“Such a foundation is the one thing we need to provide at this hour. We can today secure a permanent orchestra of the best type for our city by providing a permanent basis for its support. We are fortunate in having here at this time a musician who is at once a thorough artist and an efficient drill master—a rare combination of qualities that gave to the late Anton Seidl the highest place among orchestral leaders. It is not necessary to institute comparisons between Mr. Fritz Scheel and other conductors, but it is proper to say he has demonstrated the possession of these higher qualities that go to the making of a great leader. He has done wonders with the material at his command in this city, and that, too, under conditions unfavorable enough to discourage any less enthusiastic musician or less energetic worker. In view of what he has already accomplished in the comparatively short time he has been at work here, it is a safe and reasonable presumption that if given a guarantee of control for five years, with means enough available to warrant satisfactory contracts with competent musicians, Mr. Scheel would create for us a permanent orchestra second to none in this country. There is no question as to his ability to undertake this task; the only thing to be determined being whether we are wise enough and farseeing enough to strengthen his hands for its accomplishment.” CHAPTER VIII THE LISTENERS The largest portion of this story has been devoted to the orchestra itself, and the people who founded it, supported it and endowed it. Now comes the turn of the party of the third part, the audience. An orchestra may be wonderfully trained, superbly led, comfortably supported, and yet miss the main point of existing. For without listeners, even in the days of radio, an orchestra is incomplete. In 1900 it was difficult to lure listeners into a concert hall, where symphonic or severely classical music was to be played. Philadelphians began by listening to symphonies in bits and in the late nineties it was the custom for the Germania Orchestra to play one movement of a symphony each week for four weeks, and play the entire work in the fifth week. Theodore Thomas did not do this, but he could not get an audience in 1876 or even in 1881. It is an inspiring sight of a Friday afternoon or Saturday evening to see the crowds bound for the Academy of Music. Equally inspiring, is it to see the audience standing on the steps of the Academy and on the street for two and three hours before admission can be had to the Amphitheatre for fifty cents. True lovers of music these.