The Birth of a Symphony Orchestra

THIS IS a chapter from Mr. Shermans forthcoming book, "Music and Maestros: The Story of the Minneapolis Symphony Orchestra," which will be ptiblished by the University of Minnesota Press on November 3. TlwBIRTHofa SYMPHONY ORCHESTRA JOHN K. SHERMAN THE MINNEAPOLIS Symphony Orches sociate memberships available to those in tra, which marks its fiftieth season in terested, and in a few months augmented 1952-1953, can count among its ancestors the string group with reeds and brasses to numerous local musical organizations, no make a "symphony orchestra," so-called, tably Frank Danz's orchestra. That group, under the direction of B. A. Rose. which flourished during the last two decades This little orchestra, composed mostly of of the nineteenth century, may be called the amateurs, performed for four years under mother of the symphony-to-be. By the same Rose's direction and then expired. Changes token, a choral club organized in 1892 by were afoot; a new orientation was in the some giddy but progressive young men who wind. From the status of musical playboys gave themselves the awful name of Filhar- who thought that "Filharmonix" was an monix can rightly be called its father. amusing name, the club, headed by Clar The Filharmonix began with a member ence Strachauer, gradually grew into a solid ship of twenty, entirely male and amateur, and serious institution. Its early concerts and its purpose was social-musical fun in had been catch-all programs of miscellane the homes of its members. In hardly any ous character. But its glee club, originally time at all it spawned the Filharmonix Glee directed by Willard Patton, carried the seed Club, the Filharmonix Mandolin Club, the of true growth. After the founding in 1895 Filharmonix String Orchestra, a male quar of a rival group, the Apollo Club (which tet, and a corps of eager banjo players. restricted itself to male voices), Patton's Its first two public concerts were invitation glee club blossomed into a large mixed affairs and attracted many listeners to a chorus. new type of musical variety program. The change to the more dignified name Impressed by their success, the members of the Philharmonic Club came in 1897, and strengthened their organization, made as- the emphasis then shifted almost entirely to choral projects of a substantial nature. MR. SHERMAN is arts cditor for the Minneapolis The organization was in the process of be Star and Tribune. In the role of music critic, coming a new and aggressive force in the he has been writing about the Minneapolis city's cultural life. Some talk of merging Symphony Orchestra since 1926. the two singing clubs — the male Apollo Autumn 1952 93 EMIL Oberhoffer on the conductor's stand about 1903 and the mixed Philharmonic — led to noth Reared in a musical household, Emfl ing. Each, apparently, was eager for dom proved himself an eager listener and learner inance. from the earliest age, with an extreme sensi Patton carried on with the Philharmonic's tivity to musical tone. Herr Ober Hoffer chorus until the fateful year 1900, when gave the boy his first lessons in violin and the possessive eye of the directorate fell organ, which were avidly learned. Then on the dynamic and ambitious leader of Emil went on to instruction at the Munich the rival Apollo Club. His name was Emil Conservatory, studying under Josef Rhein- Ober-Hoffer. berger and Cyrill Kistler. It was during This tawny-haired young Bavarian had these years that he learned much of the arrived without fanfare in St. Paul in the Catholic service, in which, in later life, he early 1890's. A kind of musical jack-of-all- was well versed. trades, he had been a prodigy violinist in His travels began with his removal from his native Munich and later a peripatetic Munich and Luxembourg to Paris, where student and teacher of music. He was born he studied piano under Isidore Philipp, who in 1867, the son of Johann Ober Hoffer, a was much impressed with his pupil's skiU musician and composer who had directed and taste and promise. In the meantime, opera at Munich and served as court organ the Ober Hoffer family had broken up, so ist in Luxembourg. (The name Ober Hoffer young Emil came to America in 1885, be became Ober-Hoffer in the 1890's and coming musical director at Manhattan Col Oberhoffer after the turn of the century.) lege in New York City, playing organ at St. 94 MINNESOTA History Cecilia's Church there, and serving for a rector of the Apollo Club —his first really time under Conductor Anton Seidl. important post. There he was able gradually It was one of the many Gilbert and Sul to take on more formidable assignments livan troupes then plying the countryside prompted not so much by others' sugges that took Oberhoffer and his young English tions as by his own desires and ambitions. wife, a singer, to the Twin Cities for the By 1900 he was causing much grumbling first time. Legend has it that the company and headshaking among the conservatives limped into town and halted there because for his rashness in presenting long oratorios of financial embarrassment. Whatever the and concertized operas. cause, the musical couple remained, and for a while their fortunes were at an ex IN 1900 the Philharmonic Club succeeded tremely low ebb. in luring Oberhoffer away from its com One night a worried and out-of-funds petitor, the Apollo Club. Some of the Apollo Oberhoffer called at the Frank Danz home men were bitter and regarded the maneu in St. Paul, borrowed ten dollars, and got ver as theft. They felt they had raised their a job playing viola the next day in Danz's leader from obscurity and by giving him West Hotel orchestra in Minneapolis. Old- his first important conducting post had timers recollect that the future symphony earned the right to retain him exclusively. conductor played in restaurants and saloons If he had expected to fill both positions, he during the first impoverished months after was disappointed. He resigned the Apollo his arrival in the Twin Cities, obtaining Club post under fire. these temporary musical jobs from Danz in The Philharmonic was now at a high tide Minneapolis and George Seibert in St. Paul. of ambition and achievement. Its days of Oberhoffer was not long to be cornered mandolin and banjo twanging and other in such humble occupations, and he soon kinds of musical dabbling were far behind. established himself in more dignified and In December, 1900, Oberhoffer conducted rewarding roles worthy of his talents. He his new chorus in a performance of Men became organist at the Church of St. John delssohn's "Elijah" which marked "a distinct the Evangelist in St. Paul, and not long advance musically for Minneapolis," A let afterward he was making himself valuable ter to the conductor from W. L, Harris, a to that city's leading musical organization, Philharmonic Club director, expressed the the Schubert Club. He lectured on musical hope that "Minneapolis will have such fa subjects, played in string quartets, gave cilities in the way of a proper hall and effi recitals, and before long formed a choir cient orchestra as to relieve the director of and orchestra for the club. In the meantime some of his handicaps," Harris' reference he employed his conducting gifts in per to an "efficient orchestra" was the opening formances of such fare as "The Mikado" gun in a we-want-an-orchestra campaign. and "The Chimes of Normandy," the latter The orchestra for the club was still an bringing him for the first time to general improvised, pro tem support for the choral public attention in October, 1893. performances. Orchestral musicians were In 1895 he moved to Minneapolis as or engaged on a haphazard basis —the pro ganist of the Church of the Immaculate fessionals were paid for piecework; others Conception, and then his abilities began to played for pleasure. The arrangement was thrust him into prominence. He acquired neither satisfactory nor businesslike, and it numerous voice and piano students and was was hardly efficient. As often as not, mu active in programs of the Ladies' Thursday sicians who had played at rehearsals were among those missing on nights of perform Musicale and its chorus. He assumed the ances, lured away by more remunerative organist's post at the Church of the Re assignments. Those who played for the fun deemer. In late 1896 he was appointed di Autumn 1952 95 of it were hardly more reliable; enjoyment Philharmonic directors, who now glimpsed could be a vague and fluctuating compen what might be done with Oberhoffer's or sation. ganizing and conducting abilities. For But Oberhoffer knew how important the many, the performance clinched the argu orchestral adjunct was to the success of ment on the need and desirability of a per the chorus, and from the time he took over manent orchestra, and Oberhoffer gained the Philharmonic baton he began to talk, valuable recruits for the cause. to plead, to persuade. A full-fledged sym The general response to "Samson and phony orchestra became his dream and his Delilah" was reflected in the review of goal. He visioned the greater possibilities — Florence Bosard in the Tribune the next the wider and more dramatic scope of mu day: "It is impossible to say what the pro sical literature — which a symphony or duction of this tremendous work means to chestra could bring to the people of the Minneapolis, It shows hitherto undreamed city. For the time being, though, he had to of possibilities.

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