Part 3 — APPENDIX (continued 2)

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. In order to insure the success of the enterprise, it is absolutely necessary that the highest standard be maintained, that the reputation of the orchestra can be established in other cities beside our own, for it is not possible for an orchestra to become self-supporting that cannot command engagements outside the city to which it belongs.

4. The Board of Trustees, when it considers that the completion of the fund is assured, shall select the leader upon the careful and unbiased consideration of the merits and records of all candidates submitted to it. Such candidates, however, to be only men of the highest reputation either in Europe or America, and the leader one whose name will add to the prestige of the orchestra both here and in other cities.

5. The selection and placing of the musicians shall be made by the leader, subject to conditions in paragraph three.

6. As the subscribers contribute to the fund solely for the benevolent purpose of advancing the cause of music in Philadelphia and release all control over said fund, they shall not be considered as partners with each other, or with the Trustees in the conduct or management of said orchestra.

7. The Board of Trustees shall never exceed nine in number.

8. Subscribers to the permanent fund shall have choice of seats in advance of the general public for all Symphony Concerts.

The Committee earnestly requests all who are interested and who will aid them by subscribing to the Fund, to kindly give the matter their prompt attention, and send in any subscription or communication as soon as possible, for if the Orchestra is to be established by next season, it is necessary to push matters without delay.

Committee

Philadelphia Permanent Orchestra[68]

Miss Balch Miss Mary Moss

Mrs. William Burnham Mrs. Clement B. Newbold

Mrs. Louis F. Benson Mrs. Charles Platt, Jr.

Miss Bright Mrs. John Williams Patten

Mrs. George W. C. Drexel Miss Ethel Parrish

Mrs. Chancellor C. English Mrs. W. H. H. Robinson

Mrs. Simon B. Fleisher Mrs. Cornelius Stevenson

Miss M. K. Gibson Mrs. C. Morton Smith

Mrs. Alfred C. Harrison Miss Susan Stevenson

Mrs. John Harrison Mrs. Monroe Smith

Mrs. Edward Iungerich Keffer Mrs. John Thompson Spencer

Mrs. Joseph Leidy, Jr. Mrs. William Penn Troth

Mrs. William L. McLean Miss Frances Wister

Miss Ada Elizabeth Miles Mrs. Charles S. Whelen.

Miss Edith Lee Hutchinson, Secretary, 1936 Wallace Street

Endorsers

Mr. and Mrs. W. W. Arnett Miss Margaret Harvey

Mr. Francis R. Abbott Mr. Ellis Clarke Hammann

Mr. and Mrs. Samuel T. Bodine Mr. Alfred Curtin Hirsh

Mr. Richard S. Brock Mr. Max Heinrich

Mr. James M. Beck Mr. Samuel B. Huey

Mrs. William Bucknell Mr. James Hay

Mr. and Mrs. James M. Bennett Mr. H. H. Hallowell

Mr. Henry C. Blair Mr. John H. Ingham

Mr. David Bispham Mrs. Charles E. Ingersoll

Miss Emma M. Boyles Mr. Henry McKean Ingersoll

Dr. Edward Brooks Miss Hilda Justice

Blasius & Sons Mr. J. George Klemm

Mr. Charles A. Braun Dr. Edward Iungerich Keffer

Mrs. M. M. Baltz Mr. and Mrs. J. L. Ketterlinus

Mr. Samuel Castner, Jr. Mr. and Mrs. George B. Kester

Mr. Richard Y. Cook Miss Florence Keen

Mrs. Edward H. Coates Mr. Edward Knapp

Mrs. J. Gardner Cassatt Mr. and Mrs. Arthur Lea

Mrs. Edward Coles Mr. August B. Loeb

Mrs. William T. Carter Mr. Algernon Sidney Logan

Mr. Harrison K. Caner Mr. and Mrs. Thomas McKean

Mr. and Mrs. W. W. Curtin Mrs. Henry Pratt McKean

Miss Mary M. Cohen Mr. Edward Garrett McCollin

Mr. and Mrs. J. deW. Cookman Mr. James C. Miller

Dr. Hugh A. Clarke Mr. Selden Miller

Mr. Gilbert Raynolds Combs Miss Alice Lewis Murphy

Mr. and Mrs. Frederick S. Dickson Miss Agnes Morrison

Mr. F. T. Sully Darley Mr. and Mrs. Harrison S. Morris

Mr. Frederick Douredoure Mr. Charles T. Murphy

Mr. and Mrs. Stephen P. Darlington Mr. Frederick R. Meigs

Mr. Nicholas Douty Mrs. Markoe

Mr. William L. Elkins Miss Helen L. Murphy

Mr. Carl Edelheim Mrs. J. P. Mumford

Mr. Chancellor C. English Miss Mary Wanamaker Miller

Mr. Henry Erben Miss Adelaide Madeira

Mrs. Charles Este Mr. Edmond Morris

Mrs. George Harrison Fisher Mr. G. Heide Norris

Mr. and Mrs. Caleb Fox Mr. Charles E. Pugh

Mr. and Mrs. George C. Fletcher Miss Marie Virginia Peck

Mr. Charles N. Fahnestock Mr. Charles R. Peck

Mr. Charles Fearon Mrs. Frank Pleasanton

Miss Elizabeth Wilson Fisher Mrs. John Worrell Pepper

Mr. and Mrs. W. W. Gibbs Mr. Frederick Peakes

Mr. and Mrs. Wm. B. Gough Mr. Enoch Pearson

Mrs. J. Ernest Goodman Mr. Joseph Rosengarten

Mr. W. W. Gilchrist Mrs. Frank H. Rosengarten

Mrs. Charles W. Henry Dr. J. M. Reeves

Mr. and Mrs. Byerly Hart Mr. and Mrs. Richard Rossmaessler

Mr. Edward I. H. Howell Mrs. Harry B. Rosengarten

Dr. Henry C. Register Mrs. Eliza D. Turner

Miss Elsé West Rulon Mr. S. S. Thompson

Mrs. Thomas A. Scott Mr. and Mrs. W. H. Tenbrook

Mr. Justus C. Strawbridge Mr. Louis C. Whitney

Mr. N. A. Stout Mr. and Mrs. Owen Wister

Mr. Monroe Smith Dr. George Woodward

Mr. and Mrs. John Hasletine Shinn Mr. Massah M. Warner

Mr. A. M. Sheppard Mr. Clarence Wolf

Mr. Calvin Mason Smith Miss Woolman

N. Stetson & Co. Mr. Albert B. Weimer

Mr. Constantin von Sternberg Mrs. Wm. Rotch Wister

Mr. Frank Thomson Mr. Andrew Wheeler, Jr.

Mr. George C. Thomas Mr. E. Burgess Warren

Mrs. Charles Newbold Thorpe Mr. P. A. B. Widener

Miss Kate Tilge Mr. Richard Zeckwer

The following members of the Board of the Musical Fund Society:

Mr. Wm. F. Biddle Mr. Geo. P. Kimball

Mr. O. C. Bosbyshell Dr. Alfred C. Lambdin

Mr. John H. Carr Mr. Edw. G. McCollin

Mr. H. G. Clay Mr. R. P. Robins

Dr. Richard J. Dunglison Mr. Charles M. Schmitz

Mr. Jas. W. Hazlehurst Mr. Charles P. Turner

Mr. Wm. H. Hollis Mr. C. Wetherill

Manuscript Society of Philadelphia W. W. Gilchrist, President

The Symphony Society of Philadelphia Dr. E. I. Keffer, President

A Philadelphia newspaper 1899:

“How to Get an Orchestra”

“It need not be difficult in Philadelphia to form as fine an orchestra as anybody is willing and able to pay for. A permanent orchestra is a very costly institution. It involves the permanent employment of anywhere from fifty to a hundred good musicians, at salaries sufficient to secure their constant and exclusive services as orchestra players throughout the active portion of the year. A simple calculation will show that the expense of this mounts quickly by tens of thousands.

“Even in a great city, with a very large public interested in orchestral music, it is scarcely possible to meet this expense by the receipts from local concerts. There is a limit to the number of concerts that can be prepared or that can find hearers in one place, so that a large fixed orchestra can hardly earn its living—unless in some great place of popular resort, like the Crystal Palace at London or the Trocadero at Paris. Boston, an exceptionally self-reliant metropolis, provides two full audiences a week for the symphony concerts in Music Hall for twenty-four weeks in the year, but it is known that this does not meet the expense of the orchestra. Experience furnishes no evidence of any such hunger for orchestral music among the general public of Philadelphia as would justify a reliance on its financial support for an orchestra of the class of that which private generosity has maintained at Boston and that has established a standard with which, as a business enterprise, it would be necessary to compete.

“Clearly, therefore, such an enterprise, if undertaken here, must be undertaken either in a missionary spirit by those who regard music as an elevating influence in the community, or for their own gratification, by those who wish for greater musical opportunities for themselves. In either case, or both, the promoters must expect to pay the piper. And this being the case, we should say that those who pay have an entire right to choose their piper—to organize their orchestra in their own way and put it in charge of whom they please.

“The discussion that has been going on recently upon this subject has run wide of the mark. It is not a question of the best way to organize an orchestra, but simply whether there is anybody ready to put up the money to have an orchestra at all. If there is not, the whole discussion is futile; if there is, we cannot see that the details concern anybody else. The rest of us can pay for our tickets and find fault, or we can let it alone, as we have done with so many excellent orchestra concerts, past and present. Something beside the purely musical appeal is required to attract an audience, very few of whom can know the actual difference between one band and another, except in size and in some of the more meretricious technical effects, and if this can be supplied by personal, social or fashionable interest and influence, there is that much gained.

“It is an old rule in Philadelphia, that when anybody undertakes to do anything, everybody else proposes a different way. This has always prevented the natural development of a local orchestra, and always will do so as long as the matter is open to public contention. The first essential to the establishment of a high-class orchestra is capital. If that is provided, the rest can be obtained, and those who provide it have the right to determine how to spend it, and the right also to command appreciation an support. Without this we can dispute till the cows come home with no more result than at any other time in the past forty years, during which time everybody has been agreed that Philadelphia should have such an orchestra, but no two agreed as to who should conduct it, or how it should be maintained.”

Public Leger, March 4, 1899:

“A Philadelphia Orchestra”

“The movement which has long been on foot to establish a permanent symphony orchestra in this city, one which should from its inception challenge favorable comparison with any other orchestra in the United States, and one in which all who take an interest in music might feel a justifiable pride, has now taken such definite shape that its accomplishment is practically assured.

“A perusal of the prospectus of the Philadelphia Permanent Orchestra which was issued yesterday by the committee who have piloted the undertaking into its present haven, an which will be found published in full on another page, shows that a paid-up fund of $250,000 is necessary for the work in hand. All who are interested in the civic progress of the city, an those in particular who are interested in music, are invited to contribute to the fund.

“The details of the scheme speak for themselves, but the pith of the understanding is that $200,000 of the fund shall be permanently invested and the interest used for the advancement of the orchestra, while the $50,000 cash balance is to be devoted to the current expenses of the first few years. Preference is to be given to musicians resident in Philadelphia, and the Board of Trustees is to select the leader from conductors of acknowledged reputation at home or abroad.

“That such an institution will be of great and permanent value to the city, there can be no possible doubt. A symphony orchestra of the calibre proposed is as essential to the musical taste of the rising generation as a well endowed public library is to their literary education. Without an acknowledged standard to judge by, musical taste and musical judgment become chaotic, and degenerate by feeding without discrimination on what is inferior.

“That such an organization will draw full houses, those who have seen the Academy packed to the ceiling at every concert given by the Boston Symphony Orchestra will not doubt, an the fact that Philadelphia has enabled a grand opera company of the first magnitude to give an extended season here with a large margin of profit for the past two years, is another demonstration of the existence of a large musical public. It must be admitted that the musical public of Philadelphia is peculiar in some respects; it has a rooted antipathy to mediocrity and an invincible dislike of being managed from New York. But the public know what they want. They have long wanted an orchestra—a real orchestra—of their own. Various obstacles have cropped up from time to time in the way, but the last one—the war with Spain—no longer exists; the way has been cleared and the time is ripe for the accomplishment of its desire.

“The names of the committee who will direct the affairs of the orchestra are substantial guarantees of an able, impartial and business-like administration of its affairs, and the names of those who have endorsed it financially, a list that will be double and trebled in a few days, are certain indications that the orchestra will shortly be an accomplished fact.”

Appendix N

Literature of Early Days

First Circular Announcing The Philadelphia Orchestra Mailed in September, 1900, to About 4000 People

THE PHILADELPHIA ORCHESTRA

85 Performers Mr. Fritz Scheel, Conductor

A series of six Symphony Concerts will be given at the Academy of Music during the season of 1900-1901, on the following dates: Friday evening, November 16; Friday evening, December 14; Friday evening, January 18; Friday evening, February 8; Wednesday evening, March 6; Friday evening, April 19.

Soloists of the first rank will assist at the concerts, and names will be announced as soon as pending engagements have been made.

The prices of season tickets, with reserve seats to the six concerts, are: Boxes with six seats $75; boxes with four seats $50; other seats $8, $6 and $4; proscenium boxes on application.

Sale of seats to holders of Patronesses’ Cards will begin at Miss Harris’s office, No. 1115 Chestnut Street, on Wednesday morning, October 10, at 9 o’clock.

The series announced above is the outgrowth of two Symphony Concerts given last winter for the benefit of sufferers by the Philippine War. The committee in charge was the auxiliary to the committee of ladies who supervised the Philippine concerts, and it is intended that the management of the series of the coming season shall be generally the same. To cover expenses of the concerts a guarantee fund has been subscribed, the amount of which is sufficient to meet the requirements of the present undertaking; but it is hoped that our people will give the concerts such liberal support as to prevent a deficit at the end of the season.

The Philippine concerts proved the availability of many of our resident musicians for work of the highest grade, and the committee has undertaken the task of organizing this series of concerts because it believes that with a sufficient number of rehearsals, under capable direction, our home players will be able to render great orchestral compositions efficiently and acceptably.

Mr. Scheel will insist upon frequent and thorough rehearsals of the music; and no labor nor expense will be spared to make the work of preparation complete and the musical results wholly satisfactory.

The committee feels, however, that without a widely spread interest among the people of Philadelphia, its chief object would not be realized. That object is largely to promote the musical culture of the city, and to improve its status as a center of musical effort. Therefore, an appeal is made to every Philadelphian who understands what this undertaking may mean to the city’s future musical life for active interest and co-operation.

Most useful help can be given to the movement by making its object known to friends and acquaintances; all personal effort will be an effective aid to the committee’s work.

Whether or not the receipts equal the expenses of the concerts, it is the hope of the committee that this movement for music in Philadelphia will receive hearty encouragement and support from every one who has a pride in the city’s artistic life.

Committee:

Henry Whelen, Jr.

John C. Sims

Edward G. McCollin

Oscar A. Knipe

Dr. Edward I. Keffer

Oliver Boyce Judson

John H. Ingham, Secretary,

508 Chestnut Street.

Circular Letter Mailed to Patronesses Who Had Not Purchased Tickets About Ten Days Before Sale to Public, October, 1900:

THE PHILADELPHIA ORCHESTRA

85 Performers

Mr. Fritz Scheel, Conductor

The Management of the Philadelphia Orchestra wishes to inform those interested in the concerts that the sale of season tickets has progressed most favorably. Of the forty-nine boxes forty-one have been sold, and about thirteen hundred seats have been taken. There now remain unsold but 140 seats in the Parquet, 103 in the Parquet Circle and 76 in the Balcony. Prompt application at Heppe’s Piano Rooms, 1115 Chestnut Street, will be necessary to secure choice places. Should these seats be disposed of, there will, of course, be no sale of reserved seats for single concerts.

Such widespread support is the best proof that the public of Philadelphia has undoubted faith, not only in the musical ability of Mr. Scheel and his men, but also in the value of this effort to advance the cause of orchestral music in our community. The attitude of the musical profession toward the project is clearly set forth in the enclose circular.

Committee:

Henry Whelen, Jr.

John C. Sims

Edward G. McCollin

Oscar A. Knipe

Dr. Edward I. Keffer

Oliver Boyce Judson

John H. Ingham.

Circular Issue About October 15, 1900, for Press and for Soliciting Patronesses, to be Enclosed With Other Literature:

THE PHILADELPHIA ORCHESTRA Mr. Fritz Scheel, Conductor

Believing that the public would be glad to hear what the Musical Profession in Philadelphia thinks of this undertaking, the committee in charge has written to a few of the leading musicians, asking for their views. Extracts from their replies are given below.

The intelligent and keen critical standpoint from which their life’s training enables them to judge, gives weight to their words, and the complete unanimity of opinion which they express is noteworthy.

From Mr. Thomas a’Becket, President, Pennsylvania State Music Teachers’ Association:

“Without a doubt the best man who has taken up residence in Philadelphia during the past forty years. This opinion is shared by the older of our orchestral musicians; also by men who have recently played under his conducting. It has been fully demonstrated, first, that Mr. Scheel has wonderful ability in handling musicians—amateur as well as professional—and drawing from them their best work; second, that there is in Philadelphia—which I have maintained for twenty-five years—the nucleus for a good orchestra. The great need has been the proper man to bring together conflicting elements. (The movement) has, indeed, my heartiest support.”

From Dr. Hugh A. Clarke, Professor of Music, University of Pennsylvania:

“I believe Mr. Scheel to be a leader of first-rate ability in every respect. His work during the past winter gives ample evidence of his high standing as a musician and a conductor. The movement for the establishment of an orchestra in Philadelphia has my most cordial support, as I am convinced that it has now taken the right shape and is in the hands of the right people.”

From Mr. W. W. Gilchrist, Principal of the Central Conservatory of Music, Leader of the Mendelssohn Club, Leader of the Harrisburg Oratorio Society, etc.:

“Those in whose judgment I have confidence speak very highly of him. The movement has my cordial support.”

From Dr. Alfred C. Lambdin, Musical Editor, of “The Philadelphia Times.”

“To the broad musical knowledge, the imaginative perception, the technical accomplishment that makes up the interpretive artist of high rank, he seems to add those peculiar personal qualities, the power of expressing his musical ideas through the medium of others, that differentiate the real ‘conductor.’ The value of such a man in any musical community is measured only by his opportunity. The great value of Mr. Scheel’s work this winter has been in the fresh and full artistic authority, which he has brought to bear upon our disorganized musical forces here. The two concerts at the Academy abundantly demonstrated what can be done under such leadership and how it can be done. The movement, therefore, to continue that work, and develop it on the lines already laid down, commands my most cordial support.”

From Mr. D. D. Wood, Organist of St. Stephen’s Church, Instructor at Philadelphia Musical Academy, Teacher of Harmony, Counterpoint, etc.:

“Mr. Scheel is possessed of all those rare qualifications which go to make up a great leader.

“He is most excellent musician of large and varied experience, an earnest and conscientious worker, a man of great personal magnetism, and thoroughly capable of making the very best of the means at his disposal. As a conductor he deserves a place in the very first rank.

“The work accomplished by Mr. Scheel during the past winter has been eminently successful, and deserves the cordial recognition of all true lovers of musical art, and of all who are interested in the progress of that art in our city.

“I am in hearty sympathy with the movement set forth in your circular.”

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