In the year 1855 William Mason, “a refined, sincere and highly educated musician,” organized a quartette of string players. Thomas was invited to play first violin, although he was the youngest member of the quartette. Mason played the piano, and the other members were Carl Bergmann, J. Mosenthal, and G. Matzka. It was an association of true artists, and its influence was of great consequence to Thomas in the opportunity which it afforded for the expression of his art and in the lasting friendships which it formed. The concerts which were given by the quartette were known as “chamber concerts,” and the programmes included only the best music for the string quartette, or for a sonata or trio with piano accompaniment. Three mornings a week were given up to rehearsals, and as only six programmes were arranged for the year’s repertoire, the deep interest and enthusiasm of all the members is apparent. “It was this exhaustive study of master-works, especially those of Beethoven, continued through fourteen years, which gave Thomas his mastery of the string choir of the orchestra, and his profound insight into the classical school of music.” The first experience of Theodore Thomas in conducting an opera is characteristic of the man and illustrates his fine self-confidence and his instant acceptance of opportunity. One evening he came home from his work and settled down in an easy chair for a few hours of rest and relaxation. A few blocks away, at the Academy of Music, an opera (Halévy’s “Jewess”) was to be sung. The house was filled and an impatient audience waited for the curtain: but the conductor was ill, and there was no one to take his place. Someone thought of Thomas, and a messenger was sent to ask him if he would conduct the opera. Thomas had never before conducted an opera; he was wholly unfamiliar with the one in question. But his answer was an immediate “I will.” And he did, with complete success. But the limitations of the opera, the Philharmonic, and the quartette could not satisfy him, and in 1862, for the first time, he announced an orchestral concert under his own direction. This was the first “Thomas concert.” The orchestra consisted of about forty players. In the programme it is interesting to read the titles of two compositions which had never before been played in America. Here was the intimation of his life-policy of giving his American audience the best current music, often before it was completely recognized in the Old World. “In 1862 I concluded to devote my energies to the cultivation of the public taste for instrumental music. Our chamber concerts had created a spasmodic interest, our programmes were reprinted as models of their kind, even in Europe, and our performances had reached a high standard. As concert violinist, I was at that time popular, and played much. But what this country needed most of all to make it musical, was a good orchestra, and plenty of concerts within the reach of the people.”