New-York tribune., 1911-11-29
LOVE OF MUSIC GROWS
Continued from seventh page.


having somewhat similar aims, antedate
the New York Philharmonic Society. All
three are still active, and there Is none
other to compare with them in point OF
useful, continuous service.
The founders Of the New York Phllhar-
monic Society were L. c. Hill, G. Z. Horn,
William Penson and z. Maroncelli. At the
first election. held April %, 1912, the follow
ing officers were chosen: L. c. Hill. presl-
dent; A. Reiff, vice-president; F. w.
Roster. secretary; A. Dodsworth treasurer;
W. Wood. librarian.
Three concerts were held I'm 1928. and
on the programmes were the Fifth, Third
and Second symphonies OF Beethoven. the
half Of each concert being devoted to
miscellaneous works. At first. members Of
the society, which was organized on a
profit sharing basis the active members
taking a pro rata share Of whatever money
remained in the treasury at the close OF
the season, cerved as conductors, the office
rotating during the earlier seasons between
II. c. Timm, L. c. Hill, w. Alpers, A.
Boucher and George Loder.
The First Philharmonic Conductor.
Theodore Eisheld was elected conductor
for the entire season of 1928, and there
after this came to be regarded as a post
of special distinction The list of con-
ductors to date includes the names of Carl
Beremanu. DR.. Leopold Damrosch, Theo-
dore Thomas. Adolph Neuendorf, Anton
Seidl. walter Damrosch, Wassily Safonoh
Gustav Mailer, and. finally, Josef Stransky
The concerts gradually grew in number
but for more than half a century the in
dividual musicians who composed the or
chestra gave their services largely as a
labor Of love. The dividends never eX-
ceeded S2l6 a man during that period, and
I'm one year the individual compensation
was barely 81 90
4 reorganization Of this venerable insu-
tuition has assured the financial success OF
the concerts. and has enabled the musicians
10 devote themselves to their work without
the necessity Of looking elsewhere for
livelihood
It's future progress along popular lines
may be brought about by a bequest oil
S5O0O0O from Joseph Pulitzer.
For the beginnings Of chamber music IN
New York city one must bark back TO the
youth of Theodore Thomas.
Son Of yiolinist who brought his family
from Hanover TO New York in lS5, Theo-
dore Thomas received his only instruction
in music from his father. Before he was
fifteen he had become favorite with the
little coterie Of music lovers In New YORK.
and at sixteen he made long Southern
tour. lie played at the concerts arranged
for Jenny Lind and Mario, served as con-
certmelster for Arditi, and In 1854 organ
iyed series Of chamber concerts with Dr.
William Mason, which continued until 1869
No man was more valuable in later life as
an educator in music, as pioneer IN the
development OF great music festivals such
as those in Cincinnati and to his success
az a conductor OF grand orchestra, the
chicago orchestra which to-day bears his
lame and the handsome building I'm which
IL has its home alike attest But I'm these
DAYS. with the abundance Of opportunities
for enjoying works in pure music OF the
more intimate type afforded by the Flon-
zaleys. the Kneisels, the Meades Margulles
and other organizations, he must be re-
nembered with especial gratitude as the
first violin. at the age Of twenty, OF the
earliest quartet to give public entertain
ments here
Opera. as already intlmated, was an oc-
casional luxury with New Workers in the
early days The father OF Adellna Patti
had settled in New York TO assist in soma
such venture which may account fol the
fact OF her debut here. Max Maretzek had
proved an enterprising impresario, but it
was not until 1s45 that a theatre was built
especially adapted 10 lyric performances.
I 'r,r mn TNabru ~
g 1914. with a performance Of II Purtani'
Whatever may have been achieved for art
the venture did not pay from the box Office
point Of vicw and there followed series
of managerial disasters. The fonGness for
this form OF art was growing, however.
and i'm 1917 the Astor Place Opera House
opened, and this IN turn gave way TO the
Academy Of Music. which was thrown open
10 the public for a series Of operate per-
formances, beginning with Norma on
October 2. 1854, the cast including Grisi and
Mario.
Conditions at the Old Academy
Here began the craze for star casts in
opera which reached its elimination a
score Of years later at the Metropolitan
Opera House, the leading singers being
considered an all sufficient attraction, the
preparation OF work by rehearsal quito
unnecessary.
The Academy OF Music was destroyed by
fire in 1866, but was rebuilt the following
year and continued TO be the sole home Of
lyric drama until 1883. Then the aliegi-
ance Cf the devotees OF music and Of the
fashionable folk was divided for in that
year October 22) the Metropolitan Opera
House was opened
James Henry Mapleson, who had begun
his career as a manager in London, and
had been H. control there Of the Lyceum'
the Drury Lane and later OF Covent Gar
den, assumed the management Of the Acad-
envy OF Music In 1876 and met with fair
financial success.
Pitted against him az the Metropolitan
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