The DuPont Company of Wilmington, Delaware, makers of better things or better living through chemistry presents the Cavalcade of America, starring Paul Lucas. Tonight's DuPont play, They Shall Have Music, stars Paul Lucas as Theodore Thomas. It begins in Chicago on a spring morning in 1903. In the library of his home, Theodore Thomas and his wife, Mina, are awaiting some important visitors. Bravo, my dear, bravo. If you keep on improving, we'll have to engage you to play a concerto with our orchestra. I'd be delighted, myself, just as long as you give me time to practice. Twenty years will do it. Oh, nonsense, my dear. Fifteen will be plenty. Ten-thirty by the clock. Eleven, the messenger said, and you're sure he didn't indicate it? No, dear. All he said was that two of the orchestra's trustees were coming to see you at eleven. Nothing else. You know, Mina, perhaps I was wrong. Perhaps I should have given them two months to raise the money or three. Please, Theodore, do stop pacing. The time is up today, Mina, and if they haven't raised the money, I have to keep my word and resign as the conductor of the Chicago Orchestra. Theodore. And Mina, I don't want to resign. Some of the men in that orchestra I worked with for forty years. Now, don't worry, dear. You never helped. You just sit down in the corner there in your sun. Now. Theodore. Well, if it's a command, I suppose I'll have to. But do go on, dear. Play for me, Mina. A special concert, a concert of memory, shall we say. All right. I'd like to think back, to remember. Let's see. You may begin with Turkey on the Hay. On the Hay? You mean this? Well, whatever they call it. Ah, yes. Yes, how it takes me back through the years. Old Carl Eckert and his theater orchestra in New York. I was playing in the pit then between the acts of those awful melodrams so long ago. And one night after a show, I remember he called me to his office. Sit down, my boy. I have news, good news. We are going to Vienna, you and I, to play music, good music. Bach, we can play Beethoven, Mozart. You received the appointment, Mr. Eckert? Yeah, I am to be the conductor of the Emperor's Orchestra. And you, you will be my first violinist and concertmaster just like he is. Sounds good, eh? Well, Mr. Eckert, I appreciate that, but I'm going to stay in America. Bach, how can you say this? You are a German and a musician. What can you do in America? Play music. Music? Turkey on the Hay? Music? No, good music. Americans have never heard good music played by a fine orchestra. Mr. Eckert, I am going to start the symphony orchestra here in New York. You are so a symphony orchestra. And who pays the money? I will. I will. I sell tickets like in a theater. Sell tickets? Tell me, your wife, she knows? Well, we've talked about it, but just something in the future, a dream, that's all. Yeah, a dream, that's all. In this country will always be a dream. Will always be a dream. So long ago, that day in Eckert's office in New York, that's when I really made up my mind what to do with my life. I mean, I play the Flying Dutchman. Almost as if she knows it will make me remember. Only she couldn't play it as badly as my first orchestra did at the miserable rehearsal in New York. Oh, how badly sounded. No, no, no, gentlemen, I am sorry, but it still sounds... Well, in the third bar, you horns and bassoons, you are still not together. And in the sixth bar, will you horns be sure to play your grace notes in unison and try not to crack? And in the tenth bar, see if you can... Maestro. Yes, yes, yes, Mr. Harper. Speaking for the rest of the players, maestro, I... Well, after an hour of this, we're not sure we'll ever be able to play this strange new music. But gentlemen, the European orchestra seem to have mastered it. But we're not European musicians, sir. What's more important, I'm afraid, is that I am not a European conductor. Gentlemen, all I have to offer you is a great deal of enthusiasm and a small amount of money. But I am confident that with time and patience and hard work, when we give our first concert next month, we'll have an orchestra right here in New York City that will equal the best in Europe. Maestro, the concert was wonderful. The men all played so well, didn't they, Harper? I was proud of them. Our first concert. Eh, a fine evening. Is it not, Harper, to drive home from a concert with the music still fresh in the mind? Yes. Tell me, I know how you like the concert, but how do you think the audience liked it? Well, I... Tell the truth now. Well, I don't think the flying Dutchman was any too popular. Oh. I heard several people say it in the mission that they didn't like Wagner at all. Ah. Then we shall have to play him until they do. And what else? Well, I... I don't think they liked the Beethoven symphony. What? Well, maybe they thought it was a little too long. Long? Well, of course it's long. It's supposed to be long. What do they want, a one-minute symphony? Mr. Thomas, may I make a suggestion? Certainly, certainly. What is it, Harper? Well, it strikes me that what the audience liked most was the Strauss Waltz. Now, mine would be a good idea to have the orchestra play, just at first, I mean, to play more of the music they do like, and then gradually put in a part of the symphony here and a part there until they get... Here and there. Yes, I know, Mr. Thomas, but... Beethoven played in bits and pieces. Yes, I know, I know. You're right. But, sir, we come to the heart of the matter. As you know, I'm not only concert meister, but manager of the orchestra, too. Now, as to tonight's ticket sale, Mr. Thomas... Ah, yes, yes. Well, how much did we lose? The ticket sale realized just $420. And our expenses were $610. And that's lost almost $200. In view of that, Mr. Thomas, will there be... Another concert? Of course. Rehearsal tomorrow at 10. And Harper? Yes, Mr. Thomas? Tell the men we'll play Beethoven's fifth. Well, Harper? A loss, $230, sir. Well, tell the men that next week we'll try our hand at Mozart's Jupiter. You don't have to tell me, Harper. We lost $300. $320, sir. $320, huh? Well, perhaps you're right. Harper, for next week, will announce a popular concert. Polka, Gallup, maybe even a nice Strauss Waltz. Mr. Thomas, Mr. Thomas, only $50 short tonight. So that's what they want, is it? Well, I suppose we'll have to give it to them. And if we play well enough at our future concert, do you think that eventually they might put up with a little bit of a symphony now and then? Well, gentlemen of the orchestra, my congratulations. Tonight we come to an end of another season. I don't have to tell you that this one has not been a financial success, but we've already made progress. Think of it, gentlemen. Along with our popular music tonight, an entire Brahms symphony and no one walked out. Think of it. Next season, gentlemen, besides our concert here in New York, we shall go on tour again and play that kind of music in 64 cities. One day, I promise you that fine music will predominate in this land. Yes, those days and nights, first orchestra. Oh, all so long ago. So what tours we took then. And now I'm in a place much higher. Does she remember too? Does she know what's going through my mind as I hear it now? And how it makes me think back to the time I thought the dream had ended after 20 years and all those countries in all those cities. A dreadful day came and I had to call the orchestra together. Gentlemen, I have something to tell you. We have been playing together for 20 years now, you and I. We have given many, many concerts in more than 80 American cities. All these years I have been making good our losses because I felt sure that in time our audiences would come to need our music and would then find some way to keep us going. And now I realize that my hope has been with our foundation. Gentlemen, I learned this morning that I am $20,000 in debt. I can't go on any longer. Tonight, and I'm very sorry to have to tell you this, the Theodor Thomas Orchestra will play its last concert. Tonight, because it is our last concert together, I want you to play well, gentlemen. Very well. You are listening to the Cabalcade of America starring Paul Lucas, sponsored by the DuPont Company of Wilmington, Delaware, makers of better things for better living through chemistry. The DuPont Cabalcade continues starring Paul Lucas as Theodor Thomas with Jan Miner as the bassist. The DuPont Cabalcade continues starring Paul Lucas as the bassist. The DuPont Cabalcade continues starring Paul Lucas as Theodor Thomas with Jan Miner as Mrs. Thomas. In his Chicago home, Thomas is waiting for the trustees of the Chicago Symphony Orchestra to bring him some important news. His wife, Mina, has been playing the piano for him, and the numbers recalled certain milestones in his life, his futile attempt to bring great music to America. Mina, it's eleven. Won't the trustees do here at eleven? Oh dear, that clock's always fast. They'll be here, and with good news, I know. And now I'm going to play something, too. That piece that Franz Liszt played for us when you gave up the orchestra and we went to Germany years ago. Oh yes. Remember? Yes, that music. How it takes me back. Franz Liszt. How I remember. And above all, how I remember the day we came back from Germany, and those reporters interviewed me when we ducked. Mr. Thomas? Oh, Mr. Thomas. Yes. I'm Woodford from the New York Herald. How do you do? Welcome back, sir. Thank you. You care to comment on the European Orchestra, sir? How do ours compare with theirs? Very well, I'd say. In many respects, ours are better. What plans do you have for the coming season, sir? Well, the same as usual. The New York Philharmonics, the Cincinnati festivals. I'll be conducting other people's orchestras, I'm afraid. Really? What about Chicago? Chicago. The story there the other day that some Chicago businessmen are meeting you in New York. They're supposed to ask you to form an orchestra out there, with all deficits guaranteed. Do you care to comment on that? No, no, I do not, but it's very interesting. Very interesting. Thank you. Thank you, young men. Thank you very much indeed. Mr. Thomas, that reporter you tell us about was right. Mr. Fay and I have called on you because we feel that Chicago needs a symphony orchestra. And we want you to form one for us, sir, using as many of your old orchestra as possible. And our group stands ready to underwrite any and all deficits. Wonderful, gentlemen, but may I suggest considering a different method of supporting an orchestra? Well, what is it you have in mind, Mr. Thomas? A hall, Mr. Fay. An orchestra hall, or billed for the orchestra and owned by the orchestra. With such a hall, the orchestra could be self-supporting. Yes, but the cost. Well, it would take a lot of money, yes, but in the long run it's cheaper than meeting a yearly deficit. Mr. Thomas, we'll promise you this. If the orchestra goes over, as they say, we'll do everything we can to get you your hall. Well, Mr. Thomas, what do you say? Will you accept our offer and come to Chicago? Yes, Mr. Fay, I believe I will. Well, gentlemen, it's good to be in the great city of Chicago. I've missed you. It's nice to stand on a conducted platform before you again. You know, we shall have to work hard and play well, but if we go over, gentlemen, if our music during these concert seasons here are well received, Chicago will build us an orchestra hall and so make us permanent. Right. And so in this and seasons to come, good luck. Well, Mr. Thomas, we've just completed a fine season, even better than the others, I'd say. What's the deficit, Mr. Fay? This year it's $51,000. Oh, gentlemen, now about that orchestra hall, I believe that if we could... I'm afraid it's impossible this year, Mr. Thomas, but don't worry, the orchestra's trustees will take care of the deficit and you can continue to take care of the music again next season. A magnificent season, sir, the finest yet. And the deficit's only $23,000 this year. Yes. Gentlemen, now about the hall, I... We'd like nothing better, sir, believe me, but what with the bad times, we... I'm afraid it's out of the question this year, sir. I see. I understand, gentlemen. Thank you. Mr. Fay, Chicago has had its symphony orchestra for 12 years now. It's time to find out if we have gone over or we have failed. I don't quite understand, sir. I want you to announce to the people of Chicago that if they can't give us $750,000 for a symphony hall, and within the next month, I shall resign as conductor of their orchestra. What? No, sir, we won't let you resign. Do you think I want to, gentlemen? Don't you see? Perhaps it's the only way to know if my efforts have been worthless or if American audiences want and will support good music. Mr. Thomas, if we could wait till next year, if... Mr. Wilson, I am an old man. A long time ago, I set out to do something. I am afraid it's time now to learn if I have succeeded. It's now or never. Mina, Mina, the doorbell. They've come. The orchestra structures are here at last. I know. Come in, gentlemen. Good morning, Mrs. Townsend. Good morning. Oh, you don't know how I've worried and... Mr. Thomas, I have the figures right here in this envelope somewhere. Yes, yes, yes. Let me see. Here. Here it is. Total contribution. Yes, yes. $758,000.84. Oh, the other one. The orchestra will have its symphony hall. We made it, huh? Well, what do you think of that? Of course, I'm not too surprised. Of course not, but one thing may surprise you. There were over 8,000 contributors. What's that? 8,000 people? Did you hear that, Mina? Well, it looks like we have gone over, doesn't it, my dear? Just as I've always believed, our people love good music. Ladies and gentlemen, this is an historic occasion. Tonight we dedicate our orchestra hall. I'm sure I speak for all the people of Chicago when I say that this auditorium is our gift to our orchestra and to one of the great conductors of our land whose music, after all, has really built it. Ladies and gentlemen, I give you Theodore Thomas. Thank you. Thank you. Thank you, my friends. No, our friends, for I speak tonight for the orchestra. We are very happy tonight. We know that when the time comes for us to leave you, this magnificent hall will be here, a fine orchestra will be here, great music will be here, and you and your children and your grandchildren will be here to listen. It is impossible for us to thank you in words, so let us do it in music. We shall play the professional march from the opera Tannhäuser. Play well, gentlemen. Play very well. Theodore Thomas, one of America's great musical conductors. This year as the Chicago Symphony Orchestra, which he formed, celebrates its 60th anniversary, concerts are still being given in Orchestra Hall on Michigan Avenue, America's finest tribute to a man who all his life worked hard and long and fulfilled the dream of his youth to bring great music to his fellow citizens. Our thanks to Paul Lucas and the Cabalcade Players for tonight's DuPont story, They Shall Have Music. Next week, we will bring you a special DuPont Cabalcade broadcast. It will be the eve of the 4th of July, the 175th anniversary of one of the world's great testaments of human freedom, the Declaration of Independence, the Declaration of Independence, and the Declaration of Independence Day. The 4th of July, the 175th anniversary of one of the world's great testaments of human freedom, the Declaration of Independence. Our story is called Sound the Great Veil. Appearing in the role of Thomas Jefferson will be the popular screen and television star, Lee Bowman. Be sure to join us. Tonight's DuPont Cabalcade, They Shall Have Music, starring Paul Lucas, was written by Warner Law, was adapted from the book Memoirs of Theodore Thomas by Rose Faye Thomas, published by Moffat Yard and Company. Music was conducted by Donald Borey. Music was composed by Arden Cornwell. The program was directed by John Zoller. This is Si Harris speaking. Don't forget, next week, our star, Lee Bowman, our play, Sound the Great Veil. The DuPont Cabalcade of America comes to you from the Belasco Theater in New York, and is sponsored by the DuPont Company of Wilmington, Delaware, where there's a better thing for a better living through chemistry.
