and most enduring work was accomplished here, where he organized the
Oratorio Society, which has had a continuous existence since 1873, and
the Symphony Society, which, amid many vicissitudes and with several
reincarnations, has lived since 1877. The establishment of German opera,
though it did not endure, was yet his crowning achievement, and at the
culmination of the glory which it brought him he died. But of that
presently and in its proper place.

The artistic basis of the scheme which Dr. Damrosch put into effect was
essentially German. It dispensed with the star system (except so far as
the engagement of Mme. Materna was a deference to it) and substituted
instead a good ensemble, unusual attention to the mounting of
operas, and the bringing out of dramatic effects through other stage
accessories. The change of base brought with it of necessity a change
of repertory, and the Italian operas which had formed the staple of
New York lists for years were put aside for the masterpieces of German
and French composers. One or two efforts to include works of a lighter
lyrical character sufficed to demonstrate the wisdom of a strict
adherence to the list of tragic works of large dimensions and
spectacular nature, and the sagacity of Dr. Damrosch was shown in
nothing more clearly than in his choice of operas for representation.

There were few familiar names in the list of singers printed in the
prospectus. The most familiar, and the greatest, was that which
has already been announced as the one concession made to the star
system--Mme. Amalia Materna. Twenty-five years ago the story of Bayreuth
was a household word throughout the civilized world, and Mme. Materna
had been associated with the Wagner festivals since the first held, in
1876. In May, 1882, she was brought to New York by Theodore Thomas for
the Music Festival, held in the Seventh Regiment Armory, and with her