The “Neue Musik Zeitung,” one of the best musical journals in Germany, speaks thus of Carl Pohlig as conductor: “In the symphony concerts he directs with equal fervor the works of Beethoven, Mozart and Haydn, as well as the creations of the later great masters. It goes without saying that Liszt is especially dear to him.” * * * * * “Pohlig directs with fire and deep feeling, and with a certain clearness that can only spring from a quiet insight into the innermost content of the music; into the finest fibre of its design.” The new conductor entered upon his duties in Philadelphia in the autumn of 1907, presenting for his first concert the following programme: THE PHILADELPHIA ORCHESTRA CARL POHLIG, _Conductor_ FIRST AFTERNOON SYMPHONY CONCERT Friday Afternoon, October 18th, 1907, at 3.00 FIRST EVENING SYMPHONY CONCERT Saturday Evening, October 19th, 1907, at 8.15 PROGRAMME 1. LUDWIG VAN BEETHOVEN (1770-1827) 1. Overture “Fidelio” 2. Overture “Leonore No. 3” 3. Symphony No. 5, in C minor, Op. 67 I. Allegro con brio II. Andante con moto III. Allegro-Allegro, Presto 2. RICHARD WAGNER (1813-1883) 4. Vorspiel, “Meistersinger” 5. “Siegfried Idyll” 6. Overture, “Tannhaeuser” [Illustration: © Haeseler CARL POHLIG] Pohlig was warmly received by the audience and acclaimed by the critics as the following will show: _North American_, October 19, 1907: “SOCIETY, FASHIONABLE AND CULTURED, CHEERS POHLIG. MUSIC LOVERS TURN OUT IN FORCE TO HEAR THIS SEASON’S PHILADELPHIA ORCHESTRA’S FIRST CONCERT “Conductor Carl Pohlig came, waved his baton and conquered at the Academy of Music, yesterday afternoon—the first concert of the Philadelphia Orchestra’s regular season. The new musical director’s local début was a brilliant success and an artistic triumph.” “The house was crowded. It was apparent almost from the outset that Conductor Pohlig was a master artist and craftsman. He knew his business—‘the first among German conductors,’ as Felix Mottl styled him. The great audience, representing fairly Philadelphia’s highest artistic culture, quickly recognized the new orchestral director’s high and rare quality. By the time the ‘Leonore’ Overture was ended, mystic cords of sympathy between conductor and audience were flung out and firmly fastened. The immortal Fifth Symphony, mightiest of musical creations—was awaited with pleased expectation.” * * * * * INTERPRETATION OF WAGNER