Part 27

Richard Strauss, who twenty-five years ago was the most interesting star in the musical firmament, has lived long enough to have outlived a part of his popularity. He never originated a musical form, but accepted the symphonic poem of Liszt and the music-drama of Wagner as models. His workmanship is infinitely greater than Liszt’s, his counterpoint stupendous in its boldness, and in his treatment of the orchestra he sometimes transcends even Wagner in the originality of his orchestral combinations. But his compositions lack the ideality of either of these masters, and because of this and in spite of his marvellous paraphernalia, his works seem to carry within them the seeds of their own decay.

The gods endowed this man at his birth perhaps more richly than any other musician of our time, but something within him has made him relinquish the greatest of their gifts and has turned him to less pure ideals. In the “Sinfonia Domestica” the daily life of husband, wife, and baby are characterized by an orchestra of one hundred and ten players with such noisy fury and realistic prose as to give one an altogether distorted insight into what is supposedly a page from the composer’s diary. But the music descriptive of the composer who, after these dreadful domestic squabbles, retires to his workroom, lights his lamp, and begins to communicate with his muse, is so beautiful as to fill us with a deep regret that one so winged for flight in the ether should be so content to walk on the earth.

The instrumental devices, depicting _Don Quixote’s_ adventure with the sheep and his fight with the windmill, which aroused such astonishment and admiration when they were first heard, have already lost their effect and are listened to to-day with hardly a smile. The final scene, however, depicting the dying of _Don Quixote_, is so beautiful and tragic in its expression as to bring tears to the listener. The “Heldenleben” is to me a work of noisy bombastic emptiness from beginning to end, and one might call it typical of certain German currents of to-day. It would, however, be manifestly unfair to call it typically German, as a race that has produced Bach, Mozart, Beethoven, and Wagner will surely find other men to continue their glorious traditions.

A composer’s fame is not affirmed by professional musicians but by the general public whose judgment in the end is infallible. A great masterwork that is not destroyed will always eventually be recognized as such whether, like the “Venus de Milo,” it has lain hidden for centuries beneath the earth or, like the “Matthew Passion” of Bach, equally hidden in the dusty shelves of the Royal Library of Berlin, to be rediscovered by Mendelssohn and pronounced the greatest religious choral work ever written.

The two works of Strauss which have retained their popularity with the public are undoubtedly his best, as their requirements do not enlist such qualities as he does not possess or has not sought to develop. In “Till Eulenspiegel” Strauss’s talent for mordant realism finds full expression. The wild pranks of _Eulenspiegel_ follow each other in mad, cynical humor, and, in the limited form of programme music, the work is flawless.

His “Salome” is as perfect a union with Oscar Wilde’s marvellous play as the “Pélléas” and “Mélisande” of Maeterlinck and Debussy. In both the composers have so steeped themselves in the spirit of the poem as to enhance its beauty. But with all my admiration for “Salome” I have never been able to sit through the final scene without a feeling of disgust, which sometimes mounted even to physical nausea. When _Salome_ sings her horrible love music to the head of _John the Baptist_ it has always seemed to me a parody on the glorious finale of “Tristan and Isolde.”

I have spoken in another chapter of Tschaikowsky’s visit to America in 1891 as a guest of the Symphony Society. For twenty-five years his popularity was enormous and the mere announcement of his “Symphonie Pathétique” was sufficient to draw a crowded house. His symphonies appeared more often on our concert programmes than those of any other composer. They have a rhythmic and elemental strength which appealed even to the unmusical, but to-day a distinct lessening of this popularity is noticeable. There is a lack of real symphonic development of his themes, and certain crudities of workmanship stand out more clearly as the works have become better known. Young conductors, anxious for ready and cheap applause, still choose one of his symphonies for their début, and the melodic charm of his lighter music, if not heard too often, will retain its place in the affection of our public for some time longer.

And now we come to the greatest genius of the nineteenth century—Richard Wagner. “What!” exclaims my reader. “Do you consider him dead?” God forbid! The wings of his genius are still soaring aloft in the ether, but there is no doubt that the attitude of the world of to-day toward his music is absolutely different from that of fifty or sixty years ago when he first electrified or infuriated a public, amazed at his daring innovations. The inevitable has happened—Wagner has become a “classic.”

I was a boy of fifteen when I heard the first performance of “Lohengrin” at the old Academy of Music. The opera was sung in Italian with Italo Campanini as _Lohengrin_, Valeria as _Elsa_, and our own Anne Louise Cary as _Ortrude_. The conductor was old Luigi Arditi. I sat in the front row in the family circle, and was so excited by the drama and the music that at the end of the double male chorus—which accompanies the approach of _Lohengrin_ in the boat drawn by the swan as the God-sent deliverer of _Elsa_—the tears rushed down my cheeks. But they were happy tears and a natural relief from the tension which the music had created in me.

Each succeeding opera of Wagner’s was a similar revelation. I pored over the scores of the “Nibelungen Trilogy” during every hour left me from school work and piano practice. In fact, I often stole time from the latter and would gladly have given up my entire school if my parents had not very properly kept me where I belonged. Later on my founding of the Damrosch Opera Company for the sole purpose of producing Wagner operas seemed an inner necessity, and I was driven to it by a force stronger than myself. For years a Wagner programme, whether it was at a symphony concert in New York, or in Oklahoma on a Western tour, or at the Willow Grove summer concerts, drew the largest audiences, and the same orchestral excerpts were repeated by me and other conductors year after year and received by our public with excited enthusiasm. To-day the amazement which his music called forth is no longer apparent. He is admired and loved, but the nerves of the younger generation are not thrilled by his harmonies as ours were. His works repose upon our shelves bound in morocco and gold and occupy places of honor, but, alas, on several of them the dust is beginning to gather and many of the young people of to-day find “Lohengrin” monotonous, and vote unanimously that _Tannhäuser’s_ recital of his pilgrimage to Rome is too long.

Time and continued occupation with Wagner’s music may have made me more critical and analytical, and I am no longer in complete and enthusiastic accord with some of his theories regarding the music-drama. But much of his music still sweeps me off my feet, and his “Meistersinger”—which is so happy and perfect a compromise between the opera and the music-drama—is to me still the greatest musical work of our times.

I have spoken above of the finality of the judgment of the public regarding the ultimate vitality of an art work. Conductors have had their personal convictions and have tried to force them upon our audiences, but unless these convictions were based on actual worth the public has in the end consciously or unconsciously rejected them. Sometimes unworthy composers have had momentary popularity, but they were born but to dance in the sun for one day and then to die.

My orchestral parts of the symphonies of Beethoven, Mozart, and Brahms are old and worn by many rehearsals and performances, and some of them have been patched up and pasted together by my librarian so many times that they have had to be replaced by new ones twice over. I have performed them for nearly forty years, and the grandchildren of my audiences of 1885 are now listening to them with equal happiness. A few years ago I discovered a lovely symphony by Mozart, which had never been played in New York, and I was as proud of this as if it had been the fourth dimension.

The works of these masters are lifted above the fashion of the moment, and their creators smile upon us serenely and eternally from the heavens in which they dwell as gods among the gods.

XXI

POSTLUDE

These reminiscences were begun in New York in April, 1922, and finished the following August in Bar Harbor, Maine. My friends had urged me for some time to write down my experiences because they thought that the many and varied events in a long musical life would prove interesting to American musicians and readers generally.

I do not know. On re-reading the foregoing pages in the proof-sheets I feel that many happenings which seemed of great importance to me may prove but dull reading to others. But at least I have tried to tell a truthful tale and to give an honest account of my aspirations and struggles.

I have climbed a few hills, but only to see the mountains beyond rising higher and higher, the path upward often indiscernible through the mists surrounding the peaks.

I love the people among whom my father settled because he firmly believed that in America his children would have a greater opportunity for development than in old Europe.

The musical field in America is certainly wonderful in its possibilities, and all my life I have reached out with both hands and have worked incessantly and enthusiastically in my calling. In part at least I have tried to repay what I owe to my compatriots for their confidence and help. But the power of the individual is comparatively small, and while our musicians have already accomplished miracles within the short period that music has played a part in our civilization, so much yet remains to be done that I long for at least one hundred more years of life, partly to continue my work but still more to satisfy my eager curiosity as to the musical future of our people.

If this book serves to encourage my younger colleagues in their efforts to increase the love and appreciation of music in our country, it has not been written in vain.

INDEX

_ff._: and following pages

Abbey, Henry, 104, 106 _ff._, 113, 116, 121 _ff._, 129 _ff._, _et passim_ Abbey, Schoeffel, and Grau, 51 _ff._, 72, 113, 116, 121, 130, 133, 182 Abbott, Lawrence, 31 Abt, Franz, 75 Academy of Music, 52, 116, 118, 120 Accademia Santa Cecilia, 295 _ff._ Achenbach, Andreas, 142 “Acis and Galatea” (Handel), 178 Adamowski, Tim and Joe, 149 Æolian Hall, 219 Æschylus, 346 Allan, Mr., 295 Allen, General, 41 Allen, Sir Hugh, 319 Alvary, Frau, 137 Alvary, Max, 63, 109 _ff._, 112, 130, 142 _ff._, 172, 211 Amato, 152 American Academy in Rome, 302 _ff._ “American Friends of Musicians in France,” 221 _ff._, 239, 244 American women and music, 323 _ff._ Andersen, “Fairy Tales,” 5 Anderson, Mary, 51 Anglin, Margaret, 19, 344 _ff._ “Arabian Nights,” 5 Architecture, 285 Arditi, Luigi, 365 Arion Society, 9, 12, 25, 27 Arnold, Matthew, 90 Arnold, Richard, 208 _ff._ Auber, 351 Auer, 2 Augustus Cæsar, 296 Austro-Prussian War, 1866, 1

B——, Madame, 87 _ff._ Bach, 23, 57, 75, 152, 169, 171, 181, 262, 363 Backhaus, Wilhelm, 217 Ballay, Captain, 235 Banda Communale di Roma, 297 _ff._ Bandmaster’s School, 251 _ff._, 311 _ff._ Bandsmen in American army, 233 _ff._, 247 _ff._ Barrère, George, 46, 194 _ff._ Baton, Rhene, 228 Bauer, Harold, 356 _ff._ Bayreuth, 143, _et passim_ Beale, Walker Blaine, 18 _ff._ Beethoven, 9, 33, 40, 75 _ff._, 81, 83 _ff._, 86, 88, 97, 99, 120, 148, 153, 155, 157, 164, 190, 196, 216 _ff._, 259 _ff._, 262, 278 _ff._, 282, 292, 298, 324 _ff._, 338, 340, 346, 366, _et passim_ Belcher, Zach, 35 Benedetti, 7, 41 Berlioz, Hector, 23, 27, 31 _ff._, 34, 43, 164, 180, 278, 292, 337 Berthold, Barron, 115 Bible, 5 Bigelow, Doctor Sturgis, 120 Bismarck, 2, 41, 140 Bispham, David, 19, 115, 129, 132, 159 _ff._ Blaine, Emmons, 20 _ff._, 101 Blaine, Harriet, 91 Blaine, James G., 90 _ff._, 95 _ff._, 100 _ff._ Blaine, Mrs. James G., 90 _ff._, 95 _ff._, 101 Blaine, Margaret (later Mrs. Walter Damrosch), 90 _ff._, 97, 100 _ff._, 103, 118, 121, 129, 291 _ff._ Blaine, Walker, 103 Blanc, M., 293 _ff._ Bliss, Mr. and Mrs. Robert, 241 Boccaccio, 304 _ff._ Boeckelman, 11 Boieldieu, 60 Boito, 144 Bonnet, M., 311 Bonsal, Stephen, 96 Bordeaux concert, 1920, 284 _ff._ Boston musical affairs, 333 _ff._ Boston Symphony Orchestra, 22, 123, 128, 150, 186, 207, 210 _ff._, 236, 268, 330, 333 _ff._, _et passim_ Boulanger, Mlle. Lili, 258 Boulanger, Mlle. Nadia, 156, 238, 258 _ff._, 279 Bowing, 320 Boyd, Colonel, 264 Brahms, 23, 25 _ff._, 47, 79 _ff._, 86 _ff._, 183, 184, 217, 259, 319, 324 _ff._, 338, 346, 352, 366 Brandt, Marianne, 53, 60, 65, 73, 140 _ff._, 172 Brema, Marie, 109, 111 _ff._ Brisbane, Arthur, 96 British music, 319 _ff._ Bronsart, Hans von, 7 Brown (coachman), 119 Bruch, 144 Bruckner, Anton, 352 _ff._ Bruneau, Albert, 311 _ff._ Brussels concert, 1920, 314 _ff._ Bryce, Viscount, 321 Bülow, Hans von, 2 _ff._, 6 _ff._, 39, 54, 74 _ff._, 157, 216, 300, 359, _et passim_ Bundy, General Omar, 246 _ff._, 249 Burger, 359 Burns, Robert, 94

Calderon, 37, 346 “Caligula Seidenschwanz,” 84 _ff._ Callender, Miss Mary R., 106, 215 Callender, May, 85 Calvé, Madame, 122, 162 Cambridge University, 144 _ff._ Campanari, 306 _ff._ Campanini, Italo, 121, 364 Caplet, André, 255 Carnegie, Andrew, 90 _ff._, 113, 143 Carnegie Hall, 94 _ff._, 143, 179, 183, 219, 349, 358 Carnegie, Louise, 90 Carreno, Madame Teresa, 28, 167 Carter, Ernest, 240, 242 Cary, Anne Louise, 364 Casadesus, Francis, 250, 254 _ff._, 264, 310 _ff._ Casadesus, Henri, 156, 221 _ff._, 238, 240, 311 Casella, 301 Chamber-music in New York, 331 _ff._ Château-Thierry, 231 Chaumont, Band school at, 251 _ff._, 311 _ff._ Chausson, 260 Cherubini, 353 Chicago Orchestra, 204, 211 Chicago, “Tannhäuser” in, 57 _ff._ Chickering Piano Company, 74 Children and music, 326 _ff._ Chopin, 166 Christmas celebrations, 17 _ff._ “Christus” (Liszt), 49 _ff._ Clemenceau, M., 147, 224 Coates, Albert, 319 Collins, Lieutenant-Colonel, 245, 249, 264 Cologne Music Festival, 86 _ff._ Columbia Theatre, Chicago, 58 _ff._ Coman, Miss Wynne, 198 _ff._ Conductors and conducting, 45 _ff._, 64 _ff._, _et passim_ Conried, Heinrich, 173 _ff._ Conservatoire Orchestra, party, 282 Converse College for Women, 192 Cook (Thomas) and Sons, 276 _ff._, 315 Cooke, 19 Coolidge, Mrs. Frederick S., 331 Coppinger, Mrs., 100, 103 Cornelius, Peter, 43, 66, 184 Cortada, 32 Cortot, Alfred, 155, 222, 231, 235, 238, 311 Cowdin, Mr. and Mrs. John E., 147 Cowen, 23 Cravath, Paul, 238 _ff._ Croix Rouge Française, 234 “Cyrano” (Damrosch opera), 150 _ff._

d’Agoult, Countess, 164 d’Albert, Eugene, 40, 187 Damrosch, Alice (later Mrs. Pennington), 19, 238, 265, 267 _ff._, 270 _ff._ Damrosch, Anita, 270 Damrosch, Clara (Mrs. Mannes), 214 Damrosch-Ellis Opera Company, 123 Damrosch, Frank, 1 _ff._, 10, 58, 102, 179, 182 _ff._, 217, 254, 327 _ff._ Damrosch, Gretchen, (later Mrs. Thomas Finletter) 154, 285 Damrosch, Hans, 1 Damrosch, Doctor Leopold (father of author), 2, 5 _ff._, 10 _ff._, 22 _ff._, 36, 52 _ff._, 74, 79, 86, 90, 97, 140 _ff._, 149, 169 _ff._, 351, _et passim_ Damrosch, Mrs. Leopold (mother of author), 1 Damrosch Opera Company, 16, 67, 69, 104 _ff._, 129, 134, 205, 276, 334, 365, _et passim_ Damrosch, Mrs. Walter (Margaret Blaine), 90 _ff._, 97, 100 _ff._, 103, 118, 121, 129, 291 _ff._ Dana, Charles A., 14 David Mannes Music School, 214 Davis, Ambassador, 321 Dawes, General Charles, 243, 262 Debussy, 238, 260, 353, 363 Defoe, “Robinson Crusoe,” 10 de Forest, Miss Caroline, 85, 106, 215 Deis, Karl, 191 de Reszke, Edouard, 129 _ff._, 149 de Reszke, Jean, 129 _ff._, 149, 159, 292 _ff._ de Reszke, Madame Jean, 292 _ff._ de Vere, Madame, 178 Dewey, Admiral, 179 _ff._ di Lasso, Orlando, 184 d’Indy, Vincent, 278 _ff._ di Sabata, Victor, 301 Dodge, Miss (Gail Hamilton), 95, 99 Doll’s theatre, 14 _ff._ Draesecke, Felix, 6 Drew, John, 199 Dubois, Theodore, 279 Duff-Gordon, Lady, 304 Du Maurier, 319 Dumesnil, M., 311 _ff._ Dvořák, Anton, 155, 183

Eaton, Doctor Charles, 95 Elgar, Sir Edward, 183, 319, 361 Ellacott, Captain, 255 Eller, Joseph, 110 Ellis, Charles, 123 _ff._, 128 _ff._ Emma, Queen Mother of Holland, 317 Endicott, Governor, 115 Engelhardt, Frau, 69 _ff._ Engles, George, 200, 273, 276, 282, 284, 287 _ff._ Euripides, 344, 346 European tour, 1920, 272 _ff._

Fairchild, Blair, 244 Fauré, Gabriel, 260, 279, 282 Faversham, Julie, 19 Ferrero, 304 Festival of 1881, 30 _ff._ Finci, Signor, 306 Finletter, Judge, 154 Fischer, Emil, 63, 66, 105, 109, 134 _ff._, 172, 178 Fischer, Mrs. Emil, 135 _ff._ Flagler, Harry Harkness, 136, 186, 210, 218, 222, 239, 272 _ff._, 322, 349, 356 Flagler, Mrs. Harry Harkness, 218 Flagler, Mary, 285 Florence concert, 1920, 304 Foch, General, 246 _ff._ Folk-music, 323 Fontainebleau concert, 1920, 312 Fontainebleau summer music-school, 311 Fourth of July, Paris, 231 _ff._, 248 Fragnaud, M., 311 _ff._ Franck, César, 43, 74, 155, 238, 257, 281, 316 Franko, Sam, 149 Franz Joseph, Emperor, 353 Franz, Robert, 177 Frederick, Crown Prince, 2 Friedman, Ignaz, 356 _ff._ Frohman, Daniel, 211 Frothingham, Mr. O. B., 333 Furniss, Sophie and Tina, 118 _ff._ Furst, William, 349

Gabrilowitsch, Ossip, 356 _ff._ Gade, Niels W., 353 Gadski, Johanna, 109, 115, 118, 122, 129 _ff._ Ganz, Rudolph, 356 _ff._ _Garde Républicaine_, 235 Gardner, Mrs. John L., 115, 333 _ff._ Gartlan, Mr., 327 Genoa concert, 1920, 294 _ff._ George II, King, 176 George V, King, 273 Gericke, Wilhelm, 333, 335 _ff._ German music during the war, 260 _ff._ German Opera at the Metropolitan, 51 _ff._, _et passim_ Giucciardi, Countess, 164 Gladstone, 92 Gluck, 60 Gluck, Mme. Alma, 358 Godowsky, Leopold, 356 _ff._ Goethe, 37, 49, 262, 346 Goettich, Hans, 71, 200 Goldmark, Carl, 353 _ff._ Goldmark, Leo, 88 Goosens, Eugene, 319 Gounod, 54, 286 Grainger, Percy, 356 _ff._ Grau, Maurice, 104 _ff._, 113, 116, 120, 121 _ff._, 124, 129, 148, 160, 206, 300, 316 Grau Opera Company, 162, _et passim_ Greek plays, 344 _ff._ Greek Theatre, Berkeley, Calif., 344 _ff._ Grell, Edward, 180 _ff._ Grew, Mr., 283 Grieg, 144 Grimm, “Fairy Tales,” 5 Guegnier, Captain, 259

Haenselt, 2 Hagemann, Mme. de, 29 Halévy, 65 Hamilton, Gail (Miss Dodge), 95, 99 Handel, 23, 33 _ff._, 169 _ff._, 175 _ff._, 181, 183 Hanslick, Mr., 353 Hanson, Howard, 302 Harris, Doctor and Mrs. George, 19 Harrison, Benjamin, 98, 100 Harvard University, 161 Haven, George, 123 Hawthorne, “The Scarlet Letter,” 114 _ff._, 121, 160 Haydn, 23, 181, 183 Healy, 48 Heimburg, Marie von (Tante), 4, 10, 175 Henderson, William J., 109 Henschel, George, 150 Herbert, Victor, 237 Herty, 152 Hesse, Landgravine, and Prince of, 79 _ff._ Hewitt, 236 Higginson, Major Henry Lee, 22, 150, 186, 205, 207, 333, 336, 338, 341, 343 Hock, Wilhelm, 54 Hofmann, Josef, 360 Hohenlohe, Cardinal Prince, 48 Holland concerts, 1920, 317 _ff._ Homer, “Iliad” and “Odyssey,” 4 House, Colonel, 147 Hulsen, Baron von, 85 Hutcheson, Ernest, 356 _ff._ Hyde, E. Francis, 208

Institute of Musical Art, 183 Italy, new musical development in, 299 _ff._

Jackson, Schuyler Brinkerhoff, 35 Jazz music, 268 Jeanne (pianist), 166 Jeanne d’Arc, 263 Joachim, 2 _ff._ Johnson, Reber, 236 Johnson, Robert Underwood, 275 _ff._, 301 Joseffy, 187 Joukowski, Baron von, 39, 47 _ff._ Jurgenson, 145

Kalisch, Paul, 66 _ff._ Kant, 262 Kautsky and Briosky, 109 Kelley, Lieutenant, 262 Kerensky, 283 Klafsky, Madame Katherine, 111, 114, 117, 120 _ff._ Knabe Piano Company, 23 Kneisel, Franz, 336 Kochanski, Paul, 149 Kossman, 74 Kraemer, 172 Krauss, Ernst, 138 Kreisler, Fritz, 152, 340 Kubelik, 187

Lafere, M., 272 La Fontaine, 157 Lambert, Alexander, 149, 356 _ff._ Lamond, Major Felix, 303 Lamperti, 142, 160 Lassen, 14, 37 _ff._, 48 Lathrop, George Parsons, 115 Laub, 7 Lorenziti, 238 Lehmann, Lilli, 63 _ff._, 85 _ff._, 111, 122, 130, 132 Lehmann, Marie, 67 Lekeu (the elder), 316 Lekeu, Guillaume, 316 Leon, Paul, 282, 311, 313 Lettelier, 47 Levi, Herman, 42 Lhevinne, Josef, 356 _ff._ Liebling, Max, 28 Lindemann, 47 Liszt, Franz, 2 _ff._, 6, 14, 23, 36 _ff._, 66, 74, 97, 146, 148 _ff._, 154, 156 _ff._, 164, 181, 337, 354, 359, 362 Littleton, Augustus, 273, 321 Loeb, James, 183 Loeffler, Charles Martin, 149 _ff._ London concerts, 1920, 318 _ff._ _London Telegraph_, 97 _London Times_, 97 Longfellow, Ernest, 49 Longfellow, Henry Wadsworth, 48, 340 Longy, 236 Louise (pianist), 166 Louisville, Southern Exposition, 190 _ff._ Lund, John, 58, 61

MacKenzie, Sir Alexander, 319 Maeterlinck, 151, 363 Mahler, Gustav, 138, 352, 354 _ff._ Malipiero, 301 Mancinelli, Signor, 300 Mangeot, M., 311 “Manila Te Deum,” 179 _ff._ Mannes, David, 214 Mannes, Mrs. David (Clara Damrosch), 214 Mannes (David) Music School, 214 Mantel, M., 154, 228 Mapleson, Colonel, 51 _ff._ Marburg, University of, 81 _ff._ Marseilles concerts, 1920, 287 _ff._ Mary Queen of Scots, 98 Materna, Madame, 53, 55, 59 _ff._, 105, 140 Mathieu, 46 McCormick, Anita, 101 McKim, Miss Letty, 265, 267 McLane, Thomas, 223, 239 Meiningen, Orchestra of Grand Duke of, 77 Melba, Madame Nellie, 123, 129, 155 Mendelssohn, 23, 28, 34, 181, 344, 355, 363 Mendelssohn Choir, Toronto, 171 Meredith, George, 304 Mero, Yolanda, 356 _ff._ Messager, André, 261, 279, 282 “Messiah” (Handel), 175 _ff._ Metropolitan Opera House, New York, 51 _ff._, 55 _ff._, 61 _ff._, 69, 72, 80, 88, 104 _ff._, 116, 122, 123 _ff._, 129, 134, 136, 142, 148, 160, 170, 172 _ff._, 183, 206, 292, 300, 316, 355 Metz concert, 1920, 309 _ff._ Meyerbeer, 55, 64 _ff._, 85, 355 Milan concert, 1920, 306 _ff._ Minna (Swedish nurse), 18 Molière, 346 Molinari, Maestro, 296 _ff._ Moltke, 2 Monte Carlo concert, 1920, 291 _ff._ Monteux, Pierre, 343 Morley, John, 92, 95, 100 Moszkowski, Moritz, 355 _ff._ Mozart, 23, 155, 177, 190, 257, 259, 281, 300, 315 _ff._, 325, 366 Muck, Doctor Karl, 225 _ff._, 337 _ff._ Music Festival Association, 30 _ff._ Musical Union, 212 Musin, Ovide, 97, 319

Napoleon III, 8, 29 National Federation of Musicians, 213 Neilson, Mrs. James, 25 Neuendorf, 55 New York Festival Chorus, 32 New York Oratorio Society, 22 _ff._, 30, 32, 35, 43, 57, 80, 92, 143, 169 _ff._, 217, 255, 327 New York Philharmonic Society, 186 _ff._, 206 _ff._, 330, _et passim_ New York Symphony Orchestra, 27, 46, 80, 143, 186 _ff._, 236, 260, 330, 346, 349, _et passim_. See also Symphony Society of New York Newark Harmonic Society, 32, 34 _ff._, 171 Ney, Elly, 356 _ff._ Niemann, Albert, 42 Nikisch, Arthur, 337 _ff._ Nilsson, 52 Nordica, Madame Lillian, 72 _ff._, 132 _ff._, 158 _ff._ Notman, John, 208 Novello & Co., 273

Ochs, Siegfried, 352 Oratorio Society of New York, 22 _ff._, 30, 32, 35, 43, 57, 80, 92, 143, 169 _ff._, 217, 255, 327 Orchestral Conditions, 26 _Outlook_, 31