of its performance and hoping, some day, to have the opportunity of giving it, although I knew the requisite forces would be extremely difficult to obtain.

“‘Through a generosity for which I can never sufficiently express my gratitude, Mr. Van Rensselaer and the directors of the Philadelphia Orchestra Association made the great undertaking possible at last. The dream still would have remained unfulfilled, however, had it not been for the hard work and willingness of the orchestra; of all these dear people in the chorus, who have worked for more than a year, training for this night; of all the soloists, and of Henry Gordon Thunder, who has supported and helped me with most wonderful generosity. To the committee that tried thousands of voices, choosing this magnificent chorus, we are particularly indebted.

“‘My final and greatest debt, a debt so great that I feel I never can express it, is to you, the public, for your warmth and understanding at the first hearing of this great work. It is a great inspiration.’

OFFERS OF $100 TO OBTAIN SEATS

“Popular interest in the Mahler Symphony’s American première was evidenced by offers of $100 a seat, reported from several of the large hotels, just before the Academy doors were thrown open, and by more than 1000 persons, lucky holders of general admission tickets who stood in Locust Street, or sat on newspapers spread on the Academy steps, for hours before the performance was scheduled to start. At least 100 persons were waiting at 3.30 o’clock in the afternoon, braving the drizzle, for a chance at a good seat.

“From 7 until 8 o’clock there was a steady stream of automobiles stopping at the Academy doors. All society and all musical Philadelphia streamed into the building. The stage door was besieged by the nearly 1000 chorus members, who were marshaled without a hitch or the raising of a voice into their places. Necessary readjustments on and off the stage, seating arrangements, provisions for the wardrobing of the great chorus and the engaging of understudies for each of the eight soloists cost, it was said, close to $4000. This sum, of course, did not include the great expense entailed in training the voices during the last twelve months.

“Mr. Stokowski was given two great demonstrations; the first during the intermission, the second at the conclusion of the performance. Both lasted for more than five minutes. The noise was so great that the Academy doormen said it could be heard across Broad Street in the foyer of the Walton.

MISS FLORENCE HINKLE APPLAUDED

“Mr. Stokowski bowed until it seemed his back would break. Then he led forward Henry Gordon Thunder, William Silvano Thunder, Constantin von Sternberg and Hedda van den Beemt. The audience wanted more. They wanted the soloists, so forward came the eight of them, and as they went back Florence Hinkle, who was being wildly applauded by the great chorus, kissed her fingertips to them. Above the crescendo of applause could be heard members of the chorus, crying, ‘Hinkle!’

“One of the most interested persons present was Mrs. J. F. D. Lanier, president of the Society of Friends of Music, the New York woman chiefly responsible for the invasion of New York with the Mahler Symphony on April 9. She sat in the same box with the pianist, Harold Bauer.

“In a nearby box was the pianist, Ernest Schelling. Aline van Barentzen, the pianist, also was on hand. Ernest Hutcheson, Harold Randolph, Joseph Hofmann, Ossip Gabrilowitsch, Director Bodansky, of the Metropolitan Opera and of the Cincinnati Symphony, are expected to be present at today’s performance. Other prominent guests were entertained last night and will be entertained today by the Women’s Committee of the orchestra.

“It was announced last night that all seats for the extra performance of the Mahler Symphony on April 4th have been sold.”

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

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

THE NEW YORK PERFORMANCE

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

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

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

_New York Sun_, April 10th, 1916:

“EIGHTH SYMPHONY BY MAHLER HEARD

“SOCIETY OF FRIENDS OF MUSIC GIVES CONCERT AT THE METROPOLITAN. SENT BY PHILADELPHIA

“The Society of the Friends of Music, which has performed a valuable function in the artistic musical life of this metropolis by bringing to the notice of a circle of trained listeners compositions not to be heard at public entertainments, emerged from its privacy to give an ambitious concert last evening in the Metropolitan Opera House. The novelty chosen was Gustav Mahler’s Eighth Symphony, which recently had its first hearing in this country in Philadelphia.

“When the huge symphonic and choral creation of Mr. Mahler was produced in Philadelphia, it was praised with emotion and thanksgiving, the interpretation was considered with reverence and rapture, and the concert had to be—or at any rate was—repeated several times. Upon the heels of this excitement, the whole show came to New York.

“The entire cast, chorus, orchestra and conductor were brought across New Jersey. The Philadelphia Orchestra, numbering for this occasion 110 players; the Philadelphia Orchestra Chorus, a Children’s Chorus, the Philadelphia Choral Society, the Mendelssohn Club and the Fortnightly Club, constituted the choral forces. The presiding genius of all was Leopold Stokowski, the gifted and accomplished young conductor of the Philadelphia Orchestra.

“NOT A BOX OFFICE SYMPHONY

“Mahler’s Eighth Symphony quite properly belongs to the class of compositions sought by the Society of the Friends of Music. It does not court the attention of musical directors, who must consider the wishes of the general public or the demands of the box office. New Yorkers may regret that a local orchestra and local choruses were not chosen for the presentation of the work; but only by preparing for more than one performance could the projectors of this production have hoped to complete their undertaking without losses too heavy to confront. Mahler was not troubling himself with practical considerations when he wrote the composition. He had a purpose, which he carried out in the seclusion of his study. And if Hector Berlioz might write a requiem mass fit only for festival occasions, why not Mahler an Eighth Symphony?”

“After the New York performance, W. J. Henderson said: “If Philadelphia believes that Mr. Stokowski is essential to her musical development, let her decline to permit him to conduct great concerts in New York. This is a piece of perfectly disinterested advice.

“The _Sun’s_ musical chronicler would be delighted to see Mr. Stokowski a New York conductor. He has personality, force, authority, temperament, scholarship and imagination. His conducting of the Mahler Symphony was masterly. He would be a valuable factor in the musical life of New York.”

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

HORTICULTURAL HALL BROAD STREET, PHILADELPHIA

PROGRAMME OF MR. ALEXANDER VAN RENSSELAER’S BUFFET DINNER

Thursday Evening, March 16th, at Seven o’Clock Given to the Members of the Mahler Choruses and the Philadelphia Orchestra (dismembered)

Philadelphia Orchestra Soloists

Horsecar Schwer!!! that’s all Ham Byndler!! Solo-Killest

PROGRAMME

Symphony “Ein Musikalischer Spass” MOZART 1787, German Allegro Minuetto Maestoso Adagio cantabile Presto

(Ten Minutes Intermission at this Concert Only)

Concerto Brosso (1916) Composer unknown Probably an American, Philadelphian Preferred (First time at these concerts) Adagio Andante Soustenuto Large-o

Tone Poem “Tausend Künstler” Schreiner (Augmented Orchestra) 1850-1916, Bavarian

Conductor Sig ad Lib. RIDDEUS THATCH, _Actor-conductor_

“Note—Owing to the exceptional acoustic properties of the Hall, the Audience is requested to refrain from hilarity as the slightest murmur might be disconcerting to the performers. It is earnestly requested by the ‘Damagement’ and the ‘Board of Erectors’ that all vegetable offerings and tokens be of a firm nature.

“The personality of the orchestra will be found on the next page among the Programme notes composed by Professor YEPP.

Yes, my dear! The Piano is a Steamway

“The next ‘Mahler-ia’ concert will take place next week at 2 o’clock. Owing to the Philadelphia Blue-laws a very limited number of tickets will be available. The Knaben-chor will be heard to great advantage at this concert. “ANDREW WHEEL-HER, _Secretary_”

SPECIAL MAHLERATE PROFUNNYGRAM HORTICULTURAL HALL March 16, 1916

PROGRAMME NOTES “Ein Musikalischer Spass” MOZART Born 1756, died 1791.

“This symphony pictures Mozart in his most happy mood. Where he got his inspiration from I do not know. What a pity he cannot be with us tonight; he would surely have an inspiration. But who knows what kind!

“The symphony, or, rather, first movement, opens with ‘_Some Chords_.’ However, they are in the key of ‘C’, so we are pretty safe. These opening chords are for the ‘FULL’ orchestra and are very effective, provided they are ’FULL ENOUGH.

* * * * *

“The second movement is a minuet. You will notice that there is three in a bar, but six in the orchestra, so you see we are at least mathematically even, which ought to insure a fine rhythm—SOMETIMES (?). There is much fervor in this movement and some wrong notes in the horns, but why worry; they are printed in the score, and are consequently correct.

* * * * *

“Tausend Künstler” Schreiner Bavarian (First time in America)

“This work really requires ‘more men,’ but Herr Schwer thinks he can handle it alone. The principal theme is of a martial and military nature. Mr. Schwer only had one rival, and that man died long ago. You will not have much difficulty in following Mr. Schwer, for in this work the performer is very much in evidence at all times. He is very familiar with all of the instruments required for this composition. He has ‘hit them’ very often and possesses an unusual amount of originalitye. ‘TO SEE IT IS TO APPRECIATE IT.’ Mr. Schwer will depict thunder claps, echoes, bombardments, combats, cavalry charges, charge accounts, railroad wrecks, and many other scenic effects while performing this work.”

* * * * *

PERSONNEL OF ORCHESTRA

“Mozart Symphony J. K. WITZEMANN, Schroon Lake, N. Y. F. W. COOK, Hampton Beach, N. H. EMIL HAHL, Willow Grove, Pa. LOUIS BOEHSE, Profile House, N. H. ANTON HORNER, Stone Harbor, N. J. JOSEPH HORNER, Tent City, Cal. “Conductors—(negotiations pending).”

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

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

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

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