The point of the story is the music that the Philadelphia Orchestra makes. It would be a tragedy if after twenty-five years anyone could ask “Why?” A tragedy for the officers and directors, for the Women’s Committees, and for the reader and writer of this book. For the musicians and for Leopold Stokowski it would be more than a tragedy, the object of life would cease to exist.

Beginning in 1912 the musical record becomes more and more interesting. The leader has poured out his talents for Philadelphia and the feast has been lavish. Programme after programme of the works of the great, interpreted by the brain of Leopold Stokowski have enthralled his audiences. Only a few special selections and occasions can be mentioned, but a perusal of the programmes for thirteen years shows that the average of Philadelphia Orchestra concerts is far above the usual average, for he is a master maker of programmes.

1912-13: Gustav Strube, “Puck”; Herman Sandby, Prelude to Act IV “The Vikings of Helgenland”; Edward Elgar, Symphony No. 1; Guiseppe Martucci, Symphony No. 1; Sigismund Noszkowski, “Die Steppen”; Richard Strauss, “Liesbes Scene” from “Feursnot,” “Salome’s Tanz”; Henri Rabaud, Symphony No. 2[42]; Ernest Schelling, “Légende Symphonic.”[43]

1913-14: Hans Erich Pfitzner, “Käthchen von Heilbronn,” overture; Fernandez Arbos, “Guajiras,”[44] violin and orchestra; Florent Schmitt, “Rapsodie Viennoise”[45]; Albert Roussel, Evocation No. 2 “La Ville Rose”[46]; Henry Hadley, Symphony, “North, East, South and West”; Erich Korngold, “Schauspiel” Overture; Otto Mueller, member Philadelphia Orchestra, “Dramatic Overture”; Henry A. Lang[47], Symphony “Fantasies of a Poet”; Beethoven, Ninth Symphony with Chorus.

1914-15: Jan Sibelius, “Finlandia”; Bach, triple concerto, piano, violin and flute; Paderewski, Symphony B minor[48], Special Concerts for the Benefit of the Pension Fund; Mendelssohn, “Lobgesang Symphony” with soloists and sixteen Choral Societies; Wagner Programme. Frederick Stock, Symphony C minor; Feruccio Busoni, Indian Fantasy, piano and orchestra;[49] Sandby, Suite from “The Woman and the Fiddler”; Mrs. H. H. A. Beach, Symphony “Gaelic”; Georges Enesco, “Roumanian Rhapsody.”

1915-16: Gustav Strube, “Variations on an Original Theme”; Camille Zeckwer[50], Symphonic Poem, “Sohrab and Rustum” (conducted by composer); Enrique Granados, Intermezzo and Epilogue from Goyescas; Gustav Mahler, Eighth Symphony for orchestra soli and chorus;[51] Strauss “Alpensymphonie.”[52]

1916-17: Frederick A. Stock: Violin Concerto, D minor; Arne Oldberg “June” (conducted by composer); Gustav Mahler, “Das Lied von der Erde,”[53] symphony for soli voices and orchestra; Max Bruch, Concerto for two pianos written for Rose and Ottilie Sutro (first world performance); Michel Dvorsky, “Chromaticon” piano and orchestra, Josef Hofmann, pianist; Debussy, “The Blessed Damosel” after Rosetti for soprano and Chorus of Women; Schelling, “Impressions,” variations for piano and orchestra, composer at the piano; Liszt, Eine Faust Symphonie, orchestra, tenor and bass soli and chorus; Bach, Matthäus Passion, orchestra, soli, Philadelphia Orchestra Chorus, Chorus of Girls from Philadelphia Normal School and Girls’ High School.

1917-18: American Programme, Edgar Stillman Kelley Symphony “New England,” compositions by Philip H. Goepp, Arthur Foote; Skryabin, “Poème de l’Extase”; Beethoven, Three Equali for four Trombones; Bach, Concerto, three pianos and orchestra, Mme. Olga Samaroff, Bauer, Gabrilowitsch; Sinding, Symphony; Ernest Chausson, “Poème” violin and orchestra, Thaddeus Rich, violinist; Bloch Programme, concert conducted by composer; Selim Palmgren concerto “The River,” piano and orchestra.

1918-19: MacDowell “Indian Suite” dirge in memory of fallen Americans; Dvorsky, “The Haunted Castle”; Debussy “Sirènes,” orchestra and women’s voices; Lorenziti, Suite for Viole d’Amour, Henri Casadesus, soloist; Rachmaninoff, Air for a Choir of Solo Violins with orchestra; Programme of four American composers, Frederic S. Converse, H. Clough-Leiter, John Alden Carpenter, Cecil Forsyth; Leo Ornstein, piano soli, composer at the piano; Chadwick, “Tam o’Shanter”; Ernest Bloch, Symphony No. 1; Louis Garnier, “Vision” Poème for Orchestra.

1919-20: Beethoven, Choral Fantasy in C minor, piano, orchestra and chorus, Mme. Samaroff, pianist; Malipiero, “Pause del Silenzio”; Loeffler “A Pagan Poem” for Orchestra, with piano, English horn and three trumpets obligato, Bauer pianist; Charles T. Griffes, four compositions for orchestra; Rachmaninoff, Concerto No. 3, piano and orchestra, composer at the piano; Symphony “The Bells”[54] (after Poe), orchestra solo voices and Philadelphia Orchestra Chorus; Lorenziti, Concerto for Viole d’Amour, double bass and orchestra, Thaddeus Rich and Anton Torello, soloists; Weber, Concertino in F for bassoon and orchestra, Richard Krueger, soloist; André Maquarre, two compositions for orchestra; Mozart Opus 30, arranged as a Concerto for oboe and small orchestra, Marcel Tabuteau, soloist; Beethoven, Ninth Symphony, Philadelphia Orchestra Chorus, marking Ninety-sixth Anniversary of first performance, 1824.

1910-21: Leo Sowerby “Comes Autumn Time”; J. Guy Ropartz, Symphony No. 4; Cyril Scott, concerto piano and orchestra, composer at the piano; John Alden Carpenter “A Pilgrim Vision” to mark Tercentenary of Landing of the Mayflower; Beethoven, Ninth Symphony with Philadelphia Orchestra Chorus; Brahms; double concerto violin and cello, Rich and Penha, soloists; Brahms, “Requiem,” soprano and baritone soli, chorus and orchestra; Gilchrist[55], Symphonic Poem, unveiling of Gilchrist memorial; Mahler, Symphony No. 2, for orchestra, chorus and solo soprano and contralto.

1921-22: Sibelius, Symphony No. 5[56]; Alfredo Casello, “Pages of War” for orchestra; Gregor Fitelberg, Polish Rhapsody[57]; Bloch, Suite for viola and orchestra; Schoenberg, Five Orchestra Pieces; Vincent d’Indy “Poème des Rivages,” d’Indy, guest conductor (first performed on present tour); Bach Passacaglia, orchestrated by Leopold Stokowski (first time); Strawinsky “Sacre du Printemps”[58]; Manuel de Falla, excerpts from “El Amor Brujo”[59]; Otto Mueller, Carnival Overture “Schlaraffiada.”

1922-23: Debussy “La Cour des Lys”; Ravel, “La Valse Choreographic,” Poem for Orchestra; Strawinsky, “Feuerwerk”; Franck Centenary, Symphony D minor. The orchestra was engaged by Dr. Richard Strauss for four New York concerts of his own works exclusively. Dr. Strauss also conducted one in Philadelphia.

1922-1923: Camille Zeckwer, “Jade Butterflies”; Strawinsky, “Trois Poésies de la Lyrique Japonaise”; Enesco, Symphony E flat, Roumanian Rhapsody, Enesco, guest conductor; Brahms, concerto for violin, Enesco, violinist; January 26th and 27th, 1923, compositions by Milhaud, Poulenc, Auric, Satie; Schelling, “A Victory Ball”; Pick-Mangiagali, “Sortilegi,” Symphonic Poem, piano and orchestra; D. G. Mason, Prelude and Fugue, piano and orchestra; Henry Eichheim, Oriental Impressions for Orchestra; Schoenberg, “Kammersymphonie”.

1923-24: Strawinsky, “Chant du Rossignol”[60]; Bach concerto for harpsichord; Händel, concerto for harpsichord, Wanda Landowska, soloist; Strawinsky, “Symphonie d’Instruments à Vent”[61]; Josef Hofmann, compositions for piano and orchestra, East and West, Caliedescope, the Haunted Castle, “Chromaticon” (Dvorsky); Ottorino Respighi, “Sinfonia Drammatica”; Deems Taylor, Suite “Through the Looking Glass”; compositions by Magnard, Jean-Jules-Amable Roger-Ducasse; Hand Krása; Strawinsky, “Renard,” burlesque for Chamber Orchestra, two tenors, two basses; Beethoven, Ninth Symphony with Toronto Choir.

1924-25: Nicholas Medtner, piano concerto, composer at piano; Edgar Varese, “Hyperprisms”; Paul Hindemuth, Nusch-Nuschi Dances; Karl Szymsanowski, violin concerto[62]; Kurt Atterberg, Symphony No. 2; Henry Joslyn, War Dance from Suite, “Native Moments”; Strawinsky programme, Strawinsky guest conductor; Prokokieff, Suite Scythe, “Ala and Lolli”; Arthur Bliss, “Mêlée Fantasque”; Germaine Taillefer, Concerto[63] for piano and orchestra; Isaac Albeniz, “Fête Dieu à Séville”; Edward Burlingame Hill, Arthur Bliss, compositions for two pianos and orchestra.

It must not be supposed from the above that the usual standard works are not performed. The list is given to show the wide musical range to which Philadelphians are treated. No mention has been made of the many Wagner and Tschaikowsky programmes that have been presented. They have occurred every year and are always a delight.

It is a pleasure to mention the principal players in the orchestra, who are not generally known personally by the audience. It is a case of “by their voices you shall know them,” and their voices enthrall the listeners week by week. First comes Dr. Thaddeus Rich, most popular of concertmasters and an assistant conductor of no mean attainments, who is sometimes called to take the conductor’s place at the last minute, where he acquits himself with honors. As we look farther there are: David Dubinsky, first second violin; Samuel Lifschey, first viola; Hanns Pick, violoncello; W. M. Kincaid, flute; Marcel Tabuteau, oboe; Daniel Bonade, clarinet; Anton Horner, horn; Walter Guetter, bassoon; Sol. Cohen, trumpet; Gardell Simons, Paul P. Lotz, C. E. Gerhard, trombones; Philip A. Donatelli, tuba; Anton Torello, bass; Vincent Fanelli, Jr., harp; and last but not least, Oscar Schwar, tympani. These players all possess the requisites, which seem to be ability to play and ability to obey, for the response of their wills to the will of the leader is what makes success in an orchestra. One noticeable feature about the musicians is their youth; this is patent to the eye, and to the ear, from the virility of their performance.

To those who do not see farther than the Academy stage, it would be useless to explain that the conductor’s activities are not confined to stepping briskly onto the platform and leading concerts. People who have given the matter thought must know that he is working all the year round for the Philadelphia Orchestra. The rehearsals are very exacting and the players are wonderfully prepared. Conducting a concert means a physical, mental and emotional strain which is only understood by those who have seen the conductor as he comes off the stage. Leading without a score requires perfect concentration. Painstaking effort and patience on the part of Mr. Stokowski bring their reward in the finish of the performance, but it looks so easy! And therein is shown his skill. Next there is the constant search for new works and the mastering of them before rehearsals can begin. Much time is occupied in hearing and selecting players, for no stone is left unturned to find the best artists for each position. The mail is also a subject of importance, as correspondence is kept up with individuals and publishers and then there are letters of complaint or approval, all to be answered. The conductor is a busy man, whose brain never stops working, planning, devising for the orchestra.

Leopold Stokowski’s musical gifts are of a nature difficult to describe. What thrills come to one at the remembrance of certain moments, the first hearing of the Bach “Passacaglia,” the “Prelude and Liebestod” from Tristan, the symphonies of Brahms, Schubert and Tschaikowsky, Mahler’s Eighth, where the chorus “Alles Vergängliches ist nur ein Gleichniss” soars aloft, Beethoven’s Seventh, and the Ninth with the Mendelssohn Choir of Toronto. But why mention special moments? The audiences have come to expect every concert to be a “special moment.”

Philadelphia is to be congratulated that the orchestra bearing its name is in the hands of Leopold Stokowski, master musician. It is constantly advancing. When one peak on the climb is reached, the clouds roll away and another comes into view. Let no man speak its doom by proclaiming that the summit of Parnassus has been reached by the Philadelphia Orchestra.

The name of Alexander Van Rensselaer, Esq., appears on the first page of this book. It is fitting that it should also appear on the last, for the president’s activities encircle the orchestra. Many records of his deeds appear in the annals of the Association, and many more are engraved in the hearts of his fellow-workers and fellow-townsmen. He is the only person, however, who knows what sacrifices his devotion has entailed. For although a president may appear to enjoy more sunshine than other individuals, he also bears the shock of all the storms. The responsibility of such a post for twenty-five unbroken years is a heavy burden for a man to bear. To say that he has borne it and continued to hold the respect and affection of Philadelphians is the finest tribute that could be paid him.

The story told in this book has been made possible by the president of the Philadelphia Orchestra Association.