with which nothing can compare since the first performance of the similar work of Mendelssohn's in 1844.
Its appearance was, indeed, epoch-making. It is gratifying to think that it aroused, among the general public, an interest in the Society and its history that had long been wanting, and with the arrival of its centenary year, 1912, together with the many new works promised, it may be confidently hoped that new life and vigour will be instilled into this admirable institution.
For Mendelssohn, the Society cherishes a special regard, and no wonder, since his interest in it and affection for it were so constantly in evidence, and were of such practical value in raising its artistic and financial status. In each visit that he payed to this country, in 1829, 1842, 1844, and the last in 1847, he either conducted or played for the Society and, indeed, retained to the end of his life the keenest and most unselfish wishes for its welfare.
Of the distinguished British musicians whose names are indelibly associated with the history of the Society must be mentioned, among others, Sir Sterndale Bennett (conductor), Sir Arthur Sullivan (conductor), Sir Hubert Parry, Sir Alexander Mackenzie (conductor), Sir Charles Stanford, and Sir Frederick Cowen (conductor).
During the past two decades or longer, the Society has been fortunate enough to have as its leading officials Mr. Francesco Berger,[25] a dis
tinguished musician whose whole life has been devoted to high ideals, and Dr. W. H. Cummings, without whose valuable assistance it is doubtful whether the Society could have successfully resisted certain years of trial and stress.
It is unnecessary to further insist on the great services rendered to the country by the Philharmonic Society.
If we wish to find the cause or causes which brought about the change amongst the masses, from absolute indifference to orchestral music to the present enthusiasm for it, I think we may begin by noting the gradual growth of an appreciation of the music of Wagner, especially among those whose means had enabled them to attend presentations of his works in Germany. It was, I think, to a number of these fortunate individuals, aided by the enthusiastic Schultz-Curtius, that we owe the appearance of Wagner and the memorable Wagner Festival at the Royal Albert Hall, which he, in conjunction with Herr Richter, conducted in the year 1877. The enthusiasm aroused by the marvellous music and the revelation of the wonderful powers of Richter as a conductor, soon led to the establishment of the Richter Concerts, and we may, I believe, regard this as an epoch, as the birth of the new spirit that was so speedily to alter the whole aspect of things musical in this country.
Not only the enthralling fascination of the music, but the striking personality of the conductor, who seemed to inspire the orchestra with his own genius, cast such a spell over the
audiences and aroused such frantic enthusiasm, that no one who attended the early concerts can ever forget the sensations they inspired.