Henry Schmitz
1823 - 1914

Henry Schmitz was solo horn of the N.Y. Philharmonic from 1848 to 1869 and of the Theodore Thomas Orchestra from 1866 to 1877, and several other well-known orchestras of the time. He was no doubt the first true virtuoso horn player in the United Sates and a frequent soloist. In his first season with the Philharmonic he performed a Concertino ("with echo") of his own composition. On January 12, 1856 he gave the American premiere of Weber's Concertino with the Philharmonic. He was also undoubtedly the principal in the first U.S. performance of Robert Schumann's Konzertstück for four horns given in New York on December 4, 1852, only three years after its composition.1  The horn shown lying in his lap is undoubtedly the design of Elbridge G. Wright of Boston, either made by himself or by the later Boston Musical Instrument Manufactory.

[The following biographical sketch is a logical synthesis deduced from public records, and may contain some inaccurate conclusions.]
Henry Schmitz was born in the month of July, 1823 in or near Münster, Westphalia, Prussia, the eldest son of Wilhelm Anton and Maria Anna (Rakebrant) Schmitz. He arrived in New York at the age of 23 on September 14, 1846 on the ship "Westhead" sailing from Amsterdam, Netherlands. Two years later his family arrived on the ship "Angelique" on September 28 1848. They included his parents, Wilhelm Anton (age 62 (July 12, 1786, Senden, Westphalia-1861, New York) and Maria Anna (or Mariana, 53, (1794-1855) daughter of Nicholas Rakebrant), his younger brother, Gustavus (17), and sisters, Franziska (18) and Maria (8). Both his father and his brother were musicians; Gustavus, also a horn player, was a member of the New York Philharmonic from 1856 to 1863. Other siblings are believed to be: Ambrosius (Ambrose) (b. ca. 1817) arrived New York 1843; Joseph (b. ca. 1821), also a musician, arrived in New York 1844; Anton (b. ca. 1816), Bernhard (b. ca. 1817), Christopher(b. 1825), and Rose Schmitz (b. ca. 1828) all of whom arrived in 1846 on the Westhead with Henry.

A hand-written document from Christopher Schmitz explains the family's background and immigration to the U.S.:
"My father, as said before, was born in Senden, the 12th of July 1786, and married there when he was 27 years old my mother, who was then 18; so it must have been 1813. My mother was the daughter of a Gentleman, who had settled in that Village Senden, under the name of Rakebrandt,". . ."My father, being a good Organ player and musician, had us all taught music, and having lost all his money in said town Billerbeck, commenced to form a Band and Orchestra of us with some other help, and we lived then entirely of music. We gave concerts there on Sundays and Feast days, and a great many people would come there and spend money.". . ."From there we sent first two of my brothers [Ambrosius and Joseph, but not at the same time] to New York, and in 1846 we all moved to New York [but father and mother and the two remaining children came in 1848], where my father and mother died; mother in 1855 and father 1861."
Senden, or Sennen, is a parish of Prussia, in the province of Westphalia, regency and 10 miles southwest of Münster, and circle of Lüdinghausen. Population (1856) was 2,000. Billerbeck is a small town 15 miles West-Northwest of Münster, population (1855) 1,440. The musician members of the Schmitz family might have received their instruction and perhaps had their employment in the nearby cultural center of Münster.

On December 3, 1858 Henry Schmitz married Caroline Mossner. She was born in Würtemberg, Germany in May, 1836, and had immigrated to the United States in 1857. They had the following six children, (all girls): Caroline E.(April, 1859, married ca. 1881 Myron T. Wilbur, b. Oct. 1847), Mary (Maria C.) (May, 1860), Pauline (ca. 1863), Adelina (ca. 1864), Emilia (ca. 1866), and Henrietta (ca. 1872).
Henry Schmitz’s performances were frequently noted in the press and by George Templeton Strong in his diary:
On April 14 [1847], [George Templeton] Strong attended Ureli Corelli Hills Grand Festival Concert, the first of his two final appearances in New York before leaving for England, where he hoped (in vain) to promote his invention, a perpetually in tune piano (at least, in theory), using bells instead of strings. Among the assisting artists were debutant, Henry Scmitz (a hornist, later a member and officer of the Philharmonic)
[Lawrence, Strong on Music, v.I, p.433]

Henry Schmitz, who was scheduled to play a quartet on the French Horn, solo and simultaneously (Mirror, April 6, 1848)

[Lawrence, Strong on Music, v.I, p.538]

NY Philharmonic, March 17, 1849. Sinfonia Eroica, No. 3, in E-flat, Beethoven; ... Solo (with echo), for French horn (performed and composed by Mr. H. Schmitz); ...

[Krehbiel, (1892), p.103]

NY Philharmonic, May 12, 1849. Gran Septetto, for pianoforte, flute, oboe, horn, tenor, violoncello, and double-bass, Hummel (Messrs. Timm, Kyle, Weise, Schmitz, Poppenberg, Boucher, and Jacoby); Overture, " Der Freischutz," Weber.

[Krehbiel, (1892), p.103-4, also featuring Sax horns with Mr. Distin and his sons,]
The final concert of the Philharmonics seventh season, taking place on May 12, [1849] just after the Astor Place Riot, understandably received scant notice in the press.

[Lawrence, Strong on Music, v.I, p.613]

Second concert of Philharmonics eighth season, January 12, 1850 Lindpaintners Sinfonia concertante, op. 2, for flute, oboe, clarinet, bassoon, horn, and orchestra. (Schmitz, horn) (Saroinis Musical Times, January 12, 1850, p. 195; Message Bird, February 1, 1850, pp. 216-17)

[Lawrence, Strong on Music, v.II, p.14]

On November 23, 1850, at the first concert of the Philharmonics ninth season, Loder conducted his on Marmion Overture and Niels Gades Symphony No. 1 in C minor, works that he had introduced respectively, in 1846 and 1848. Appearing on the same program, the Philharmonic hornist Henry Scmitz gave a brilliant performance of a so-called Concertino for French horn and orchestra by one H. Fuchs, a work that turned out to be a set of virtuosic variations on Webers Last Waltz by Reissiger;.

[Lawrence, Strong on Music, v.II, pp.15-16]

April 30, 1851 Jenny Lind concert announced by P.T. Barnum, the concerts to begin May 7. Julius Benedict would conduct a Grand Orchestra of nearly 100, comprising the best New York musicians combined with the Germania Society [note 22: The orchestra included the foremost members of the New York Philharmonic and the entire Germania (which had been touring with Parodi). Among the second violins Knaebel. A complete listing of the orchestra personnel is found in the Herald of May 11, 1851.

[Lawrence, Strong on Music, v.II, p.149, n.22]

At her five following soires (November 4, 11, 18, 25, and December 4 [1851]) Mrs. [Emma Gillingham] Bostwick and her colleagues presented copious quantities of solo and ensemble music, vocal and instrumental, to virtually unanimous critical approval. The other assisting artists included the Philharmonic hornist Henry Schmitz.

[Lawrence, Strong on Music, v.II, p.193]

NY Philharmonic, January 10, 1852. Third Symphony, Op. 55, in E-flat, Beethoven; Andante and Finale, from Quintuor, No. 2, for flute, oboe, clarinet, horn, and bassoon, Reicha (Messrs. Rietzel, Ohlemann, Drescher, Schmitz, and Eltz); Overture, "Oberon," Weber.

[Krehbiel, (1892), p.106-107]

Beethoven’s Septet in the original form for clarinet, bassoon, horn, violin, cello and contrabasso on Eisenfeldt’s last classical soire in New York

[Dwights Journal, I, 4, May 1, 1852, p. 30]
(Strong) At Eisfeld’s [chamber music] concert Beethoven’s Septour last night [May 8, 1852] its great feature - a most magnificent composition. It was played at the third Philharmonic [concert] of the first season, and I then thought it a very abstruse and rather tedious piece of profundity. Glad to find that my faculty for the highest kind of music has improved since then. I could follow and enjoy all of it, except parts of the finale, last night. Considering the scant material to which Beethoven has limited himself, it may stand by the side of any of his orchestral music. (Lawrence): Eisfelds group was joined by their Philharmonic colleagues Jacoby (or Jacobi) (doublebass), Kiefer (clarinet), Schmitz (horn), and Eltz (bassoon).

[Lawrence, Strong on Music, v.II, p.242]

The National Guard Band, its thirty-five members resplendent in full military regalia, gave a third concert of their series at Metropolitan Hall on January 8 [1853] At their grand finale, on May 31 at Castle Garden, the bands assisting artists were Kiefer, the Philharmonic horn virtuoso Henry Schmitz, and the opera basso Alessandro Gasparoni.

[Lawrence, Strong on Music, v.II, p.424]

The doughty veteran Emma Gillingham Bostwick, returning from another of her tours, announced a Grand Concert at Niblos Saloon on May 30, [1853], with the assistance of the hornist Henry Schmitz

[Lawrence, Strong on Music, v.II, p.425]

At the final concert of their eventful twelfth season, on April 22, [1854], the Philharmonic, in a huge program, gave the first performance of the Symphony No. 20 by the prodigiously prolific German composer Friedrich Schneider (1786-1853), a work dedicated to the Society in appreciation of the composers having been elected an honorary member in absentia in 1853. Additionally the Society yet again repeated Spohrs ponderous Die Weihe der Tne and Beethovens Egmont Overture.. Also on the program a Duo Concertante on the Air Arabys Daughter by F. Baumann for two french horns and orchestra played by Messrs. H Schmitz and S. Knaebel. [note 46: Popular in the earlier nineteenth century as set by the English composer George Kiallmark (1781-1835) to a poem from Thomas Moores Lalla Rookh (1817), the tune was later adapted to Samuel Woodworths poem The Bucket, and retitled The Old Oaken Bucket (c. 1833).

[Lawrence, Strong on Music, v.II, p.492]

March 27, 1855, Eisfeld’s [fifth] concert, Beethovens Septette in E-Flat [op. 20] [note 57: the Septet was played by Noll (violin) , Reyner (viola), Bergner (cello), Rehdner (double bass), Kiefer (clarinet), Schmitz (horn), and Hochstein (bassoon)]
[Lawrence, Strong on Music, v.II, p.565]

(Strong): January 14, 1856. The Philharmonic [January 12 at Niblo’s Theatre] was a fair concert. Overture to Euranthe good, of course, but theres very little of it- its a flash of beautiful light over in a minute [note 1: And that precious minute was marred by the boisterous mass exit of the huge audience, seemingly as avid to depart as they had been to arrive. A frenzied American crowd, wrote Gamma (Albion, January 19, 1856, pp. 31-32), had stormed Niblos portals a full half hour before their opening resulting in an inevitable demolition of hoops, the current framework of feminine society. This situation called loudly for atonement in the form of a more spacious concert room. Indeed, it was the general cry; more space was needed-if not for the crinolines that were currently all the rage, then certainly for the spectacularly increased Philharmonic audiences.] Berlioz’s Francs-Juges is ponderous. There were a couple of solos from Mercadante and Verdi, better rendered than they deserved, by Badiali. Also a dismal, flatulend Concertino for the horn, by Weber [op. 45, in E minor (1806, revised 1815) ], but suggestive only of the murmurings and vocal cadences of ones alimentary canal after an indigestible dinner: Concertino pathtique: The Colon and its Functions; Andante con variazioni:Beans! The program should have been modified to state the composer in this piece for the first time attempted, and succeeded, in producing the effect of full chords on the instrument.[note 5: As the Philharmonic program note explained, Weber’s multiphonic effects require a technique of mingled blowing and humming, or singing through the nose, according to the Musical World (January, 19, 1856, p. 25). However, two simultaneously sounded pitches do not a triad make, and the disapproving reviewer supplied musical examples of intervals to illustrate that fact. According to Gamma, the work was excellently well played by the Philharmonic hornist Henry Scmitz, but some very appalling chords [and thirds] were the result; Seymour, who in any case disliked the French horn as a solo instrument, described the effect as very unpleasant; Dwights New York correspondent dismissed it as ludicrous (Dwight’s, January 19, p. 127; Albion, January 19, pp. 32-32; Times January 15, 1856).] and also of sub-acute colic on a double-barreled cock-rhinoceros, or a mild cathartic on the Siamese Twins. Its binomial character was marked: what seemed its chief feature was an uncertain, tremulous duplication (a third below, or something of that kind) of its forlorn, feeble, ventriloquial wail. Whoso would hear Weber’s Concertino for the Horn, let him stand awhile near one of Delmonicos tables where two obese Frenchmen are picking their teeth and glowering at each other in silent repletion after a special little dinner, silent but vocal- saying naught, but eloquent within. So Alp speaks unto Alp. One might modify Tennyson’s Bugle Song [note 6: Blow, bugle, blow, set the wild echoes flying/ Blow, bugle; answer, echoes, dying, dying, dying. Tennyson, The Princess (1847), Part III] to suit Weber’s Concertino. I don’t think any profession or art can furnish so many and so stupendous specimens of idiocy and imbecility as Music. Weber, who wrote Der Freischtz and Oberon and Euranthe and Preciosa, actually perpetrated and published this foppery! [Lawrence, Strong on Music, vol. II, chamber: 242, 565n, 710n concerts: 193, 424, 425; with Lind, 149; Philharmonic soloist 14, 15, 492, 670n]

[Lawrence, Strong on Music, v.II, p.669-670 n]
Mr. Schmitz played a concertino by Weber on the French Horn which is, itself, a beautiful instrument, reminding one, in its sound, of purple velvet, but which is much better adapted to the slow, massive, long drawn out notes than to rapid variations and fioriture. The programme said that, in this piece the composer has succeeded in producing the effect of full chords on the instrument; but I must own that this effect was rather ludicrous than anything else; not at all repaying either performers or listeners for the evident difficulty of producing it. [Also on the program:] The novelty of he evening was Berlioz’s overture to Les Francs Juges; on of his earlier works. Opinions vary considerably with regard to this composition, hitherto unknown to u s, but I cannot agree with those who were highly pleased with it, and thought it the best part of the concert. Etc

[Dwights Journal, VIII, 15 (19 January 1856) p. 127]

Musical Correspondence New York, Feb. 10 Concert Feb. 15, 1856: Charitable Concert, in behalf of the German Ladies Society for widows and orphans at he hall of City Assembly Rooms (mentioned in Dwights Journal, VIII, 19 (9 February 1856) p. 148) Young Schmitz, in his solo on the French horn, surpassed himself, and received a well merited encore. The composition which he played by Lorenz, was well calculated to bring out the greatest beauties of his instrument, and not, as the piece by Weber, played at the last Philharmonic concert, its greatest difficulties. The rich, mellow tones in which the very pleasing themes of the composition cam forth, filled the hall well, and the exquisite pp of the last part was admirably executed.

[Dwights Journal, VIII, 21 (23 February 1856) p. 165]

December 23, 1856 Eisfeld’s soire, Henry Schmitz plays a Nocturne for French Horn by W. Lorenx.

[Lawrence, Strong on Music, v.II, p.710, n.144]
I regret all the more that I was unable to send you a report of Eisfeld’s Second Concert last week The concert was exceedingly satisfactory Mr. H. Schmitz gave us in an admirable manner a Nocturne on the French Horn, which was less valuable as a compostion than as being calculated to bring out the best tones of the instrument.

[Dwights Journal, X, 14 (1 January 1857) p. 108]

Apart from his duties at the Philharmonic, Bergmann conducted a new series of biweekly Sunday evening sacred and classical concerts at the City Assembly Rooms a kind of continuation of his memorable series in 1856.With the Philharmonic musicians H. Schmitz (French horn) as soloists the Arion and Teutonia singing societies conducted by E. Weber, and an orchestra of forty, Bergmann’s first program, on December 12 [1858] ranged from Beethoven’s Fourth Symphony to Litolffs showy Robspierre Overture.(Dwight’s, January 29.1859, p. 754)

[Lawrence, Strong on Music, v.III, p.197]

To enumerate the remainder of Bergmann’s formidable orchestral achievements for the year: at the third of his Sunday evening sacred concerts on January 9, [1859] he conducted the first American performance of Anton Rubenstein’s Ocean Symphony, op. 42 ( a work disappointing to Hagen); also Berliozs Carnaval romain Overture and Weber’s Overture to Euryanthe; and the four Philharmonic musicians played Weber’s Quartet for French horns earning an encore. At his [Bergmann’s] fourth Sunday concert (January 23) the Philharmonic musicians Noll, Matzka, Boehm, Schmitz, Eltz, Brannes, and Bartels played the variation movement of Beethovens septet.

[Lawrence, Strong on Music, v.III, pp.282-83]

Mason/Thomas series of matinee chamber concert’s fifth program on April 26 [1859], closed with Schubert’s Octet, op. 166, for string quartet, contrabass, horn, clarinet, and bassoon, the bass and wind instruments played by Messrs. Preusser, H. Schmitz, Kuhlman, and Goepel.

[Lawrence, Strong on Music, v.III, p.304]

Probably seeking to outdo Mason/Thomas, a group of well-known musicians banded together and calling themselves the Chamber Concerts Union- announced a series of six soires at Goldbeck’s snug little hall, to be performed on consecutive Tuesday evenings from March 20 [1860] through May 1. the group drew upon a fund of musicians from the Philharmonic: the cellist Brannes, and the hornist Schmitz. Insufficiently prepared and unenthusiastically received, the series despite the high repute of the performers was not renewed.

[Lawrence, Strong on Music, v.III, p.374]

On April 29, [1857], Mrs.[John S.] Jamieon, at the request of many friends, uneventfully appeared at Dodworth’s Hall, with the assistance of the hornist Henry Schmitz ..as accompanists.

[Lawrence, Strong on Music, v.III, p.77]

For the final Philharmonic concert of the season, on April 30, [1859] Bergman conducted Beethoven’s Symphony No. 4, in B-Flat, Weber’s Overture to Euryanthe, and Liszts Les Preludes (after Lamartine) a work he (Bergmann) had introduced at his Sunday concert on February 6. Ane excuse was made for the non-appearance of Madam Amelia F. Inman; [note 11: On May 18 the Post reported the death of Madame Inman at the age of twenty-two.] she was replaced at the last minute by a German male vocal quartet.. and by Four Philharmonic musicians the brothers Schmitz, French hornists, and Lotze and Schullinger, versatile members of the viola section, who played Webers Quartet for French horns, heard at an earlier Bergmann Sunday concert.

[Lawrence, Strong on Music, v.III, p.281]

To aid in paying the heavy debts of the German Reformed Protestant Dutch Church (in Forsyth Street), a concert of sacred and secular music was given a the Cooper institute on April 12, [1860], by Mesdames Zimmermann and Grosz, a Miss Albrecht (a soparano), a Mr. Hartmann (a minor tenor from Maretzek’s Havana company), and the Philharmonic hornist Henry Schmitz; the conductor was Gustavus Schmitz (Henry’s brother), organist of the Church of Immaculate Conception.

[Lawrence, Strong on Music, v.III, p.383]

January 23, 1861 Philharmonic rehearsal of Schumann Symphony No. 3, Rhenish

[Lawrence, Strong on Music, vol. III, 400,401]

December 21, 1861 Philharmonic concert. Pietro Centemeri sang a romanza by Donizetti, with horn obligatto played by Henry Schmitz.

[Lawrence, Strong on Music, v.III, p.431 n.109]

On February 23, [1862], a concert was presented at the Convent of the Sacred Heart in suburban Manhattenville. Under the direction of Gustavus Schmitz, the gifted organist of the Church of the Immaculate Conception (whose compositions were heard on this occasion), the soloists were the soprano Mesdames Chome and Grosz, the baritone Ridolfi, and the Philharmonic hornist Henry Schmitz, Gustavus Schmitz’s brother.

[Lawrence, Strong on Music, v.III, p.537]

Philharmonic concert at Irving Hall on February 1, 1862: Henry Schmitz played La Solitude a nocturne for French horn by Eisfeld, also a first performance.

[Lawrence, Strong on Music, v.III, p.469]

Mr. F.J. EBEN's concert at Irving Hall, on Saturday evening, was an exceedingly agreeable affair. The gentleman is well known and esteemed as one of our best flute-players. His excellence on the instrument was exhibited in a fantasia on themes from "Norma," which he played exceedingly well, and won and merited an encore. With three amateurs, Mr. EBEN also gave us an agreeable movement from a quartette by KUHLAM, and performed, likewise, in a duo for flute and plano, and in a romanza for flute and horn, (the well-known moliere from "Le Clair.") The remaining numbers of the programme were interpreted by MISS HARRIS, who sings with more care than was her wont; Mrs. J.H. BARCLAY, whose true and pure contralto voice is always beard with pleasure; Mr. S.B. MILLS, whose solo was of course encored; Mr. ED. MOLLENHAUER, who suffered the same fate; Mr. ERNEST PERRING, and Mr. SCHMITZ, Mr. GEO. F. BRISTOW conducted.

New York Times, April 4, 1865

Theodore Thomas included this arrangement of the [Anton Emil] Titl [1809-1882] Serenade on the inaugral concert of his Central Park Garden series on May 25, 1868, featuring Mr. Siedler and Mr. Schmitz as soloists. Arrangement from flute and horn with chamber orchestra; originally for violin and orchestra.

[Rosenthal Archives of the Chicago Symphony Orchestra, A. Theodore Thomas Music Library, no. 8280ms. See http://www.cso.org/publicsearch]

Mr. H. Schmitz performed a Solo for French horn arrangement with [Theodore] Thomas on the October 8, 1870 Popular Programme as part of the Boston Symphony Concert series;

[Rosenthal Archives of the Chicago Symphony Orchestra, A. Theodore Thomas Music Library, notation on record for Lanciers: de l’Opera Lurline: arr. By G Wiegand (no. 8851b ms) http://www.cso.org/publicsearch]

The personnel records and the programs reveal that numbers of the best Philharmonic players were lured away from time to time by artistic or financial bait of by the temptation to appear as solo performers with [Theodore] Thomass fine orchestra. F. Letsch, the trombonist, and H. Scmitz and T. Lotze, the horn players, were on the Philharmonic rolls for 1869-70, but on November 27, 1869, while the Philharmonic was presenting a concert in New York, they were making music with Thomas in Chicago. ([Carl] Bergmann, still the Philharmonics conductor at that time, must have had mixed emotions about his three absentees when, a few days later, in one of Thomass Chicago concerts they took part in a trio composed by Bergmann, himself.) The next year the names of Letsch and Schmitz were qualified in the Philharmonic roster by the phrase did not perform, but anyone attending the Thomas concerts in Boston in October of 1870 could have heard them there.

[Shanet, (1975), p.156 and note.]

Horn players in the Theodore Thomas Music Festival Orchestra, May, 1882
Pieper, C New York
Lotze, Ph [?] New York
Schmitz, H New York
Eller, A New York
Belz, A New York
Schulz, J New York
Schrickel, A Cincinnati
Mueller, C. Chicago
Schanz, H Chicago
[Program of the Music Festival to be held in the Seventh Regiment Armory, New York, May 2, 3, 4, 5, and 6, 1882 under the direction of Theodore Thomas, The Music Festival Association, 1882, p. 131]

Theodore Thomas made his first trips to Chicago in 1856 and 1859 as a member of a troupe accompanying basso Carl Formes.

[Rose Fay Thomas, Memoirs of Theodore Thomas, Moffat, Yard & Co., New York, 1911, p.21]

The New York Times reported his passing in 1914:
Henry Schmitz, one of the founders and for twenty-three years treasurer of the Philharmonic Society and former member of the Jenny Lind company, died of general debility on last Saturday [October 31, 1914] at home 231 West Thirty Sixth Street. He was 91 years old, and during his career was a member of several widely known orchestras.


Special thanks to Jim Schmitz for sharing the quotes from the Chrisopher Schmitz documents and his assistance with the research on the Schmitz family.


1.  In her excellent biography of  George Templeton Strong, Vera Brodsky Lawrence records the following for 1852: "Probably encouraged by the public response to their summer concerts, on October 21 the Seventh Regiment Band proposed a series of six monthly concerts at Metropolitan Hall, commencing in November. 'The Band is composed of some of the first musicians in the City, many of whom are members of the Philharmonic Society and were the principal performers in the celebrated orchestras of Mesdames Jenny Lind, Sontag, and Alboni., ' announced the prospectus. … At their first concert, on November 6, the first half of the program comprised music for orchestra; the second for full military band. [note 106: Evidently the same players: ' … the members of all these bands play wind and stringed instruments, almost any band of wind instruments being able to transform itself into a stringed band (or orchestra) at any moment” (Musical Times, March 29, 1852, p. 307)] … Following the same orchestra/band format a their second concert, on December 4, their program was even more varied: in addition to the usual opera overtures, quicksteps and dance-tunes, they gave the first performance in America of  Schumann’s “Quartetto concertando” (Concertstück) for four horns and orchestra, op. 86 (1849)."
[Lawrence, Strong on Music, vol. II, 308-309]. In his biography of the Reiter brothers (The Horns of Valhalla, Windsong Press, 2012, p..96), Norman Schweikert states that the "Schumann Concerto was not heard in America until 1954 in Chicago..." and is apparently unaware of the above performance.


Callicot, Theophilus Carey, Cyclopedia of universal geography: being a gazetteer of the world : based on the latest censuses, and other authentic sources of information, A.S. Barnes, 1855

Fullerton, A, A Gazetteer of the world: or, Dictionary of geographical knowledge..., Royal Geographical Society, London, 1856, vol. 6, p.537

Krehbiel, Henry Edward, The Philharmonic Society of New York, Novello, Ewer & Co., New York and London, 1892

Lawrence, Vera Brodsky, Strong on Music: The New York Music Scene in the Days of George Templeton Strong, The University of Chicago Press, Chicago, 3 volumes, 1988, 1995, 1999

Shanet, Howard, Philharmonic A History of New York’s Orchestra, Doubleday and Co. Garden City, NY, 1975,

Thomas, Rose Fay, Memoirs of Theodore Thomas, Moffat, Yard & Co., New York, 1911

Schmitz, Jim, Genealogical postings and queries on http://genforum.genealogy.com/, 1999-2000

Registers of Vessels Arriving at the Port of New York from Foreign Ports, 1789-1919. Washington, D.C.: National Archives and Records Administration. M237, rolls 1-95.

Eighth Census of the United States, 1860, New York Ward 17 District 9, New York, New York; Roll: M653_809; Page: 662

Tenth Census of the United States, 1880, New York City, New York, New York; Roll: 879; Page: 561A; Enumeration District 267

Twelfth Census of the United States, 1900, Manhattan, New York, New York; Roll T623_1108; Page 12B; Enumeration District 620

Thirteenth Census of the United States, 1910, Manhattan Ward 12, New York, New York; Roll T624_1021; Page 5A; Enumeration District 530

Obituary Notes, The New York Times, Tuesday, November 3, 1914, P. 11, col.4

Index to Marriages and Deaths in the New York Herald 1856-1863 Vol 2, chapter M, p.199


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