42. Quotations in Boston Post: “Loyalty Not in Makeup of Dr. Muck,” November 14, 1919; “Dr. Karl Muck Had Prussian Views Always,” November 16, 1919; “Muck an Official Spy for Germany,” November 15, 1919.
43. Quotations from “Muck Feared Scandal More Than Arrest,” Boston Post, November 12, 1919. On their elaborate arrangements, see “Muck Would Not Be Guided by His Friends,” Ibid., November 11, 1919.
44. “Muck Feared Scandal More Than Arrest,” Boston Post, November 12, 1919.
45. “Lest We Forget,” Boston Post, November 15, 1919. Note the Post’s November 27, 1919, letter, “Thanks Post for Exposing Dr. Muck.”
46. “Muck and Kunwald Freed by U.S. to Quit This Country,” Musical America (June 14, 1919): 8. This story claimed both had been released, but Muck would not be freed until later that summer.
47. “Variations,” Musical Courier (August 19, 1920): 25.
48. Ibid.
49. On Stock’s return, see “Meeting of the Executive Committee,” February 19, 1919, TOA-B-1, Rosenthal Archives, Chicago Symphony Orchestra (CSOA), Orchestra Hall, Chicago. See “Stock Back to Wield Baton,” Chicago Herald and Examiner, February 23, 1919; “Big Welcome for Stock,” Chicago American, March 1, 1919; “Stock Again Wields Baton; Gets Ovation,” Chicago Post, March 1, 1919. On Stock’s composition, see Chicago Symphony Orchestra Programs, vol. 28 (1918–1919 Season): 338–39, CSOA. For a tepid assessment, see “The March of Democracy,” Chicago Herald and Examiner, March 5, 1919. Note that all Chicago newspaper accounts (through note 53) were found in the Rosenthal Archives Clipping file.
50. “Stock Again Wields Baton; Gets Ovation,” Chicago Post, March 1, 1919.
51. “Frederick Stock Is One of Us,” Musical Courier (March 20, 1919): 21.
52. “Frederick Stock, Orchestra Head, Now U.S. Citizen,” Chicago Daily Tribune, May 23, 1919. Note a Department of Justice letter from the Special Assistant to the Attorney General for War Work to Stock, March 11, 1919, ART-1-1/22, CSOA.
53. “War Ban on Wagner Is Lifted; Polacco Proves as Dynamic in Concert as in Opera,” March 25, 1919, Chicago Herald and Examiner. See also “Polacco Leads Symphony,” Chicago Daily News, March 25, 1919.
54. Chicago Symphony Orchestra Programs, vol. 28 (1918–1919 Season) and Ibid., vol. 29 (1919–1920 Season). During the 1920–21 season, Strauss’s music would return to the Chicago repertoire. See Ibid., Vol. 30 (1920–1921 Season). See the CSOA for these records.
55. “Luring Lays of Lorelai Resound through Loop,” Chicago Daily Tribune, May 12, 1919.
56. See “Tattle of the Tuneful,” Chicago Daily Tribune, May 18, 1919.
57. See “Opera in English? Lohengrin Proves Quite Easy to Take,” Chicago Daily Tribune, December 25, 1920. On Wagner in English, see “Music and the Musicians,” Ibid., December 26, 1920. On the performances by American singers in Die Walküre, see “American Singers Receive Ovation in ‘The Valkyrie’,” Ibid., January 11, 1921.
58. “Raisa and Van Gordon Add to Laurels in ‘Tannhäuser’ Revival,” Chicago Tribune, November 25, 1921. Note “Miss Garden Makes Good on Her Promise of a Big Year in Opera,” Ibid., December 11, 1921.
59. “Opera Wins New Triumphs in Parsifal,” Chicago Tribune, November 20, 1922.
60. “Mme. Gadski to Sing Here in German,” Chicago Tribune, November 7, 1921; and “Gadski Barred by Chicago Executive,” Musical America (December 10, 1921): 1.
61. On the lawsuit, see “Opera Company Sued by Gadski for $500,000,” Chicago Tribune, February 7, 1922; “Gadski Opens Suit for $500,000 Here,” New York Times, February 7, 1922; “Gadski Charges Denied,” Ibid., February 8, 1922; “Gadski Slander Suit Fails,” Ibid., March 14, 1922. Note an editorial in the Ft. Wayne Journal Gazette that argued Gadski should not be penalized because she was married to a German officer. See “Justice for Gadski,” Musical Courier (February 23, 1922): 20. Note “Mephisto’s Musings,” Musical America (December 24, 1921): 7. On Tauscher, see “German Plotters Shut Out for Good,” New York Times, June 21, 1919.
62. For the Seattle recital, see “Prima Donna Sings Here Tonight,” Seattle Post-Intelligencer, November 17, 1922; and “Gadski Gives Excellent Recital,” Ibid., November 18, 1922. On San Francisco, see “Madame Gadski Glad to Be Back in S.F.,” San Francisco Chronicle, November 23, 1922; and “Gadski Sings, Her Artistry Undiminished,” Ibid., November 25, 1922. For the Carnegie Hall concert, see “Music,” New York Times, October 31, 1921; and “Mephisto’s Musings,” Musical America (November 12, 1921): 7. On the Washington concert, see “Concert of Gadski is Cancelled,” Los Angeles Times, November 19, 1922.
63. “Gadski in Defense of War Stand,” Los Angeles Times, December 3, 1922. In mid-November, it was announced by a local concert manager that the December recital would be cancelled due to “public prejudice” against Gadski. See “Concert of Gadski is Cancelled,” Los Angeles Times, November 19, 1922. Gadski attributed the cancellation to jealousy. See “Gadski, Accused, in Tears,” New York Times, November 21, 1922. Nevertheless, the recital remained on the calendar.
64. “Legion Men and Women Fight Diva,” Los Angeles Times, December 5, 1922.
65. “Legion Stands Pat on Gadski,” Ibid., December 6, 1922.
66. “Gadski Concert Row Unabated,” Ibid., December 7, 1922.
67. A telegram to the attorney general from the city’s Merchants’ and Manufacturers’ Association asked whether Gadski had had “any alliance with our enemies.” See “Gadski Row up to Daugherty,” Ibid., December 8, 1922.
68. “Gadski Fight Continues,” Ibid., December 9, 1922. Note “Officials Call Gadski Meet,” Ibid., December 10, 1922.
69. “Service Men Shift Blame,” Ibid., December 10, 1922.
70. Ibid. See also “Gadski Expects to Sing,” Ibid., December 11, 1922.
71. “Gadski Calls Concert Off,” Ibid., December 12, 1922.
72. Ibid.
73. Ibid.
74. “Misdirected Patriotism,” Ibid., December 14, 1922. Note “Mephisto’s Musings,” Musical America (December 16, 1922): 8.
75. “Cincinnati Pays Mighty Tribute of Music to War’s Heroic Dead,” Musical America (April 26, 1919): 46.
76. Information on repertoire for these years is from the Cincinnati Symphony Orchestra Year Book (30th Season), published by the Cincinnati Symphony Orchestra Association, Cincinnati Historical Society Library, Cincinnati, Ohio.
77. Information on the Boston Symphony’s repertoire can be found in the BSO Program Books for these years, BSOA.
78. “German Kultur Bobbing Up Again with a Theater,” New York Herald, January 17, 1919.
79. “Plethora of Grand Opera Imminent,” New York Herald, January 19, 1919.
80. “Patriotic Women Fight Proposal for German Opera,” New York Herald, January 19, 1919.
81. “Ask Hylan to Stop German Opera,” New York Times, March 8, 1919.
82. William Guthrie to Walter Damrosch, March 10, 1919, Biographical, W. D., 1, Damrosch Collection, Music Division, New York Public Library for the Performing Arts, Lincoln Center, New York (NYPLPA).
83. Walter Damrosch to William Guthrie, March 11, 1919, Ibid.
84. “Ask Hylan to Stop German Opera,” New York Times, March 8, 1919.
85. “Veterans to Fight Opera in German,” New York Times, March 10, 1919.
86. Ibid.
87. “Hylan Puts Stop to Opera in German,” New York Times, March 11, 1919.
88. Ibid.
89. Ibid. On the Lexington Theater saga, see “German Operetta Silenced in New York,” Literary Digest 60 (March 29, 1919): 28; “Public Resentment Frustrates Scheme for German Opera,” Musical America (March 15, 1919): 1. For an anti-German perspective, see “Mephisto’s Musings,” Ibid. (March 15, 1919): 7–8.
90. “Plan German Opera Here,” New York Times, July 17, 1919.
91. “Immodest Haste,” Musical America (July 26, 1919): 20. On the Star Opera plan, see “Mephisto’s Musings,” Musical America (August 2, 1919): 7. Note “Marie
Tiffany Wants to Know Why German Singers Remain in U.S.,” Musical America (July 26, 1919): 40.
92. “Star Opera Plans Told,” New York Times, September 14, 1919.
93. “Singer of German Silenced by Legion,” New York Times, September 24, 1919.
94. Ibid. On the episode, including the singer’s words, see “Legion Denounces Star Opera Plan,” Musical America (October 4, 1919): 28.
95. “Sees End to German Opera,” New York Times, September 25, 1919; “Sees No Need for German,” Ibid., September 29, 1919. For a Chicago perspective, see “Music and the Musicians,” Chicago Tribune, October 19, 1919.
96. “Variations,” Musical Courier (September 25, 1919): 21.
97. “Anti-German Opera Drive,” New York Times, October 16, 1919.
98. “Opera in German Given in Defiance of Hylan and Mob,” New York Times, October 21, 1919.
99. Ibid.
100. “Opera in German,” New York Times, October 22, 1919.
101. “Opera in German Opening Attended by Street Riots,” Musical America (October 25, 1919): 1. Note “Hearing on German Opera,” New York Times, October 20, 1919.
102. The story was emblazoned on the front pages of the nation’s newspapers the next day: “Riot Over Hun Opera,” Washington Post, October 21, 1919; “N.Y. Yanks Riot to Stop Opera Sung in German,” Chicago Tribune, Ibid.; “Service Men in Riot Over German Opera,” Boston Globe, Ibid.; “Opera in German Given in Defiance of Hylan and Mob,” New York Times, Ibid.
103. “Opera in German Given in Defiance of Hylan and Mob,” New York Times, October 21, 1919.
104. “Hylan Bars Opera; Legal Fight Begun,” New York Times, October 22, 1919.
105. “Hylan Bars Opera; Legal Fight Begun,” New York Times, October 22, 1919.
106. “Police Club Mob at German Opera; Sailor May Die,” New York Times, October 23, 1919. Note “German Opera Brings New Riot, Possibly Death,” Chicago Tribune, October 23, 1919; and “German Opera in German Given to Egg Obligato,” Musical Courier (October 23, 1919): 1.
107. “Give German Opera to Small House,” New York Times, October 24, 1919; “German Opera Sung Again,” Ibid., October 25, 1919.
108. “May Abandon Opera in German Tongue,” New York Times, October 26, 1919.
109. Ibid. Note letter to the editor: “German Opera? Not Yet,” Ibid., October 27, 1919.
110. “City Wins in Fight on German Opera,” New York Times, October 28, 1919.
111. Ibid.
112. “Drop German Opera Until Peace Comes,” New York Times, October 29, 1919. In late November, American Legion members prevented the North German Society of Queens and the Plattdeutsche Verein of Long Island City from offering a German-language operetta. See “German Opera Is Dropped,” Ibid., November 27, 1919.
113. “Star Opera Company Fails,” New York Times, November 25, 1919. Note “A Disgraceful Exhibition,” Musical America (November 1, 1919): 16; “German Opera under Difficulties,” Literary Digest (November 8, 1919): 30–31; “German Opera Dies,” Musical Courier (November 6, 1919): 22.
114. “The German ‘First Step’ in Music,” Literary Digest (July 5, 1919): 42. Note a letter from Edward Ziegler, the Metropolitan’s administrative secretary, to a patron, Adelaide Hamilton Gross, July 9, 1919, in which he assures her that Parsifal will not be sung in German the following season. Edward Ziegler correspondence, folder F-G-H, Metropolitan Opera Archives, Lincoln Center, New York City (MOA).
115. Richard Aldrich, Concert Life in New York, 1902–1923 (Freeport, NY: Books for Libraries Press, 1941), 621–24.
116. Quoted from W. J. Henderson’s review, cited by Irving Kolodin in The Metropolitan Opera, 1883–1966: A Candid History (New York: Knopf, 1967), 283. Note “ ‘Parsifal’ in Revival,” Musical Courier (February 26, 1920): 22–3; Herbert Peyser, “Wagner ‘Englished;’ An Appraisal of the H. E. Krehbiel Translation of ‘Parsifal’,” Musical America June 5, 1920): 38; and “Opera in English,” Nation (April 3, 1920): 437–38.
117. “Mephisto’s Musings,” Musical America (February 21, 1920): 7. Note “Musical America’s Open Forum,” Musical America (March 20, 1920): 26.
118. “The Opera,” New York Times, November 29, 1921. German was heard at the Met for the first time after the war at a concert performance on March 6, 1921, when the prize song from Die Meistersinger was sung by Johannes Sembach. It “hardly caused more than a ripple of surprise.” See “German Sung in Concert,” Ibid., March 7, 1921. The first opera sung in German at the Met after the war was Korngold’s Die Tote Stadt. See “Die Tote Stadt Fantastic Opera,” New York Times, November 20, 1921.
119. Reflections of the performance come from “The Opera,” New York Times, December 17, 1921; and “Die Walküre Returns Triumphant to Repertoire at Metropolitan,” Musical America (December 24, 1921): 6. Note “Wagner’s Die Walküre, Sung in Germany [sic] Makes Its Reappearance at the Metropolitan,” Musical Courier (December 22, 1921): 5.
120. On Parsifal’s return in German, see “Parsifal Reverts to Original Text at Metropolitan,” Musical America (December 16, 1922): 6. For another return in German, see “Siegfried Slays Dragon again at Metropolitan,” Ibid. (February 9, 1924): 27. On Clemenceau’s speech, see “Clemenceau Appeals to US for France; Sees Peril in German Militarists, Who May Destroy German Democracy,” New York Times, November 22, 1922.
121. On the tour, see “German Opera Company to Tour U.S. 14 Weeks,” Chicago Tribune, August 15, 1922; “Wagner ‘Ring’ Revival for the Manhattan,” New York Times, September 9, 1922; “German Opera Season for New York,” Musical Courier (September 14, 1922): 19; “Berlin Company to Stage ‘Ring,’ without Cuts, in New York Visit,” Musical America (September 16, 1922): 1. Press reports often called the group the German Opera Company.
122. “New York Hears the ‘Merry Wives’ in Last Week of German Opera,” Musical America (April 7, 1923): 6.
123. “With Coming of Wagner Singers, New York Revels in Double Opera,” Ibid. (February 17, 1923): 1.
124. “Variationettes,” Musical Courier (April 5, 1923): 22. Musical America and the Musical Courier assessed the performances over many weeks. Note “Wagner Restored,” Musical America (April 7, 1923): 26.
125. “Tour of German Opera Starts in Baltimore with Record Crowds,” Musical America (February 10, 1923): 1.
126. “Variationettes,” Musical Courier (April 12, 1923): 21. Note “German Opera Company Opens Boston Season,” Ibid., 5; and “Enthusiasm Marks Closing Week of German Opera Season in Boston,” Ibid. (April 19, 1923): 25.
127. Data compiled from program materials in the New York Philharmonic Archives, 1917–1924. For Damrosch’s perspective on performing Wagner’s instrumental excerpts, see his communication with Reginald De Koven, quoted by De Koven in his column. “Music,” New York Herald, January 26, 1919.
128. “Want No Wagner Here, Even under Japanese Baton,” New York Herald, January 24, 1919.
129. “Japanese Plays Wagner; Declares Empress Approves,” Ibid., January 25, 1919.
130. “Mrs. Jay Quits,” New York Times, July 3, 1919.
131. “Time to Lift the Bans,” Ibid., July 4, 1919.
132. Whether the German language should be heard in vocal recitals was considered in 1920 by Musical America. The article generated letters from readers. See “Discuss Return of German Tongue to Recital Stage,” Musical America (September 18, 1920): 1. For the letters, see the “Open Forum” page on the following dates in 1920: September 25: 26; October 23: 244; October 30: 38; November 6: 30; November 13: 30.
133. “Rheingold Discussed by Walter Damrosch,” Musical America (October 22, 1921): 99. Note “Variationettes,” Musical Courier (October 20, 1921): 21.
134. Subscriber (illegible name) to Richard Welling of the Symphony Society, May 4, 1922, Biographical, W. D., 1, Damrosch Collection, NYPLPA.
135. See “Richard Strauss Coming,” New York Times, May 2, 1921; and “The Return of Richard Strauss,” Ibid., May 29, 1921, which was critical of Strauss’ earl
ier visit. Note the full-page Musical Courier ad (May 12, 1923): 9.
136. “Richard Strauss Speaks His Mind about America,” New York Tribune, August 28, 1921. Note “ ‘Intermezzo’ and Herr Richard Strauss,” New York Times, August 1, 1921.
137. “Richard Strauss Denies He Aspersed America,” New York Tribune, September 11, 1921. Oswald Garrison Villard, editor of the Nation, stood behind the interview. See “Strauss to Visit America,” New York Times, September 16, 1921. Note “Herr Strauss Is Annoyed, But Not at Our Dollars,” Chicago Daily Tribune, September 4, 1921.
138. “Strauss Says Art Must Be Happier,” New York Times, October 29, 1921.
139. “Music,” New York Times, November 1, 1921. Note “Richard Strauss Again Conquers Musical New York,” Musical Courier (November 3, 1921): 5.
140. “Why Welcome Strauss,” New York Tribune, October 28, 1921. Critical letter was from Mrs. James Roosevelt, married to a cousin of Theodore Roosevelt. A response the next day (“Why?”) claimed this was a way for Hylan to garner the German-American vote.
141. “Strauss Is Guest at City Hall,” New York Times, November 1, 1921. Note “Strauss, Welcomed to City by Hylan, Replies in German,” New York Tribune, November 1, 1921.
142. “Music,” New York Times, December 28, 1921.
143. “Variationettes,” Musical Courier (December 8, 1921): 21. Note “Music,” New York Times, November 16, 1921; Ibid., December 14, 1921; “Strauss Again Dominates N.Y. Orchestral Week,” Musical America (December 24, 1921): 33.
144. “Strauss Given Welcome Here Only as Artist,” New York Tribune, November 1, 1921.
145. “German Art and Artists and Unfettered Criticism,” New York Tribune, November 20, 1921. For additional Krehbiel reviews in the Tribune, see “German Audience Fills Metropolitan to Hear Strauss,” November 16, 1921; and “Slender Audience Hears Strauss in Town Hall Benefit,” November 19, 1921. Note additional Tribune pieces: “The Late Camille Saint-Saëns and His Visit to United States,” January 8, 1922; and “German Art, German Artists and the Tribune’s Creed,” November 13, 1921.
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