Karl Muck - National Anthem Controversy

National Anthem Controversy

When the United States entered World War I in the spring of 1917, Muck offered to resign his position as music director of the BSO. He anticipated that his natural sympathies for Germany, where he was born and spent most of his career despite his Swiss citizenship, might give offense. Henry Lee Higginson, the orchestra’s founder and financer, declined it and instead signed Muck to another five-year contract. Muck had fears for his own safety, but Higginson gave him assurances that as an artist he had nothing to fear. Thereafter he became very sensitive to avoid giving offense. The orchestra's publicity manager later wrote: "A good and patriotic German, he had become greatly attached to this country, and altogether he was a thoroughly unhappy man." Nevertheless, he programmed all-German concerts on his first tour of American cities following U.S. entry into the war, which some found not at all sensitive to the public's mood in wartime.

In the fall of 1917, some orchestras like the New York Orchestra Society started performing "The Star-Spangled Banner" at all their concerts. Members of the BSO management team discussed programming the anthem for weeks, but without any sense of the issue's importance. Moreover, the orchestra's manager, Charles A. Ellis, did not want to embarrass Muck by asking him to do it, given Muck's close attachment to Germany and his personal relationship with the Kaiser.

The BSO performed regularly at Infantry Hall in Providence, Rhode Island, where the Providence Journal had been attacking Muck for his ties to the Kaiser. The BSO's managers anticipated there might be trouble during their October 1917 visit. One member of the management team later said that Major Higginson, the BSO's chairman, was "pugnacious" while Ellis, the manager, was "rather nervous" as they joined the orchestra on the trip. Higginson took measures to protect Muck in case of serious trouble.

On October 30, 1917, the day of the concert, the Providence Journal published an editorial that said "Professor Muck is a man of notoriously pro-German affiliations and the programme as announced is almost entirely German in character." It called for the BSO to perform the National Anthem that night "to put Professor Muck to the test." About to leave Boston for Providence, Higginson and Ellis received two requests, one from a local patriotic organization and another from the heads of local music clubs, asking the BSO to play the anthem. Muck never saw the request, but Higginson and others viewed it as the work of John R. Rathom, editor and publisher of the Providence Journal, whose motto was "Raise hell and sell newspapers." They dismissed the request without much consideration and the concert went off without incident. Muck only learned of the petition on the orchestra's train ride back to Boston that same night. Shocked and somewhat fearful, he said he did not object to playing the anthem, that it was fitting for him as a guest to accommodate the wishes of his hosts.

Now that the BSO had failed to play the anthem, Rathom created the false story that Muck had refused to perform it, accused Muck of treason and called him a spy and a hater of all things American.

The story had a life of its own, however. As the orchestra publicity manager wrote years later of Muck, "his fate, so far as America was concerned, was settled that night in Providence because of the short-sighted stubbornness of Henry L. Higginson and Charles A. Ellis." The American Defense Society called for Muck's internment. The Orchestra found its November Baltimore engagement canceled, with even Cardinal Gibbons adding his voice to denunciations of Muck. Theodore Roosevelt denounced the maestro. A rival conductor, Walter Damrosch, Music Director of the New York Symphony Society (later the New York Philharmonic), said that Muck's "cynical disregard of the sanctity of our national air" showed disrespect for the emotions of his audience and led to a disrespect for the great heritage of German music.

Major Higginson claimed responsibility for the BSO's initial failure to play the anthem, with little effect on outraged press coverage. He visited the Washington, D.C. headquarters of the Department of Justice where he received assurances that the government had no issue with any member of the orchestra. He tried to present the issue as one of artistic independence, saying he would rather disband the orchestra than allow anyone to dictate its programming. Muck took a similar tack with this statement: "Art is a thing by itself, and not related to any particular nation or group. Therefore, it would be a gross mistake, a violation of artistic taste and principles for such an organization as ours to play patriotic airs. Does the public think that the Symphony Orchestra is a military band or a ballroom orchestra?"

Back in Boston, the BSO found curiosity and support. On November 2, 1917, the crowd that filled a Friday afternoon concert at Symphony Hall read a program insert announcing that the national anthem would follow every BSO concert and applauded when Higginson appeared. Higginson announced that Muck had once again tendered his resignation so that "no prejudice against him may prejudice the welfare of the orchestra" and Higginson had yet to accept it. The audience then greeted the entry of Muck with a standing ovation and rose to applaud again after he led the orchestra in a performance of "The Star-Spangled Banner".

The New York Times pointed out that the entire affair could have been avoided if Higginson and Muck had had a better sense of the public sentiment. They should have anticipated the request for the anthem and should have programmed it in the first place. The paper blamed the entire affair on Muck and "the then obstinate management of the Boston Symphony Orchestra."

In November, the BSO performed in New York City, where Higginson and Ellis reluctantly gave in to Muck's insistence on playing the anthem. Critics were not completely satisfied and criticized the arrangement Muck used as "cheap" and "undignified" without realizing it was the work of Victor Herbert, who in addition to his popular Broadway operettas had also written serious symphonic works and conducted both the New York Philharmonic and the Pittsburgh Symphony. When the orchestra returned to New York in December, Muck used a new arrangement that proved a critical success. It was the work of BSO concertmaster Anton Witek, "the most pro-German of all the Germans in the orchestra."