Chapter XXXI: Appendix: M

PHILADELPHIA PERMANENT ORCHESTRA
PROSPECTUS
March 3, 1899

The musical life of this city has reached a stage in its development that must make it apparent to all who are interested in the advancement of matters of art and education that if we are to continue the progress of the past few years and take our place as a city of any musical importance, the next and most necessary step is the founding of a Permanent Philadelphia Orchestra. Such an undertaking is one that requires serious consideration, and the co-operation not only of our music-loving public but of all citizens who are interested in our civic progress.

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.

The following Committee, before issuing this circular, have given the matter great consideration, carefully looked into various organizations in other cities, and feel confident that if they meet with liberal response Philadelphia will have in a few years an orchestra second to none in America. When Boston, Chicago, Cincinnati, Buffalo, Pittsburgh, and other cities, not nearly so large or so wealthy, have established permanent orchestras, it is surely time that we should interest ourselves and unite in aiding to form an organization in keeping with our size and importance. This will not be possible with less than the sum before mentioned, which they trust you will aid them in securing upon the following terms and conditions:

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 C. HARTMAN KUHN
JOHN H. CONVERSE SIMON A. STERN
SAMUEL A. CROZER JAMES F. SULLIVAN
GEORGE W. CHILDS DREXEL THOMAS B. WANAMAKER
CHARLES C. HARRISON

or their successors. The discretion of such Trustees shall be absolute as regards the administration of the fund, and they shall have power to fill any vacancy occurring in their number, they having agreed to abide by the conditions herein stated.

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]

[68] The officers were: Chairman, Mrs. W. H. H. Robinson; Treasurer, Mrs. Edward I. Keffer; Secretary, Miss Edith Lee Hutchinson.

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.”