New-York tribune., 1919-08-31
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been more impressive if not so pict-
uresque as the Highland piper. But
that would have run counter to Mr.
Carnegie's Scottish nature.
l opine that Mr.. Carnegie was simple
in his musical taste. 1t ought to be re-
mem bered to his credit that for many
years-from his marriage until the day
when age and increasing weakness sug-
gested the advisability of laying down
the burden-he kept choral music alive
in New York. Mrs. Carnegie before
her marriage to him was devoted and
active member Of the Oratorio Society.
| make no doubt that it was because of
this that he assumed the presidency of
the organization and performed his
duties (chief of which was to pay the
annual defcit) until he placed the
costly obligation upon Mr. Schwab.
Whether or not his association with
the body created in him a love for
choral song l do not know. If he had
predictions in the matter-let me say
it in all kindness to his memory--they
were conservative. He was glad of the
praiseworthy function Of an annual
Christmastide performance of Handel's
Messiah" and if he had had his will l
think New Workers would also have had
an annual performance Of Mendels-
sohn's "Elijah." He had no interest
in the novelties which the Messrs.
Damrosch thought essential to musical
culture, but he let the conductors have
their way and paid the losses which
were invariably incurred by them. He
brought Tschaikoffsky from Russia to
add glory to the ceremonies with which
Carnegie Hall was dedicated, and he
did not forget to have music repre-
sented in the brilliant gathering which
he brought together for the dedicatory
ceremonies of Carnegie Institute. Great
Britain was nobly represented by Sir
Edward Elgar and the United States
very modestly by the writer of these
words. But music played no role in the
ceremonies. 1t walked in the process
sion and partook Of his generous hos
pitality. An equally humble part was
played by the drama represented among
the delegates from Great Britain by
MIR. William Archer.
l hope l may be pardoned by living
men, as we'll as the names OF the dead,
ii tell a story in connection with the
history of Carnegie Hall, although l
must perforce figure in the narrative.
Years ago, thirty at least, Mr. Carnegie
asked me to call on him to talk over
the project Of a music hall. Steinway
best room in town acoustcally, had
became antiquated and was too small
for the concerts of the Philharmonic
and Symphony societies and the Acad-
emy of Music had lost prestige after
the triumph of the Metropolitan Opera
House, which now housed all the con-
certs of the large organizations. An
swering the invitation, called on Mr..
Carnegie in his modest home in one
of the Eightieth or Fiftieth streets,
near Fifth Avenue. We sat in little
cubby of reception room, the walls of
which were covered with framed di-
plomas Of free citizenships in Scottish
and English cities. The conversation
was characteristic Of the man.
do We need a new music hall in New
York;" he asked.
eve do-of the right kind" I an
swered, and was about to give him my
notions Of what the right kind was.
"Now, please" he interrupted, "let
me ask questions and you answer. It's
my way of doing business. Do we
need music hall?"
"Yes."
"Wherc abouts ought it to be situ-
ated?"
pretty far uptown, midway between
the East and West Sides, so as to be
accessible by the streetcar lines"
And SO it went on until | was per-