CHAPTER I

A ROAD ONE HUNDRED AND FIFTY YEARS LONG “_Time Was unlocks the riddle of Time Is_” “BY PARTICULAR DESIRE[1]

“On Tuesday next, the 25th inst., at the Assembly Room in Lodge Alley will be performed a Concert of Music, under the direction of Mr. John Palma; to begin exactly at six o’clock.

“Tickets to be had at the London Coffee House, at one Dollar each; and no person to be admitted without a ticket.”

[1] O. G. Sonneck: “Early Concert Life in America.”

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 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]

[2] J. F. Sachse: “The Missive of Justus Falckner of Germantown, Concerning the Religious Condition of Pennsylvania in the Year 1701.”

[3] Robert R. Drummond: “Early German Music in Philadelphia.”

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” 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]

[4] Sonneck: “Francis Hopkinson and James Lyon.”

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:

“The subscriber proposes to open a school on Monday next, in the house where the late Mr. Quin formerly dwelt, for the instruction of Gentlemen and Ladies, in the following accomplishments:

“First, The French, Italian and German languages, in a method concise and easy.

“Secondly, To play on the violin after the Italian manner, with a peculiar method of bowing and shifting in solos or concertos.

“Thirdly, Drawing and miniature painting with colours, flowers, insects, etc.... Likewise to draw patterns for embroidery, or any kind of needle work....

“He has a variety of music, composed by the most eminent masters, for the violino solo, concembalo et violoncello, to be disposed of on easy terms.

“JOHN MATTHIAS KRAMER”

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]

[5] Drummond: “Early German Music in Philadelphia.”

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 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]

[6] Drummond: “Early German Music in Philadelphia.”

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, 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 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 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.”

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 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, 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]

[7] For full text of Prospectus, see Appendix M.

PROSPECTUS OF PHILADELPHIA PERMANENT ORCHESTRA

* * * * *

“In order to establish an orchestra such as would be a distinct credit to the city, it is necessary to have a paid-up fund of not less than $250,000.

* * * * *

“1. Subscribers shall not be bound by their subscriptions unless the sum of $200,000 shall have been subscribed.

“2. The fund shall be used only for the purpose of establishing and maintaining a Permanent Philadelphia Orchestra, and it shall be applied for that purpose by the following Trustees:

C. WILLIAM BERGNER CHAS. C. HARRISON JOHN H. CONVERSE C. HARTMAN KUHN SAMUEL A. CROZER SIMON A. STERN GEO. W. CHILDS DREXEL JAMES F. SULLIVAN THOS. B. WANAMAKER

The Trustees shall invest $200,000 of the fund, using only the interest thereof and the additional $50,000 shall be used for current expenses of the first few years, when the expenses will be heavier and the deficit greater.

“3. The orchestra shall be composed, first, of the best musicians resident in Philadelphia; then, of the best musicians obtainable either in this country or abroad.

* * * * *

“4. The Board of Trustees, when it considers that the completion of the fund is assured, shall select the leader upon the careful and unbiased consideration of the merits and records of all candidates submitted to it.”

* * * * *

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.

[8] After a year of work the total sum promised was $50,000.

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