Chapter X: 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.

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.