PROGRAMME 1. FELIX MENDELSSOHN-BARTHOLDY Wedding March from “Midsummer Night’s Dream” 2. HECTOR BERLIOZ Le Carnaval Romain 3. JOSEPH GODEFROID Dance of the Sylphs Solo for Harp, Alfred Kastner 4. JOHANN STRAUSS Blue Danube Waltz 5. JULES MASSENET Scènes Neapolitaines 6. GIOACHINO ANTONIO ROSSINI Overture “William Tell” 7. HENRI VIEUXTEMPS Fantaisie Appassionata Solo for Violin and Orchestra, Hugo Olk 8. WEBER-BERLIOZ Invitation to the Dance 9. ALBERT FRANZ DOPPLER “Das Waldvoeglein” Solo for Flute and Horn Quartette, August H. Rodemann 10. RICHARD WAGNER Overture “Tannhaeuser” Admission 10 Cents In the Annual Report of the Civic Club for 1904 this account is given: “The first ‘People’s Concert’ was held in Kensington at the Labor Lyceum Hall, Second and Cambria Streets, admission being 10 cents. It was largely through the co-operation of Mr. R. R. P. Bradford, of the Lighthouse Lyceum, his Committee and Miss Esther Kelly, that the concert proved to be such a great success. The hall was crowded and the people most enthusiastic; Mr. Scheel and his orchestra were greatly interested and gave a number of encores. “The receipts were $236.62 up to January 1st; expenses, $103.02. We hope to have a balance of almost $100 when all returns are made. This balance to be considered a fund for the People’s Concerts. The second concert will be given at Bethany Hall on January 11th, the third at Tuxedo Hall in March.” There was no doubt about the success of these concerts from the point of view of the enjoyment of the audiences. The hall was crowded almost to the danger point, and the enthusiasm was unrestrained. The Women’s Committees were much interested and kept in touch with Mrs. R. R. Porter Bradford of the Lighthouse, Kensington, who knew the value of such music in a section where the shutting down of textile mills for a winter often made the price of a ticket unavailable. The Committees used their persuasive powers with the Board of Directors to continue these concerts at considerable expense, until a fight between two labor unions made it impossible to rent the hall, the only one in the neighborhood, and the concerts were no longer given. They were the means, however, of procuring a number of guarantors, who were interested in the orchestra from a philanthropic, instead of from a musical point of view.