How a Composer and an Industrialist Created an Iconic Music Hall

In ‘This Week in History,’ a German composer brought a grand vision to New York City and left a lasting legacy for American music.
How a Composer and an Industrialist Created an Iconic Music Hall
Carnegie Hall as it appeared after the 1896 addition of the studio tower, photographed in 1899. Courtesy of Carnegie Hall Archives
Dustin Bass
Updated:
0:00

After a decade as the Kapellmeister in the Court of Weimar, Franz Liszt resigned. Between his resignation in 1859 and his move to Rome in 1861, he wrote a letter of introduction for a fellow musician who would alter American history.

“To all who are known to me personally in friendship and those who are able to judge and understand musical talent I herewith specially and particularly recommend Mr. Music Director Leopold Damrosch, Composer, Conductor, and Violin Virtuoso in all aspects an honorable and respected Artist.”

The brief letter from one of the world’s most talented, famous, and influential composers immediately opened doors for Damrosch, first in Posen, Prussia (today’s Poznan, Poland), then Breslau (today’s Wroclaw, Poland), and lastly in New York City. Damrosch, along with his wife, a daughter, and two sons, would make America their permanent home.

In 1871, the German-American Arion Society of New York invited Damrosch to become their conductor. Damrosch quickly got to work transforming the music scene of New York City. In 1873, he organized the Oratorio Society, which performed its first choral concert that same year. Three years later, he became the conductor for the Philharmonic Society, and founded the Symphony Society of New York, later named the New York Symphony. (In 1928, the two musical societies merged to establish the Philharmonic-Symphony Society of New York.)

All of Leopold’s children followed in his musical footsteps. It would fall to his youngest son, Walter, to achieve his greatest vision: a music house fit for the growing metropolis and the talented musicians and singers he had accumulated.

Leopold Damrosch and his son Walter before 1885. (Courtesy of the Carnegie Hall Archives)
Leopold Damrosch and his son Walter before 1885. Courtesy of the Carnegie Hall Archives
In early 1885, Leopold contracted pneumonia. His son Walter, barely 23 at the time, conducted the Metropolitan Opera for the first time on Feb. 11, 1885 in his father’s place. Four days later, his father died. The Met hired Walter as its assistant conductor and assistant manager. All the while, the young Damrosch remained committed to his father’s vision.

The Man of Steel and Philanthropy

Andrew Carnegie with his wife Louise, 1908. Library of Congress. (Public Domain)
Andrew Carnegie with his wife Louise, 1908. Library of Congress. Public Domain

A decade prior in 1875, in Braddock, Pennsylvania, Andrew Carnegie opened his first steel plant. In 1868, he had written himself a letter to resign from business by the age of 35, which would have been in 1870. Although he did not hold himself to his 1870 pledge (he would not retire until 1901 after selling his steel corporation to J.P. Morgan for $480 million), he did begin pursuing philanthropic causes. His generosity eventually afforded him the moniker of “Father of Modern Philanthropy” and the “Patron Saint of Libraries” (due to founding more than 2,500 of them).

Carnegie, as history would soon reveal, became one of the world’s richest individuals. His passions were business and philanthropy. When he met Louise Whitfield in 1880, an appreciation for music came with her. Whitfield, 21 years Carnegie’s junior, was a singer in New York’s Oratorio Society. Although the two were in love and planned to marry, it wasn’t until the death of Carnegie’s relationally overbearing mother that the two wed on April 22, 1887. For their honeymoon, the couple hopped aboard the ocean liner Fulda, which was powered by both steam and sail to make their way to Carnegie’s homeland of Scotland.

A Fortuitous Meeting

The S.S. Fulda photographed between 1882 and 1899 by John S. Johnston. Library of Congress. (Public Domain)
The S.S. Fulda photographed between 1882 and 1899 by John S. Johnston. Library of Congress. Public Domain

Fortuitously, Walter Damrosch was also aboard the Fulda. Louise introduced Damrosch, who happened to be the conductor for the Oratorio Society, to her new husband. Damrosch discussed his hope for a grand New York City music house. Carnegie was intrigued and agreed to help bring this vision to fruition.

In 1889, Carnegie formed the Music Hall Company of New York. He sent a letter to Hiram Hitchcock, the owner of the Fifth Avenue Hotel, requesting his assistance in finding land in the city to purchase. His requirements were that the location not be “below 56th” nor “upon Madison Square.” The chosen location was two blocks south of Central Park on 881 Seventh Avenue.

Carnegie chose William Tuthill as the project’s architect despite never having built a concert hall. Interestingly, Tuthill was also an accomplished cellist. The 34-year-old architect proved to be the right man for the job.

Although Carnegie was America’s steel tycoon, no steel would be in the hall’s construction (although steel would be added in later years). It would be strictly built of masonry. The choice to do so was to create the best acoustic sound possible.

The exterior was created in Italian Renaissance Revival-style. For the interior, Tuthill used the “Guastavino technique,” a tile-and-mortar method developed by Rafael Guastavino Sr. The music center was designed to house three performance halls: a 2,804-seat Main Hall, a 1,200-seat Recital Hall, and a more intimate 268-seat Chamber Music Hall. The price tag for the center was $1.1 million (more than $37 million today).

Philosophy Meets Action

Photo of Carnegie Hall showing the building in its present configuration, following the completion of the studio tower additions in 1896. (Courtesy of Carnegie Hall Archives)
Photo of Carnegie Hall showing the building in its present configuration, following the completion of the studio tower additions in 1896. Courtesy of Carnegie Hall Archives
Carnegie was already two decades into his philanthropic lifestyle. The same year he formed the Music Hall Company, he articulated his philosophy of philanthropy in his essay “Wealth.” He indicated that “the problem of our age is the proper administration of wealth.” His ultimate hope was that, despite the wealth disparity, “the ties of brotherhood may still bind together the rich and poor in harmonious relationship.”

Chief among most, Carnegie knew what it was like to be both rich and poor. By way of industry, he himself had witnessed how “conditions of human life have not only been changed, but revolutionized.” Within that revolution to which he had gained so much through labor, risk, and an elevated business acumen, he believed the rich had an obligation not only to society, but to their own posterity: “The man who dies thus rich dies disgraced.”

Carnegie, already America’s leading philanthropist, abided by his philosophy with the Music Hall, providing $1 million of the total cost (he purposely did not pursue other financial contributors).

The Grand Opening

(L) Vertical section and (R) entrance vestibule of Carnegie Hall from the <a href="https://collections.carnegiehall.org/archive/Complete-scrapbook-of-William-B--Tuthill--c--1891-1920s-2RRM1TU9UI_W.html" target="_blank" rel="nofollow noopener">complete scrapbook</a> of William B. Tuthill, circa 1891–1920s. (Courtesy of Carnegie Hall Archives)
(L) Vertical section and (R) entrance vestibule of Carnegie Hall from the complete scrapbook of William B. Tuthill, circa 1891–1920s. Courtesy of Carnegie Hall Archives

On May 13, 1890, construction began when Louise Whitfield Carnegie laid the cornerstone for the Music Hall of New York.

Over the following year, construction ensued, and by April of 1891, the Recital Hall and Chamber Music Hall were complete. The finishing touches were being made to the Main Hall.

The advertisements were out, the tickets were sold (single concert tickets were just $1), and the five-night Opening Week Festival was scheduled for the Music Hall of New York. It was during this week in history, on May 5, 1891, that the Music Hall (renamed Carnegie Hall in 1893) opened.

Fittingly, Damrosch, the inspiration behind Carnegie Hall’s creation, was the first conductor on the stage. He first conducted the classic Christian hymn, “Old Hundredth” and later in the evening Beethoven’s “Leonore Overture No. 3.”

But for such a grand evening, only a grand performance by a grand performer would do. Russia’s living-legend Pyotr Ilyich Tchaikovsky conducted his own work, “Marche Solennelle.” Tchaikovsky would perform three more times during the opening week.

Among the musical guests and performances, the newly built Music Hall left many in awe. “Tonight, the most beautiful Music Hall in the world was consecrated to the loveliest of the arts. Possession of such a hall is in itself an incentive for culture,” one paper reported. Tchaikovsky noted in his diary, “In a crowded carriage I reached the Music Hall. Illuminate and packed with the public, it made an exceptionally striking and grandiose impression.”
Cover for the <a href="https://collections.carnegiehall.org/archive/Complete-program-notes-of-Opening-Week-Music-Festival--Opening-Night-of-Carnegie-Hall--May-5--1891-2RRM1T7MNBDZ.html" target="_blank" rel="nofollow noopener">program notes</a> of the opening week music festival (May 5–9) at Carnegie Hall,1891. (Courtesy of Carnegie Hall Archives)
Cover for the program notes of the opening week music festival (May 5–9) at Carnegie Hall,1891. Courtesy of Carnegie Hall Archives

Built for the Ages

There was skepticism about the financial soundness behind Carnegie Hall. One of the skeptics was William Steinway, of the famous piano makers Steinway & Sons, who noted, “I do not see how even one new hall this size will ever pay expenses. ... Mr. Carnegie’s hall will never pay.”
Carnegie believed in the project, and not entirely for financial reasons, as he was often footing the bills for the music hall’s financial deficits. He was adamant, however, that it would remain (even if it was left to him to ensure it did). “It is built to stand for ages, and during these ages it is probable that this hall will intertwine itself with the history of our country,” he stated.
Would you like to see other kinds of arts and culture articles? Please email us your story ideas or feedback at [email protected]
Dustin Bass
Dustin Bass
Author
Dustin Bass is an author and co-host of The Sons of History podcast. He also writes two weekly series for The Epoch Times: Profiles in History and This Week in History.