Only a few days remain until the thirty-fifth Saengerfest and the diamond jubilee of the North American Saengerbund will be with us.

The Deutschtum of the entire country is looking forward to this significant celebration with a feeling of anxious suspense that is thoroughly justified, for the success of the event will assure, for many years to come, the continued existence of a society [the North American Saengerbund] that has always been one of the most important factors in the fulfillment of the civilizing (kulturhistorische) mission of the Germans in this country. Wherever there was occasion to gain new ground for America's Deutschtum through the promotion of art and the convivial spirit, the North American Saengerbund was always to 2be found in the front ranks. And for many decades, Chicago in particular has had in its German singers and directors a sturdy pillar, which, firmly imbedded in the foundation of the city's first cultural beginnings, has proved the mainstay of the superstructure [i. e., Chicago's subsequent cultural development] in later years.

First of all, the coming festival has a cultural significance for Chicago that should not be underestimated. When the brotherhood of singers from every part of the country assembles in this city, there will be achieved by this Saengerfest a fastening together of the inner threads between the different classes of our city's population- those threads which now hang at loose ends as a result of the misunderstandings which arose during the war years and have persisted to this very day. The supreme power of the German art-song will again open the way that will lead to a better mutual understanding. What words and deeds could not achieve will be attained by the art-song. And this will be accomplished all the more easily since Chicagoans are, in general, sympathetically inclined toward music. Thus the German art-song, stealing into the 3hearts of thousands, will build a bridge to the sympathies of Americans in all classes of the population.

But this Saengerfest--like those that have gone before it--is of enormous significance for the entire country as a contribution to the cultural development of America. Even today, this may not perhaps be generally recognized. But when the history of America's Deutschtum is finally written down; when all the antagonisms have become reconciled; when the discordant elements have been cast in one harmonious mold--the concept of a great American nation--only then will one be able properly to evaluate what has been accomplished in this respect by the German singers. Only then will one find the necessary acknowledgment of the achievements of all these splendid souls who, in their hard struggle for the dissemination of things of the spirit, have brought to this country their German industry, German courage, the German art-song, and German ideals.

After almost two years of painstaking and often disheartening preparation, the great Saengerfest is now ready--complete to the last detail. This was no easy 4task. Chicago is today a city of nearly three million people. Many years' experience has shown that the greater the city the more difficult it is to organize a Saengerfest of this magnitude. In a small city, the entire populace, naturally enough, is interested in such a festival. For weeks and months ahead, everybody talks about the coming event, and everybody works hard for its success. But how different conditions are in a city like Chicago! In Chicago, the public has been spoiled by operas, by symphony concerts, and by a wide variety of other musical performances. In this city, a Saengerfest, despite its magnitude, despite its enormous scope with respect to the number of participating groups, is not the world-shattering event that such a festival would be in a smaller city. Here in Chicago a mighty effort is necessary in order to arouse general interest and to convince the public that the Saengerfest is actually an event of more than ordinary significance.

As has already been stated, the festival officials have done everything they possibly could. To make the festival an actual success now lies in the hands of the people of Chicago, chiefly, of course, in the hands of the citizens of 5German descent, who should regard it as a simple duty of honor to attend all the concerts in as great numbers as possible.

After an interval of more than forty years, Chicago is once more the gathering place of all those (German) racial brothers (Stammesgenossen) who, despite the dark days and the troubles of war, have remained loyal and devoted to the banner of the German choral song. From East and West, from North and South, the good singers, like the children of one great family, are coming to our city in order to pay homage to their mother--noble Dame Music. And these thousands, who have willingly undertaken the discomforts of a long journey, must be given a joyful reception by their brothers and sisters in Chicago.

Unity must be the watchword during the festival days. United by the sublime German art-song, the (German) racial brothers of all America should gather in our city to honor German music and German ideals. And because the brothers and sisters of German descent will gather in our city under the banner of noble 6music--because of that reason alone, the stamp of a cultural endeavor will be impressed upon the whole festival.

This should be a great family festival in the true sense of the word. And if some sarcastic person should say that he would have a good deal more confidence in the festival were it held by the Irish, then let the entire Deutschtum of our city prove by deed--that is, by the participation of young and old--that he is badly mistaken. The great Saengerfest will be and must be a success, of which even our children and our children's children will speak with shining eyes!

THE FESTIVAL PROGRAM

Wednesday Evening at 8:15, June 11, 1924

Reception Concert

Directors: Karl Reckzeh, Wilhelm Boeppler, Frederick Stock

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Soloists: Marie Sundelius, Soprano; Alexander Kipnis, Bass

1. Prelude to "Die Meistersinger"...................................Wagner Chicago Symphony Orchestra Conductor, Frederick Stock

2. Harmonic.......................Das deutsche Lied...............Attenhofer Chicago Saengerfest Maennerchor, A Cappella Director, Karl Reckzeh

3. Aria: Dich, teuere Halle, from "Tannhaeuser"................Wagner Marie Sundelius and Orchestra

4. Hallelujah, from "The Messiah"....................................C. F. Handel Chicago Saengerfest Mixed Chorus and Orchestra Director, Wilhelm Boeppler

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5. Address of Welcome

Honorable William E. Dever, Mayor of Chicago

Ceremonial Act (Festakt): Presentation of the [North American Saenger-] Bund Flag

Transfer of the Bund Flag from Louisville, Kentucky, by Fred O. Nuetzel, Second Vice-president of the Bund

Acceptance of the Bund Flag by Charles G. Schmidt, President of the Bund, and Address by the Latter

Presentation of the Bund Flag to the Representative of the Chicago Singers, Ernest J. Kruetgen, Festival President

Song of the Bund: Brueder, reicht die Hand zum Bunde--Wolfgang A. Mozart Chicago Saengerfest Maennerchor, A Cappella Director, Karl Reckzeh

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6. Symphonic Poem No. 3, "Les Preludes".........................Liszt Chicago Symphony Orchestra Conductor, Frederick Stock

7. Du Hirte Israels.....................................................Bortniansky Chicago Saengerfest Mixed Chorus, A Cappella Director, Wilhelm Boeppler

8. Wotan's Farewell, from "Die Walkuere"........................Wagner Alexander Kipnis and Orchestra

9. Pilgrims' Chorus, from "Tannhaeuser"...........................Wagner Chicago Saengerfest Maennerchor and Orchestra Director, Karl Reckzeh

10. Chorale and Finale, "Die Meistersinger"........................Wagner Chicago Saengerfest Mixed Chorus and Orchestra Director, William Boeppler

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Thursday Afternoon at 2:15, June 12, 1924 First Afternoon Concert

Directors: Wilhelm Boeppler, Frederick Stock, Hugo Anschuetz

Soloists: Kathryn Meisle, Alto; Alexander Kipnis, Bass

1. Overture, "Furyanthe".....................................Weber Chicago Symphony Orchestra Conductor, Frederick Stock

2.Die Ehre Gottes.............................................Beethoven Chicago Saengerfest Mixed Chorus and Wind Orchestra Conductor, Wilhelm Boeppler

3.An die Musik.................................................Schubert

Die Allmacht...................................................Schubert Kathryn Meisle and Orchestra

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4. Das ewiga Lied................................................ E. Koellner

Dort Liegt die Heimat mir am Rhein.......................... C. Attenhofer Vereinigte Maennerchoere of St. Louis, Missouri, A Cappella Director, Hugo Anschuetz

5. Cathedral Scene and Finale, "Rhenish" Symphony in E-flat......................................... R. Schumann Chicago Symphony Orchestra Conductor, Frederick Stock

6. Beautiful Saviour............................................. F. Melius Christiansen Chicago Saengerfest Mixed Chorus, A Cappella, and Kathryn Meisle Director, Wilhelm Boeppler

7. In diesen heil'gen Halle, from "The Magic Flute"............... Mozart

Blick ich umher, from "Tannhacuser"............................... Wagner Alexander Kipnis and Orchestra

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8. Hungarian Dances, Nos. 17-21........................Brahms-Dvorak Chicago Symphony Orchestra Conductor, Frederick Stock

9. In einem kuehlen Grunde.............................Friedrich Glueck Chicago Saengerfest Mixed Chorus, A Cappella

Director, Wilhelm Boeppler

Thursday Evening at 8:15, June 12, 1924 First Bund Concert with the Co-operation of the Saengerbund of the Northwest

Directors: Karl Reckzeh, H. A. Rehberg, Frederick Stock

Soloists: Marie Sundelius, Soprano; Kathryn Meisle, Alto

1. Overture, "Liebesfruehling"...........................G. Schumann

Chicago Symphony Orchestra

Conductor, Frederick Stock

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2. Das ist der Tag des Herrn........................... Kreutzer Massed Maennerchor, A Cappella Director, Karl Reckzeh

3. Die Abendglocken rufen............................. Franz Abt Massed Maennerchor, A Cappella Director, H. A. Rehberg

4. Allerseelen............................................. Richard Strauss

Morgen..................................................... Richard Strauss

Staendchen................................................ Richard Strauss Marie Sundelius and Orchestra

5. Annie Laurie............................................ Scotch Folk Song Massed Maennerchor, A Cappella Director, Karl Reckzeh

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6. Scherzo and Romanza, from Suite for Orchestra, Opus 19.... Dohnanyi Chicago Symphony Orchestra Conductor, Frederick Stock

7. Macht der Musik.....................................................Kornig Massed Maennerchor, Marie Sundelius, and Orchestra Director, Karl Reckzeh

8. Ach, mein Sohn, from "The Prophet"............................ Meyerbeer Kathryn Meisle and Orchestra

9. Wie's daheim war.................................................. G. Wohlgemuth Massed Maennerchor, A Cappella Director, H. A. Rehberg

10. Mein Herz ist im Hochland....................................... arranged by Ignaz Heim Massed Maennerchor, A Cappella Director, Karl Reckzeh

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11. Valse de Concert No. 2, F Major, Opus 51.................. Glazunov

Chicago Symphony Orchestra

Conductor, Frederick Stock

12. Altniederlaendisches Dankgebet.............................. [arranged by] Kremser

Massed Maennerchor and Orchestra

Director, H. A. Rehberg

Friday Afternoon at 2:15, June 13, 1924

Second Afternoon Concert

Directors: Hans Biedermann, Frederick Stock

Soloists: Kathryn Meisle, Alto

1. Prelude to "Hansel and Gretel"................................. Humperdinck

Chicago Symphony Orchestra

Conductor, Frederick Stock

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2. Spring, Summer, and Fall in German Folk Songs.......................arranged by Hans Biedermann Saengerfest Children's Chorus Director, Hans Biedermann

3. Hochamt im Walde....................................................... R. Becker Junger Maennerchor, Chicago Lehrerchor, Schiller Liedertafel, Liedertafel Vorwaerts, Turner Maennerchor; A Cappella Director, Hans Biedermann

4. Aria: Mein Herz begluecket sich [Mon coeur s'ouvre a ta voix], from "Samson and Delilah"..................................... Saint-Saens

Kathryn Meisle and Orchestra

5. Down in the Woodland................................................... Elgar - Bliss

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Welcome, Sweet Springtime....................Rubinstein - Rich The Big Brown Bear..............................Mana - Zucca Saengerfest Children's Chorus and Orchestra Director, Hans Biedermann

6. Selections from the "Nutcracker" Suite...............................Tchaikovsky Chicago Symphony Orchestra Conductor, Frederick Stock

7. Beim Holderstrauch..............................Kirchner Nur die Hoffnung festgehalten.................................... Surlaeuly

Junger Maennerchor, Chicago Lehrerchor,

Liedertafel Vorwaerts, Schiller Liedertafel,

Turner Maennerchor; A Cappella

Director, Hans Biedermann

8. Lied..................................................Brahms

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Erlkoenig.................................................. Schubert Kathryn Meisle and Orchestra

9. Hellafest, from the "Koenigskinder" Suite.......... Humperdinck Chicago Symphony Orchestra Conductor, Frederick Stock

10. Winter and Christmas in German Folk Songs....................arranged by Hans Biedermann Saengerfest Children's Chorus and Maennerchor Director, Hans Biedermann

Friday Evening at 8:15, June 13, 1924 Second Bund Concert with the Co-operation of the Saengerbund of the Northwest

Directors: Karl Reckzeh, H. A. Rehberg, Frederick Stock; Edward Strubel, Composer of the Prize Song

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Soloists: Marie Sundelius, Soprano; Alexander Kipnis, Bass

1. Overture, "Sakuntala"............................... Goldmark Chicago Symphony Orchestra Conductor, Frederick Stock

2. Es droehnt vom Turm................................ F. Janoske Massed Maennerchor, A Cappella Director, H. A. Rehberg

3. Sah ein Knab' ein Roeslein stehn.................... Werner Massed Maennerchor, A Cappella Director, Karl Reckzeh

4. Aria: Nun strahlt im vollen Glanze, from "The Creation"....Haydn Alexander Kipnis and Orchestra

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5. Prize Song: "When Evening Shadows Fall"..............Edward Strubel

(Poem by James Whitcomb Riley) Massed Maennerchor, A Cappella Director, Edward Strubel

Award of Prizes by Mr. Adolph Gill, President of the Vereinigte Maennerchoere of Chicago, to the Prize-winning Composers: Edward Strubel ("When Evening Shadows Fall"); Louis Victor Saar ("A Little Song for Two") ;Edward Schaumloeffel ("My Stout Old Heart and I")

6. "Capriccio Espagnol", Opus 34...............Rimski - Korsakov Chicago Symphony Orchestra Conductor, Frederick Stock

7. Dein gedenk' ich, Margareta.................Meyer - Helmund

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Massed Maennerchor and Orchestra Director, H. A. Rehberg

8. Elsas Traum, from "Lohengrin".................................................... Wagner Marie Sundelius and Orchestra

9. Morgen muss ich fort von hier.................................................... Silcher Massed Maennerchor, A Cappella Director, H. A. Rehberg

10. Love Scene from "Feuersnot".................................................... Richard Strauss

11. Am Altar der Wahrheit........................................................... Mohr Massed Maennerchor and Orchestra Director, Karl Reckzeh

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The four directors who will lead the choruses and the orchestra at the concerts are no strangers to residents of Chicago and its vicinity.

Karl Reckzeh, director of the Massed Maennerchor, was born in Saarlouis, Germany, and received his education at the gymnasium of that city. After completing his general schooling, he studied in Weimar at the famous Stavenhagen Klavierschule, later going to the Leipzig Conservatory. In 1900 he was called from Leipzig to the Chicago Music College, and soon his name became known far and wide as a piano teacher and, later, as a choral director. Faithfully devoted to the noble art of German music and an especial admirer of German songs for male voices, Reckzeh unhesitatingly accepted the proferred directorship of the Senefelder Liederkranz. The successes he achieved soon became generally known, and in the course of time he occupied the director's post in several other societies, among them the Orpheus [Maennerchor], the Harmonie [Gesangverein], the Saengerbund Freiheit, 23and the Indianapolis Maennerchor. The programs which the Vereinigte Maennerchoere have held under Reckzeh's direction have always been outstanding events; the concerts of this organization are attended with pleasure by lovers of the beautiful choral song.

Director H. A. Rehberg is another festival director who will conduct the male choruses. He, too, has acquired an excellent reputation in the course of his many years of activity in America. Born in Frankfurt am Main, he began to serve noble Dame Music at the age of twelve, diligently studying violin and piano. He then went to Weimar in Thueringen to pursue his studies for an extended period at the school of music. As a result of a severe illness contracted by his father, he was forced to return to Frankfurt, which he left at the age of seventeen to come to America. He settled in Chicago and studied violin under Adolph Rosenbecker. After four years of diligent study, he began to apply himself to the subject of music in general, and learned harmony, counterpoint, composition, and orchestration. He then turned to the study of 24songs for men's voices, and in 1897 assumed the directorship of the Reuter Liedertafel. In 1901 he was chosen musical leader of the Arion Maennerchor (of the North Side); in 1905 he was appointed director of the Lyra Damenchor; and in 1906 he was called to the Abt Maennerchor, now known as the Richard Wagner Saengerbund. Rehberg still retains the latter three posts. He has also been director of the Teutonia Maennerchor since 1916, and of the Schwaebischer Saengerbund since. 1923. Since 1906 Rehberg has also been the musical leader of the Vereinigte Maennerchoere, and in this post, especially as a result of the successful concerts arranged under his direction,has acquired a formidable reputation as a choral director.

Wilhelm Boeppler, who will direct the mixed chorus of fifteen hundred voices at the concerts, came to America from Krefeld, Germany in the year 1894, and first settled in Milwaukee. His teachers in Germany were musicians of international fame; among them were Reinecke, Fiedler, and Lange in Leipzig, Euziam in Kreuznach, and Arnold Mendelssohn in Bonn. Prior to his departure to America, Boeppler had been the director of a great church choir in Krefeld 25for seven years. In Milwaukee he soon founded the Milwaukee A Cappella Chorus, which recently celebrated its silver jubilee.

In 1902 Boeppler responded to the call of the Germania Club of Chicago; he moved to this city and became the founder of the famous Chicago Singverein. He also conducted the Turner Maennerchor and the Boeppler Symphony Orchestra. In 1907 he again assumed the direction of the Milwaukee A Cappella Chorus, and several years later became director of the Wisconsin Conservatory of Music in the same city (Milwaukee). However, he did not abandon his post as director of the Chicago Singverein.

In all of his undertakings, the efforts of Wilhelm Boeppler have been attended by the greatest of success. In particular, the concerts of the Singverein held under his direction have been widely acclaimed; the performances of Max Bruch's "Odysseus" and Haydn's "Four Seasons" presented by the Singverein under Boeppler's talented direction cannot be surpassed by any chorus whatever.

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Hans Biedermann, the director of the festival children's chorus, comes from Neudamm in Neumark. He received his general schooling and his musical education in Berlin, the latter at what was then known as the Royal Academy for Church Music. After completing his studies, he was appointed singing and music instructor at the German, Austrian, and Swiss Hochschule in Constantinople. The Greco-Turkish war finally forced him to abandon this post, which he occupied for four years. He then took over a state--paid position as singing teacher in the Hochschule of a small city in Prussia.

However, Biedermann shortly afterwards responded to the siren call of several of his school-day comrades, who described the "City of Millions" on Lake Michigan, which they had visited during the World's Fair, as a desirable place to establish a new home. And so Hans Biedermann immigrated to Chicago. Hearing that a certain German singing society, the Frohsinn, was seeking a director, he applied for the highly regarded post, and in the spring of 1899 he was chosen musical leader of this old and, at that time, very active Maennerchor.

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His reputation as an outstanding director was quickly established, and today the following societies look back with pride upon the successes they have achieved under the leadership of their master director in concerts and other public performances: the Chicago Lehrerchor (male chorus and mixed chorus), the Junger Maennerchor, the Vorwaerts Liedertafel, the Schiller Liedertafel, the Turner Maennerchor, the song division of the Fortschritt Women's Sick Benefit Society, and the Chicago Baecker Gesangverein. Biedermann is also a distinguished musician and teacher, and several artists are indebted to him for their successful careers.

[Translator's note: The meager sketch of the career of Frederick Stock has been omitted, since fuller details are available in standard music encyclopedias.]

The Festival Hall

When the question of a festival hall was first broached more than two years 28ago, one of the first possibilities to be considered was, of course, the Coliseum. The latter was inspected by the committee, which found itself confronted by several difficulties; for example, the problem of accomodations for the many thousands of singers and concert-goers was not easy to solve. For this reason, an attempt was made to obtain a suitable hall in some other way, and three possibilities were taken under consideration: the Municipal Pier, Cubs Park (Wrigley Field), and a large tent. The last--named possibility was first examined.....But it soon appeared that the cost of constructing a stage and seating facilities was prohibitively high. An attempt was then made to secure Cubs Park. The directors of this baseball park willingly granted permission to use the premises.....However, the plans for the roof supports and the platform called for the digging of several holes which would roughen the baseball diamond for a considerable period of time; therefore, the entire plan had to be abandoned.

The Municipal Pier was now the last remaining possibility.....The entire cost [of remodeling the structure] was determined at approximately one million 29dollars, which sum was to be raised by a municipal bond issue. The members of the City Council were unanimous in their support of the plan, and Mayor William Hale Thompson enthusiastically signified his approval of the project .....But when Schwartz and Richard, members of the Council, attempted to introduce the measure, the enemies of the Mayor raised a terrific squawk; they hurled the charge of extravagance at his head, and attempted to make political capital out of the hall question. This led the festival officials to abandon the plan at once.

The Coliseum was now reconsidered, and it was soon determined that everything could be satisfactorily arranged. Here too, however, a black cloud appeared on the horizon of the hall committee; there was a report that the Republican or the Democratic Convention would be held in the Coliseum. When this did not materialize, the festival officials began to breathe freely again, since a clear field now lay before them. Mr. Daniel Mueller, the "father of the festival hall," together with other members of the committee, worked untiringly, day in and day out, to remodel the Coliseum....for the 30Saengerfest. [Translator's note: Various details of the remodelling work necessary to prepare a suitable stage, an orchestra pit, and seating facilities are discussed in the next few sentences.] Thus the problem of a hall was solved--a solution which cost the good committee members many a drop of sweat.