1. Edward N. Waters, Victor Herbert: A Life in Music (New York: Macmillan, 1955), 52-53. [BACK]

2. John Sullivan Dwight, who believed in and preached the doctrine of music listening as an innately ennobling experience, taught two, if not three, generations of Americans what was "correct" in music through his influential, Boston-based Dwight's Journal of Music . He had strong leanings toward German instrumental music and was not particularly appreciative of American music and musicians except as they conformed to his own views. Louis Moreau Gottschalk, for instance, felt himself to be a special target of Dwight's scorn. In 1841 Dwight solemnly assured a Harvard Musical Association audience that instrumental music, uncorrupted by language, was the highest form of musical expression, and that Beethoven's slow movements were in fact profound utterances of sacred music. That lecture is also cited in Michael Broyles, "Music and Class Structure in Antebellum Boston," Journal of the American Musicological Society 44 (1991): 451-93. [BACK]

3. Body's letter to JMT and his accompanying notes are in the Boyd Memorial Foundation Collection of the Carnegie Library in Pittsburgh, Pa., filed as a "Class A" letter, dated 25 September 1918. [BACK]

4. James Gibbons Huneker, Steeplejack , 2 vols. (New York: Scribner, 1920-21), 2: 65-66. [BACK]

5. [Olin Downes], "Friend of Music," New York Times , 12 January 1946, 14. This article is unsigned; however, a copy bearing his signature was sent to a summer resident of the Onteora colony by Downes, implying that it was his (Archive of the Onteora Club Library). [BACK]

6. My thanks to E. Davis Gaillard, librarian of the Onteora Club, Tannersville, N.Y., for making his personal files, which contain a great deal of previously unpublished information on JMT, available to me. [BACK]

7. Other members of the quartet were Richard Grant White, Eugene Dabney, and its founder, Joseph W. Drexel. [BACK]

8. See Kathleen McCarthy, "Candace Wheeler and the Decorative Arts Movement," in Women's Culture: American Philanthropy and Art, 1830-1930 (Chicago: University of Chicago Press, 1991), 35-36; also, Mary Blanchard, "The Intellectual Roots of an Aesthetic: Candace Wheeler and Her American Vision" (paper presented at the annual meeting of the American Studies Association, 1991). [BACK]

9. "A Few Words on Aunt Cannie" (talk given by Jeannette Thurber Connor, daughter of Francis and Jeannette Thurber, on the occasion of the dedication of the Candace Wheeler Wild Flower Garden at Onteora, 7 September 1921; privately printed, [1921]), Onteora Club Library. [BACK]

10. Ibid., 3. [BACK]

11. Candace Wheeler, The Annals of Onteora (privately printed, n.d.), 16-18. [BACK]

12. Ibid., 18-19. [BACK]

13. Program Notes , New York Philharmonic concert of 7 November 1940. [BACK]

14. This seems to have constituted the first full-dress production of Wagner's works as a series in the United States. In 1859 Carl Bergmann had given the American premiere of Tannhäuser at the old Stadt Theatre in the Bowery with the participation of the Arion chorus. A second production of a full Wagner opera did not take place until 1870, when A. Neuendorf put on Lohengrin at the same hall. While extracts had been presented in concert form at other times and places, those were the only performances of complete, fully staged Wagner operas preceding JMT's 1884 festival. [BACK]

15. Rose Fay Thomas, Memoirs of Theodore Thomas (New York: Moffat, Yard, 1911), 283-85. [BACK]

16. New York Evening Post , 23 October 1883. [BACK]

17. Thomas, Memoirs , 285. [BACK]

18. Charles Russell, The American Orchestra and Theodore Thomas (Garden City, N.Y.: Doubleday, Page, 1927), 163. [BACK]

19. Thomas, Memoirs , 278. [BACK]

20. Russell, American Orchestra , 165. [BACK]

21. New York World , undated clipping. This and a number of other newspaper citations given here are taken from undated, unpaginated, and sometimes unidentified clippings pasted into scrapbooks by JMT and now housed in the New York Public Library Performing Arts Division, filed under "National Conservatory of Music." (Hereafter cited as "JMT Scrapbooks.") [BACK]

22. Inter-Ocean Journal , 26 March 1886 (JMT Scrapbooks). [BACK]

23. Russell, American Orchestra , 176. [BACK]

24. Ibid., 177. [BACK]

25. "A Prima Donna Sues for Her Salary," New York Times , 5 February 1887 (JMT Scrapbooks). [BACK]

26. New York Herald , 25 March 1887 (JMT Scrapbooks). [BACK]

27. New York Times , 28 April 1887 (JMT scrapbooks). [BACK]

28. Reprinted in Theodore Thomas, A Musical Autobiography (New York, Da Capo Press, 1964; reprint of the two-volume edition of 1905), 192. [BACK]

29. Russell, American Orchestra , 168-69. [BACK]

31. New York Times , 1 January 1887, 4. [BACK]

32. Ibid. [BACK]

33. Theodore Thomas, A Musical Autobiography , ed. George Upton (1905; reprint, New York: Da Capo Press, 1964), 193. [BACK]

34. The article appeared, for example, in the Omaha Herald , the Kansas City Times , and a number of other publications, running in different papers on 10 or 11 March 1887 (JMT Scrapbooks). [BACK]

35. This account book, which runs from 1 December 1885 through 1898, was discovered by the present writer among the papers of Richard Irvin in the New York Historical Society, New York City. [BACK]

36. Waters, Victor Herbert , 53. [BACK]

37. I am indebted to Josephine Harrold Love for bringing the name of Edward Bolin (or Bohlen) to my attention. It has been difficult to track down his identity, however. He may have been the same person as Paul Bolin, identified as a piano student at the National Conservatory. [BACK]

38. "National Conservatory Concert," New York Evening Post , 22 February 1899 (JMT Scrapbooks). [BACK]

39. "National Conservatory," in Grove's Dictionary of Music and Musicians, American Supplement , ed. Waldo Selden Pratt and Charles N. Boyd (Phildelphia: Theodore Presser, 1920), 6: 306. [BACK]

40. "Mrs. Thurber Talks: Gives Plans for Future," Boston Daily Globe , 11 January 1887 (JMT Scrapbooks). [BACK]

41. Quoted by Merton Robert Aborn in "The Influence on American Musical Culture of Dvorak's * Sojourn in America" (Ph.D. diss., Indiana University, 1965), 70. [BACK]

42. The National Conservatory of Music, 1887-88 , brochure. [BACK]

43. Others who deserve to be listed include Romualdo de Sapio (director of opera and one of the two conductors of Adelina Patti's last New York performances), W. V. Holt (dic- soft

tion), Eleanor Warner Everest (voice, better known in later life as the composer Eleanor Everest Freer), and Madame Elena Corani (voice). In addition to three teachers of solfeggio (Alberto Frencelli, Leila LaFetra, and Johannes Wershinger), separate dictation sessions were supervised by a Sigr. Pizzarello. Mamert Bibeyran, who taught stage deportment and choreography, was also the choreographer and ballet master for the American Opera Company. [BACK]

44. Quoted from an advertisement printed on the back of the National Conservatory Trio Club program of 18 February 1890, in the "National Conservatory" file of the New York Public Library. [BACK]

45. "The National Conservatory of Music of America," Harper's Weekly , 34 (1890): 969-70. [BACK]

46. The National Conservatory of Music, 1887-88 (brochure). [BACK]

47. Ibid. [BACK]

48. The petition may have failed as much because it came before Congress at an awkward time as for any other reason. President Grover Cleveland vigorously opposed "pork-barrel" increases in government spending and had specifically charged Congress not to use the large tax surplus for new projects. Furthermore, everyone's attention was riveted on election politics, with Benjamin Harrison challenging Cleveland in a heated contest centering on tariffs and taxes. [BACK]

49. Congressional Record , 51st Cong., 2d sess., 1891, 22, pt. 4: 3804. To trace the history and discussion of this bill more fully, see also ibid., pt. 1: 197, 234, 956, pt. 4: 3821, 3854, and 3916. [BACK]

50. Ibid., 3804. [BACK]

51. New York Post , 18 March 1891. Cited at length in Waters, Victor Herbert , 54-55. [BACK]

52. "Fine Spirit of Americanism in National Conservatory's Policy," Musical America , 16 October 1915, 14. [BACK]

53. Harper's Weekly , 34 (1890): 969-70. [BACK]

54. Approximately $165,000 per year, in 1988 dollars. [BACK]

55. See Aborn, "Influence on American Musical Cultural of Dvorak's Sojourn," ch. 3, "The National Conservatory Prior to Dvorak: The Period from 1885-91," 52-80. [BACK]

56. Ibid., 140. Aborn places this undated memo around the middle or end of April 1894. [BACK]

57. This score was rediscovered in 1990 after having been lost for many years, and is now available in a critical edition with an accompanying cassette recording (Toronto: Sixty-Eight Publishers, 1991). [BACK]

58. "Dvorak Leads for the Fund," New York Herald , 24 January 1894, 10. [BACK]

59. The Plantation Dances were reportedly published in 1894 by the German firm of P. L. Jung. The only copy of the Jung edition (or any other) that I have located is a piano arrangement of, presumably, one movement of the suite (Library of Congress, M35.A); it is entitled Amerikanische Plantagentänze für Orchester . . . für Piano Solo , Op. 33, No. 2. [BACK]

60. The other judges were Dudley Buck (1839-1909), William Wallace Gilchrist (1846-1916), Asger Hamerik (1843-1923), Rafael Joseffy (1853-1915), Benjamin Johnson Lang (1837-1909), John Knowles Paine (1863-1919), and William Lawrence Tomlins (1844-1930). [BACK]

61. Others that may have studied with Dvorak were Edward (or Paul) Bohlen (or Bolin), Jenney Layton, and a person as yet unidentified whose last name was Zammernick. [BACK]

62. Antonín Dvorak * : Letters and Reminiscences , ed. Otakar Sourek * , trans. Roberta Finlayson Samsour (reprint, New York: Da Capo Press, 1985), 167. [BACK]

63. Quoted in an unsigned article in the Musical Magazine and Musical Courier , 4 July 1898, p. 117. [BACK]

64. Safonov had come to New York as guest conductor of the Philharmonic on 4 March 1904, making such a dazzling impression that he was asked to remain for three more years. [BACK]

65. Musical America , 4 September 1909, p. 17. [BACK]

66. Editorial, New England Conservatory Quarterly , 1, no. 54 (May 1895), 90, quoted in Edward John FitzPatrick, Jr., "The Music Conservatory in America" (Ph.D. diss., Boston University, 1916), 507. [BACK]

67. Musical Magazine and National Courier , 4 July 1898, p. 117. [BACK]

68. See, e.g., his article, "America's Growth in Music Schools," Musical Leader 24 (1912): 24-25 (originally written for the New York Sun ). [BACK]

69. Harper's Weekly 34 (1890): 970. [BACK]

70. Ibid. [BACK]

71. Abron, "Influence on American Musical Culture of Dvorak's * Sojourn," 314. [BACK]

72. Quoted by Waters in Victor Herbert , 53. [BACK]