THE HISTORY OF THE ORCHESTRA IN LOUISVILLE. By Carole C. Birkhead B.A., University of Louisville, 1959

THE HISTORY OF THE ORCHESTRA IN LOUISVILLE By Carole C. Birkhead B.A., University of Louisville, 1959 A Thesis Submitted to the Faculty of the Graduate School of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts Department of Music History University of Louisville Louisville, Kentucky May 1977

THE HISTORY OF THE ORCHESTRA IN LOUISVILLE By Carole C. Birkhead B.A., University of Louisville, 1959 A Thesis Approved on May 2, 1977 by the Following Reading Committee: Robert L. Weaver- Thesis Director Gerhard Herz Jueruiah P. Starley Gerhard Herz- Dean or Chairman

ABSTRACT The earliest orchestra in Louisville, the St. Cecilia Society, was founded in 1822. The original Louisville Philharmonic Society was founded in 1666 by its conductor, Louis Hast. In 1937, the Civic Arts Association hired Robert S. Whitney to develop and conduct a semi-professional orchestra. In 1942, the organization changed its name to the Louisville Philharmonic Society. The name Louisville Orchestra was adopted in 1949. Mr. Whitney conducted the orchestra for thirty years, building an international reputation by recording commissioned works. In 1967, Jorge Mester became music director of the orchestra. During his tenure, he has consistently improved the caliber of the individual musicians as well as the symphonic technique of the whole. The artistic policy of the orchestra has shifted from extensive performance of contemporary music to increased development of traditional orchestral repertory. iii

ACKNOWLEDGEMENTS The author gratefully acknowledges the assistance of Ms. Marion Korda in searching out many of the documents necessary to prepare this thesis, and Robert L. Weaver, Ph.D., for his guidance throughout the project. The author also wishes to thank Mrs. Charles W. Allen Jr., for the loan of letters and manuscripts from her personal library. In-addition the author wishes to express her sincere appreciation to Gerhard Herz, Ph.D., whose enthusiasm and devotion to teaching music history originally kindled the interest of this student over twenty years ago. iv

INTRODUCTION The sources used for the preparation of the portion of this paper dealing with the nineteenth and early twentieth centuries came, primarily, from the Filson Club, 118 West Breckenridge, Louisville, Kentucky. The purpose of the Filson Club is the preservation of information and documents pertaining to the history of Louisville. Two published works in this collection were invaluable in providing a background for this early period. J. Stoddard Johnston's Memorial History of Louisville, published in 1896, contains an article by Mildred Hill entitled, "History of Music in Louisville." It outlines the musical organizations in the City from approximately 1850 to 1890. The Louisville Library Collections, Volume I, published in 1935 contains an unsigned article, "Music in Kentucky," which covers a wide range of material including composers, publishers, organs, etc. Its principal value to this paper is a discussion of the May Music Festivals and the local orchestras in existence between the years 1890 and 1915. The Classical Music in Early Kentucky, by Lisette Hest, is a collection of letters, programs, and pictures pertaining to the life of Louis Hest preserved by his daughter. It is extremely useful as a reference to those organizations with which Mr. Hast was connected. v

Other materials in the Filson Club include miscellaneous programs, clippings, and documents given by various, donors. This material, many times in the form of scrapbooks, is catalogued by the donor's name and only loosely organized as to subject or chronology. Because much of the information in the opening chapters of this paper was gathered from these "bits and pieces," the material is necessarily lacking in details which would be enlightening. The documents in the Archives of the University Of Louisville School Of Music consist of scrapbooks of old programs given by Dean Dwight Anderson, Mrs. Morris Belknap, and others. In addition, there are scrapbooks and bound volumes of clippings and programs pertaining to the history and activities of the School of Music and its faculty from its founding in 1932 to the present. The entire series of Louisville Orchestra programs (except the first) is also preserved in bound volumes. Of particular value to one interested in the subject of this paper is a small, bound copy of a short history of the Louisville Orchestra written by Robert Whitney serially for the concert programs in his last year as conductor. 1966. Also available at the School of Music Archives are the Oral History tapes and transcriptions which are pertinent to music history and activities. The University of Louisville Archives and Research Center on Floyd Street houses the collection called the Louisville Orchestra Papers, This collection was presented to the University by the Philharmonic Board in the Fall of 1976. The records include financial statements, audits, correspondence, publicity, and minutes of the majority of the meetings of the Board of Directors from the early thirties to approximately 1970. The files of Dann C. vi

Byck located there provide real insight into the complex issues of the 1930s and the hiring of Robert Whitney in 1937. The programs of the Louisville Orchestra (except for two issues) and a catalog of the commissioned works are contained in the collection. The bulk of the remaining documentation for this paper has come from contemporary comments and reviews, principally from newspapers. Although other views are cited whenever possible, the music reviews of William Mootz, published in the Courier-Journal, comprise the majority of the critical comment. His reviews constitute the most important and continuous public appraisal of the Louisville Orchestra. However, this dependence upon the reviews of Mr. Mootz leads to a certain bias against which the reader needs to be cautioned. vii

TABLE OF CONTENTS ABSTRACT... iii ACKNOWLEDGEMENTS... iv INTRODUCTION... v CHAPTER I. ORCHESTRAS OF THE NINETEENTH CENTURY... 1 II. AT THE TURN OF THE CENTURY... 20 III. THE THIRTIES: YEARS OF DISSENSION... 27 IV. A NEW BEGINNING... 44 V. TEN YEARS OF STRUGGLE... 68 VI. THE REVOLUTIONARY IDEAS OF CHARLES FARNSLEY... 79 VII. "JUDITH"... 95 VIII. THE COMISSIONING PROJECT... 108 IX. RESTING ON LAURELS... 120 X. THE END OF AN ERA... 130 XI. JORGE MESTER... 134 XII. WHAT LIES AHEAD... 153 BIBLIOGRAPHY... 158 APPENDIX I: BOARD OF DIRECTORS OF THE LOUISVILLE PHILHARMONIC ORCHESTRA, 187... 164 APPENDIX II: BOARD OF DIRECTORS, LOUISVILLE FINE ARTS ASSOCIATION, 1918-1919... 166 APPENDIX III: PERSONNEL OF THE Y.M.H.A. SYMPHONY,1931... 167

APPENDIX IV: BOARD OF DIRECTORS OF THE LOUISVILLE CIVIC ARTS ASSOCIATION, 1931... 169 APPENDIX V: PERSONNEL OF THE UNIVERSITY SYMPHONY ORCHESTRA, 1933... 170 APPENDIX VI: BOARD OF DIRECTORS OF THE LOUISVILLE CIVIC ARTS ASSOCIATION, 1937... 172 APPENDIX VII: SALARY PAID TO PERSONNEL OF THE LOUISVILLE CIVIC ARTS ASSOCIATION FOR REHEARSAL AND CONCERT ON NOVEMBER 8, 1937... 173 APPENDIX VIII: PRESIDENTS OF THE WOMEN'S ASSOCIATION OF THE LOUISVILLE ORCHESTRA... 174 APPENDIX IX: PROGRAM OF THE KENTUCK1ANA FESTIVAL OF MUSIC, APRIL 28, 29, AND 30, 1947... 175 APPENDIX X: STATEMENT OF LOUISVILLE FOUNDATION TO LOUISVILLE PHILHARMONIC SOCIETY, FEBRUARY 4, 1949... 177 APPENDIX XI: STATEMENT OF THE BOARD OF DIRECTORS OF THE LOUISVILLE PHILHARMONIC SOCIETY, FEBRUARY 4, 1949... 180 APPENDIX XII: PRESIDENTS OF THE LOUISVILLE CIVIC ARTS ASSOCIATION AND THE LOUISVILLE PHILHARMONIC SOCIETY... 182 APPENDIX XIII: CONCERTMASTERS OF THE LOUISVILLE ORCHESTRA... 183 VITA... 184

CHAPTER I ORCHESTRAS OF THE NINETEENTH CENTURY Early in the years of the 1840 s, Professor E. W. Gunter was organist at St. Paul s Episcopal Church. 1 Sometime during these years; he conceived the idea of combining as many of the musicians of the City as possible in a sacred concert. The resulting program was so successful that he organized the Mozart Society to carry on this type of performance. Although the exact date of the founding of the Society is not known, it was already established in 1845. The Mozart Society inherited, through one of its members, an old trunk of music stamped St. Cecilia Society, 1822. This is the only evidence of the existence of perhaps the oldest orchestral organization in Louisville s history. The original membership of the Mozart Society consisted of about 50 singers. Shortly thereafter, orchestral members were added, numbering about eighteen. The Society held its rehearsals in Odd Fellows Hal1, 2 and met two or three times per week. Once a month an open rehearsal was held for families and friends. The first performance of the Mozart Society was given in St. Paul s Church. The program was excerpts from Haydn s Creation. An interesting anecdote is told about this early concert. To add 1 St. Paul's Episcopal Church was founded in 1834 as an outgrowth of Christ Church to fill the need for a church in the "lower section of the city." The church was located at Sixth and Walnut Streets. 2 Odd Fellows' Hall was located on Jefferson Street between First and Second. 1

2 dramatic effect to the music, it was planned that when the chorus sang the huge chord on the words and there was light, the lights in the church would be turned up to full bright. However, in the excitement of the moment, the lights were not increased but extinguished, causing a few minutes of confusion for singers and players until the lights could be relit. In the first few years the Society gave few performances, but by the late 1840 s, it had gained a significant public following. Near the year 1850, the John I. Jacob family financed a building called Mozart Ha1l 3 to be used for the performances of the Society as well as other attractions. The Society gave a series of concerts, the proceeds of which went to furnish the hall. Musical attractions of excellent quality were brought Co Louisville during the years between 1850 and 1875. Such artists as Jenny Lind, Carlotta Patti, Ole Bull, Camilla Urso, Louis Gottschalk, Henryk Wieniawski, and Anton Rubinstein appeared on the stage of Mozart Hall. The Mozart Society flourished through the decade of the fifties under the direction of Professor Gunter and upon his retirement, of George Brainard, a member of a very well-known family from Cleveland, Ohio. Mr. Brainard had come to Louisville as organist of Christ Church. Near the year 1860 the music library as 3 Mozart Hall was located on the northeast corner of Fourth and Jefferson Streets. It was later divided into two stories and several roams. It was demolished in March, 1896.

3 well as many of the records of the Mozart Society were destroyed by fire. This marked the end of the Mozart Society as a regularly functioning body. In 1865, to celebrate the close of the war, Professor Gunter again assembled the members of the Mozart Society for a final concert which was called a Peace Festival. The Society ended its last concert with the Creation, the same work with which it had opened its first performance thirty years earlier. There is evidence that another orchestral organization, the Handel and Haydn Society, was active in the early 1850 s. The scope of this group cannot be traced. The only records of its existence were several scores which were marked with that name, used in the nineteenth century, but since lost. The year 1857 marked the founding of the Musical Friend Society. This group inherited all the music of the Handel and Haydn Society. The founder of this purely orchestral group was, again, Professor E. W. Gunter. No early programs survive, but in 1867 it is recorded that the Musical Friend had 35 members. 4 The players of the Musical Friend were asked to join with members of church choirs from over the City to form the first organization to be called the Louisville Phi1harmonic Society in 1866. The director chosen was Professor Louis Hest, forty-four 4 Mildred J. Hill, "History of Music in Louisville," in Johnston, J. S., Memorial History of Louisville (New York: American Biographical Publishing Company, 1896), p. 89.

4 years old, a piano teacher and conductor. The members of the Society paid dues in order to hire their conductor and to purchase music. In addition, the Society sought subscribers to their concerts from the public. It is recorded that all the members of the chorus but one were amateurs. The orchestra members were either amateurs or teachers around the City. The rehearsals were held on the top floor of the Masonic Temple. 5 There was no gas in the room so that each musician carried his own candle. A letter from Judge Charles B. Seymour, Dean of the University of Louisville Law School, gives his personal recollection as a member of the chorus at the first rehearsal of the Philharmonic Society. About this time... the Philharmonic Society was organized. My sister... and myself were members of the Society. It had from the beginning a good orchestra. To get singers, however, the various church choirs were requested to send members to attend the preliminary meeting. Most of the singers attending that meeting knew very little of the theory of music. Professor [last began with the first chorus of Mendelssohn s Elijah, -- Help, Lord. The opening (as I recollect) is in unison: --c c c#c#. At the third note he stopped there for a moment saying: -- That note is c#: you are singing d b. As most of them knew only the piano keyboard on which one key serves for both these tones, this correction was unintelligible to them. Many of them did not return to a second meeting. 6 Another anecdote recorded by Judge Seymour is as follows: 5 Masonic Temple was located on Green Street which was later renamed Liberty Street. 6 Judge Charles B. Seymour, personal letter preserved in the collection of Lisette Mast, Classical Music in Early Kentucky: 1850-1889. Filson Club, Louisville, Kentucky.

5 At the first meeting Professor Hast repeatedly said piano to check them from singing too loud. One of the singers said to me: That wan at the piano must be playing very poorly. Professor Hast has to scold him all the time. 7 The first performance of the Louisville Philharmonic Society was held on December 3, 1866, in the Masonic Temple. The morning paper, The Louisville Daily Courier, carried the following statement: The Philharmonic comes before you tonight for your verdict, Springing from the war shattered brow of Art... its membership compounded... of many of the old time music societies that flourished in our midst before the flames of the Civil War. Come, then, you who believe that native genius ought not to be repressed... You, who would establish permanently for your pleasure an organization whose future shall be devoted to your profit... You who would have an evening s pleasure for a dollar... and help place the Philharmonic Society on a sound basis! The participating musicians numbered thirty-one instrumental players and one hundred singers. The Louisville Daily Journal of December 4, 1866, gives a vivid description of the evening: Rain fell steadily and streets and sidewalks were almost impassibly muddy.... But these forbidding circumstances were heeded not by lovers of the minstrelsy. The Temple was filled to repletion with one of the most select audiences ever seen within its walls... A finer display of dress we are sure no one ever beheld on so foul a night... (and) the concert marked an epoch in our musical history that will... be referred to with infinite pride and... will prove but the starting point for... greater and continued victories by our local musicians. 7 Ibid

6 The review of the performance in the Louisville Daily Courier, December 4, 1866, indicates the concert went quite well: The program presented last night at the temple was remarkable for its classical selection. Not a single piece introduced as a catch, not a single flashy overture; not one of those ephemera of most mixed concerts which do little honor to the performer and none to the author. It is fortunate for Professor Hast that he is cast in an age and among a people that can appreciate genius, were it two centuries back... the musical director would certainly be burned for the practice of witchcraft. The reviewer remained anonymous except that the article, which appeared on the front page of the paper, was headed, From our reporter with literary proclivities. The article in the Louisville Daily Courier ends with an interesting item: We are sorry to see so few ladies in the chorus. We were told that several were not well enough to venture out on such a stormy night... A few (we are glad to hear not many) have scruples as to the propriety of appearing in public before a promiscuous audience. It is not within the bounds of possibility that a public appearance with so select a society as the Philharmonic could do any lady discredit, and we hope never to hear such a flimsy excuse again. The members of the Philharmonic Society were evidently encouraged by the support for this first performance, for they applied to the state for the right to incorporate. On February 15, 1867, the Louisville Philharmonic Society received its article of incorporation, the first such organization in the Commonwealth of

7 Kentucky. Although the Philharmonic Society remained in existence for several years, its performances were sporadic. It was never able to raise the financial support necessary to sustain a professional organization. At this point it seems appropriate to discuss some of the excellent musicians who were resident in Louisville in the second half of the nineteenth century. The exact quality of their performances is difficult to judge as all the reviews of this period are exclusively complimentary and deal entirely in superlatives. Professor E. W. Gunter, previously mentioned as organist and choir master of St. Paul s Church, laid the groundwork for the development of the musical activities of the community by organizing the earliest combined efforts with vocal and instrumental participants. The successor to Professor Gunter was Professor Louis H. Hast, also previously mentioned as founder and director of the first Louisville Philharmonic Society. Louis Hast was raised by his uncle, the Archbishop of Speyer, and continued his study of music in Vienna and Munich. At the age of 26, he accepted a position as head of the music department of the Bardstown Academy. He had close connections with the splendid old cathedral there. About 1848, he moved to Louisville to begin a teaching career which ended only

8 with his death in 1890. Among his pupils were Hattie Bishop (Mrs. J. B. Speed), Mrs. Alex G. Barret, Mrs. William R. Belknap, Mary Creel Chenoweth, Annie Ainslie Halleck, Mrs. Arthur Peter, Mrs. J. Ross Todd, and Florence Dulaney (Mrs. A. Willis). These students followed the precedent set by Professor Hast in their activity as performers as well as in their generous support of musical endeavors in Louisville. Professor Rest was instrumental in the programs given locally by the Mozart Society, the Philharmonic Society, and the Mendelssohn Society, the group which replaced the older Mozart Society. He also conducted combined orchestral and, choral groups at various civic functions. The most notable of these was the dedication of the statue of Henry Clay in the rotunda of the Jefferson County Court House on May 3, 1867. An original ode had been written for the occasion by George D. Prentice, a leading journalist in the City. A musical background was provided through the artistry of Professor Louis Hest (who brought all his rare ability to the task of providing the instrumentation of a march from Lochtier s opera Katrina Coraro, and under whose masterly baton a chorus of more than one hundred voices composed of members of the Philharmonic and Orpheus (choral] Societies of the city, augmented by leading members of various choirs and music clubs, gave sonorous beauty to the inspired words of Prentice). As the statue was unveiled, the swelling notes resounded to the dome of the Court

9 House. 8 In addition to teaching and conducting locally, Mr. Hest was a major organizer in bringing outstanding artists of international fame to Louisville. Besides working toward bringing the soloists already mentioned, he arranged for the visits of the Theodore Thomas orchestra in 1869 and 1871. Of one of these concerts, it was recorded: We must not neglect to mention the advantages we had in hearing many great artists and great organizations. The most astonishing and most important was the coming of Theodore Thomas, with his orchestra of forty musicians. Many of us, probably the most of us, never had heard anything like its perfection in beauty of tone, power, and shading. We never had heard the Tannhauser Overture, nor the Fifth Symphony nor Traumerei of Schumann--never had imagined such marvelous pianissimos from such a large body of instruments. To say that we were transported into an enthusiasm of almost ecstatic wildness would not be far from absolute truth. 9 In 1886, Mr. Hest sponsored a visit by the American Opera Company, conducted by Theodore Thomas. The company gave four performances in English of four different operas in consecutive days. As preparation for interested citizens, Professor Hast gave a vocally-illustrated lecture on the operas to be performed. From 1878 to 1888, Mr. Hest served as organist for Christ 8 Lisette Hast, comments written about the dedication of the Henry Clay statue and preserved in the collection, Classical Music in Early Kentucky. 9 Emily Davison, "Music History 50 Years Ago," Louisville Post, April 11, 1923.

10 Church. During this period, many of the finest singers of the City were members of this choir. The excellence of the performances is attested to by the many recorded instances when the church was so crowded that seats had to be placed in all the aisles up to the doors. Professor Hast dedicated himself to the growth of music in Louisville. He acted as conductor, performer, and sponsor. He was actively engaged in encouraging the participation of the total community. The following address entitled A Plea for Musical Advantages in Louisville was delivered by Professor Hast about the year 1882: Ladies and Gentlemen: I am aware of the imperfection of this discourse, but I hold for the progress of music, some steps in this direction ought to be taken--and this is most important, indicating the same, may induce others more capable to follow for the higher development of music, The question may be raised, Is it important to give so much attention to music? If we concede that knowledge--refinement, elevation of mind and body are some of the most desirable gifts of mankind--then certainly we ought to study music so as to enable us to derive the benefits which are offered to us by the great masters. Sometimes we hear remarks from parents such as I do not want my son or daughter to become a musician. This fear may easily be allayed by the consideration of the fact that an earnest and zealous application alone to the period of musical training are not the only conditions necessary here. But I regret to confess that for a general useful and cultured study of music, Louisville is not well prepared.

11 In music let us confess we are in the rear--not that we have no good musicians and that our people are less talented, or less ambitious than others, but simply for the reasons that we have no outward aids, which alone can give the proper opportunities--we have no music temple--we have no music library--we have no music school--we have no great organ--for the last ten years we have had no orchestra--no concerted action. I know the necessities of the above measure need to be brought in proper and convincing manner before our people and I feel confident that the generosity of Louisville citizens would never rest until Louisville s musical advantages would stand as a model in our country. With the earnest wish that these reforms may be accomplished, wish you good night. 10 There are numerous eulogies written on the death of Louis Hast, on February 12, 1890, in the collection of his daughter, Lisette Hast. Characteristic of the gratitude expressed toward this man by the community is the following excerpt from a paper presented to the Louisville Woman s Club in the year 1910 by Mrs. Hattie Bishop Speed: How many of us have never yet grown accustomed to the absence of our dear Mr. Hast;--the pastmusician, the scholar, the man of strong brain and gentle heart, who from the quiet music-room in the old house on Fourth Street wielded so far reaching and lasting an influence. Pianist, organist, composer, director, inspiring teaching, Mr. Hast was one of the notable personalities in the community. His influence always exerted for the best, his high standards, his absolute unselfishness, his 10 Lisette Hast, Classical Music in Early Kentucky. (No pagination.)

12 delightful conversational powers, his lovely eagerness to give, his freshness and enthusiasm made it a privilege e to know film intimately! I see many before me today, who remembering him as I do, with tenderest affection and grateful admiration will say what I fee1 that this little tribute only leaves too much unsaid... There were several other prominent musicians contemporary with Professor Hast. Perhaps the most notable of these was Mrs. Emily Davison, the mother of Mrs. William R. Belknap. Mrs. Davison was considered Louisville s brilliant soprano. She had studied both in this country and abroad, and had appeared in concert with several large orchestras. She is recorded as the soprano soloist in nearly every musical program given in Louisville by local artists for the last four decades of the nineteenth century. She was also the soprano soloist with the Christ Church Choir and participated actively in numerous recitals of small vocal ensembles. In an article for the Louisville Post, April 11, 1923, Mrs. Davison recalls the dedication of the Henry Clay statue over fifty years earlier. The singers, with our director, Mr. Hast, were stowed away in the rotunda at-the top of the done, the audience standing far below near the statue, and in the halls and corridors. We sang a number of suitable selections, among them The Marvelous Work from the Creation. The writer of this was much pleased to have the director select this number, as it gave her a good chance to Show off her high C, of which she was very proud, and which she was always glad to sing. Other singers often commented on were Dr. Mason, a Louisville dentist and excellent baritone; Albert Snyder, a dramatic tenor

13 educated for the opera by the Munificence of the Grand Duke of Tuscany; Mrs. Cushman Quarrier, alto; Mr. Donald McPhearson, bass; and Professors Parsons, Price, and H. G. Whipple. Pianists who appeared before the public often were Miss Jessie Cochran, Miss Hattie Bishop, Mr. George Selby, Mr. George Zoeller, and Mr. H. J. Peters. The preceding two also shared, along with Professor Hast, the responsibilities of conducting various groups from 1860 onwards. Two violinists are mentioned frequently: Mr. Moebius, who served as concert master for the first Louisville Philharmonic Orchestra; and Mr. Rosenplanter. Mr. Max Zoeller was considered a first-rate cellist. The limited success of the first Philharmonic Society of 1866 was a disappointment to Professor Hast and all the musicians. The Society continued intermittently and was able to produce a season of at least two concerts again in 1872. This date marks the end of this organization for approximately thirteen years. Throughout this period there can be no doubt that orchestral music was being heard in Louisville. Immediately after the initial collapse of the Philharmonic Societ y in 1867, a new vocal society, the Mendelssohn, was formed. This group of one hundred voices was accompanied by a small orchestra which was said to have been far from complete but made up of good personnel. In 1870, the Musical Friend, originally organized in 1857 was

14 rejuvenated. The directors were Professors Hast and Plato. Contemporary accounts were extremely optimistic about this group. The Musical Friend began its rehearsals last night. It numbers forty instruments, and this gives promise of a full rendering of the greatest musical compositions. All the musical public, we feel assured, will be glad to hear that this society has reorganized and there is now a good prospect of having a fine orchestra in this city. The concerts of Theodore Thomas (1865) have given the public a taste of orchestra music, so that there is scarcely a doubt that orchestral concerts will be well patronized. Even in former days the old Musical Friend was very successful and they presented the best classical music to the public. That society was an honor to the city, and the people were proved of having such a fine orchestra here. 11 In spite of this enthusiastic reception, no record of any performances by the Musical Friend as such can be found. There is no question that the instrumentalists of this society did perform for other functions. Early in 1871, a little girl of conspicuous talent played the piano part of Mozart s D Minor Concerto with small orchestra under the direction of Mr. Hest. The child was Hattie Bishop (later Mrs. J, B. Speed). In April of 1872, the Philharmonic Society gave at least two concerts. In the Summer of 1872, Professor Moebius conducted an orchestra of approximately forty members in bi-weekly concerts in Central Park. These concerts were Very popular. As an outgrowth of these performances, a concert to benefit the Louisville Public Library was given on September 28, 11 Mildred J. Hill, "History of Music in Louisville," in Johnston, History of Louisville, p. 89.

15 1872. The following advertisement appeared in The True Democrat on September 9th. The Public Library concert at Central Park on the evening of the 28th will be one of the greatest affairs of the season. Professor Hast will conduct it, and one hundred picked musicians will furnish the music... The concert itself will be the most brilliant orchestral display that has ever occurred in the West, One hundred performers, gathered from all parts of this country and from Europe, under the direction of Professor Hast, will contribute to this grand musical carnival. And to afford ample room for every ticket holder to enjoy such an unusual musical festival, the concert will be given in Central Park, where arrangements have been made to accommodate [sic] all who may come. Throughout the fall of 1872 Professor Moebius conducted concerts twice a day for the Great Exposition. 12 These performances proved a valuable asset to attendance at the exposition. After this very busy year of 1872, orchestral activity declined sharply. Small chamber music societies seem to have become the preferred form of music. In 1879, the Louisville Amateur Orchestra was founded by its conductor, Professor Otto Schüler. 13 Its purpose was to provide the 12 The old Exposition Hall stood on the corner of Fourth and Chestnut Streets. It was replaced by the custom house. The "Great Exposition" was a sort of miniature World's Fair. 13 It was in this orchestra that Justice Louis Brandeis played. Through this experience he came to know and respect Louis Hest. As a token of his devotion, Justice Brandeis gave the necessary funds to the University of Louisville to provide the facilities to house the valuable music library of Professor East. The library contains such volumes as: Eight volumes, in excellent condition, of the Bach Gesellschaft; the Kochel catalogue of Mozart's

16 young musicians of the city the opportunity of orchestral playing. From this group came Charles Hildebrand who later was to become first violin in the Thomas Orchestra. The orchestra was in existence for three years and gave approximately twenty concerts. The music they used was given to them by Professor Hast. It was a collection of scores previously owned by the Philharmonic and other orchestral groups. There is no evidence of a professional orchestral organization supported either by public subscription or by membership fees between the years of 1872 and 1885. Realizing the void created by this inactivity, the music lovers of the community concentrated on importing talent from outside the city. On the occasion of the Southern Exposition, held in Louisville 1883 to 1886, the Damrosch Orchestra of forty pieces was engaged. Immediately before the date of the performance, the elder Dr. Walter J. Damrosch died. The series of concerts in Louisville were the first to be conducted by his son, then only twenty years old. The reaction to these concerts was: that no city has ever been blessed with a series of concerts of higher order of music, and the genuine love of music by the Louisville public was evidenced by their appreciation of the music thus works; first edition of Chopin's Scherzo Pour le Piano, Opus 20; and first edition of Beethoven's String Quartet in F minor, Opus 95. The East library was presented in 1933 to President Raymond A. Kent by Emma W. Hast, daughter of Professor Hast.

17 offered them. Nothing has ever done so much to cultivate and elevate the musical taste of the city as these concerts, and the musicians look back to those days as red leer time in the musical history of Louisville. 14 During this period the Exposition management had built a magnificent organ at enormous expense. 15 Daily concerts were given by resident and visiting organists introducing the public for the first time to the wide range of organ literature. 16 On October 2, 1885, a second group was organized under the name of Philharmonic Orchestra. It was under the direction of Professor Theodore Becker. This orchestra gave at least two seasons of concerts, 1886-87 and 1887-88. The society solicited subscribers from tile public but was once again unable to gain sufficient support to continue after two seasons. For the first time in the history of any of these professional groups, the personnel of the orchestra and the Board of Directors of the society are listed in the program. The orchestra was composed of thirty-three members. (See Appendix I.) The early 1890 s again provide references to the use of orchestral players in several activities. An orchestral organization called the Saturday Night Orchestra, directed by 14 Mildred J. Hill, "History of Music in Louisville," in Johnston, History of Louisville, p. 93. 15 Ibid. 16 After the exposition, the organ was bought by Warren Memorial Church.

18 Herman Burch, was in existence between 1890 and 1893. However, its largest membership was fifteen and its purpose was primarily chamber music. The Musical Club, organized in 1882 and directed by William Frese and later C. H. Shackelton, was by 1891 using orchestral accompaniment in their concerts. This choral group formed the foundation for the May Festival Chorus. The May Festival of. 1891 was heralded as one of the highlights of Louisville s musical history. The chorus of two hundred fifty singers was trained to exceptionally high standards to present Dvorak s Stabat Mater and Mendelssohn s Elijah. However, the orchestra players available locally were considered insufficient to the task and the Boston symphony Orchestra under the direction of Mr. Arthur Nikisch was employed. The Festival consisted of six concerts: three given by chorus and orchestra, and three given by the orchestra and its soloists. The Festival was underwritten by the Commercial Club of Louisville and it proved to be a great success both artistically and financially. Programs in the collection of the Filson Club show that succeeding years brought other festivals to Louisville. The Boston Festival Orchestra under the direction of Mollenhauer was employed for the years 1898 through 1903. These concerts were underwritten by the Louisville Music Festival Fund composed of 146 companies and individuals. The concerts were held in the Amphitheater auditorium at Fourth and Hill Streets. In 1906, the Louisville May Music Festival Society was formed to Sponsor

19 biennial festivals alternating years with those given in Cincinnati. Support from the Board of Trade, the Commercial Club, Retail Merchants Association, and the Merchants and Manufacturers guaranteed $40,000 for each festival. Three such festivals were held in 1907, 1909, and 1911, The New York Symphony Orchestra under Walter Damrosch was engaged or all three years. The chorus of the Musical Club participated in each of the festivals. During the decade preceding 1900, the Liederkranz Society, 17 which had previously been a purely choral group, incorporated thirty-five instrumentalists into its group. Professor Karl Schmidt was conductor of this combined society. Professor Schmidt came to Louisville at the insistence of his friend, William Frese, in 1891. He later succeeded Nr. Frese as organist at the Temple Math Israel. Professor Schmidt received his initial musical training in his native land of Germany. After coming to America, he was solo cellist with the Theodore Thomas orchestra. Later, Anton Seidl employed him as second chair cellist; the principal cellist was then Victor Herbert. Professor Schmidt remained in Louisville until his death, except for two years which he spent in New York as general conductor for the Henry W. Savage Opera Company. 17 Little history of the Liederkranz Society has been given in this paper since its primary function has always been choral music. It is, however, the oldest musical group of any kind still in existence (founded in 1848) and has provided Louisville with a nucleus of music lovers throughout the years. The history of the Liederkranz has been covered in detail in a Master's Thesis by Erna O. Gwinn, The Liederkranz in Louisville 1848-1877," University of Louisville, 1973.

20 CHAPTER II AT THE TURN OF THE CENTURY On January 1, 1900, the orchestra members left the Liederkranz Society to become an independent organization, the Philharmonic Orchestra. Karl Schmidt was the conductor employed by the group. In 1903, when Professor Schmidt became the director of the Musical Club, he combined the talents of the two groups to form the Philharmonic Society. This society produced, in the season of 1904, one of the most extensive series of concerts Louisville has ever seen. 18 The program lists a chorus of seventy-eight voices and an orchestra of sixty-nine pieces. It also states that the Philharmonic Society was maintained by popular subscription for the benefit of the musical interests of the City. The Society Directors are listed as: President, A. R. Cooper; Vice-President, I. W. Bernheim; Secretary, Julius Wanner; Treasurer, C. M. S. Hebel; Thomas E. Basham, Henry Schimpler, Lafon Allen, Ernest W. Sprague, and Andrew Broaddus. Fourteen associate members and two hundred seventy-two subscribers are named. The roster of orchestra personnel is given. It included fourteen first violins, eleven 18 The programs of the combined Philharmonic Orchestra and Musical Club of 1904 contained such works as symphonies Mozart, G minor and E flat major; Beethoven, C minor and B flat major; Schubert, C major; Choral works: Bach, Christmas Oratorio; Gounod's Mesas Solonelle; and Karl Schmit s Judith; and other selections such as Grieg's "Peer Gynt Suite ; Prelude and Isolde's "Love Death" from Wagner 's Tristan and Isolde and the Beethoven Violin Concerto performed by Charles Letzler, concertmaster of the orchestra. Filson Club.

21 second violins, seven violas, four cellos, four double basses, two flutes, one piccolo, three oboes, two clarinets, two bassoons, four French horns, four trumpets, three trombones, one tuba, one timpani, five percussion, one harp, and three accompanists. A photograph of the orchestra is also included in the commemorative program. Reviews included in The Louisville Herald, The Indianapolis Sentinel, and The Louisville Anzeiger all are composed of adjectives such as excellent, brilliant, a musical triumph. The absence of Karl Schmidt from 1906 to 1908 abruptly ended performances of such artistic accomplishment. Upon his return, the Philharmonic was reorganized and played two successful seasons in 1909-1910 and 1910-1911. After this, the orchestra was forced to suspend activity because of lack of public support and private donations. Another group calling itself the Louisville Symphony Orchestra was formed in 1908. Its conductor was R. Gratz Cox, a native of North Carolina, who came to Louisville as solo tenor for the First Christian Church. It had been his lifelong ambition to become a conductor. As an adjunct to the orchestra, he formed the Louisville Oratorio Society. These combined groups gave several concerts in

22 the years 1908 and 1909. 19 On November 18, 1908, a group of interested citizens met at the home of Mrs. J. E. Whitney. Attending the meeting were W.R. Belknap, Temple Robinson, Judge W. O. Harris, Albert S. Brandeis, Wallace Hughes, Charles T. Ballard, Bruce Haldeman, W. J. Dodd, F. W. Quast, Avery Robinson, F. A. Cowles, and Mildred J. Hill. These people formed the nucleus of an organization which became known as the Louisville Symphony Orchestra Association. Its purpose was to provide the necessary financial support for public performances of the orchestra. This is apparently the first association organized to support a civic orchestra in the City of Louisville. In January, 1910, the financial situation of the orchestra association became critical, so that further obligations by the orchestra were cancelled. The association no longer functioned at this time. Mr. Cox personally assumed all the financial obligations for the spring concerts. After this, the orchestra was disbanded. Indication that private citizens were willing to support musical activities was evidenced by a series of open-air concerts free to the public, which were held in the city parks in the Summer of 1909. At one of these concerts in Cherokee Park, an estimated 10,000 people attended. The expense of these concerts was covered 19 Narks performed by the Louisville Symphony Orchestra and Louisville Oratorio Society included Haydn's Creation, Rossini's "Stabat Mater," Handel's Israel in Egypt; and Mendelssohn's "Hymn of Praise." Louisville Library Collections. Institutions Series, Volume I. Louisville Free Public Library, Louisville, Kentucky, 1935), p. 104.

23 by donations by J. B. Speed and I. W. Bernheim. Financial support for musical activities was also guaranteed by the business community as demonstrated by the following statement from the program of the 1901 May Music Festival. The undertaking is in every sense a public enterprise, and is designed for the development of musical culture, and, incidentally, for the presentation of high-class musical programs. It is gratifying to know that business men of this community are willing annually to guarantee the expense of a festival of the character of those given here; but the wonderful advance in our musical taste and appreciation, as well as the wide advertisement these festivals have given the city, must more than compensate them for the risks they have taken. It is difficult to understand why the private support was not united behind either the Philharmonic Orchestra under Karl Schmidt or the Louisville Symphony Orchestra under Gratz Cox. There was evidently friction between the organizations, the supporters, or the conductors, which made a cooperative venture impractical. However, there appears to be no written record of what could have caused the founding of two orchestras in competition for the same public and private backing to be in operation at the same time. Whatever the reasons, this competition proved disastrous for the cultural history of Louisville because by 1911, both orchestras ceased to exist for lack of sufficient financial backing. The public sentiment was expressed in the Courier-Journal in 1913: Music in Louisville has been for the past two years a shining nark for the shafts of pessimism. There have, indeed, been incidents in recent

24 musical affairs which, regarded as finalities, might daunt hopeful lovers of the art. But viewed in the light of the past -which shows a vigorous and, at times brilliant, musical life, dating back to pioneer days and registering the names of dozens of active and successful organizations, recent discouragements are seen as an art of the eternal ebb and flow of human affairs a systole with its inevitable diastole already at hand. It is true, as the pessimists observe, that not only have managers complained of empty concert halls, but that our local organizations, the very pulse of our musical life, have shown a flagging or suspension of activity. But there are indications that the reaction has already begun, and if the situation is closely studied it becomes evident that the torch of musical art has had faithful bearers even through the darkest days...we have endured two seasons without an active orchestra following a state of double blessedness in that particular, but there is evidence in the recent successful inauguration of a series of popular orchestral concerts of the existence of a musichungry public. 20 The optimistic note in the preceding quotation proved to be justified. Although there was no organized philharmonic society, musical activity did not cease. Several chamber music and music study clubs remained active. One of these groups, the Wednesday Morning Musical Club, founded in 1912, 21 was responsible for the beginning of a program which engaged the Cincinnati Symphony Orchestra for four evening concerts each season, often preceded by 20 Keeping Alive the Spirit of Music," Courier Journal, April 22, 1913. (Unsigned.) 21 The name was changed to the Wednesday Morning Concert Association in 1934.

25 a concert for children on the same afternoon. This employment Of the Cincinnati Orchestra continued as late as 1948 and was consistently well attended. An organization called the Louisville Opera Committee presented a program on October 16, 1915, which featured the Boston Grand Opera Company in conjunction with the Pavlova Ballet Russe. The beginnings of real discouragement of chose interested in the continuation of fine music for Louisville may be felt by the following quotation taken from the program booklet of that evening: This season Louisville is having an unusual number of high class musical attractions, which is not without reason. Opportunity is said to knock but once; we should, therefore, consider the present season Louisville s opportunity. The continuous support and persistent influence of everyone interested in good music is all that is necessary. 22 The year 1915 saw the founding of the Louisville Fine Arts Association. This group listed on its Board of Directors some of the most influential names in the City (see Appendix II). It functioned for five seasons. Throughout the decade of the twenties, other such organizations were incorporated. The Master Concert Series lists on its program of the 1926-1927 season 405 patrons.23 The Greater Louisville Concert Series program of 1928 shows 392 22 Louisvil1e Programs, Memorial Auditorium, No. 1, November 22, 1929, through April 3, 1939. Filson Club. 23 Theater programs, Louisville, Kentucky. Macauley, Brown, Schubert, Strand, 1922-1936. Filson Club.

26 patrons. 24 The sole purpose of these groups was to provide the necessary financial backing to bring outstanding musical talent to the community. Soloists such as Yehudi Menuhin, Mischa Elman, Jascha Heifetz, Fritz Kreisler, Sergei Rachmaninoff, Paderewgki, and Isadora Duncan visited Louisville. Many of the major orchestras in the country, including the New York Symphony Orchestra, New York Philharmonic, Boston Symphony, Chicago Symphony, Cincinnati Symphony, St. Louis Symphony, Minneapolis Symphony, as well as several European orchestras played here during that era. From contemporary comment, the houses were not sold out but substantial enough to allow these engagements to continue over twenty years. 24 Ibid.

27 CHAPTER III THE THIRTIES: YEARS OF DISSENSION Since the last concert of the Louisville Symphony Orchestra in 1910, there had been no orchestra representing the City of Louisville. By 1930, those citizens interested in the arts were beginning, once again, to make their voices heard. Because of this renewed enthusiasm, during this decade more musical activity was recorded than ever before. About 1930, yet another supporting society calling itself the Louisville Civic Arts Association, was begun. The association adopted an already functioning orchestra originally known as the Young Men s Hebrew Association Symphony. This orchestra was founded in 1915. The Y.M.H.A. provided this group a place to practice and paid its director normal salary. The first few programs of the orchestral performances were written: The Louisville Civic Arts Association, Louisville s Own Great Series, presents (the) Y.M.H.A. Symphony. The Civic Orchestra. 25 However, by the spring of 1932, the orchestra was billing itself the Louisville Civic Symphony Orchestra. The first program of the Louisville Civic Arts Association Series, dated October 19, 1931, explains the organization: 25 Louisville Civic Arts Association program. First Concert season 1931-1932. Scrapbook of programs 1920-1939. University of Louisville School of Music Archives.

28 Dedicated to the principle that the most significant and meaningful cultural advance inheres in the encouragement of a city s own talent and the attending increase of community appreciation, the Louisville Civic Arts Association presents a series of concerts within the reach of all and one which could not be imported except at prohibitive prices. The Y.M.H.A. Symphony represents the most sustained and enduring orchestral attempt in Louisville s history and one which few cities in the United States can match. It has come to its present state of high repute through sixteen years of unforced growth. Its personnel, comprised of professional and amateur musicians (see Appendix III) receives no remunerations but adheres strictly to professional discipline. Immeasurable praise is due to the Y.M.H.A. which nurtured the orchestra until it grew to the point where musical competency and the momentum of community appreciation carried it to the Memorial Auditorium stage and made it Louisville s own orchestra. Should this series be successful, the orchestra likely will be named the Louisville Civic Symphony. The spirit of cooperation in the symphony membership is illustrated in the fact that the orchestra s first conductor is now Playing viola, a former concertmeister is playing viola, the conductor of the Civic Chorus is playing bass, and one of the South s foremost violinists adds weight to the second violin section. Thus, is orchestral balance obtained. Recommended voices from the voice studios and churches of Louisville comprise the Louisville Civic Chorus. We predict that those who hear the Verdi Requiem with orchestral accompaniment will be thrilled. As for the Beethoven Ninth and Choral, this is anticipated as a musical landmark for Louisville. The Anne Bullitt Brewer Ballet with Mary Lang Hanlon as premiere danseuse is the finest of its kind in the South and with orchestral accompaniment