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