Twenty-five years of the Philadelphia Orchestra, 1900-1925 — John Shaqi
Twenty-five years of the Philadelphia Orchestra, 1900-1925Wister, Frances Anne
History
Twenty-five years of the Philadelphia Orchestra, 1900-1925
Wister, Frances Anne
Philadelphia Orchestra
In 1892 Dr. Ziegfeld engaged Scheel to go to Chicago the next year and
give historical concerts at the World’s Fair. The enterprise failed. He
then took an orchestra to the Mid-winter Fair in San Francisco, under
the name of the “Vienna Prater Orchestra,” in the winter of 1893. Later
he gave daily concerts, and, during two seasons, cycles of Afternoon
Symphony Concerts. For a season he was engaged by Oscar Hammerstein
and then he became the first leader of the San Francisco Orchestra.
He introduced the great classical and modern works to the people of
that city, who still speak admiringly of him and remember his success.
After five years in San Francisco, Scheel came to Philadelphia, and was
discovered at Woodside Park, conducting his “New York Orchestra.” The
newspaper criticisms were most flattering.
The following pen picture of Mr. Scheel has been given by a man who
played under his leadership and saw him under many conditions.
“A tall man, robust, large-framed, something more than
spare, a little less than stout; a back and broad
shoulders in strikingly good proportion, and a head
poised upon them in easy dignity. The large hands
are full of character, delicately formed, refined,
noticeably plastic and adaptable.
“A dark-brown military moustache and a prominent
nose stand out clearly under a typical, high, German
forehead and coiffure.
“In his brown eyes an infinite variety of expressions
are lurking. From humorous twinkles that are
irresistible, to flashes of fire and scorn that never
miss the mark, they assume new and rapidly fleeting
phases with every phase of music or speech.”
Many stories are told of Fritz Scheel’s early efforts with amateurs
and with a group of musicians, strange to him, for in those days
the requirements for orchestral players were not the present ones,
and there were many obstacles to overcome. His ear was absolutely
correct, and he often told the players when tuning was needed. He was
on occasion obliged to use mechanical strategies to insure the proper
intonation. A close friend of his tells the following anecdotes:
Public-domain text, read in full here on John Shaqi.
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