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Home , Anton Seidl, David Bispham, Feramors, Frederic Archer, Germania (opera), Lillian Blauvelt

From the "Idol's Eye" to "Tristan": in

Robert F. Schmalz University of Southwestern Louisiana

For nearly a century, the cities of and Pittsburgh have been represented by two of the nation's finest orchestral ensembles. Although colorful and sometimes controversial personalities spice the histories of both organiza- tions, Victor Herbert's mercurial career as conductor of the Pittsburgh is particularly noteworthy. Indeed, during his brief tenure in Pittsburgh the of "Babes in Toyland" and "Naughty Marietta" exerted an extraordi- nary influence on the musical life of his adopted city. Victor Herbert succeeded Frederick Archer to become the second conduc- tor of the Pittsburgh Symphony Orchestra in 1898, only the fourth season of the orchestra's existence. Inheriting an organization which was confused and divided over Archer's dismissal, the thirty-eight year old conductor launched a six-year association which proved to be a rewarding experience for the city, the orchestra, and the conductor alike. Those who anticipated a new beginning were not disappointed. Herbert brought with him to Pittsburgh a decidedly popular image. Born on February 1, 1859, he was the grandson of , an Irish novelist, poet and songwriter. He had pursued a musical career in , studying at the Conservatory. Herbert toured , Germany and Italy as soloist with the Stuttgart Orchestra in the late 1870's and early 1880's. It was during this period that he produced his first compositions, completing both a suite and a concerto for cello and orchestra, as well as several songs. It was his marriage to Therese Foerster that proved instrumental in Herbert's decision to relocate in City. When Mrs. Herbert, a with the Viennese Court , accepted an invitation to join the , the management agreed as well to employ Herbert as principal cellist of the Met's orchestra. Herbert's musical career blossomed in the United States. As an active soloist and orchestral musician his name was associated with several of this country's finest conductors, including Theodore Thomas and ; and in 1889 he accepted an appointment to the faculty of the National Conservatory of Music (later to be headed by Antonin Dvorak).2 Herbert's increased interest in and composing would determine the future course of his musical career. In 1853 he became the new conductor of New York's 22nd Regiment

in U 338 * 338 Band, already made famous by the outrageous Patrick Sarsfield Gilmore.3 At about the same time he initiated what would prove to be a long and illustrious association with American . Herbert's name was not included in the pool of applicants when efforts were initiated to find a replacement for Archer. The early favorite was Emil Mollenhauer, then the conductor of the and later, the Boston Festival orchestra. However, when confidential recommendations were solicited, it appears that several individuals, among them the important Boston music critic Philip Hale, suggested the flamboyant Irishman. The decision to employ Herbert was communicated to the orchestra's guarantors in a letter dated February 10, 1898 and signed by W.N. Frew, the Chairman of the Orchestra Committee of the Pittsburgh Art Society. Frew's carefully chosen words reflected the critical need to convince these financial backers that the conductor-elect was, in fact, the best choice to raise the organization to new heights: . . . every effort has been made to insure the continuance, on the highest plane possible, of the organization which you have so gener- ously supported. While on many accounts, as you will readily appreci- ate, the question (of replacing Archer) was approached by the orches- tra committee with extreme reluctance, the members fully realized the responsibility of their position and, feeling that they were bound to regard themselves simply as trustees for you and the many patrons of the orchestra, and that in some sense the musical future of Pittsburgh has been placed in their keeping, they endeavored to make the investigation in a courageous, sincere and unprejudiced manner. They have been actuated by the belief that the orchestra, as an institution, as a most powerful factor in the growth of the higher life of our city, should be regarded as of first importance, and that, if it is to take a permanent place among the great symphonic organizations of the country, individuals as such must be assigned a secondary place. After taking everything into consideration i.e., natural ability, techni- cal training, ambition and peculiar adaptability to the conditions at present existing in Pittsburgh, and having given full weight to the consensus of opinion obtained from musical experts-both in and out of the city-the orchestra committee felt that it was justified in electing Mr. Victor Herbert of ....' Although Frew did succeed in placating a majority of the orchestra's original guarantors, it soon became apparent that not everyone was pleased at the choice. Interestingly, Herbert's leading detractors were not to be found in Pittsburgh but rather, in New York City. The most consistently negative sentiments expressed in print concerning the conductor during his Pittsburgh sojourn were those published in the editorial pages of the Musical Courier. This nationally circulated

Pennsylvania History 339 journal and its ambitious and controversial editor, Marc A. Blumenberg, seemed dedicated to maligning the conductor from the outset. Although the magazine occasionally published articles which it alleged were contributed by disgruntled Pittsburghers using the pseudonymns "X," "Traumerie," and "Honestas," the most vituperative of the articles were penned by Blumenberg himself. One instance occurred less than a week after Herbert's appointment. The Courier editorialized as follows: In the selection of Mr. Herbert to succeed Mr. Archer we cannot conscientiously congratulate the chairman of the Art Society, nor indeed Pittsburgh. H. is anything you like but a good conductor. He is not even a successful band conductor, as his recent tours have proved. And he has had absolutely no experience with symphony orchestra conduct- ing; indeed, any orchestra.... When we speak of Mr. H. as not being an adept conductor we mean just what we say. As a leader of band music his beat is wild and amateurish, (his) musical conception commonplace, and he lacks the greatest of all requisites as a conduc- tor: he has no personal magnetism..... The Courier published a continuous stream of anti-Herbert editorials during 1898 and 1899. The conductor's enemies were clearly dedicated to making his tenure brief. Blumenberg, for his own reasons, encouraged this activity. The following is an example of the editor's bile: Happy Pittsburgh! Unfortunate Boston, New York and , who have to be content with inferior men. Considerable curiosity was aroused by the preliminary flourish of trumpets, and an expectant audience was on hand . . . to witness the debut as a serious symphonic conductor of "The brass band leader and king," who had already won reknown ... as the exponent of "Tossing the Pickaninny," "Champagne Galop" and other classical works whose high tone and educational value cannot be denied....6 After a brief lull, Herbert's problems with the Musical Courier and its malevolent editor flared anew in 1901. When news reached New York of the first of several public disagreements between Herbert and George Wilson, the orchestra's dedicated business manager, the subsequent editorial which appeared in theJuly 1 issue of that magazine initiated one of the most bizarre chapters to occur in the career of any American musical figure.7 This article cited the premier of Herbert's , the Fortune teller, which Blumenberg characterized as a "lamentable failure." The editor then reminded his readers that he had previously warned that all of Herbert's "written to order" comic were "pure and simple plagiarisms."

Volume 57, Number 4 * October 1990 340 Although he had already overstepped the boundaries of prudence and good taste, Blumenberg continued: From the very outset it could not be understood by equipoised minds how a writer of comic operas (and American comic operas at that)-and a conductor of brass bands ... could possibly be the director of a symphony orchestra.... Everything written by H. is copied; there is not one original strain in anything that he has done.... The great symphony conductors are not drafted from the ranks of the of the shoddy America farce operas, alias leg shows....' In a last attempt to undermine Herbert's support in Pittsburgh, the Courier's editor offered the completely unfounded speculation that the Wilson/Herbert rift developed when the orchestra's manager finally realized the gross inadequa- cies of his conductor. This was more than the long suffering conductor could take. Herbert filed suit against the Courier and Blumenberg. The remarkable libel trial which followed resulted in complete vindication for the conductor, including a large monetary settlement? Blumenberg-to the delight of many members of the musical community who had suffered at his hands-was silenced at last. The negative sentiments expressed in the Couriernever reflected a prevailing attitude in Pittsburgh. Herbert was a popular success, and the Pittsburgh Orchestra, initially strengthened by musicians who followed the conductor to the city when Anton Seidl's New York ensemble disbanded, continued to mature as an ensemble during the course of his tenure. The consistent quality of its performances earned the new conductor praise from many who had previously expressed reservations. One convert wrote: (the critics) notwithstanding, the season just ended has demonstrated the justness of the Pittsburgh Orchestra's claim to recognition as one of the (finest) of this country.... The unstinted praise which has been bestowed upon the P.O. by visiting artists of international fame ... proves beyond controversy the absolute truth ... that the orchestra has developed under the leadership of Victor Herbert, a capacity for intelligent rendering of ...... Herbert's unique mix of personality and talent proved well suited to a city with the reputation for being industrious, vital, and somewhat rough around the edges. Handsome and gregarious, Pittsburgh's conductor made no effort to conceal his love of flashy clothes and good parties. His Aiken Avenue home became a popular gathering place for local musicians and visiting celebrities alike. Herbert manifested a paternalistic attitude toward the musicians of the orchestra, a fact which unquestionably contributed to the unparalleled allegiance which if anything, intensified during his stay. He was in many respects a blue

Pennsylvania History s - 341

Vtaer H offbwis bis prim collar conductor who frequently conducted long rehearsals in his shirt sleeves and afterward joined "his boys" for a beer at the local pub." Despite his popularity, Herbert was not wholly free of detractors. The comments of Gustave Borch, a cellist who quit the organization in 1903 after a public dispute with the maestro, are illustrative of the concerns expressed by a small but vocal group of orchestral musicians. Venting his feelings in a letter of resignation which found its way to the local newspapers, Borch accused the conductor of being vulgar and deceitful: When I entered into correspondence with Mister Henneberg regard- ing a position as cellist in the Pittsburgh Orchestra, I stated that I did not wish to come to Pittsburgh for a season of twenty weeks. Mister Henneberg for Mister Herbert wrote to me that I would have to play for Mister Herbert before the rehearsals began and he would then decide which place I was to have in the orchestra. I played for Mister Herbert and he found me good enough to engage as second solo cellist and induced me to take that position, telling me that it would

Volme 57, Number 4 0 October 1990 342 mean a much longer engagement, as he was going to take a part of the orchestra on a concert tour after the Pittsburgh season, and I as second cellist would be sure to continue with him as long as the orchestra was together. These were the conditions on which I accepted the position. Since that time, Mister Herbert, for personal reasons, has changed his mind and without giving me any notice has engaged another cellist in my place for the Spring tour. He has thus broken his agreement with me. Mister Herbert treats the men of the orchestra in such a rough and vulgar manner that the Art Society will find the orchestra less good every year, instead of improving, as no musicians who are good enough to do something else would submit to Mister Herbert's ungentlemanly manner and personal insults. I for my part find (the situation) impossible, and as Mister Herbert, as the Art Society's representative, has broken his engagement with me, I find that I am not bound to stand his treatment and I refuse to work with him. If Mister Herbert has personal reasons to insult me, his position as conductor of the orchestra does not entitle him to do so during rehearsals and concerts."2 The incident proved to be especially embarrassing to Herbert, coming at a time when the question of administrative control of after-season touring was about to occasion a serious confrontation between the conductor and George Wilson, the orchestra's business manager. Herbert responded to Borch's allega- tions by claiming that the cellist had failed to meet his expectations and that in any event, his comments were colored by the recent notification that his services would not be required on the Spring tour. In the area of programming, maestro Herbert received mixed reviews. The choice of an ensemble's music, together with the order and manner of its presentation in performance, often reflects the personality of its conductor. Herbert's intimate knowledge of musical theatre contributed to an unorthodox mixing of the classical repertoire with the lighter, more popular works which characterized the Pittsburgh Orchestra during these years. Often a symphony came first, followed by a suite or works with a soloist."3 However, the signature of Herbert's ensemble was to be found in the sets of light pieces which were so often used to conclude its performances. Such programming clearly reflects the conductor's well documented belief that concerts should appeal to as many patrons as possible. For Herbert, those unable to understand the beauties of "heavy, symphonic numbers" should have their taste gradually cultivated by listening to "pieces of simpler construction although of high musical standard."' 4 Herbert's propensity for mixing light, "modern" compositions with more traditional fare was not only enthusiastically received in Pittsburgh, but undoubt-

Pennsylvania History - t 343 ably contributed to making his ensemble one of the most successful and well-traveled touring orchestras of its time. During his first season the orchestra presented twenty-nine concerts, of which twenty were given for the home audience. Thereafter, the yearly total was never less than sixty-three performances and on the average out of town concerts constituted about half of these. In the conductor's third season the Pittsburgh orchestra performed thirty-three con- certs in cities ranging in size and importance from Wheeling, West Virginia to Philadelphia, Washington, D.C., Baltimore and New York City."5 Several of these performances were underwritten by one of Herbert's most influential and devoted supporters, Andrew Carnegie. Carnegie, whose philanthropic efforts have provided his adopted city with a superb library system and a world renowned university, was unstinting in his praise of Herbert, whom he consid- ered to be a true "people's" conductor. Although Pittsburgh audiences swelled with converts, the response of professional musicians and experienced concert-goers was mixed. Adolphe M. Foerster, one of the city's better known composers, reflected this ambiguity: Possessing great familiarity with orchestral resources, and being a perservering worker, his influence exerted itself beneficially for the orchestra. Brilliancy and verve were the most promising characteristics of his work; sometimes though, his exuberance seemed excessive; what often appeared an advantage in modern music proved a detri- ment in the classical. Mr. H's advent was marked by virility and his programs were never tedious. . .16 Focusing upon what he considered to be the inappropriately large number of the conductor's own works which were performed, the editor of the Musical Courier was less subtle. He suggested that might have retained his position had he chosen to program less "heavy" music in favor of more excerpts from Herbert !"7 One aspect of the programming issue, i.e., the degree to which Pittsburgh Orchestra concerts reflected the conductor's commitment to the performance of works by American composers, remained a source of controversy throughout Herbert's tenure in Pittsburgh. Indeed, the legitimization of American composers has been a remarkably slow process. At the turn of the century, an unbridled enthusiasm for the efforts of native composers would have been an unlikely attribute for any conductor. Evidently, Herbert's commitment to the cause exceeded that of many others within the Pittsburgh organization. Orchestra Manager Wilson in particular, seemed unconvinced that the music of American composers could be profitably performed. When Herbert suggested that Henry Holden Huss be invited to Pittsburgh in order to perform the part in his own Concerto for Piano and Orchestra, a skeptical Wilson wrote to Huss: ". . . you will recognise of course

Volume 57, Number 4 * October 1990 344 that your drawing power is not very great..18 Huss did play in Pittsburgh for two performances (January 10 and 11, 1902), although the one-hundred and fifty dollars that he received for his efforts is mute testimony to the gravity of the problem. Herbert's response to one particularly critical article, which appeared in the February 18, 1900 issue of the Pittsburgh Leader, outlines his position: I have no personal feelings at all against any native composers, Pittsburghers or others, and the statement that I entertain an unaccount- able antipathy to American orchestral works is not true. In selecting compositions for my programs I am actuated entirely by motives to have the best obtainable. Artistic merit must rule-no other. In the United States, there are not more than six or eight composers who have written works scored for orchestra of the best artistic quality. After you have mentioned Henry Clay Hadley, G. W. Chadwick, Arthur Foote (all of Boston), and McDowell (of New York), Arthur Nevin (of Pittsburgh) and two or three others, you have run the gamut of American orchestral works. It will not do for a great symphony orchestra to play merely good selections.... When the Art Society founded the orchestra, it was with the distinct understanding that only the best kinds of works should be given.'9 Interestingly, Herbert must have considered his own works to be in that exalted category. The conductor included no less than five of his compositions on Pittsburgh programs, a fact that was not lost upon his critics. One wag published the following characterization of a "typical" Pittsburgh program under Herbert: Proposed for Next Fall Overture- Wizard of the Nile Herbert Serenade from Herbert Cello Solo by Victor Herbert Herbert , Prince Ananias Herbert Fantasie, The Idol's Eye Herbert (In case of an encore of Herbert's cello solo, Mr. Herbert will accompany himself on the piano)2 0 However, even if the conductor's own compositions are discounted, his record for programming American works appears to have been better than that of most of his contemporaries. In his six seasons with Pittsburgh, Herbert provided a forum for the works of twelve native composers. 2' That Pittsburgh concert-goers were exposed to such an impressive array of talent, must have resulted in part from the growing reputation of the city's ensemble and its conductor alike. Singers Ernestine von Schumann-Heink and Giuseppi Companari; pianists Arthur Whiting, Henry Holden Huss and Fannie

Pennsylvania History - 345 Bloomfield-Zeisler; violinists and cellist head a list of artists which would compare favorably to a similar list for any rival American orchestra. Nor were famous conductors excluded from this parade. New York's conducted in Pittsburgh at the request of his friend Herbert in January 1904; and one of the most significant musical events in the city since the founding of its orchestra occurred on March 11 and 12 of that year. After months of preparation by Herbert and orchestra manager George Wilson, was induced to include Pittsburgh on the itinerary for his U.S. tour.22 Strauss, as might be expected, did not come cheap-the orchestra commit- tee agreed to pay the famous German composer-conductor and his wife, soprano Pauline de Ahna, the considerable sum of fifteen hundred dollars for their appearance. The success of this event proved to be more than worth the expense, however. Strauss delighted the city with his conducting and with comments to the press such as the following:

The one mistake of this, my first American tour, is that I did not engage the unapproachable Pittsburgh orchestra for every one of the concerts I was engaged to conduct, including those in Philadelphia, New York and Boston.23

This was high praise indeed; although it should be noted that this was the same Richard Strauss who a few days later would compare Morgantown, West Virginia with -to the detriment of the latter!24 Unfortunately, the orchestra's burgeoning artistic reputation and creative successes served as a veneer which covered problems. These, coupled with the press of his varied musical interests, prompted Herbert's decision to return to New York following the 1903/1904 season. News that he had officially tendered his resignation as conductor of the Pittsburgh Symphony orchestra appeared in New York papers on December 3, 1903. The first accounts were published the following day in Pittsburgh, although neither his faithful supporters nor appar- ently Herbert himself, considered the issue to be resolved at that time. Neverthe- less, the story that was rumored for several months thus became reality for a concerned public. Herbert's commitment to Pittsburgh and its orchestra was questioned as early as the Spring of 1903. At that time the Orchestra Committee asked the conductor to clarify his plans upon the expiration of the three-year contract which would expire at the conclusion of the season. Herbert's reply was equivocal, although the conductor did indicate that salary had become an issue. Herbert's contract stipulated a base salary of three thousand dollars, and although income derived from tours and extra concerts raised the figure to between six and seven thousand dollars, this remained substantially below the compensation commanded by his contemporaries. Taken in this context, the

Volume 57, Number 4 . October 1990 "46 Cow o -N Cemgs Lftwy of PA-bw01

PitbAmh Syophemy Orbhsvtt, aaqer-axdHoeVI axtap- xiJ-GoW Vih.a conductor's request for a straight ten thousand dollar yearly guarantee should have been neither unexpected nor surprising.2' Salary however, was only one of a catalog of concerns which contributed to the conductor's decision to leave. A significant worsening in the financial condition of the orchestra; an orchestra committee which had become notice- ably less sympathetic to its conductor's policies; and the increasingly public rift between Herbert and George Wilson were all evidences of the growing crisis in Pittsburgh. Although his ensemble enjoyed unparalleled critical acclaim, it suffered the curse so common to these organizations: it lost money. The orchestra had incurred yearly deficits of from $22,000 to $29,000 during the seasons 1900-1903. Subscription sales had declined from $25,000 in 1901 to $17,000 in 1903 and the three-year guarantee established in 1901 was in its final year.' As a result Herbert, in his final season as conductor, found himself presiding over a smaller Pittsburgh Orchestra with a curtailed tour schedule-a fact which must have

Peawylvania Hiuoq 347 been discouraging to a conductor who had always identified with his musicians and their concerns. The dispute between Herbert and his orchestra manager continued to fester as well. Indeed, what had originally manifested itself as a minor irritation over scheduling and the division of responsibilities for tours, had become a bitter and irreconciliable feud by the beginning of the 1903-4 season. As an indication of the depth of the problem, Wilson was accused by at least one Pittsburgh paper of using his considerable influence with the orchestra committee of the Art Society to prevent Herbert's re-employment. Although he displayed a laudable restraint in his public comments, Wilson's memoranda to members of the committee are considerably more candid. A variety of comments suggest that by 1903 the orchestra manager viewed a change of conductors as essential.27 Further, it is apparent from letters like that which he sent to W.N. Frew on January 15, 1904 that Wilson already had begun to lobby for New York's Walter Damrosch, his top candidate for the post.28 The worldly and sophisticated Damrosch had already established himself as one of the country's premier conductors and had just conducted the Pittsburgh Orchestra at Herbert's invitation. Wilson theorized that Pittsburgh audiences already viewed him as a "greater man than Herbert" and that, in any event, "Mister Damrosch has the personal qualities that would make him welcome in our best houses"-this presumably unlike the more plebian Herbert.2 9 For his part, the conductor made the firing of the orchestra manager a precondition for any reconsideration of his preliminary decision to resign. Apparently, this was not an option with the governing Art Society, which counted among its members several strong supporters of the orchestra manager. Given the circumstances it is reasonable to assume that the challenge of maintaining a first rate symphonic ensemble was not the priority for Herbert that building it in the first place had been. Clearly the growing burden represented by the multiplicity of his musical and business interests had begun to take its toll. On several occasions during the late autumn of 1903 Herbert cited his desire to devote more time to other interests as central to his decision to relinquish leadership of the nationally prominent ensemble which he created. Ultimately, the lure of New York City and the musical stage proved too great. Herbert's statement, published in the December 4, 1903 issue of the Pittsburgh Dispatch is illustrative:

... at the present time I am engaged on three new operettas ... two of my works are running on Broadway, "Babette" and "Babes in Toyland." I am encouraged by the fact that they are two of the great successes of the season in New York. I think that it would be unfair to myself to remain in Pittsburgh longer than the present season, as I believe that the field of my labor lies in the metropolis....30

Volume 57, Number 4 a October 1990 348 Pittsburgh newspapers during the first few weeks of 1904 were filled with articles reflecting the public sentiment to retain Herbert. Moreover, Herbert's musicians couldn't bear the prospect of losing him and, in a February 15, 1904 letter to the conductor, they did what they could to influence their leader's decision: Sir: Since the announcement was made by you that you would at the close of the season resign your position as Conductor of the Pittsburgh Orchestra, you must have heard on every side of the great regret which that resignation caused. No matter how great or sincere those regrets might be on the part of the guarantors or the Management or the great public of Pittsburgh, they would be small in comparison with the regrets of the individual members of the Orchestra. During the years of our connection in which you have raised the organization to the position it now holds in the musical world, the members have come more and more to reverence and admire you as a large hearted, whole souled man. To us one and all it would be a deep personal loss to have no more your guiding and directing genius and grateful personality. Further than this when we think of the wonderful artistic successes which you have enabled us to achieve, we feel as artists, that it would be nothing short of a calamity if by your withdrawal the efficiency of our organization, gained at so hard labor, should be impaired. Would it not be possible for you to reconsider your position? If you would only do so it would be a cause for heartfelt gratitude to every one of us. We would rejoice to look forward to years of work with you, and with the high ideals in view which you have always impressed on us. Will you take into your thought this ernest and united appeal from us, and if possible withdraw your so much regretted resignation? Signed on behalf of the members of the Pittsburgh Orchestras Despite such testimonials, Herbert's decision to withdraw his name from consideration for the 1904/5 season remained unchanged. In retrospect, it is remarkable that the charismatic conductor, composer. performer and entrepre- neur devoted as much time as he did to the fortunes of an orchestra which was located in a community so far removed from the focus of his musical interests. Indeed, for the six years of his association with their city, Pittsburghers enjoyed only a fraction of the available energies of this vital and versatile musician. And yet, under his baton, the Pittsburgh ensemble was hailed the equal of the best orchestras in America. Although he would never again serve as the principal conductor of a major

Pennsylvania History 349 symphony orchestra, Herbert would continue to pursue the varied musical interests which characterized his career. After Pittsburgh Herbert continued to pursue the variety of musical interests that have assured him a place in the history of American creative arts. Many of his finest operettas were composed in the years following his return to New York and in addition Herbert twice tried his hand at serious opera, as well as composing the first full symphonic score for a motion picture in The Fall of a Nation (1916). Herbert was instrumental in the creation, in 1913, of the American Society of Composers, Authors and Publishers (A.S.C.A.P.). In marked contrast, the fortunes of the Pittsburgh orchestra declined precipitously until, faced with the multiple problems of declining patronage, a troubled local economy and a general dissatisfaction with new conductor , the Art Society reluctantly suspended operations of the ensemble following the 1909/10 season.

Notes

1. Much of the material for this article has the showman's tribute to the conclusion of the been extracted from the huge collection of Franco-Prussian War. correspondence and related documents pertain- 4. "P.O.C.," 2:83-87. ing to the history of the Pittsburgh Symphony 5. "Pittsburgh," extracted from The Musical Orchestra which is housed in the music Courier, Feb. 16, 1898; in "Scrapbooks," 2:137- division of that city's Carnegie Library. Twenty- 138. two volumes of this material, together with 6. "Pittsburgh on Herbert," extracted from more than twenty volumes of newspaper The Musical Courier, clippings are catalogued under the titles March 6, 1898. "Pittsburgh Orchestra Correspondence" and 7. The complete text of this editorial may be "Scrapbooks of Musical Clippings Relating to found reprinted in E. N. Waters, Victor Herbert: the Pittsburgh Orchestra, 1896-1910." These a Life in Music (N.Y., 1955). chronologically ordered collections hereafter 8. "Editorial," extracted from The Musical Cou- are cited as "P.O.C." and "Scrapbooks" rier, July 17, 1901. respectively. 9. For an extended discussion of this trial see 2. H. Wiley Hitchcock and Stanley Sadie, eds., Waters, Victor Herbert. The New Grove Dictionary of American Music 10. "Victory for Herbert," extracted from The (London, 1986); s.v. "Victor Herbert," Vol. II, Pittsburgh Times, Nov. 4, 1898; in "Scrap- pp. 373-377. books," 3:n.p. 3. Gilmore (1829-1892) was the most famous 11. Edward G. Baynham, "The Early Develop- bandmaster of his day, gaining attention in no ment of Music in Pittsburgh" (PhD Disserta- small part, through his propensity for organiz- tion, University of Pittsburgh, 1944), II, p. 253. ing immense musical festivals requiring hun- 12. "Scrapbooks," 7:71. dreds, and sometimes thousands of perform- 13. Baynham, "Music in Pittsburgh," 253. ers. In his 1872 "World's Peace Jubilee," Gilmore assured his reputation for musical 14. "Pittsburgh on Herbert," extracted from excess when he conducted 2,000 instrumental- The Musical Courier, March 6, 1898. ists and 20,000 singers, supplemented by a 15. See Example (1) brace of organs, cannon and church bells, in 16. "Scrapbooks," 3: n.p.

Volume 57, Number 4 . October 1990 350 17. Richard Wolfe, "A Short History of the 24. "Richard Strauss," extracted from The Mu- Pittsburgh Orchestra, 1896-1910" (Master's sical Courier, Mar. 23, 1904; reprinted in E. N. Thesis, Carnegie Institute of Technology, 1954), Waters, Victor Herbert:A Life in Music (N.Y., 414. 1955), 145. 18. "P.O.C." 2:7. 25. "Herbert Firm in his Stand," extracted 19. "Working up a Strong Sentiment," ex- from The PittsburghTelegraph," March 5, 1903; tracted from the Pittsburgh Leader, Feb. 18, in "Scrapbooks," 5: n.p. 1900; in "Scrapbooks," 4:53. 26. Wolfe, 416. 20. Wolfe, "A Short History of the Pittsburgh 27. "P.O.C." 3: n.p. Orchestra," 167. 28. ibid. 21. see Example (2) 29. ibid. 22. Wolfe, "A Short History of the Pittsburgh 30. Reprinted in Waters, 251. Orchestra," 414. 31. "P.O.C." 3: n.p.; reprinted in Waters, Victor 23. Wolfe, 415. Herbert, 248-249.

Appendix A Concerts Performed during Herbert's Tenure Pairs of Out of Town & Home Concerts Special Concerts 1898-1899 10 9 1899-1900 18 27 1900-1901 18 33 1901-1902 18 45 1902-1903 18 29 1903-1904 18 33

Appendix B Works by Americans Performed in Pittsburgh, 1898-1904 1. Henry Hadley, Symphony No. 1 ("Youth and Life"), Feb. 16-17, 1900 2. Arthur Whiting, Fantasy for Piano and Orchestra, Dec. 7-8, 1900 (composer as soloist) 3. Arthur Foote, Serenade for , Op. 25,Jan. 4-5, 1901 4. Henry Hadley, Concert Overture "In Bohemia," Feb. 15-16, 1901 5. George W. Chadwick, Symphony No. 2 in B, Nov. 29-30, 1901 6. Henry Holden Huss, Concerto for Piano and OrchestraJan. 10-11, 1902 (composer as soloist) 7. Henry Hadley, Suite Orientale, Op. 32, March 14-15, 1902 8. Edward A. MacDowell, Indian Suite, Op. 48, Nov. 14-15, 1902 9. Arthur E. Nevin, Suite "Love Dreams," Dec. 12-13, 1902 10. Horatio W. Parker, Concerto for Organ and Orchestra, Op. 55, Feb. 27-28, 1903 11. Frank Van de Stucken, Festival March, Op. 12, Nov. 12-13, 1903 12. Henry Hadley, Symphony No. 2 ("The Four Seasons"), Op. 30, Nov. 27-28, 1903

Pennsylvania History 12r -- - Appendix C Repertoire-Pittsburgh Orchestra Victor Herbert, Conductor Six Seasons-1898/1899 to 1903/1904 [Includes orchestral compositions only]

Bach Suite in D Major Bach-Abert Prelude, Choral and Fugue (8) Bach-Bacherich Gavotte for Strings Bach-L. Damrosch Aria for Strings Beethoven Symphony No. 2 Symphony No. 3 (2) Symphony No. 4 Symphony No. 5 (3) Symphony No. 6 (2) Symphony No. 7 (3) Symphony No. 8 (2) Symphony No. 9 Overture, "Leonore," No. 3 (3) Overture, "Egmont," (2) Overture, "Fidelio" Berlioz Overture, "Les FrancsJuges" Overture, "Roman Carnival" (2) Overture, "King " Scene d'Amour and "Queen Mab" Scherzo, "Romeo and Juliete" Symphonie Fantastique, 3movts. Damnation of , 3movts. March Bizet Suite, "L'Arlesienne," No. 2 Egyptian Dance, "Djnimich" Suite, "" Borodin Symphony No. 2 in b minor Brahms Symphony No. 1 Symphony No. 2 Overture, "Academic Festival" Two Hungarian Dances Chabrier "Rhapsodie Espana" (2) Joyeuse March Habanera Fete Polonaise Chadwick Symphony No. 2 in B flat Cherubini Overture, "Water Carrier" Cowen Symphony, "Scandinavian" Indian Rhapsody Cornelius Overture, "Thief of Bagdad" Cui Two Dances Delibes Ballet Suite, "The Fountain" Suite, "Lakme" Suite, "Coppelia" Ballet Music, "Coppelia" (3) Ballet Music, "Sylvia" Dubois Ballet Suite, "La Farandole" Entr'Acte, "Xaviere"

Volume 57, Number 4 * October 1990 352 Appendix C Continued Dvorak Symphony No. 4 in g minor (New World) (6) Overture, "Carnival" (3) Overture, "Huzitzka" Slavonic Dances, Nos. 7&8 Elgar Overture, "Cockagne" March, "Pomp and Circumstance" Foote Serenade for Strings in E maj. Franck Symphony in d minor Fuchs Serenade for Strings, op. 9 Glazonov Symphony No. 7 Ballet Suite, "Russes d'Amour" Godard Suite, "Jocelyn," No. 1 "Scenes Poetiques" Goetz Symphony in F major Goldmark Symphony, "Rustic Wedding" (2) Overture, "Spring" Overture, "Promethius Bound" Overture, "Sakuntala" Ballet Music, "Queen of Sheba" "Cricket on the Hearth," Prelude to Act III Grieg "In Spring" Suite, "Peer Gynt," No. 1(2) Huldigungsmarch from "SigurdJorsaifar" Two Norwegian Dances Guiraud "Danse Persane" (2) Hadley Symphony, "The Four Seasons" Symphony, "Youth and Life" Suite Oriental, op. 32 Overture, "In Bohemia" Haydn Symphony in E flat major Symphony in D major, No. 2 Symphony "Surprise" Symphony "Military" Symphony "The Bear" Hegar Overture, "Festival" Herbert Suite for Strings, op. 12 (2) "Suite Romantique" op. 31 Symphonic Poem, "Hero and Leander" (2) Symphonic Poem, "Woodland Fairies," op. 31 Suite, "Columbus," op. 35 Triumph Movement from "Columbus" Suite (2) Humperdinck Dream Music from "Hansel and Gretel" (2) , "Konigskinder" King Symphonic Prologue to "Othello" Lalo Overture, "Le Roi d'Ys" Lassen Festival Overture, op. 61 Lemare Capriccio Oriental Rhapsody

Pennsylvania History '2c2 a -, a Appendix C Continued

Liszt Symphonic Poem, "Les Preludes" Symphonic Poem, "Battle of the Huns" (organ: W.A. Hall) Symphonic Poem, "Orpheus" Symphonic Poem, "Mazzeppa" Mephisto Waltz Rhapsody in F major (2) Rhapsody No. 2 (5) Rhapsody No. 3 (2) Polonnaise in E major "Venezia y Napoli" MacDowell Suite, "Indian" Massenet Suite, "Scenes alsaciennes" Suite, "Scenes pittoresques" Suite, "Fairy Scenes" Suite, "Les Erynnies" Suite, "Scenes napolitaines" Ballet Music, "The Cid" Prelude, "Herodiade" Overture, "Phedre" Sicilliano from "Don Cesar de Bazan" Mendelssohn Symphony, "Scotch" (3) Symphony, "Italian" (2) Overture, "Calm Sea and Prosperous Voyage" Overture, "Midsummer Night's Dream" (2) Overture, "Melusine" Overture, "Fingal's Cave" Notturno and Scherzo from "A Midsummer Night's Dream" Moszkowski Suite in F major, op. 30 Suite, "The Nations" Malguena from the opera "Boabdil" Two movts. from "Boabdil" ballet Mozart Symphony No. 40 (3) Symphony "Jupiter" (2) Symphony No. 39 Overture, "Magic Flute" Overture, "Marriage of Figaro" Nevin, Arthur Suite, "Love Dreams" Pitt, Percy Symphonic Impressions, "Paola and Francesca" Raff Symphony, "Leonore" Symphony, "Im Walde" Rameau-Geveart Rigaudon Rimsky-Korsakov "Cappriccio Espagnol," op. 34 Rubinstein Valse Caprice Ballet Music, "Feramors" Ballet Music, "Bal Costume" (6) Marche Heroique

Volume 57, Number 4 - October 1990 354 Appendix C Continued

Saint-Saens Symphonic Poem, "Phaeton" Symphonic Poem, "Le Rouet d'Omphale" Symphonic Poem, "Danse Macabre" "Suite Algerienne" Serenade "LaJola Aragonese" Ballet Music, "Henry VIII" Prelude, "The Deluge" Schubert Symphony, "Unfinished" Symphony, C major "Rosamunde" Theme and Variations from the Quartet in d minor Schubert-Liszt Hungarian March Schumann Symphony No. 1 in B flat Symphony No. 2 in C Symphony "Rhenish," No. 3 Overture, Scherzo and Finale Overture, "Manfred" Smetana Overture, "The Bartered Bride" Stanford Symphony No. 3, "The Irish" (2) Stahlberg Suite, "Bridal Choice" (2) Tone Poem, "To the Memory of Abraham Lincoln" Suite, op. 10 Strauss Tone Poem, "DonJuan" (2) Tone Poem, "Til Eulenspiegel" Tone Poem, "Death and Transfiguration Svendsen "Carnival in Paris," op. 9 Tschaikovsky Symphony No. 1 in g minor Symphony No. 4 Symphony No. 5 in e minor (3) Symphony "Pathetique" (6) "March Slav" (5) Ballet Suite, "Sleeping Beauty" Ballet Suite, "Le Lac des Cygnes" "Capriccio Italien," op. 15 Suite in G major Theme and Variations from Suite, op. 55 Overture, "1812" Overture, "Hamlet" Thomas, A. Overture, "Mignon" Van der Stucken Festival March, op. 12 Volkmann Waltz from F maj. suite for strings Serenade in d minor for strings

Pennsylvania History 355 Appendix C Continued Wagner Overture, "Rienzi" (3) Overture, "The Flying Dutchman" (3) Overture, "Tannhauser" (8) Bacchanale, Paris Version (2) Pilgrimage Prelude, "" (5) Introduction to Act II Procession to the Cathedral Prelude, "Die Meistersinger" (5) Introduction to Act III Prelude and Love/Death, "Tristan" Entrance of the Gods into Valhalla, "" Ride of the Valkyries, "Die Walkure" (5) Wotan's Farewell and Fire Charm Music (2) Waldweben, "Sigfried" (2) Forging the Sword Erda's Scene Trio of the Rhine Daughters, "Gotterdamerung" (2) Sigfried's Funeral March Sigfried's Rhine journey (3) Finale of Act III Waltrnute's Scene Prelude, Good Friday Spell Closing Scene, Act I Huldigungs March Kaiser March Faust Overture Traume Siegfried Idyll

Volume 57, Number 4 e October 1990 356 Appendix D Pittsburgh Orchestra List of Solists [six seasons - 1898-1899 to 1903-1904] Victor Herbert, Conductor

SINGERS: SOPRANO , Cecille Lorraine, Frances Saville, Minnie Fish-Griffin, (4), Dorothy Harvey, Mme. Hissem-DeMoss, (2), Mme. Rauss-Belee, Mary Munchoff, Fritzi Scheff, Mrs. S. C. Ford, Pauline De Ahna-Strauss, Anna Bussert, Mary C. Tracy. Mme. Ernestine Schumann-Heink (5), Josephine Jacoby, Marguerite Hall, , , Louise (2), Mme. Kirkby- Lunn. (2), MacKenzie Gordon, Charles Gauthier, Ellison Van Hoose (3), Alois Burgstaller. BAR/ G. Campanari (3), Pol Plancon (2), Julian Walker (2), , Antonio Scotti, Plunkett Greene, Anton Van Ruoy, Herbert Wither- spoon, Gwilym Miles, Emillo de Gogorza.

PIANISTS: Fannie Bloomfield-Zeisler (4), Adle Aus der Ohn (2), Mme. Szu- mowska, Mary Hallock, Teresa Carreno (2), , Jessie Shay, Wily Burmester, Moritz Rosenthal, Mark Hambourg (2), E. von Dohnanyl, A. Toselli, Arthur Whiting, Henry H. Huss, (2), Joseph Silvenski, Ossip Gabrilowitch.

VIOLINISTS: (6), Fritz Kreisler (2), Hugo Heerman, Emile Sauret, M. Petschnikoff, LeonoraJackson, Maud MacCarthy.

VIOLONCELLISTS: Victor Herbert, L. Heine (2), Hugo Becker, Henry Merck (5),Jean Ger- ardy (2), Elsa Ruegger, Pablo Casals.

ORGAN: Edwin H. Lemare (2), Clarence Eddy.

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