Dangerous Melodies

by Jonathan Rosenberg

  27. Quoted in The Republic of Plato, Frances MacDonald Cornford, trans. (London: Oxford University Press, 1945), 90.

  28. Among scholars, the idea of music’s universality is a contested subject. See, for example, the reflections of the distinguished ethnomusicologist Bruno Nettl in his book, The Study of Ethnomusicology: Thirty-Three Discussions, 3rd ed. (Urbana: University of Illinois Press, 2015), ch. 3.

  29. Lawrence Kramer, Why Classical Music Still Matters (Berkeley: University of California Press, 2007), 14. Daniel Barenboim, Music Quickens Time (London, Verso, 2008), 17, 108. For a work that brilliantly interweaves a variety of themes in making the case for the importance of twentieth-century classical music, see Alex Ross, The Rest is Noise: Listening to the Twentieth Century (New York: Farrar, Straus and Giroux, 2007).

  Chapter One: “We Must Hate the Germans”: Tormented by Wagner and Strauss

  1. Quotations from John Milton Cooper, Woodrow Wilson: A Biography (New York: Knopf, 2009), 385–87, 388. On the war address, see Robert W. Tucker, Woodrow Wilson and the Great War: Reconsidering America’s Neutrality, 1914–1917 (Charlottesville: University of Virginia Press, 2007), ch. 9.

  2. “Demonstration at Opera When War Message Arrives,” Musical America (April 7, 1917): 1; “Patriotism at the Metropolitan Opera,” Musical Courier (April 5, 1917): 5.

  3. On the war’s domestic impact: Christopher Capozzola, Uncle Sam Wants You: World War I and the Making of the Modern American Citizen (New York: Oxford University Press, 2008); Alan Dawley, Changing the World: American Progressives in War and Revolution (Princeton, NJ: Princeton University Press, 2003); David M. Kennedy, Over Here: The First World War and American Society (New York: Oxford University Press, 1980).

  4. On wartime anti-German sentiment, see Ronald Schaffer, America in the Great War: The Rise of the War Welfare State (New York: Oxford University Press, 1991), chs. 1–2; and Kennedy, ch. 1. On the German-American experience during the war, see Frederick C. Luebke, Bonds of Loyalty: German Americans and World War I (De Kalb: Northern Illinois University Press, 1974), passim. On the Prager lynching, 3–24.

  5. The Literary Digest quoted in Thomas A. Bailey, A Diplomatic History of the American People (New York: Appleton-Century Crofts, 1946), 610.

  6. Quoted in Cooper, 263.

  7. “European Musical Life Paralyzed by War; Prominent Artists Involved in Conflict,” Musical America (August 8, 1914): 1–2. On the uncertainty concerning the Metropolitan’s repertoire, see Gatti-Casazza’s Setember 27, 1914, letter to Otto Kahn, chairman of the Met’s board in the Gatti-Casazza Correspondence (1918–1919), folder 1914–15 season, Metropolitan Opera Archives, Lincoln Center, New York City (hereafter MOA). On the fears about sailing to the United States and about worries concerning reception in New York, see Gatti-Casazza to Kahn, July 16, 1915, Ibid., folder 1915–16 season, Ibid.

  8. See the following in the Musical Courier : “Opera Here Hit Hardest by the European War” (August 15, 1914): 1–2; “Local Managers throughout Country Optimistic over Musical Outlook” (August 22, 1914): 1; “Feeling of Confidence Spreads as to Return of Artists Marooned Abroad” (August 22, 1914): 1–2; “Boston Symphony Cancels Fall Tour Because of War” (September 5, 1914): 1–2; “Boston Opera and Campini Forces Abandon Seasons” (September 5, 1914): 1; “Manager Hanson Found European Artists Eager to Come to America” (September 5, 1914): 2; “Managers Receive Assurances that Artists Will Be Here for Season” (September 5, 1914): 2–3; “Metropolitan Issues Official Statement” (September 5, 1914): 3–4. “Metropolitan May Bring Back Stars on Chartered Ship” (September 12, 1914): 1.

  9. “Mephisto’s Musings,” Musical America (August 22, 1914): 7.

  10. On Stransky, see Howard Shanet, Philharmonic: A History of New York’s Orchestra (New York: Doubleday, 1975), 222–23.

  11. “Sees Dawn of New Music Era in European Chaos,” Musical America (October 17, 1914): 4.

  12. See George Martin, The Damrosch Dynasty: America’s First Family of Music (New York: Houghton Mifflin, 1983); and Walter Damrosch, My Musical Life (New York: Scribners, 1923).

  13. “ ‘Be Neutral’ Talk for Orchestra Men,” Musical America (October 10, 1914): 3. For reflections on Damrosch’s address, see “Mephisto’s Musings,” Musical America (October 17, 1914): 11.

  14. “Musical America’s Open Forum,” Musical America (November 21, 1914): 22–23.

  15. On German atrocities in Belgium, see Hew Strachan, The First World War (New York: Viking, 2004), 48–51. On the German submarine campaign, see Patrick Devlin, Too Proud to Fight: Woodrow Wilson’s Neutrality (New York: Oxford University Press, 1975), esp. chs. 7, 10–11.

  16. “Philharmonic Gives All-Wagner Concert,” Musical America (December 5, 1914): 33.

  17. See Joseph Horowitz, Wagner Nights: An American History (Berkeley: University of California Press, 1994). Note John Dizikes, Opera in America: A Cultural History (New Haven, CT: Yale University Press, 1993), ch. 22.

  18. “A Profoundly Moving ‘Parsifal’ at Metropolitan,” Musical America (December 5, 1914): 4.

  19. “Siegfried Sung in the Open Air at Harvard Stadium,” Musical America (June 12, 1915): 1–2.

  20. Ibid. See also “Boston’s Al Fresco Performance of ‘Siegfried’,” Musical America (June 19, 1915): 3.

  21. See the ad, “Mme. Johanna Gadski with the Boston Symphony Orchestra, October 27, 1916,” which includes multiple reviews of the performance. Musical America (January 13, 1917): 14.

  22. John Higham, Strangers in the Land: Patterns of American Nativism, 1860–1925 (New York: Atheneum, 1975; orig. 1955), 196. On the treatment of Germans, see Higham, 194–217. For figures on Germans living in the United States and a history of German immigration, see Harvard Encyclopedia of American Ethnic Groups, Stephen Thernstrom, ed. (Cambridge, MA: Harvard University Press, 1980), 405–25.

  23. Michaela Hoenicke Moore, Know Your Enemy, The American Debate on Nazism, 1933–1945 (New York: Cambridge University Press, 2010), 18.

  24. Frank Trommler, “Inventing the Enemy: German-American Cultural Relations, 1900–1917,” in Confrontation and Cooperation: Germany and the United States in the Era of World War I, 1900–1924, Hans-Jürgen Schröder, ed. (Providence, RI: Berg, 1993), 107.

  25. Higham, 196.

  26. This assessment, including the quotations, draws on the work of Jörg Nagler. See Nagler, “From Culture to Kultur: Changing American Perceptions of Imperial Germany, 1870–1914,” in Transatlantic Images and Perceptions: Germany and America Since 1776, eds. David Barclay and Elisabeth Glaser-Schmidt (New York: Cambridge University Press, 1997), 131–54. Paul Finkelman asserts that long before the war, Germans in the United States were seen in a negative light. See Finkelman, “The War on German Language and Culture, 1917–1925,” in Confrontation and Cooperation, 177–205.

  27. See Ian Tyrrell, Transnational Nation: United States History in Global Perspective since 1789 (New York: Palgrave, 2007), 164; and Capozzola, 181–82.

  28. See Higham. Note Roger Daniels, Coming to America: A History of Immigration and Ethnicity in American Life (New York: Harper, 1990), chs. 7–10. German immigrants are typically not included in the group historians refer to as the “new immigrants” from southern and eastern Europe. The western United States experienced vicious anti-Chinese and anti-Japanese sentiment in these years.

  29. See Reinhard Doerries, “Empire and Republic: German-American Relations before 1917,” in America and the Germans: An Assessment of a Three-Hundred-Year History, eds. Frank Trommler and Joseph McVeigh (Philadelphia: University of Pennsylvania Press, 1985), 2: 10–11. Note Doerries, “Promoting Kaiser and Reich: Imperial German Propaganda in the United States during World War I,” in Confrontation and Cooperation, 135–65.

  30. See Carl Wittke, German-Americans and the World War, esp. ch. 6.

  31. See Kennedy, ch. 1; and Schaffer, ch. 1.

  32. Quoted in Charles Hamm, Music in the New World (New York: W. W. Norton, 1983), 336–37. On the German character
of classical music in nineteenth-century America, see Jessica C. E. Gienow-Hecht’s luminous work, Sound Diplomacy: Music and Emotions in Transatlantic Relations, 1850–1920 (Chicago: University of Chicago Press, 2009).

  33. Hamm, 336.

  34. “Two Wagner Operas Returned to Metropolitan Repertoire,” Musical America (January 27, 1917): 4. Note the review of a January 4, 1917, Boston Symphony concert led by Muck that included Wagner. “Muck Translates Franck and Wagner,” Musical America (January 13, 1917): 18; and “Plan to Found New Bayreuth at San Diego,” Musical America (January 20, 1917): 1.

  35. See Cooper, Woodrow Wilson, 373.

  36. There is a vast literature on American neutrality from 1914 to 1917, which explores how Wilson responded to the diplomatic challenges of the war. See Tucker; Devlin; and Ernest R. May, The World War and American Isolation, 1914–1917 (Cambridge, MA: Harvard University Press, 1959).

  37. Wilson quoted in Cooper, 375–76.

  38. “Walter Damrosch in Double Role of Conductor and Orator,” Musical Courier (February 15, 1917): 18. Note “Music Awakens Patriotism,” Musical America (February 10, 1917): 48; and “Status of German Opera Stars at Metropolitan Remains Unchanged,” Musical America (February 10, 1917): 1.

  39. See John A. Thompson, Woodrow Wilson (London: Pearson, 2002), 146.

  40. “German Opera at Metropolitan as War Is Declared,” New York Herald, April 7, 1917. Note Rose Heylbut and Aimé Gerber, Backstage at the Opera (New York: Thomas Crowell, 1937), 80–81.

  41. “ ‘Parsifal’ Sung at Metropolitan on Day of Declaration of War,” Musical America (April 14, 1917): 4. Patriotism and music intersected on April 6 during a performance of Tosca at the Metropolitan, at which soprano Geraldine Farrar sang “The Star-Spangled Banner” before the start of the final act. See “Audience Joins Miss Farrar in ‘The Star-Spangled Banner’,” New York Herald, April 7, 1917; and “Miss Farrar, Flag in Hand, Sings ‘Star-Spangled Banner’ at Metropolitan,” New York Tribune, April 7, 1917.

  42. On the performance, see “N.Y. Globe Brings Specific Charges against Gadski and Otto Goritz,” Musical America (April 21, 1917): 1; “ ‘Star-Spangled Banner’ Played; Mme. Gadski in German Opera,” New York Herald, April 14, 1917; and “Peace Prevails at the Opera; No Anti-German Demonstration,” Musical America (April 21, 1917): 6. For a generous view of the behavior of Gadski and Goritz, see “Mephisto’s Musings,” Musical America (April 21, 1917): 7.

  43. “Peace Prevails at the Opera; No Anti-German Demonstration,” Musical America (April 21, 1917): 6.

  44. See two editorials from the New York Globe: “Overdoing Tolerance,” April 7, 1917; and “Persistent Tolerance,” April 12, 1917. For the Globe letters, see “Herr Goritz and Frau Gadski,” April 11, 1917; and “The German Singers,” April 12, 1917. Note a letter from Goritz, in which he defended himself against charges that he had sung a “ribald song” glorifying the Lusitania sinking: “Otto Goritz at Frau Gadski’s,” April 9, 1917.

  45. “The Ring at the Metropolitan,” The Chronicle (May 1917): n.p. For a supportive piece, directed at the New York Globe, which repudiated the attacks on Gadski, see “Music and Militarism,” Musical Courier (April 19, 1917): 21.

  46. “Mme. Gadski Leaves the Metropolitan,” Musical Courier (May 17, 1917): 5. Note “Criticism Drives Mme. Gadski Out,” New York Herald, May 11, 1917; and “Mme. Gadski Quits the Metropolitan,” Musical America (May 19, 1917): 13.

  47. “German Music,” Chicago Daily Tribune, April 29, 1917.

  48. “Brotherhood in Music,” Musical America (May 19, 1917): 30. On why banning Wagner’s music would be “irrational,” see “Wagner and Prussia,” Nation (April 26, 1917): 483.

  49. “Starve Out Music,” New York Times, November 25, 1917.

  50. Quoted in “Mephisto’s Musings,” Musical America (June 16, 1917): 7.

  51. Quoted in Ibid.

  52. “Fate of German Music for this Season Left to Public for Decision,” New York Herald, October 14, 1917. Note “Germany’s Declining Musical Supremacy,” Literary Digest (September 29, 1917): 29.

  53. “American Opera, Ballet, and Singers among Novelties for Metropolitan,” New York Herald, September 17, 1917. “Two Orchestras Open Their Season,” New York Times, October 26, 1917. Note “Mephisto’s Musings,” Musical America (November 3, 1917): 7. According to the 1910 federal census, New York City had 4.7 million residents. Foreign-born New Yorkers: 1.92 million; US-born New Yorkers with two foreign-born parents: 1.44 million; US-born New Yorkers with one foreign-born parent: 375,000. Foreign-born Germans in New York: 278,000; US-born with two German parents: 328,000; US-born with one German parent: 118,000. Total of German heritage in New York: 724,000. Ira Rosenwaike, Population History of New York (Syracuse: Syracuse University Press, 1972), 188, 203.

  54. “First Concert Audiences of the Season Accept German Music without Prejudice,” New York Herald, October 28, 1917.

  55. See “The Damrosch Plea for German Music,” Musical Courier (November 1, 1917): 17.

  56. Ibid. See “Symphony Enlarged Opens Its Season at Carnegie Hall,” New York Herald, October 26, 1917; “First Concert Audiences of the Season to Accept German Music without Prejudice,” New York Herald, October 28, 1917; “Damrosch Upholds German Geniuses,” Musical America (November 3, 1917): 20. For a letter supporting Damrosch, see “German Music Not Hohenzollern,” New York Tribune, November 10, 1917.

  57. See Michael Wreszin, Oswald Garrison Villard: Pacifist at War (Bloomington: University of Indiana Press, 1965).

  58. Oswald Garrison Villard presidential address to Philharmonic Society, February 17, 1917, Board of Directors file, box 005-04, folder 50, Villard, New York Philharmonic Archives, Lincoln Center, New York City (hereafter NYPA).

  59. A year before he resigned, Villard wrote to Mrs. Elizabeth Jay, a prominent New York society figure and the only female member of the orchestra’s board, saying he was “amazed” that his stance on the war had led board members to discuss his retirement. Oswald Garrison Villard to Mrs. William Jay, 13 March, 1917, Villard Papers, NY Philharmonic, box 112, Houghton Library, Harvard University.

  60. Villard to New York Philharmonic Board of Directors, 2 January, 1918, Villard Papers, NY Philharmonic, box 112, Harvard. The board accepted Villard’s resignation with “very deep regret.” Felix Leifels (manager of the Philharmonic) to Villard, 3 January, 1918, Ibid.

  61. Thomas L. Elder to Felix Leifels, 27 September, 1917, Managing Director Papers, box 008-01, Leifels Papers (1903–1921), folder 13, NYPA; Felix Leifels to Thomas L. Elder, October 2, 1917, Ibid.

  62. Elder to Leifels, 3 October, 1917, Ibid.

  63. Program for 13 December, 1917, New York Philharmonic Program Books, NYPA.

  64. On the statement and the audience reaction, see: “Philharmonic Justifies Itself for Playing Wagner,” New York Herald, December 14, 1917; “Audiences Find Emotions of War in Carnegie Hall Concerts,” New York Tribune, December 14, 1917.

  65. “Philharmonic in Wagner,” New York Times, January 28, 1918. Note “Beethoven’s Ninth Symphony Played at Carnegie Hall under Stransky,” New York Herald, January 18, 1918. The review questioned whether it was necessary to “ban” Schiller’s German text.

  66. Leifels quoted in “Philharmonic Society Bars Music of Living Germans,” New York Herald, January 22, 1918.

  67. “Dead Germans” is from the Herald article cited above. Leifels quoted in “Philharmonic and the Germans,” Musical Courier (January 24, 1918): 21.

  68. Mrs. William Jay concurred with Leifels’ assessment, noting the orchestra had heard increasing criticism about some of its all-German programs. “Philharmonic Society Bars Music of Living Germans,” New York Herald, January 22, 1918. The board also stated that the “old masters” of German music should not be punished. “Philharmonic Bars German Composers,” New York Times, January 22, 1918.

  69. “Philharmonic and the Germans,” Musical Courier (January 24, 1918): 21.

  70. “Exeunt Strauss and Others,”
Musical America (February 2, 1918): 24.

  71. “Oust Stransky as Pro-German, Plea to Philharmonic,” New York Tribune, April 2, 1918.

  72. Ibid. The “incriminating” photo was described here. Note “Stransky Attacked as Karl Muck Was,” New York Times, April 2, 1918.

  73. “Stransky Declares He Stands for America,” New York Times, April 3, 1918. Note “Stransky Loyal, He Says,” New York Tribune, Ibid. The complete letter also appeared in several places that week, including the New York Tribune (April 7), Musical America (April 6), and the Musical Courier (April 4). Note “Mephisto’s Musings,” Musical America (April 13, 1918): 7.

  74. “A ‘Musical Necessity,’ ” The Chronicle (May 1918): n.p. One Philharmonic musician suggested to the board that it might be helpful to appoint someone to assist with the conducting duties, should Stransky’s position become untenable; he suggested himself. Leo Schulz to Board of Directors, 9 April, 1918, Managing Directors file, box 008-01, folder 13, papers of Felix Leifels, 1903–1921, NYPA.

  75. The following fall, Stransky was attacked again in the pages of The Chronicle, which challenged his claim that he was of Czecho-Slovak descent. “How Teutons Hang On,” The Chronicle (November 1918): n.p. On the start of the Philharmonic’s 1918–1919 season, see “The Philharmonic Makes Ready for Patriotic Season,” New York Herald, October 6, 1918; “Philharmonic Society,” New York Tribune, October 6, 1918.

  76. Walter Damrosch to Mrs. Lewis Cass Ledyard, May 8, 1918, Biographical, W.D., 1, Damrosch Collection, Music Division, New York Public Library for the Performing Arts (hereafter NYPLPA).

  77. Walter Damrosch to Mrs. Lewis Cass Ledyard, May 14, 1918, Ibid. Damrosch’s memoirs claim that those who wished to ban the music of Wagner’s “Ring Cycle” did not grasp the essence of its message. Walter Damrosch, My Musical Life (New York: Scribner, 1923), 261–62.

  78. Mrs. William Jay, “German Music and German Opera,” The Chronicle (November 1917): n.p.

  79. Ibid.

  80. Ibid.

  81. Quoted in “Mephisto’s Musings,” Musical America (October 20, 1917): 11. Note Ibid. (September 29, 1917): 7.