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THE 
 
 Philharmonic Society 
 
 OF NEW YORK 
 
 BY 
 
 HENRY EDWARD KREHBIEL 
 
 a fll^emorial 
 
 Published on the Occasion of the Fiftieth Anniversary of the 
 
 Founding of the Philharmonic Society, April, 1892, 
 
 BY THE Society. 
 
 vX>^ 
 
 NEW YORK AND LONDON : 
 
 NOVELLO, EWER & CO.Y 
 1892 
 
COPYRIGHTED, ISOZ, BY 
 
 THE PHILHARMONIC SOCIETY OF NEW YORK. 
 
 ALL RIGHTS RESERVED. 
 
 PRESS OF 
 
 C. J. KREHBIEL A CO. 
 
 CINCINNATL 
 
(^^JITO MR. E. FRANCIS HYDE, PRESIDENT OF 
 THE PHILHARMONIC SOCIETY OF NEW YORK, 
 THIS RECORD AND STUDY IS MOST RESPECT- 
 FULLY INSCRIBED BY THE AUTHOR. 
 
AUTHOR'S ACKNOWLEDGMENT. 
 
 cy~'t? THE patient industry and enthusiastic zeal of 
 Mr. Richard Aldrich, who has been a faithful and 
 untiring helper in the laborous task of investigation, 
 compilation, and presentation, I am indebted largely for 
 whatever degree of success may be conceded to this effort 
 to present the vital facts in the history of the Philhar- 
 monic Society of New York. The extrem.ely interesting 
 financial statemejit in tabular form in the Appendix is 
 his work, and also the greater part of the discussion of 
 the programmes of the Society. I am glad to put on 
 record an expressio7i of my appreciation of his helpful 
 labors and my gratitude. My thanks are also due to 
 Mr. E. Francis Hyde, President of the Society, for many 
 instances of courtesy and kindness ; to August Roebbelen, 
 Secretary, H. Schmitz, Treasurer, the Directors, and the 
 
 Trustees, for facilities placed at my command. In a 
 special measure I owe gratitude to Mr. William Schar- 
 fenberg, Mr. Samuel fohnson, and Mr. fames L. Ensign, 
 three of the five surviving members of the Society at its 
 foundation, and Mr. Anthony Reiff, whose memories were 
 as mine during the work of investigation. Where I am 
 indebted to the original labors of other gleaners in the 
 field of Philharmonic history I have tried to give full 
 credit in the body of the book. H. E. K. 
 
 New York City, April, 1892. 
 
I. 
 
 FOR half a century the Philharmonic Society of New 
 York has been the most conspicuous, dignified, and 
 stable musical institution in the American metropolis. 
 Its history embraces the whole period in which symphonic 
 music of the highest class has been effectively cultivated 
 by professional musicians in the United States. It is not 
 only the oldest established orchestra in the country, but 
 was also the first organization capable of performing a 
 classic symphony whose members banded together for that 
 specific purpose. As an influence in the musical develop- 
 ment of America it occupies a place by the side of the 
 Handel and Haydn Socfety of Boston. As the latter in- 
 culcated a love for choral music in its members, which, 
 like zealous missioners, they carried into all parts of the 
 country, so the Philharmonic Society has stimulated the 
 organization of orchestras in the chief cities of the United 
 States, and recruited many of them. Its concerts chal- 
 lenge more thoughtful attention than the doings of any 
 musical institution in the land. They mean more. Their 
 purpose is more earnestly, more consistently, and more 
 singly artistic. The audiences, which gather to hear them 
 twice a month during the period which compasses the mu- 
 sical season in New York City, are composed of the fine 
 flower of the city's music lovers. They are untouched by 
 those freaks of fashion which determine the success or fail- 
 ure of the majority of popular entertainments. They are 
 as loyal to the best interests of the art as the performers 
 themselves, and their judgment commands the unqualified 
 respect of the reviewers for the newspaper press. 
 
8 THE PHILHARMONIC SOCIETY. 
 
 The relationship which exists between the Society and 
 its patrons is unique in the artistic life of the city. The 
 considerations which ordinarily sway performers and their 
 patrons are all but ignored at the Philharmonic concerts. 
 The Society's purposes and those of its patrons have much 
 in common, and a happy dispensation has brought it to 
 pass that perfect and cordial reciprocity marks the efforts 
 devoted to their attainment. The performers are also the 
 managers and beneficiaries of the concerts. The Society 
 controls the finest talent in a city which boasts of many 
 hundred orchestral musicians, and is inspired by a lofty 
 ambition as well as the necessity of maintaining a long- 
 established and brilliant reputation ; the patrons, while they 
 exact much, give a generous reward for the pleasure re- 
 ceived. The high position occupied by the Society has 
 been conquered by fifty years of honest, unsparing artistic 
 effort. It has created, bred, and educated its public. The 
 consequence of this is that it seldom experiences the vicis- 
 situdes which assail ordinary musical enterprises. The 
 stability of the organization has a parallel in the stability of 
 the audience to which it purveys. This audience is almost 
 wholly composed of subscribers, and is so numerous that 
 for years the largest music-room in the city has been re- 
 quired for its accommodation. The privilege of holding 
 the subscription for a box or a favorably situated chair is 
 highly valued, and it has frequently happened that per- 
 sons have waited patiently for years before circumstances 
 brought them the opportunity of being entered in the list 
 of subscribers. 
 
 The object of the Philharmonic Society is the cultiva- 
 tion and performance of instrumental music. It is thus 
 set forth in its organic law. Its own conception of this 
 mission may be read in the programmes of the two hun- 
 
A MEMORIAL. 9 
 
 dred and fifty-nine regular concerts which it has given 
 since its organization. If I were to attempt an interpreta- 
 tion of the record I should say that it has conceived its 
 duty primarily to be the conservation of musical compo- 
 sitions which the judgment and taste of the cultured would 
 have admitted to the first rank. Only secondarily has it 
 made propaganda for new and progressive composers who 
 have widened the boundaries of the art. Its patrons have 
 correctly appreciated the relative value of these two phases 
 in its activities. They have never thought of making the 
 demands for new and varied programmes so generally made 
 in the case of other organizations. They attend its concerts 
 to hear grand music grandly performed. They esteem it 
 an educational privilege, and guard it jealously — almost as 
 jealously as the old patrons of the Gewandhaus concerts in 
 Leipsic were wont to do. The Society is therefore relieved 
 to a great extent of the necessity of casting about for nov- 
 elties. It is also enjoined to exercise the greatest care in 
 the admission of new compositions to its lists. A work 
 that has been played at a Philharmonic concert is, by 
 virtue of that circumstance, looked upon as bearing the 
 most valid stamp of excellence which the New World can 
 bestow. 
 
 The Society whose character, standing, and activities I 
 have thus hurriedly summarized, has just completed fifty 
 years of life, and the occasion seems meet for a study of 
 its career. The purpose of this little book is indicated 
 fully on the title page. It is a Memorial, written at the 
 instance of the Board of Directors of the Philharmonic 
 Society, and published in connection with the projected 
 celebration of the Society's semi-centennial. I shall not 
 aim to tell the story of the Society in all its details, but 
 rather to put on record, so far as I may, the significant 
 
10 THE PHILHARMONIC SOCIETY. 
 
 facts in its career, briefly and suggestively discuss the 
 relationship which those facts bear to the larger subject 
 of the cultivation of orchestral music in the American 
 metropolis, and incidentally preserve the memories of some 
 of the men who were instrumental in its foundation, pres- 
 ervation, and development. The Society is to-day a living 
 monument of the vigorous fruitfulness of the social soil 
 into which it pushed its feeble roots half a century ago, as 
 well as of the zeal and highmindedness of the musicians 
 who have tilled and guarded that soil ever since. The 
 history of the early years of the Society seems to me most 
 marvelous when viewed in the light of the evolution of 
 similar organizfations in foreign lands, and were I to give 
 frank utterance to all my reflections on the subject I fear 
 that I might be accused in some quarters of a willingness 
 to let judgment and love of exact truth wait upon patriotic 
 enthusiasm. I find myself constrained, therefore, to be 
 content with a few glances at the condition of orchestral 
 affairs abroad in the time of the Society's genesis, and 
 leave the full application of the lesson to be made by the 
 reader. It may serve, among other things, to bring about 
 appreciation of the extreme youthfulness of this depart- 
 ment of the musical art to learn that as an organization of 
 professional musicians whose purpose is the cultivation of 
 instrumental music the Philharmonic Society of New York 
 antedates by half a year the Society of like name in Vienna 
 — the city which, through the labors of Haydn, Mozart, 
 Beethoven, and Schubert, became the musical capital of 
 the world in the early years of the present century. 
 
A MEMORIAL. n 
 
 II. 
 
 THE Philharmonic Society of New York is a demo- 
 cratic, or rather a communistic, body. It is com- 
 posed of professional musicians. Its organic law is 
 a constitution, by-laws, and charter. Its purpose from 
 the time of its foundation has been the cultivation of 
 instrumental music. Incidentally it has also, from the first, 
 extended help to its retired members, but it is only lately 
 that steps were taken to systematize and widen this depart- 
 ment of its activities. It has three classes of members: 
 Actual, Honorary, and Honorary Associate. The Actual 
 Members are all professors of music and efficient perform- 
 ers on orchestral instruments. So long as they are capable 
 they constitute the Society's orchestra. To become a mem- 
 ber an orchestral musician must be elected by a two-thirds 
 vote of the Society, after having been proposed at a previ- 
 ous meeting, pay an initiation fee of twenty-five dollars, 
 and enter into an obligation to abide by the constitution 
 and by-laws of the Society. In its early days an attempt 
 was made to maintain the standard of efficiency in the 
 band by means of formal examinations into each appli- 
 cant's attainments and qualification; now the same end is 
 attained by electing only such musicians to membership as 
 have played in the orchestra as substitutes for absent or 
 retired members. The Honorary Members of the Society 
 are "eminent artists in music" who have received the 
 unanimous vote of the Society at a regular meeting after 
 
 T : 1 : 1 ] 1 — iU„ "D ] „r t-*: j. 
 
12 THE PHILHARMONIC SOCIETY. 
 
 (I quote from the constitution) ' ' not belonging to the pro- 
 fession, should the society deem them deserving of such 
 distinction." They are elected in the manner of the Hon- 
 orary Members, and are entitled to the same privilege, 
 namely, free admission to the rehearsals and concerts of 
 the Society. 
 
 The government of the body is vested in officers 
 chosen annually by the Actual Members. They are a 
 President, Vice-President, Secretary, Treasurer, six Direct- 
 ors, and three Trustees. All of these officers, save the 
 President and Secretary, must be Actual Members of the 
 Society. The Conductor of the concerts need not be a 
 member, but, like the other officers, he is elected by ballot 
 from time to time, as a rule at the beginning of each 
 season. If the Conductor chosen happens to be an Actual 
 Member of the Society he is ex officio a member of the 
 Board of Directors. Otherwise his powers are limited to 
 the musical direction of the rehearsals and concerts. Dur- 
 ing the first twenty-five years of the Society's career the 
 President was of necessity a professional musician and an 
 Actual Member, but since then he has been a gentleman 
 of prominence in social circles who performs' the duties of 
 the office, which are not light, for the sake of art. Though 
 the constitution does not require the Secretary to be an 
 Actual Member, the Society has not yet found it necessary 
 to go outside its membership ta fill the office efficiently. 
 
 Thus far the Society does not differ materially from 
 many other organizations. It is unique, however, in the 
 methods employed in the management of its business, 
 which, as has already been intimated, is to give public 
 concerts of instrumental music. The rights of all the 
 members being absolutely the same, communistic prin- 
 ciples are enforced to compel also an equal assumption 
 
A MEMORIAL. 13 
 
 of obligations and labors. Of late years membership in 
 the Society has been exceedingly profitable, and is cor- 
 respondingly valued. The Society has therefore not hesi- 
 tated to adopt and enforce the most stringent rules for 
 the government of its members. Absolute devotion to 
 its interests is the price of membership to every one of 
 those who have passed through the ordeal of election. A 
 tax of three dollars is assessed against each member an- 
 nually. Failing to pay this tax one month after notice of 
 arrearage a resident member forfeits his membership, and 
 with it all claim upon the property and funds of the So- 
 ciety. A like forfeiture is worked in the case of non-resi- 
 dent members by a failure to pay within three months after 
 notification. No member is allowed to absent himself from 
 any regularly appointed rehearsal or concert for the pur- 
 pose of taking part in any other musical performance in 
 New York or its vicinity on penalty of loss of member- 
 ship. For misconduct, disobeying or refusing to conform 
 to the constitution and by-laws, a member on being re- 
 ported to the Society by the Board of Directors, or three 
 Actual Members, may be expelled by a vote of two thirds 
 of the Actual Members. Observance of the rules adopted 
 for the sake of securing efficiency in the concerts is further 
 enforced by a schedule of fines, which are assessed without 
 fear or favor. The constitution of the orchestra rests with 
 the Directors, who assign the inembers to their places, and 
 hire substitutes for such as are incapacitated by age, or do 
 not play for other reasons. A member wishing to be ex- 
 cused from participating in a concert must notify the fact 
 to the Directors at least a week before the general re- 
 hearsal, and pay for a substitute. He is then entitled to a 
 share of the proceeds of the concert not greater than tlie 
 pay of the substitute; the rest goes into the general fund 
 
14 THE PHILHARMONIC SOCIETY. 
 
 of the Society. Refusal to pay for the substitute involves 
 loss of membership. No member, moreover, may perform 
 at a concert of the Society save with the consent of the 
 Board of Directors, unless he shall have attended three 
 rehearsals, including the general and public rehearsals. 
 Absence from any part of a public rehearsal or concert 
 is punished by a fine of ten: dollars. 
 
 The Society gives six concerts each season, one a 
 month respectively in November, December, January, 
 February, March, and April, on Saturday evenings. Each 
 of these concerts is preceded by a public rehearsal, which 
 differs in nothing from the concert except. that it takes 
 place in the afternoon of the Friday preceding the concert- 
 day. The profits accruing from these concerts are divided 
 among the men who have earned the money, in accordance 
 with the seventh article of the constitution, which reads 
 as follows : 
 
 Sec. I. After the last regular concert of each season the 
 Board of Directors shall, after defraying or providing for all 
 expenses of the Society, divide among the actual performing 
 members of the season thus passed the funds remaining in the 
 hands of the Treasurer, with the exception of a small balance, 
 that is to be carried over to the next season ; each performing 
 member shall receive his full dividend, or part of the same, 
 according to the time of attendance. 
 
 Sec. 2. Any member who shall have served in the orches- 
 tra, if removed on account of .old age or disability, may receive 
 such dividend as the Board of Directors shall i-ecommend to 
 the Society at the first meeting after the concert previous to 
 the last. Any member suffering from illness so as to be unable 
 to occupy his place in the orchestra shall receive his full divi- 
 dend, unless otherwise ordered by a special vote of the Society. 
 
 The Conductor receives a salary for his services, the 
 amount of which is agreed upon generally by the candi- 
 
A MEMORIAL. 15 
 
 date for the position and tlie Directors or their Committee, 
 and is voted by the Society at the time of his election. 
 The Secretary also receives a salary which is fixed from 
 time to time by the Society on the advice of the Board of 
 Directors. A Librarian, who is annually appointed by the 
 Society, receives a salary, the amount of which is deter- 
 mined by the Society. The number of rehearsals and 
 concerts to be given, and the dates, are determined by the 
 Directors at the beginning of each season ; they have also 
 the power to call extra rehearsals ' ' whenever absolutely 
 required." 
 
 The benevolent purposes of the second section of arti- 
 cle seven of the constitution are to be further promoted in 
 the future by a sinking fund, the interest of which is to be 
 equally divided among members who shall have been re- 
 tired on account of old age or disability. This fund, which 
 was started in 189 1 by a gift of $5,000 received from Mr. 
 Elkan Naumburg, is to be increased by the proceeds of 
 subscriptions, donations, and special concerts given for the 
 purpose. 
 
i6 THE PHILHARMONIC SOCIETY. 
 
 III. 
 
 THE Philharmonic Society of New York was founded 
 in April, 1842. At the outset of its career it was 
 substantially what it is to-day: a society of profes- 
 sional musicians who had associated themselves together 
 for the purpose of giving public concerts of high-class 
 instrumental music on their own responsibility. I lay 
 stress on this definition because it is essential to an un- 
 derstanding of the full significance of what must be said 
 to be a most striking and interesting phenomenon in 
 musical history. This significance may be learned by a 
 comparison of the activities which preceded and produced 
 the Philharmonic Society with the musical life of a Euro- 
 pean capital during the same period. I have chosen 
 Vienna for the comparative study, because it was the 
 birthplace of symphonic music and at the time the center 
 of the world's musical culture. To bring New York, the 
 metropolis of an infant republic in the New World into 
 comparison with the then Imperial City of Germany seems 
 a little short of presumption, but it is just the vast differ- 
 ence between the conditions obtaining in the two cities 
 which will rjiake the purposed lesson plain. A factor 
 which is generally overlooked in inquiries of this kind is 
 the extreme youthfulness of the instrumental branch of 
 the musical art. Another, equally vital in this study, is 
 the extent to which its cultivation is dependent upon social 
 and artistic democracy. The city which domiciled Haydn, 
 Mozart, Beethoven, and Schubert, and by virtue of that 
 fact keeps the scepter of musical supremacy within its 
 walls, also has a Philharmonic Society, or, to be exact, 
 
A MEMORIAL. 17 
 
 an institution devoted to the giving of Philharmonic con- 
 certs. This institution furnishes a parallel with the Phil- 
 harmonic Society of New York in respect of the profes- 
 sional character of its members and the nature of its 
 concerts. It has done for symphonic music in Vienna 
 what the Philharmonic Society has done for the same 
 kind of music in New York. It is the testimony of Dr. 
 Eduard Hanslick, set forth in his " Geschichte des Con- 
 certwesens in Wien" that it was in the Philharmonic 
 concerts that the public of Vienna for the first time 
 heard the symphonic masterpieces played with spirit and 
 technical perfection by a capable band, trained in ensemble 
 playing, having first-class solo players at the head of each 
 choir, under the direction of a young, intelligent, and 
 energetic conductor. Concerts of a similar character, and 
 with practically the same apparatus, had been undertaken 
 nine years before, but had not succeeded in establishing 
 themselves on a permanent footing. 
 
 I do not intend for a moment to compare the perform- 
 ances of the band at the first Vienna Philharmonic concert 
 with those of the New York Society in the matter of tech- 
 nical excellence. It is in the spirit of the two institutions 
 and their relationship to the art and to the public that I 
 wish to point out a significant parallel. The first Philhar- 
 monic concert in Vienna took place on November 27, 
 1842, only eleven days before the first concert of the Phil- 
 harmonic Society of New York, and eight months after the 
 foundation of the latter society. In a sense, Vienna and 
 New York entered upon one phase of artistic culture 
 simultaneously. Is the phenomenon not startling ? The 
 Court of Austria, already the Imperial Court of Germany, 
 supported a most elaborate musical institution when the 
 Dutch adventurers made their first settlement on Manhat- 
 
i8 THE PHILHARMONIC SOCIETY. 
 
 tan Island. When the town was captured by the English, 
 from whom the first musical impulses went out-^it was in 
 1 664 — Italian opera, though little more than half a century 
 old, flourished nowhere more luxuriantly than in Vienna. 
 From that time down to the present the Austrian capital 
 has led the world in the appreciation and encouragement 
 of the art ; yet in the most potent phase of instrumental 
 culture it does not antedate New York. Such a phenome- 
 non can not be understood unless one keeps in mind the 
 vast change wrought in the attitude of the art toward the 
 people during the first few decades of the present century. 
 In a sense this change amounted to the emancipation of 
 music from restrictions imposed upon it by the political 
 and social institutions of Germany. The progress as it is 
 illustrated in the history of Viennese music drawn by Dr. 
 Hanslick is a development analogous to that which has 
 taken place in political ideas. At first artistic music — ^by 
 which term I mean those forms of the art which were be- 
 yond the ken and the control of the guild musicians — 
 existed chiefly for the delectation of the Court. So far as 
 the people were concerned the only manifestation acces- 
 sible to them was that found in the Church. Thence it 
 passed under the patronage of the ihusic-loving nobility, in 
 whose hands it was as little an affair of the people as when 
 it had been monopolized by the Court. This latter regime 
 endured down to the beginning of the nineteenth century, 
 when associations of amateurs undertook the cultivation of 
 the art. Thitherto the performers had been professionals 
 whose relation to Emperor and Prince was that of a house 
 servant. Even Haydn, the Father of the Symphony and 
 creator of the modern orchestra, left the art as he found 
 it : little else than the. plaything of the aristocracy. He 
 was a menial in the household of Prince Esterhazy. The 
 
A MEMORIAL. 19 
 
 document which invested him with the office of Vice- 
 Chapelmaster to the Prince in 1761 charged him to appear 
 every morning in the Prince's anteroom to receive orders 
 touching the table music and entertainments for the day ; 
 to bear himself with becoming modesty at all times; to 
 keep sober himself, and enforce sobriety upon his band ; 
 to appear at concerts with a clean face and tidy livery, 
 including white stockings, white linen, powdered wig, with 
 either a cue or a hair-bag.* 
 
 The princely masters of musicians like Haydn, Gyro- 
 wetz, and Dittersdorf, controlled all their movements, com- 
 manded them to compose symphonies by the score, for 
 special occasions, and in some instances asserted a pro- 
 prietary right in all the music composed by their chapel- 
 masters while in service. Relics of this undignified sub- 
 serviency on the part of musical artists endured until the 
 nineteenth century was several decades old, notwithstand- 
 ing that Beethoven, who was no man's slaye, had success- 
 fully asserted the dignity of art and its votaries in the face 
 of the customs of his time. 
 
 Throughout the seventeenth century the new form of 
 musical entertainment invented by the coterie of Floren- 
 tine amateurs and scholars, who tried to revive the classic 
 
 *I copy a paragraph in Prince Esterhazy's decree from the work of Dr. 
 Hanslick, already cited: 
 
 "2do. Wird er Jos'eph Heyden als ein Haus-OfGcier angesehen, und 
 gehalten werden, Darum hegen Sr. Hochfiirstl. Durchlaucht zu ihme das 
 gnadige vertrauen, das er sich also, wie es einem Ehrliebenden Haus- 
 Officier bey einer fiirstlichen Hoffstadt wohl anstehet, nuchtern^ und mit 
 denen nachgesetzten Musicis nicht Brutal, sondern mit glimpf und arth 
 bescheiden, ruhig, ehrlich, aufzufiihren wissen wird, solle er Vice-Capel- 
 Meister sammt denen subordinirten allezeit in Uniform, und nicht nur er 
 Joseph Heyden selbst sauber erscheinen, sondern audi alle andere von ihme 
 dispendirende dahin anhalten, dass sie derihnen hinausgegebenen Instruc- 
 tion zufolge, in weissen Striimpfen, weisser Wasche, eingepudert, und ent- 
 weder in Zopf oisr Har-Beuiel^'j&diOc)^ durchaus gleich sich sehen lassen." 
 
20 THE PHILHARMONIC SOCIETY. 
 
 tragedy and created the opera instead, monopolized the 
 attention of the music-loving Austrian Court. It was 
 largely due to this art-form that instrumental music rose 
 to independent dignity, but its progress was slow. The 
 art was waiting for Haydn, who gave it the orchestral 
 apparatus and the form with which to achieve its greatest 
 eloquence and dignity. But even in the hands of Haydn 
 the apparatus was of the most modest description. His 
 orchestra at Prince Esterhazy's never numbered more than 
 twenty-four men. Five years after he had entered the 
 Prince's service it consisted of seventeen players, the dis- 
 tribution being as follows: six violins and violas, one 
 violoncello, one double-bass, one flute, two oboes, two 
 bassoons, and four horns. 
 
 There is nothing to show that there were any public 
 concerts in Vienna before the reign of Maria Theresa 
 (i74o-;i78o). Then the Academies, as they were called, 
 began in the Burgtheater, and were given on nights when 
 there were no plays, particularly in Lent. Gradually not 
 only in Vienna, but throughout Germany, the cultivation 
 of the art was taken out of the exclusive hands of royalty 
 and the nobility by associations of amateurs who gave 
 concerts for the delectation of themselves and their friends. 
 The famous Gewandhaus concerts in Leipsic had such 
 an origin. These societies were at first purely vocal; the 
 instrumental art entered into them only in a secondary 
 capacity. With the growth of the amateur movement 
 came also the growth of instrumental music, and the per- 
 formances of the societies took on a mixed character — 
 like those of the Chapels Royal. Naturally this extended 
 both love and knowledge of music among the people, and 
 gradually made possible a new phase of the profession- 
 alism which had characterized the practice of the art 
 
A MEMORIAL. 21 
 
 during the centuries when it was in the sole service of 
 the Court and the Church. The art had found a new 
 field and a new purpose : it offered itself for the edifica- 
 tion and entertainment of the people. The Tonkiinstler- 
 Societat was the first stable body of professional musi- 
 cians that gave concerts in public in Vienna. It was 
 organized in 177 1, numbered one hundred and eighty 
 singers and instrumentalists, and the object of the asso- 
 ciation was to maintain a pension fund for ' its members, 
 the greater number of whom belonged to the Emperor's 
 band, the Royal Imperial Court and Chamber Music, as 
 it was officially designated. The concerts of the Ton- 
 kunstler-Societat were devoted to oratorios and cantatas, 
 but between the two parts of the programme solo per- 
 formances were given, and it was under the auspices of 
 this association that the world's most famous virtuosi 
 introduced themselves to the Viennese public a century 
 ago. Symphonies were also occasionally performed, but 
 essentially it was a choral organization, and concerns this 
 study only so far as in its character as a professional 
 body dependent on the public for patronage it was the 
 first precursor of the Philharmonic concerts, whose field 
 was instrumental. As the members of the Tonkiinstler- 
 Societat were mostly in the service of the Court, so the 
 players at the Philharmonic concerts were at the begin- 
 ning and still are the band of the Royal Opera. It was 
 the Tonkiinstler-Societat that brought forward Haydn's 
 oratorios, whose popularity spread like wildfire and en- 
 couraged the formation of similar organizations in other 
 cities of Europe. 
 
 The Philharmonic concerts in Vienna were established 
 by Otto Nicolai, composer of the perennially fresh and de- 
 lightful German opera, "The Merry Wives of Windsor." 
 
22 THE PHILHARMONIC SOCIETY. 
 
 In 1833 V. Lachner had given a few subscription concerts 
 with the same forces, but it remained for Nicolai to give 
 the Philharmonic concerts stability and a name. The latter, 
 it is surmised, he borrowed from the London institution, 
 which had been founded in 1813, and which will ever live 
 in grateful memory for having extended a helping hand to 
 Beethoven upon his death-bed. In the programmes of its 
 concerts the chief stress was laid upon the symphonic num- 
 bers. It is the boast of the institution that Beethoven's 
 Choral Symphony received its first adequate performance 
 at one of its concerts in 1843. Societies composed of ama- 
 teurs had essayed the colossal work before then, but they 
 had approached it timidly, and not until Nicolai came with 
 his Philharmonic concerts was full justice done to it. He 
 gave the Symphony twice in 1843 and once again in 1846. 
 During the administration of Nicolai the concerts marked 
 the culmination of Vienna's musical achievements. When 
 he laid down the baton in 1847 twelve concerts had been 
 given. His departure resulted in the enterprise falling into 
 a sad somnolency. One concert only was given in 1848, 
 one in 1849, ^■iid no more until Carl Eckert revived the 
 entertainments under the name given them by Nicolai, in 
 December, 1854. Two years before Eckert had made a 
 tour through America with Madame Sontag, and had been 
 elected Honorary Member of the Philharmonic Society of 
 New York. It is not a violent presumption that this fact 
 may have had something to do with his reanimation of the 
 Vienna Philharmonics. 
 
 Thus much for the activities in the musical capital of 
 Europe during the hundred years preceding the estabUsh- 
 ment ' of the Vienna Philharmonic concerts. The local 
 picture differs less in kind than in degree if we leave out 
 of consideration the absence of a Court and its influences. 
 
A MEMORIAL. 23 
 
 It is this absence, however, and the need which it created, 
 to which must be attributed the astonishingly vigorous 
 growth of the art after once it had struck root. The 
 Dutch had brought Httle or no artistic sensibility with 
 them, and their experiences from the time of their settle- 
 ment of Manhattan Island till the final occupation of the 
 town by the British were not of a kind calculated to devel- 
 op a love for music. In social, political, and commercial 
 affairs their influence was much more wide-spread and 
 enduring; but having come from a country where music 
 was sadly neglected, to another where life meant a struggle, 
 and where of necessity the commercial spirit swayed every- 
 thing, the Dutch could not fairly have been expected to 
 give a very appreciable tinge to the art-tastes of the grow- 
 ing town. After New Amsterdam had become New York, 
 and was firmly settled in the possession of Great Britain, 
 and English merchants and English soldiers had begun to 
 work a change in the social life of the town, the things 
 which embellish civilization were speedily introduced, and 
 very naturally in their English types. All the musical im- 
 pulses of a century ago came from England, though, after 
 the cultivation of the serious forms of music had begun, 
 German musicians were largely instrumental in advancing 
 them in New York as well as Boston and the other large 
 cities of the sea-coast. It seems likely that amateur choirs 
 started into life in New York as early as in any European 
 city. Traces of them, at least, have been found as far 
 back as the middle of the last century. This need not sur- 
 prise us. Necessity is the mother of invention, and as 
 amateur theatricals are certain, in an amusement-loving 
 community, to precede the establishment of a professional 
 playhouse, musical performances by amateurs were natur- 
 ally an early product in a new country to which tastes, but 
 
24 THE PHILHARMONIC SOCIETY. 
 
 not the means to gratify them, had been transplanted from 
 the parent land. Choral music is the pampered child of 
 the Church; the instrumental art came from without the 
 pale. Of necessity, as we have seen, the latter was of 
 tardier growth, and did not reach independent stature until 
 centuries after the vocal art had reached its highest noon 
 in Palestrina. Under the restrictive influence of the Re- 
 formed Church a love for instrumental music, or for music 
 of any kind, indeed, could not spring up in New York. 
 That phase of culture had to wait for the liberalizing in- 
 fluences of the English Church and continental immigra-_ 
 tion. The musical play had-its beginning in New York in 
 1750, when "The Beggar's Opera" was first performed 
 here. It ushered in a period of seventy-five years during 
 which English operas, as they were called, some of the 
 better sort, but the majority of them of the ballad type 
 (light comedies with incidental music borrowed from the 
 popular songs of the day), were the only musical pieces 
 given in the New York theaters. These theaters were 
 populated by English actors, and early in the century 
 some of the most popular singers of Great Britain crossed 
 the ocean to seek fame and fortune in the New World. 
 Much more than now the stage of New York reflected that 
 of London. The promptness of this reflection can not be 
 illustrated better than by calling attention to the fact that 
 the English adaptation of " Der Freischiitz" was given in 
 New York as early as 1825, within four years after the 
 first production of the work under the composer's direc- 
 tion in Berlin. The presence of this species of entertain- 
 ment naturally presupposes the existence of theatrical 
 orchestras, and the operatic list for fifty years preceding 
 the foundation of the Philharmonic Society would seem to 
 argue in favor of the existence in New York of a consider- 
 
A MEMORIAL. 25 
 
 able number of capable band musicians. It must be re- 
 membered, however, that the English ballad operas exacted 
 nothing more than the most rudimentary kind of an instru- 
 mental accompaniment, and that after Italian opera had 
 acquired a footing (in 1825), and works like Beethoven's 
 "Fidelio" and the operas of Rossini and Mozart had found 
 their place in the current English repertory, they were 
 given in the form of adaptations by the English theatrical 
 composers like Henry R. Bishop. The idea of a com- 
 plete operatic apparatus must be dissociated from these 
 performances until a comparatively late day, as I shall 
 endeavor to show presently, when I cast a glance at the 
 orchestral forces of the town. Meanwhile a phase, corre- 
 sponding with the activities maintained by the amateur 
 societies which in Vienna took up the cultivation of instru- 
 mental music after it had been let fall by the Austrian 
 nobility at the beginning of the nineteenth century, made 
 its appearance. Amateur orchestras came into existence. 
 Of these the earliest that seems to have found a record 
 was the Euterpean. I quote from the recollections of Mr. 
 Thomas Goodwin, one of the original members of the New 
 York Philharmonic Society, as brought to writing by his 
 son-in-law, R. Osgood Mason, M. D., in 1886: 
 
 The Euterpean, an amateur orchestra, was already an old 
 organization half a century ago. It had been well managed, 
 and owned a small library and several valuable instruments. 
 Richard Pell and Dr. Quin were excellent violinists; Bocock, an 
 excellent performer, as well as a talented musician and teacher, 
 was principal violoncellist; Pirsson, the double-bass player was 
 a pianoforte-maker of some repute, and sent specimens of his 
 work to London to the first Crystal Palace Exhibition and 
 World's Fair in 1851. Wiese played the oboe; there was no 
 bassoon; horns and trumpets were only fair. William Plain, 
 " Neighbor Plain," as he w^s familiarly called, played the trom- 
 
26 THE PHILHARMONIC SOCIETY. 
 
 bone, and William Wood the drums. The annual concert and 
 supper were given at the ball-room of the old City Hotel near 
 Trinity Church. A few "professionals " were engaged for the 
 occasion, and the members with their wives and daughters and 
 their numerous friends made up a large and appreciative audi- 
 ence. After the concert the meeting was transformed into a 
 social gathering and ball. The programme of January 27, 1826, 
 has the following notice: " No gentleman will be permitted to 
 wear his hat in the room during the evening, or dance in his 
 boots. * * * Standing on the seats is strictly prohibited." 
 This excellent organization did very good work in its day, 
 and, in addition to more popular performances, overtures and 
 other classical music were done in a very creditable, if not alto- 
 gether artistic, manner. New and young members ■ were, of 
 course, added from time to time, and with the new element 
 came' discord where harmony had so long reigned, and this 
 worthy old society went to pieces. I have a programme of its 
 forty-eighth anniversary concert, given January 21, 1847, which 
 would carry its organization back to the last century.* 
 
 Several of the men mentioned by Mr. Goodwin as 
 members of this early amateur orchestra were among the 
 original members of the Philharmonic Society. Wiese, 
 the oboe, Plain, the trombone, Pirsson, the double-bass, 
 and Wood, the drummer, were active Philharmonicians in 
 the early years, and the third annual report makes a special 
 mention to this effect : ' ' Dr. J. M. Quin (Amateur) ad- 
 mitted by the Government, enjoying the privileges of an 
 associate member." Other amateur societies which may 
 be said to have had a hand in the foundation of the society 
 of professional musicians which was destined to become 
 the most potent musical influence in the country were a 
 Philharmonic Society which, according to Mr. Goodwin, 
 gave its first concert December 16, 1824, and the Con- 
 
 * *' Sketches and Impressions, Musical, Theatrical, and Social, from 
 the after-dinner talk of Thomas Goodwin, by R. Osgood Mason, A. M. 
 M. D." New York and London : G. P. Putnam's Sons, 1887. 
 
A MEMORIAL. 27 
 
 cordia. These two societies illustrate the historical evolu- 
 tion of the dominant influences upon which the cultivation 
 of milsic depended in New York. The former was an 
 outgrowth of the English taste; the latter was largely a 
 German organization. Both cultivated instrumental music 
 as well as vocal, but orchestral performances soon became 
 a prominent feature of the Concordia's concerts, and under 
 the direction of Daniel Schlesinger, one of the first thor- 
 oughly equipped German musicians who came to the city, 
 it ' ' sometimes presented as good orchestral music as was 
 then to be heard in the city." The circumstance is not 
 at all difficult of explanation. The Concordia, like the 
 German musical clubs of to-day, was largely a social insti- 
 tution, and as such appealed to the German musicians 
 who were beginning to take up residence in the city. 
 The Germans, though amongst the most patriotic of 
 American citizens, never put wholly aside the customs of 
 their fatherland. The most amiable of these customs, 
 and the one which has been most fruitful of good in the 
 composite sum of American civilization, is that which 
 blends sociability with the cultivation of good music. 
 Though the spirit which prompted the organization of the 
 Philharmonic Society went out largely from native musi- 
 cians, the strongest prop of the organization already in 
 its earliest days came from the German musicians who 
 joined it. They were its strongest prop because without 
 them an orchestra would have been an impossibility. 
 This is as true to-day as it was seventy-five years ago; 
 and the cause is the same. The people of the United 
 States have not learned to look upon the profession of 
 music as the Germans do, with whom it is not only an 
 art or a pastime but also a trade. Orchestral instruments, 
 like the oboe, clarinet, trombone, French horn, and double- 
 
28 THE PHILHARMONIC SOCIETY. 
 
 bass, are no more studied in 1892 by the native popula- 
 tion than they were in 1792. For players upon them we 
 are still dependent either on foreigners or the children 
 of naturalized citizens. The people of New York during 
 the first decade of the century were exceedingly fond of 
 amusements, and generous in their reward of those who 
 catered to their entertainment; but this fact did not argue 
 a refined appreciation of instrumental music by any means. 
 Malibran could command five hundred dollars for an 
 evening's singing sixty years ago; the receipts at a con- 
 cert at which Jenny Lind sang the soprano solos in a 
 performance of "The Messiah" amounted to eight thou- 
 sand dollars forty years ago; eight thousand persons are 
 said to have attended a memorial concert, called the Men- 
 delssohn Solemnity, in 1848. It was the era of the virtuoso, 
 and money flowed from the new Eldorado into the coffers 
 of the itinerant pianists, violinists, and vocalists who came 
 from Europe. But to a great extent the enthusiasm which 
 prompted such generosity, while it may have been the off- 
 spring of love, was not the child of intelligent appreciation. 
 For choral music there was the help of the Church, and 
 naturally it was far in advance of instrumental music, 
 which had little to encourage it. The theatrical orches- 
 tras of the first quarter of the nineteenth century were 
 doleful affairs. They seem still to have been recruited 
 largely from England. Their composition was not calcu- 
 lated to educate the public to an appreciation of the 
 higher class of music. Not only were the solo instru- 
 ments essential to the performance of the classical over- 
 tures and symphonies wanting, but the distribution of the 
 instruments present in the band was subversive of all 
 sense of euphony. The rude taste of a community which 
 had to be cautioned not to stand on the chairs at a re- 
 
A MEMORIAL. 29 
 
 ception, and which was rebuked for its habit of resting 
 its boots on the cushioned rails of the theaters, naturally 
 found its chief delight in the flaring of trumpets and 
 trombones and 
 
 The double, double, double beat 
 Of the thund'ring drum. 
 
 Trumpets, trombones, and drums were in every orches- 
 tra, but in 181 7 there was but one bassoon in the city, and 
 a German musician, who wrote a letter to the German mu- 
 sical journal called "Cascilia," published in Mayence, in 
 1828, said that at that time there was only one oboe player 
 in North America, and he lived in Baltimore.* 
 
 This statement, though not strictly true (Gottlieb Graup- 
 ner, who was at the head of musical matters in Boston at 
 the time, having become a resident of that city in 1798, was 
 an oboe player, and a "hautboy concerto" was announced 
 to be played in Boston as early as 1792), suffices to charac- 
 terize the period. Professor Ritter, in the work cited be- 
 low, gives the composition of several bands which enable 
 us to trace in a measure the gradual growth of the orches- 
 tral forces of the city, and study the makeshifts that were 
 compelled by the scarcity of some instruments. 
 
 The first Italian opera company which came to New 
 York was that of Manoel Garcia, who gave his first season 
 at the Park Theater in 1825. His orchestra, composed of 
 local musicians, contained seven violins, two violas, three 
 violoncellos, two double-basses, two flutes, two clarinets, 
 one bassoon, two horns, two trumpets, and kettle-drums. 
 Four of the members of this band were amongst the 
 founders of the Philharmonic Society, one of them being 
 the originator of the plan. The record is silent on the 
 
 * " Music in America," by F. L. Ritter. New York: Charles Scrib- 
 ner*s Sons. 
 
30 THE PHILHARMONIC SOCIETY. 
 
 question of how the oboe parts were supplied in operas 
 like Mozart's "Don Giovanni" and Rossini's "Barber of 
 Seville," both of which were sung by the company. I 
 do not purpose to trace operatic history any further than 
 it can be shown to have influenced the development of 
 what I may call a symphonic band. The coming of Gar- 
 cia's troupe, with the manager's daughter, who became the 
 famous Malibran, as his prima donna, fired the old heart 
 of Mozart's collaborator, Lorenzo Da Ponte, with a long- 
 forgotten ambition. Largely through his efforts a second 
 Italian company came to New York in 1832, headed by 
 Montressor, as manager. Montressor seems to have been 
 advised as to the prevailing instrumental penury. He 
 brought with him a portion of his orchestral forces, and 
 amongst others two Italian oboists. Prof. Ritter's state- 
 ment that on this occasion "for the first time two oboes, 
 Paggi and Conti, made their appearance in an American 
 orchestra," is mere assumption however, for it is more 
 than likely that the Philharmonic Society (amateur) which 
 Graupner established in Boston in 1810, and which played 
 symphonies by Haydn, also made use of oboes, Graupner 
 being an oboist, and an old programme already referred 
 to indicating that an oboe solo was not a novelty in 1792. 
 Still, when Madame Caradori Allan gave a season of Italian 
 opera at the Park Theater in 1838 there was no oboe in 
 the orchestra, the first oboe part being played on a flute. 
 This was one means of supplying the deficiency. Another, 
 more common, is illustrated in the composition of the 
 orchestra which played at a concert of the Musical Fund 
 in 1836. In this there were thirteen violins, two violas, 
 three violoncellos, two double-basses, two flutes, four clar- 
 inets, two bassoons, four horns, one trumpet, three trom- 
 bones, kettle-drums and cymbals — in all, thirty-eight men. 
 
A MEMO HI AL. 31 
 
 Here the presence of four clarinets is explained by the 
 circumstance that two of them played the oboe parts. At 
 the annual concert of the Euterpean in 1839, when the 
 orchestra (a mixed band of professional musicians and 
 amateurs) numbered forty, and was described by the editor 
 of "The Musical Review" as "superior to any that we 
 have heard in New York in respect to the amount of 
 talent it contained," two oboists took part, one of them 
 probably a new-comer or an amateur, as his name is not 
 given in the list of professional players printed in the 
 "Review." The Musical Fund whose orchestra has been 
 referred to was a professional organization which came 
 into existence in 1828. Its artistic caliber and the char- 
 acter of the forces over which it had control may be 
 guessed from the circumstance that at one of its concerts 
 it played Beethoven's "Heroic" symphony arranged as 
 a septet. Its leader was Alfred Boucher, who will be met 
 with again in the story of the early years of the Phil- 
 harmonic Society. It is a noteworthy fact, as illustrating 
 the one-sided character of the musical taste of the New 
 York public in New York in the early decades of the 
 century, that the largest orchestras took part in the con- 
 certs of the choral societies and amateur bodies whose 
 purpose was nominally to cultivate instrumental music. 
 The extent to which choral music was cultivated sixty 
 years ago was proportionately much greater than to-day. 
 Aside from a love for music there was something like 
 religious zeal in the devotion of the choristers to their 
 work. Until 1831, when "The Messiah" was performed 
 with orchestral accompaniment by the Sacred Music 
 Society, U. C. Hill, director, the organ was chiefly de- 
 pended on for support, the concerts taking place in vari- 
 ous churches. Very rapidly the works of Haydn, Mozart, 
 
32 THE PHILHARMONIC SOCIETY. 
 
 and lesser composers were added to the current list, and 
 Mendelssohn's "St. Paul" was sung in 1838, two years 
 after its first production in Diisseldorf. In instrumental 
 music popular taste had not been given an opportunity to 
 develop beyond the compositions within the scope of the 
 amateur societies and the ill-balanced theater orchestras. 
 The overtures to " Zampa" (Herold), " Cheval de Bronze " 
 and "Masaniello" (Auber), "Zaira" (Winter), "Semira- 
 mide" and "William Tell" (Rossini), were tours de force 
 reserved for the most pretentious concerts. How they 
 sounded must be left to the imagination. It seems 
 doubtful if there was more than one capable double-bass 
 in the city until the arrival from Germany of Charles 
 Jacoby, whose four-stringed instrument, Mr. Goodwin tells 
 us, was an object of great curiosity at the concerts of 
 the Concordia. A proper proportion of double-basses 
 was not seen until long after the foundation of the Phil- 
 harmonic Society. In the theaters the musicians some- 
 times essayed simpler movements from Haydn's sym- 
 phonies and those of Pleyel and even Mozart and Beet- 
 hoven, but this was chiefly for their own edification, and 
 the circumstance speaks more for their zeal than their 
 judgment. But though the performances were crude, the 
 spirit which prompted them held in it the promise of 
 good. Without the encouragement of courts or nobility, 
 compelled to rely wholly on their own rude resources, 
 the people of New York took up the cultivation of music, 
 and were ready to extend encouragement to a professional 
 organization, as early as the chief musical city of Europe. 
 The difference between Vienna and New York, as I have 
 already intimated, was in degree, not in kind. 
 
A MEMORIAL. 2,7, 
 
 IV. 
 
 THE story of the foundation of the Philharmonic Soci- 
 ety of New York is rehearsed in the tenth annual 
 report of the Society. The story is so sample, direct, 
 and lucid that I make room for it here, preferring to re- 
 print an official utterance made while the memory of the 
 relators was yet young, rather than construct a new recital 
 from the somewhat fragmentary recollections of the few 
 survivors of the original organization. With the help of 
 those recollections, and the results of independent re- 
 searches, however, I shall seek to amplify some of the 
 details, and supply others which may satisfy measurably 
 the natural curiosity aroused by the celebration of the 
 Society's semi-centennial. The report in question is signed 
 by J. L.' Ensign, Secretary, but is given out as the state- 
 ment of the Committee of Management, otherwise the 
 Board of Government, all of whose members, save one, 
 were concerned in the foundation of the Society. It is as 
 follows :■ 
 
 For several years previous to the spring of 1842 it was a 
 subject of general remark among the leading musicians of New 
 York that there was then no association of professional musi- 
 cians, nor any complete orchestral band in the city, capable of 
 performing the grand instrumental compositions of the great 
 masters. During this period of time Mr. U. C. Hill, who had 
 formerly spent some time in Europe, was active in urging such 
 musicians as Mr. C. E. Horn, Mr. William Penson, Mr. P. Ma- 
 roncelli, and others, to unite in a movement for the establish- 
 ment of a society for the general interest of the art, and for the 
 proper performance of great orchestral pieces. 
 
 At last, wearied with the delays caused by the doubts and 
 
34 THE PHII^HARMONIC SOCIETY. 
 
 fears expressed when any immediate action was suggested, Mr. 
 Hill, with the assistance of Messrs. A. and H. B. Dodworth, and 
 others, assumed the responsibility of calling, and performed the 
 task of notifying the musicians of the city of, a meeting at the 
 Apollo Rooms, on Saturday, April 2, 1842. The meeting was 
 called to order by Mr. Hill ; Mr. A. P. Heinrich was appointed 
 Chairman, and Mr. F. W. Rosier, Secretary. Mr. Hill then an- 
 nounced that they had met for the purpose of considering the 
 practicability of forming a society of professional musicians re- 
 siding in the city, having for its object the advancement of 
 instrumental music, and for producing a number of concerts 
 each year of a much higher order than had ever been given in 
 the city. A committee of five, consisting of Messrs. Hill, Pen- 
 son, Walker, Dodworth, and Rosier, was appointed to frame a 
 constitution, and to report the same on Saturday, April 16, to 
 which time the meeting was adjourned. The whole of the 
 meeting was consumed in discussing the merits of the constitu- 
 tion, and was again adjourned to the 23d, at which time it was 
 adopted according to the first printed edition, and a government 
 was elected to serve until the September election day. The 
 officers were as follows: President, Mr. U. C. Hill ; Vice-Presi- 
 dent, Mr. A. Reiflf; Secretary, Mr. F.jW. Rosier ; Treasurer, Mr. 
 A. Dodworth, and Librarian, Mr. W. Wood. The number of 
 members that signed the constitution at its adoption was thirty- 
 seven, of which sixteen are yet with us, and twelve are perform- 
 ing members. At the next meeting. May 7, an addition was 
 made to the number of officers of two Assistants, and Messrs. 
 A. Boucher and H. Otto were elected as such. Meetings for 
 rehearsals were immediately commenced, and continued almost 
 weekly until the first concert, which was given December 7, of 
 the same year. The principal pieces performed were Beet- 
 hoven's Symphony in C minor, conducted by Mr. U. C. Hill ; 
 Von Weber's Overture, "Oberon,"' conducted by Mr. D. G. 
 Etienne, and the Overture in D, by Kalliwoda, conducted by 
 Mr. H. C. Timm. At the September election, previous to this 
 concert, the original officers were reelected for a year. During 
 the first season only three concerts were given, but before the 
 commencement of the second the constitution was amended in 
 
A MEMORIAL. 35 
 
 order to give four concerts, and to admit associate members. 
 Soon after this time provision was also made for a sinking fund, 
 but since then there has been no material change in the regula- 
 tions of the Society. 
 
 It was established and sustained by the indefatigable energy 
 of Mr. U. C. Hill, its President for the first five years and over. 
 It has also received during its whole existence a large share 
 of patronage through the labors of Mr. H. C. Timm and Mr. 
 William Scharfenberg, who, in addition to these tangible aids, 
 have always, in the most cheerful manner and with preeminent 
 success, contributed to our programmes \iy their valuable and 
 gratuitous services. 
 
 It is not the least admirable feature of this statement 
 that it does not undertake to tell exactly when and upon 
 whose mind the idea of the Philharmonic Society dawned. 
 The fact is, that in this case, as in nearly all cases of its 
 kind, the project was in the air for many years before any- 
 one undertook its realization. Mr. Scharfenberg is under 
 the impression that the ambition to found such a society 
 was born in the mind of Mr. Hill while contrasting the 
 instrumental status of New York with that of foreign 
 cities, when he went to Cassel to study with Spohr. This 
 thought, moreover, seems to be implied by the allusion to 
 Hill's European experience in the Report. Mr. Anthony 
 ReifF, at present one of the Trustees of the Society, and a 
 son of its first Vice-President, says that the idea took shape 
 in the minds of Mr. Hill and the elder Reiff during the 
 voyage to Europe, which they made in company. Hill 
 going to Cassel, and Mr. Reiff to visit his father in May- 
 ence. Mr. Ensign, who became Mr. Hill's pupil on his 
 return from Europe in 1837, says that he recollects hearing 
 his teacher talk frequently on the subject at rehearsals of 
 the New York Sacred Music Society, the Euterpean, and 
 at other meetings. All accounts agree in crediting Hill 
 
36 THE PHILHARMONIC SOCIETY. 
 
 with the real work of creation. I cite these individual 
 opinions simply because they are in the nature of evidence 
 of the pervasiveness of the project during several years 
 previous to the final accomplishment of the enthusiastic 
 Mr. Hill's ambition. Doubtless one stimulus was that to 
 which tribute was paid in the naming of the society: the 
 artistic impulses of the day came from London, and Lon- 
 don had a Philharmonic Society. 
 
 ■"^^ Notwithstanding the familiarity which the idea of a 
 professional society of instrumentalists won in the course 
 of the decade preceding its realization, something was 
 necessary to quicken it into creative activity. The artistic 
 ambition of the musicians had to be aroused and an ex- 
 hibition of public interest and enthusiasm provided which 
 would combine to convince these men that it was possible 
 to aim at high achievements in art and yet find a financial 
 reward. There was doubtless a great deal of art-feeling 
 among the musicians of that day, especially among the 
 leaders and the principal teachers of the pianoforte, like 
 Schlesinger, Etienne, Timm, and Scharfenberg. Hill, who 
 never became a finished musician in the sense that Schle- 
 singer and Timm were musicians, was a veritable powder- 
 magazine of musical zeal and enthusiasm; the smallest 
 spark would fire him. All these men were able to devote 
 a share of their labors to the promotion of enterprises 
 which did not offer direct and immediate financial re- 
 wards. The regular performers in the theatrical orches- 
 tras were in a different case, and it is small wonder that 
 they were for a long time skeptical concerning the practi- 
 cability of such an undertaking as haunted the minds of 
 Hill and his associates. The event which fired anew the 
 zeal of Hill, warmed the artistic sensibilities of the musi- 
 cians, and brought about such a demonstration of popular 
 
A MEMORIAL. 37 
 
 delight as made arguments concerning the possibility of 
 profitable professional concerts plausible, was a concert 
 given on June 25, 1839, in honor of the memory of Daniel 
 Schlesinger, who had died seventeen days before. The 
 concert, which was called a Musical Solemnity, was the 
 outcome of a meeting- of Schlesinger's admirers, who 
 wished to provide for the family which he left behind him. 
 It was managed by a committee of fifteen gentlemen, who 
 enlisted the Concordia Society, Madame Caradori Allan. 
 Mr. Scharfenberg, and an orchestra of sixty performers. 
 This was not only the largest but the best band that had 
 yet been got together in the city, and the enthusiasm of 
 Mr. Hill, who conducted, coupled with the feeling of af- 
 fectionate respect which all felt for the musician, whose 
 memory was to be honored and offspring benefited, 
 brought it about that the band gave such a performance 
 of the overture to "Der Freischiitz" as was a revelation 
 to the audience. Mr. Goodwin and Mr. Scharfenberg, 
 looking back upon the performance after several decades 
 of marvelous growth in this department of art, confess that, 
 judged by present standards, the performance would prob- 
 ably be set down as crude and unfinished, but for its day 
 it was little short of marvelous, and the musicians them- 
 selves were astonished at the effect produced by the music 
 upon the two thousand people in the audience. For a 
 moment there was absolute silence; then the pent-up feel- 
 ings burst forth like a storm and continued until Mr. Hill 
 felt constrained to repeat the overture. In relating the 
 incident Mr. Scharfenberg added that only once since has 
 he witnessed a similar triumph of an orchestral composi- 
 tion. All the features of the success of the overture to 
 "Der Freischiitz." the breathless interest, the momentary 
 hush, the thunderous outburst of applause, were repeated 
 
38 THE PHILHARMONIC SOCIETY. 
 
 when the overture, to "Tannhauser" was played by the 
 Philharmonic Society under the direction of Carl Berg- 
 mann for the first time. Sam. Ward, who perpetuated the 
 memory of Schlesinger in a monograph, commenting on 
 the effect of the overture, said: "Rarely has music exer- 
 cised a more overwhelming influence than was displayed 
 in the enthusiasm of that audience; and never did the 
 hearts of artists beat with an honester pride in their art 
 than glowed in their bosoms who proclaimed its grandeur- 
 on that occasion; the luminous glories of which seemed 
 the dawn of a new era in art." There was the spirit of 
 prophecy in these words. A new era dawned with the 
 foundation of the Philharmonic Society which, though sep- 
 arated by a space of nearly three years from the Musical 
 Solemnity, must yet be looked upon as the fruit of the 
 feeling excited by that affair. I quote from the narrative 
 of Thomas Goodwin : 
 
 Some time after this concert, several of those who had been 
 leading performers in it, happening to meet after their evening 
 engagements were over, walked down Broadway together and 
 entered a public house in Park Row known as " The Shakes- 
 peare." It was a famous restaurant in those days, kept by one 
 Windusi and his wife, most excellent caterers, both of whom 
 had been with William Niblo in his well-known " Bank Coffee- 
 House" in Pine Street. * * * Among the musicians present 
 on that occasion were Hill, Horn, Scharfenberg, Dodworth, 
 Timm, Rosier, Otto, Reiif, Sr., Boucher, and doubtless others ; 
 and it was here, amidst general congratulatory conversation 
 about the concert which had recently taken place that the first 
 suggestions pointing to a society like the Philharmonic were 
 publicly made and discussed. Several "claimants" for "the 
 original suggestion" appear, as might naturally occur when 
 the conversation was general. The principal talkers on the 
 occasion appear to have been Hill, Horn, Boucher, and ReifF, 
 Sr., and according to the best recollections of some of those 
 
A MEMORIAL. 39 
 
 present, U. C. Hill was the person who turned the attention of 
 those present to the subject; and in view of the success which 
 they had recently enjoyed, he then proposed the organization 
 of a large and permanent society from the best orchestral 
 performers who could be interested in the matter, and which 
 should have for Its object the study and rendering of sympho- 
 nies, overtures, and other classical music in such a manner as 
 to cultivate a more general knowledge and a more correct 
 public taste. 
 
 The suggestion was well received by those present and a 
 meeting was arranged for further consultation. This meeting 
 was held as proposed, at the house of U. C. Hill. It was small 
 in numbers, probably not more than ten persons being present, 
 and composed mostly of those who had been present at "The 
 Shakespeare." Hill was chosen chairman, and Rosier secretary, 
 and this, although entirely preliminary in character, was the 
 first organized meeting — the egg, so to speak, from which, after 
 patient incubation and much care, the Philharmonic Society 
 was hatched and reared. A committee was then appointed to 
 devise plans and secure the attendance of those likely to become 
 members at a general meeting for permanent organization at 
 some future time. Considerable difficult^' was at first expe- 
 rienced in bringing the best musicians to interest themselves 
 in the enterprise, many looking upon the whole business as 
 chimerical and bound to come to grief; so the meeting for 
 permanent organization was for various reasons again and 
 again postponed. A sufficient number, however, were found 
 for the purpose, and at length a general meeting was held at the 
 Apollo Rooms on the id of April, 1842.* 
 
 It will be observed that Mr. Goodwin's narrative com- 
 pletely bridges over the time between the Musical Solem- 
 nity and the first meeting mentioned in the official account 
 quoted at the beginning of this chapter, and supplies the 
 link connecting the two incidents. A footnote on the 
 first page of the Tenth Annual Report refers to the Solem- 
 
 * Goodwin's Sketches and Impressions, Mason," page \^fiet seq. 
 
40 THE PHILHARMONIC SOCIETY. 
 
 nity. It does not make the meeting for organization the 
 outcome of the memorial concert, but says, very signifi- 
 cantly, "it is doubtless owing to this event that the Phil- 
 harmonic Society received so much encouragement from 
 the public at its commencement," which is only a variation 
 of Mr. Goodwin's theme. Concerning the personnel of 
 the Society in its beginning, I shall have something to say 
 later. I have tried in vain to make a list of the original 
 members. The first volume of the Society's minutes has 
 been lost, and its archives depleted of all the documents 
 which might throw light on the original membership. Its 
 First Annual Report exists only in the form of a sheet of 
 printed extracts which is guiltless of a membership list. 
 Professor Ritter in his book* prints a list of members dur- 
 ing the first year, but in it I find the names of several men 
 who were elected to membership subsequently, and I do 
 not find the names of several of whom the Second Annual 
 Report says that they were members who since the last 
 annual report (the first, of course) had removed from the 
 city. Under the circumstances I can not give credence 
 to Professor Ritter's list. He is a historian who must be 
 read with extreme caution in all things. Mr. Goodwin 
 states expressly that ' ' no list of members is known to exist 
 earlier than the commencement of the second season." Mr. 
 Samuel Johnson recollects seeing the .Society's first roU 
 signed by the members, twelve or fifteen years ago, but it 
 was not to be found when 'he became Secretary in 1881. I 
 am therefore constrained to put in this record the list of 
 the second season, • which the reader may amend in the 
 light of the appended notes from the Second Annual 
 Report. 
 
 *" Music in America,*' page 275. 
 
A MEMORIAL. 
 
 41 
 
 Violins. 
 
 Violas. 
 
 Oboes. 
 
 Bristow, G. F. 
 
 Chevalier. 
 
 Stark. 
 
 De Luce, G. 
 
 Derwort, G. H. 
 
 Wiese. 
 
 Dodworth, A. 
 
 Grebner. 
 
 
 Dodworth, H. B. 
 
 Goodwin, T. 
 
 Clarinets. 
 
 De Janon, L. 
 
 Johnson, S. 
 
 Groenevelt, T. W, 
 
 Ensign, J. L. 
 
 Schmeling, P. A. 
 
 Goeller. 
 
 FuUgraff, O. G. 
 Hill, U. C. 
 
 Violoncellos. 
 
 Bassoons, 
 
 Herzog, C. 
 Hellwig. 
 
 Boucher, A. 
 Milon, S 
 
 Kyle, A. 
 Reiff, A. 
 
 Helfenritter. 
 
 Musgriff, W. 
 
 Horns, 
 
 Knaebel, S. 
 
 Walker, D. 
 
 Munson, R.,Jr. 
 
 Marks, H. 
 Martini, L. 
 
 Doublc'Basses . 
 
 Nidds, W. 
 Trojsi, G. 
 
 Meyrer, C.W. 
 
 Jacoby, C. 
 
 Woehning, C. F. 
 
 Ot?o, H. 
 
 Loder, G. • 
 
 
 Sage, W. H. 
 
 Lo Bianco, G. 
 
 Trumpet. 
 
 Saur, C. 
 
 Pirsson, J. 
 
 Wolter, J. F. 
 
 Stier, F. 
 
 Schneider. 
 
 Wiegers, L. 
 Weiss. 
 
 Octave Flute. 
 
 Trombones. 
 Dodworth, T. 
 
 Woolf, E. 
 
 Dodworth, C. R. 
 
 Plain, W. 
 
 
 Flutes. 
 
 Schultz, C. 
 
 
 Ernst, P. 
 
 Drums. 
 
 
 Gosden, J. 
 
 Wood. 
 
 
 Kyle, J. A. 
 
 
 Pianoforte, Metz, J. 
 
 Pianoforte or Violin, Scharfenberg, W. 
 Pianoforte or Violin, Wallace. 
 Pianoforte or Trombone, Timm, H. C. 
 Pianoforte or Horn, Etienne, D. 
 Pianoforte or Organ, Alpers, W. 
 Pianoforte or Organ, Hodges, Dr. 
 
 Total number of Actual Members, 63. 
 
 At present the only vacancy is thai of Second Trumpet. 
 
42 THE PHILHARMONIC SOCIETY. 
 
 Extracts from the Second Annual Report. 
 
 Two of our members have resigned during the season, viz.: 
 Messrs. W. A. King and F. W. Rosier. 
 
 Since the last annual report was made six of our members 
 have removed from the city, viz.: Messrs. Kammerer, Hegelund, 
 Lehman, Hansen, Kossowski, and Mason. 
 
 Two vacancies have occurred by the death of Messrs. Clap- 
 dor and Broderson. 
 
 There have been elected during the season two Honorary 
 Members, viz.: Messrs. Vieux Temps (.sj'c.') and Ole Bull. 
 
 Nine Actual Members, viz.: Messrs. Wiese, Weiss, Fiillgraff, 
 Stier, Schmeling, Chevalier, De Janon, G. Bristow, and Lo 
 Bianco. 
 
 It would seem as if the original list of members, if 
 not of the orchestra (since it is likely that a few men 
 were hired to play in the first season, the first annual 
 report specifying a payment of six dollars to Wiese, oboist), 
 might be reconstructed by striking out from the above Hst 
 the names of the members elected in the second season 
 and adding the names of the members recorded as dead, 
 resigned, and removed. Already in the first list the Ger- 
 mans largely outnumbered the men of other nationalities, 
 the Englishmen coming second, and the native Americans 
 third. 
 
 In the constitution adopted on April 23, 1842, are to 
 be found the essentia;l features of the present organization, 
 if not fully developed, at least in their rudimentary form. 
 The actual membership was limited to seventy men, all 
 of whom had to be professors of music. The orchestra 
 was to consist of at least fifty-three actual members, the 
 instruments being apportioned as follows : ten first violins ; 
 nine second violins; six tenors (violas) ; four violoncellos; 
 two oboes; two clarinets ; two bassoons; four horns; four 
 double-basses; two flutes; one piccolo; three trombones; 
 two trumpets; kettle-drums. Provision was made later for 
 
A MEMORIAL. 43 
 
 thirty Associate Members, also to be chosen from the ranks 
 of the professors of music who, on payment of five dollars 
 per annum, were to be admitted to the Society's rehearsals 
 and concerts, and to be preferred for actual membership 
 in case of vacancies. The Society was to meet every 
 alternate Saturday from October i to June i, "for practice 
 and other business," and members were liable to a fine 
 of fifty cents if not present at four o'clock p. m. on these 
 days, or absenting themselves before six. Actual Members 
 not assigned regularly to places in the orchestra might be 
 called on to lend their services, in which case they were 
 to receive pay at orchestral rates. In case of a depleted 
 treasury a tax of twenty-five cents a month was to be 
 levied to meet expenses. Absence from concerts or re- 
 hearsals was punished by fines, and it was provided that 
 each mefhber of the orchestra should receive at least 
 twenty-five dollars for each season of four concerts and 
 the necessary rehearsals, ' ' and as much more as the sur- 
 plus funds will allow, according to the discretion of the 
 government." The second article of the by-laws prohib- 
 ited ' ' all indecorum of the members * * * at all the 
 Society's meetings, viz.: smoking, the wearing of hats or 
 caps, violent language, etc., etc." Article seVen read as 
 follows : 
 
 If any grand orchestral compositions, such as overtures, 
 or symphonies, shall be presented to the Society, they being 
 composed in this country, the Society shall perform one every 
 season, provided a committee of iive appointed by the govern- 
 ment shall have approved and recommended the composition. 
 
 Although founded in April, 1842, the Society was not 
 incorporated until February 17, 1853. The advisabihty 
 of securing an Act of Incorporation was suggested by the 
 government in its first report, but nothing was done in 
 
44 THE PHILHARMONIC SOCIETY. 
 
 the premises nntil 1844. Then the bill was lost in the 
 upper house of the General Assembly by a small majority. 
 A second application was made, but this also failed for 
 "the want of an earlier application." In their fourth an- 
 nual report the officers, notifying the fact to the members, 
 added : 
 
 Every effort was made by Henry Nicoll, Esq., J. W. Gerard, 
 Esq., and J. Y. Westervelt, Esq., eminent lawyers of this city 
 (for the favor of whose gratuitous services we are much in- 
 debted), and Messrs. Hill and Loder. Mr. Hill has been to 
 Albany once and Mr. Westervelt several times, and report that 
 every one to whom they spoke of the subject agreed at once to 
 the harmlessness, and at the same time to the great utility to 
 the Society, of the Act, but they had difficulty in getting the 
 members of that body to consider the subject as so much other 
 business was before them. Preparations have been commenced 
 for an early renewal of the application, and there is little doubt 
 that the third will be successful. The Act is important to us for 
 ordinary business and necessary for building the Hall, and for 
 collecting debts due the Society. 
 
 In spite of this expression of hopefulness the Act was 
 not obtained next season, and, indeed, seems to have been 
 forgotten, for there is no further mention of it in the re- 
 ports until 1853, when success is recorded in these words: 
 
 We have this season obtained an Act of Incorporation, which 
 we have long needed for this department of our management 
 (J. K., the financial). Thus it will be seen that one thing has 
 been added to another to place us on a more permanent foot- 
 ing for greater usefulness in the city, as one of its institutions. 
 But let us not be actuated too much by a mercenary spirit in 
 the matter, but rather let our thoughts be directed to the eleva- 
 tion of the Society to its proper position, by the greatest excel- 
 lence in our future performances. 
 
A MEMORIAL. 45 
 
 V. 
 
 THERE was a. fine exhibition of Yankee energy, zeal, in- 
 dustry, and practical sense in the work done by U. C. 
 Hill whereby the Philharmonic Society was called into 
 existence. I have already pointed out some of the difficul- 
 ties in the way of the enterprise ; others may be easily im- 
 agined. It is still possible to discover traces of the jeal- 
 ousies which existed among the musicians of those early 
 days, and of the racial prejudices which not long after- 
 wards entered into the politics of the country. The native 
 and English musicians were less kindly inclined toward 
 those of German birth than they might have been for the 
 sake of harmony, and for a long time were disposed to 
 claim the lion's share of credit for the work of foundation. 
 The fact seems to have been that there were many German 
 musicians in the city who were forced by considerations of 
 self-interest to act with caution when the question of cast- 
 ing in their lots with the new Society arose. They were 
 players in the theatrical orchestras, where they had practi- 
 cally a monopoly of the scarce solo instruments, and could 
 ill afford to run the risks which attached to the new under- 
 taking. Yet from the beginning nearly fifty per centum of 
 the membership was German, and at the first formal meet- 
 ing held for the purpose of considering the feasibility of 
 Mr. Hill's scheme a German musician presided. This was 
 A. P. Heinrich, an eccentric individual, who had convinced 
 himself that he was a musical genius without acquiring the 
 reputation of knowing even a little about the art among his 
 educated colleagues. It was the starting-point of Mr. 
 Hill's plan that all the men who were influential in music- 
 
46 THE PHILHARMONIC SOCIETY. 
 
 loving circles should be enlisted in the new and daring 
 enterprise. This circumstance explains the prominence at 
 the outset of musicians who were in no wise connected 
 with the orchestral forces of the city, pianoforte players 
 and teachers like D. G. Etienne, H. C. Timm, and William 
 Scharfenberg. It also shows why he is said to have spoken 
 often on the subject to C. E. Horn, a singer and composer, 
 and Maroncelli, a singing-teacher. Alfred Boucher, a 
 Frenchman, leader of some of the musical societies of the 
 city, was in several senses a most valuable man for the 
 undertaking, for while he was a creditable conductor he 
 was also a most admirable performer upon the violoncello. 
 He was either a brother or a son of Alexandre Jean Bou- 
 cher, a violinist of extraordinary talents,^ who at once de- 
 lighted, amused, and grieved the concert-goers of Europe 
 during the latter part of the last century and the early part 
 of this, by playing divinely but behaving like a clown. 
 His resemblance to Napoleon was so striking that once he 
 amused the Czar Alexander by impersonating the Corsican 
 conqueror so successfully that the Czar's mother was com- 
 pletely deceived until he played a solo upon the violin. 
 Alfred Boucher was one of the most popular solo per- 
 formers in New York during the early decades of this 
 century, and for a time conducted the operatic perform- 
 ances given under the management of Montressor. It was 
 rightly argued by the founder of the Philharmonic Society 
 that the cooperation of men of this class would not only 
 tend to insure a profitable patronage but would also give 
 the social ' ' tone " to the concerts without which all recog- 
 nized that success would be impossible. In most of the 
 cases mentioned active participation in the labors of the 
 Society, though an orchestral organization, was made pos- 
 sible by the fact that the men, though primarily pianists 
 
A MEMORIAL. 47 
 
 or organists, also had sufficient knowledge of orchestral 
 instruments to take part in the practical work of the So- 
 ciety. Mr. Timm, for instance, could play the trombone, 
 Mr. Scharfenberg, the violin, and Mr. Etienne, the horn. 
 It is a lovely illustration of the willingness of all these men 
 to make themselves useful in the early days that they used 
 to be called on to play the instruments of percussion when- 
 ever the score demanded something beyond the ordinary 
 apparatus. That the majority of them were also occasion- 
 ally invited to conduct either the whole or part of a con- 
 cert was a portion of their reward. The value of remain- 
 ing in the public eye was quite as thoroughly appreci- 
 ated in those days as it is now. There were other men 
 of eminence in the profession who did little else except 
 lend the use of their names. For the first two seasons 
 WiUiam Vincent Wallace, the composer, was a member. 
 I can not discover that he ever took an active part in the- 
 Society's work, though he was an experienced conductor 
 and orchestral violinist. He came to New York about the 
 time of the Society's first public efforts, and was enlisted 
 probably because his music enjoyed a great popularity at 
 the time. A few years before, as a young man of eighteen, 
 he had been, for a period, conductor of the London Philhar- 
 monic Society. He laid down the baton of that now ven- 
 erable organization in order to seek a restoration to health 
 in those voyages to the antipodes which furnished him with 
 a vast fund of anecdote which he liked to exploit, and 
 which provoked one of the most astonishing and amusing 
 chapters in Berlioz's "Soirees d'Orchestre." Dr. Edward 
 Hodges, an English cathedral musician, afterward organ- 
 ist of Trinity Church, kept up so active an interest in the 
 Society, notwithstanding that he was seldom available as a 
 performer, that he was elected an Honorary Member when 
 
48 THE PHILHARMOlSriC SOCIETY. 
 
 he returned to his native land in the vain hope of recover- 
 ing his health. Among the rank and file of the players 
 there were also a number of interesting men. The Dod- 
 worths, father, and sons, stood at the head of the military 
 music of the city, and afterward established a famous danc- 
 ing-academy. Allan Dodworth, now living in California, 
 is one of the five surviving original members of the Society. 
 S. Milon, a French violoncellist, was another man who 
 could, like Wallace, tell 
 
 of most disastrous chances; 
 Of moving accidents by flood and field; 
 Of hair-breadth 'scapes i' the imminent deadly breach. 
 
 In his youth he had been a soldier, a junior officer, indeed, 
 in Napoleon's army, and in this capacity went through 
 many campaigns. In the disastrous winter march from 
 Russia his left hand was frozen so badly that portions of 
 three of the fingers had to be amputated. Nevertheless 
 he played the violoncello, having invented a system of 
 fingering and tuning which made it possible in spite of his 
 maimed hand. He was wont to take two violoncellos into 
 the orchestra with him, tuned differently, so that by the use 
 of the one or the other he might overcome difficulties 
 resulting from changes of keys. It was one of his ambi- 
 tions to live to be a hundred years old, and he came within 
 a few months of realizing it, dying only a few years ago in 
 Philadelphia at the age of over ninety-nine years. An- 
 thony Reiff, the first Vice-President, was a native of May- 
 ence, who came to America in 1827. A half brother, named 
 Hornung, had been for ten years or more perhaps the only, 
 certainly the one efficient, bassoon player in the city. His 
 services were in such demand that wishing to visit his 
 native Germany he persuaded Reiff to come to New York 
 and take his place in the orchestra of the Park Theater. 
 
A MEMORIAL. 49 
 
 Reiff soon took a prominent position in the musical life of 
 the city. For twenty-five years he taught the pupils of the 
 Institution for the Blind, and for the same length of time 
 sang- tenor in St. Patrick's Cathedral. He played the oboe 
 and French horn, as well as the bassoon, and gave lessons 
 on the pianoforte. We have seen that he was one of 
 Hill's lieutenants in the campaign of Philharmonic organiza- 
 tion. He died in 1880. S. Knaebel, one of the violinists 
 of the orchestra, was an exceedingly versatile German per- 
 former, able to turn his attention at will to horn, violoncello, 
 or violin. He was also a composer, and wrote a cantata, 
 "The Battle of Bunker Hill," which enjoyed a measure 
 of popularity in its day. Louis Wiegers had the reputation 
 of being an admirable arranger of music (a talent much in 
 demand in the early days), a good violin player, and a clever 
 conductor. He conducted one concert of the Society in 
 its first season, and would doubtless have won a more 
 prominent position had not his habits of life made it im- 
 possible. H. Otto, violinist, was the husband of Madame 
 Otto, a German vocalist, of the florid kind, who won great 
 popularity while a member of the Park Theater Company, 
 and sang at the first concert of the Philharmonic Society. 
 Thomas Goodwin, a man more useful in the administra- 
 tion of the- Society's affairs than at his desk among the 
 viola players, did the Society some service as Librarian in 
 its earliest years, but greater when he dictated his recollec- 
 tions of the stage and concert-room to his son-in-law, who 
 put them into the readable book from which I have quoted 
 several times, and which anticipated me in the pleasant 
 task of presenting some of the notables of fifty years ago to 
 the readers of to-day. He was born in London in 1799, 
 and died in New York in 1886. His brother, William 
 Goodwin, was a well-known musical librarian in London 
 
so THE PHILHARMONIC SOCIETY. 
 
 for half a century. Of the Actual Members of 1842 there 
 is only one remaining on the Actual Membership list. 
 This is Samuel Johnson, who, though a nonperformer, is 
 as earnestly engaged in promoting the interests of the 
 Philharmonic Society as he was fifty years ago. Mr. 
 Johnson is an Englishman by birth, but has been a good 
 American since he landed on these shores in 1831. He 
 has served three terms as Secretary and two as Treasurer 
 of the Society, and is now eighty-two years old. 
 
 Such was some of the material out of which the enthu- 
 siasm and zeal of U. C. Hill created the Philharmonic So- 
 ciety. There are others who, because of the extent and 
 efficiency of their work during the formative days and 
 long afterward, deserve fuller attention. When Hill went 
 to Cassel to take lessons from Spohr he made the acquaint- 
 ance there of William Scharfenberg, who, as a pupil of 
 Hummel, may be described as in the line of artistic descent 
 from Mozart, who for a time taught Hummel. Hill talked 
 about America to the ardent young musician, and persuaded 
 him to seek his fortune in the New World. Scharfenberg 
 came in 1838, and effected his entrance on the American 
 concert platform in Hill's first concert on his return on 
 November 15 of that year. He at once took a leading 
 position in the city as a teacher and concert player. He 
 had, in fact, only one rival, Daniel Schlesinger, but the 
 rivalry, which lasted but a few months when it was ended 
 by Schlesinger's death, was sweetened by a most unselfish 
 and friendly interest on the part of the elder musician. 
 Scharfenberg' s zeal in behalf of the Philharmonic Society 
 was great. He was Secretary in the third season, Vice- 
 President in the ninth, Treasurer from the eleventh to the 
 sixteenth seasons, was then several years a member of the 
 Assistant Directors, and in 1863 became President, filling 
 
A MEMORIAL. 51 
 
 that post until the middle of the twenty-fifth season, when 
 he resigned, owing to a change of residence to Havana. 
 For a large portion of the time he was senior member of 
 the music-importing firm of Scharfenberg and Luis, whose 
 store in Broadway was the headquarters of the Society for 
 many years. On retiring from the Presidency he was 
 elected Honorary Member of the Society. He is now 
 living in New York City in comfortable retirement at the 
 age of sevgnty-three years. When Mr. Scharfenberg came 
 to New York one of the most respected teachers of the 
 pianoforte was Mr. D. G. Etienne, an old man who in his 
 day had been an admired concert performer. He, too, was 
 enlisted in the enterprise, and conducted the overture to 
 "Oberon" at the first concert. When Henri Herz was 
 brought to America by the impresario UUmann, Mr. Eti- 
 enne was persuaded to appear again in public in order to 
 take part with Herz, Scharfenberg, Timm, and twelve other 
 local pianists, in a musical curiosity, or monstrosity, the 
 existence of which suffices to characterize the period of the 
 virtuoso, not only here but in Europe. It was the arrange- 
 ment for thirty-two hands and eight pianofortes of the 
 overture to "Semiramide," made by Czerny for perform- 
 ance by members of the Austrian nobility at a concert in 
 Vienna, given for the benefit of the sufferers from an inun- 
 dation in Hungary. Jules Fontana, one of the few pupils 
 of Chopin, also took part in the New York performance. 
 A younger colleague of Etienne's was Mr. H. C. Timm, who 
 had been in New York three years when Mr. Scharfenberg 
 came. The activity of this most admirable musician cov- 
 ered a full half century of New York's musical life, during 
 all of which time he was not only an influence for good, 
 but also an energetic factor in the sum of the city's musical 
 growth. He is yet alive at the age of eighty-One years, 
 
52 THE FHILHARMONIC SOCIETY. 
 
 and • an Honorary Member of the Philharmonic Society. 
 Mr. Timm was born in Hamburg in 1811. One of his 
 teachers was Methfessel, composer of many popular part- 
 songs for men's voices, at the time conductor of a singing 
 society in Hamburg. He came to New York in 1835, 
 gave a concert in the Park Theater, and at once leaped 
 into public favor. From his brief memoir contributed to 
 Professor Ritter's book* we learn that rather than teach he 
 went on a concert tour in New England, which proving un- 
 successful, he became second horn in the orchestra of the 
 Park Theater. Next he conducted the performances of an 
 opera troupe which went through the South for six months, 
 became organist for a church in Baltimore, and gave con- 
 certs with Signora Velan6 and the baritone DeBegnis. 
 Returned to New York, he became chorus-master and 
 trombone player for C. E. Horn, who was about to open 
 the. new National Opera-House with his opera ' ' The Pil- 
 grim of Love. " The theater burned down, and Mr. Timm 
 became organist at St. Thomas Church, and afterward at 
 the Unitarian Church, in which position he remained eigh- 
 teen years. Mr. Timm's extraordinary skill as a reader 
 prima vista, not only of pianoforte music but also of orches- 
 tral scores, made him one of the most useful men con- 
 nected with the Philharmonic Society. In the memoirs 
 referred to he says in conclusion: 
 
 I seem to have been for over twenty-five years a kind oi sine 
 qua non at all concerts given during that time, playing accom- 
 paniments to all soloists, both vocal and instrumental. I mod- 
 estly may claim that this was my forte rather than anything 
 else. 
 
 For Mr. Timm's services as a performer at the concerts 
 of the Philharmonic Society I refer the reader to the com- 
 
 ■ Music in- America," page 372. 
 
A MEMORIAL. S3 
 
 plete programmes printed in the Appendix. His record 
 in the government of the Society is even more remarkable. 
 He was an Assistant Director in the third and fourth sea- 
 sons, Vice-President in the fifth, and President from the 
 seventh to the twenty-first inclusive — fifteen consecutive 
 years. 
 
 Whether or not I shall succeed in apportioning credit 
 properly among the early spirits of the Philharmonic Soci- 
 ety I do not know. To do so in the ' ' short and simple 
 annals " of the Society is not an easy task under the cir- 
 cumstances. A serious drawback, and one that is irreme- 
 diable, is the loss of the early records of the Society. How 
 easy it is, under such circumstances, to falsify history, either 
 wickedly or innocently, I have had abundant opportunity 
 to learn. Two instances which now confront me suggest 
 these reflections : One of the original members of the So- 
 ciety was George Loder. He was a useful member, who 
 played the double-bass in the orchestra for five seasons, 
 and conducted in whole or part no less than thirteen con- 
 certs in the twelve years of his connection with the Soci- 
 ety. His was the honor, moreover, of directing the first 
 performance in the United States of Beethoven's "Choral" 
 Symphony, when the Society performed it at an extra 
 concert in Castle Garden, May 20, 1846, for the benefit 
 of a Philharmonic Hall fund. It is a proud record, but 
 one that scarcely entitles Mr. Loder to the credit which 
 he receives in "Mendel's Musikalisches Lexicon" of hav- 
 ing been the originator of the Philharmonic Society. 
 Loder was a member of a well-known English family of 
 musicians. He was born in Bath in 1816, and came to 
 America in 1836. He lived for a time in Baltimore, and 
 then came to New York, where he enjoyed a good reputa- 
 tion as a leader of singing societies and theatrical orches- 
 
54 THE PHILHARMONIC SOCIETY. 
 
 tras, and in spite of his small stature made a striking figure 
 at the conductor's desk because of his long, well-kept 
 beard. He lost his membership in the Society through 
 failure to pay his dues in 1855, and the next year went to 
 Australia, where he became the successor of Anthony 
 ReifT, Jr. , as conductor of the opera at Sydney. He died 
 in Adelaide, South Australia, in 1868. It is a singular fact 
 that his old associates in the Philharmonic Society know 
 as little about the numerous operas, symphonies, overtures, 
 etc. , which the German work also credits him witK having 
 composed here, as they do of what the lexicon calls his 
 ' ' erste fruchtbringende Anregung zur Griindung der noch 
 gegenwartig bliihenden philharmonischen Gesellschaft. " 
 The man to whom, above all others, that credit is due, as I 
 have repeatedly intimated, was U. C. Hill, who has had 
 no foreign cyclbpsdist to do him honor, and whose shade, 
 till now, has never even enjoyed the melancholy pleasure 
 (assuming that the spirits of the dead do such things) of 
 seeing his name written correctly. The ' ' Uriah C. Hill" 
 of whom Ritter affects to give information in his "Music 
 in America," was, in fact, Ureli Corelli Hill. He was not ■ 
 a New Yorker, but a Connecticut Yankee, and the strange- 
 ness of his Christian names suggests the idea that some of 
 his mental peculiarities were an inheritance. In all proba- 
 bility his father was fond of the violin, and for that reason 
 endowed the son with the name of the great Italian violin- 
 ist who in the seventeenth century laid the foundations of 
 modern violin-playing. " Ureli, " however, baffles my in- 
 genuity. Yankee ' ' push, " energy, shrewdness, enthusiasm, 
 industry, pluck, self-reliance, and endurance were all pres- 
 ent in the composition of Hill's character. It seems in- 
 contestable from the evidence that his natural gifts as a 
 musician were not great. When he went to study with 
 
A MEMORIAL. 55 
 
 Spohr in 1835 he had already occupied a prominent posi- 
 tion in the musical life of the city for some years. He 
 could plan and he could organize. Obstacles had no ter- 
 rors for him; he thought that patience and industry would 
 surmount them. He did achieve wonderful things with 
 the crude material at his disposal, but though he labored 
 hard he never overcame the limitations which nature had 
 set for him as an executant. He remained over two years 
 with Spohr, and when he returned he gave great vt>gue to 
 that master's "School for the Violin," and became the 
 most popular and successful violin teacher in the city. He 
 was of the stuff that pioneers are made of, and filled with 
 a restless energy. Despite his achievements as a conductor 
 of amateur and professional bodies, he was continually 
 looking for new fields to conquer. He had some of the 
 spirit of a New England convention leader, and would 
 have been made supremely happy had he been able to 
 count his performers by the hundreds or thousands instead 
 of scores. But with all his eagerness he inculcated a taste 
 for good music, and his pupils bless his memory. His fate 
 was a melancholy one. Though he could earn money he 
 could not keep it. He sought his fortunes in the West, 
 five years after the foundation of the Philharmonic, and 
 was gone three or four years, only to find that the best field 
 for his energies was New York. Once the Society helped 
 him with a loan of practically all the money in the Sinking 
 Fund, and had to wait long for its return. He played in 
 the orchestra until 1873, and was then retired because of 
 old age, being then about seventy. For a while he played 
 as "extra" at Wallack's Theater, but was unable to main- 
 tain himself there. Some operations in New Jersey real 
 estate had proved abortive. He tried to get up a concert 
 for a daughter in Jersey City, and was shocked at the lack 
 
56 THE PHILHARMONIC SOCIETY. 
 
 of interest in his enterprise displayed by the musical pro- 
 fession. Then the painful conviction was forced upon him 
 that he "lagged superfluous on the stage." At his home 
 in Paterson, N. J., on September 2, 1875, he killed him- 
 self by taking morphine. In a letter of explanation and 
 farewell he wrote these words : "To live and be a beggar 
 and a slave is a little too much for me, maugre I am an old 
 man. Look at all of us! Is it not heart-rending to contem- 
 plate? ■^la, ha! I ga, the sooner the better. O merciful 
 Father, take good care of my wife and family! Blessings 
 on all that have done for me." He was President of the 
 Philharmonic during the first six years of its existence, 
 Vice-President seven years, and member of the Board of 
 Directors six years, and conducted eight concerts in the 
 first five seasons. 
 
A MEMORIAL 57 
 
 VI. 
 
 I HAVE compressed much of the history of the Philhar- 
 monic Society into the Appendix to this Memorial. A 
 study of the programmes, the list of officers, and the finan- 
 cial statement will disclose a vast number of interesting 
 facts, which, were I to set them forth in^detail here, would 
 expand the volume far beyond its set limits. One conclu- 
 sion which I should be glad to have the reader make from 
 a comparison of the records of the early and the latter day 
 is this : The achievements of the Society in the first and 
 last decades of its existence differ more in respect of 
 financial success than artistic aim. I shall presently under- 
 take a brief study of the evolution of popular appreciation 
 of high-class music, as manifested in the progress of the 
 Society's work ; I bring the matter forward now in order 
 to throw some light on the beauty and seriousness of the 
 exertions which marked the beginning, and to which a 
 most eloquent tribute is paid in the conclusion just stated. 
 It must be borne in mind that in the most literal sense the 
 Philharmonic Society at its first concert appeared as a 
 pioneer in instrumental culture. Practically a knowledge 
 of symphonic music was confined at the time to the better 
 educated musicians and those fortunate members of the 
 community who had enjoyed the advantages of European 
 travel. There are evidences in the writings of the day 
 that the notions concerning the music which the Society 
 had organized to cultivate, even of those who were enthu- 
 siastic in their desire to help advance the art, were of the 
 haziest description. The Board of Government itself, by 
 sanctioning some of the explanatory notes which appeared 
 
58 THE PHILHARMONIC SOCIETY. 
 
 upon the Society's first programmes, confessed to an in- 
 genuousness of thought which to-day compels a smile. 
 Readers of that singular kind of literature which passes for 
 musical exposition are accustomed to fantastic things, but 
 I can not recall anything much more diverting than a- 
 Philharmonic programme annotator's appeal to the story of 
 Orpheus and Eurydice to explain Beethoven's Symphony 
 in A major, or anything more convincing of the low state 
 of theoretical knowledge amongst the musicians themselves 
 than the statement officially made that the variations which 
 compose the finale of the ' ' Eroica " are ' ' a combination 
 of French revolutionary airs." Obviously the musicians 
 were venturing on what was little better than unknown 
 ground when they began the production of those master- 
 pieces which occupy the same position in the literature of 
 music to-day that they did fifty years ago. They were 
 inspired, however, by a genuine love. Affectation did not 
 enter into their thoughts. This is indicated by all the 
 external features of the early concerts. As much as the 
 programmes of pieces chosen, and the care devoted to 
 their preparation, the conduct of the players was adjusted _ 
 to show respect for the art. In the first season the members 
 themselves contributed one third of the money received 
 from subscriptions and the sale of single tickets. Three 
 concerts were given, for which at the outset 139 subscrib- 
 ers at ten dollars each were secured. Each subscription 
 entitled the subscriber to three tickets for each concert. 
 The extra sales at the first concert amount to only $15 ; at 
 the second, to $66.50; at the third, to $67.50. The total 
 receipts for the season were $1,854.50, of which about 
 $600 came from the members. It is said that the effect 
 upon the public of Beethoven's Fifth Symphony, which 
 opened the first concert, was most impressive. Doubtless the 
 
A MEMORIAL. 59 
 
 hearers were more astonished than deUghted by the first 
 movement. If I were to sum up in a single phrase Mr. 
 Johnson's recollections of how the work was received I 
 should say, concerning the opening of the symphony at 
 least, that while the listeners did not know whether or not 
 it was beautiful, they felt that it was great. The audience 
 was largely made up of the friends and pupils of the lead- 
 ing teachers who had been enlisted by Mr. Hill, and the 
 majority of these teachers took a conspicuous part in the 
 concert. Mr.. Hill conducted the symphony ; Mr. Schar- 
 fenberg played the pianoforte part of Hummel's well- 
 known septet, as arranged by the composer as a quintet 
 for pianoforte and strings; Mr. Boucher played the vio- 
 loncello in the same number; Mr. Etienne conducted the 
 overture to "Oberon," and Mr. Timm an overture in D 
 by Kalliwoda, besides the accompaniments to the vocal 
 numbers. Mr. C. E. Horn, who had taken part in the 
 first meetings of the Society, but had not become a mem- 
 ber, sang the great scene for tenor from "FideUo," and 
 joined Madame Otto in a duet from Rossini's " Armida.'' 
 The extent to which in the beginning the Society rested 
 upon the individual exertions of its leading members for 
 hearers brought it to pass that the audiences soon came 
 to represent the choice spirits of the social world and the 
 fine flower of the city's music-lovers. In consequence of 
 this, as well as of the unquestioned reverence which the 
 musicians felt for the compositions which they played, the 
 concerts took on an air of more than ordinary distinction. 
 They were given in the Apollo Rooms — a popular resort 
 for fashionable entertainments. In the concert-hall chairs 
 had not yet been introduced ; the benches, or pews, which 
 can still be found in some of the best known concert-rooms 
 in England, were in use. Some of the commonest feat- 
 
6o THE PHILHARMONIC SOCIETY. 
 
 ures of modern management were not yet dreamed of. The 
 subscribers were received at the door of the concert-room 
 by several, members of the orchestra, selected by the Gov- 
 ernment because of their appearance and address, and were 
 by them escorted to their seats. These ushers wore white 
 gloves, paid for out of the Society's exchequer, and carried 
 long and slender rods of wood painted white as wands of 
 office. This custom prevailed for several years but finally 
 was suspended, it is said because of the opportunities for 
 amusement which it afforded to some of the younger at- 
 tendants whose ebulliency of animal spirits sometimes over- 
 came their sense of decorum. In the Fourth Annual Re- 
 port it is recorded as an instance of the economical admin- 
 istration of the Society's affairs that $4.75 had been saved 
 on the sum expended for gloves over the preceding season. 
 The demeanor of the performers before coming upon the 
 stage, as well as in the presence of the public, was of the 
 most circumspect and dignified character. Gathered in 
 the anteroom with their instruments in hand the players 
 waited until the conductor or president politely requested 
 the oboe player to sound his instrument for the others to 
 tune by: "Will the oboe please give us his A?" This 
 highly necessary preliminary disposed of, the band would 
 wait until a word of command was given, and then walk 
 without confusion into the presence of the audience. In 
 playing, all the performers except the violoncello players 
 stood, as is still the custom in the Gewandhaus concerts in 
 Leipsic. The orderly entrance of the men, their dignified 
 comportment, and the absolute silence of every instrument 
 until the music began, all tended to put the audience in a 
 respectful and receptive mood, and it is not surprising to 
 hear that impressions were made by the concerts of the 
 first decade which were never equaled afterward in spite 
 
A MEMORIAL. 6i 
 
 of the continual improvement of the music from a techni- 
 cal and purely artistic point of view. I must leave to' the 
 imagination how the opening figure of the C minor sym- 
 phony may have sounded under such unique circumstances. 
 At the beginning of the second season a change was 
 made in the constitution of the Society which produced 
 results that had never entered the contemplation of those 
 who effected it. In order to give professional musicians 
 who might be unable to attend the concerts an 'opportu- 
 nity to hear the music, and at the same time create a body 
 from which the orchestra could be recruited, provision was 
 made for a class of Associate Members who, at half the 
 cost of the regular subscription (left at ten dollars, though 
 the number of concerts was increased from three to four), 
 were privileged to attend the rehearsals. These Associate 
 Members for a time were formally elected by the Society, 
 and their growth in numbers was insignificant compared 
 with the subscribers. Very unexpectedly to the Board of 
 Government the fact was brought to notice that there were 
 others besides professional musicians who wished to attend 
 the rehearsals. A few facts drawn from the records will 
 tell the tale. In the third season there were twelve Associ- 
 ate Members, among them one amateur who was admitted 
 as an exception to the rule. It was the Dr. Quin, whose 
 case has already been mentioned. Already in the fourth 
 season the exception became the rule, and the Associate list 
 was increased to sixty-six, the majority of the newcomers 
 being merely lovers, not professors, of music. Among 
 them was R. Ogden Doremus, who was destined later to 
 play an important part in the history of the Society. In 
 the fifth season the Associate list was formally divided into 
 Professional and Amateur. It had increased to seventy- 
 one, and the Government explained that an increase of 
 
62 THE PHILHARMONIC SOCIETY. 
 
 expenses was due to "the necessity of rehearsing in a 
 large room, and other attentions due to the Associate 
 Members." The close of the sixth season saw the list 
 grown to one hundred and thirty-two, and in it for the first 
 time appeared the names of women. Of the latter there 
 were nineteen, and the revolution which their coming event- 
 ually worked in the affairs of the Society was so stupend- 
 ous that I take pleasure in preserving their names. They 
 were Miss Abeel, Mrs. Anderson, Miss Anderson, Mrs. 
 J. W. Crane, Miss M. M. Elmendorf, Miss Hooker, Mrs. 
 C. E. Horn, Mrs. George Loder, Mrs. J. W. Lowe, Mrs. 
 T. B. Merrick, Mrs. Macey, Miss Macey, Mrs. Miller, 
 Miss Miller, Miss Julia Northall, Mrs. C. Roome, Mrs. 
 F. G. Shaw, Mrs. J. Van Nostrand, and Mrs. J. Wright. 
 How this new departure in the Society came about one 
 of the "ladies described in a communication sent to The 
 Evening Post newspaper in February, 1892. In this she 
 said: 
 
 When I came to New York in 1847 I went to the last Phil- 
 harmonic concert of the season, and saw on the programme a 
 notice to the effect that " Persons wishing to become Associate 
 Members of the Philharmonic Society, with the privilege of 
 attending the rehearsals, should call on Scharfenberg & Luis 
 in October and give their names." In October I called, saw 
 Mr. Scharfenberg, and told him I wished to become an Associ- 
 ate Member of the Philharmonic Society in order to attend the 
 rehearsals. He looked at me with some surprise and said, 
 " Ladies do not go to the rehearsals." I said, "Why not.'" "I 
 do not know," was his answer. "Is there any reason why they 
 should not go.'" "I see none," he said. "Then can not I go?" 
 "Are you willing to have your name proposed at the next 
 meeting of the Society ?" I said, " Yes, unless you know of 
 some reason why I should not." And so it was settled, and in 
 a few days I received a printed form, stating that I had been 
 admitted as an Associate Member of the Philharmonic Society, 
 
A MEMORIAL. 63 
 
 with the privilege of attending the twelve rehearsals and four 
 concerts, and for the modest sum of five dollars. On the after- 
 noon of 'the first rehearsal I went, with some trepidation, to 
 the Apollo Hall; the only persons present hesides myself were 
 a man and one small boy. I soon smelled cigar-smoke, and the 
 conductor arose and said: " Gentlemen, I presume, now that we 
 have agreed to admit ladies as Associate Members, you will 
 agree with me that we should throw away our cigars." I 
 wanted very much to call out and tell them not to, but I kept 
 still, and there was no more cigar smoke. At the next week's 
 rehearsal there were twenty or thirty ladies, and at the third 
 at least one or two hundred. 
 
 The change was big with significance which was not 
 long in showing itself. Almost immediately the list of As- 
 sociate Members began to swell and the list of Subscribing 
 Members (whose purchased privilege extended only to at- 
 tendance on the concerts) began to dwindle. 
 
 In one year the relative positions of the two lists to- 
 ward the Society was completely reversed, the Report of 
 the Seventh Season showing 193 Associate Members and 
 only 57 Subscribers. A Professional membership, after- 
 ward created to enable musicians to enjoy the privilege of 
 the concerts at one-half cost, kept many out of the Asso- 
 ciate list, yet in spite of this it continued to grow until in 
 the twentieth season it numbered 733 as against 18 Sub- 
 scribing Members. In the next season the Professional 
 membership was abolished, with the result of increasing 
 the Associate list to 855 and the Subscriber's list to 39. 
 During all this period, and down to 1879, indeed, it was 
 customary to open the doors to the Associate Members at 
 three and even more of the rehearsals, preparatory to each 
 concert. Evidently this was a relic of the early plan of 
 admitting professional musicians (the original Associates) 
 to all the rehearsals, which was the more willingly retained 
 
64 THE PHILHARMONIC SOCIETY. 
 
 since the Government of the Society saw in the desire to 
 attend the rehearsals a strong proof of the growing love for 
 good music. To their delight thereat the officers gave 
 frequent and enthusiastic expression in their annual re- 
 views. Unhappily the results were not all advantageous. 
 Many of those who attended the rehearsals (extra tickets 
 were sold to Associates at fifty cents each) drew license 
 out of the absence of conventional restraints at the rehears- 
 als, and the Government soon found itself grievously em- 
 barrassed in its efforts to maintain proper decorum in the 
 audience-room. Appeals for silence and decorous behav- 
 ior were made by distributing printed slips among the lis- 
 teners, and finally the Board determined to mention the 
 trouble officially in the Fifteenth Annual Report. It was 
 a matter of considerable dehcacy, and the help of Mr. 
 Richard Storrs Willis, brother of N. P. Willis, and himself 
 a poet' and ardent lover of music (of which art, indeed, he 
 was an amateur practitioner), was enlisted. The task was 
 rendered doubly delicate by the fact that the fifteenth sea- 
 son had been successful beyond all parallel, so successful, 
 indeed, that Mr. Willis, at least, saw a peril in the success. 
 He took this idea for the homily which he preached at the 
 request of the Government. It was adopted as an official 
 utterance. I make room for it simply as a contribution to 
 the history of culture in New York. Nothing that I can 
 say will seem more strange to the patrons of the Philhar- 
 monic Society to-day than this public rebuke of their pred- 
 ecessors in 1857 : 
 
 Our difBculties would seem to resolve themselves, in fact, 
 into what may be termed music and manners. Touching the 
 former, we can not think that in our choice of compositions for 
 performance our lofty and pure aim will ever be lowered to an 
 ad captandum and less worthy style. Indeed, we believe that 
 
A MEMORIAL. 65 
 
 we have shut ourselves off from the possibility of this by edu- 
 cating our reallj' permanent public bej'ond it. They would 
 hardly assent thereto should we even propose it — leaving, per- 
 haps, but little danger after all to be apprehended from this 
 source. 
 
 But with the latter difficulty we are now having to contend, 
 as regards a minoritj' of our audience. 
 
 Due allowance, of course, must be made, and is cheerfully 
 made, for youth and vivacity ; for the long period of attention 
 required ; for the exciting attrition of so many elements of 
 beauty and attractiveness. But the interests of Art are posi- 
 tive and insisting as to the degree of order and attention re- 
 quired. We must, necessarily, insist upon musical good man- 
 ners. The inattention and heedless talking and disturbance of 
 but a limited number of our audience are proving a serious 
 annoyance at our Philharmonic performances. The remedy 
 for this, after all, lies rather with the audience itself than the 
 Society authorities. If each little neighborhood would take 
 care of itself, and promptly frown down the few chance dis- 
 turbers of its pleasure, perfect order would soon be secured. 
 We hope this will be done. In foreign audiences it is ever 
 effectually done. But may we not rather hope that those to 
 whom these remarks may refer, appreciating the delicacy and 
 difficulty of our position, will relieve us of all onus of disci- 
 pline — a thing so obnoxious, and so foreign to the purpose of 
 our assembling — and very competently and sufficiently, as they 
 are able to do, take care of themselves .' 
 
 I should like, were it practicable, to trace the financial 
 vicissitudes of the Society from the beginning till now, and 
 discuss some of the causes which contributed now to its 
 prosperity and anon to its adversity; but matters of more 
 vital significance must engage my attention. On the 
 whole, the Society has been prosperous. Once, indeed, in 
 its history did it descend to the very verge of the slough 
 of despond, but the period of misfortune was but of short 
 duration. The freaks of fashion, from which it was long 
 
66 THE PHILHARMONIC SOCIETY. 
 
 ago emancipated, were treacherous at times in the begin- 
 ning, and seem to have occupied the minds of the Directors 
 quite as much when they shed the sunshine of favor upon 
 the Society as when they threatened to interpose the clouds 
 of neglect. The early years, though they brought scarcely 
 one tenth of the reward to the members that is enjoyed 
 to-day, were accounted years of wondrous prosperity. Vast 
 ambitions were raised in the souls of the founders of the 
 new organization. The most common and persistent of 
 these ambitions related to a permanent domicile for the 
 Society. "We must have a Philharmonic Hall!" was the 
 cry. The ambition was never reaUzed, though efforts look- 
 ing toward a realization were several times made. The first 
 outcropping manifested itself in the fourth season. The 
 programme of the third concert, held on March 7, 1846, 
 contained a call for a meeting to be held a week later to 
 promote what was described as a " Splendid Musical Edi- 
 fice and Grand Concert. " A plan was to be submitted at 
 the meeting ' ' to carry into effect the erection of an edifice, 
 adapted to all musical and other purposes, fully commen- 
 surate with the wants of the New York public." As part 
 of this plan the Philharmonic Society projected and on May 
 20, 1846, gave a Festival Concert at Castle Garden. Unfor- 
 tunately for the amiable purpose of the projectors the bulk 
 of the enthusiasm touching a "Splendid Musical Edifice" 
 seemed to be in the breasts of the members of the Philhar- 
 monic Society. The concert was a notable affair from a 
 musical point of view, because at it Beethoven's "Choral" 
 Symphony received its first performance in America,* but 
 the smallness of the monetary returns was a wet blanket on 
 the hopes of the would-be hall-builders. Professor Ritter's 
 statement that "the members had to pay the deficit" is 
 
 *See the programme in the Appendix. 
 
A MEMO RIAL. 67 
 
 incorrect; the concert yielded a profit of $390, which was 
 placed ia the hands of three trustees — U. C. Hill, Shepherd 
 KiKtpp, and Samuel Ward. Four years afterward Messrs. 
 Knapp and Ward (Hill having removed from New York) 
 refunded the money to the Society for its "charitable 
 uses." The idea of owning a hall flitted furtively through 
 the fancy of the Society's enterprising" spirits for many years 
 thereafter. In the beginning of 1859 it was resolved at a 
 meeting of the Society "that immediate steps be taken for 
 the purpose of erecting a suitable Music Hall by forming 
 a Stock Company." It was expected that the members, 
 Actual and Associate, would subscribe for the stock, but 
 the project was found again to be impracticable. In later 
 years all thoughts of enterprises outside of the regular busi- 
 ness of giving a prescribed number of concerts were gradu- 
 ually abandoned, the dislike for all extraneous affairs grow- 
 ing so strong that no serious effort was made even at the 
 zenith of the Society's prosperity, under the administration 
 of President Doremus, to carry out a resolution rather 
 hastily adopted to give a music festival. Two periods in 
 the material history of the Society deserve attention as 
 marking high and low water in the tide of the Society's 
 finances. At the breaking out of the War of the Rebellion 
 the Directors grew fearful that "the disturbed condition 
 of the country" would lead to a considerable loss in sub- 
 scriptions for the season 1861-62. As a safeguard against 
 loss, therefore, they abandoned the Academy of Music, 
 whither they had gone two years before, and engaged 
 Irving Hall as the concert-room for the twentieth season. 
 The apprehensions proved to be groundless, however, and 
 for the twenty-second season the Society returned to the 
 Academy of Music, where, with the exception of an interim 
 of two years, it remained until the abode of high-class en- 
 
68 THE PHILHARMONIC SOCIETY. 
 
 tertainments was transferred to the Metropolitan Opera- 
 House. The whole period of the war was one of steady 
 success, which was lifted to a thitherto unheard of plane 
 when Dr. R. Ogden Doremus was elected president. The 
 eminent chemist had been an Associate Member since the 
 fourth season. Mr. Scharfenberg resigned the presidency 
 in the" twenty-fifth season, and was succeeded by Mr. Bris- 
 tow, who was elected to fill the vacancy. Till then the 
 President had been of necessity an Actual Member of the 
 Society. The constitution was now changed in order to 
 make Dr. Doremus President. He accepted the office 
 after securing the promise of the Directors to effect certain 
 changes looking to greater artistic brilliancy in the con- 
 certs. The orchestra was increased to ninety, then to one 
 hundred men, and the programmes otherwise made more 
 attractive. Then the energetic President undertook to 
 secure a reward for the Society. He invoked all the social 
 and fashionable forces in behalf of the concerts, and soon 
 made the Society's concerts the sensational features of the 
 season. Through his efforts Mr. Edwin Booth was per- 
 suaded to read Byron's "Manfred" so that Schumafin's 
 music might be performed! So tremendous was the tri- 
 umph which followed upon the adoption of the new meth- 
 ods that the receipts for the concerts mounted from $9,519 
 in the twenty-fifth season, to $14,061 in the twenty-sixth, 
 $23,635 in the twenty-seventh, and $24,302.50 in the 
 twenty-eighth, at the conclusion of which Dr. Doremus de- 
 clined a reelection, and urged a return to the old methods 
 of choosing a President from the ranks of the musical pro- 
 fession. The tide of prosperity had set in so strongly that 
 it was not to be stopped. It continued to rise during the 
 first two years of the administration of President George T. 
 Strong, the receipts being $27,057.75 in the twenty-ninth 
 
A MEMORIAL. 69 
 
 season. Then they began to fall, coming down to $25,- 
 810 in the thirtieth season, $25,035.50 in the thirty-first, 
 $19,022.74 in 'the thirty-second, and only $5,760.50 in the 
 thirty-third. It is but fair toward the integrity of history 
 to say that this sudden decrease was to a considerable ex- 
 tent due to a reaction on the part of the public in conse- 
 quence of some features of the new methods adopted. The 
 newspapers were filled with complaints of exclusivism 
 and favoritism, and the conviction struck root that the 
 Society's original virtues had been lost sight of in the sud- 
 denly awakened desire to make money. It is not to justify 
 these criticisms, but simply to present them as they deserve 
 in the interests of truth, that I make room for the following 
 bit of doggerel, which gave expression to the extreme wing 
 of a considerable number of malcontents : 
 
 The German Philharmonic 
 
 Rules the music of this town; 
 It plays for pet subscribers — 
 
 The public is done brown. 
 Its IVIusic of the Future 
 
 On every pure ear palls; — ^' 
 
 Subscribers sit — the public stands, ' 
 
 As cattle stand in stalls. 
 Then sing the Philharmonic, 
 
 Where Art -love reigns o'er all! 
 " . . When the Dollar looks almighty large 
 
 And Music ver}' small! 
 
 Toward the close of Dr. Doremus's third term the 
 Society amended its constitution so that it might testify its 
 appreciation of his services by making him the first of a 
 new class of members, called Honorary Associates. It was 
 the good fortune of Mr. George T. Strong to act as the 
 Executive of the Philharmonic Society when the wave of 
 prosperity came highest on the shore; but it was also his 
 
70 THE PHILHARMONIC SOCIETY. 
 
 bad fortune to witness in an official capacity the beginning 
 of the ebb. He resigned after four years of zealous work 
 at the end of the thirty-second season, and was also added 
 to the list of Honorary Associate members. A material 
 factor which encouraged popular desertion were the Sym- 
 phony Concerts of Mr. Thomas, which now sailed proudly 
 into public favor, wafted partly by the spirit of reaction, 
 partly by the strong and steady breeze of real merit. Mr. 
 Thomas depleted the ranks of the Society of many of its 
 best players. His steady maintenance of a band for his 
 concerts only gave him a great advantage over the Philhar- 
 monic Society, and the attractiveness and freshness of his 
 programmes seduced many of the Philharmonic's subscrib- 
 ers from their old allegiance. Still another cause was the 
 moral and physical decadence of the once brilliant Berg- 
 mann, which reached a degree that ended his usefulness so 
 far as the Society was concerned on March 24, 1876, when 
 he was requested to resign, and Mr. Matzka, his faithful 
 lieutenant for many years, was called on to conduct the 
 last concert of the season, as he had already conducted the 
 preceding one. At the close of the season the Society 
 found itself without a conductor, and popular interest in it 
 at ebb-tide. Some time was spent in considering the feas- 
 ibility of engaging a foreign conductor, but. the effort was 
 futile, and Dr. Leopold Damrosch was engaged. He en- 
 tered upon his duties with extraordinary zeal, and his one 
 term in the office of conductor is a memorable one in the 
 artistic history of the Society; but the people still withheld 
 their smiles. There was but one solution of the problem, 
 which was to end the rivalry between the two organiza- 
 tions. This was accomplished^ Theodore Thomas became 
 the conductor. of the Philharmonic Society, the orchestra 
 was reorganized to enhance its efficiency, and at once pub- 
 
A MEMORIAL. 71 
 
 lie favor was regained. Mr. Thomas, unfortunately, went 
 to Cincinnati in the fall of 187S, and had to yield the baton 
 to Mr. Adolph Neuendorf? for the thirty-seventh season, 
 but during the thirty-eighth he returned to New York from 
 his home in the West for each concert, and for the thirty- 
 ninth he was again a resident of New York City. He con- 
 tinued to conduct the concerts of the Society until his 
 removal to Chicago in 1891 — the Financial Statement will 
 show with what results in one department, the richly stored 
 memories of the Society's patrons will treasure up the fruits 
 of his artistic labors. Before this branch of the subject is 
 put aside a striking fact in connection with the external 
 history of the Philharmonic Society deserves record. In 
 the fifty years of its existence only one concert was post- 
 poned. The fifth, and last, concert of the twenty-third 
 season was set down for April 22, 1865. On the 15th of • 
 April the country awoke to read the awful intelligence of 
 the assassination of President Lincoln. A meeting of the 
 Philharmonic Directors was held at once and the concert 
 postponed till the 29th. Four days later a second meeting 
 was held, at which it was resolved to omit the choral por- 
 tion of Beethoven's Ninth Symphony, which was to be 
 given with the aid of the Liederkranz, and to substitute 
 for it the funeral march from the ' ' Eroica. " On the pro- 
 gramme, when the concert was given, appeared the follow- 
 ing announcement: 
 
 •notice. 
 
 The entire community of this city shares with the Nation 
 the deep grief into which our land has been plunged by the 
 sudden and awful death of our late Chief Magistrate, the Presi- 
 dent of the United States. 
 
72 THE PHILHARMONIC SOCIETY. 
 
 While thus sorrowing, it has been thought a fitting tribute 
 to our departed Head, to prefix to the programme of the con- 
 cert the Funeral March froin BeethovenIs Third Sym- 
 phony, which was expressly composed for the occasion of the 
 death of a great hero. 
 
 From the same motive the closing portion of the Ninth 
 Symphony^— '■'■'^■a'E. Hymn to Joy" — will be omitted. 
 
 On May 24,. 1867, the Society celebrated its twenty- 
 fifth anniversary by a special concert in Steinway Hall, at 
 which the Rev. Franklin Johnson pronounced an oration. 
 It was before the sun of the Society's popularity had 
 reached its zenith, and the net proceeds were but $517.92, 
 which sum was divided amongst those who had partici- 
 pated in the concert. 
 
 I have .already referred to the policy which prevailed 
 at the beginning of the Society's career of permitting 
 several of the leading members to wield the baton at the 
 concerts. The office of conductor was a movable one for 
 the first decade, though during the latter part of that time 
 it showed a tendency to acquire stability. A strong influ- 
 ence in this direction was the result of the coming of Theo- 
 dore Eisfeld, who joined the Society in the seventh season, 
 and immediately took a commanding place in its ranks. 
 His was the finest equipment for the post of conductor of 
 any of the men who had filled it, and when Mr. Loder, 
 who belonged to the movable regime, but had done the 
 lion's share of the work, left New York for Australia, the 
 policy of the Directors was immediately amended, and Mr. 
 Eisfeld, instead of being elected to conduct one concert or 
 two in a season, was elected to conduct all the concerts. 
 Eisfeld was a newcomer from Germany; He was born 
 in Wolfenbuttel, studied the violin with Karl Miiller, and 
 
A MEMORIAL. 73 
 
 composition with Reissiger. In the musical evolution of 
 New York to him falls the honor of having founded public 
 concerts of chamber music. He won great popularity with 
 the public, and the feeHngs of the musicians for him were 
 evidenced by the fact that when he revisited his native 
 land in 1858 the Philharmonic Society exhausted its Sink- 
 ing Fund in order to help him along with a loan of $500. 
 While returning, the steamship Austria, on which he was a 
 passenger, was burned at sea. Eisfeld was rescued, all ex- 
 hausted, from a raft, by the crew of a sailing vessel, and 
 carried to Fayal, whence he succeeded in effecting his 
 return to New York. The Philharmonic Society tried to 
 give him some needed financial assistance through the 
 agency of a concert, but other circumstances, combined 
 with bad weather, caused the well-meant efforts to mis- 
 carry, and the Society forgave him part of the debt. 
 Eisfeld returned to Europe in 1866, and died on Septem- 
 ber 16, 1882, at Wiesbaden. During the last ten years 
 of his labors in behalf of the Philharmonic Society Mr. 
 Eisfeld had associated with him Carl Bergmann, around 
 whose name the chief glories in the Society's career 
 cluster. Bergmann's genius for conducting (for his gifts 
 reached the degree of genius) lifted the Society to the 
 pinnacle of its efficiency, and his methods became a tradi- 
 tion which is still vital. Carl Bergmann was the inspira- 
 tion and model of Theodore Thomas, and in a manner his 
 influence has been at work in the marvelous educational 
 labor which Mr. Thomas has performed in all parts of the 
 United States. Bergmann came to the United States 
 early in 1850 and joined the itinerant orchestra called the 
 Germania as violoncellist. In a few months he became 
 the leader of the band, and remained with it in that capac- 
 ity until its dissolution in 1854. He then took up a resi- 
 
74 THE PHILHARMONIC SOCIETY. 
 
 dence in New York, became conductor of the Mannerge- 
 sangverein Arion, and in 1855 began to conduct concerts 
 for the Philharmonic Society, alternating for ten years with 
 Mr. Eisfeld. From 1866 to 1876 he was sole conductor. 
 He died August 16, 1876. Mr. Theodore Thomas was 
 the natural successor of Carl Bergmann in the directorship 
 of the Society. When he took up the baton he had an 
 intimate acquaintance not only with the Society and its 
 needs, but also with the whole body of high-class music. 
 For many years, beginning in 1853, he had sat amongst the 
 first violins, and on several occasions (the first time in 1864) 
 he had been honored with invitations from the Board of 
 Directors to play solos at the concerts of the Society. At 
 that time he had long been a very significant factor in the 
 musical life of the city. He was born in Germany on 
 October 11, 1835, and came to New York as a lad. He 
 played in concert and opera orchestras during the Ameri- 
 can tours of Jenny Lind, Sontag, and Grisi and Mario. 
 Under Luigi Arditi he became principal of the violins, and 
 in this capacity, or as conductor, he was a member of 
 various German and Italian troups until 1861. In 1855, 
 with William Mason, Joseph Mosenthal, G. Matzka, and 
 Carl Bergmann, he instituted the famous Chamber Con- 
 certs, which continued the work begun by Eisfeld, and 
 were given every winter for fourteen years, F. Bergner, 
 another Philharmonic veteran, taking the place of Berg- 
 mann in 1 86 1. _The Philharmonic Society of Brooklyn, 
 an offspring of the New York institution, appointed him 
 conductor of its concerts in 1862, and until the suspension 
 of these concerts in 1891 he was almost constantly at their 
 head. He began the Symphony Concerts, which gave him 
 a national reputation, in 1864, and continued them till 
 1869. Then they wpre suspended till 1872, when they 
 
A MEMORIAL. 75 
 
 were revived to the great good of the art. , He was elected 
 conductor of the Philharmonic Society for the thirty-sixth 
 season, but compelled to decline reelection a year later 
 owing to his removal to Cincinnati. In 1879 ^e returned 
 to the post and held it continuously twelve years, which 
 were for the Society a period of uninterrupted prosperity, 
 to which he contributed not a little by voluntarily relin- 
 quishing year after year a portion of the sum which, under 
 his contract, he was entitled to collect. The aggregate of 
 the moneys thus turned into the general exchequer of the 
 Society was, about $10,000. On Mr. Thomas's departure 
 for Chicago, Mr. Anton Seidl was unanimously elected to 
 succeed him as conductor of the Society for the fiftieth 
 season. Though comparatively yet a young man Mr. 
 Seidl is one of the most conspicuous figures in the musical 
 life of to-day. For six years after he had completed his 
 literary education he was a member of Richard Wagner's 
 household, going thither from the Leipsic Conservatory to 
 act as the poet- composer's musical secretary, on the recom- 
 mendation of Hans Richter. He came to New York as 
 Musical Director of the German Opera in 1885, having 
 filled the same position in Leipsic and Bremen, and with 
 the itinerant Richard Wagner Theater of Angelo Neu- 
 mann. 
 
 The Philharmonic Society gave three concerts in its 
 first season, then promptly amended the constitution to 
 make the number four. For sixteen years this number 
 was adh,ered to, and then was raised to five, which remained 
 the rule for ten years. Since the twenty-seventh season 
 the number has been six. During two thirds of this time 
 the number of public rehearsals varied according to cir- 
 cumstances, though the rule was four for each concert, so 
 that, though the concerts were fewer, the opportunities for- 
 
76 THE PHILHARMONIC SOCIETY. 
 
 merly extended to the public for getting acquainted with 
 symphonic music were more numerous. Until the limit 
 of practicability was reached there was a steady growth not 
 only in the character but also in the number of the per- 
 formers in the Society's orchestra. During the first ten 
 years' the number varied from 50 to 67; during the second 
 decade, from 67 to 80. In the middle of the third decade 
 the number was raised first to 90, ithen to 100, at the in- 
 stance of President Doremus. In that ■ficinity it has re- 
 mained ever since, the constitution of the band in the fifti- 
 eth season having been as follows : First Violins, eighteen ; 
 Second Violins, eighteen; Violas, fourteen; Violoncellos, 
 fourteeu; Double-basses, fourteen; Flutes, three; Oboes, 
 three; English Horn, one; Clarinets, three; Bassoons, three; 
 Trumpets, three; Horns, four; Trombones, three; Tym- 
 pani (pairs), two; Bass Tuba, one; Drum, Cymbals, Harp, 
 etc. The members of the orchestra are now, with but few 
 exceptions, either musicians of German birth or German 
 parentage. This condition of affairs has prevailed for 
 many years, the rapidity with which the Germans took the 
 ascendency being illustrated in some statistics printed in 
 the Thirteenth Annual Report, in 1855. I quote: 
 
 Of the 52 members who belonged to the Society during its 
 first season, 1842— '43, there are at present 27 left on the books, 
 and of these only 15 are at present performing members. 
 
 In regard to their nationality, the 52 Actual Members of the 
 first season are classified as follows: 22 Germans, 13 Ameri- 
 cans, II English, 4 French, 2 Italians; while the 89 Actual 
 Members of last season were divided in the following manner: 
 62 Germans, 12 Americans, 7 English, 4 Italians, 3 French, 
 I Dane. 
 
 Until a decade ago the provision in the constitution 
 relative to Honorary Membership received a very liberal 
 
A MEMORIAL. 77 
 
 and elastic interpretation. In the early years of the Society 
 the privilege of appearing at the concerts of the Philhar- 
 monic Society was esteemed so highly that the Directors 
 were sometimes embarrassed by the number of artists who 
 offered their services gratuitously. In the case of artists 
 of great repute it came to be the custom to reward them 
 with a diploma of Honorary Membership. This circurn- 
 stance explains the fact that names like that of Joseph 
 Burke, who was known here sixty years ago as the "Irish 
 Roscius," and who at eleven years of age would act the 
 "star" part in a drama, then play a violin solo, and after- 
 ward conduct the orchestra, are found amongst those of 
 the great composers of the last half a century. The election 
 of men like Mendelssohn, Spohr, Schneider, Liszt, Wagner, 
 Raff, and Rubinstein was, of course, a tribute to their cre- 
 ative genius. Friedrich Schneider, who in his day was an 
 admired composer, showed his appreciation of the Society 
 by dedicating one of his numerous symphonies to it. The 
 symphony was performed at a concert on March 4, 1854, 
 and the following announcement was printed on the pro- 
 gramme : 
 
 This being the first work of the kind which has been written 
 expressly for, and dedicated to the members of the New York 
 Philliarmonic Society. The composer having distinguished 
 himself during a long musical career as one of the few remain- 
 ing classic masters of his art, died at an advanced age in No- 
 vember last, shortly after having transmitted to this country- 
 the above work, one of the last of his manifold musical produc- 
 tions. 
 
 In like manner Joachim Raff dedicated his orchestral 
 transcription of Bach's great Chaconne to the Society. 
 The other composers sent letters of thanks for the honor 
 conferred upon them, but of all of these only two remain in 
 
78 THE PHILHARMONIC SOCIETY. 
 
 the archives of the Society. They are those of Wagner 
 and Liszt. Mendelssohn's letter exists only in a litho- 
 graphic fac-simile which some enterprising individual had 
 made, evidently for commercial purposes. It is in English. 
 The letters of Wagner and Liszt are in German. I append 
 the three: 
 
 Dear Sir: 
 
 I write these lines to express my best and most sincere 
 thanks for the honor which the Philharmonic Society of New 
 York has conferred upon me by electing mean Honorary Mem- 
 ber, and I may truly say that I feel proud in being thus associ- 
 ated with a Society which has done so much for the progress of 
 art in that part of the world. Pray express my feelings of true 
 gratitude to the members of the Society, and inform them that 
 1 know how to appreciate the honor they have done me and 
 the kindness to which I am indebted for it. Believe me that I 
 sincerely wish to be able to visit some day your country, and 
 thank you and your countrymen in person, instead of writing 
 letters ; but I fear my health will not allow me to think of so 
 long a journey, and so I hope for a time when you may again 
 be induced to visit our part of the world, and that I may then 
 have an opportunity of repeating to you how thankful I feel to 
 you and to the Philharmonic Society, and that these feelings 
 will continue as long as I live. 
 I am, dear sir. 
 
 Your obed't serv't, 
 Felix Mendelssohn Bartholdy. 
 Leipsic, wth August, 
 1846. 
 
 [ Translation .] 
 
 Bayreuth, April 4, 1873. 
 Respected Sir: 
 
 In thanking you for communicating to me intelligence of 
 the honor which has been conferred upon me in New York, I 
 beg of you to inform the respected Philharmonic Society of 
 New York how highly I appreciate the distinction with which 
 it has endowed me. I look upon it as a beautiful reward of my 
 
A MEMORIAL. 79 
 
 efforts in behalf of art, to have won friends in the new and, for 
 me unfortunately, strange world whose sympathy has reared 
 me a sort of spiritual home. In sending to these friends a 
 greeting of gratitude, I subscribe myself to you, and the Phil- 
 harmonic Society, 
 
 Respectfully and devotedly, 
 
 Richard Wagner. 
 
 [ Translation.^ 
 Highly Respected Sir: 
 
 With sincere appreciation I reply to the honorable distinc- 
 tion represented by the diploma of the Philharmonic Society 
 of New York. This diploma is rendered especially valuable to 
 me by the words expressive of the motive which prompted it, 
 viz.: " by his many compositions has extended the boundaries 
 of his art, etc.," and their consonance with the acts of the Phil- 
 harmonic Society in performing many of my works. 
 
 Begging you to communicate to the President, Directors, 
 and Conductor of the Society my most obedient thanks, I am, 
 with much respect. Yours, 
 
 F. Liszt. 
 September e^th, '73, 
 Weiviar. 
 
 The purposes of the Philharmonic Society having from 
 the beginning been singly artistic, it has only of late estab- 
 lished a pension fund, which is the starting-point of per- 
 haps a majority of the professional concert institutions of 
 Europe. From the beginning, however, it has extended a 
 helping hand to its retired ' members. The more definite 
 and stable arrangements looking to this end mentioned in 
 the introductory chapter of this Memorial had their origin 
 in the desire of Mr. J. W. Drexel, while President, to estab- 
 lish a permanent fund for the benefit of superannuated 
 members. . He offered to give the Society $5,000 as the 
 beginning of the fund, but di^ d before the organic law of 
 the Society could be so amended as to provide for its 
 
8o THE PHILHARMONIC SOCIETY. 
 
 proper administration. The gift was thus lost to the 
 Society. That was in 1888. Two years after Mr. DrexelJe. 
 death the following letter was received : 
 
 New York, April i, 1890. 
 To the President and Directors of the Philharmonic Society 
 
 of New TorJt: 
 
 Gentlemen: On the approach of the fiftieth anniversary 
 of your Society I deem it but just that the lovers of good music 
 should in some tangible manner show their appreciation of the 
 institution which has done so much to elevate the standard of 
 that art in our city. 
 
 Permit me, therefore, to subscribe Five Thousand Dollars 
 towards a permanent fund, the interest of which shall be ap- 
 plied for pensions to retired members. 
 
 I give said amount to the Society forever, the only condition 
 being that the money is not to be invested in any other securities 
 than those in which the State Laws of New York allow New 
 York Savings banks to invest. 
 
 I hope this subscription will form the nucleus of a fund 
 which will assist in remunerating the retired musicians for 
 their past valuable services, and at the same time help the So- 
 ciety to fill up the ranks with the best artists. 
 
 My attorney, Mr. Macgrane Coxe, 43 Wall street. City, will 
 hand over my contribution upon the proper receipt, whenever 
 you are ready to receive the same. 
 
 Yours very truly, E. Naumburg. 
 
 Mr. Naumburg's generous contribution was formally 
 acknpwledged, and the sum collected and properly in- 
 vested. At the instance of President E. F. Hyde it was 
 afterward decided to celebrate the fiftieth anniversary of 
 the founding of the Society by giving three extraordinary 
 festival conceirts on April 21, 22, and 23, 1892, for the 
 benefit of the Pension Fund, Mr. Hyde guaranteeing the 
 success of the undertaking, and insuring the Society against 
 loss. • 
 
A MEMORIAL. 
 
 VII. 
 
 DEVOTED as it was by its founders solely to the cul-. 
 tivation of the neglected field of instrumental music, 
 the Philharmonic Society entered upon its task with 
 the highest ideals, and with no concession to any defi- 
 ciency in the taste and understanding of its public. Its 
 seriousness of purpose is eloquently set forth by the simple 
 record of the programmes from the very beginning. The 
 music of the classical masters, especially of Beethoven, 
 was the sure foundation upon which the Philharmonic's 
 activity was built; and the fabric of its half century's 
 growth in influence and dignity gives constant reminder 
 of how sound and true the work of the early builders was. 
 Upon the first programme stood Beethoven's Fifth Sym- 
 phony for its first performance in New York; upon the 
 next three stood three others; and all the nine were in- 
 cluded within the first eleven and a half years of the 
 Society's existence. There is naturally much to be found 
 on the early programmes that has become obsolete ; many 
 things have lost their savor in fifty years that once seemed 
 fittingly associated with what is greatest and most endur- 
 ing; but there was never a conscious derogation from tjie 
 high standard established at the beginning. The members 
 of the Society had a very real feeling that they had em- 
 barked on a mission for art. 
 
 It must not be supposed that the Society set out lightly 
 to meet the difficulties besetting the fulfillment of its pur- 
 pose — the crudities of taste to be corrected, the inexperi- 
 ence to be instructed, even the prejudices to be overcome. 
 The early reports are full of avowals of them, coupled with 
 
82 THE PHILHARMONIC SOCIETY. 
 
 statements and restatements of a firm purpose to suffer no 
 diversion from the course marked out, which is formally 
 laid down in the first constitution, and reaffirmed in every 
 revision of it, to be the cultivation of purely instrumental 
 music. The insistence upon this, indeed, seems strange 
 and superfluous now. But the difference between the atti- 
 tude of the educated public to-day and that of fifty years 
 ago may be inferred from the following formal apology 
 for the chosen sphere of the Society, which the directors 
 deemed it necessary to publish in their Sixth Annual 
 Report : 
 
 Perhaps it will be well here to offer an argument in favor of 
 our cause, for we are living in a community where some con- 
 siderable prejudice exists unfavorable to Music in its highest 
 state of cultivation, more particularly to Instrumental Music 
 and to some Musical Instruments. 
 
 The performance and enjoyment of Music, where it is not 
 associated with words, action, or scenery, must be allowed to be 
 purely innocent and harmless. It must be acknowledged that 
 the science of Music as it exists in nature is not of human in- 
 vention, but of divine appointment. » « * Therefore it 
 should be cultivated equally with all our other faculties, and its 
 pursuit is as useful and necessary — and therefore as hohorable — 
 as that of other arts or sciences. * * * Lastly, it is con- 
 tended that in performing or hearing such Instrumental Music 
 as exists in the Symphonies, Overtures, and the many pieces 
 for smaller combinations of Instruments, of Beethoven, Haydn, 
 Mozart, Spohr, Weber, Mendelssohn, etc., is an enjoyment of 
 the highest intellectual character. This opinion is strength- 
 ened by the fact that such Music is cultivated and sustained by 
 the patronage and support of the great and good of every na- 
 tion, and the advocates of every art and science. 
 
 The Philharmonic Society's success at the outset was 
 altogether beyond what might have been expected under 
 the circumstances. Its concerts were a new element in 
 
A MEMORIAL. 83 
 
 the intellectual life of the metropolis. There was an attrac- 
 tion in their novelty that quickly won a generous support. 
 They became, indeed, an important factor in the city's 
 fashionable diversions. The astonishing receptivity and 
 enthusiasm of the Americans, and especially the people of 
 New York, for music and art and all the higher forms of 
 intellectual activity in the early years of this century were 
 displayed in many ways, but in none, perhaps, more charac- 
 teristically than in the immediate and hearty cooperation 
 given to an undertaking conducted upon so unswervingly 
 high and dignified a plane of artistic activity as the Phil- 
 harmonic. The race was eager and impressionable ; it was 
 rapidly gaining wealth and opportunity for enjoyment and 
 cultivation, and there was a strong reaction against the 
 austerities of the early days. The paucity of artistic effort 
 native to the soil made the Americans of that day peculiarly 
 the prey of the virtuosi from abroad. They were exploited 
 by advertising-managers of the Barnum stamp, who were 
 quick to realize upon the eagerness to hear and know the 
 best; the people lined the pockets of singers and pianists 
 and violinists who contributed little or nothing to the real 
 advancement of musical culture. The Philharmonic, with 
 its purposes diametrically opposed to those of the itinerant 
 virtuoso, and with its resolute refusal to yield, as these 
 had always yielded to the demands of an unformed taste, 
 came nevertheless into a goodly share of this overflowing 
 zeal for music. It was important for the subsequent course 
 of events that the Philharmonic Society placed its exact 
 value upon the measure of society's favor which came to it. 
 The clear heads and sincere hearts entrusted with its guid- 
 ance saw that this favor was no menace to an organization 
 founded on right ideas and guided in right paths. They 
 saw that it was a temporary advantage, to be used to the 
 
84 THE PHILHARMONIC SOCIETY. 
 
 best purpose while it lasted, but subject to withdrawal. 
 To this they gave utterance in the Sixth Annual Report, 
 in which they spoke of "the arrival of that period when 
 we are to be sustained only by those who really appreciate 
 and desire to attend our performances, or who recognize 
 the duty of patronizing the fine arts from liberal appropri- 
 ations from their affluence." 
 
 The case does not seem to have been so bad as was 
 feared, however; the support of fashion, if it was with- 
 drawn for a time, was soon renewed, and in the Fifteenth 
 Report the directors are moved again to define their atti- 
 tude toward this element of their constituency and its 
 bearing upon their crusade for musical art. They say: 
 
 The root of our success is not fashion — although this animat- 
 ing exterior sunshine, we admit, very lavishly has visited us — 
 but it is art. * * » The Philharmonic finds nothing unde- 
 sirable in the fact that it may have become the fashion. There 
 is nothing to fear from this for the best interests of art, provided 
 it succeed, as it has already to so great an extent succeeded, in 
 infusing its own musical nature into this external graft and 
 incorporating it with itself. 
 
 The feeling that their own success was indissolubly 
 bound up with the power of their audience to understand 
 and appreciate their performances led to the adoption of 
 two most suggestive devices to stimulate and strengthen 
 that power. One was the early establishment of the Asso- 
 ciate Membership, with its privilege of attendance upon 
 three public rehearsals before each concert, whereby a 
 closer acquaintance and familiarity with the works to be 
 performed were encouraged. It is interesting to note the 
 rapid expansion of the Associate Membership list, coupled 
 with the slow growth and final dwindling away to extinc- 
 tion of the Subscribing Members' list, which carried with 
 it only tickets to the concerts themselves. (See the 
 
A MEMORIAL. 85 
 
 Appendix.) The other device has been handed down 
 to the present day, in the analytical notes appended to 
 the programmes, expounding the purport and musical 
 structure of the works chosen for performance. The 
 admirable and discreet productions which contribute to 
 the appreciation and enjoyment of every listener of to- 
 day bear little resemblance, however, to their precursors 
 of half a century ago. These latter are more remark- 
 able for the earnestness of purpose they display than for 
 critical insight or accuracy of information. An astonish- 
 ing beginning was made at the second concert, when the 
 following comments upon Beethoven's "Heroic" Symphony 
 were printed on the programme : 
 
 This great work was commenced when Napoleon was first 
 Consul, and was intended to portray the workings of that ex- 
 traordinary man's mind. In the first movement, the simple 
 subject keeping its uninterrupted way through harmonies that 
 at times seem in almost chaotic confusion, is a grand idea of 
 Napoleon's determination of character. The second movement 
 is descriptive of the funeral honors paid to one of his favorite 
 Generals, and is entitled " Funeral March on the Death of a 
 Hero.'' The winding up of this movement represents the fal- 
 tering steps of the last gazers into the grave, and the listener 
 hears the tears fall on the coffin ere the funeral volley is fired, 
 and repeated faintly by an echo. The third movement (Minuet 
 and Trio) describes the homeward march of the soldiery, and 
 the Finale is a combination of French revolutionary airs put 
 together in a manner that no one save a Beethoven could have 
 imagined. 
 
 This description appears to have been "kept standing," 
 as the printers say, and to have been inserted in the pro- 
 gramme several times when the work was repeated; twenty- 
 five years later it called forth an indignant protest from 
 the Tribunes reviewer. It must have been the same ingen- 
 ious cojnmentator who, in the third programme of the first 
 
86 'THE PHILHARMONIC SOCIETY. 
 
 season, spoke thus of Mendelssohn's "Midsummer Night's 
 Dream " overture : "So full of poetry is this fanciful com- 
 position that if the auditor will but give a little scope to 
 imagination, still keeping the incidents of the play in 
 memory, he may almost fancy himself dreaming." Most 
 amazing of all, however, is the significance given to Beet- 
 hoven's Seventh Symphony : 
 
 The Symphony appears to tell the story of Orpheus and 
 Eurydice. The introduction may describe the settled despair 
 consequent upon his bereavement, which melts into the second 
 [first?] movement in which he journeys to Hades, and when 
 Hope may be supposed to predominate. 
 
 The slow movement (the gem of the composition) may 
 represent his cautious step as he approaches the sleeping Cer- 
 berus who guards the gates of the realm of Pluto. The monster 
 wakes, and, lashed into fury, seems to make cat-like leaps to 
 and fro, while Orpheus continues his timid march, and ever and 
 anon the wailings of Eurydice are heard ', all, however, becomes 
 hushed when he sings, and Eurydice and he again approach the 
 barrier which divides 'Hades from the outer world with the 
 same fearful march. Alas for male curiosity! he turns his 
 head, and as he beholds the fleeting shade the movement ends. 
 
 The Minuet and Trio may describe his homeward journey — 
 hurried and broken, and the Finale his state of mind when he 
 knows he is forever parted from Eurydice, and will be found in* 
 many parts to be the very embodiment of mental distraction. 
 
 Though the public could have got but small edification 
 from such matter, it must' have served to irritate thought, 
 and therein was a great point gained. Better service was 
 done the attendants upon the Society's concerts when 
 simply such indications as the composer himself was re- 
 sponsible for were reproduced. 
 
 We have already seen how the Philharmonic founded 
 its work upon the solid rock of Beethoven's music ; it is 
 important to note how potent his influence was in the 
 
A MEMORIAL. 87 
 
 early years. The Fifth Symphony was the opening number 
 of the first concert, December 7, 1842. The "Eroica" 
 was the symphony at the second concert, February 18, 
 1843; and the Second Symphony occupied the same place 
 of honor at the third concert on April 22, 1843. The 
 next concert, which was the first one of the second sea- 
 son, on November 18, 1843, brought the Seventh Sym- 
 phony before the New York public for the first time. 
 Truly a proud record, that of these first four concerts, 
 given in a community- untrained in the knowledge and 
 appreciation of classical music. They formulated an 
 avowal of artistic purpose impossible to misconstrue ; and 
 one upon which the Society has never turned its back. 
 
 The rest of Beethoven's symphonies were speedily 
 included in the repertory, and, with the exception of the 
 Sixth, which was given under Henry C. Timm's leader- 
 ship, April 25, 1846, it was the privilege of the Philhar- 
 monic Society to make them all known for the first time 
 in New York. The Eighth was played on November 16, 
 1844, under George Loder; the Ninth was fittingly made 
 the central number at the festival concert given May 20, 
 1846, likewise under Loder; the Fourth was given No- 
 vember 24, 1849; the First, March 4, 1854, both under 
 Theodore Eisfeld. 
 
 Almost as significant in another direction was the full 
 appreciation extended to Weber. His name, too, appears 
 in all three of the first season's concerts, the works per- 
 formed being the overture to "Oberon" at the first con- 
 cert, the overture to " Der Freischutz" at the second, the 
 "Jubilee" overture at the third. The overtures to "Eu- 
 ryanthe" and "Der Beherrscher der Geister" fall in the 
 second season. These facts are likewise significant of 
 much as foreshadowing the course of the Philharmonic 
 
88 THE PHILHARMONIC SOCIETY. 
 
 Society. If it cherished the ideal of classical music 
 as represented by Beethoven as its starting point, it also 
 showed itself in fullest sympathy, and possessed of the 
 largest tolerance, even in the earliest days, for music of 
 the modern spirit. Further assurance of this is soon met. 
 Berlioz early gained a hearing; for it was at the third 
 concert of the fourth season, March 7, 1846, that his 
 overture " Les Francs-Juges " was performed for the first 
 time. A. Boucher was the conductor ; and though it was, 
 doubtless, partly due to his patriotic spirit that the French 
 composer secured a foothold in the New World when rec- 
 ognition in his native country was still refused him, it was 
 by no means wholly that, for " Les Francs-Juges " obtained 
 a permanent place • in the repertory. Berlioz's ' ' King 
 Lear" overture was played at the first concert of the 
 following season, November 21, 1846, under George Lo- 
 der's direction. Both these works were greeted with fre- 
 quently recurring favor, but there was an interval of fifteen 
 years before another of Berlioz's compositions appears. 
 It is the overture " Le Carnaval Romain," which was 
 conducted by Carl Bergmann, November 9, 1861 ; it was 
 then given for the first time by the Society, but, like many 
 other modern compositions in the period of Bergmann's 
 activity, had been brought to its first hearing in New York 
 at the Arion concerts. Five years later, January 27, 1866, 
 Bergmann brought out the " Fantastic" Symphony. 
 
 Mendelssohn's works naturally appealed forcibly to the 
 Philharmonic's audiences, and early had a place accorded 
 them. The third concert of the first season brought for- 
 ward his "Midsummer Night's Dream" overture; in the 
 third season the "Hebrides" and the "Schone Melusine" 
 were heard; in the fourth his Third Symphony ("Scotch"), 
 and his Pianoforte Concerto in G minor- 
 
A MEMORIAL. 89 
 
 If Weber, Berlioz, and Mendelssohn gained thus a re- 
 markably early standing in New York, there were two 
 other men whose recognition was correspondingly belated. 
 Schubert first appears upon the record January 11, 1851, 
 with his Ninth Symphony, in C major. For eight years 
 thereafter he is represented only by a few songs ; on January 
 8,' 1859, his "Fierrabras" overture was performed. The 
 "Unfinished" Symphony was not heard till the twenty- 
 seventh season. This neglect of Schubert appears almost 
 unaccountable, until it is remembered how tardily his works 
 were exhumed in manuscript from forgotten corners after 
 his death. 
 
 With Schumann the case was different. Even to the 
 discerning and tolerant minds of the Philharmonic and its 
 auditors, his works seemed unintelligible and difficult of 
 access. They won their way slowly for a time. Schu- 
 mann is first represented by his "Andante and Variations" 
 for two pianofortes, played by Messrs., Otto Dresel and 
 William Schar'fenberg at the concert of March 17, 1849. 
 The first of his orchestral works to be made known was 
 the Symphony in B-flat, given for the first time on April 
 23, 1853, under Eisfeld; the second was the Symphony 
 in C, played January 14, 1854. The overture to "Man- 
 fred" was heard for the first time November 21, 1857, 
 and the "Overture, Scherzo and Finale," April 24, 1858. 
 The Fourth Symphony in D minor appeared February 
 12, 1859; the Third, in E-flat, February 2, 1861; the 
 overture to " Genoveva," March 16, 1861. A notable 
 Schumann performance was that of May 8, 1869, when 
 the whole of ' ' Manfred " was given for the first time in 
 America, the text being read by Edwin Booth. 
 
 The Philharmonic's earlier activity is easily seen to fall 
 into periods of well-defined demarcation, referable to the 
 
9° THE PHILHARMONIC SOCIETY. 
 
 influences exercised at different times by the society's guid- 
 ing spirit. The Board of Directors nominally made out 
 the programmes and governed the musical policy of the 
 Society; but the influence of the conductor was naturally 
 paramount. It appears especially potent after the estab- 
 lishment of a permanent conductorship, when the alterna- 
 tion in this capacity of two and three men each season (in 
 the beginning even in a single concert) was done away 
 with. Bergmann's advent marks the beginning of a new 
 period in the spirit of the Philharmonic's work. The 
 period before his coming had been distinctively that of 
 Beethoven, Mozart, and Mendelssohn ; though there were 
 a few German composers who enjoyed 'an extraordinary 
 vogue at that time, but whose works are now for the most 
 part forgotten. Spohr was looked upon then as a great 
 symphonist, and the record notes continual repetition of 
 his orchestral works, both symphonies and overtures. His 
 symphony, "Die^Weihe der Tone," was especially popu- 
 lar ; and it may stand for a class of programme music that 
 always pleased and satisfied audiences of that time with its 
 simple and obvious musical exposition of external ideas. 
 Programme music of the deeper sort, dealing with moods, 
 with matter of purely emotional character, and of a higher 
 aesthetic significance, found full appreciation only at a 
 much later date. Hummel, Kalliwoda, Lindpaintner are 
 other names that frequently appear upon the programmes 
 of this first period of the Philharmonic's existence; to the 
 works of these men was soon assigned their proper valuation, 
 and they found a resting-place in desuetude. 
 
 Even before Bergmann's time, as we have seen, there 
 were strong indications of a friendly hospitality for the pro- 
 ductions of the aggressively modern spirit; but with him 
 came a definite turn in the Society's musical policy. His 
 
A MEMORIAL, 91 
 
 sympathies were fully with those works, and the pro- 
 grammes bear convincing testimony to the earnest propa- 
 ganda he made for them. It was in the advancement of 
 the cause represented by Wagner and Liszt that his career 
 was rendered remarkable. Wagner was first heard by the' 
 Philharmonic's constituency on April 21, 1855, when the 
 overture to ' ' Tannhauser " was played. The occasion was 
 marked at the time as a momentous one ; the performance 
 created the profoundest impression — one that has not yet 
 gone, in fact, from the memory of those who were privi- 
 leged to hear it. The overture was repeated at the first 
 concert of the next season, November 24, 1855, again 
 under Bergmann's direction. Associated with it upon the 
 programme was Gluck's overture to "Iphigenia in Aulis," 
 given for the first time by the Society. There is striking 
 proof that the Society was alive to the significance of what 
 it was doing, in that the programme particularly notes the 
 analogy between the. two composers as reformers of the 
 musical drama. ' ' Eine Faust Ouvertiire " — miscalled .then, 
 and for many years thereafter, " Overture to Faust" — was 
 given January 10, 1857. On January 8, 1859, Bergmann 
 made use of his connection with the German singing 
 societies to give some selections from "Rienzi.'\ The 
 prelude to "Lohengrin" was first performed on November 
 19, 1857; the overture to "Der fliegende Hollander," 
 November 7, 1863. The prelude to "Tristan und Isolde" 
 first appears lipon the record March 10, 1866. There is 
 no note of its being the first performance in New York, 
 and it was probably heard for the first time at the Arion's 
 concerts. Another performance deserving special com- 
 memoration was one of considerable extracts from "Die 
 Meistersinger," with vocal parts sung by W. Candidus, 
 tenor, and Franz Remmertz, bass, and again with the aid 
 
92 THE PHILHARMONIC SOCIETY. 
 
 of the Arion's chorus. This took place May 7, 187.0, and 
 was the first hearing of Wagner's later, declamatory style 
 that New York had had. Here ends the record of Berg- 
 mann's valiant fight for Wagner. It was continued in 
 notable fashion by Dr. Damrosch, who marked his single 
 disastrous season in the Philharmonic, that of 1876-1877, 
 by the giving of long excerpts from the Nibelung dramas — 
 a deed that had a special contemporary interest as falling 
 in the year of the opening of the Bayreuth Festival Theater 
 with performances of those dramas. 
 
 For Liszt, Bergmann did as great a labor of love. It 
 was he who first brought his orchestral compositions to per- 
 formance by the Society, and gave them many repetitions, 
 so that they have come to be especially characteristic of 
 the Philharmonic's repertory. He brought forward ' ' Les 
 Preludes" April 30, 1859; "Tasso," March 24, i860; 
 " Festklange," December 22, i860. " Orpheus" was first 
 played under Eisfeld, April 26, 1862. The "Faust" Sym- 
 phony had its first performance January 30, 1864, under 
 Bergmann ; the syrnphonic poems, ' ' Ce qu'on entend sur 
 la Montagne" and " Die Ideale," on January 9 and April 
 10, 1869, respectively. In the next season the Symphony 
 on Dante's " Divina Commedia" was given on April 2. 
 
APPENDIX. 
 
APPENDIX. 
 
 PROGRAMMES 
 
 OF THE CONCERTS OF THE 
 
 PHILHARMONIC SOCIETY. 
 
 First Season, 1842-1843. 
 
 (Concerts in the Apollo Rooms.) 
 
 First Concert, December 7, 1842. Symphony, No. 5, in C mi- 
 nor, op. 67, Beethoven (conducted by U. C. Hill) ; Scena, 
 from the opera of " Oberon," Weber (Madame Otto); Quin- 
 tet, in D minor, for pianoforte, violin, viola, violoncello, and 
 double bass, Hummel (Messrs. Scharfenberg, Hill, Der- 
 wort, Boucher, and Rosier); Overture, "Oberon," Weber 
 (conducted by Mr. Etienne ); Duet, from the opera of " Ar- 
 mida," Rossini (Madame Otto and Mr. C. E. Horn); Scena, 
 from the opera "Fidelio," Beethoven (Mr. C. E. Horn); 
 Aria Bravura, from the opera of" Belmont and Constance," 
 Mozart (Madame Otto) ; New Overture, in D, Kalliwoda 
 (conducted by Mr. Timm). The orchestra during the 
 vocal music directed by H. C. Timm. 
 
 Second Concert, February 18, 1843. Sinfonia Eroica, No. 3, 
 Beethoven; Aria, "Vien diletto h in del la luna," from 
 " I Puritani," BeUini (Madame Otto) ; Celebrated EI6gie 
 (by request), B. Romberg (Violoncello, A. Boucher) ; Over- 
 ture, "William Tell," Rossini ; Aria, with chorus, " Inflam- 
 
 95 
 
96 APPENDIX. 
 
 matus,'" from " Stabat Mater," Rossini (Madame Otto) ; 
 Romanza e Rondo alia Spagnolia, from the Concerto in 
 A-flat, Hummel (pianoforte, H. C. Timm) ; Overture, " Der 
 Freischiitz, ' ' Weber. Conductor of the first part, U. C. Hill ; 
 conductor of the second part, W. Alpers. 
 
 Third Concert, April il, 1843. Symphony, No. 2, in D major, 
 Beethoven; Canzonette," Sympathy," Haydn (Mrs. Loder); 
 Overture, "A Midsummer Night's Dream," Mendelssohn ; 
 Septuor, for clarinet, bassoon, horn, violin, viola, and 
 double bass, Beethoven (Messrs. Groeneveldt,Reiff,Trojsi, 
 Hill, Wiegers, Boucher, and Rosier) ; Recitative, " E mi 
 lasci cosi ? " Aria, " Tu m' abbandoni," Spohr (Mrs. Loder); 
 Overture, "Jubilee," Weber. Conductors, Messrs. Bou- 
 cher and Loder. 
 
 Second Season, 1843- 1844. 
 
 (Concerts in the Apollo Rooms.) 
 
 First Concert, November 18, 1843. Symphony, No. 7, in A 
 (first time in New York), Beethoven ; Cavatina, " Quando 
 quell' uom quell' unico," from the opera of " Ida della 
 Torre,'' Nini (Signora Castellan); Overture, "Zauber- 
 flote," Mozart ; Cavatina, " Regnava nel silenzio," from 
 " Lucia di Lammermoor," Donizetti (Signora Castellan) ; 
 Overture, "Jubilee," Weber. Director,' Mr. U. C. Hill. 
 
 Second Concert, January 13, 1844. Symphony, No. 6, "Jupi- 
 ter," Mozart; Rondo, "Ardon gl' incensi," from "Lucia 
 di Lammermoor," Donizetti (Signora Castellan) ; Grand 
 Septuor (first and second movemeiits). Hummel (Messrs. 
 Scharfenberg, Kyle, Wiese, Woehning, Johnson, Boucher, 
 and Rosier) ; Overture, in F, Kalliwoda ; Rondo, "Ah ! 
 non credea," from " Sonnambula," Bellini (Signora Cas- 
 
APPENDIX. 97 
 
 tellan) ; Quintetto, Adagio and Finale, A. Reicha (Mr. 
 Kyle, flute, Mr. Weise, oboe, Mr. Groeneveldt, clarinet, Mr. 
 Woehning, horn, Mr. Reiff, bassoon) ; Overture, " Zampa," 
 Herold. Director, Mr. D. G. Etienne. 
 
 Third Concert, March i6, 1844. Symphony, in D minor. No. i. 
 Op. 49, Spohr (first time in New York) ; Dialogo Brillante, 
 for flute and clarinet, Bochsa ( J. A. Kyle and W. T. Groe- 
 neveldt); Overture, "Semiramide," Rossini; First mover 
 ment, Concerto, in B minor, for pianoforte (first time in 
 New York), Hummel (Mr. H. C. Timm) ; Overture, " Eu- 
 ryanthe," Weber. Director, Mr. George Loder. 
 
 Fourth Concert, May 18, 1844. Symphony, C minor. No. 5, 
 Op. 67, Beethoven ; Fantasia, pour le violon sur la quatri- 
 eme corde, Op. 18 (first time in America), H. Vieuxtemps 
 (Mons. H. Vieuxtemps) ; Overture, "A Midsummer Night's 
 Dream,'' Mendelssohn; Aria, Donizetti (Signor Valtel- 
 lina); Overture, "Ruler of the Spirits," Weber. Director, 
 Mr. Wm. Alpers. 
 
 Third Season, 1844- 1845. 
 
 (Concerts in the Apollo Rooms.) 
 
 First Concert, November 16, 1844. Symphony, No. 8, in F, 
 .Op. 93 (first time in America), Beethoven; Duetto, "Quan- 
 to Amore," from " Elisire d'Amore," Donizetti (Signora 
 Amalia Ricci and Signor Sanquirico); Overture, "The 
 Hebrides, or Fingal's Cave," Mendelssohn (first time in 
 .■America); Aria Buffa, "Conveniensi Teatrali," Donizetti 
 (Signor Sanquirico) ; Cavatina, from " Belisario," Doni- 
 zetti (Signora Amalia Ricci) ; War Jubilee Overture (first 
 time in America), Lindpaintner. Director, Mr. George 
 Loder, 
 
98 APPENDIX. 
 
 Second Concert, January ii, 1845. Symphony, No, 3, Haydn; 
 Grand Scena, from "Der Freischutz," Weber (Mrs. E. 
 Loder) ; Concertino, for clarinet (first time), Weber (Mr. T. 
 W.Groeneveldt); Overture, "Jesson da" (first time), Spohr; 
 Aria, "Deh per questo istante,'' from "La Clemenza di 
 Tito," Mozart (Mrs. E. Loder) ; Quartette in Canone, from 
 " Fidelio," Beethoven (Mrs. Loder, Miss DeLuce, Mr. 
 Munson, and Mr. J. Schwartz Massett) ; Overture, " Der 
 Vampyr" (first time), Marschner. Director, Mr. U. C. Hill. 
 
 Third Concert, March i, 1845. Sinfonia Eroica, No. 3, Beet- 
 hoven ; Rondo, Finale del Furioso, " Che d' alia Gioja," 
 Donizetti (Madame Arnoult) ; Sinfonia Concertante, No. 
 2, for flute, oboe, clarinet, bassoon, and horn, Lindpaint- 
 ner (Messrs. Kyle, Wiese, Groeneveldt, Reiff, and Trojsi) ; 
 Overture, " Die Najaden" (first time in America), Wm. 
 Sterndale Bennett; Grand Aria, "Grace," from "Robert 
 le Diable," Meyerbeer (Madame Arnoult) ; Dialogo Bril- 
 lante, for flute and clarinet, Bochsa (J. A. Kyle and Theo- 
 dore W. Groeneveldt) ; Grosse Fest-Ouverture und Sieges- 
 Marsch (first time), Ferdinand Ries. Director, Mr. Louis 
 Wiegers. 
 
 Fourth Concert, April 19, 1845. Symphony, No. 7, in A, Beet- 
 hoven ; Overture, " Zum Mahrchen von der schonen Me- 
 lusine (first time), Mendelssohn ; Grand Aria, " Seine 
 fromme Liebesgabe," from " Das Nachtlager in Granada," 
 Conradin Kreutzer (Madame Otto) ; Grand Fantasia, for 
 the pianoforte, "Oberon's Zauberhorn" (first time). Hum- 
 mel (Mr. H. C. Timm) ; Scena and Cavatina, " Eccomi, 
 eccomi giunto," from " 11 Crociato in Egitto," Meyerbeer 
 (Madame Otto) ; Overture, " Oberon," Weber. Director, 
 Mr. U. C. Hill. 
 
APPENDIX. 
 Fourth Season, 1845-1846. 
 
 (Concerts in the Apollo Rooms.) 
 
 99 
 
 First Concert, November 22, 1845. Symphony, No. 3, Op. 56 
 (first time in America), Mendelssohn ; Overture, "Ana- 
 creon," Cherubini; Aria, " Se m'abbandoni," Mercadante 
 (Mrs. Mott) ; Solo, for harp (Madame Jenny Lazzare) ; 
 Aria, " Fac ut portem," from " Stabat Mater," Rossini (Mrs. 
 Mott) ; Fantasia, for the pianoforte, on themes from Halevy's 
 " Charles VI.," Stephen Heller (Hermann WoUenhaupt) ; 
 Overture, " De la chasse du jeune Henri," Mehul. Direc- 
 tor, Mr. George Loder. 
 
 Second Concert, January 17, 1846. Symphony, No. 5, C minor, 
 Beethoven ; Concert Overture, " Marmion " (first time), 
 George Loder (conducted by the composer) ; Concerto, 
 for pianoforte. Op. 25, in G minor (first time), Mendels- 
 sohn (Mr. H. C. Timm) ; Symphony Concertante, for 
 flute, clarinet, oboe, horn, and bassoon, Lindpaintner 
 (Messrs. J. A. Kyle, Starck, Weise, Trojsi, and Reiff ) ; 
 Fourth Concerto, for violin. Op. 46 (first time), De Beriot 
 (Mr. John Burke) ; Concert Overture, Op. 128 (first time), 
 (C. G. Reissiger). Director, Mr. U. C. Hill. 
 
 Third Concert, March 7, 1846. Symphony, No. i (first time 
 in America), Kalliwoda ; Aria, "Ave Maria," Cherubini 
 (Miss Julia Northall) ; Overture, "Euryanthe," Weber; 
 "Dove sono," from "Figaro," Mozart (Miss Julia Northall); 
 Andante, from "Jupiter " Symphony, No. 6, Mozart ; Fifth 
 Concerto, for flute, in A-flat, Op. 52, Furstenau (Mr. J. A. 
 Kyle) ; Overture, "Les Francs Juges" (first time), Berlioz. 
 Director, Mr. A. Boucher. 
 
loo APPENDIX. 
 
 Fourth Concert, April 25, 1846. Symphony, No. 2, in G minor, 
 Mozart; Overture, "A Midsummer Night's Dream," Men- 
 delssohn; Symphony, No. 6, in F major ("Pastoral"), 
 Beethoven ; Duetto, for two cornets, Dodworth (Messrs. 
 A. and H. B. Dodworth) ; Overture, " La Gazza Ladra," 
 Rossini. Director, Mr. H. C. Timm. 
 
 Festival Concert at Castle Garden, May 20, 1846. Overture, 
 "Der Freischiitz," Weber; Aria, "Per questa fiarama," 
 Donizetti (Miss Julia Northall) ; Overture, " Zauberflotc," 
 Mozart; Grand Aria, "Tutto or Morte " from "Faliero" 
 (first time in America), Donizetti (Madame Otto) ; Con- 
 certo, in G minor (by request), Mendelssohn (Mr. H. C. 
 Timm) ; Grand Aria, " Non fu Sogno," from " I Lom- 
 bardi," Verdi (Signora Pico; pianoforte, Mr. Beames); 
 Overture, "Jubel," Weber; Symphony, in D minor. No. 9, 
 Op. 125, for grand orchestra, closing with four solo voices 
 and grand chorus on Schiller's ode " To Joy," first time in 
 America, Beethoven (soprano, Madame Otto ; contralto, 
 Mrs. Boulard; tenor, Mr. Munson; bass, Mr. Mayer). 
 Director of first part, Mr. U. C. Hill ; director of second 
 part, Mr. George Lodcr. 
 
 Fiftli Season, 1846-1847. 
 
 (Concerts in the Apollo Kooms.) 
 
 First Concert, November ii, 1846. Symphony, " Die Weihe 
 der Tone," Spohr; Concert Overture, Op. 128, Reissiger; 
 Concerto, for pianoforte, Chopin (Mr. H. C. Timm) ; Over- 
 ture, " Roi Lear," Berlioz. Director, Mr. George Loder. 
 
 Second Concert, January 9, 1847. Symphony, No. 3, in E-flat, 
 Mozart; Cavatina, from "Robert le Diable," Meyerbeer 
 
APPENDIX. loi 
 
 (Madame Ablamowicz) ; Concert Overture, Op. 3, G. F. 
 Bristow (directed by the composer) ; Symphony, No. 6, 
 in F major (" Pastoral "), Beethoven ; Recitative and Ca- 
 vatina, from " La Sonnambula," Bellini (Madame Ablamo- 
 wicz) ; First Concerto, for violin, Spohr (Mr. Ch. Heucke- 
 roth) ; Overture, " Der Freischiitz," Weber. Director, Mr. 
 H. C. Timm. 
 
 Third Concert, March 6, 1847. Symphony, No. 7, in A major, 
 Beethoven; Overture, " Jessonda," Spohr ; Aria, " Batti, 
 batti," Mozart (Mrs. Edward Loder) ; Grand Duetto, for 
 flute and pianoforte (Messrs. J. A. Kyle and H. C. Timm) ; 
 Canzonet, " She never told her love," Haydn (Mrs. Edward 
 Loder) ; Concert Overture, Hiller. Director, Mr. Alfred 
 Boucher. 
 
 Fourth Concert, April 17, 1847. Sinfonia Eroica, No. 3, Beet- 
 hoven; Overture, "William Tell," Rossini; Aria, for oboe, 
 from a violin solo, De Beriot (Sefior de Ribas) ; German 
 Glee, " Jager's Abschied," Mendelssohn ; Grand Concerto, 
 for violin and full orchestra (Signor M. Rapetti) ; German 
 Glee Waltz, Eisenhofer; Overture, "Oberon," Weber. 
 Director, Mr. U. C. HiU. 
 
 \ 
 
 Sixtt Season, 1 847-1 848. 
 
 (Concerts in the Apollo Rooms.) 
 
 First Concert, November 27, 1847. Symphony, " Die Weihe 
 der Tone," Spohr; Overture, "A Midsummer Night's 
 Dream," Mendelssohn; Aria, from "Le Nozze di Figaro," 
 Mozart (Mrs. C. E. Horn) ; Grand Concerto, in G minor, 
 for pianoforte and orchestra, Mendelssohn (Mr. Richard 
 Hoffman) ; Scena ed Aria, from " Emani," Verdi (Mrs. 
 
I02 APPENDIX. 
 
 C. E. Horn) ; Overture, " Egmont," Beethoven. Director, 
 Mr. George Loder. Fifty-five in the orchestra. 
 
 Second Concert, January 15, 1848. Symphony, No. 3, in A 
 minor, Mendelssohn; Overture, "Euryanthe," Weber; 
 Concerto, for two pianofortes and orchestra, J. L. Dussek 
 (Messrs. W. Scharfenbcrg and H. C. Timm) ; Overture, 
 " Le Vampyre," Lindpaintner. Director, Mr. George 
 Loder. Fifty-one in the orchestra. 
 
 Third Concert, March 4, 1848. Symphony, No. 5, in C minor, 
 Beethoven; Overture, "Zum Mahrchen von der schonen 
 Melusine," Mendelssohn; Symphony Concertante, No. i, 
 for flute, clarinet, oboe, horn, bassoon, and orchestra (first 
 time), Lindpaintner (Messrs. J. A. Kyle, F. Starck, F. Wiese, 
 F. C. Woehning, and A. Reiflf) ; Grand Duo, for two vio- 
 lins and orchestra. Op. 109, J. W. Kalliwoda (Messrs. A. 
 Fries and G. F. Bristow); Overture, "Jubel," Weber. 
 Director, Mr. George Loder. Fifty-four in the orchestra. 
 
 Fourth Concert, April 29, 1848. Symphony, No. i, in E-flat, 
 Op. 20 (first time), Spohr; Aria, "O cara Immagine," from 
 " II Flauto Magico," Mozart (Mr. Arthurson) ; Third Con- 
 certo, in G minor. Op. 58, for pianoforte and orchestra, 
 Moscheles (Mr. W. Scharfenberg) ; Overture, "The He- 
 brides," Mendelssohn ; German Song, " Weep not for Sor- 
 row," F. Lachner (Mr. S. L. Leach ; violoncello obbligato, 
 Mr. A. Boucher); Duetto, from the opera "Jessonda," 
 Spohr (Messrs. Arthurson and Leach) ; Concert Overture, 
 No. II, Op. 143 (first time), Kalliwoda. Director, Mr. H. C. 
 Timm. Fifty-two in the orchestra. 
 
APPENDIX. 103 
 
 Seventli Season, 1 848-1 849. 
 
 (Assembly Rooms, Chinese Buildings.) 
 
 First Concert, December 2, 1848. Grand Symphony, dedicated 
 to Mendelssohn (first time in this country), Niels W. Gade ; 
 Adagio and Rondo, from the last concert by Henri Vieux. 
 temps {Master Luigi Elena, Premier Prix du Conservatoire 
 de Paris); Concert Overture, "The Wood-Nymph" (first 
 time), W. S. Bennett ; Concertstuck, for pianoforte, with 
 orchestra, Weber (Mr. Richard Hoffman) ; Overture, " Tri- 
 omphale," F. Ries. Director, Mr. George Loder. Seventy 
 in the orchestra. 
 
 (Assembly Rooms, Chinese Buildings.) 
 
 Second Concert, January 27, 1849. Double Symphony, for two 
 orchestras, Spohr ; Overture, " Oberon," Weber ; Varia- 
 tions, for bassoon, F. Jacoby (Herr P. Eltz) ; Minuet and 
 Trio, from Mozart's Symphony in G minor ; Brilliant Vari- 
 ations, for trumpet, Granz (Herr Haase) ; War Jubilee 
 Overture, Lindpaintner. Director, Mr. George Loder. 
 Seventy-one in the orchestra. 
 
 (Apollo Saloon, No. 410 Broadway.) 
 
 Third Concert, March 17, 1849. Sinfonia Eroica, No. 3, in 
 E-flat, Beethoven ; Overture, " Zum Mahrchen von der 
 schonen Melusine,'' Mendelssohn; Solo (with echo), for 
 French Tiorn (performed and composed by Mr. H. 
 Schmitz) ; Andante and Variations, for two pianofortes, 
 Schumann (Messrs. Otto Dresel and W. Scharfenberg) ; 
 Overture, " Der Vampyr," Marschner. Director, Mr. Theo- 
 dore Eisfeld, Sixty-five in the orchestra. 
 
I04 APPENDIX. 
 
 (Apollo Rooms.) 
 
 Fourth Concert, May 12, 1849. Sinfonia PassiojiJlta (prize 
 symphony), Franz Lachner; Quartette, "Soffriva nel 
 Pianto," from the opera " Lucia di Lammermoor," Doni- 
 zetti (Sax horns, Mr. Distin and his sons, accompanied on 
 the pianoforte by Mr. J. Willy); Overture, "A Midsum- 
 mer Night's Dream," Mendelssohn ; Terzetto a Canone, 
 " Vanne a Colei," Costa (Sax horns, the brothers Distin, 
 accompanied by Mr. J. Willy) ; Gran Septetto,*for piano- 
 forte, flute, oboe, horn, tenor, violoncello, and double-bass. 
 Hummel (Messrs. Timm, Kyle, Weise, Schmitz, Poppen- 
 berg, Boucher, and Jacoby) ; Overture, " Der Freischutz," 
 Weber. Director, Max Maretzek. Sixty-three in the 
 orchestra. 
 
 Eighth Season, 1849-1850. 
 
 (Concerts in the Apollo Rooms.) 
 
 First Concert, November 24, 1849. Symphony, No. 4, in B-flat 
 (first time), Beethoven; Overture, "Jessonda," Spohr; 
 Solo, for flute, with orchestra, C. Nicholson (Mr. J. A. 
 Kyle) ; Concerto, for violin, with orchestra. Op. 64, Men- 
 delssohn (Mr. Joseph Burke) ; Overture, " William Tell," 
 Rossini. Conductor, Mr. Theodore Eisfeld. Fifty-nine in 
 the orchestra. 
 
 Second Concert, January 12,1850. Symphony, " Die Weihe 
 der Tone," Op. 86, Spohr; Capriccio BriUante, for piano- 
 forte and orchestra, in B minor. Op. 22, Mendelssohn 
 (Mr. William Scharfenberg) ; Overture, " Meeresstille und 
 gluckliche Fahrt" (first time), Mendelssohn; Sinfonia 
 Concertante, No. 2, for flute, oboe, clarinet, bassoon, horn, 
 and orchestra, Lindpaintner (Messrs. Rietzel,Wiese, Starck, 
 
APPENDIX. 105 
 
 Eltz, and Schmitz) ; Overture, "Les Huguenots," Meyer- 
 beer. Conductor, Mr. George Loder. Sixty-one in the 
 orchestra. 
 
 Third Concert, March 2, 1850. Symphony, No. 7, in A, Beet- 
 hoven; Selections, from "A Midsummer Night's Dream," 
 Mendelssohn (solos and choruses by Mrs. L. A. Jones, 
 Miss E. De Luce, and some amateur ladies). Conductor, 
 Mr. T. Eisfeld. Sixty in the orchestra. 
 
 Fourth Concert, April 20, 1850. Symphony, No. 3, in A minor. 
 Op. 56, Mendelssohn; Overture, " Euryanthe," Weber; 
 Grand Fantasia, " Oberon's Zauberhorn," for pianoforte 
 and orchestra. Hummel Mr. H. C. Timm) ; Concertante, 
 for four violins and orchestra. Op. 55, L. Maurer (Messrs. 
 Noll, Bristow, Reyer, and Perkins) ; Overture, " La Gazza 
 Ladra," Rossini. Conductor, Mr. T. Eisfeld. Fifty-nine 
 
 in the orchestra. 
 
 \ 
 
 Ninth Season, 1 850-1 851. 
 
 (Concerts in the Apollo Rooms.) 
 
 First Concert, November 23, 1850. Symphony, in C minor. 
 Op. 5, Gade; Concert Overture, "Marmion," George 
 Loder ; Concertino, Op. 29, for two pianofortes and orches- 
 tra, Benedict (Messrs. J. Benedict and H. C. Timm) ; Con- 
 certino, for horn and orchestra, H. Fuchs (Mr. H. Schmitz); 
 Overture, " Der Vampyr," Lindpaintner. Conductor, Mr. 
 George Loder. Sixty-two in the orchestra. 
 
 Second Concert, January 11, 1851. Symphony, in C, Schu- 
 bert; Overture, " Les deux Journees," Cherubini ; Second 
 Concerto, for violin, Ferdinand David (Herr J. Noll) ; 
 Chorus, " Meeresstille und gluckliche Fahrt " (" The Calm 
 at Sea and Happy Voyage "), C. L. Fischer (the German 
 
io6 APPENDIX. 
 
 Liederkranz) ; Overture, "La Vestale," Spontini. Con- 
 ductor, Mr. T. Eisfeld. Fifty-nine in the orchestra. 
 
 Third Concert, March i, 1851. Symphony, No. 2, in D major, 
 Beethoven ; Grand Concerto, in A-flat (Adagio and Rondo), 
 for pianoforte, J. N. Hummel (Mr. G. F. Bristow) ; Sym- 
 phony, in B-flat major, Haydn ; Minuet and Trio, from the 
 Symphony in G minor, Mozart ; Selections, from "A Mid- 
 summer Night's Dream," Mendelssohn. Conductor, Mr. 
 T. Eisfeld. Fifty-seven in the orchestra. 
 
 Fourth Concert, April 26, 1851. Symphony, No. 5, in C minor. 
 Op. 57, Beethoven ; Capriccio Brillante, in B minor. Op. 
 22, for pianoforte and orchestra, Mendelssohn (Mr. William 
 Scharfenberg) ; Fantasie and Variations, for the flute, Heine- 
 meyer (Mr. F. Rietzel); Grand Aria, from " Don Giovanni," 
 Mozart (Madame Bouchelle) ; Duo Concertante, for twg 
 violins, C. Dancla (Messrs. J. Noll and H. Reyer); Romance, 
 " Go, Thou Restless Wind ! " W. V. Wallace (Madame Bou- 
 chelle) ; Descriptive Overture, " Robespierre," H. Litolff. 
 Conductor, Mr. T. Eisfeld. Sixty in the orchestra. 
 
 Tenth Season, 1851-1852. 
 
 (Concerts in Niblo's Concert-Room.) 
 
 First Concert, November 22, 1851. Symphony, No, 4, in A, Op. 
 90 (first time), Mendelssohn ; Overture, "Joseph," M6hul; 
 Sixth Concerto, Op. 70, for violin and orchestra, De Beriot 
 (Monsieur Henry Appy) ; Aria, " It is enough," from " Eli- 
 jah," Mendelssohn (Herr P. Mayer) ; Concertino, Op. 26, 
 for clarinet and orchestra, Weber (Herr J. E. Drescher) ; 
 Overture, "Faust," Lindpaintner. Conductor, Mr. T. Eis- 
 feld. Sixty-six in the orchestra. 
 
APPENDIX. 107 
 
 Second Concert, January 10, 1852. Third Symphony, Op. 55, in 
 E-flat, Beethoven ; Overture, Op. 20, in F, " Die Wald- 
 nymphe," W. S. Bennett ; Concerto, in G minor. Op. 35, for 
 pianoforte and orchestra, Mendelssohn (Mr. Otto Gold- 
 schmidt) ; Andante and Finale, from Quintuor, No. 2, for 
 flute, oboe, clarinet, horn, and bassoon, Reicha (Messrs. 
 Rietzel, Ohlemann, Drescher, Schmitz, and Eltz) ; Overture, 
 " Oberon," Weber. Conductor, Mr. Geo. Loder. Sixty-six 
 in the orchestra. 
 
 Third Concert, February 28, 1852. Symphony, No. 6 ("Pasto- 
 ral "), Op. 68, in F, Beethoven; Grand Scena, " Ocean, Thou 
 Mighty Monster! " from "Oberon," Weber (Madame Bou- 
 chelle) ; Concerto, for the violin, Op.*4, in E, Mendelssohn 
 (Mr. Joseph Burke); Overture, " Zauberflote," Mozart; 
 Aria, "Thro' the Forests," from "Der Freischiitz," Weber 
 (Mr. Klein) ; Grand Rondeau, " Le Gage d'Amiti^," for 
 piano, Kalkbrenner (Master William Saar) ; Romance, 
 "Thine is My Heart,'' Schubert (Madame Bouchelle); 
 Romance, " Die Post," Schubert (Mr. Klein) ; Overture, 
 "Jubilee," Weber. Conductor, Mr. T. Eisfeld. Sixty-three 
 in the orchestra. 
 
 Fourth Concert, April 17, 1852. Symphony, " Die Weihe der 
 Tone," Op. 89, Spohr ; Aria, " Qui la Voce," from " I Puri- 
 tani," Bellini (Mrs. E. G. Bostwick) ; Second Concerto, Op. 
 40, in D, for piano and orchestra, Mendelssohn (Mr. W. 
 Scharfenberg) ; Overture,"The Naiads," Op.15, in D,W.S. 
 Bennett; Song, "The Happy Birdling,"with flute accom- 
 paniment, W. V. Wallace (Mrs. E. G. Bostwick and Mr. 
 Eben); Solo, with variations, " Carnival of Venice,'' for 
 trumpet, C. Haase (Mr. C. Haase) ; Grand Duo, on the Bo- 
 hemian March from " Preciosa," for two pianos and orches- 
 tra, Mendelssohn and Moscheles (Messrs. Scharfenberg 
 and Timm) ; Festival Overture and Marche Triomphale, 
 Op. 172, in E-flat, F. Ries. Conductor, Mr. T. Eisfeld. Sixty- 
 seven in the orchestra. 
 
io8 APPENDIX. 
 
 Kleventh Season, 1852-1853. 
 
 (Ccncerts in Niblo's Concert-Saloon.) 
 
 CONDUCTOR FOR THE SEASON, THEODORE EISFELD. 
 
 First Concert, November 13, 1852. Symphony, No. 8, Op. 93, 
 Beethoven; Duets, "The Voyager's Song," and "The 
 May-Bells and the Flowers," Mendelssohn (JilUes. Mina 
 and Louisa Tourny) ; First movement, Concerto, in B 
 minor. Op. 89, for pianoforte. Hummel (H. C. Timm) ; 
 Overture, "Ossian" (first time), Niels W. Gade; "The 
 Polish Mother's T^radle Song," Franz Abt (Mile. Mina 
 Tourny) ; Trio, variations on a theme from "Joseph" by 
 M6hul, for two violins and violoncello with orchestra, L. 
 Maurer (Messrs. Noll, Reyer, and Eichhom) ; Cavatina, 
 "O luce di quest' anima," from " Linda di Chamounix," 
 Donizetti (Mile. Mina Tourny) ; Overture, " Robespierre," 
 Op. 55, Litolff. 
 
 Second Concert, January 15, 1853. Symphony, in C, Schu- 
 bert ; Overture, " Fingal's Cave," Op, 24, Mendelssohn ; 
 " Spielmann's Lied," Gumbert (Madame Siedenburg) ; 
 " Le Streghe," Op. 8, Paganini (Paul Julien) ; Song, " Re- 
 member Me," Fesca (Madame Siedenburg); Overture, 
 "Die Reiselust " ("Les Charmes du Voyage"), Op. 26, 
 Lobe. 
 
 Third Concert, March 5, 1853. Symphony, in C minor. Op. 
 67, Beethoven; Overture, "Jessonda," Spohr; First part. 
 Third Concerto, for the violin. Op. 44, De Beriot (Joseph 
 Burke) ; Quartette, " The Hunting Song," Mendelssohn 
 (George F. Root's Quartette Party) ; Dialogo Brillante, for 
 flute and clarinet, Bochsa (J. A. Kyle and T. W. Groene- 
 veldt) ; Serenade, " Slumber Sweetly, Dearest," William 
 
APPENDIX. 
 
 109 
 
 Mason (George F, Root's Quartette Party) ; Scotch Over- 
 ture, " In the Highlands," Op. 7, N. W. Gade. 
 
 Fourth Concert, April 23, 1853. First Symphony, in B-flat, 
 Op. 38 (first time), Schumann ; Duette, from " Le Nozze di 
 Figaro," Mozart (Miss Rosa Jaques and Philip Mayer); 
 Concertstuck, for piano and orchestra, Weber (Mr. August 
 Gockel) ; Overture, " Leonore," in C, Anno 1805 (first 
 time), Beethoven ; Aria; " Der Kriegeslust ergeben," from 
 " Jessonda," Spohr (Mr. Philip Mayer) ; Caprice Bur- 
 lesque," Polichinelle," for pianoforte, A. Gockel (Mr. August 
 Gockel); Aria, "Jeanne d'Arc a Rouen," Luige Bordese 
 (Miss Rosa Jaques); Overture, "Euryanthe," in E-flat, 
 Weber. 
 
 Twelftli Season, 1853-1854. 
 
 (First Concert in Metropolitan Hall, the rest in the 
 Broadway Tabernacle.) 
 
 CONDUCTOR FOR THE SEASON, THEODORE EISFELD. 
 
 First Concert, November 26, 1853. Symphony, No. 9, " The 
 Seasons," Op. 143 (first time), Spohr; Grand Fantasia, for 
 harp on themes from the operas " Montecchi e Capuletti " 
 and " Semiramide," Parish-Alvars (Mr. Aptommas) ; Aria, 
 "Nen mi dir," from "Don Giovanni," Mozart (Mrs. Emma 
 Gillingham Bostwick) ; Overture, " King Lear," Berlioz ; 
 Fantaisie Caprice, for violin. Op. 11, Vieuxtemps (C. 
 Hahn) ; Song, " The Wanderer," Fesca (Mrs. Emma 
 Gillingham Bostwick) ; Fantasia, for harp, on themes from 
 " Lucia di Lammermoor," Aptommas (Mr. Aptommas) ; 
 Overture, " The Vampire," Op. 42, Marschner. 
 
 Second Concert, January 14, 1854. Symphony, No. 2, in C, 
 Op. 61 (first time), Schumann ; Song, "Ave Maria," Schu- 
 
no APPENDIX. 
 
 bert (Miss M. S. Brainerd) ; Adagio et Rondo, in F, for 
 bassoon, Weber (Mr. Eltz) ; Symphony, No. 2, in D, Op. 
 36, Beethoven ; Aria, " Rejoice Greatly," from " The 
 Messiah," Handel (Miss Bainerd) ; Overture, " Meeresstille 
 und gluckliche Fahrt," Op. 27, Mendelssohn. 
 
 Third Concert, March 4, 1854. Symphony, No. 4, in B-flat, 
 Op. 20 (first time), Niels W. Gade ; Song of the Czar, 
 from the opera " Peter the Great," Lortzing (Julius Schu- 
 mann) ; Concertino, for violin. No. 3, in A, Op. no, "Past 
 and Present" (first time), Spohr (Joseph Burke); Over- 
 ture, "Faust" (first time), Spohr; Romance and Rondo, 
 Vivace, from the Concerto in E minor. Op. 11, for piano 
 (first time), Chopin (Richard Hoffman) ; Aria, from " St. 
 Paul," Mendelssohn (Julius Schumann) ; Symphony, No. 
 I, in C, Op. 21 (first time), Beethoven. 
 
 Fourth Concert, April 22, 1854. Symphony, No. 20, in B 
 (first time), Fr. Schneider (dedicated to the members of the 
 New York Philharmonic Society) ; Aria, " Der Kriegeslust 
 ergeben," from " Jessonda," Spohr (Philip Mayer); Duo 
 Concertante, for two French horns and orchestra, on the 
 air, "Araby's Daughter," F. Baumann (H. Schmitz and 
 S. Knaebel); Symphony, " Die Weihe der Tone," Op. 89, 
 Spohr ; Grand Duo Concertante, for two pianofortes, on a 
 theme from Hal^vy's opera " L'feclair," W. V. Wallace 
 (Mr. and Mrs. W. V. Wallace); Melodie, " Le Moine," 
 Meyerbeer; Overture, "Egmont," Beethoven. 
 
 \ 
 
 Thirteenth Season, 1854-1855. 
 
 (Concerts in Niblo's Garden.) 
 
 First Concert, December 2, 1854. Symphony, No. 3, Op. 55, in 
 E-flat, Beethoven ; Grand Scena and Aria, " Wie nahte mir 
 
APPENDIX. Ill 
 
 der Schlummer," from "Der Freischiitz," Weber (Mademoi- 
 selle Caroline Lehmann — her first appearance) ; Solo, for 
 the harp, " Home, Sweet Home," Aptommas (Mr. Aptom- 
 mas) ; Overture, " Ossian," Niels W. Gade (harp obbligato, 
 Mr. Aptommas) ; Grand Aria, " Casta Diva," from " Nor- 
 ma," Bellini (Mademoiselle Caroline Lehmann); Concer- 
 tino, for clarinet, Theo. Eisfeld (X. Kiefer) ; Overture, 
 "Abraham's Sacrifice," Lindpaintner. Conductor, Mr. T. 
 Eisfeld. 
 
 Second Concert, January 20, 1855. Symphony, No. 4, in A, Op. 
 go, Mendelssohn ; Grand Aria," O mio Fernando," from " La 
 Favorita," Donizetti (Mademoiselle Caroline Lehmann) ; 
 Fantasia, for the violin, on themes from " Lucrezia Borgia," 
 Sainton (Camilla Urso) ; Overture, "Preciosa," Weber; 
 Cavatina, " Una voce poco fa," from "The Barber of Se- 
 ville," Rossini (Caroline Lehmann) ; First movement, Con- 
 certino, for cornet a pistons, L. Schreiber (Herr Louis Schrei- 
 ber — ^his first appearance); Overture, " Maritana," W. V. 
 Wallace. Conductor. Mr. Theodore Eisfeld. 
 
 Third Concert, March 10, 1855. Symphony, No. 2, in G minor, 
 Mozart; Recitativo and Aria, from the opera " Guttenberg " 
 (first time), Fuchs (Philip Mayer) ; Aria, " Per Pieta," from 
 " Cosi fan Tutti," Mozart (Mrs. Georgiana R. Stuart) ; 
 Concerto, for the pianoforte. No. 5, in E-flat, Op. 73 (first 
 time), Beethoven (Gustave Satter) ; Overture, " Ruy Bias," 
 Op. 95, Mendelssohn ; Ballad," Winged Messenger," Fesca 
 (Mrs. Stuart) ; Aria, " Der Kriegeslust ergeben," from 
 " Jessonda," Spohr (Philip Mayer) ; Overture, " Olympia," 
 Spontini. Conductor, Mr. H. C. Timm. 
 
 Fourth Concert, April ^i, 1855. Symphony, No. 7, in A major, 
 Op. 92, Beethoven; Chorus, "Yet doth the Lord," from 
 " Elijah," Mendelssohn (Mendelssohn Union) ; Trio, " Lift 
 Thine Eyes," and Chorus, "He Watching over Israel," 
 from "Elijah," Mendelssohn (Mendelssohn Union; solos 
 
I APPENDIX. 
 
 by Mrs. Clara Brinkerhoff and two lady members) ; Over- 
 ture, "Tannhauser " (first time),Wagner ; Concertstiick, for 
 the pianoforte.Weber (William Mason) ; Finale," Loreley,'' 
 Op. 98 (first time), Mendelssohn (Mendelssohn Union; 
 solo by Miss C. A. Dingley). Conductor, Mr. Carl Berg- 
 mann. Leader of the vocal music, Mr. G. W. Morgan. 
 
 Fourteenth Season, 185 5-1 856. 
 
 (Concerts in Niblo's Garden.) 
 
 CONDUCTOR FOR THE SEASON, CARL BERGMANN. 
 
 First Concert, November 24,, 1855. Symphony, No. 6 ("Pasto- 
 ral "), Op. 68, in F, Beethoven ; Aria, " Lord God, have mer- 
 cy ! " from " St. Paul," Mendelssohn (Mr. Otto Feder) ; Con- 
 certo, for two violins, in C (first movement), MoUenhauer 
 (Brothers MoUenhauer) ; Overture to " Iphigenia in Aulis," 
 in C (first time),Gluck; German Songs, "Die Lockung," 
 Dessauer, and " Morgenstandchen," Schubert (Mr. Otto 
 Feder) ; Solo, for violin, " La Sylphide," MoUenhauer (Mr. 
 Edward MoUenhauer) ; Overture, "Tannhauser," Wagner. 
 
 Second Concert, January 12, 1856. Symphony, No. i, in C, Op. 
 5, Niels W. Gade ; Romanza, " Ella piangea," from " Nor- 
 manni a Parigi," Mercadante (Signor Caesare Badiali) ; 
 Concertino, for French horn, Weber (Mr. Henry Schmitz) ; 
 Overture, "Les Francs Juges," Berlioz ; First movement. 
 Concerto, for the harp, in C (first time), Parish-Alvars (Mr. 
 Aptommas ; Cavatina, " II balen," from " II Trovatore," 
 Verdi (Signor Caesare Badiali) ; Overture, " Euryanthe," 
 Weber. 
 
 Third Concert, March 1,1856. "Julien Symphony," No. 2, in 
 D minor. Op. 24, G. F. Bristow ; Capriccio Brillante, in B 
 minor. Op. 22, for pianoforte and orchestra, Mendelssohn 
 
APPENDIX. 113 
 
 (Mr. Richard Hoffman); Overture," Anacreon," Cherubini ; 
 Concerto, for the violin. Op. 64, in E, Mendelssohn (Mr. 
 Joseph Burke) ; Overture, " Die Waldnymphe," Op. 20, in 
 F, W. S. Bennett. 
 
 Fourth Concert, April ig, 1856. Symphony, No. 4, Op. 60, in 
 B-flat, Beethoven ; Concerto, for the violin, in E, Op. 10 
 (first movement), Vieuxtemps (Mr. Edward MoUenhauer) ; 
 Scena ed Aria, " Dagli immortali vertici," from "Attila," 
 Verdi (Signer Caesare Badiali); Overture, " Zum Mahrchen 
 von der schonen Melusine," Op. 32, in F, Mendelssohn ; 
 Romanza, " Ella piangea," firom "Normanni a Parigi" (in 
 consequence of numerous requests), Mercadante (Signor 
 Cassare Badiali) ; Grand Duo, for two violins, F. MoUen- 
 hauer (Brothers MoUenhauer) ; Overture, " Hans HeUing,'' 
 Op. 80, in F (first time), Marschner. 
 
 Fifteentli Season, 1856-1857. 
 
 (Concerts in the Academy of Music.) 
 
 CONDUCTOR FOR THE SEASON, MR. THEODORE EISFELD. 
 
 First Concert, November 22, 1856. Symphony, No. 5, in C 
 minor. Op. 67, Beethoven ; Aria, " Non mi dir," from 
 "Don Giovanni," Mozart (Madame La Grange) ; Fanta- 
 sia, for violin, on " The Praise of Tears," by Schubert, F. 
 David (Mr. Wm. Doehler) ; Overture, " Medea," in F 
 minor, Cherubini ; Solos, for piano. Etude d'Arpeges, 
 firom Op. 10, Chopin, Rondo, in E-flat, Weber, " La Caval- 
 cade," R. Goldbeck (Mr. Robert Goldbeck — his first ap- 
 pearance) ; Concert Variations, Rode (Madame La Grange) ; 
 Scotch Overture, " In the Highlands," Op. "j, Niels W. 
 Gade. 
 
114 APPENDIX. 
 
 Second Concert, January lo, 1857. Symphony, No. 4, in C, Op. 
 38, "Jupiter," Mozart; Aria, "Parto, paito, ma tu ben 
 mio,'' from " La Clemenza di Tito," Mozart (Madame 
 Scheerer-Johannsen, clarinet obbligato by Mr. X. Kiefer) ; 
 First movement. Grand Concerto, in F minor. Op. 16, for 
 pianoforte and orchestra, A. Hensclt (Mr. L. M. Gott- 
 schalk) ; Ouverture Caracteristique, " Faust " (first time), 
 Wagner; Aria, "I tuoi frequenti palpiti," from the opera 
 " Niobe," Pacini (Madame Scheerer-Johannsen) ; Mor- 
 ceau de Concert, for two pianos, on themes from " II Tro- 
 vatore," L. M. Gottschalk (Mr. L. M. Gottschalk and Mr. 
 E. Guyon); Overture, "Uriel Acosta" (first time), L. 
 Schindelmeisser. 
 
 Third Concert, March 7, 1857. Second. Symphony, in C, Op. 
 61, Schumann; Aria, "On Mighty Pens," from "Crea- 
 tion," Haydn (Mademoiselle Marie de Roode) ; Solo, for 
 violin, "Rondo Papageno," H. W. Ernst (Mr. Edward 
 MoUenhauer) ; Concert Overture, in A, Op. 7 (first time), 
 J. Rietz ; Scena ed Aria, " Ocean, Thou Mighty Monster ! " 
 from "Oberon," Weber (Mademoiselle Marie de Roode); 
 Solo, for violin, " La Sylphide," MoUenhauer (Mr. Edward 
 MoUenhauer) ; Overture, "Egmont," Beethoven. 
 
 Fourth Concert, April 25, 1857. Symphony, No. 3, Op, 55, in 
 E-flat, Beethoven ; Aria, " Hear ye, Israel," from^" Elijah," 
 Mendelssohn (Miss Maria S. Brainerd) ; Introduction e 
 Allegro Appassionato, for pianoforte, Op. 92 (first time), 
 Schumann (Mr. Henry C. Timm) ; Overture, " Chant des 
 Beiges," Op. loi, in C (first time), H. Litolff; Aria, " In- 
 vano il fato," from the opera " Roberto il Diavolo," Meyer- 
 beer (Miss Maria S. Brainerd) ; Selections, from "A Mid- 
 summer Night's Dream," Mendelssohn. 
 
APPENDIX. 115 
 
 Sixteenth Season, 1857-1858. 
 
 (Concerts in the Academy of Music.) 
 
 CONDUCTOR FOR THE SEASON, MR. THEODORE EISFELD. 
 
 First Concert, November 21, 1857. Symphony, " DieWeihe der 
 Tone," Op. 80, Spohr ; Scena, " Softly Sighs the Voice of 
 Evening," from " Der Freischutz," Weber (Miss Annie 
 Milner) ; Concerto, for violoncello, G. Goltermann (Mr. 
 Henry MoUenhauer) ; Overture to Lord Byron's dramatic 
 poem " Manfred" (first time), Schumann ; Grand Fantasia, 
 for violoncello, F. Servais (Mr. Henry MoUenhauer); Scena, 
 " Qui la voce," from " I Puritani," Bellini (Miss Annie Mil- 
 ner) ; Overture, " Leonore," in C, Beethoven. 
 
 Second Concert, January g, 1858. Symphony, No. 8, in F, Op. 
 93, Beethoven; Aria," Oh, cara immagine ! " from " II Flauto 
 Magico," Mozart (Signor Labocetta) ; Overture, " Fingal's 
 Cave," Op. 24, Mendelssohn ; Concert Symphony, No. 3, 
 Op. 45, for pianoforte, on Dutch national airs, H. Litolff 
 (Madame Madeleine Johnson-Graever) ; Cavatina, from 
 "II Bravo," Mercadante (Signor Gassier; piano accom- 
 paniment .by Signor Abella) ; Overture, " Merry Wives of 
 Windsor" (first time), Nicolai. 
 
 Third Concert, March 6, 1858. Symphony, in E (first time), 
 Ferdinand Hiller (this symphony, in manuscript, " per- 
 formed with great success in Germany," was kindly lent 
 to the New York Philharmonic Society by the composer) ; 
 Aria, " Voi che sapete," from " Le Nozze di Figaro," Mo- 
 zart (Madame D'Angri) ; Concertino, for clarinet, Theo- 
 dore Eisfeld (Mr. X. Kiefer); Overture, "Coriolanus" 
 (first time), Beethoven ; Second and third movements 
 from Concerto, Op. 16, in F minor, for pianoforte and 
 
ii6 APPENDIX. 
 
 orchestra, Henselt (Mr. William Mason) ; Cavadna, "Ah, 
 mens fils!" from "Le ProphSte," Meyerbeer (Madame 
 D'Angri) ; Overture, " Faust," Op. 80, in F-sharp minor, 
 Lindpaintner. 
 
 Fourth Concert, April i^, 1858. Symphony, No. 3, in A minor. 
 Op. 56, Mendelssohn (dedicated to Queen Victoria) ; Aria, 
 "Non mi dir,"from"ll Don Giovanni," Mozart (Miss 
 Annie Milner) ; Concerto, for the violin, in A, Op. 47, " In 
 modo di scena cantante," Spohr (Mr. Henry C. Cooper) ; 
 Overture, Scherzo and Finale, in £ (first time), Schumann ; 
 Duetto, per voce e violino, Introduzione, Tema, and Vari- 
 azioni, Pacini (Miss Annie Milner and Mr. Henry C. 
 Cooper) ; Overture, " Tannhauser," Wagner. 
 
 Seventeentli Season, 1858-1859. 
 
 (Concerts in Niblo*s Garden.) 
 
 CONDUCTOR FOR THE SEASON, MR. CARL BERGMANN. 
 
 First Concert, November 20, 1B58. Symphony, No. 5, in D 
 minor. Op. 25 (first time), Niels W. Gade (piano obbligato, 
 Mr. Henry C. Timm) ; Aria " Parto, parto, ma tu ben mio," 
 from "La Clemenza di Tito," Mozart (Miss Hattie An- 
 dem) ; Recitative and Aria, from the opera " Guttenberg," 
 Fuchs (Mr. Philip Mayer); Quartette Concert, Op. 131 
 (first time), Spohr (Quartette obbligato, Messrs. E. Mollen- 
 hauer, J. Noll, G. Matzka, and F. Bergner) ; Lied, "Uberall 
 Du," I. Lachner (Mr. Philip Mayer, como obbligato, Mr. C. 
 Brannes) ; Fantasiestiick, for comet a piston (first move- 
 ment), L. Schreiber (Herr Louis Schreiber) ; Air, " The 
 Harp in the Air," from the opera " Maritana," W. V. Wal- 
 lace (Miss Hattie Andem) ; Overture, " L'Assedio di Co- 
 rinto" (first time), Rossini. 
 
APPENDIX. 117 
 
 Second Concert, January 8, 1859. Symphony, No. 7, Op. 92, in 
 A, Beethoven ; Second Concerto, fof pianoforte. Op. 40, in 
 D, Mendelssohn (Madame Madeleine Johnson-Graever) ; 
 Prisoners' Chorus, from " Fidelio," Beethoven (Arion and 
 Teutonia Choral Societies); Overture, " Fierabras " (first 
 time), Schubert ; Concerto, for violin. Op. 64, Mendelssohn 
 (Mr. Bruno Wollenhaupt) ; Recitative and Chorus, from 
 " Rienzi," Wagner (Arion and Teutonia Choral Societies) ; 
 Overture, " Ruler of the Spirits," Weber. 
 
 Third Concert, February 12, 1859. Symphony, No. 2, in D 
 (first time), Haydn; Aria, from the opera "La Favorita," 
 Donizetti (Miss Marie Elina Couran) ; Second and third 
 movements. Concerto, for the pianoforte, in E minor. Op. 
 II, Chopin (William Saar); Symphony, No. 4, Op. 120, in 
 D minor (first time), Schumann ; Sacred Song, "Consider 
 the Lilies," Topliflf (Miss Marie Elina Couran) ; Solos, for 
 the pianoforte, Notturno, in E-flat, Field, and Etude, in C 
 (from Op. 23), Rubinstein (William Saar) ; Festival Over- 
 ture and Marche Triomphale, Op. 172, in E-flat, F. Ries. 
 
 Fourth Concert, March 26, 1859. Symphony, in F-sharp 
 minor. Op. 26 (first time), Geo. F. Bristow ; Aria, " Der 
 Kriegeslust ergeben," from " Jessonda," Spohr (Mr. Philip 
 Mayer) ; Concerto, for pianoforte, in A minor. Op. 54, 
 Schumann (Mr. S. B. Mills) ; Overture, " Leonore," in C, 
 Beethoven; Lied, "Bewusstsein," F. Lachner (Mr. Philip 
 Mayer, corno obbligato, Mr. Chas. Brannes) ; Concert Para- 
 phrase, for the pianoforte, from Mendelssohn's " Midsum- 
 mer Night's Dream," Liszt (Mr. S. B. Mills) ; Overture, 
 "Vampyr," Op. 42, Marschner. 
 
 Fifth Concert, April 30, 1859. Symphony, No, 4, Op. 60, in B- 
 flat, Beethoven ; Aria, "Nobil Signor," from the "Hugue- 
 nots," Meyerbeer (Madame F. Inman) ; Serenade et Alle- 
 gro Giojoso, Op. 43, in B, for pianoforte and orchestra, 
 Mendelssohn (Mr. Richard Hoffman); " Les Pr61udes" 
 
ii8 APPENDIX. 
 
 (first time), Liszt ; Air," Where the Bee Sucks," from " The 
 Tempest," Arne (Madame F. Inman) ; Solos, for piano- 
 forte, " Spinnlied," Op. 51, in A-flat, Litolff, and Polonaise, 
 Op. 53, in A-flat, Chopin (Mr. Richard Hoffman) ; Overture, 
 " Euryanthe," Weber. 
 
 Bigliteentli Season, 1 859-1 860. 
 
 (Concerts in the Academy of Music.) 
 
 First Concert, November 19, 1859. Symphony, No. i. in C, 
 Schubert; Overture, "Zum Mahrchen von der schonen 
 Melusine," Op. 32, Mendelssphn; Cavatina," II mio tesoro," 
 from "Don Giovanni," Mozart (Signor Stigelli); Grand 
 Caprice, for pianoforte, on airs from "Martha," Arthur 
 Napoleon (Arthur Napoleon) ; Introduction, " Lohengrin " 
 (first time), Wagner ; Song, " Die Thrane," Stigelli (Signor 
 Stigelli); Overture, "Fidelio," in E (first time), Beethoven. 
 Conductor, Mr. Carl Bergmann. 
 
 Second Concert, January 7, i860. Larghetto and Finale, from 
 the symphony "Die Weihe der Tone,"Spohr; Scena ed 
 Aria, for soprano, " Infelice," Op. 94 (first time), Mendels- 
 sohn (Madame Anna Bishop) ; Symphony, No. I, in B-flat, 
 Op. 38, Schumann; Overture, "Faust," Wagner; Second 
 and third movements. Concerto, No. 5, for the pianoforte, 
 in E-flat, Op. 73, Beethoven (Gustav Satter); Song, " Ave 
 Maria," Schubert (Madame Anna Bishop) ; Festival Polo- 
 naise, in F-sharp, Satter (Gustav Satter); Overture, 
 " Oberon," Weber. Conductor, Mr. Theodore Eisfeld. 
 
 Third Concert, February 11, i860. Symphony, No. 4, in A, Op. 
 90, Mendelssohn ; Aria, " Non paventar amabil figlio," 
 from the opera " II Flauto Magico," Mozart (Madame Col- 
 
APPENDIX. 119 
 
 son) ; Concerto, for pianoforte, in G minor. Op. 58 (first 
 time), Moscheles (Mr. S. B. Mills); Overture, "Manfred," 
 Op. 115, Schumann ; Fantasia, for pianoforte, in F minor, 
 Op. 49 (first time), Chopin (Mr. S. B. Mills) ; " Chanson a 
 Rire," Manon (Madame Colson) ; Festival Overture, in D, 
 Op. 30 (first time), V. Lachner. Conductor, Mr. Theodore 
 Eisfeld. 
 
 Fourth Concert, March 24, i860. Symphony, No. 2, in D, Op. 
 36, Beethoven ; Scena ed Aria, " Dagl' immortali Vertici " 
 from "Attila," Verdi (Signer Pietro Centemeri) ; Concerto, 
 for piano, in A minor. Op. 85, Hummel (Madame Johnson- 
 Graever); "Tasso" (first time), Liszt; "Souvenirsd' Hartz- 
 burg," Op. 43, Litolff (Madame Johnson-Graever) ; Ro- 
 manza, from " Maria Papilla," Donizetti (Signer Pietro 
 •Centemeri). Conductor, Mr. Carl Bergmann. 
 
 Fifth Concert, April 38, i860. Overture, " The Magic Flute," 
 Mozart ; Lied, " Ich denke nur an Dich," Abt (Mr. Philip 
 Mayer ; cornet obbligato, Mr. Louis Schreiber) ; Aria, 
 "Ocean, Thou Mighty Monster!" from "Oberon," Weber 
 (Madame Bertha Johannsen) ; Aria, " Oh cara immagine ! " 
 from "II Flauto Magico," Mozart (Signor Stigelli); Chorus, 
 for male voices, " Mein ! " A. Hartel (German Liederkranz, 
 of New York, Mr. Agricol Paur, director); Choral Sym- 
 phony, No. 9, in D minor. Op. 125, Beethoven (solo parts: 
 Madame Johannsen, soprano, Madame Zimmermann, con- 
 tralto, Signor Stigelli, tenor, and Mr. Philip Mayer, baritone ; 
 grand chorus: the members of the German Liederkranz, 
 of New York, Mr. Paur, director). Conductor, Mr. Theo- 
 dore Eisfeld. 
 
APPENDIX. 
 Nineteentli Season, 1860-1861. 
 
 (Concerts in the Academy of Music) 
 
 First Concert, November lo, i860. Symphony, No. 2, in C, 
 Op. 61, Schumann ; Aria, "Va! dit elle," from " Robert le 
 Diable," Meyerbeer (Madame Schroeder Diimmler); Over- 
 ture, " Meeresstille und gliickliche Fahrt," Op. 27, Mendels- 
 sohn ; Second Concerto, for vioUn, in F^harp minor, Op. 
 19, H. Vieuxtemps (Mr. Joseph Noll) ; Prayer from "Tann- 
 hauser," Wagner (Madame Schroeder Diimmler) ; Over- 
 ture, " Leonore," No. i, in C (first time), Beethoven. Con- 
 ductor, Theodore Eisfeld, 
 
 Second Concert, December 22, i860. Symphony, No. 6 (" Pas- 
 toral "), Op. 68, in F, Beethoven ; Concerto, for pianoforte, 
 in A minor. Op. 54, Schumann (Mr. S. B. Mills); "Fest- 
 klange" (first time), Liszt; Grande Fantaisie Russe, for 
 violoncello, A. Kummer (Mr. F. Bergner) ; Paraphrase de 
 Concert, for pianoforte, " Rigoletto," Liszt (Mr. S. B. Mills) ; 
 Overture, "Jubilee," Weber. Conductor, Mr. Carl Berg- 
 mann. 
 
 Third Concert, February 2, 1861. Symphony, No. 3, Op. 97, 
 in E-flat (first time), Schumann; "Friihlingsnahen," C. 
 Kreutzer (German Liederkranz, of New York, Mr. Agricol 
 Paur, director) ; Fantasia Capriccioso, for cornet a piston, 
 L. Schreiber (Mr. L. Schreiber) ; Symphony, No. 2, in B- 
 flat, Haydn; " Nachthelle," Schubert (German Lieder- 
 kranz, of New York, Mr. Agricol Paur, director); "^fellgie 
 Cantabile," for cornet h. piston, Theodore Eisfeld (com- 
 posed for and performed by Mr. L. Schreiber) ; Overture, 
 " Tannhauser," Wagner. Conductor, Mr. Theodore Eis- 
 feld. 
 
APPENDIX. 121 
 
 Fourth Concert, March i6, 1861. Symphony, No. 7, Op. 92, in 
 A, Beethoven ; Concerto, No. 8, in D, for pianoforte, with 
 accompaniment of orchestra (first time), Mozart (Mr. Rich- 
 ard Hoffman); Overture, "Genoveva," Op. 31 (first time), 
 Schumann ; Concerto, for violin, in A, with accompani- 
 ment of orchestra (first time), E. MoUenhauer (Mr. E. Mol- 
 lenhauer); Pianoforte Solos, '• Le Passe," Op. 47, Tedesco, 
 and Grande Polonaise, in F, Lubeck (Mr. Richard Hoff"- 
 man) ; Overture, " Les Francs Juges," Berlioz. Conductor, 
 Mr. Carl Bergmann. 
 
 Fifth Concert, April 20, 186 1. Symphony, No. 2, in G minor, 
 Mozart; Scena ed Aria, "Infelice," for soprano. Op. 94, 
 Mendelssohn (Miss Maria S. Brainerd); " Tannhauser," 
 illustration dramatique, for solo pianoforte, Saar (William 
 Saar); Overture, "Egmont," Beethoven; " The First Wal- 
 purgis Night," Op. 60, for solo voices, chorus, and orches- 
 tra, Mendelssohn (German Liederkranz, of New York, 
 Mr. Agricol Paur, director). Conductor, Mr. Theodore 
 Eisfeld. 
 
 Twentieth. Season, 1861-1863. 
 
 (Concerts in Irving Hall.) 
 
 First Concert, November 9, 1861 . Symphony, No. 5, in C minor. 
 Op. 67, Beethoven ; Recitativo e Cavatina, " Care Com- 
 pagne," from " La Sonnambula," Bellini (Miss Abby Fay) ; 
 Second Concerto, for pianoforte and orchestra, in F minor, 
 Op. 21 (first time), Chopin (Mr. S. B. Mills) ; Overture; " Le 
 Carnaval Romain," Berlioz ; Cavatina, " I tuoi frequenti 
 palpiti," from " La Niobe," Pacini (Miss Abby Fay) ; Varia- 
 tions de Concert, sur " Le Philtre " de Donizetti, Op. i, A. 
 Henselt (Mr. S. B. Mills) ; Overture, " Rienzi," Wagner. 
 Conductor, Mr. Carl Bergmann. 
 
122 APPENDIX. 
 
 Second Concert, December 21, 1861. Symphony, No. 5, in D 
 (first time), Mozart ; Aria di Chiesa, " Pieta Signore," Stra- 
 della (Signor Centemeri, with Alexander organ accompani- 
 ment) ; Overture, " Fingal's Cave," Mendelssohn ; Grand 
 Concerto, for the violin, Op. 61 (first time), Beethoven (Mr. 
 E. MoUenhauer) ; Romanza, " L'Amor funesto," Donizetti 
 (Signor Centemeri ; corno obbligato, Mr. H. Schmitz) ; " Les 
 Preludes," Liszt. Conductor, Mr. Theodore Eisfeld. 
 
 Third Concert, February i, 1862. Symphony, N0.4, in D minor. 
 Op. 120, Schumann ; Air, " It is enough," from " Elijah," 
 Mendelssohn (Signor Rudolfi) ; Concerto, No. 3, in C minor. 
 Op. 37, for pianoforte and orchestra (first movement), 
 Beethoven (Mr. Ernst Hartmann) ; Serenade, No. 2, in A, 
 Op. 16 (first time), J. Brahms; Aria, "Ah per sempre," 
 from " I Puritani," Bellini (Signor Rudolfi) ; Polonaise, in 
 E, for piano (first time), Liszt (Mr. Ernst Hartmann) ; " La 
 Solitude," nocturne for the French horn (first time), Theo. 
 Eisfeld (composed for and performed by Mr. Henry 
 Schmitz) ; Overture, " Ruler of the Spirits," Weber. Con- 
 ductor, Mr. Carl Bergmann. 
 
 Fourth Concert, March 15, 1862. Sinfonia Eroica, No. 3, in E- 
 flat, Beethoven ; Scena ed Aria, for soprano, " Infelice," Op. 
 94, Mendelssohn (Miss Ludecus) ; Deux Morceaux Sym- 
 phoniques, pour orchestre et piano, R. Goldbeck (Mr. R. 
 Goldbeck) ; Lied," Widmung," Schumann (Miss Ludecus) ; 
 Fantasie, "Landliche Scene,"' for bassoon, Neukirchner 
 (Mr. P. Eltz) ; Overture, " Der Vampyr," Op. 42, Marsch- 
 ner. Conductor, Mr. Theodore Eisfeld. 
 
 Fifth Concert, April 26, 1862. Symphony, in C, Schubert ; Con- 
 certo Militaire, for violin (first movement), Lipinsky (Bruno 
 WoUenhaupt) ; "Orpheus "(first time), Liszt; Concerto, No. 
 8, in D, for pianoforte, with accompaniment of orchestra, 
 Mozart (Mr. Richard Hoffman) ; Concertino, for trombone 
 (first time), F. David (Mr. F. Letsch) ; Overture, " Fidelio," 
 Beethoven. Conductor, Mr. Theodore Eisfeld. 
 
APPENDIX. 123, 
 
 Twenty-First Season, 1 862-1 863. 
 
 (Concerts in Irving Hall.) 
 
 First Concert, November 8, 1862. Symphony, No. 4, Op. 60, in 
 B-flat, Beethoven; Fantasia, for pianoforte, in C, Op. 15 
 (first time), orchestration by Franz Liszt, Schubert (Mr. 
 William Mason); Overture, "Manfred," Op. 115, Schu- 
 mann ; Concerto, for the violin, Op. 64, Mendelssohn (Mr. 
 E. MoUenhauer) ; Ballade, for the pianoforte, Op. 47, in 
 A-flat, Chopin (Mr. William Mason); Overture, "Ein 
 Traum in der Christnacht " (first time), F. Hiller. Con- 
 ductor, Mr. Theodore Eisfeld. 
 
 Second Concert, December 20, 1862, Symphony, No. i. Op. 5, 
 in C minor, Niels W. Gade ; Scena Italiana di Concerto, 
 Th. Eisfeld (Signer Pietro Centemeri); Capriccio Brillante,- 
 in B minor. Op. 22, Mendelssohn (Mr. J. N. Pattison); 
 "Tasso," Liszt; Aria, "Non piii andrai," from "Le Nozze 
 di Figaro," Mozart (Signor Pietro Centemeri); Prelude and 
 Fugue, in A minor. Bach (Mr. J. N. Pattison) ; Overture, 
 "Leonore," No. 3, Beethoven. Conductor, Mr. Theodore 
 Eisfeld. 
 
 Third Concert, January 31, 1863. Symphony, No. i, in B-flat, 
 Op. 38, Schumann; Song, "The Wanderer," Schubert 
 (Mr. J. R. Thomas) ; Concerto, for the piano, Op. 58, in G, 
 Beethoven (Mr. S. B. Mills) ; Concert Overture, Op. 60, in 
 B-flat (first time), Rubinstein ; Romance, " My Soul to God, 
 my Heart to Thee," Clapisson (Mr. J. R. Thomas); Solos, 
 for pianoforte. Impromptu Fantaisie, in E-flat, Op. 66, 
 Chopin, and Tarantelle, S. B. Mills (Mr. S. B. Mills) ; Over- 
 ture, "Tannhauser," Wagner. Conductor, Mr. Theodore 
 Eisfeld. 
 
124 APPENDIX. 
 
 Fourth Concert, March 14, 1863. Symphony, No. 4, in C, Op. 
 38, "Jupiter," Mozart; Air, " In Native Worth," from "The 
 Creation," Haydn (Mr. J. E. Perring); Andante et Rondo 
 Russe, from the Second Concertino, Op. 32, De Beriot 
 (Mademoiselle Camilla Urso) ; Overture, "Faust,"Wagner; 
 "Reverie," solo for violoncello, F. Bergner (Mr. F. Berg- 
 ner); Song, "Adelaide," Beethoven (Mr. J. E. Perring); 
 Fantaisie Caprice, in A, Op. 11, Vieuxtemps (Mademoiselle 
 Camilla Urso) ; Overture, Scherzo and Finale, in E, Op. 52, 
 Schumann. Conductor, Mr. Theodore Eisfeld. 
 
 Fifth Concert, April 1^, 1863. Symphony, No. 7, Op. 92, in A, 
 Beethoven ; Second Concerto, for the pianoforte. Op. 40, 
 in D, Mendelssohn (Mr. Richard Hoffman) ; Concert Over- 
 ture, "Reminiscences of Ossian," in A minor, Niels W. 
 Gade ; Romance, solo for cornet a piston, Beethoven (Mr. 
 Louis Schreiber) ; Solos, for pianoforte, " Promenades d'un 
 Solitaire," Op. 80, No. 2, Stephen Heller, and Huitieme 
 Polonaise, Op. 53, in A-flat, Chopin (Mr. Richard Hoff- 
 man) ; Overture, " Les Francs Juges," Berlioz. Conductor, 
 Mr. Carl Bergmann. 
 
 Twenty-Second Season, 1863-1864. 
 
 (Concerts in the Academy of Music.) 
 
 First Concert, November 7, 1863. Symphony, No. 2, in C, 
 Op. 61, Schumann ; Grand Scena, from "Der Freischiitz," 
 Weber (Clara Louise Kellogg); Concerto, for the piano- 
 forte, in F-sharp minor, Op. 69 (first time), F. Hiller (Mr. 
 S. B. Mills); Overture, "Coriolanus," Beethoven; Grand 
 Wkltz, from "Faust" (transcribed by F. Liszt), Gounod 
 (Mr. S. B. Mills) ; Variations de Bravura, for soprano (first 
 time), Theo. Eisfeld (Clara Louise Kellogg) ; Overture, 
 " Flying Dutchman," Wagner. Conductor, Mr. Carl Berg- 
 
APPENDIX. 125 
 
 Second Concert, December 19, 1863. Symphony, No. 6 ("Pas- 
 toral"), Op. 68, in F, Beethoven; Grand Aria, "Non mi 
 dir," from. "Don Giovanni," Mozart (Signora Virginia 
 Lorini); Morceau Symphonique, No. 4, "Le Songe," for 
 orchestra and pianoforte obbligato (first time), Goldbeck 
 (Robert Goldbeck) ; Scotch Overture, " In the Highlands," 
 Op. 7, Gade; Ballade, for the piano, in B major. Op. 12, 
 W. Mason (Robert Goldbeck) ; Concert Variations, for 
 soprano and violin obbligato (first time), Artot (Signora 
 Virginia Lorini ; Mr. J. Noll, violin obbligato) ; Overture, 
 "Rienzi," Wagner. Conductor, Mr. Theodore Eisfeld. 
 
 Third Concert, January 30, 1864. "Eine Faust Symphonic," 
 nach Goethe (first time), Liszt (chorus: Arion Society; 
 tenor solo: Mr. Louis Quint) ; Introduction, "Lohengrin," 
 Wagner; Chorus, for male voices, "Treue Liebe," Esser 
 (Arion Society); Lied, "An den Sturmwind," Evers (Mr. 
 Joseph Hermanns) ; Overture, " Euryanthe," Weber. Con- 
 ductor, Mr. Carl Bergmann. 
 
 Fourth Concert, March 12, 1864. Symphony, No. 3, in E-flat 
 (first time), Haydn ; Recitativo and Aria, " Dove Sono," 
 from "Le Nozze di Figaro," Mozart (Madame Rotter); 
 First movement. Grand Concerto, for the violin. Op. 61, 
 Beethoven (Mr. E. MoUenhauer) ; "Hymn of Praise" 
 (first time), Mendelssohn (soli: Mmes. Rotter and Pau- 
 litsch, soprano, Mr. Quint, tenor ; chorus : German Lieder- 
 kranz ; director, Mr. A. Paur). Conductor, Mr. Theodore 
 Eisfeld. 
 
 Fifth Concert, April 23, 1864. Symphony, in C, Schubert; 
 Overture, "Genoveva," Op. 81, Schumann; Aria, from 
 "The Magic Flute," Mozart (Signor Lotti); Concerto, for 
 piano, in A minor. Op. 85, Hummel (Mr. Richard Hoff- 
 man); Romanza, from "Euryanthe," Weber (Signor 
 Lotti); Concert Overture, in A, Op. 7, J. Rietz. Con- 
 ductor, Mr. Carl Bergmann. 
 
126 APPENDIX. 
 
 Twenty-Third Season, 1864-1865. 
 
 (Concerts in the Academy of Music.) 
 
 First Concert, November 5, 1864. Symphony, No. 3, in E-flat, 
 Op. 55, Beethoven; Polonaise Brillante, Op. 72, in E (first 
 time), orchestral accompaniment by Liszt, Weber (Mr. 
 S. B. Mills) ; Concerto, for the violin, Op. 64, in E, Men- 
 delssohn (Mr. Theodore Thomas) ; Overture, "Oberon," 
 Weber; "Les Preludes," Liszt. Conductor, Mr. Carl Berg- 
 
 Second Concert, December 17, 1864. Symphony, No. 3, in A 
 minor. Op. 56, Mendelssohn ; Chorus, for male voices, 
 " Die stille Wasserrose," Abt (German Liederkranz of 
 New York, uiider the direction of Mr. Agricol Paur) ; Con- 
 certo, for the violoncello, F. L. Ritter (composed for and 
 dedicated to Mr. F. Bergner) ; Overture, " The Magic 
 Flute," Mozart ; Chorus, for male voices, " Festgesang an 
 die Kunstler," Mendelssohn (German Liederkranz of New 
 York, under the direction of, Mr. Agricol Paur) ; Overture, 
 " King Lear," Berlioz. Conductor, Mr. Theo. Eisfeld. 
 
 Third Concert, January 28, 1865. Symphony, No. i, in B-flat, 
 Op. 38, Schumann; Souvenirs de Mozart, fantaisie for 
 violin. Op. 21, in A, Alard (Camilla Urso); Fantasia, for 
 the piano, in C, Op. 15 (orchestration by Franz Liszt), 
 Schubert (Mr. William Mason); Overture, "Iphigenia in 
 Aulis," Gluck; Song, "Adelaide," Beethoven (Madame 
 Varian); Fantaisie-Caprice, for the violin, Op. 11, in A, 
 Vieuxtemps (Camilla Urso); Overture, "Egmont," in F 
 minor, Beethoven. Conductor, Mr. Theo. Eisfeld. 
 
 Fourth Concert, March 11, 1865. Symphony, No. i, in E-flat 
 (first time), Haydn ; " Fratres Ego," chorus for mixed 
 voices, Palestrina (German Liederkranz of New York, un- 
 
APPENDIX. 127 
 
 der (he direction of Mr. Agricol Paur) ; Third Concerto, 
 for the pianoforte, in C minor, Beethoven (Mr. Richard 
 Hoffman); Overture, "Medea," Op. 22, in F minor (first 
 time),\Bargiel ; " Credo," from the Graner Messe, for mixed 
 chorus, Liszt (German Liederkranz of New York, under 
 the direction of Mr. Agricol Paur) ; Overture, " Le Car- 
 naval Remain," Op. 9, in A, Berlioz. Conductor, Mr. Carl 
 Bergmann. 
 
 Fifth Concert, April 29, 1865. Marcia Funebre, from Sym- 
 phony, No. 3 (" Eroica "), Op. 55, Beethoven ; Air, " Com- 
 fort ye my People," from "The Messiah," Handel (Mr. 
 Ernst Perring) ; First part. Ninth Symphony, in D minor. 
 Op. 125, Beethoven; Finale of the first act of the unfin- 
 ished opera "Loreley," Op. 98, Mendelssohn (solo so- 
 prano, Madame Paulitsch; chorus, German Liederkranz 
 of New York, under the direction of Mr. Agricol Paur) ; 
 Overture, Scherzo e Finale, in E, Op. 52, Schumann. Con- 
 ductor, Mr. Theo. Eisfeld. 
 
 Twenty-Fourtli Season, 1865-1866. 
 
 (Concerts in the Academy of Music.) 
 
 CONDUCTOR FOR THE SEASON, MR. CARL BERGMANN. 
 
 First Concert, November 4, 1865. Symphony, No. 4, Op. 120, 
 in D minor, Schumann ; Romanza, " Unter bliihenden 
 Mandelbaumen," from " Euryanthe," Weber (Signor Lotti); 
 Concerto, posth., in C, for pianoforte and orchestra (first 
 time), Mozart (Mr. S. B. Mills); "Mazeppa" (first time), 
 Liszt; Romanza, "Deserto in terra," from "Don Sebas- 
 tian," Donizetti (Signor Lotti); Solos, for the pianoforte. 
 Etude, in C-sharp minor, Chopm, and Tarantelle, No. 2, 
 S. B. Mills (Mr. S. B. Mills) ; Overture, "Leonore," No. 3, 
 Beethoven. 
 
128 APPENDIX. 
 
 Second Concert, December i6, 1865. Symphony, No. 8, in F, 
 Op. 93, Beethoven ; Concerto, for the violin, in E, Op. 64, 
 Mendelssohn (Monsieur Jehin Prume) ; Overture, "Pro- 
 metheus" (first time), Bargiel; Fantaisie Brillante, for 
 violin, Jehin Prume (Monsieur Jehin Prume) ; Selections, 
 from "A Midsummer Night's Dream," Mendelssohn. 
 
 Third Concert, January 27, 1866. Symphony, No. i, in D 
 (first time), Mozart ; .Capriccio Brillante, for pianoforte, in 
 B minor, Op. 22, Mendelssohn (Mr. James M. Wehli) ; 
 Overture, "Zum Mahrchen von der schonen.Melusine," Op. 
 32, Mendelssohn ; Grand Fantasia, for pianoforte, on airs 
 from Gounod's "Faust," J. M. Wehli (Mr. James M. 
 Wehli) ; Fantastic Syihphony, "An Episode in the Life of 
 an Artist" (first time), Berlioz. 
 
 Fourth Concert, March 10, 1866. Symphony, No. 3, Op. 97, 
 in E-flat, Schumann; Aria, "Oh! mio Fernando," from 
 the opera " La Favorita," Donizetti (Senorita Carmelina 
 Poch) ; Concerto, for the pianoforte. Op. 25, in G minor, 
 Mendelssohn (Mr. Richard Hoffman) ; Introduction, "Tris- 
 tan und Isolde" (first time), Wagner ; Romanza, "Selva 
 Opaca," from "William Tell," Rossini (Senorita Carmelina 
 Poch); Overture, "Euryanthe," Weber. 
 
 Fifth Concert, April 2,1, 1866. Symphony, No. 7, in A, Op. 92, 
 Beethoven ; Scena ed Aria, for soprano, Op. 94, " Infelice," 
 Mendelssohn (Miss Maria S. Brainerd) ; Concerto, for the 
 piano, in F-sharp minor. Op. i (first time), Norbert Burg- 
 miiller (Mr. William Mason) ; Overture, " Faust," Wagner ; 
 Serenade-Barcarolle, Gounod (Miss Brainerd; violin ob- 
 bUgato, Theodore Thomas); Overture, "Les Francs Juges," 
 Berlioz. 
 
APPENDIX. 129 
 
 Twenty-Fifth Season, 1866-1867. 
 
 (Concerts in Steinway Hall.) 
 
 CONDUCTOR FOR THE SEASON, MR. CARL BERGMANN. 
 
 First Concert, November 17, 1866. Symphony, No. 2, in C, 
 Op. 61, Schumann; Scena ed Aria, for soprano. Op. 94, 
 "Infelice," Mendelssohn (Fraulein NataUe Seelig); Con- 
 certo, No. 5, for pianoforte, in E-flat, Op. 73, Beethoven 
 (Mr. Carl Wolfsohn); " Nachtlicher Zug," episode from 
 Lenau's "Faust" (first time), Liszt; Aria, "Parto, parto, 
 ma tu ben mio," from the opera " La Clemenza di Tito," 
 Mozart (Fraulein Natalie Seelig; clarinet obbligato by 
 Mr. E. Boehm); Overture, " Columbus," in D (first time), 
 G. F. Bristow. 
 
 Second Concert, December 15, 1866. Symphony, No. 4, Op. 60, 
 in B-flat, Beethoven ; Concerto, for the violin. Op. 64, in E, 
 Mendelssohn (Mademoiselle Camilla Urso); Introduction, 
 "Lohengrin," Wagner; First movement. Concerto, for the 
 pianoforte, in D minor, Mozart (Mademoiselle Sophie Gro- 
 scheli) ; Ballade et Polonaise, for the violin. Op. 38, Vieux- 
 temps (Mademoiselle Camilla Urso); Overture, "Le Car- 
 naval Romain," Op. 9, in A, Berlioz. 
 
 Third Concert, January 26, 1867. Symphony, in D minor 
 (first time), Volkmann ; Concerto, for the pianoforte, Op. 
 58, in G, Beethoven (Mr. William Mason) ; Overture, "Fin- 
 gal's Cave," Op. 24, Mendelssohn; Fifth Concerto, for the 
 violin. Op. 37, Vieuxtemps (Mr. Wenzel Kopta) ; Overture, 
 " Les deux Joum6es," in E, Cherubini. 
 
 Fourth Concert, March 9, 1867. Overture, "The Magic Flute," 
 Mozart ; Romanza, " Deserto in terra," from " Don Sebas- 
 tian," Donizetti (Signor Lotti); Second Concerto, for piano- 
 
I30 APPENDIX. 
 
 forte and orchestra, in F minor, Op. 21, Chopin; Sym- 
 phony, No. 2, in D, Op. 36, Beethoven ; Cavatina, " II mio 
 tesoro," from "Don Giovanni," Mozart (Signor Lotti); 
 "Tasso," poeme symphonique, Liszt. 
 
 Fifth Concert, April 20, 1867. Symphony, No. 4, in C, Op. 38, 
 "Jupiter," Mozart; First Concerto, for the pianoforte, in 
 E-flat (first time), Liszt (Mr. S. B. Mills) ; Third and fourth 
 movements, from the Symphony "Romeo et Juliette," 
 Op. 17 (first time), Berlioz ; Solo, for the pianoforte, Chopin 
 (Mr. S. B. Mills); Overture, " Tannhauser," Wagnpr. 
 
 Twenty-Sixth Season, 1 867-1 868. 
 
 (Concerts in Stelnway Hall.) 
 
 CONDUCTOR FOR THE SEASON, MR. CARL BERGMANN. 
 
 First Concert, November 16, 1867. Symphony, No. 6 (" Pasto- 
 ral "), Op. 68, Beethoven ; Concerto, for the pianoforte. Op. 
 8, in D minor, Mozart (Mr. Richard Hoffman) ; Overture, 
 "Manfred," Schumann; Concerto, for the violin. Op. 64, 
 Mendelssohn (Madame Camilla Urso) ; " Mazeppa," Liszt, 
 
 Second Concert, December i\, 1867. Symphony, in C, Schubert ; 
 Concerto, for the pianoforte, in F minor, Weber (Miss Alide 
 Topp); Overture, " Othello " (first time), Ritter; Fantasia, 
 "Ruins of Athens" (with orchestral accompaniment), 
 Liszt (Miss Alide Topp) ; Overture, " Calm at Sea, and 
 Happy Voyage," Mendelssohn. 
 
 Third Concert, February i, 1868. Overture, "Jessonda,"Spohr; 
 Concerto, for the pianoforte, in A minor. Op. 54, Schumann 
 (Mr. S. B. Mills) ; Symphony, No. 9, in D minor. Op. 125, 
 Beethoven. 
 
APPENDIX. 131 
 
 Fourth Concert, March 7, 1868. Symphony, in G minor, Mo- 
 zart ; Scena ed Aria, ' ' Ocean, Thou Mighty Monster ! " from 
 "Oberon," Weber (Madame Parepa Rosa); Introduction, 
 " Lohengrin," Wagner ; Aria, "Deh vieni," from " Nozze 
 di Figaro," Mozart (Madame Parepa Rosa) ; Symphony, 
 in A major. Op. 90, Mendelssohn. 
 
 Fifth Concert, April 18, 1868. Symphony, No. i, in B-flat, Op. 
 38, Schumann; Songs, "The King in Thule," Veit, and 
 " Farewell ! " Kinkel (Arion Society) ; First movement. Con- 
 certo, for the violin, Beethoven (Mr. Theodore Thomas) ; 
 Selections, from "A Midsummer Night's Dream," Men- 
 delssohn ; Roman Triumph, song, with orchestral accom- 
 paniment, Max Bruch (Arion Society) ; Overture, " Frei- 
 schiitz," Weber. 
 
 Twenty-Seven til Season, 1 868-1 869. 
 
 (Concerts in the Academy of Music.) 
 
 CONDUCTOR FOR THE SEASON, MR. CARL BERGMANN. 
 
 First Concert, November 28, 1868. Sinfonia Eroica, No. 3, 
 in E-flat, Beethoven ; Aria, " Lascia ch' io pianga," Handel 
 (Miss Adelaide Phillipps); Overture, "Hamlet" (first time 
 in America), Gade ; Scena, "Che faro senza Euridice," 
 from "Orfeo," Gluck (Miss Adelaide Phillipps); "Sinfonie 
 Fantastique" (two parts), Berlioz. 
 
 Second Concert, January 9, 1869. Symphony, in B-flat, Haydn ; 
 Concerto, for the violin. Op. 61, first movement, Beethoven 
 (Madame Camilla Urso); Overture, " Semiramide " (first 
 time by the Society), Catell ; Concerto, E-flat, Op. 73, for 
 pianoforte, Beethoven (Mr. S. B. Mills) ; "Ce qu* on entend 
 sur la Montagne " (first time in America), Liszt. 
 
132 APPENDIX. 
 
 Third Concert, February 6, i86g. Symphony, " Reformation '' 
 (first time by the Society), Mendelssohn; Concerto, in A 
 major, for the vioUn, Ole Bull (Herr Ole Bull); Symphony, 
 in B minor (first time by the Society), Schubert ; " Po- 
 lacca Guerriera," for the violin, Ole Bull (Herr Ole Bull) ; 
 Overture, " Leonore," No. 3, Beethoven. 
 
 Fourth Concert, March 6, 1869. Suite, Overture, Air, Gavotte, 
 Bach; Scene and Aria, from " Fidelio," Beethoven (Mad- 
 ame de La Grange) ; Double Chorus, from " Lohengrin," 
 Wagner (Liederkranz and Arion) ; Overture, " Melusine," 
 Mendelssohn ; Aria, " Non mi dir," from " Don Giovanni," 
 Mozart (Madame de La Grange) ; Symphony, No. 4, D 
 minor, Schumann. 
 
 Ft/th Concert, April 10, 1869. " Die Ideale " (first time by the 
 Society), Liszt ; Aria, " Ah ! mon-fils," from " Le Prophete," 
 Meyerbeer (Madame Marietta Gazzaniga); Concerto, D 
 minor, for the pianoforte, Mendelssohn (Mr. Richard Hoff- 
 man); Overture, " Faust," Wagner ; "Salve Maria," Rizzo 
 (Madame Marietta Gazzaniga); Symphony, No. i, in C, 
 Beethoven. 
 
 Sixth Concert, May 8, 1869. Overture, " Iphigenia in Aulis,'' 
 Gluck ; Concerto, in G major, for the pianoforte, Beethoven 
 (Mr. Charles H. Jarvis) ; ' ' Manfred ' ' (first time in America) , 
 Schumann (soliloquy from Byron's Poem, Mr. Edwin 
 Booth ; choral parts sung by fifty ladies and eighty gentle- 
 men of the Liederkranz Society) ; Overture, " Oberon," 
 Weber. 
 
APPENDIX. 133 
 
 Twenty-Eightli Season, 1869-1870. 
 
 (Concerts in the Academy of Music] 
 
 CONDUCTOR FOR THE SEASON, MR. CARL BERGMANN. 
 
 First Concert, November 27, 1869. Symphony, in E-flat, Mo- 
 zart; Concerto, for the pianoforte, in E-flat, Liszt (Miss 
 AUde Topp) ; "A Midsummer Night's Dream," Mendel- 
 sohn (Mrs. Scott-Siddons, reader). 
 
 Second Concert, January 8, 1870. Symphony, in C (first time 
 in America), Raff; First part. Concerto, in D major, for 
 the violin, Mozart (Herr Ole Bull) ; Second Concerto, for 
 pianoforte and orchestra, F minor, Chopin (Mr. S. B. 
 Mills) ; Overture, " King Lear," Berlioz ; Fantasia, from 
 "Montecchi e Capuletti," Bellini (composed and performed 
 by Herr Ole Bull); Overture, "Jubel," Weber. 
 
 Third Concert, February 5, 1870. Symphony, " Die Weihe der 
 Tone," Spohr ; Cavatina, " Di piacer mi balza il cor," from 
 "La Gazza Ladra," Rossini (Miss C. L. Kellogg); Con- 
 certo, for pianoforte and orchestra, in E-flat major, Beet- 
 hoven (Miss Anna Mehlig) ; Overtlire, "Sakuntala" (first 
 time in America), Goldmark ; Aria, " Deh vieni, non tar- 
 dar," from "Nozze di Figaro," Mozart (Miss C. L. Kel- 
 logg) ; Overture, " Leonore," No. 2, Beethoven. 
 
 Fourth Concert, March 5, 1870. Overture, "The Magic Flute," 
 Mozart; Quintette, for flute, oboe, clarinet, bassoon, and 
 horn, Rietz; Scena and Aria, from "Der Freischiitz,'* 
 Weber (Mrs. Emily Davison) ; Fantasia, Air Russe, for the 
 violoncello, Kummer (Mr. F. Bergner) ; Overture, " Geno- 
 veva," Schumann ; Symphony, No. 5, in C minor. Op. 67, 
 Beethoven. 
 
134 APPENDIX. 
 
 Fifth Concert, April 2, 1870. Symphony, to Dante's "Divina 
 Comedia," Liszt (with chorus of boys and organ accom- 
 paniment, under the direction of Mr. A. H. Messiter) ; Over- 
 ture, "Coriolanus,'' Beethoven; Grande Scena ed Aria, 
 "Ah! Perfido," Beethoven (Madame Parepa Rosa); First 
 movement, "Concerto Militaire," for the violin, Lipinski 
 (Herr Carl Rosa); Overture, "Euryanthe," Weber. 
 
 Sixth Concert, May 7, 1870. Symphony, No. 2, in C, Op. 61, 
 Schumann ; First part. Concerto, for the pianoforte. Op. 58, 
 in G, Beethoven (Miss Anna Mehlig) ; Chorus, from " Die 
 Meistersinger " (first time by the Society), Wagner (Arion 
 Society and ladies' chorus ; Mr. Candidus, tenor solo ; Mr. 
 Remmertz, baritone solo); Concert Overture, " Ossian," 
 Gade ; Crusaders' Chorus, from " Elizabeth " (first time by 
 the Society), Liszt; Overture, "Fidelio," Beethoven. 
 
 Twenty-Ninth Season, 1 870-1871. 
 
 (Concerts in the Academy of Music.) 
 
 CONDUCTOR FOR THE SEASON, MR. CARL BERGMANN. 
 
 First Concert, November 26, 1870. Symphony, No. 8, Op. 93, 
 Beethoven ; Aria, " Parto, parto, ma tu ben mio," from 
 "La Clemenza di Tito," Mozart (Madame Rosa Czillag; 
 clarinet obbligato by Mr. Edward Boehm) ; Concerto, No. 
 2, in A, for the pianoforte, Liszt (Mr. S. B. Mills) ; Sym- 
 phony, in B minor (" Unfinished "), Schubert ; Aria, "Ah ! 
 mon fils ! " from " Le Proph^te," Meyerbeer (Madame Rosa 
 Czillag); Overture, " Tannhauser," Wagner. 
 
 Extra, Concert, to celebrate the centennial anniversary of the 
 birth of Ludwig Van Beethoven, Saturday, December 17, 
 1870. Symphony, No. 7, in A, Op. 92, Beethoven ; Scene 
 
APPENDIX. 135 
 
 and Air, from "Fidelio," Beethoven (Madame Louise 
 Lichtmay) ; Concerto, for the pianoforte, in E-flat, Op. 73, 
 Beethoven (Miss Mary Krebs); " Egmont " (first time), 
 Beethoven (songs by Madame Louise Lichtmay ; the poem 
 read by Mr. George Vandenhoff). 
 
 Second Concert, January 7, 1871. Symphony, "Ocean" (first 
 time), Rubinstein ; First movement. Concerto, in C minor. 
 Op. 37, Beethoven (Mr. Richard Hoffman) ; Overture, 
 " Anacreon," Cherubini ; Barcarole, from the Fourth Con- 
 certo, W. S. Bennett (Mr. Richard Hoffman) ; Overture, 
 " Ruy Bias," Mendelssohn. 
 
 Third Concert, February 4, 1871. Symphony, D major, Mo- 
 zart ; Recitative and Romanze, solo for bass clarinet (first 
 time), Bergmann (Mr. E. Boehm, assisted by Messrs. J. 
 Drewes, A. Goepel, clarinets, A. Sohst and L. Friedrich, 
 bassoons); Overture, "Sakuntala," Goldmark; Serenade, 
 quartette for four violoncellos, Lachner (Messrs. F. Berg- 
 ner, C. Bergmann, A. Liesegang, and A. Hoch) ; Over- 
 ture, Scherzo a;id Finale, Schumann 
 
 Fourth Concert, March 4, 1871. Symphony, No. 3, E-flat, Op. 
 97, Schumann ; Scena ed Aria, " E dunque ver? " Rubin- 
 stein (Miss C. L. Kellogg); Overture, "Medea," Bargiel; 
 Cavatina, " Bel raggio,"from " Semiramide," Rossini (Miss 
 C. L. Kellogg) ; Overture, "Aladdin " (first time), Rei- 
 necke. 
 
 Fifth Concert, April i, 1871. Symphony, B-flat major. No. 4, 
 Beethoven ; Concerto, No. 4, in D minor, for the pianoforte 
 (first time), Rubinstein (Miss Mary Krebs) ; Overture, " In 
 the Highlands," Op. 7, Gade; Scherzo, for the piano, from 
 "A Midsummer Night's Dream," Mendelssohn (Miss Mary 
 Krebs) ; " Tasso : Lamento e Trionfo," Liszt. 
 
T36 APPENDIX. 
 
 Sixth Concert, May 7, 1871. Symphony, No. 3, in A minor. 
 Op. 56, Mendelssohn ; Grand Scena and Aria, "Wie nahte 
 mir der Schlummer," from "Der Freischiitz," Weber (Miss 
 Mary Krebs); Concerto, for the violin, Op. 61, Beethoven 
 ' (Dr. Leopold Damrosch); Overture, "Idomenec" (first 
 time), Mozart ; Scene, from Goethe's " Faust," " Marguerite 
 at the Spinning-Wheel," Dachauer (Miss Mary Krebs) ; 
 Overture, "Carnaval Romain," Berlioz. 
 
 Thirtieth Season, 1871-1872. 
 
 (Concerts in the Academy of Music.) 
 
 CONDUCTOR FOR THE SEASON, MR. CARL BERGMANN. 
 
 First Concert, December 2, 1871. Symphony, No. 6 ("Pas- 
 toral"), Op. 68, Beethoven; Aria, "Dove Sono," from 
 " Le Nozze di Figaro," Mozart (Mrs. Philipp D. Gulager) ; 
 Introduction to "Die Meistersinger," Wagner; Concerto, 
 for pianoforte, E-flat, Beethoven (Herr Dionys Pruckner) ; 
 Aria, "In questo simplice," from " Betly," Donizetti (Mrs. 
 Philipp D. Gulager) ; Introduction and Polonaise, for the 
 pianoforte, Weber (Herr Dionys Pruckner); Overture, 
 "Julius Caesar," Schumann. 
 
 Second Concert, January 6, 1872. Overture, " Euryanthe," 
 Weber; Concerto for pianoforte, F-sharp minor, Op. 72 
 (first time in America), Reinecke (Mr. S. B. Mills) ; Sym- 
 phony, No. 13, in G major, Haydn ; Symphony, " Im 
 Walde" (first time by the Society), Raff. 
 
 Third Concert, February 3, 1872. Symphony, No. 4, in D mi- 
 nor, Schumann; Aria, "With Verdure Clad," from "The 
 Creation," Haydn (Mile. Henriette Corradi); Concerto, 
 No. I , for violin. Max Bruch (Senor P. Sarasate) ; Overture, 
 
APPENDIX. 137 
 
 "Macbeth," in C major. Op. 13, Heinefetter; Aria, "Di 
 quei soavi lagrime," from "Poliuto,"' Donizetti (Mile. Hen- 
 riette Corradi); Overture, "Leonore," No. 3, Beethoven. 
 
 Fourth Concert, March 2, 1872. Symphony, No. 2, in E minor 
 (first time), F. L. Ritter; Aria, from "Iphigenia in Aulis," 
 Gluck (Mr. F. Remmertz) ; Concerto, for the pianoforte, in 
 A minor, Schumann (Miss Anna Mehlig) ; Overture, " Co- 
 riolanus," Beethoven ; Aria from "Jean de Paris," Boiel- 
 dieu (Mr. F. Remmertz) ; "Les Preludes," Liszt. 
 
 Fifth Concert, April 6, 1872. Symphony, " Eroica," No. 3, in 
 E-flat, Beethoven; Song, "Wie kam die Liebe," Frey 
 (German Liederkranz) ; First Concert, for the violoncello, 
 Goltermann (Mr. F. Bergner) ; Overture. " Fingal's Cave," 
 Mendelssohn; Song, "Krieger's Gebet," Lachner (German 
 Liederkranz) ; Overture, " Prometheus," Bargiel. 
 
 Sixth Concert, May 4, 1872. Symphony, in C, Schubert; 
 Schlummerlied, from "The Christmas Oratorio," Bach 
 (Miss Antoinette Sterling) ; Concerto, in A, for the piano- 
 forte, Mozart (Mr. Richard Hoffman) ; Andante, from the 
 Trio Op. 97 (orchestrated by Liszt), Beethoven ; Lieder, 
 "Dichterliebe," Nos. 7, 8, and 15, Schumann (Miss Antoi- 
 nette Sterling; Mr. Henry C. Timm, Ex-President and 
 Honorary Member, at the pianoforte); "Mazeppa," Liszt. 
 
 Thirty-First Season, 1872-1873. 
 
 (Concerts in the Academy of Music.) 
 
 CONDUCTOR FOR THE SEASON, MR. CARL BERGMANN. 
 
 First Concert, November 16, 1872. Overture, " Tannhauser," 
 Wagner ; Concerto, for the pianoforte, No. 4, in D minor, 
 Rubinstein (Mr. Anton Rubinstein) ; Overture, " Prinzessin 
 Use" (new), Erdmannsdorfer ; Preludes, for the pianoforte. 
 
138 APPENDIX, 
 
 Chopin (Mr. Anton Rubinstein) ; Symphony, No. 7, in A 
 major, Op. 92, Beethoven. 
 
 Second Concert, December 14, 1872. Symphony, No. 4, in G 
 minor (new). Raff; "Spirit's Song," Haydn (Mademoiselle 
 Anna Drasdil) ; First movement Concerto, for the violin. 
 Op. 61, Beethoven (Herr Benno Walter) ; Love Scene, from 
 the Symphony " Romeo and Juliet," Berlioz ; Songs, "Pray- 
 er," Hiller, and " Son of the Ocean Isle," Pinsuti (Mademoi- 
 selle Anna Drasdil); Overture," Consecration of the House," 
 Beethoven. 
 
 Third Concert, January 18, 1873. Overture, "Oberon," Weber ; 
 Concerto, for the pianoforte, in F minor, Chopin (Mr. S. 
 B.Mills); Hirtengesang, from "Christus" (new), Liszt; 
 Concerto, for the violin, in D, Op. 121, Mozart (Madame 
 Camilla Urso) ; Symphony, No. 2, in C major, Op. 61, Schu- 
 
 Fourth Concert, February 15, 1873. Symphony, No. 8, in B 
 minor (new), Gade; Aria, from "The Creation," Haydn 
 (Herr Carl Speigler) ; Adagio, for the violoncello, Bargiel 
 (Mr. Frederick Bergner) ; Overture, "Galilei," in A major 
 (new), Matzka; Symphony, No. 5, in C minor, Beethoven. 
 
 Fifth Concert, March 15, 1873. Symphony, "Oxford," in G 
 major (first time), Haydn; Cavatina, "Bel raggio," from 
 " Semiramide," Rossini (Mile. Henriette Corradi); Con- 
 certstiick, for the pianoforte, Weber (Mr. Richard Hoff- 
 man); Symphony, to Dante's "Divina Comedia," Liszt 
 (with ladies' chorus and organ accompaniment, under the 
 direction of Mr. E. H. Pinkert). 
 
 Sixth Concert, April 19, 1873. Overture, Scherzo and Finale, 
 Schumann; Concerto, for the violin, No. 8 ("Gesangs- 
 scene"), Spohr (Mr. Henri Wieniawski); Symphony, 
 "Ocean," Rubinstein (conducted by the composer). 
 
APPENDIX. 139 
 
 Thirty-Second Season, 1873-1874. 
 
 (Concerts in the Academy of Music.) 
 
 CONDUCTOR, MR. CARL BERGMANN. 
 
 First Concert, November 15, 1873. Symphony, B-flat major, 
 No. 4, Beethoven ; Scena, from " Orfeo ed Euridice," Gluck 
 (Mile. Anna Drasdil) ; Concerto, No. 9, Op. 55, for the 
 violin, Spohr (Herr Ernst Schiever); Introduction, "Lore- 
 ley " (first' time). Max Bruch; Cavatina, " Di tanti palpiti," 
 from "Tancredi," Rossini (Mile. Anna Drasdil); "Les 
 Prfludes," Liszt. 
 
 Second Concert, December 13, 1873. Symphony, "Italian," in 
 A major, Op. 90, Mendelssohn ; Scena ed Aria, " Come una 
 volta il sonno," from "Der Freischiitz," Weber (Madame 
 Gulager); Overture, "Leonore," No. 2, Beethoven; Cava- 
 tina, "ftfa la sola," from " Beatrice di Tenda," Bellini (Mad- 
 ame Gulager) ; Symphony, No. i, F major (first time), 
 Rubinstein. 
 
 Third Concert, January 17,1874. Overture, " Melusine," Op. 
 32, in F major, Mendelssohn ; Concerto, for pianoforte, 
 Op. 16, Henselt (Mr. S. B. Mills) ; Fantasia, in F minor (ar- 
 ranged for orchestra by E. Rudorff ) ; Etude, for pianoforte, 
 and Tarantelle, Chopin (Mr. S. B. Mills) ; Symphony, No. 
 I, in B-flat, Op. 38, Schumann. 
 
 Fourth Concert, February 14, 1874. Overture, " Michel Angelo " 
 (first time), Gade ; Concerto, for the violin. Op. 64, in E, 
 Mendelssohn (Mr. Henri Wieniawski); Overture, "Faust," 
 Wagner; Adagio and Fugue, for the violin, G minor, Bach 
 (Mr. Henri Wieniawski) ; Symphony, " Arcadian," E minor 
 (new), Bristow. 
 
I40 APPENDIX. 
 
 Fifth Concert, March 14, 1874. Symphony, No. 4, in C major, 
 Op- 38. "Jupiter," Mozart; Scena, "Che faro senza Euri- 
 dice,*' from "Orfeo," Gltfck (Miss Antonia Henne); Ro- 
 mance and Rondo, for pianoforte, from the Concerto in 
 E minor. Op. 11, Chopin (Mr. Eraile Guyon); Songs, "O 
 frage nicht!" and " Nachhall," Rubinstein (Miss Antonia 
 Henne); Symphony, No. 5, "Lenore," Raff. 
 
 Sixth Concert, April 18, 1874. Suite, No. 2 (first time), Grimm ; 
 Grand Scena ed Aria, "Ah! perfido," Beethoven (Mile, 
 lima di Murska) ; Overture, " Sakuntala," Goldmark ; Aria, 
 " In vano il fato," from " Robert le Diable,'' Meyerbeer 
 (Mile. lima di Murska); "Egmont," all the music, songs, 
 and declamation, Beethoven (the songs by Mile. lima di 
 Murska, the poem read by Mr. Wm. H. Pope). 
 
 Thirty-Third Season, 1874-1875. 
 
 (Concerts in the Academy of Music.) 
 
 CONDUCTOR FOR THE SEASON, MR. CARL BERGMANN. 
 
 First Concert, November 14, 1874. Symphony, No. 6 ("Pas- 
 toral"), Op, 68, Beethoven; Aria, "Voi che Sapete," from 
 "Le Nozze di Figaro," Mozart (Mile. Bianca Donadio); 
 Concerto, for pianoforte, Op. 185 (new), Joachim Raff (Miss 
 Lina Luckhardt); Overture, " Normannenzug," Dietrich; 
 Aria, from "Pre aux Clercs," Herold (Mile. Bianca Dona- 
 dio, with violin obbligato by Mr. Leopold Meyer) ; Solos, 
 Nocturne, F-sharp major, Chopin, and Arabesque, Schu- 
 mann (Miss Lina Luckhardt); Overture, "Euryanthe," 
 Weber. 
 
 Second Concert, December 12, 1874. Symphony, No. 3, in E- 
 flat, Schumann; Aria, "On mighty pens," from "The 
 Creation," Haydn (Miss Ida Rosburgh); Andante, from 
 
APPENDIX. 141 
 
 the Trio, Op. 97, Beethoven (orchestrated by Liszt) ; Cia- 
 conna, in D minor (first time in America), Bach (arranged 
 for grainj orchestra and dedicated to the Philharmonic 
 Society of New York by its Honorary Member, Joachim 
 Raff); Recitative and Aria, from "The Magic Flute," 
 Mozart (Miss Ida Rosburgh); Overture, "Camaval Ro- 
 main," Berlioz. 
 
 Third Concert, January 23, 1875. Symphony, No. 9, in C 
 minor (first time), Haydn ; Recitative and Aria, " Non mi 
 dir," from " Don Giovanni," Mozart (Mrs. Henry Butman) ; 
 Ciaconna, in D minor (by particular request), Bach-Raff; 
 Introduction to " Tristan und Isolde," Wagner; Cavatina, 
 "Bel raggio," from "Semiramide," Rossini (Mrs. Henry 
 Butman); Symphony, No. 6, in D minor. Op. 189 (new), 
 Raff (Motto: "Gelebt, gestrebt— Gelitten, gestritten— Ge- 
 storben, erworben"). 
 
 Fourth Concert, February 20, 1875. Symphony, No. 3, in C 
 minor. Op. 78 (first time), Spohr ; Concerto, for pianoforte, 
 A minor. Op. 54, Schumann (Mr. S. B. Mills) ; Overture, 
 "Ruler of Spirits," Weber; "Tasso; Lamento e Trionfo," 
 Liszt; Adagio, for violoncello, Op. 38, Bargiel (Mr. F. Berg- 
 ner); Fest-Ouvertiire, Op. 51 (first time), Lassen. 
 
 Fifth Concert, March 20, 1875. Symphony, No. I, in D major, 
 Mozart ; Concerto, for the violin (new), Damrosch (Dr. Leo- 
 pold Damrosch); Overture, " Leonore," No. 3, Beethoven; 
 Symphony, No. 3, A minor. Op. 56 ("Scotch"), Mendels- 
 sohn; Overture, "Flying Dutchman," Wagner. 
 
 Sixth Concert, April 24, 1875. Overture, "Manfred," Schu- 
 mann; Grande Scena ed Aria, "Ah! perfido," Beethoven 
 (Miss Annie J. Borie) ; First Concerto, for the pianoforte, in 
 E-flat, Liszt (Miss Julia Riv6) ; Fantasie-Overture, to Moore's 
 " Paradise and the Peri," Op. 42 (first time), Bennett ; Over- 
 ture, " Les Francs Juges," Berlioz ; " Faschingsschwank aus 
 Wien," for the pianoforte, Schumann (Miss Julia Riv^) ; 
 Symphony, No. 5, in C minor. Op. 67, Beethoven. 
 
142 APPENDIX. 
 
 THrty-Fourth Season, 1875-1876. 
 
 (Concerts in the Academy of Music] 
 
 CONDUCTOR FOR THE SEASON, MR. CARL BERGMANN. 
 
 First Concert; November 13, 1875. Overture, "Julius Caesar," 
 Hans Von Biilow ; Concerto, for pianoforte, Op. 1 5, D minor, 
 Brahms (Mme. Nannetta Falk-Auerbach) ; Recitativo e 
 Aria, " Ella mi fu rapita," Verdi (Herr Theodor Wachtel) ; 
 Transcription, for pianoforte, "A Midsummer Night's 
 Dream," Liszt (Mme. Nannetta Falk-Auerbach) ; Lied, 
 " Liebesbotschaft," Pfeffer (Herr Theodor Wachtel) ; Sym- 
 phony, "Eroica," No. 3, Beethoven. 
 
 Second Concert, December 11, 1875. Symphony, "Die Weihe 
 der Tone," Spohr ; Concerto, for violin, in E, Op. 64, Men- 
 delssohn (Mr. Joseph White); Overture, "Genoveva," 
 Schumann ; Ciaconna, for violin solo, D minor. Bach 
 (Mr. Joseph White) ; "Les Preludes," Liszt. 
 
 Third Concert, January 22, 1876. Symphony, No. 3, in E-flat 
 major, Haydn ; Concerto, for the pianoforte. No. 2, E 
 minor. Op. 120, Reinecke (Miss Lina Luckhardt); Scene 
 and Aria, "Ah! perfido," Beethoven (Miss Eugenie Pap- 
 penheim); Overture, "Coriolanus," Op. 62, Beethoven; 
 Recitativo e Aria, from "Le Nozze di Figaro," Mozart 
 (Miss Eugenie Pappenheim); Symphony, No. i, F major 
 (first time in America), Metzdorff. 
 
 Fourth Concert, February 19, 1876. "Ce qu'on entend sur la 
 Montagne," Liszt; Concerto, No. 5, for the pianoforte, in 
 E-flat, Op. 73, Beethoven (Miss Julia Riv^); Overture, 
 "Faniska" (first time), Cherubini; Rondo, for the piano- 
 forte, in E-flat, Op. 16, Chopin (Miss Julia Riv^); Sym- 
 phony, No. 4, in D minor, Schumann. 
 
APPENDIX. 143 
 
 Fifth Concert, March i8, 1876. (Conductor, Mr. George 
 Matzka.) Symphony, No. 2, in C, Op. 140, Raff; Ballade 
 et Polonaise, for the violin, Op. 38, Vieuxtemps (Mr. Joseph 
 White) ; Symphony, in B minor (" Unfinished "), Schubert ; 
 Ciaconna, for violin solo, D minor (by request). Bach (Mr. 
 Joseph White) ; Overture, " Faust," Op. 60, Spohr. 
 
 Sixth Concert, .April 22, 1876. (Conductor, Mr. George 
 Matzka.) Symphony, No. 4, in B-flat, Beethoven ; Con- 
 certo, for the pianoforte, E minor. Op. 11, Chopin (Mr. S. 
 B. Mills); Fantaisie-Overture, "Romeo et Juliette" (first 
 time in America), Tschaikowsky ; Rhapsodie, No. 10, for 
 'pianoforte, Liszt (Mr. S. B. Mills) ; Overture, " Meeresstille 
 und gluckliche Fahrt," Op. 27, Mendelssohn. 
 
 i 
 
 Thirty-Fifth Season, 1876-1877. 
 
 (Concerts in the Academy of Music.) 
 
 CONDUCTOR FOR THE SEASON, DR. LEOPOLD DAMROSCH. 
 
 First Concert, November \, 1876. Symphony, No. 5, in C minor. 
 Op. 67, Beethoven ; First act of " Die Walkiire," the second 
 part of the " Ring des Nibelungen " (first time in America), 
 Wagner. 
 
 Second Concert, December 9, 1876. Symphony, No. 2, in C, Op. 
 61, Schumann ; Concerto, No. 2, in G minor, for pianoforte 
 and orchestra (first time in America), Saint-Sa€ns (Mr. B. J. 
 Lang) ; Grand Scene from " Die Gotterdammerung," the 
 fourth part of the "Ring des Nibelungen." (first time in 
 America), Wagner (at, Siegfried's Narrative; b, Siegfried's 
 Death and Death-Song ; c, Marcia Funebre) ; Overture, 
 "Leonore," No. 3, Beethoven. 
 
144 APPENDIX. 
 
 Third Concert, January 13, 1877. Symphony, " Landliche 
 Hochzeit," Op. 26 (first time in America), Goldmark ; "The 
 Tempest," chorus with orchestra (first time in America), 
 Haydn; "The Ruins of Athens," Beethoven {a. Overture; 
 b. Duet, soprano and baritone ; c. Chorus of Dervishes, 
 male voices ; d, Marcia alia Turca ; e, Marcia Solemne, 
 chorus and orchestra); "Absence," romance, for soprano, 
 with orchestra (new), Berlioz (Mrs. E. Batman); Quintor, 
 Septuor, and chorus, from "The Trojans" (first time in 
 America), Berlioz (Mrs. E. Butman, Miss A. Hall, Miss E. 
 Cranch, Messrs. N. S. Leggat, J. R. Nilsen, A. E. Stoddard, 
 and G. P. Warner) ; Fantasie, for pianoforte, soli, chorus, 
 and orchestra, Op. 80, Beethoven (pianoforte, Mr. Bernard 
 Boekelman). 
 
 Fourth Concert, February 17, 1877. Overture, "Melusine," 
 Mendelssohn; Serenade, for string orchestra (first time), 
 Robert Fuchs ; Concerto, for the pianoforte, with orchestra 
 (first time), Hans von Bronsart (Mr. S. B. Mills); Sym- 
 phony, No. 7, in A major, Beethoven. 
 
 Fifth Concert, March 24, 1877. Symphony, E-flat, No. i, 
 Haydn; Two airs, "Let me wander not unseen," and "Or- 
 pheus' self may heave his head," from " II Allegro ed il 
 Pensieroso," Handel (Miss Ida Hubbell); "Tasso," Liszt; 
 Grand Recitative and Aria, from " Fidelio," Beethoven 
 (Miss Ida Hubbell); Overture, "Oberon," Weber. 
 
 Sixth Concert, April 28, 1877. Overture, " Iphigenia in Aulis " 
 (with ending by' Wagner), Gluck; Concerto, for violin with 
 orchestra. Op. 61, Beethoven (Dr. Leopold Damrosch; 
 George Matzka, conductor) ; Symphony, No. 9, in D minor, 
 Op. 125, Beethoven. 
 
APPENDIX. 145 
 
 Thirty-Sixth Season, 1877-1878. 
 
 (Concerts in the Academy of Music.) 
 
 CONDUCTOR FOR THE SEASON, MR. THEODORE THOMAS. 
 
 First Concert, November ii^, 1877. Overture, "Les deux Jour- 
 nees," Cherubini ; Symphony, No. 6 (" Pastoral "), Op. 68, 
 Beethoven; Selections, from "Manfred," Overture, Inter- 
 lude, Invocation of the Alpine Fay, Schumann ; Suite, for 
 the pianoforte and orchestra, Op. 200 (first time). Raff (Mr. 
 S. B. Mills); "Mazeppa," Liszt. 
 
 Second Concert, December 22, 1877. Symphony, C minor. Op. 
 68, Brahms; Aria, "Dove sei" from "Rodelinda," Han- 
 del (Miss Anna Drasdil) ; Overture, " Leonore," No. 2, 
 Op. 72, Beethoven; Aria, " Hecuba," Op. 92, Rubinstein 
 (Miss Anna Drasdil) ; Prelude to " Die Meistersinger," Wag- 
 
 Third Concert, January 12, 1878. Symphony, No. 9, in C, 
 Schubert; "Eine Faust Ouvertiire," Wagner; Serenade, 
 No. 3, D minor. Op. 69, for string orchestra, Volkmann 
 (violoncello obbligato by Mr. F. Bergner); Ball Scene, 
 from the Dramatic Symphony, "Romeo and Juliet," Op. 
 17, Berlioz. 
 
 Fourth Concert, February 9, 1878. Symphony, No. 1, in D, 
 Mozart ; Variations, tljeme by Haydn (Choral St. Antoni), 
 Op. 56, Brahms; Overture, "Sakuntala," Op. 13, Gold- 
 mark; Symphony, No. 8, in F, Op. 93, Beethoven. 
 
 Fifth Concert, March 9, 1878. Overture, Scherzo and Finale, 
 Op. 52, Schumann; Scene and Aria, from "Der Frei- 
 schiitz," Weber (Miss Mathilde Wilde); Concerto, for the 
 pianoforte, No. 3, C minor. Op. 37, Beethoven (Mr. Richard 
 Hoffman); "Die Loreley," Liszt (Miss Mathilde Wilde); 
 Symphony, No. 3, Op. 153, "Im Walde," Raff. 
 
146 APPENDIX. 
 
 Sixth Concert, April 6, 1878. Music to Goethe's "Egmont," 
 Op. 84, Beethoven (the songs by Madame Eugenie Pap- 
 penheim); Symphony, No. 2, "Ocean," Op. 42, Rubin- 
 stein; "Siegfried's Death" and Finale, from "Die Gbtter- 
 dammerung," Wagner (Brunnhilde, Madame Eugenie 
 Pappenheim). 
 
 Thirty-Seventli Season, 1878-1879. 
 
 (Concerts in the Academy of Music.) 
 
 CONDUCTOR FOR THE SEASON, MR. ADOLPH NEUENDORFF. 
 
 First Concert, November 23, 1878. Symphony, in D, No. 2, 
 Op. 73, Brahms; Concerto, for violin, " Pathetique," in F- 
 sharp minor. Op. 23 (first time in America), H. W. Ernst 
 (Edouard Remenyi); Aria, from "II Giuramento," Merca- 
 dante (Antonio Galassi) ; Overture, " Leonore," No. 3, Beet- 
 hoven ; Violin Solos, Nocturne, in E-flat, and Mazurka, in 
 B-flat (transcribed by E. Remenyi), Chopin (Edouard Re- 
 menyi); Scena from " Tannhauser," Wagner (Antonio 
 Galassi); "Die Hunnenschlacht," Liszt. 
 
 Second Concert, December 21, 1878. Symphony, "Eroica," 
 in E-flat, Beethoven; "Ah! perfido," Beethoven (Mile. 
 Minnie Hauk) ; Pastoral, from the Symphonic Fantastique, 
 Op. 14, Berlioz; Songs, "Wenn es doch immer so bliebe," 
 Rubinstein, and " Haideroslein," Schubert (Mile. Minnie 
 Hauk); "Francesca da Rimini," fantasie, after Dante 
 (first time), Tschaikowsky. 
 
 Third Concert, January 11, 1879. Symphony, in E-flat, No. 3, 
 Schumann; Aria, from "Fidelio," Beethoven (Mrs. Anna 
 Granger-Dow); Concerto, in E-flat, for pianoforte. No. i, 
 Liszt (Mr. Franz Rummel); Songs, "Un aura amorosa," 
 from "Cosi fan tutte," Mozart, and "Im Griinen," Men- 
 delssohn (Mrs. Anna Granger-Dow); Overture, "Prome- 
 theus," Bargiel. 
 
APPENDIX. 147 
 
 Fourth Concert, February 8, 1879. Symphony, in A, No. 4, 
 Mendelssohn ; Concerto, for pianoforte, in A minor, Schu- 
 mann (Mrs. Leonie Groessler Heim) ; Symphony, in D, 
 No. 3 (first time in America), Tschaikowsky. 
 
 Fifth Concert, March 8, 1879. Symphony, in C, Mozart; Con- 
 certo, for the pianoforte. Op. 10, Ignaz Briill (Mr. Richard 
 Hoffman) ; Serenade, in D, for string orchestra, Fuchs ; 
 " Tasso," Liszt. 
 
 Sixth Concert, April 5, 1879. Symphony, No. 7, in A, Beet- 
 hoven ; Concerto Militaire, for violin, Lipinski (Herr Au- 
 gust Wilhelmj); Wotan's Farewell and Fire-Charm, from 
 "Die Walkure," Wagner; Nocturne^ Op. 31, No. I (ar- 
 ranged by A. Wilhelmj), Chopin (August Wilhelmj); 
 Overture, " Camaval Romain," Berlioz. 
 
 Thirty-Eighth Season, 1 879-1 880. 
 
 (Concerts in the Academy of Music.) 
 
 CONDUCTOR FOR THE SEASON, MR THEODORE THOMAS. 
 
 First Concert, November 22, 1879. Overture, " King Lear," 
 Op. 4, Berlioz ; Concerto, for pianoforte and orchestra. Op. 
 23, Tschaikowsky (Mr. Franz Rummel) ; Ride of the 
 Valkyries (" Die Walkure ") and Siegfried's Death ("Die 
 Gotterdammerung") Wagner; Symphony, in C minor. 
 No. 5, Op. 67, Beethoven. 
 
 Second Concert, December 20, 1879. Overture, " Consecration 
 of the House," Op, 124, Beethoven ; Duo, " Crudel! perche 
 finora," from " Le Nozze di Figaro," Mozart (Mile. Val- 
 leria and Signor Galassi) ; Prelude, Minuet and Fugue, for 
 string orchestra. Op. 10 (new), Hugo Reinhold ; Scena and 
 
148 APPENDIX. 
 
 Aria, "Ocean! Thou Mighty Monster !" from "Oberon," 
 Weber (Mile. Valleria); Symphony, No. i, B-flat, Op. 38, 
 Schumann; Romance, "Evening Star," from "Tann- 
 hauser," Wagner (Signor Galassi) ; Vorspiel, " Die Meis- 
 tersinger," Wagner. 
 
 Third Concert, January 24, 1880. Overture, "Anacreon," 
 Cherubini; Prelude, Adagio, Gavotte, and Rondo (new). 
 Bach (adapted for string orchestra by S. Bachrich) ; Con- 
 certo, No. 4, G major, Op. 58, Beethoven (Mr. Hermann 
 Rietzel) ; Symphony, No. 4, D minor. Op. 95 (" Dramatic"), 
 Rubinstein. 
 
 Fourth Concert, February 2i, 1880. Adagio and Fugue, C 
 minor, Mozart (string orchestra) ; Symphony, No. 4, B-flat, 
 Op. 60, Beethoven ; Concerto, for the pianoforte. No. 2, F 
 minor, Op. 21, Chopin (Herr Rafael Joseffy) ; Introduction 
 and Finale, " Tristan und Isolde," Wagner. 
 
 Fifth Concert, March 20, 1880. Symphony, B-flat, No. 8, 
 Haydn; Music to "A Midsummer Night's Dream," Men- 
 delssohn (i. Overture; 2, Scherzo; 3, Song with Chorus; 
 4, Intermezzo ; 5, Nocturne ; 6, Wedding-March ; 7, Finale) ; 
 Symphony, No. 9, C major, Schubert. 
 
 Sixth Concert, Aprit'id,, 1880. Chromatic Fantasia and Fugue, 
 Bach (adapted for orchestra and dedicated to Theodore 
 Thomas by George F.Bristow) ; " Die Gotterdammerung," 
 Act Third, Wagner (Scene I. The Three Rhine-Daughters, 
 and Siegfried. Woglinde, Miss Sherwin, Wellgunde, Mrs. 
 Buxton, Flosshilde, Miss Henne, Siegfried, Signor Campa- 
 nini ; Scene II. Siegfried, Hagen, and Gunther. Siegfried, 
 Signor Campanini ; Hagen, Mr. Remmertz ; Gunther, Mr. 
 Steinbuch) ; Symphony, No. 7, A major. Op. 92, Beet- 
 hoven. 
 
 \ 
 
APPENDIX. 149 
 
 TMrty-Nintli Season, 1880-1881. 
 
 (Concerts in the Academy of Music.) 
 
 CONDUCTOR FOR THE SEASON, MR. THEODORE THOMAS. 
 
 First Concert, November 13, 1880. Symphony, No. 3, Op. 55, 
 Beethoven; Concerto, Op. 16, Henselt (Herr Rafael Joseffy) ; 
 Introduction to Act III, "Die Meistersinger," Wagner; 
 Symphony, " Harold in Italy," Op. 16, Berlioz (viola obbli- 
 gato, Mr. Max Schwarzl. 
 
 Second Concert, December \\, 1880. Overture, " Coriolanus," 
 Op. 62, Beethoven ; Symphony, No. 8, B minor ("Unfin- 
 ished"), Schubert; "Siegfried" (Final Scene, Act I), "The 
 Welding of the Sword," Wagner. Siegfried, Mr. W. C. 
 Tower, Mime, Mr. Max Treumann ; "A Faust Symphony," 
 Liszt (chorus from the New York Liederkranz, Beethoven 
 Mannerchor, and New York Chorus). 
 
 Third Concert, January \i,, 1881. Symphony, G minor, Mozart ; 
 Recitative and Aria, from "Siroe," Act II, Handel (Herr 
 Georg Henschel) ; Introduction to Third Act "Medea," 
 Cherubini; Scena and Aria, "Wo berg' ich mich?"from 
 " Euryanthe," Weber (Herr Georg Henschel) ; Symphony, 
 No. 2, C major. Op. 61, Schumann. 
 
 Fourth Concert, February 12, 1881. Cantata, "A Stronghold 
 Sure," Bach (adapted for performance by Theodore Thom- 
 as); Symphony, No. 9, D minor. Op. 125, Beethoven 
 (solo parts: Miss Hubbell, Miss Winant, Mr. Fritsch.and 
 Mr. Remmertz). 
 
 Fifth Concert, March 11, 1881. Overture, to Schiller's "Deme- 
 trius,'' Op. no (new), Rheinberger; Concerto, No. 3, G 
 major, Bach (string orchestra) ; Concerto, A miiibr, Op. 54, 
 
15° APPENDIX. 
 
 Schumann (Mr. Rafael Joseffy); Fantasia, "Romeo and 
 Juliet," Op. i8 (new), Svendsen ; Symphony, No. 6 ("Pas- 
 toral"), Op. 68, Beethoven. 
 
 Sixth Concert, April f), i88i. Symphony, No. 2, D major, Op. 
 73, Brahms ; " Hecuba," Op. 92, Rubinstein (Miss Emily 
 Winant); "A Faust Overture," Wagner ; " In questa tomba 
 oscura," Beethoven (Miss Emily Winant); Scenes from 
 the Dramatic Symphony, "Romeo and Juliet," Op. 17, 
 Berlioz. 
 
 Fortieth Season, 1881-1882. 
 
 (Concerts in the Academy of Music.) 
 
 CONDUCTOR FOR THE SEASON, MR. THEODORE THOMAS. 
 
 First Concert, Novetnber 12, 1881. Overture, "Tragio»" Op. 81 
 (new), Brahms ; Concerto, for pianoforte. No. 2, Op. 44 
 (new), Tschaikowsky (Madame Madeleine Schiller) ; Sym- 
 phony, No. 4, B-flat, Op. 60, Beethoven ; Two Episodes 
 from Lenau's " Faust," Liszt. 
 
 Second Concert, December 10, 1881. Entr'acte, B minor, from 
 "Rosamunde," Schubert; Concerto, for two violins, D 
 minor. Bach (Messrs. Hermann Brandt and Richard 
 Arnold) ; Symphony, No. 5, G minor, Op. 107 (new), Ru- 
 binstein; Aria, from "The Flying Dutchman," Wagner 
 (Signor Galassi); Overture, " Leonore, No. 3," Beethoven. 
 
 Third Concert, January 14, 1882. Symphony, D major, Haydn ; 
 Concerto, No. 4, G major. Op. 58, Beethoven (Mr. Rafael 
 Joseffy) ; Symphony, No. 3, E-flat, Op. 97, " Rhenish," Schu- 
 mann. 
 
APPENDIX. 151 
 
 Fourth Concert, February 11, 1882. Symphony, D major, 
 Mozart ; Aria, " Ah ! that my heart's blest freedom," from 
 " Armide," Gluck (Mrs. E. Aline Osgood); Menuet and 
 Finale (String Quartette No. 9, in C), Beethoven (string 
 orchestra) ; Duet, " O Teresa ! " from " Benvenuto Cellini," 
 Berlioz (Mrs. Osgood and Mr. Toedt) ; Symphony, " Tell," 
 Op. 63 (new), Hans Huber. 
 
 Fifth Concert, March 11, 1882. Overture, " Genoveva," Schu- 
 mann; "Das Rheingold," Wagner (Prelude and Scene, 
 in the depths of the Rhine, up to the beginning of Scene 
 II., before Walhall; Fragment, Loge's Tidings; Grand 
 Closing Scene, Wotan, Donner, Froh, Loge, and the three 
 Rhine-Daughters) ; Symphony, No. 5, C minor. Op. 67, 
 Beethoven. 
 
 Sixth Concert, April \^,\%%T.. Overture, " Consecration of the 
 House," Op. 124, Beethoven; Concerto, in B-flat, Op. 18 
 (first time), Hermann Gotz (Mr. Hermann Rietzel) ; Ro- 
 manza, "Unter bliihenden Mandelbaumen," from "Eury- 
 anthe," Weber (SignorCampanini); Vorspiel," Lohengrin," 
 Wagner; Symphony, in C, No. g, Schubert. 
 
 \ 
 
 Forty-First Season, 1882-1883. 
 
 (Concerts in the Academy of Music.) 
 
 CONDUCTOR FOR THE SEASON, MR. THEODORE THOMAS. 
 
 First Concert, November 11, 1882. Symphony, in C minor 
 (new), (" Scandinavian,") Frederic H. Cowen; Recitative 
 and Aria, "Mia speranza," Mozart (Miss Emma Thursby); 
 Vorspiel, " Parsifal " (manuscript), Wagner; "Die Lore- 
 ley," Liszt (Miss Emma Thursby); Symphony, in A, No. 
 7, Op. 92, Beethoven. 
 
152 APPENDIX. 
 
 Second Concert, December g, 1882. Symphony, in C (Kochel 
 551), Mozart; Second Concerto, in B-flat, Op. 83 (new), 
 Brahms (Herr Rafael Joseffy); Symphony, in F, No. 3, Op. 
 iS3,"Im Walde" (in memoriam), Raff. 
 
 nird Concert, January 6, 1883. Symphony, in D, Op. 60 
 (new), Anton Dvorak; Rhapsodic, Op. 53 (first time), 
 Brahms (Miss Antonia Henne and German Liederkranz) ; 
 Capriccio, Op. 4, Hermann Gradener; Symphony, in F, 
 Op. 93, No. 8, Beethoven. 
 
 Fourth Concert, February 10, 1883. Symphony, in E-flat, No. 
 I, Haydn; Concerto, for vioUn, No. i, Op. 26, Max Bruch 
 (Mr. John F. Rhodes); Concert Overture, Op. 32 (new), 
 Hugo Reinhold; Symphony, in B-flat, No. i. Op. 38, Schu- 
 mann. 
 
 Fifth Concert, March 10, 1883. In memoriam Richard Wag- 
 ner. "Eine Faust Ouverture"; Wotan's Abschied and 
 Feuerzauber, from "Die Walkiire" {Wotan, Mr. Franz 
 Remmertz); Siegfried's Tod, from "Die Gbtterdammer- 
 ung;" Symphony, "Eroica," Beethoven. 
 
 Sixth Concert, April 7, 1883. Overture, "Medea," Op. 22, 
 Bargiel; Serenade, in D, Op. g, for string orchestra, Rob- 
 ert Fuchs ; Concerto, in A minor, Op. 54, Schumann (Mr. 
 Rafael Joseffy); Symphony, in C, No. 2, "Ocean," Op. 
 42, Rubinstein. 
 
 Forty-Second Season, 1 883-1 884. 
 
 (Concerts in the Academy of Music.) 
 
 CONDUCTOR FOR THE SEASON, MR. THEODORE THOMAS. 
 
 First Concert, November lo, 1883. Toccata (adapted for grand 
 orchestra by G. Esser), Bach ; Symphony, in B-flat, No. 4, 
 Op. 60, Beethoven; Aria, "Deh, per questo istante," from 
 "La Clemenza di Tito," Mozart (Miss Agnes B. Hunting- 
 
APPENDIX. 153 
 
 ton); Ballad, for orchestra, "La Belle Dame sans Merci" 
 (manuscript), A. C. Mackenzie ; Songs, " Der Page," Ru- 
 binstein, and "Von ewiger Liebe," Brahms (Miss Agnes 
 
 B. Huntington ; Overture, " King Lear," Op. 4, Berlioz. 
 
 Second Concert, December 15, 1883. Symphony, in F, Op. 9, 
 Herman Gotz ; Concerto, for pianoforte, No. 5, E-flat, Op. 
 73, Beethoven (Carl Baermann); Symphony, No. 4, D 
 minor. Op. 120, Schumann. 
 
 Third Concert, January 19, 1884. Serenade, in G (manuscript), 
 
 C. Villiers Stanford; Overture, "Leonore,"' No. 2, Beet- 
 hoven ; Concerto, in G, Bach (string orchestra) ; Sym- 
 phony, No. 4, "Dramatic," Op. 95, Rubinstein. 
 
 Fourth Concert, February 16, 1884. Symphony, in C minor 
 ("Scandinavian"), Frederic H. Cowan; Variationr on a 
 theme by Haydn (Chorale St. Antoni), Brahms ; Scherzo, 
 from "Romeo and Juliet," Berlioz; Symphony, C minor, 
 No. 5, Op, 67, Beethoven. 
 
 Fifth Concert, March 15, 1884. Symphony, G minor, Mozart; 
 Concerto, No. 4, D minor. Op. 70, for pianoforte, Rubinstein 
 (Mr. Rafael Joseffy) ; Symphony, No. 2, in C, Op. 61, Schu- 
 mann. 
 
 Sixth Concert, April 19, 1884. Symphony in C, No. 9, Schu- 
 bert ; Scena and Aria, " Wo berg' ich mich ? " from " Eury- 
 anthe," Weber (Herr Emil Scaria) ; Overture," Sakuntala," 
 Goldmark; "Die Meistersinger," ^o^^j Address (Herr 
 Emil Scaria), and Vorspiel, Wagner. 
 
154 APPENDIX. 
 
 Forty-Third Season, 1884-1885. 
 
 (Concerts in the Academy of Music.) 
 
 CONDUCTOR FOR THE SEASON, MR. THEODORE THOMAS. 
 
 First Concert, November 15, 1884. Symphony, No. 3, F major. 
 Op. 90 (new), Brahms ; Scena and Aria, ■' E dunque ver ? " 
 Op. 58, Rubinstein (Mme. Fursch-Madi) ; Dramatic Over- 
 ture, " Hositzka " (new), Dvorak ; Romance, from " Hero- 
 diade," Massenet (Mme. Fursch-Madi) ; Symphony, No. 7, 
 A major. Op. 92, Beethoven. 
 
 Second Concert, December 13, 1884. Symphony, F minor 
 (manuscript), Richard Strauss; Overture, " Coriolanus," 
 Op. 62, Beethoven; Concerto, for violoncello. Op. 33, 
 Volkmann (Mr. F. Giese); Symphony, E-flat, Op. 97 
 ("Rhenish"), Schumann. 
 
 Third Concert, January 10, 1885. Overture, "Benvenuto Cel- 
 lini," Berlioz; Symphonic Variations (new), Jean Louis 
 Nicod6; Recitative and Aria, "Ocean, Thou Mighty Mon- 
 ster!" from "Oberon," Weber (Miss Louise Pyk) ; Sym- 
 phony, No. 6 ("Pastoral"), Op, 68, Beethoven; Excerpts 
 from " Die Gotterdammerung " (Morning Dawn, Siegfried's 
 Rhine Journey, and Siegfried's Death), Wagner. 
 
 Fourth Concert, February 14, 1885. Overture, " Egmont," Op. 
 84, Beethoven ; Concerto, for pianoforte, D minor (Kochel 
 No. 466), Mozart (Mr. Richard Hoffman) ; Prelude, Min- 
 uet and Fugue, Op. 10, Hugo Reinhold (string orchestra); 
 Symphony, No. 5, " Lenore," Op. 177, Raff. 
 
 Fifth Concert, March 14, 1885. Overture, "Manfred," Schu- 
 mann; "Siegfried Idyl," Wagner; Symphonic Tone-Pic- 
 ture (" Wallenstein's Camp; the Capuchin's Sermon,") 
 Rheinberger ; Symphonie Fantastique, "Episode de la vie 
 d'un artiste," Berlioz. 
 
APPENDIX. 155 
 
 Sixth Concert, April 11, 1885. Symphony, No. 4, B-flat minor 
 ("The Welsh," new), Frederic H. Cowen ; Concerto, for 
 pianoforte. No. 2, A major, Liszt (Mr. Rafael Joseffy) ; 
 Symphony, No, 5, C minor, Op. 67, Beethoven. 
 
 Forty-Fourth Season, 1885-1886. 
 
 (Concerts in the Academy of Music.) 
 
 CONDUCTOR FOR THE SEASON, MR. THEODORE THOMAS. 
 
 First Concert, November 14, 1885. Overture, "Euryanthe," 
 Weber; Symphonic Prologue to Shakespeare's "Othello" 
 (new), Arnold Krug; Concerto, No. i. Op. 26, Max Bruch 
 (Miss Maud Powell); Scherzo Capriccioso, Op. 66 (first 
 time), Dvorak ; Symphony, No. 3, " Eroica," Beethoven. 
 
 Second Concert, December 12, 1885. Symphony, G minor, Mo- 
 zart; Scena and Aria, "Ah! perfido," Beethoven (Madame 
 Fursch-Madi); Overture," Melusine," Mendelssohn; "Forth 
 the Eagle has flown," from "The Lyre and the Harp," 
 Saint-Saens (Madame Fursch-Madi) ; Symphony, C minor. 
 Op. 60 (new), Xaver Scharwenka. 
 
 Third Concert, January 9, 1886. Overture, " Iphigeniain Aulis," 
 Gluck ; Symphony, E-flat (No. 3 B. & H. edition), Haydn ; 
 Concerto, for pianoforte, A minor. Op. 54, Schumann (Mr. 
 Carl Faelten) ; Symphony, No. 2, D minor. Op. 70 (new), 
 Dvorak. 
 
 Fourth Concert, February 13, 1886. Overture, " Tragic," Op. 60, 
 Brahms ; Symphony, No. 2, C major. Op. 61, Schumann ; 
 Symphonic Poem, "Orpheus," Liszt; Excerpts from "Die 
 Gotterdammerung " (Morning Dawn, Siegfried's Rhine 
 Journey, and Siegfried's Death), Wagner. 
 
156 APPENDIX. 
 
 Fifth Concert, March 13, 1886. Suite, No. 2, B minor. Bach; 
 "Ariadne auf Naxos," Haydn (Helene Hastreiter); Sym- 
 phony, B-flat, Op. 60 (new), Bernard Scholz; "Mignon," 
 Liszt (Helene Hastreiter); Overture, "King Lear," Berlioz. 
 
 Sixth Concert, April 10, 1886. Beethoven Night. Music to 
 Goethe's "Egmont" (the songs by Miss Emma Juch); 
 Concerto, No. 4, G major. Op. 58 (Mr. Rafael Joseflfy) ; Sym- 
 phony, No. 9, D minor, Op. 125 (Miss Emma Juch, soprano. 
 Miss Helen D. Campbell, contralto, Mr. William Candidus, 
 tenor, Mr. Alonzo E. Stoddard, baritone ; Brooklyn Phil- 
 harmonic Chorus). 
 
 Forty-Fiftli Season, 1886-1887. 
 
 (Concerts in the Metropolitan Opera-House.) 
 
 CONDUCTOR FOR THE SEASON, MR. THEODORE THOMAS. 
 
 First Concert, November 13, 1886. Overture, " Leonore," No. 3, 
 Beethoven; Symphony, No. i, B-flat, Op. 38, Schumann; 
 Scenes from "Nero," third act (first time), Rubinstein 
 (Miss Emma Juch and Mr. William Ludwig) ; Symphony, 
 No. 7, E major (new), Anton Bruckner. 
 
 Second Concert, December 4, 1886. Overture, "Genoveva," 
 Schumann; Symphony, No. 8, F major. Op. 93, Beet- 
 hoven ; Finale, " Die Gotterdammerung," Wagner (Briinn- 
 hilde. Miss Lilli Lehmann); Symphony, after Byron's 
 "Manfred," Op. 58 (new), Tschaikowsky. 
 
 Third Concert, January 15, 1887. Symphony, No. 8, B minor 
 (" Unfinished "), Schubert ; "La Fauvette," from " Zemir 
 et Azor," Gr6try (Miss Laura Moore ; flute obbligato, Mr. 
 Wehner) ; Symphony, No. 4, E minor (new), Brahms ; 
 Song, " The Unknown Land," Berlioz (Miss Laura Moore) ; 
 Symphonic Poem, " Die Ideale," Liszt. 
 
APPENDIX. 157 
 
 Fourth Concert, February 19, 1887. Symphony, No. 4, B-flat, 
 Op. 60, Beethoven ; Concerto, No. 2, in B, Op. 83, Brahms 
 (Mr. Rafael Joseffy) ; Symphony, No. 3, C minor, Op. 78, 
 (new) Saint-Saens. 
 
 Fifth Concert, March 19, 1887. Symphony, No. 4, A major, 
 Mendelssohn ; Septette, Op. 20, Beethoven ; Symphony, 
 "Dramatic," No. 4, Op. 95, Rubinstein. 
 
 Sixth Concert, April 9, 1887. Symphony, E minor (manu- 
 script), Alberto Franchetti ; Concertstuck, Op. 79, Weber 
 (Miss Adele Aus der Ohe) ; Symphony, No. 7, A major. 
 Op. 92, Beethoven. 
 
 Forty-Sixth Season, 1 887-1 888. 
 
 (Concerts in the Metropolitan Opera-House.) 
 
 CONDUCTOR FOR THE SEASON, MR. THEODORE THOMAS. 
 
 First Concert, November 19, 1887. "Eine Faust Ouvertiirc," 
 Wagner; Symphony, No. 5, C minor. Op. 67, Beethoven; 
 Concerto, for violin. Op. 46, Rubinstein (Madame Camilla 
 Urso); Symphonic Poem, " Festklange," Liszt. 
 
 Second Concert, December lo, 1887. Overture, "Leonora," 
 No. 2, Beethoven ; Scena and Aria, " Wo berg' ich mich ? " 
 from "Euryanthe," Weber (Herr Emil Fischer); Sym- 
 phony, No. 2, D major, Op. 73, Brahms; Songs, "Mond- 
 nacht" and "Ich kann's nicht fassen, nicht glauben,'' 
 Schumann, "Standchen" and "Ungeduld," Schubert, 
 (Miss Griswold) ; Vorspiel, " Die Meistersinger," Wagner. 
 
 Third Concert, January 14, 1888. Suite, No. 3, D major, Bach; 
 Symphonic Prologue to Shakespeare's " Othello," Arnold 
 
iS8 APPENDIX. 
 
 Krug ; Concerto, for pianoforte, Op. 23, Tschaikowsky (Mr. 
 Rafael Joseffy) ; Symphony, No. 4, D minor. Op. 120, 
 Schumann. 
 
 Fourth Concert, February 11, 1888. Overture, "Prometheus," 
 Op. 16, Bargiel; Recitative and Aria, "Rollend in schau- 
 menden Wellen," from " Die Schopfung," Haydn (Herr 
 Emil Fischer) ; Concerto, G major. Bach (string orches- 
 tra); "Der Wanderer," Schubert (Herr Emil Fischer); 
 Symphony, " Eroica," Beethoven. 
 
 Fifth Concert, March 10, 1888. Overture, "Manfred," Op. 115, 
 Schumann; "Siegfried Idyl," Wagner; Concerto, No. 5, 
 E-flat, Op. 73, Beethoven (Adele Aus der Ohe); Sym- 
 phony, No. I, D major, Op. 60, Dvorak. 
 
 Sixth Concert, April 21 , 1888. Funeral March, Chopin-Thomas 
 (in memory of the late Joseph W. Drexel) ; Symphony, No. 
 6, Op. 68, " Pastoral," Beethoven; Recitative and Aria, 
 " Abscheulicher ! " from "Fidelio," Beethoven (Frau Lilli 
 Lehmann) ; Symphonic Variations, Op. 27, Nicode ; " Gret- 
 chen am Spinnrad," Schubert (Frau Lilli Lehmann) ; Over- 
 ture, " Tannhauser," Wagner. 
 
 Forty-Seventh Season, 1 888-1 889. 
 
 (Concerts in the Metropolitan Opera-House.) 
 
 CONDUCTOR FOR THE SEASON, MR. THEODORE THOMAS. 
 
 First Concert, November 17, 1888. Overture, " Iphigenia in 
 Aulis," Gluck; Symphony, No. 2, E-flat, Op. 35 (new), 
 Goldmark ; Songs, "Am Meer" and " Der Doppelganger," 
 Schubert (Herr Emil Fischer) ; Symphonic Variations, Op. 
 78 (new), Dvorak ; Excerpts from "Die Walkure " (Ride 
 of the Valkyries, and Wotan's Farewell and Magic Fire 
 Scene), Wagner ( Wotan, Herr Emil Fischer). 
 
APPENDIX. 1 59 
 
 Second Concert, December 8, 1888. Overture, Scherzo and Fi- 
 nale, Op. 52, Schumann ; The Waking of the Valkyrie, from 
 "Sigurd" (new), Reyer (Mme. Fursch-Madi); Concerto, 
 No. 8 (" Scena Cantante "), Spohr (Mr. Richard Arnold) ; 
 Fragment from "Herodiade" (new), Massenet (Mme. 
 Fursch-Madi) ; Symphony, " Ocean," Op. 42 (first edition), 
 Rubinstein. 
 
 Third Concert, January 12, 1889. Symphony, C major, "Jupi- 
 ter," Mozart; Recitative and Aria, from "Le Nozze di 
 Figaro," Mozart (Miss Emma Juch); Theme and Varia- 
 tions, from Sextette, Op. 18, Brahms (string orchestra) ; "Die 
 junge Nonne," Schubert (Miss Emma Juch); Symphony, 
 No. 7, A major, Op. 92, Beethoven. 
 
 Fourth Concert, February 9, 1889. Toccata, F major, and 
 Fugue, A minor. Bach ; Symphony, No. i, C minor. Op. 68, 
 Brahms ; Fantasia, for pianoforte and orchestra, C major. 
 Op. 15 ("Wanderer"), Schubert-Liszt (Mr. Carl Baer- 
 mann) ; Slavonic Dances, Op, 72, Dvorak. 
 
 Fifth Concert, March 9, 1889. Overture, "Twelfth Night," 
 Op. 40 (new), Mackenzie; Scena and Aria, from "Faust," 
 Spohr (Frau Marie Schroeder-Hanfstangl) ; Charakter- 
 bild, "Gretchen," Liszt; "Traume," Wagner (Frau Marie 
 Schroeder-Hanfstangl) ; Menuetto and Finale, from Quar- 
 tette in C major. Op. 50, Beethoven (string orchestra) ; 
 Symphony, No. 3, "Im Walde," Op, 153, Raff. 
 
 Sixth Concert, April 13, 1889. Overture, " Coriolanus," Op. 62, 
 Beethoven ; Symphony, No. 4, B-flat, Op. 60, Beethoven ; 
 Concerto, for pianoforte. No. i, E minor, Op. 11, Chopin- 
 Tausig (Mr. Rafael Joseffy); Bacchanale, from "Tann- 
 hauser," and " Kaisermarsch," Wagner. 
 
i6o APPENDIX. 
 
 Forty-Eighth Season, 1889-1890. 
 
 (Concerts in the Metropolitan Opera-House.) 
 
 CONDUCTOR FOR THE SEASON, MR. THEODORE THOMAS. 
 
 First Concert, November i6, 1889. Symphony, E-flat, Op. 97 
 ("Rhenish"), Schumann; Concerto, for pianoforte. No. 3, 
 G major, Rubinstein (Miss Adele Aus der Ohe); Scherzo 
 Capriccioso, Op. 66, Dvorak ; Theme and Variations, from 
 D minor Quartette, Schubert (string orchestra) ; " Les de- 
 ludes," Liszt 
 
 Second Concert, December 7, 1889. Vorspiel, " Die Meister- 
 singer," Wagner ; Recitative and Aria, from " Euryanthe," 
 Weber (Herr Emil Fischer); Concert Overture, "Melu- 
 sine," Mendelssohn; Songs, "Nachtstiick" and "Mein," 
 Schubert (Herr Emil Fischer) ; Symphony, No. 9, C major, 
 Schubert. 
 
 Third Concert, January 11, 1890. Symphony, E-flat (Kochel 
 No. 543), Mozart; Aria, "GU angui d' inferno,'' from "The 
 Magic Flute," Mozart (MUe. Clementina De Vere); "An 
 Island Fantasy," Op. 45, J. K. Paine; Recitative and Ariaj 
 from "Jessonda," Spohr (MUe. Clementina De Vere); 
 Symphony, No. 8, F major. Op. 93, Beethoven. 
 
 Fourth Concert, February 8, 1890. Overture, " Medea," Op. 22, 
 Bargiel; Aria, from "Hans Heiling," Marschner (Herr 
 Theodor Reichmann) ; Symphony, No. 5, E minor, Op. 64, 
 Tschaikowsky ; Romanza, from " Tannhauser," Wagner 
 (Herr Theodor Reichmann) ; Septette, Op. 20, Variations, 
 Scherzo and Finale, Beethoven. 
 
 Fifth Concert, March 8, 1890. Symphony, G major (No. 6, 
 B. & H. ed.), Haydn; Concerto, for pianoforte. Op. i6. 
 
APPENDIX. i6i 
 
 Henselt (Mr, Rafael JosefTy) ; Symphony, No. 2, C major, 
 Op. 61, Schumann. 
 
 Sixth Concert, April 12, 1890. Sinfonia, from "Christmas 
 Oratorio," Bach; Sonata, F minor (for orchestra by 
 Theodore Thomas), Bach; Madrigal, "Matona, Lovely 
 Maiden," Orlando Lassus, and Part-Song, "The Wood 
 Minstrels," Mendelssohn (The Metropolitan Musical Soci- 
 ety, conducted by Mr. Wm. R. Chapman); Symphony, No. 
 9, D minor, Beethoven (vocal parts, Clementina De Vere, 
 Emily Winant, WiUiam H. Rieger, Max Treumann, and 
 the Metropolitan Musical Society). 
 
 Forty-Ninth Season, 1 890-1 891. 
 
 (Concerts in the Metropolitan Opera-House.) 
 
 CONDUCTOR FOR THE SEASON, MR. THEODORE THOMAS. 
 
 First Concert, November 15, 1890. Suite, No. 2, Op. 47 (new), 
 M. Moszkowski; Concerto, for pianoforte, No. 5, E-flat, 
 Op. 73, Beethoven (Mr. Franz Rummel) ; Symphony, No. 
 4, D minor, Op. 120, Schumann. 
 
 Second Concert, December 6, 1890. Overture, "Prometheus 
 Bound," Op. 38 (new), Goldmark; Recitativo con Rondo, 
 "Mia speranza adorata," Mozart (Mile. Clementina De 
 Vere ; Symphony, No. 4, Op. 86, " The Consecration of 
 Sound," Spohr; Air, "O grant me in the dust to fall," 
 from St. Ludmilla," Dvofak (Mile. Clementina De Vere) ; 
 Dramatic Overture, " Hositzka," Op, 67, Dvorak. 
 
 Third Concert, January 10, 1891. Overture, "The Flying 
 Dutchman," Wagner; "Ivan IV., the Terrible," Op. 79, 
 Rubinstein; Concerto, for violin, G major (first time), 
 
i62 APPENDIX. 
 
 Joachim (Madame Camilla Urso); Symphony, No. 2, D 
 major, Op. 36, Beethoven. 
 
 Fourth Concert, February], 1891. Overture to Shakespeare's 
 "Antony and Cleopatra," Op. 116 (new), Rubinstein; Sym- 
 phony, No. 8, B minor ("Unfinished"), Schubert; Con- 
 certo, for pianoforte, No. 2, F minor, Op. 21, Chopin (Mrs. 
 Fanny Bloomfield-Zeissler) ; Symphony, No. I , B-flat, Op. 
 38, Schumann. 
 
 Fifth Concert, March 7, 1891. Symphony, G minor, Mozart; 
 Aria, "Die ihr die Triebe," from " Le Nozze di Figaro," 
 Mozart (Frau Ritter-Goetze) ; Variations on a Theme by 
 Haydn (Chorale St. Antoni), Brahms; Songs, " Die Lotus- 
 blume," and " Es hat die Rose sich beklagt," Franz, and 
 "Murmelndes Liiftchen," Jensen (Frau Ritter-Goetze); 
 Symphony, No. 5, E minor. Op. 64, Tschaikowsky. 
 
 Sixth Concert, Apri/ 11, i8gi. Overture, " Fingal's Cave," Op. 
 26, Mendelssohn ; Concerto, for pianoforte, A minor. Op. 
 54, Schumann (Miss Adele Aus der Ohe) ; Ouvertiire-Fan- 
 taisie, " Hamlet," Op. 6y (new), Tschaikowsky ; Symphony, 
 " Eroica," Beethoven. 
 
 h 
 
 I 
 
 Fiftieth Season, 1891-1892. 
 
 (Concerts in the Metropolitan Opera-House.) 
 
 CONDUCTOR FOR THE SEASON, MR. ANTON SEIDL. 
 
 First Concert, November 21, 1891. Symphony, No. 6, Op. 68 
 (" Pastoral "), Beethoven ; Scene and Aria, "Enfin il est 
 dans ma puissance," from "Armida," Gluck (Madame 
 Lillian Nordica) ; Tone-Pictures from Symphony-Ode, Op. 
 31, "The Sea" (new), {a, The Sea; b, Phosphorescence), 
 Nicod6; "The Erlking" (orchestration by Liszt), Schubert 
 (Madame Lillian Nordica) ; Overture and Bacchanale, 
 from "Tannhauser" (Paris version) , Wagner. 
 
APPENDIX. 163 
 
 Second Concert, December 12, 1891. (In meraoriam Wolfgang 
 Amadeus Mozart, died December 5, 1791.) Symphony, C 
 major, "Jupiter," Mozart; Grand Scene, from "The Magic 
 Flute," Mozart (Herr Emil Fischer and Mr. Wm. H. Rie- 
 ger); Adagio, from Quintette in G minor (Kochel 516), 
 Mozart; Masonic Funeral Music (Kochel 477), Mozart; 
 Osmin's Aria, from " Belmonte e Costanze," Mozart (Herr 
 Emil Fischer) ; Symphonic Poem, Op. 87, " Friihlingswo- 
 gen" (first time), Phillip Scharwenka. 
 
 Third Concert, January 9,1892. Overture, "Manfred," Op. 
 115, Schumann; Pianoforte Concerto, No. 2, Op. 56, Xaver 
 Scharwenka (Herr Xaver Scharwenka) ; " Death and 
 Apotheosis," Tone-Poem, Op. 24 (new), Richard Strauss; 
 Symphony, No. 3, "Im Walde," Op. 153, Raff. 
 
 Fourth Concert, February 13, 1892. "Prometheus" (the Over- 
 ture), Liszt; Violin Concertp, No. 3, Op. 58 (new), Bruch 
 (Madame Camilla Urso); "Eine Faust Ouverture," Wag- 
 ner; Symphony, No. 4, Op. 1 20, first version (first time), 
 Schumann. 
 
 Fifth Concert, March 12, 1892. Symphony, No. 1, in C, Op. 21, 
 Beethoven ; Aria, from " Der Damon," Rubinstein (Mile. 
 Clementina De Vere) ; Symphonic Fugue, Op. 8 (first 
 time), Friedrich Koch; Aria, from "Le Cid," Massenet 
 (Mile. Clementina De Vere) ; Symphony, No. 4, in G, Op. 
 88 (new), Dvorak. 
 
 Sixth Concert, April 6, 1892. Overture, "Benvenuto Cellini," 
 Berlioz; Pianoforte Concerto, No. 2, F minor. Op. 21, 
 Chopin (M. Vladimir De Pachmann) ; Symphony, No. 4, 
 in D, Op. 95 (" Dramatic "), Rubinstein. 
 
OFFICERS 
 
 OF THE PHILHARMONIC SOCIETY 
 
 SINCE ITS ORGANIZATION. 
 
 First Season, 1842- 1843. 
 
 President, U. C. Hill; Vice-President Anthony Reiff, Sr.; 
 Secretary, F. W. Rosier; Treasurer, Allan Dodworth; Li-/ 
 brarian, W. Wood; Assistants (Directors), A. Boucher and 
 H. -Otto. 
 
 Second Season, 1843- 1844. 
 
 President, U. C. Hill ; Vice-President, A. Reiff, Sr.; Secre- 
 tary, "W. Wood; Treasurer, Al\a.n Dodworth (?); Librarian, 
 J. L. Ensign (?); Assistants, A. Boucher and H. Otto (?). 
 
 Third Season, 1844- 1845. 
 
 President, U. C. Hill ; Vice-President, G. Loder ; Secretary, 
 W. Scharfenberg ; Treasurer, Allan Dodworth ; Librarian, 
 James L. Ensign ; Assistants, A. Boucher and H. C. Timm. 
 
 Fourth Season, 1845-1846. 
 
 President, U. C. Hill ; Vice-President, G. Loder ; Secretary, 
 James L. Ensign ; Treasurer, A. Dodworth ; Librarian, T. 
 Goodwin ; Assistants, A. Boucher and H. C. Timm. 
 
 Fifth Season, 1846- 1847. 
 
 President, U. C. Hill ; Vice-President, H. C. Timm ; Secre- 
 tary, J. L. Ensign ; Treasurer, D. Walker ; Librarian, Alex- 
 ander Tyte ; Assistants, A. Boucher and A. Reiff, Sr. 
 164 
 
APPEND TX. 165 
 
 Sixth Season, 1847- 1848. 
 
 President, U. C. Hill; Vice-President, A. Boucher; Secre- 
 tary, J. A. Kyle ; Treasurer, D. Walker ; Librarian, T. Good- 
 win I Assistants, F. C. Woehning and E. Woolf. 
 
 Seventh Season, 1848- 1849. 
 
 President, H. C. Timm; Vice-President, A. Boucher; Secre- 
 tary, J. A. Kyle ; Treasurer, D. Walker ; Librarian, T. Good- 
 win ; Assistants, E. C. Riley and J. Windmiiller. 
 
 Eighth Season, 1849- 1850. 
 
 Lyesident, H. C. Timm ; Vice-President, A. Boucher ; Secre- 
 tary, J. L. Ensign ; Treasurer, D. Walker ; Librarian, T. Good- 
 win ; Assistants, H. B. Dodworth and G. de Luce. 
 
 Ninth Season, 1850-1851. 
 
 President, H. C. Timm ; Vice-President, W. Scharfenberg ; 
 Secretary, S. Johnson ; Treasurer, D. Walker ; Librarian, T. 
 Goodwin ; Assistants, T. Eisfeld and F. G. F, Hansen. 
 
 Tenth Season, 1851-1852. 
 
 President, H. C. Timm ; Vice-President, W. Scharfenberg ; 
 Secretary, J. L. Ensign ; Treasurer, D. Walker ; Librarian, T. 
 Goodwin ; Assistants, T. Eisfeld and F. G. F. Hansen. 
 
 Eleventh Season, 1852-1853. 
 
 /'resident, H. C.Timm; Vice-President, U. C. Hill; Secre- 
 tary, J. L. Ensign ; Treasurer, W. Scharfenberg ; Librarian, T. 
 Goodwin ; Assistants, T. Eisfeld and F. G. F. Hansen. 
 
 Twelfth Season, 18 53- 18 54. 
 
 President, H. C. Timm; Vice-President, U. C. Hill; Secre- 
 tary, L. Spier; Treasurer, W. Scharfenberg; Librarian, J. L. 
 Ensign ; Assistants, T. Eisfeld and G. F. Bristow, 
 
1 66 APPENDIX. 
 
 Thirteenth Season, 1854-1855. 
 
 President, H. C. Timm ; Vice-President, U. C. Hill; Secre- 
 tary, 'L.^^Kex; Tr^ajar^r, W. Scharfenberg ; Librarian, CVaz- 
 zaglia; Assistants, T. Eisfeld and C. Brannes. 
 
 Fourteenth Season, 1855-1856. 
 
 F^esident.'R. CYxxa^a.; Vice-President,!^. V^3X\ier; Secre- 
 tary, L. Spier ; Treasurer, W. Scharfenberg ; Librarian, C. Paz- 
 zaglia; Assistants, T. Eisfeld and C. Brannes. 
 
 Fifteenth Season, 1856-1857. 
 
 President, H. C. Timm ; Vice-President, T. Eisfeld ; Secre- 
 tary, L, Spier ; Treasurer, W. Scharfenberg ; Librarian, C. Paz- 
 zaglia; Assistants, C'St'ca.-a.n.&s and J. Noll. 
 
 Sixteenth Season, 1857-1858. 
 
 President, H. C. Timm; Vice-President, T. Eisfeld; Secre- 
 tary, L. Spier; Treasurer, D. Walker; Librarian, C. Pazzaglia; 
 Assistants, C. Brannes and J. Noll. 
 
 Seventeenth Season, 1858-1859. 
 
 President, H. C. Timm; Vice-President, "Y. Eisfeld; Secre- 
 tary, L. Spier ; Treasurer, D. Walker : Librarian, C, Pazzaglia ; 
 Assistants, W. Scharfenberg, Carl Bergmann, U. C. Hill, C. 
 Brannes, J. Noll, G. F. Bristow. 
 
 Eighteenth Season, 1859- 1860. 
 
 President, H. C. Timm ; Vice-President, T. Eisfeld ; Secre- 
 tary, L. Spier; Treasurer, D. Walker; Librarian, C. Pazzaglia; 
 Assistants, W. Scharfenberg, Carl Bergmann, J. P. Cooke, J. 
 Noll, C. Brannes, G. F. Bristow. 
 
APPENDIX. 167 
 
 Nineteenth Season, 1 860-1 861. 
 
 President, H. C. Timm ; Vice-President, T. Eisfeld ; Secre- 
 tary, L. Spier ; Treasurer, D. Walker ; Librarian, C. Pazzaglia ; 
 Assistants, W. Scharfenberg, Carl Bergmann, J. P. Cooke, C. 
 Brannes, U. C. Hill, W. Rietzel. 
 
 Twentieth Season, 186 1-1862. 
 
 n-esident.'H.C'Vvcam.; Vice-President, K.'RsiS.Sr.; Secre- 
 tary, J. G. Beisheim ; Treasurer, D. Walker ; Librarian, C. Paz- 
 zaglia; Assistants, T. Eisfeld, J. P. Cooke, C. Brannes, Carl 
 Bergmann, W. Scharfenberg, G. Matzka. 
 
 Twenty-First Season, 1862-1863. 
 
 President, m.C.Tmim; Vice-President, T. 'Eisfeld; Secre- 
 tary, L. Spier ; Treasurer, A. Reiff, Sr, ; Librarian, ]. Leis ; 
 Assistants, Carl Bergmann, J. P. Cooke, C. Jacoby, C. Brannes, 
 G. Matzka, H. Schmitz. 
 
 Twenty-Second Season, 1863- 1864. 
 
 President, W. Scharfenberg; Vice-President, T. Eisfeld; 
 Secretary, L. Spier ; Treasurer, S. Johnson ; Librarian, ]. Leis ; 
 Assistants, C. Bergmann, J. P. Cooke, C. Jacoby, C. Brannes, 
 G. Matzka, and H. Schmitz. 
 
 Twenty-Third Season, 1864- 1863. 
 
 President, W. Scharfenberg; Vice-President, T. Eisfeld; 
 Secretary, L. Spier ; Treasurer, S. Johnson ; Librarian, J. Leis ; 
 Assistants, C. Bergmann, F. Bergner, G. Matzka, J. P. Cooke, 
 C. Brannes, H. Schmitz. 
 
 Twenty-Fourth Season, 1865- 1866. 
 
 President, W. Scharfenberg; Vice-President, T. Eisfeld; 
 Secretary, L. Spier ; Treasurer, J. G. Beisheim ; Librarian, J. 
 Leis; Assistants, C. Bergmann, F. Bergner, E. Boehm, G, 
 Matzka, H. Schmitz, J. P. Cooke. 
 
1 68 APPENDIX. 
 
 Twenty-Fifth Season, 1866- 1867. 
 
 President,'^ . Scharfenberg;* Vice-President, G. F. Bristow; 
 Secretary, L. Spier ; Treasurer, J. G. Beisheim ; Librarian, J. 
 Leis; Assistants, C. Bergmann, F. Bergner, E. Boehm, G. 
 Matzka, H. Schmitz, F. Rietzel. 
 
 Twenty-Sixth Season, 1867- 1868. 
 
 President, R. Ogden Doremus ; Vice-President, U. C. Hill ; 
 Secretary, D. Schaad ; Treasurer, J. G. Beisheim ; Librarian, 
 J. Leis; Assistants, C. Bergmann, F. Bergner, E. Boehm, G. 
 Matzka, H. Schmitz, F. Rietzel. 
 
 Twenty-Seventh Season, 1868- 1869. 
 
 President, R. Ogden Doremus; Vice-President, U. C. Hill; 
 Secretary, D. Schaad; Treasurer, J. G. Beisheim; Librarian, 
 J. Leis; Directors, C. Bergmann, F. Rietzel, F. Bergner, E. 
 Boehm, G. Matzka, H. Schmitz. 
 
 Twenty-Eighth Season, 1869-1870. 
 
 President, R. Ogden Doremus ; Vice-President, U. C. Hill ; 
 Secretary, D. Schaad ; Treasurer, J. G. Beisheim ; Librarian, 
 J. Leis; Directors, C. Bergmann, F. Rietzel, F. Bergner, H. 
 Reyer, G. Matzka, H. Schmitz. 
 
 Twenty-Ninth Season, 1 870-1 871. 
 
 President, George T. Strong; Vice-President, Edward 
 Boehm; Secretary, D. Schaad; Treasurer, J. G. Beisheim; 
 Librarian, J. Leis ; Directors, C. Bergmann, J. Mosenthal, F. 
 Bergner, G. Gipner, G. Matzka, F. Herwig. 
 
 Thirtieth Season, 187 1-1872. 
 
 President, George T. Strong; Vice-President, Edward 
 Boehm; Secretary, D. Schaad; Treasurer, J. G. Beisheim; 
 Librarian, Edward Uhlig ; Directors, Carl Bergmann, F. Rietzel, 
 F. Bergner; G. Gripner, U. C. Hill, C. Siedler. 
 
 * Mr. Scharfenberg resigning^ in December, Mr. Bristow was elected to 
 fill the term, and Mr. Hill elected to the Vice-Presidency. 
 
APPENDIX. 169 
 
 Thirty-First Season, 1 872-1 873. 
 
 iVs«afe«/, George T. Strong; Vice-President.'E.dLVtaxA Boehm; 
 Secretary, D. Schaad ; Treasurer, J. G. Beisheim ; Librarian, 
 F. Leifels ; Directors, G. Matzka, F. Bergner, F. Rietzel, U. C. 
 Hill, A. Reiff, Jr., A. Bernstein. 
 
 Thirty-Second Season, 1873- 1874. 
 
 fyesident, George T. Strong ; Vice-President, Edward Boehm ; 
 Secretary, D. Schaad ; Treasurer, John G. Beisheim ; Librarian, 
 F. Leifels ; Directors, G. Matzka, F. Bergner, F. Rietzel, U. C. 
 Hill, A. Reiff, Jr., A. Bernstein. 
 
 Thirty-Third Season, 1874-1875. 
 
 President, Henry G. Stebbins ; Vice-President, A. Reiff, Jr. ; 
 Secretary, D. Schaad; Treasurer, P. Walther; Librarian, E. 
 Uhlig ; Directors, A. Sohst, L. Meyer, A> Hoch, U. C. Hill, F. 
 Rietzel, A. Bernstein. 
 
 Thirty-Fourth Season, 187 5- 1876. 
 
 President, E. H. Schermerhorn ; Vice-President, A. Reiff, 
 Jr.; Secretary, D.SchtULd; Treasurer, F. Walther; Librarian, 
 
 E. Uhlig; Directors, A. Sohst, L. Meyer, T. Jacoby, S. Johnson, 
 
 F. Herwig, A. Bernstein. 
 
 Thirty-Fifth Season, 1 876-1 877. 
 
 President, E. H. Schermerhorn; Vice-President, Edward 
 Boehm; Secretary, D.Schaia.d; Treasurer, F. Walther; Libra- 
 rian, E. Uhlig ; Directors, G. Matzka, F. Rietzel, F. Bergner, J. 
 Mosenthal, A. Hoch, A. Roebbelen. 
 
 Thirty-Sixth Season, 1877- 1878. 
 
 Presidettt, E, H. Schermerhorn; Vice-President, Edward 
 Boehm; Secretary, Ti.^dSizSLA; Treasurer, ■ J, Godone; Libra- 
 rian, E. Uhlig ; Directors, G. Matzka, F. Rietzel, F. Bergner, A. 
 Sohst, A. Hoch, A. Bernstein. 
 
170 APPENDIX. 
 
 Thirty-Seventh Season, 1878- 1879. 
 
 President, E. H. Schermerhorn ; Vice-President, Edward 
 Boehm ; Secretary, D. Schaad ; Treasurer, J. Godone ; Libra- 
 rian, E. Uhlig ; Directors, G. Matzka, F. Rietzel, F. Bergner, 
 A. Sohst, A. Hoch, A. Bernstein. 
 
 Thirty-Eighth Season, 1879- 1880. 
 
 President, ]\ilms Hallgarten; Vice-President,'Edwa.Td Boehm; 
 Secretary, D. Schaad; Treasurer, J. Godone; Librarian, E. 
 Uhlig ; Directors, G. Matzka, F. Bergner, F. Rietzel, A. Sohst, 
 H. Brandt, R. Arnold. 
 
 Thirty-Ninth Season, 1880-1881. 
 
 President, Julius Hallgarten ; Vice-President, F. Rietzel ; Sec- 
 retary, D. Schaad ; Treasurer, A. Sohst ; Librarian, E. Uhlig ; 
 Directors, G.'Matzka., R.Arnold, F. Bergner, P. Faerber, H. 
 Brandt, A. Bernstein. 
 
 Fortieth Season, 1 881 -1882. 
 
 President, J. W. Drexel; Vice-President, F. Rietzel; Secre- 
 tary, Samuel Johnson; Treasurer, A. Sohst; Librarian, E. 
 Uhlig; Directors, G. Matzka, R. Arnold, F. Bergner, P. Faerber, 
 H. Brandt, A. Bernstein. 
 
 Forty- First Season, 1882- 1883. 
 
 I^esident, J. W. Drexel ; Vice-President, F. Rietzel ; Secre- 
 tary, Samuel Johnson ; Treasurer, A. Sohst ; Librarian, E. 
 Uhlig; Directors, G. Matzka, R. Arnold, F. Bergner, P. Faerber, 
 H. Brandt, A. Bernstein. 
 
 Forty-Second Season, 1883- 1884. 
 
 President, J. W. Drexel ; Vice-President, F, Rietzel ; Secre- 
 tary , h\x%v&X. R.oebbelen; Treasurer, \{..S(^axmXz; Librarian, 
 E. Uhlig ; Directors, A Sohst, F. Bergner, R. Arnold, P. Faerber, 
 H. Brandt, A. Bernstein. 
 
APPENDIX. 171 
 
 Forty-Third Season, 1884- 1885. 
 
 President, J. W, Dre«el ; Vice-President, F. Rietzel ; &fr^- 
 /arc.A.Roebbelen; Treasurer, H.Schmitz; Ubrarian, 'E.VhWg; 
 Directors, F. Bergner, R. Arnold, P. Faerber, J. Mosenthal, A. 
 Sohst, A. Bernstein. 
 
 Forty-Fourth Season, 1885- 1886. 
 
 President, J. W. Drexel ; Vice-President, F. Rietzel ; 5^fr^- 
 Airy.A. Roebbelen; Treasurer,H. Schmitz; Librarian, E.Vhlig; 
 Directors, R. Arnold, F. Bergner, P. Faerber, G. Wiegand, H. 
 Grupe, A. Bernstein. 
 
 Forty- Fifth Season, 1886- 1887. 
 
 President, J. W. Drexel ; Vice-President F. Rietzel ; &f/v- 
 /arj', A. Roebbelen ; Treasurer, 'A.^chvoAz; Lidrarian, E.Vhlig; 
 Directors, R. Arnold, F. Bergner, P. Faerber, G. Wiegand, H. 
 Grupe, A. Bernstein. 
 
 Forty-Sixth Season, 1887-1888. 
 
 President, J. W. Drexel; Vice-President, F. Rietzel: Secre- 
 tary, A. Roebbelen; Treasurer, H. Schmitz; Librarian, E. 
 Uhlig; Directors, R. Arnold, F. Bergner, P. Faerber, G. Wie- 
 gand, H. Grupe, A. Bernstein. 
 
 Forty-Seventh Season, 1888-1889. 
 
 President, E. Francis Hyde; Vice-President, F. Rietzel; 
 Secretary, A. Roebbelen ; Treasurer, H. Schmitz ; Librarian, 
 E. Uhlig; Directors, R. Arnold, F. Bergner, P. Faerber, G. 
 Wiegand, H. Grupe, A. Hoch. 
 
 Forty-Eighth Season, 1889- 1890. 
 
 President, E. Francis Hyde ; Vice-President, F. Rietzel ; Sec- 
 retary, A. Roebbelen ; Treasurer, H. Schmitz ; Librarian, E, 
 Uhlig; Directors, R. Arnold, F. Bergner, P. Faerber, G. Wie- 
 gand, H. Grupe, A. Hoch. 
 
172 AFP END IX. 
 
 Forty-Ninth Season, 1 890-1 891. 
 
 President, E. Francis Hyde; Vive- President, F. Rietzel; 
 Secretary, A. Roebbelen ; Treasurer, H. Schraitz ; Librarian, E. 
 Uhlig ; Directors, R. Arnold, F. Bergner, P. Faerber, G.Wiegand, 
 H. Grupe, A. Hoch. 
 
 Fiftieth Season, 1891-1892. 
 
 President, E. Francis Hyde; Vice-President, F, Rietzel; 
 Secretary, A. Roebbelen ; Treasurer, H. Schmitz ; Librarian, E. 
 Uhlig ; Directors, R. Arnold, F. Bergner, *L. E. Manoly, G. 
 Wiegand, tj. Mosenthal, A. Hoch; Trustees, Anthony Reiff, 
 Th. Jacoby, Carl Sohst. 
 
 ♦Elected in place of P. Faerber, who died in ofi5ce, 
 ■i-Klected in place of H. Grupe, who died in ofSce, 
 
APPENDIX, 
 
 173 
 
 MEMBERS 
 
 OF THE PHILHARMONIC SOCIETY OF NEW YORK. 
 
 APRIL, 1892. 
 ^^vfarnxtns* Actual wxtt 3tb«fr«nt* 
 
 Arnold, Richard. 
 Bahrs, H. 
 Bareither, Jos. 
 Bauer, E. 
 Bergner, F. 
 Bernstein, A. 
 Bernstein, S. 
 Brandt, H. 
 Breitschuck, H, 
 Brode, H. 
 Dannreuther, G. 
 Danz, F. 
 Dietrich, W. G. 
 Dietz, F. 
 Dietz, F.,Jr. 
 Drewes, John. 
 Eller, Joseph. 
 Froehlich, S. 
 Hackebarth, A. 
 Hamra, Carl. 
 Hartdegen, A. 
 Ilauser, Carl. 
 Heidelberg-, C. 
 Hemmann, C. 
 Hemmann, F. 
 Herbert, Victor. 
 Hermann, C. B. 
 Herwig, F. 
 
 Hoch, A. 
 Ickler,JohnH, 
 Jacoby, Th. 
 Jordan, Fmil. 
 Kalkhof, A. 
 Kaltenborn, F. 
 Kester, Louis. 
 Kissenberth, G. 
 Klugescheid, R. 
 KoUmer, W. 
 La Croix, W. 
 Laendner, Jos. 
 Laendner, S. 
 Leifels, F. 
 Letsch, F. 
 Lilienthal, A. "W. 
 Loebenstein, M. A* 
 Loebmann, F. 
 Loewe, W. 
 Lowack, W. 
 Manoly, L. E. 
 Mosenthal, Jos. 
 Mueller, W. 
 Niebling, M. 
 Pfeiffen Schneider, J. 
 Pieper, Carl. 
 Preusser, C. 
 Reinedciu's, E. W. 
 
 Reuter, R. 
 Rhaesa, Charles. 
 Rietzel, F. 
 Rietzel,J. C. 
 Ringk, R. 
 Roebbelen, A. 
 Rothmeyer, A. 
 Rubel, A. 
 Sachleben, H. 
 Schenck, Emil. 
 Schmidt, Louis. 
 Scbreurs, Jos, 
 Schuellinger, R. 
 Schulze, W. F. 
 Schwarz, Max. 
 Sohst, A. 
 Sohst, C. 
 Steckelberg, H. 
 Stolz, Ewald. 
 Stowasser, C. 
 Straub, H. 
 Straubel, H. 
 Thomas, Theodore. 
 Wagner, F. 
 Walther, P. 
 Wehner, C. 
 Weiner, Eugene. 
 Wiegand, G. 
 
 Bahls, G. 
 Bartels, C. 
 Bernstein, J. 
 Bristow, George F. 
 
 Gebhardt, C. 
 Heinecke, C. 
 Hermann, F. 
 
 Johnson, Samuel. 
 
 Lo Bianco, G. 
 Reiflf, Anthony. 
 Schmitz, H. 
 
 Uhlig, Edward. 
 
174 
 
 APPENDIX, 
 
 ^^ttovavii ^etnl7«ir#. 
 
 Henri Vieuxtemps, Klected 1843, 
 
 Ole Borneman Bull, " 1843. 
 
 Leopold de Meyer, »' 1845. 
 
 Joseph Burke, " 1846. 
 
 Louis Spohr, " 1846. 
 
 Felix Mendelssohn-Bartholdy, *' 1846. 
 
 Henri Herz, " 1846. 
 
 Camillo Sivori, " 1846. 
 
 Giovanni Bottesini, " 1850. 
 
 Jenny Lind Goldschmidt, " 1850, 
 
 Julius Benedict, " 1850. 
 Henrietta G. Sontag (Countess de Rossi), " 1852. 
 
 Marietta Alboni, " 1S52. 
 
 Carl Eckert, « 1852. 
 
 Paul Julien, " 1853. 
 
 William Vincent Wallace, " 1853. 
 
 Friedrich J. C. Schneider, " 1853. 
 
 Richard Hoffman, *' 1854. 
 
 Louis M. Goltschalk, " 1855. 
 
 Caesare Badiali, " 1856. 
 
 Annie Caroline La Grange (de Stankowich), 1857. 
 
 Sigismund Thalberg, Elected 1857. 
 
 Gustav Salter, " 1857. 
 
 H. C. Timm, " 1863. 
 
 Edward Hodges, " 1865. 
 
 Theodore Eisfeld, " 1865. 
 
 William Scharfenberg, " 1866. 
 
 S. B. Mills, " 1866. 
 Parepa-Rosa (Euphrosyne Parepa de Boyesku)i870. 
 
 Anna Mehlig, Elected 1870. 
 
 Franz Liszt, 
 Richard Wagner, 
 Joachim Raff, 
 Anton Rubinstein, 
 Rafael Joseffy, 
 
 1S73. 
 1S72. 
 1872. 
 
 1S73. 
 1883. 
 
 Died June 6, 1881. 
 " August 17, iSSo. 
 " March 6, 1883. 
 
 Died October 16, 1859. 
 
 " November 4, 1847. 
 " January 5, 1S88. 
 
 Died November 2, 1887. 
 " June s, 1S85. 
 " June 17, 1854. 
 
 Died October 14, 1879. 
 " March 7, i860. 
 " October 12, 1S65. 
 " November 23, 1853. 
 
 Died December iS, 1869. 
 " November 17, 1865. 
 
 Died April 27, 1871. 
 
 Died September i, 1S67. 
 " September j6, 1882. 
 
 Died January 21, 1S74. 
 
 Died July 31, 1886. 
 " February 13, 1883. 
 " June 24-5, 1882. 
 
 ^0Vi0xtix:-^ ^«j»i7jriat« ^entliBtrft* 
 
 R. Ogden Doremus, 
 
 Elected 1S69. 
 
 
 Edwin Booth, 
 
 " 1869. 
 
 
 George T. Strong, 
 
 " X872. 
 
 Died July 21, 1875. 
 
 E. H. Schermerhorn, 
 
 " 'Srg- 
 
 " October i, 1? 
 
APPENDIX. 
 
 175 
 
 FINANCIAL STATEMENT. 
 
 SHOWING CONCERT RECEIPTS AND AMOUNTS PAID TO THE 
 MUSICIANS FOR FIFTY YEARS. 
 
 
 Cash 
 on hand 
 
 RECEIPTS. 
 
 DIVIDEND. 
 
 Season. 
 
 Subscrib'g 
 members 
 and extra 
 tickets. 
 
 Associate 
 members.* 
 
 Total. 
 
 Single. 
 
 First 
 
 $ 16.56;^ 
 
 11.98 
 
 205.64 
 
 138-25 
 
 279.60 
 
 95.80 
 
 i38-i9>i 
 4-65 
 
 t5-27 
 t73-63 
 
 42.54 
 
 79-51 
 140.18 
 634.10 
 726.70 
 398.92 
 
 86.10 
 3"-94 
 455-91 
 487-73 
 
 $1,854.50 
 
 2,066.50 
 
 2,667.00 
 
 2,466.00 
 
 3.034-50 
 
 1,294.00 
 
 729.50 
 
 973-50 
 
 948.88 
 
 1,070.50 
 
 1.413-50 
 
 1.675-50 
 
 2,420.88 
 
 3.470-25 
 4,810.00 
 2,628.00 
 2,789.00 
 3,986.18 
 3.127-25 
 1,588.08 
 
 $ 25.00 
 
 50.00 
 
 205.00 
 
 378.12 
 
 518.75 
 860.00 
 1,126.25 
 1,415.00 
 1.547-50 
 2.518.75 
 .2,750.00 
 
 3.627-50 
 5.305-00 
 8,790.00 
 6,062.50 
 5,848.00 
 6,213.00 
 6,502.50 
 3.665.00 
 
 $1,462.00 
 1,698.40 
 1.855-50 
 1,961.00 
 1,836.25 
 1.345-50 
 1,076.25 
 1,752.00 
 
 1,969-75 
 2,038.25 
 2,804.00 
 3,475-00 
 4,170.00 
 5,825-50 
 10,979.00 
 5,845.00 
 5,484.80 
 5.890-00 
 6,223.00 
 4,496.50 
 
 $25.00 
 32.00 
 3500 
 37.00 
 35-00 
 
 26.00 
 
 Second 
 
 Third . 
 
 Fourth 
 
 Fifth 
 
 Sixth 
 
 Seventh 
 
 Eighth 
 
 1750 
 32.00 
 35-00 
 41.00 
 44.00 
 
 S5-0O 
 65.00 
 85.00 
 143.00 
 80.00 
 83.00 
 85.00 
 80.00 
 60.00 
 
 Ninth 
 
 Tenth 
 
 Eleventh 
 
 Twelfth 
 
 Thirteenth 
 
 Fourteenth 
 
 Fifteenth 
 
 Sixteenth 
 
 Seventeenth . . . 
 
 Eighteenth 
 
 Nineteenth 
 
 Twentieth 
 
 *After the thirty-second season all receipts from concerts are included 
 In the column headed '* subscribing members and extra tickets." 
 •(■Deficit 
 
176 
 
 APPENDIX. 
 
 
 Cash 
 on hand 
 
 RECEIPTS. 
 
 DIVIDEND. 
 
 Season. 
 
 Subscrib'g 
 
 
 
 
 
 members 
 and extra 
 
 Associate 
 members. 
 
 Total. 
 
 Single. 
 
 
 
 tickets. 
 
 
 
 
 Twenty-first.... 
 
 $386.69 
 
 $2,322.40 
 
 $4,275.00 
 
 $4,693.00 
 
 $65.00 
 
 Twenty-second. 
 
 306.28 
 
 3.807.75 
 
 7,824.00 
 
 6,255.00 
 
 100.00 
 
 Twenty-third... 
 
 460.92 
 
 5,663.00 
 
 7,800.00 
 
 6,987.00 
 
 105.00 
 
 Twenty -fourth . 
 
 129.98 
 
 7,093-50 
 
 6,832.00 
 
 6,441.00 
 
 95.00 
 
 Twenty-fifth. .. 
 
 240.41 
 
 4,367.00 
 
 5,152.00 
 
 3,923.00 
 
 70.00 
 
 Twenty-sixth... 
 
 106.88 
 
 10,061.00 
 
 4,000.00 
 
 6,163.00 
 
 70.00 
 
 Twenty -seventh 
 
 258-75 
 
 14,985.00 
 
 8,650.00 
 
 14,255.00 
 
 156.00 
 
 Twenty-eighth. 
 
 247.26 
 
 13,322.50 
 
 10,980.00 
 
 12,750.00 
 
 150.00 
 
 Twenty-ninth . . 
 
 198.68 
 
 13,397-75 
 
 13,660.00 
 
 15,085.00 
 
 203.00 
 
 Thirtieth 
 
 1,132.59 
 
 12,230.00 
 
 13,580.00 
 
 15,480.00 
 
 216.00 
 
 Thirty-first 
 
 627.61 
 
 ",545-5° 
 
 13,490.00 
 
 13,830.00 
 
 180.00 
 
 Thirty -second.. 
 
 90.68 
 
 8,972.74 
 
 10.050.00 
 
 9,450.00 
 
 126.00 
 
 Thirty-third.... 
 
 450.00 
 
 S-760.50 
 
 
 3,212.75 
 
 54.00 
 
 Thirty -fourth... 
 
 248.00 
 
 10,039.83 
 
 
 1,641.00 
 
 30.00 
 
 Thirty-fifth 
 
 297.00 
 
 8,291.12 
 
 
 841.00 
 
 18.00 
 
 Thirty-sixth . . . 
 
 310.85 
 
 12,499-35 
 
 
 6,402.99 
 
 82.00 
 
 Thirty -seventh. 
 
 221.12 
 
 7,157-97 
 
 
 1,493-07 
 
 25.00 
 
 Thirty-eighth.. 
 
 568,99 
 
 18,735-63 
 
 
 8,714.50 
 
 123.00 
 
 Thirty-ninth... 
 
 284.12 
 
 20,749.10 
 
 
 10,730.00 
 
 132.00 
 
 Fortieth 
 
 482.73 
 
 23,465-92 
 
 
 12,913-75 
 
 154.50 
 
 Forty-first 
 
 530.88 
 
 25,033-65 
 
 
 15,933-65 
 
 195.00 
 
 Forty-second . . 
 
 561.23 
 
 24,279.00 
 
 
 16,022.50 
 
 195.00 
 
 Forty-third .... 
 
 748.56 
 
 27,191-50 
 
 
 17,914-33 
 
 223.00 
 
 Forty-foiirth . . . 
 
 791.23 
 
 26,241.75 
 
 
 16,066.70 
 
 200.00 
 
 Forty-fifth 
 
 894.88 
 
 28,443.00 
 
 
 15,562.50 
 
 225.00 
 
 Forty -sixth 
 
 864.05 
 
 25,588.67 
 
 
 14,168.00 
 
 168.00 
 
 Forty-seventh . . 
 
 1,092.59 
 
 27,693.17 
 
 
 14,962.50 
 
 189.00 
 
 Forty-eighth... 
 
 1^061.48 
 
 28,247.25 
 
 
 15,145.00 
 
 195.00 
 
 Forty-ninth ... . 
 
 754.88 
 
 28,246.00 
 
 
 15,500.00 
 
 200.00 
 
SUBSCRIBERS TO 
 
 THE FIFTIETH SEASON OF THE 
 
 PHILHARMONIC SOCIETY'S CONCERTS. 
 
 Auchincloss, Mrs. £.8. 
 
 Adams, Mrs. W. 
 
 Arden, T. B.,Jr. 
 
 Asch, Mrs. J. J. 
 
 Arden, Miss. 
 
 Alexander L. 
 
 Ajidrews, Henry C. 
 
 Aldrich, Spencer. 
 
 Anthony, R. A. 
 
 Andrew, Miss. 
 
 Acker, Mrs, D. D. 
 
 Arnold, Miss C. B. 
 
 Aronson, A. 
 
 Agnew, Miss M. 
 
 Agnew, Miss. 
 
 Adler,Dr.I. 
 
 Appleton, R. 
 Avery, J. E. 
 Aronson, R. 
 Aldrich, W. W. 
 Aldrich.J. H. 
 Adams, Mrs. J. F. 
 Ansbacher, Miss. 
 Arcularius, O. E. 
 Benjamin, M. W. 
 Bristol, Miss Mary B. 
 Blacque, V. A. 
 Borream, Mrs. F. D. 
 Bunker, Wm. R. 
 Bijur, N. 
 Bunker, Mrs. R. 
 Barr, Wm. R. 
 Barclay, Mrs. James L. 
 Bass, Mrs. E. W. 
 Bowdoin, G. S. 
 
 Brown, Mrs. Vernon H. 
 Butler, Chas. H. 
 Butler, N, 
 Beach, Miss Ella. 
 Banks, Miss J.L.eonard. 
 Butler, Mrs. P,JI. 
 Brandeis, Mrs. E. D. 
 Brooks, Miss B. G. 
 Barnes, Mrs. H. W. 
 Bull, Miss E. C. 
 Benedict, Miss H. R. 
 Bell, Mrs. I. 
 Bingham, G. F. 
 Blackwell, Dr. E. 
 Bates, Miss/Mary H. 
 Butterfield, T. W. L. 
 Buckel, Peter. 
 Bronson, H. T. 
 Brown, Hon. Addison. 
 Bliss, Mrs. 
 Brown, Miss Anne. 
 Bunker, W. R. 
 Bernheimer, S. 
 Beyers, Mrs. J. 
 BowdenjF. H. 
 Bunker, Mrs. Wm. 
 Benjamin Miss G. 
 Bowen, Mrs. W. B. 
 Bruck, Mrs. L. 
 Bachrach, Mrs. D. 
 Bloomfield, Miss. 
 Blake, E. J. 
 Brady P.J. 
 Beck, Miss. 
 Bookman, Miss N. 
 
 Baldwin, E. 
 Brownell, S. B. 
 Bless, Miss M. I. 
 Blun, Mrs. F. S. M. 
 Bliss, Mrs. C. N, 
 Brewster, G. 
 Brown, Mrs. V. C. 
 Bull, Dr. C. S. 
 Bliss, George. 
 BIydenburgh,MissE.C. 
 Boehm, M. S. 
 Beebe, Dr. C. E. 
 Blauvelt, Mrs. C. R. 
 Buchtel, Mrs. W. H. 
 Bacon, Dr. G. 
 Burnham, Miss M. 
 Bergfeld, G. 
 Banks, Mrs. J. L. 
 Benson, J. P. 
 Bryce, Miss E. 
 Babcock, Miss. 
 Brien, Miss. 
 Barnes, Mrs. 
 Byrne, Miss M. G. 
 Brooks, C. E. 
 Burrill, Mrs. T. A. 
 Bamberger, Mrs. I. L. 
 Benjamin, Miss. 
 Bartlett, Dr. E. J. 
 Blum, L. 
 
 Brownell, Mrs. T. F. 
 Beer, Mrs. J. 
 Bryson, Mrs. P. M. 
 Bogart, John. 
 Bach, Mrs. J. 
 
 177 
 
178 
 
 APPENDIX. 
 
 Baumgarten^ Wm. 
 Brinckerhoff, E. A. 
 Brookfifeld, Mrs. W. 
 Barbour, Mrs. W. D. 
 Bernheimer, Miss. 
 Bradley, W.W. 
 Boynton, J. H. 
 Blum, Mrs. J. A. 
 Beebe, Miss C. 
 Berwind, Mrs. E. J. 
 Brush, H. C. 
 Benjamin, Marcus. 
 Budge, Henry. 
 Beyer, Mrs. E. T. 
 Bach, Mrs. , 
 Bernheimer, Mrs. R. 
 Brooks, A. 
 Bettens, Miss L. N. 
 Bodstein, F. W. 
 Blumenthal, I. 
 Briggs, Miss. 
 Baylis, Miss M. 
 Buckingham, Miss £. 
 Burrill, Mrs. 
 Brown, Miss A. W. 
 Bruck, Mrs. S. 
 Brown, Mrs.T.McKee. 
 Bliss, G. T. 
 Curtis, Mrs. C. B. 
 Clatworthy, W. 
 Clarke, Miss A. M. 
 Carnegie ,Mrs. Andrew 
 Crosby, Miss. 
 Chambers, Mrs. T. W. 
 Carpenter, Mrs. W. H. 
 Cobb, Mrs. 
 Carter, Dr. H. S. 
 Cutting, R. L.,Jr. 
 Clark, Mrs. Chas. A. 
 Carter, Miss A. M. 
 Chew, Beverley. 
 Cornell, Mrs. J. K. 
 Cauldwell, Mrs. W. A. 
 Chauncy, Elihu. 
 Canfield, Mrs. G. F. 
 Cooley, D. H. 
 Caldwell, Miss J. 
 Clark, Mrs. T. 
 
 Coffin, H. L. 
 Clymer, Mrs. E. M. 
 Carhart, Miss L. M. 
 Coe, E. 
 Cornell, J. M. 
 Cross, Miss Helen R. 
 Cochran, Miss. 
 Carroll, H. 
 Coggill, Miss. 
 Campbell, Miss M. 
 Clatworthy, F. 
 Czacki, T. M. 
 Cleveland, T. 
 Cone, H. H. 
 Colton, Mrs. F. C. 
 Coles, Miss. 
 Caiman, Henry V,. 
 Cort, M. H. 
 Coles, Miss. 
 Clark, Mrs. W. N. 
 Clark, Mrs. S. B. 
 Church, Mrs. Wm. C. 
 Cattus, Mrs. J. C. 
 Coe, Mrs. C. A. 
 Clark, Miss. 
 Cunningham, Miss. 
 Chamberlin, E. W. 
 Coleman, S. 
 Conant, Mrs. 
 Cox, Mrs. J. Farley. 
 Conklin, N. W. 
 Conner, W. E. 
 Crocker, Miss. 
 Cross, R. J. 
 Chapman, J, E, 
 Cockroft, The Misses. 
 Durkee, Mrs. A. W. 
 Denniss, Al. L. 
 Durkee, Mrs. A. "W. 
 Duryee, J. 
 Dubois, L. 
 Danforth, Chas. 
 Duncan, Miss S. 
 Douglass, A, B. 
 Degener, Mrs. J. F. 
 Dunham, J. H. 
 Davis, T. Monroe. 
 Dewsnap, Miss. 
 
 DeCoppet, E. J. 
 Duncan, Miss Julia J. 
 Dominick, Alex. 
 Dufourcq, M. H. 
 Dockstader, Miss J. 
 Dezellar, J. R. 
 Delanoy, E. P. 
 Dyckman, Miss M. A. 
 Derby, Mrs. D. H. 
 Day, Mrs. J. S. 
 Draper, Miss J. T. 
 Day, Mrs. H. M. 
 D.emorest, E. W. 
 Dreyfus, Mrs. L. 
 Dorler, Mrs. K. 
 Danforth, Mrs, L. L, 
 Dorman, Mrs. R. A. 
 Davis, Sam'l D. 
 Day, Mrs. E. A. 
 Dubois, Miss K. 
 DeForest, Mrs. H. G. 
 Dows, Mrs. D., Jr. 
 Delalield, Mrs. R. 
 Dodd, Miss G. 
 Davis, Mrs. C. L. 
 Dix, G. W. 
 Davison, Miss A. 
 Dubois, Mrs. M. B. 
 DelaMontagnie,Mrs.A 
 Enell, Geo. A. 
 Eaton, Mrs. D. Cady. 
 Eastin, F. 
 
 Ely, Mrs. Richard S. 
 Erdman, C. 
 Eckman, S. H. 
 Ely, A. M. 
 Engle, Mrs. W. C. 
 Embury, Mrs. 
 Ellsheimer, Mrs. H. 
 Ehrittann, Mrs. E. 
 Egan, Miss. 
 Flagg, Thos. J. 
 Fishel, E. 
 Friend, M. M. 
 Friend, Miss A. L. 
 Fletcher, E. 
 Fairchild, Mrs. F. E. 
 Freeland, Mrs. H. K 
 
APPENDIX. 
 
 179 
 
 Fiedeler, E, 
 Farwell, Miss C. S. 
 Fowler, Mrs. Chas. R. 
 Friend, Miss A. 
 Frazer, Miss A. 
 Fatman, S. L. 
 Farragnt, Mrs. L. 
 Farnham, Mrs. H. P. 
 Freeman, F. P. 
 Folsom, D. 
 Flint, Austin. 
 Frost, Mrs. Al. P. 
 Flagler, H. H. 
 Floyd, N. 
 
 Frelinghuysen, G. G. 
 Frankenthal, Mrs. J. 
 Fuller, Mrs. G. A. 
 Fisher, Dr. E. D. 
 Friedman, Mrs. H. 
 Friedlander, Mrs. 
 Fox, Normaii, 
 Froelich, Mrs. B. 
 Fishel, A. A. 
 Fessenden, Miss. 
 Freeborn, Mrs. G. C. 
 Foote, C. B. 
 Fischer, Miss E. 
 Fuller, Mrs. J. M. 
 Field, Miss M.J. 
 Fischer, Miss B. 
 Goldsmith, A. 
 Gurnee, Mrs. W. S. 
 Goldsmith, Mrs. A. 
 Grund, Carl. 
 Greer, Miss D. 
 Goodrich, Mrs, T. 
 Gitterman, Miss H. 
 Gibbons, Mrs. F. H. 
 Gilman, E. "W. 
 Gordon, H. S. 
 Graham, Miss. 
 Graham, M. 
 Guttman, Miss Tessie. 
 Gillies, Miss E. 
 Gilman, D. H. 
 Garretson, Mrs. M. J. 
 Goodrich, A. 
 Gould, Miss C. J. 
 
 Gernsheim, M. 
 
 Grey, F. 
 
 Goodwin, F. G, 
 
 Gilman, J. S. 
 
 Goodrich, Mrs. F. 
 
 Greenwood, I. J. 
 
 Gottheii, L. 
 
 Grose, I. J. 
 
 Gilley, Mrs. F. W. 
 
 Geilfuss, L. 
 
 Hastings, Thomas. 
 
 Heidelberg, Mrs. A. C. 
 
 Heike, C. R. 
 
 Hawkins, E. D. 
 
 Holden,J. H. 
 
 Hall, Jos. 
 
 Howe, Miss L. 
 
 Haight, Mrs. E. C. 
 
 Hall, C. E. 
 
 Hussa, Oscar. 
 
 Hyde, E. F. 
 
 Hastings, Miss. 
 
 Higginson, James T. 
 
 Hague, James D. 
 Holt, R. S.,Jr. 
 Hadly, Chas. L. 
 Hall, James P. 
 Hayes, Mrs. D. P. 
 Hyde, Mrs. Chas. 
 Hardt, Wm. E. 
 Hewitt, R.^ 
 
 Hammerslough,MissS. 
 'Herring, Mrs. 
 Hopper, Miss. 
 Handricks, A. 
 Heroy, Mrs. A. P. 
 Herrick, Miss F. 
 Holbrook, Mrs. F. N. 
 Hess, Mrs. H. 
 Hoe, Mrs. R. 
 Hass, Mrs. L. 
 Herzfeld, Mrs. F. 
 Haseman, J. B. 
 Haynes, Mrs. C. C. 
 Howes, J. B. 
 Hoover, Mrs. V. S. 
 Holden, Miss E. 
 Hoe, Miss L. 
 
 Hesse, Mrs. J. W. 
 Holland, Mrs. J. B. 
 Haight, G. 
 Harper, Franklin. 
 Holt', Miss. 
 Hammerslough, Mrs.J. 
 Hoadley, Mrs. D. 
 Hyde, A. T. 
 Hutton, Allen C. 
 Homer, C. S.,Jr. 
 Hoyt, J. B. 
 Hendricks, Al. 
 Holden, A.J. 
 Heye, Mrs. G, 
 Howland, Mrs. G. 
 Hyde, E. Francis. 
 Howell, M. 
 Hyde, C. M. 
 Hayden, Mrs. B. 
 Hope, Miss E. D. 
 Heroy, Miss M. E. 
 Hamilton, B. 
 Hartshorne, Miss. 
 Howe, Miss E. 
 Hard, Mrs. S. B, 
 '"Hazen,J. C. 
 Hard, Mrs. G. M. 
 Hirshbach, Mrs. S. 
 Hoyt, Mrs. F. S. 
 Hirsch, Miss E. 
 Harms, A. 
 Hasbrook, Mrs. I. 
 Hoe, Mrs. R. M. 
 Havemeyer, F. C., Jr. 
 Hall, Mrs. J. 
 Hunter, Dr. D. W. 
 Herrman, Miss. 
 Hasbrook, Miss. 
 Herman, F. 
 Hammerslough, Mrs. 
 Haynes, Mrs. E. A. 
 Howland, Henry E. 
 Hanford, Mrs. S. C. 
 Halsey, A. 
 
 Harriman, Mrs. Chas. 
 Hinton,Dr. J. H. 
 He aid. Miss 
 Hoyt, E. M. 
 
i8o 
 
 APPENDIX. 
 
 Harrison, Mrs. M. L. 
 Harriman, Miss K. S. 
 Inness, Miss £. R. 
 Ickelheimer, T. 
 Isham, Wm. B., Jr. 
 Inglis, Mr. 
 Ireland, Miss £. N. 
 Ives, Mrs. Brayton. 
 ■ Joseph!, I. 
 Johnson, Mrs. E. P. 
 Johnson, Mrs. S. W. 
 Janeway, Mrs, E. G. 
 Jacobs, Miss. 
 Janeway, Miss H. H. 
 Judson, C. H. 
 Johnson, Mr. 
 Joline, Mrs. A. H. 
 Jeremiah, G. 
 Jennings, Miss A. B. 
 JafFray, Jr., Mrs. R. 
 Knight, Dr. Chas. H. 
 Kuhnhardt, H. L. 
 Kraber, Miss E. H. 
 Kohn, Mrs.J. A. 
 Knight, Chas. H. 
 Kraskowizer, Mrs. 
 Kellogg, Miss L. 
 Kirkpatrick, Mrs. T. 
 Kellogg, Miss A. 
 King, Miss A. M. 
 Koch, Mrs. J, 
 Kipp, Dr.'C. J. 
 Kennedy, Mrs.J. S. 
 King, L. H. 
 Klix, E. 
 
 Knox, Mrs. C. H. 
 Kaufman, Mrs. G. 
 Kuhnhardt, H. R.,Jr. 
 Kobbe, Herman. 
 Kuntz, ^rs. A. 
 Krauser, O. H. 
 Knox, Miss H. L. 
 King, Mrs. S. G. 
 Knapp, Dr. 
 Kaskel, AI. 
 Krauss, Wm, 
 Kursheedt, Mrs. S. 
 Kaufman, Miss A, 
 
 Lawrence, C. J. 
 Latimer, Mrs. C. P. 
 Lawrence, Miss H. M. 
 Lowell, Mrs. C. R. 
 Langdon, Miss A. L, 
 Lusk, Miss M. E. 
 Ludlow, Miss E. Mary. 
 Life, Mrs. S. J. 
 Liebmann, Miss A. 
 Levy, Mrs. W. P. 
 Lentelhon, Mrs. J. T. 
 Littlefield, Mrs. 
 Loomis, Mrs.'Wm. 
 Lublin, O. 
 Law, Mrs. W. W. 
 Loewenstein, Miss F. 
 Lilienthal, J. W. 
 Leggett, S. F. 
 Lawrence, Miss M. 
 Lawrence, Mrs. F. R. 
 Lee, Miss A. 
 Levy, Mrs. L. 
 Leland, F. L. 
 Lambert, Mrs. Wm. 
 Lowry, Rev. R. 
 Lange, J. D. 
 Lehmann, Miss F. 
 Leavitt, James T. 
 Lachmund, Carl V. 
 Levin, Miss E. 
 Lester, Mrs. J. W. 
 Lewis, E. 
 Lyman, Mrs. G, 
 Levi, Miss A. J. 
 Lange, Mrs. 
 Loepe, O. S. 
 Lockwood, Edgar. 
 Lansberg, Mrs. S. 
 Lester, Mrs. J. W. 
 Lewis, Miss J. V. B. 
 Littener, Mrs. N. 
 Lentilhon, Miss. 
 Leflferts, Mr. W, H. 
 Lyons, Al. 
 Lynch, Miss. 
 Low, Miss Louise. 
 Lauterbach, H. 
 Loewy, B. 
 
 Laidlaw, Miss. 
 Liebmann, Miss Ida. 
 Leake, Miss C. R. 
 Lewis, Miss B. S. 
 Lewis, A. 
 Levy, Mrs. I. 
 Littlefield, Miss H. S. 
 Ludington, C. H. 
 Lockwood, Mrs. M. F. 
 Lustig, A. 
 Lienan, Mrs. D. 
 Lewis, A. 
 Lindley, J. 
 Lathers, Miss A. C. 
 Maynard, Mrs. E. H. 
 Miller, Miss C. 
 Meigs, Titus B. 
 Michaelis, Max 
 Munger, H. R. 
 Morgan, Miss J. P 
 Mills, Mrs. A. 
 Mendal, S. P. 
 Moir, Wm. 
 Markoe, Dr. 
 Mack, H. 
 Marsh, Mrs. C. H. 
 Mead, Mrs. T. H. 
 Mollenhagen, C. 
 Meyers, Lawrence. 
 Moore, E.C., Jr. 
 Michaelis, Mrs. P. 
 Macdonald, Miss E. 
 Mills, Miss. 
 Moore, Mrs. I. 
 Mills, E. S. 
 March, Mrs. J. F. 
 Mosenthal, Mrs. H. 
 Miller, C. 
 
 Masters, Miss J. W. 
 Miller, Miss K. 
 Meday, J. P. 
 Man, A. H. 
 
 Mayhew, Mrs. T. L. B. 
 Morgan, A. C. 
 Methfessel, Miss. 
 Magnus, E. 
 Marshall, Mrs. S. P. 
 Merritt, Mrs. 
 
APPENDIX. 
 
 Mayer, Mrs. M. 
 Metcalf, M. B. 
 Medina, Miss. 
 Miller, Chas. D. 
 Mosenthal, Mrs. J. 
 Marks, Mrs. 
 Mead, Mrs. C. L. 
 March, Miss. 
 Morrison, Mrs. J. A. 
 Morris, Miss A. 
 Miller, Miss L. 
 Moir, M. 
 Metzger, H. 
 May, Miss J. 
 Melville, Mrs. T. 
 Manly, Mrs. C. K. 
 Mattison, Mrs. J. 
 Macy, Mrs. J. H. 
 Maas, Miss. 
 Minturn, Mrs. R. B. 
 McMartin, Malcolm. 
 McHarg, H. K. 
 McNamee, J. 
 McNamee, Mrs. G. 
 McCrerry,J. Crawford. 
 Metcalf, M. B. 
 Munn, Dr.J. P. 
 Man, A. H. 
 Mason, G. L. 
 Miller, Chas. E. 
 Myers, J. K. 
 Morrison, Mrs. D. W. 
 Myer, G. A. 
 Mitchell, Mrs. S. L. 
 Macy, Mrs. C. A. 
 Meyer, Mrs. Wm. 
 Merritt, Mrs. S. 
 Martin, "W. V. 
 McClellan, C. G. 
 McCagg, L, B. 
 McCorab, Mrs. M. E. 
 McCready, Mrs. N. L. 
 Nicoll,J.C. 
 Nelson, Mrs. L. F. 
 Nevins, Mrs. C. L. 
 Nancreed, Rev. H. W. 
 Newton, R. W. 
 Nelson, H. D. 
 
 Nevins, The Misses. 
 Newman, A. S. 
 Naumburg, E. 
 Nancreed, Rev. H. W, 
 Neftel, Mrs. W. B. 
 Naudain, Miss H. D. 
 Naumburg, M. 
 Nesbit, Mrs. Grace. 
 Nathan, Robt. F. 
 Neeser, Mrs. J. G. 
 Norris, Mrs. J. P. 
 Nordlinger, Miss I. 
 Nash, Mrs. G. W. 
 Nickarsulmer. 
 Oppenheimer, Mrs. A. 
 Osborn, Miss L. 
 Osborne, F. H. 
 O'Connor, B. F. 
 Odell, H. 
 
 Oscanyan, Mrs. "W. H. 
 Owen, Ed. L. 
 Olyphant, Miss H. 
 Obermeyer, E. 
 Oppenheim, Miss. 
 Olcott, Mrs. F. P. 
 Outerbridge, A. E. 
 Olcott, Mrs. E. M. 
 Odell, Miss E. E. 
 O'Hara, Miss. 
 Poor, Henry W. 
 Paton, C. H. 
 Powers, Mrs. H. Lee. 
 Parish, Miss Helen. 
 Perkins, Mrs. N. S. 
 Pagenstecher, A. 
 Parmly, J. 
 Park, Mrs. A. R. 
 Parkin, Miss. 
 Parker, S. C. 
 Pool, Miss S. S. 
 Parker, Mrs. W. 
 Phelps, Miss M. C. 
 Penfold, W. H. 
 Pettus, Miss M. E. 
 Powell, Miss R. H. 
 Parry, Mrs. C. C. 
 Paul, Miss S. 
 Potter, Miss M. 
 
 Peck, Dr. E. S. 
 Potter, Wm. Appleton. 
 Peshine, Miss. 
 Patterson, Miss C. H. 
 Phillips, Guy. 
 Parker, Miss G. C. L. 
 Porter, Miss G. D. 
 Parsons, Jos. H. 
 Peebles, Mrs. V. A. 
 Phillips, Miss M. A. 
 Pagfe, E. D. 
 Plaisted, Mrs. G. P. 
 Parsons, Miss Mary. 
 Parsons, Mrs. J. H. 
 Peck, Miss, 
 Perkins, Henry C. 
 Pillsbury, Miss. 
 Perlee, Mrs. R. N. 
 Putzel, C. 
 Parker, Miss. 
 Prentice, W. T. 
 Pomeroy, H. K. 
 Purdy, Dr. A. E. M. 
 Powell, J. R. 
 Peck, Chas. E. 
 Pfarrus, "Wm. 
 Payne, Miss L. M. 
 Pillsbury, Mrs. 
 Peebles, Miss V. A. 
 Pfeiffer, G. F. 
 Pyle,J.T. 
 
 Perkins, Mrs. E. ir.Jr. 
 Potts, Mrs. G. H. 
 Piatt, I. V. 
 Quintard, Miss M. A. 
 Rothschild, V. Henry. 
 Rhodes, Miss A. 
 Rothschild, E. 
 Ries, Leo. 
 Robertson, T. 
 Reynders, J. 
 Robinson, Miss. 
 Ruggles, Mrs. E. D. 
 Robinson, Mrs. J. P. 
 Roux, A.J. 
 Rockefeller, J. D. 
 Rhind, C. S. 
 Rosenfeld, Mrs. A, 
 
l82 
 
 APPENDIX, 
 
 Rockefeller, Wm. 
 Ross, Miss H. M. 
 Ryerson, Mrs. W. T. 
 Roosevelt, W. E. 
 Reynolds, Miss. 
 Rosenbaum, S. D. 
 Rothschild, Mrs. W. 
 Raynor, A. N. 
 Rosenberg, H. 
 Reed, Mrs. Wm. 
 Roosevelt, M^s.^ J. W. 
 Reno, Morris. 
 Ruben, L. M. 
 Rolihen, Mrs. D. 
 Rodg-ers, Miss B. C. 
 Remsen, Miss K. 
 Roe, Mrs. A, S. 
 Roberts, J. A. 
 Rand, W. W. 
 Raht, Miss C. 
 Ropes, Mrs. 
 Roelker, A. 
 Ranney, Miss S. P. 
 Riker, Mrs. D. S. 
 Robert, J. E. 
 Rodgers, Miss K. O. 
 Remick, A. 
 Rushmore, Mrs. F. S. 
 Randolph, Miss Mabel. 
 Rogers, Miss. 
 Reynolds, Mrs. J. J. 
 Roosa, D. B. St. John. 
 Rapallo, Miss A. C. 
 Russell, S. T. 
 Rhodes, Miss. 
 Russell, Miss G. E. 
 Seligman, M. 
 Steward, Miss Olive. 
 Scoville, Mrs. T. H. 
 Schermerhorn, Wm. C. 
 Stillman, J. 
 Salsbury, T. S. 
 Sprague, Miss A. L. 
 Stevenson, W. P. 
 Strauss,. Mrs. Wm. 
 Seligsberg, Mrs. W. 
 Schroeder, Miss P. 
 Sweeter, Miss A. M. 
 
 Stein, Theo. G. 
 Sweetser, Miss A. M. 
 Short, George H. 
 Smith, Mrs. S. A. 
 Sergeant, Mrs. G. H. 
 Schwab, G H. 
 Schwab, The Misses. 
 Southmayd, Miss E. F. 
 Steers, J. P. 
 Simpson, Miss Hattie. 
 Sloane, Wm. D. 
 Schwed, E. H. 
 Seidenburg, R, 
 SchulhofF, Mrs. Philip. 
 Simmons, G. H. 
 Sherman, Mrs. A. W. 
 Seligman, I. 
 Shepard, Mrs. E. F. 
 Sheffield, Wm. R. 
 Shaw, Mrs. Francis G. 
 Stevens, Miss J. B. 
 Smith, Wm. A. 
 Stout, J. S. 
 Steinway, Mrs. A. 
 Selwin, A. H. 
 SmaUey, Mrs.I.V.A.S. 
 Steinway, F. T. 
 Snow, Mrs. 
 Stokes, Mrs. Th. 
 Schreitmiller, G. 
 Slossen, M. E 
 Smith, Mrs. C. B. 
 Sheffield, Mrs. J. B. 
 Star, Th. B. 
 Schumann, Miss G 
 Sheldon, Mrs. J. 
 Stege, F. H. 
 Sachs, Dr. J. 
 Schloss, H.J. 
 Sturges, Mrs. R. 
 Scott, W. H. 
 Schauss, H. 
 Stone, Mrs. W. 
 Stanton, Mrs. I. G. 
 Stein, Mrs. S. 
 Stone, Miss M. A. 
 Smith, A. I. 
 Swartout, J. H. 
 
 Stern, Miss. 
 Slade, Mrs. E. W. 
 Smillie, Mrs. James D. 
 Schley, W.T. 
 Scholle, Adolph T. 
 Schwab, G. H. 
 Slade, Mrs. M. 
 Shedd, Mrs. W. T. 
 Sherman, Mrs. W. ^^^ 
 Sanders, Mrs. 
 Strauss, F, 
 Shack, A. 
 Swift, Mc. R. 
 Spaulding, H..K. 
 Sternberger, L. 
 Stern, Mrs. L. 
 Stevens, Miss. 
 Schenck, Mrs. A. 
 Speyers, Mrs. H. 
 Strauss, Miss F. 
 Sykes, S. 
 Seward, K. S. 
 Smythe, W. G. 
 Sallinger, E. 
 Smith, G. W. 
 Steinbruckcr, L. 
 Stewart, Mrs. J. 
 Schmidt, Mrs. L. 
 Sternberger, M. M. 
 Safford, Miss M. D. 
 Smillie, Chas. F. 
 Stitt, Mrs. C. H. 
 Starr, Mrs. T. B. 
 Solomon, Miss R. 
 Stevens, Mrs. I. G. 
 Selman, A. 
 Sinclair, J. 
 
 Sherman, Mrs. W. A. 
 Sabine, Mrs. N. Henry. 
 Sheldon, James O. 
 Shivereck, Mrs. 
 Stanton, Mrs. G. N. 
 Scott, Mrs. W. 
 Stevens, Mrs. T. 
 Schlesinger, Miss A. 
 Strang, N. B. 
 Seligman, Mrs. J. 
 Scrugham, Miss. 
 
APPENDIX. 
 
 183 
 
 Smith, Miss Ella M. 
 Schaff, Mrs. P. 
 Stone, G. F. 
 Strauss, N. F. 
 Thorne, Mrs. Sam'l. 
 Twyeflfort, E. 
 Thompson, Mrs. F. F. 
 Thompson, £. S. 
 Tretbar, C. F. 
 Taylor, Mrs. A. C. 
 Trotin, Miss. 
 Thomas, Mrs. Th. 
 Travers, Mrs. V. P. 
 Thompson, Mrs. C. L. 
 Tunis, Miss L. 
 Tyndale, Mrs. J. H. 
 Tweedy, Miss I. 
 Trotter, Mrs. 
 Tailer, Mrs. R. W. 
 Thompson, A. K. 
 Tiffany, L. C. 
 Twombly, H. McK. 
 Thomson, Frank. 
 Tyson, Chas. M. 
 Tyson, G. L 
 Thompson, Miss A. K. 
 Thurston, Mrs. E. D. 
 Tissington, C. H. 
 Travers, Mrs. F. C. 
 Thayer, S. H. 
 Thurman, Miss G. 
 Townsend, Mrs.R.H.S. 
 Tillinghast, W. E. 
 Taylor, Mrs. Alfred. 
 Tyson, C. M. 
 Underbill, Mrs. L. 
 Ulmann, B. 
 Ullman, Miss J. S. 
 Ulmann, S. B. 
 Van Arsdale,Mrs.H.A, 
 Van Wagoner, Mrs. J. 
 Vermilyea, Mrs. W. E. 
 Voorhees, V. F. 
 Valentine, Mrs. C. M. 
 Veith, Mrs. H. F. 
 Valentine, Sam'LH. 
 VanAntwerp,Mrs.E.H 
 
 Van Benschoten, Miss. 
 Van Brunt, Miss. 
 VanSantwood,Chas.T. 
 Van Woert, L. 
 Van'Winkle,Miss M.D. 
 Vail, H. H. 
 Victor, A. 
 Van Vleck, W. D. 
 Villard, Henry. 
 Van Emburgh, D. B. 
 Van Houton, Mrs. D. B. 
 Von Inten, F. 
 Von Auw, Ivan. 
 Van Riper, F. 
 Van den Toorn, W. H. 
 Wilder, Wm. R. 
 Weber, Oscar B. 
 Wikoff, Miss A. 
 W^estcott, R. G. 
 Windle, Miss M. S. H. 
 Wittnauer, A. 
 Williams, Waldron, 
 Willigerod, Mrs. 
 Wheeler, Miss. 
 Walter, H. 
 Wieners, Mrs. J. F. 
 Williams, L. L. 
 Wendt, B. 
 Warren, Chas. E. 
 Wheelock, Dr. G. G. 
 Weaver, Miss. 
 Walker, Mrs. M. 
 Wolff, L. S. 
 Wheeler, Miss E. 
 Wagoner, Mrs. J. Van. 
 Weston, W. 
 Whyland, Mrs. A. E. 
 Woodruff, H. B. 
 Wilson, Mrs. J. W. 
 Wallbridge, Mrs. D. M. 
 Wehle, F. 
 Wiener, Dr. R. G. 
 Woerner, Roman. 
 White, Miss Hattie E. 
 Weisker, Chas. 
 Wayland, C. N. 
 Wheeler, Miss I^. 
 
 Whitacker, Rev. A. 
 Wheaton, Miss A. W. 
 Williams, Mrs. J. R. 
 Warren, S. P. 
 Worms, S. 
 Westwood, H. 
 Wagner,K. J. 
 Weber, E. 
 Worcester, N. J. 
 Woodruff, H. B. 
 Wellington, Mrs. S. B. 
 Wood, Miss Grace. 
 Woodford, W. E. 
 Woodford, Mrs. W. E, 
 Werner, Mrs. 
 W^est, Mrs. E. D. 
 Wickham, Mrs. L. F. 
 Whittemore, Mrs.C. E. 
 Woodruff, A. D. 
 Wechsler, Mrs. H. R. 
 Wreaks, Mrs. J. T. 
 Warren, Rev. D. F. 
 Wiener, Dr. J. 
 Wise, Mrs. C. 
 Whittemore, Mrs. W.L. 
 Wilder, Mrs. S. A. 
 Williamson, D. D. 
 Wix, Mrs. 
 Williams, Mrs. I. T. 
 Ward, Miss K. A. 
 Waller, E. 
 Wheelock, W. A. 
 Wheelock, Dr. G. G. 
 Wegman, E. 
 Weber, Dr. L. 
 Williams, James B. 
 Weeks, Miss A. D. 
 Wilson, Mrs. A. A. 
 Wendell, Mrs. Jacob. 
 White, Mrs. Edwin. 
 Wilmerding, Miss. 
 Zerega, Miss T. 
 Zickel, S. 
 Zollikoffer, I.