(eBook PDF) Electrical Wiring Residential 19th

Edition download

https://ebooksecure.com/product/ebook-pdf-electrical-wiring-
residential-19th-edition/

Download full version ebook from https://ebooksecure.com

We believe these products will be a great fit for you. Click
the link to download now, or visit ebooksecure.com
to discover even more!

(eBook PDF) Electrical Wiring Residential 19th Edition

http://ebooksecure.com/product/ebook-pdf-electrical-wiring-
residential-19th-edition-2/

Electrical Wiring Residential 19th Edition Ray C.

Mullin - eBook PDF

https://ebooksecure.com/download/electrical-wiring-residential-
ebook-pdf/

(eBook PDF) Electrical Wiring Residential 20th Edition

http://ebooksecure.com/product/ebook-pdf-electrical-wiring-
residential-20th-edition/

(eBook PDF) Electrical Wiring: Residential 8th Canadian

Edition

http://ebooksecure.com/product/ebook-pdf-electrical-wiring-
residential-8th-canadian-edition/
(Original PDF) Electrical Wiring Residential 7th
Canadian Edition

http://ebooksecure.com/product/original-pdf-electrical-wiring-
residential-7th-canadian-edition/

(eBook PDF) Electrical Wiring Practice 8th Edition

http://ebooksecure.com/product/ebook-pdf-electrical-wiring-
practice-8th-edition/

(Original PDF) Electrical Wiring Industrial 5th

Canadian Edition

http://ebooksecure.com/product/original-pdf-electrical-wiring-
industrial-5th-canadian-edition/

(Original PDF) Electrical Wiring Commercial 7th

Canadian Edition

http://ebooksecure.com/product/original-pdf-electrical-wiring-
commercial-7th-canadian-edition/

Electrical Wiring Industrial. 16th Edition Stephen L.

Herman - eBook PDF

https://ebooksecure.com/download/electrical-wiring-industrial-
ebook-pdf/
 CONTENTS vii

Connectors for Installing Nonmetallic-Sheathed and

Armored Cable ......................................... 133
Intermediate Metal Conduit (Article 342), Rigid Metal Conduit
(Article 344), Rigid PVC Conduit (Article 352),
and Electrical Metallic Tubing (Article 358) . .................. 133
Flexible Connections ....................................... 139
Electrical Nonmetallic Tubing (ENT) (Article 362) ............... 139
Service-Entrance Cable (Article 338) .......................... 142
Review .................................................. 149

Conductor Identification, Switch Control of Lighting

Circuits, Bonding/Grounding of Wiring Devices, and
Induction Heating . .................................. 155
Objectives ................................................ 155
Conductor Identification [NEc:19 Articles 200 and 210] ................. 156
Connecting Wiring Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
Push-In Terminations ....................................... 162
Toggle Switches (Article 404) . ............................... 163
Combination Wiring Devices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Common Code Violation Taps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Timers .................................................. 184
Review .................................................. 186

Ground-Fault Circuit Interrupters, Arc-Fault Circuit

Interrupters, Surge Protective Devices, Immersion
Detection Circuit Interrupters, and Appliance
Leakage Current Interrupters . ....................... 190
Objectives ................................................ 190
Electrical Shock Hazards. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Code Requirements for Ground-Fault Circuit Interrupters (210.8) . ... 191
Ground-Fault Circuit Interrupter Requirements ........................ 198
Feed-Through Ground-Fault Circuit Interrupter .................. 199
Testing and Recording of Test Data for GFCI Receptacles . . . . . . . . . . 203
Arc-Fault Circuit Interrupters (AFCis) ......................... 204
Other Special-Purpose Receptacles ............................ 216
Replacing Existing Receptacles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
Personnel Ground-Fault Protection for All Temporary Wiring ....... 222
Immersion Detection Circuit Interrupters (IDCis) and Appliance
Leakage Current Interrupters (ALCis) ........................ 224
Surge Protective Devices (SPDs) .............................. 224
Review .................................................. 227

018 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-202
 Luminaires, Ballasts, and Lamps . .......... . ........... 232
Objectives ................................................ 232
What is a Luminaire? ....................................... 233
Types of Luminaires ........................................ 233
Fluorescent Ballasts and Lamps, Incandescent
Lamps, and LEDs ....................................... 241
Lamp Efficacy ............................................ 253
Lamp Color Temperature .................................... 253
Review .................................................. 257

Lighting Branch Circuit for the Front Bedroom ........ 260

Objectives ................................................ 260
Introduction .............................................. 261
Residential Lighting ........................................ 261
Laying Out General-Purpose Lighting and Receptacle Circuits ...... 262
Estimating Loads for Outlets ................................. 264
Symbols ................................................. 267
Drawing a Cable Layout and Wiring Diagram ................... 267
Drawing the Wiring Diagram of a Lighting Circuit. ............... 267
Lighting Branch Circuit Al 6 for the Front Bedroom .............. 269
Determining the Size of Outlet Boxes, Device Boxes,
Junction Boxes, and Conduit Bodies ......................... 271
Grounding of Wall Boxes .................................... 271
Positioning of Split-Wired Receptacles ......................... 272
Positioning of Receptacles Near Electric Baseboard Heating ........ 272
Luminaires in Clothes Closets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272
Review .................................................. 277

Lighting Branch Circuit for the Master Bedroom ...... 281

Objectives ................................................ 281
Introduction .............................................. 282
Lighting Branch Circuit Al 9 for the Master Bedroom ............. 282
Sliding Glass Doors and Fixed Glass Panels ..................... 283
Selection of Boxes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Ceiling-Suspended (Paddle) Fans ............................. 285
Review .................................................. 290

right 2018 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-202
 CONTENTS ix

Lighting Branch Circuit-Bathrooms, Hallway ........ . 294

Objectives ................................................ 294
Introduction .............................................. 295
Lighting Branch Circuit Al 4 for the Hallway and Bathrooms ....... 295
Hanging Luminaires in Bathrooms . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299
Hallway Lighting .......................................... 299
Receptacle Outlets in Hallways ............................... 300
Equipment Grounding ...................................... 300
Review .................................................. 302

Lighting Branch Circuit-Front Entry, Porch,

Post Light, Underground Wiring . ....................... 305
Objectives ................................................ 305
Introduction .............................................. 306
Circuit A15 ............................................... 310
Doorjamb Switch .......................................... 311
Review .................................................. 312

Lighting Branch Circuit and Small-Appliance

Circuits for the Kitchen ................................ 315
Objectives ................................................ 315
Kitchen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316
Lighting Circuit B7 ........................................ 316
Kitchen Lighting .......................................... 316
Fan Outlet. ............................................... 319
Clock Outlets ............................................. 320
Small-Appliance Branch Circuits for Receptacles in the Kitchen ..... 321
Split-Wired Receptacles and Multiwire Circuits .................. 327
Receptacles and Outlets ..................................... 330
Review .................................................. 331

Lighting Branch Circuit for the Living Room ........... 335

Objectives ................................................ 335
Lighting Circuit B 17 Overview ............................... 336
Track Lighting (Article 410, Part XV) . ......................... 337
Dimmer Controls for Homes ................................. 341
Review .................................................. 345

018 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-202
 Lighting Branch Circuit for the Study/Bedroom . ....... 349
Objectives ................................................ 349
Circuit A21 Overview ...................................... 350
Valance Lighting .......................................... 351
Surge Suppressors ......................................... 351
Review .................................................. 352

Dryer Outlet, Lighting, and Receptacle Circuits

for the Laundry, Powder Room, Rear Entry Hall,
and Attic ............................................... 355
Objectives ................................................ 355
Receptacle Circuit B21 ..................................... 356
Clothes Dryer Circuit @ 0 ................................... 356
Receptacle Outlets-Laundry ................................ 360
Combination Washer/Dryers ................................. 362
Lighting Circuit B 10 ....................................... 362
Attic Lighting and Pilot Light Switches ........................ 364
Review .................................................. 367

Branch Circuits for the Garage and Outdoors ......... 371

Objectives ................................................ 371
Lighting Branch Circuit B14 ................................. 372
Receptacle Branch Circuit B23 ............................... 373
Electric Vehicle Charging Systems ............................ 374
Lighting a Typical Residential Garage .......................... 375
Landscape Lighting ........................................ 376
Outdoor Wiring ........................................... 378
Underground Wiring ....................................... 380
Overhead Garage Door Operator@E- ......................... 386
Review .................................................. 390

Recreation Room . .......................... . ........... 393

Objectives ................................................ 393
Recreation Room Lighting (B9, 11, 12) ........................ 394
Receptacles and Wet Bar (B9-1 l) ............................. 395
Review .................................................. 404

right 2018 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-202
 CONTENTS xi

Lighting Branch Circuit, Receptacle Circuits for

Workshop .............................................. 407
Objectives ................................................ 407
Introduction .............................................. 408
Workbench Lighting ....................................... 408
Receptacle Outlets ......................................... 408
Cable Installation in Basements ............................... 410
Conduit Installation in Basements ............................. 411
Adjustment and Correction (Derating) Factors for More than
Three Current-Carrying Conductors in Conduit or Cable ......... 418
Correction Factors Due to High Temperatures ................... 419
Example of Derating, Correcting, Adjusting, Overcurrent
Protection, and Conductor Sizing ........................... 420
Overcurrent Protection for Branch Circuit Conductors ............. 421
Basic Code Considerations for Conductor Sizing
and Overcurrent Protection ................................ 421
Multioutlet Assembly ....................................... 423
Empty Conduits ........................................... 425
Review .................................................. 426

Special-Purpose Outlets-Water Pump, Water Heater . . 431

Objectives ................................................ 431
Water Pump Circuit @B .................................... 432
Jet Pu1nps ................................................ 432
Submersible Pumps ........................................ 433
Motor Circuit Design ....................................... 434
Grounding ............................................... 437
Water Heater Circuit @c ................................... 438
Electric Water Heater Branch Circuits .......................... 448
Effect of Voltage Variation on Resistive Heating Elements .......... 452
Effect of Voltage Variation on Motors .......................... 453
Heat Pump Water Heaters ................................... 453
Review .................................................. 453
Water Pump and Branch Circuit @B .......................... 453
Water Heater Branch Circuit @c ............................. 455

Special-Purpose Outlets for Ranges, Counter-Mounted

Cooking Unit@G, and Wall-Mounted Oven @F - ...... . 458
Objectives ................................................ 458
Basic Circuit Requirements for Electric Ranges,
Counter-Mounted Cooking Units, and Wall-Mounted Ovens ...... 459
Grounding Frames of Electric Ranges, Wall-Mounted Ovens,
and Counter-Mounted Cooking Units ........................ 461
018 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-202
 Wall-Mounted Oven Circuit @F- ............................. 463
Counter-Mounted Cooking Unit Circuit@a .................... 463
Free-Standing Range ....................................... 464
Calculations when More than One Wall-Mounted Oven and Counter-
Mounted Cooking Unit Are Supplied by One Branch Circuit. ..... 466
Using a Load Center ....................................... 466
Calculations when More than One Electric Range, Wall-Mounted
Oven, or Counter-Mounted Cooking Unit Is Supplied by
a Feeder or Service ...................................... 467
Microwave Ovens ......................................... 468
Lightwave Energy Ovens .................................... 468
Surface Heating Elements ................................... 468
Temperature Controls ....................................... 469
Review .................................................. 470
Counter-Mounted Cooking Unit Circuit@a .................... 470
Wall-Mounted Oven Circuit@F and Free-Standing Range ......... 471

Special-Purpose Outlets-Food Waste Disposer @H,

Dishwasher@1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .475
Objectives ................................................ 475
Introduction .............................................. 476
Food Waste Disposer @H ................................... 476
Dishwasher@1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477
Code Rules Common to the Food Waste Disposer and the Dishwasher . 478
Portable Dishwashers ....................................... 480
Water Temperature ......................................... 480
Review .................................................. 480
Food Waste Disposer Circuit @H ............................. 480
Dishwasher Branch Circuit @ 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481

Special-Purpose Outlets for the Bathroom

Ceiling Heat/Vent/Lights @K @J, the Attic
Fan @L, and the Hydro massage Tub @A . ............. .483
Objectives ................................................ 483
Bathroom Ceiling Heater Circuits @K @ 1 . . . . . . . . . . . . . . . . . . . . . 484
Attic Exhaust Fan Circuit ®L· ............................... 485
Humidity ................................................ 489
Appliance Disconnecting Means .............................. 490
Hydromassage Bathtub Circuit@A ........................... 491
Review .................................................. 493
Bathroom Ceiling Heater Circuits @K @ 1 . . . . . . . . . . . . . . . . . . . . . 493
Attic Exhaust Fan Circuit @L- ............................... 494
Hydromassage Bathtub Circuit@A ........................... 495
right 2018 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-202
 CONTENTS xiii

Special-Purpose Outlets-Electric Heating @M,

Air Conditioning @N . .................................. 496
Objectives ................................................ 496
Introduction .............................................. 497
Resistance Heating Cables ................................... 497
Electric Furnaces .......................................... 497
Control of Electric Baseboard Heating Units .................... 500
Marking the Conductors of Cables ............................ 501
Circuit Requirements for Electric Baseboard Heating Units ......... 502
Location of Electric Baseboard Heaters in Relation to
Receptacle Outlets ....................................... 503
Wall-Mounted Heaters ...................................... 505
Heat Pumps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506
Grounding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506
Circuit Requirements for Room Air Conditioners ................. 506
Central Heating and Air Conditioning . . . . . . . . . . . . . . . . . . . . . . . . . . 507
Understanding the Data Found on an HVAC Nameplate ............ 508
Energy Ratings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513
Noncoincident Loads ....................................... 513
Receptacle Needed for Servicing HVAC Equipment. .............. 514
Gas Explosion Hazard ...................................... 514
Review .................................................. 515
Electric Heat. ............................................. 515
Air Conditioning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516

Gas and Oil Central Heating Systems ................. . 518

Objectives ................................................ 518
Introduction .............................................. 519
Forced-Warm Air Furnaces .................................. 519
Hot Water Systems ......................................... 519
Principle of Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519
Major Components ......................................... 521
Class 2 Circuits ........................................... 526
Review .................................................. 529

Television, Telephone, and Low-Voltage Signal Systems. . 531

Objectives ................................................ 531
Installing the Wiring for Home Television ....................... 532
Satellite Antennas .......................................... 538

018 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-202
 Code Rules for the Installation of Antennas and Lead-In Wires
(Article 810) . ........................................... 539
Telephone Wiring (Article 800) ............................... 542
Signal System (Chimes) ..................................... 548
Review .................................................. 553
Television Circuit. ......................................... 553
Telephone System ......................................... 555
Signal System............................................. 556

Smoke, Heat, Carbon Monoxide Alarms,

and Security Systems ...................... . ........... 559
Objectives ................................................ 559
National Fire Alarm Code (NFPA 72) .......................... 560
Definitions ............................................... 561
Smoke, Heat, and Carbon Monoxide Alarms .................... 562
Detector Types ............................................ 563
Wireless Systems (Low-Power Radio) ......................... 564
Types of Smoke Alarms ..................................... 565
Types of Heat Alarms ....................................... 565
Installation Requirements ................................... 565
Maintenance and Testing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 571
Carbon Monoxide Alarms ................................... 573
Fire Alarm Systems ........................................ 574
Security Systems .......................................... 575
Review .................................................. 579

Service-Entrance Equipment . .............. . ........... 582

Objectives ................................................ 582
Introduction .............................................. 583
Important Definitions ....................................... 583
Overhead Service .......................................... 583
Mast-Type Service ......................................... 584
Underground Service ....................................... 589
Main Service Disconnect Location ............................ 592
Service-Entrance Conductor Sizing ............................ 598
Running Cables into Top of Service Panel ...................... 598
Service-Entrance Overcurrent Protection ....................... 599
Service-Entrance Raceway Sizing ............................. 599
Meter/Meter Base Location .................................. 599
Cost of Using Electrical Energy ............................... 601

right 2018 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-202
 CONTENTS xv

Grounding/Bonding (Article 250) ............................. 602

Grounding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 603
Bonding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 606
Grounding Electrical Equipment at a Second Building ............. 621
Review .................................................. 623

Overcurrent Protection-Fuses and Circuit Breakers ... 630

Objectives ................................................ 630
The Basics ............................................... 631
Key NEC Requirements for Overcurrent Protection ............... 631
Five Circuit Conditions ..................................... 632
Fuses ................................................... 635
Circuit Breakers ........................................... 638
Interrupting Ratings for Fuses and Circuit Breakers ............... 640
Short-Circuit Currents ...................................... 642
How to Calculate Short-Circuit Current ......................... 643
Panelboards ... What Are They? .............................. 644
Review .................................................. 646

Service-Entrance Calculations ......................... 648

Objectives ................................................ 648
Introduction .............................................. 649
Sizing of Service-Entrance Conductors and Service
Disconnecting Means . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 649
Electric Vehicle Charging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 657
Types of Watt-Hour Meters .................................. 658
Reading Watt-Hour Meters .................................. 659
Review .................................................. 660
Student Calculations ....................................... 662

Swimming Pools, Spas, HotTubs, and

Hydromassage Baths ................................... 663
Objectives ................................................ 663
Introduction .............................................. 664
Electrical Hazards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 664
Key NEC Requirements-Wiring for Swimming Pools ............ 665
Getting Trapped Under Water ................................ 674
Underwriters Laboratories Standards .......................... 674
Review .................................................. 674

018 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-202
 Wiring for the Future: Home Automation Systems . .... 677
Objectives ................................................ 677
Organizations ............................................. 678
Let's Get Started .......................................... 678
The XlO System ........................................... 679
Insteon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 681
Structured Residential Wiring Systems ......................... 681
Standards ................................................ 682
Cable Types and Installation Recommendations . . . . . . . . . . . . . . . . . . 683
Terminology .............................................. 685
Wireless . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 685
Zig bee .................................................. 685
Z-Wave .................................................. 686
Summary ................................................ 686
Review .................................................. 686

Standby Power Systems ................... . ........... 688

Objectives ................................................ 688
Introduction .............................................. 689
Why Standby (Temporary) Power? ............................ 690
What Types of Standby Power Systems are Available? ............. 690
Wiring Diagrams for a Typical Standby Generator ................ 697
Transfer Switches or Equipment .............................. 699
Disconnecting Means ....................................... 701
Grounding ............................................... 701
Conductor Size from Standby Generator ........................ 701
Generator Sizing Recommendations ........................... 702
The National Electrical Code Requirements ..................... 704
Review .................................................. 705

Residential Utility-Interactive Photovoltaic

Systems ................................................ 708
Objectives ................................................ 708
Introduction .............................................. 709
The Basic Utility-Interactive PV System ........................ 710
National Electrical Code Requirements ........................ 714
Review .................................................. 723

right 2018 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-202
 CONTENTS xvii

Appendix A: Specifications for Electrical Work-

Single-Family Dwelling ............................... 725
Appendix B: Schedule of Special-Purpose Outlets ...... 729
Appendix C: Useful Formulas .......................... 731
Appendix D: Metric System of Measurement . .......... 732
Appendix E: Architectural, Plumbing, Piping, Valves,
and Sheet Metal/Ductwork Symbols ................. 740
Appendix F: Single-Family Dwelling Service-Entrance
Calculations (Standard) .............................. 744
Appendix G: AFCI/GFCI Check-Off List . ................. 750
Appendix H: Glossary .................................. 752
Code Index ............................................. 781
Subject Index .......................................... 791
Plans for Single-Family Dwelling
Sheet 1 of 10 Basement Plan
Sheet 2 of 10 Floor Plan
Sheet 3 of 10 South (Front) Elevation; Window Schedule,
Door Schedule
Sheet 4 of 10 East (Right) Elevation; Interior Elevations
Sheet 5 of 10 North (Rear) Elevation; Plot Plan
Sheet 6 of 10 West (Left) Elevation; Schedule of Special-
Purpose Outlets
Sheet 7 of 10 Section A-A
Sheet 8 of 10 Electrical Basement Plan
Sheet 9 of 10 Electrical First Floor Plan
Sheet 10 of 10 NEC Requirements for Swimming Pool Wiring
Blank Floor Plan First Floor
Blank Floor Plan Basement

018 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-202
Copyright 2018 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-202
 • The Importance of ProperTraining
Now that I have retired after 48 years in the electrical industry, it has become even
more evident that a good solid education about the world of electricity is of utmost
importance.
Accurate materials and training are the two sides of the electrical safety coin. This coin
is spent every day by various persons intrinsically involved in the electrical construction
industry. Unfortunately, some spend it less wisely than others. Usually, the unwise spenders
are those who rush to career, having neglected to acquire accurate materials and to focus on
training themselves to a high level of proficiency.
Ray Mullin, coauthor of this book, Electrical Wiring-Residential, has often stated,
"The cost of education is small when compared to the price paid for ignorance." All too of-
ten, we, the citizens, pay the price for others' ignorance-ignorance of the codes, ignorance
of proper wiring methods, ignorance of proper installation procedures, ignorance of design
requirements, ignorance of product evaluations. This price becomes dear when our friends
and family lose health or life or when our homes are destroyed.
It is exciting to see that Phil Simmons has joined with Ray as coauthor of Electrical
Wiring-Residential. Phil has served the electrical industry with distinction for many years.
His ability to express complex electrical issues clearly and to illustrate them accurately is
unparalleled among his peers.
Fortunately, accurate materials are so easy to obtain. Ray Mullin and Phil Simmons
are both technical writers who have paid their dues in the electrical industry. Each has
put in many years as an apprentice, a journeyman, and then as a master electrician before
beginning to write about his trade . Phil was additionally a professional in the electri-
cal inspection arena and managed the International Association of Electrical Inspectors
(IAEI) for several years. Both have served or are serving on NEC® Code Making Panels.
Electrical Wiring-Residential contains accurate, up-to-date information about all as-
pects of residential wiring .
When installers and inspectors don't keep abreast of installation procedures and code
requirements, things like cables across scuttle access to attics; improper spacing of recep-
tacle outlets; improper short-circuit and ground-fault protection; and improper grounding
of electrical systems, phone system, and CATV systems can lead to hazardous situations
causing electrical shocks and fire . Not just anybody can install or inspect safe electri-
cal systems. Trained professionals can, but even they must be constantly improving their
knowledge and skills.

xix

Copyright 2018 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-202
 FOREWORD

Because Ray Mullin and Phil Simmons care spend the coin of safety to benefit others as well as
about the electrical safety coin, they have striven to ourselves. I commend you for acquiring Electrical
provide the most accurate information possible. It is Wiring-Residential; now I challenge you to make
up to each of us, however, to focus on the training. it part of yourself. I challenge you to spend the
Some training can be acquired simply by reading electrical safety coin wisely.
the best books in our trade; some training can come
through the online programs available; and other James W. Carpenter
training, through participation in classes and semi- Former CEO and Executive
nars. In each instance, though, motivation and Director,
desire come from within-to know everything International Association of
involved in our trade, to be totally proficient, to Electrical Inspectors
focus continually on improvement. As we seek Past Chair of the NEC Technical
both accurate information and training, we learn to Correlating Committee

Copyright 2018 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-202
 • Intended Use and Level
STOP ... Don't read any further ... yet. Take a moment to familiarize yourself with how
to use this text to get the most benefit from it. Think of it as a three-legged stool. One leg is
this text, the second leg is the 2017 edition of the National Electrical Code®, and the third
leg is the set of Plans that are in the packet in the inside back cover. If any one of the legs
is missing, the stool will collapse. Stated another way, you will not get as much out of this
course. When you have completed all of the chapters in Electrical Wiring-Residential, you
will have virtually wired a typical house according to the requirements of the 2017 National
Electrical Code, an accomplishment you can be proud of!
The NEc® defines a "qualified person" as = o-n_e_w
__,.h_o_,h_a_s_s_,k...,.ir."'
lls- a-nd
..,..,.k_n_o_w_,l_e--c
d-g_e_r_
e,_
la-te_,
d
to tne construction ana OReration of tne electrical eguiRment ana installations ana
as received safe training to recognize and avoid the hazards involved. *
Electrical Wiring-Residential is intended for use in residential wiring courses at high
schools, two-year and four-year colleges, and apprenticeship training programs. This com-
prehensive book guides readers, room by room, through the wiring of a typical residence and
builds a foundation of knowledge by starting with the basic requirements of the National
Electrical Code (NEC), then continuing on to the more advanced wiring methods. Each Code
rule is presented through text, illustrations, examples, and wiring diagrams. In addition, an
accompanying set of Plans at the back of the book guides the reader through the wiring pro-
cess by applying concepts learned in each chapter to an actual residential building in order to
understand and meet the requirements set forth by the NEC.

An Important Note about Safety

In the educational field, it is pretty much a given that "Society will pay for education ...
one way or another." Proper training of a skilled trade is much better than hit-or-miss learn-
ing. Having to do the job over, having a house burn down, or having someone get electro-
cuted because of improper wiring is costly!
It really doesn't take any longer to do it right the first time than to have to do it over. You
probably have heard the phrase "Measure twice ... cut once. Measure once ... cut twice."
How true!
Electrical wiring is a skilled trade. Wiring should not be done by anyone not familiar
with the hazards involved. It is a highly technical skill that requires much training. This text

*National Electrical Code® and NEc® are registered trademarks of the National Fire Protection Association, Inc. ,
Quincy, MA 02169.
*Source: NFPA 70-2017
xxi

Copyright 2018 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-202
 PREFACE

provides all of the electrical codes and standards in- this edition, the student must use the NEC on a
formation needed to approach house wiring in a safe continuing basis.
manner. In fact, Electrical Wiring-Residential has It is extremely difficult to learn the NEC by
been adopted as the core text by the major electrical merely reading it. This text brings together the rules
apprenticeship programs across the country. Their of the NEC and the wiring of an actual house. You
residential curriculum program directors and com- will study the rules from the NEC and apply those
mittee members made this text their top choice for rules to a true-to-life house wiring installation.
their residential wiring training. Take a moment to look at the Table of Contents.
Electrical Wiring-Residential will provide you It is immediately apparent that you will not learn
with the know-how so you can wire houses that such things as how to drill a hole, tape a splice, fish a
"Meet Code." cable through a wall, use tools, or repair broken plas-
Electrical Wiring-Residential has become an ter around a box. These things you already know or
integral part of approved (accredited) training pro- are learning on the job. The emphasis of this text is
grams by an increasing number of states that require to teach you how to wire a house that "Meets Code."
residential electricians to have a residential license if Doing it right the first time is far better than having
they are going to wire homes and small apartments. to do it over because the electrical inspector turned
The NEC has one thing in mind-safety! There down your job.
is too much at stake to do less than what the NEC The first seven chapters in this book concentrate
requires. Anything less is unacceptable! The NEC in on basic electrical code requirements that apply to
90.1 (A) makes it pretty clear. It states that The pur- house wiring. This includes safety when working
pose of this Code is irhe ractical safe uarding with electricity; construction symbols, plans, and
of Rersons anc:l RrORe from tiazarc:ls arising specifications; wiring methods; conductor sizing;
f rom the use of electrici * circuit layout; wiring diagrams; numerous ways to
Do not work on live circuits! Always de- connect switches and receptacles; how to wire re-
energize the system before working on it! There is cessed luminaires; ground-fault circuit interrupters
no compromise when it comes to safety! Many in- (GFCis); arc-fault circuit interrupters (AFCis); and
juries and deaths have occurred when individuals surge suppressors.
worked on live equipment. The question is always: The remaining chapters are devoted to the wir-
"Would the injury or death have occurred had the ing of an actual house-room by room, circuit by
power been shut off?" The answer is "No!" circuit. All of these circuits are taken into account
All mandatory safety-related work practices when calculating the size of the main service. Be-
are found in the Federal Regulation Occupational cause proper grounding is a key safety issue, the sub-
Safety and Health Administration (OSHA), Title 29, ject is covered in detail.
Subpart S-Electrical, Sections 1910.331 through You will also learn about security systems, fire
1910.360. and smoke alarms, low-voltage remote-control wir-
ing, swimming pools, and standby generators, and
you will be introduced to structured wiring for home
• Subject and Approach automation.
You will find this text unique in that you will
The 19th edition of Electrical Wiring-Residential
use the text, an actual set of Plans and specifications,
is based on the 2017 National Electrical Code and the NEC-all at the same time. The text is per-
(NEC). The NEC is used as the basic standard for
fect for learning house wiring and makes an excel-
the layout and construction of residential electri-
lent reference source for looking up specific topics
cal systems. In this text, thorough explanations are
relating to house wiring. The blueprints serve as the
provided of Code requirements as they relate to
basis for the wiring schematics, cable layouts, and
residential wiring. To gain the greatest benefit from discussions provided in the text. Each chapter deal-
ing with a specific type of wiring is referenced to
*Source: NFPA 70-2017 the appropriate plan sheet. All wiring systems are

Copyright 2018 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-202
 PREFACE

described in detail-lighting, appliance, heating, Labor (http://www.dol.gov). Many times an appren-

service entrance, and so on. ticeship program is called "Earn while You Learn."
The house selected for this edition is scaled These programs offer the related classroom training
for current construction practices and costs. Note, and the advantage of working on the job with skilled
however, that the wiring, luminaires, appliances, journeymen electricians. Completion of a registered
number of outlets, number of circuits, and track apprenticeship program generally leads to higher
lighting are not all commonly found in a home of pay, job security, higher quality of life, recognition
this size. The wiring may incorporate more fea- across the country, and the opportunity for college
tures than are absolutely necessary. This was done credit and future degrees.
to present as many features and Code issues as As a rule, these training programs require 144
possible, to give the student more experience in to 180 hours of classroom-related technical training
wiring a residence. Also included are many recom- and 2000 hours of on-the-job training per year. Some
mendations that are above and beyond the basic programs have day classes and some have night
NEC requirements. classes. An electrical apprenticeship training pro-
Note: The NEC (NFPA 70) becomes mandatory gram might run four to five years. The end result-
only after it has been adopted by a city, county, state, becoming a full-fledged licensed journeyman elec-
or other governing body. Until officially adopted, the trician capable of doing residential, commercial,
NEC is merely advisory in nature. State and local and industrial electrical work. A residential electri-
electrical codes may contain modifications of the cian training program might run two to three years,
NEC to meet local requirements. In some cases, lo- with the training limited to the wiring of single- and
cal codes will adopt certain more stringent regula- multifamily dwellings. The end result-receiving a
tions than those found in the NEC. For example, the license limited to residential wiring.
NEC recognizes nonmetallic-sheathed cable as an To get into an apprenticeship program, the indi-
acceptable wiring method for house wiring. Yet, the vidual usually must have a high school education,
city of Chicago and surrounding counties do not per- with at least 1 year of high school algebra; be at least
mit nonmetallic-sheathed cable for house wiring. In 18 years old; must be physically able to perform
these areas, all house wiring is done with electrical the work electricians are called upon to do (e.g.,
metallic tubing (thinwall). climbing, lifting, work in inclement weather); and,
There are also instances where a governing body most importantly, be drug free. There generally is a
has legislated action that waives specific NEC re- qualifying aptitude test to make sure the applicant
quirements, feeling that the NEC was too restrictive has the ability to take on the responsibility of a rigid
on that particular issue. Such instances are very rare. apprenticeship training program. In some areas,
The instructor is encouraged to furnish students with passing the high school equivalency General Educa-
any local variations from the NEC that would affect tion Development (GED) test is acceptable in place
this residential installation in a specific locality. of a high school diploma.
What does it take to make a good apprentice
• The Electrical Trade- Training and journeyman electrician? In no particular order:
Programs commitment to master the electrical field, willing-
ness to study and understand the training material,
As you study Electrical Wiring-Residential, study strong math skills, ability to think clearly and logi-
with a purpose-to become the best residential cally to analyze and solve problems, ability to work
wireman possible. indoors and outdoors, comfortable working with
There will always be a need for skilled electri- your head and hands, good mechanical skills, ability
cians! Qualified electricians almost always have to communicate and work with others, good verbal
work. It takes many hours of classroom and on-the- skills, ability to follow directions, strong work and
job training to become a skilled electrician. The best personal ethics, and being a self-starter.
way to learn the electrical trade is through a train- Following completion of an apprenticeship pro-
ing program approved by the U.S. Department of gram, continuing education courses are available to

Copyright 2018 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-202
 PREFACE

keep the journeyman up to date on codes and other Master Electrician means a person having the
related topics and skills. necessary qualifications, training, experience, and
Journeymen electricians who have an interest technical knowledge to properly plan, lay out, and
in teaching apprentices will usually have to take in- supervise the installation and repair of wiring appa-
structor training courses. In certain programs, satis- ratus and equipment for electric light, heat, power,
factory completion of the required courses can lead and other purposes, in accordance with standard
to an associate degree. Others will go on to become codes and regulations governing such work, such as
crew leaders, supervisors, and contractors. the NEC.
There are some areas where a "pre-apprentice- Electrical Contractor means any person, firm,
ship" program is offered. To learn more about the partnership, corporation, association, or combina-
careers possible in the electrical field, chat with your tion thereof who undertakes or offers to undertake
instructor; your local high school's guidance coun- for another the planning, laying out, supervising and
selor; your vocational, technical, and adult education installing, or the making of additions, alterations,
schools; and electricians and electrical contractors. and repairs in the installation of wiring apparatus
Go online and search for electrical apprenticeship and equipment for electrical light, heat, and power.
programs. Many electrical inspectors across the country are
Your future is in your hands. members of the International Association of Electri-
Some very important two-letter words that you cal Inspectors (IAEI). This organization publishes
should remember are one of the finest technical bimonthly magazines de-
voted entirely to the NEC and related topics, and it is
IF IT IS TO BE, IT IS UP TO ME!
open to individuals who are not electrical inspectors.
Electrical instructors, vo-tech students, apprentices,
Job Titles
electricians, consulting engineers, contractors, and
Most building codes and standards contain defi- distributors are encouraged to join the IAEI so they
nitions for the various levels of competency of work- can stay up to date on all NEC issues, changes, and
ers in the electrical industry. Here are some examples interpretations. An application form that explains the
of typical definitions: benefits of membership in the IAEI can be found in
Apprentice shall mean a person who is required the Appendix of this text.
to be registered, who is in compliance with the pro-
visions of this article, and who is working at the
trade in the employment of a registered electrical • New to this Edition
contractor and is under the direct supervision of a
licensed master electrician, journeyman electrician, Continuing in the tradition of previous editions, this
or residential wireman. edition thoroughly explains how Code changes af-
Residential Wireman shall mean a person hav- fect house wiring installations. New and revised
ing the necessary qualifications, training, experi- full-color illustrations supplement the explanations
ence, and technical knowledge to wire for and install to ensure that electricians understand the new Code
electrical apparatus and equipment for wiring one-, requirements. New photos reflect the latest wiring
two-, three-, and four-family dwellings. A residen- materials and components available on the market.
tial wireman is sometimes referred to as a Class B Revised review questions test student understanding
Electrician. of the new content. New tables that summarize Code
Journeyman Electrician shall mean a person requirements offer a quick reference tool for stu-
having the necessary qualifications, training, experi- dents. Other reference aids are the tables reprinted
ence, and technical knowledge to wire for, install, directly from the 2017 edition of the NEC. The
and repair electrical apparatus and equipment for extensive revisions for the ninteenth edition make
light, heat, power, and other purposes, in accordance Electrical Wiring-Residential the most up-to-date
with standard rules and regulations governing such and well-organized guide to house wiring. Coverage
work.

Copyright 2018 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-202
Another Random Scribd Document
with Unrelated Content
LILLI LEHMANN AS ISOLDE
 VIII

HANS VON BÜLOW

In 1856 my father and Hans von Bülow, pianist, were struggling
to gain recognition and a livelihood in Berlin. Both were idealists and
enthusiastic followers of the “new school” in music, of which Berlioz,
Liszt, and Wagner were the great representatives. Bülow’s letters of
that period show that they gave many chamber-music concerts
together, both in Berlin and elsewhere, and it is interesting to note
that at one of them, together with the violoncellist, Kossman, they
performed a trio by “César Franck of Liège,” about thirty years
before this father of the modern French school of composition
became generally known and recognized. It was through Bülow that
my father and his achievements as a violin virtuoso and composer
became known to Liszt, who invited him, in 1857, to become violinist
at the first desk of the Weimar Opera Orchestra, then under Liszt’s
direction.
The friendship between Bülow and my father remained intimate
and fine during my father’s entire life, and even beyond, as this
chapter will show.
My first recollection of Bülow goes back to 1876, when he came
to America at the invitation of the Chickering Piano firm to
inaugurate their new Chickering Hall on Fifth Avenue and 19th
Street, and to give piano recitals all over the country.
When my father and mother went to Berlin in the sixties for a
joint concert with Bülow, they stayed with him and his wife, Cosima.
Since then much had happened. Cosima had run away with Wagner,
Bülow’s most adored friend, and Bülow had nearly died with the
shame and misery of it. One evening during dinner at our house my
mother asked him about his children, whom she had not seen since
those early days, and I can still hear the punctilious courtesy with
which he answered: “They are where they should be, and in the best
possible hands—with their mother.”
The fine intellectuality of his playing, the quality of his phrasing,
especially in Bach and Beethoven, created a deep impression on our
public which was not minimized by certain eccentricities in his
appearance and behavior. He always appeared on the stage for his
afternoon recitals attired in the traditional black double-breasted
frock coat and very light-gray trousers, his hands incased in light-
brown gloves and holding a high silk hat which was carefully
deposited under the piano before he took off his gloves and began
to play.
For one of his recitals a young and highly talented soprano, Miss
Emma Thursby, had been engaged. She was a protégée of old
Maurice Strakosch, an impresario of the old school, shrewd, polished
in his manners, who very cleverly advertised the high personal
character of the young singer and especially her great “purity,”
vowing that acquaintance with her, hardened old sinner that he was,
had made him a better man.
At the Bülow recital her singing of some German songs by
Schubert and Schumann, I think, was received with such
enthusiastic applause that she gave an encore, a rather trivial song
by Franz Abt. When Bülow, in his dressing-room, heard this
“desecration” of a programme composed of works of great masters
only, his rage knew no bounds, and when he came out on the stage
to continue his own programme, he deliberately took out his
handkerchief and carefully wiped the keys of the piano up and down
in a noisy glissando scale and then began to improvise on the
recitative from Beethoven’s Ninth Symphony, “O friends, not these
tones. . . .”
Another time he gave a chamber-music concert with my father
and they played, among other things, the “Kreutzer Sonata” of
Beethoven. Just before going on the stage he turned to my father
and said:
“Let us play it by heart.”
 “With pleasure,” answered my father and laid down his music.
“No, no,” said Bülow, “take it on the stage with you.”
After they had taken their places on the stage Bülow
ostentatiously rose, took my father’s music from the stand and his
own from the piano and laid them both under the piano.
His memory, not only for music, but for all things that interested
him, was prodigious and to me uncanny. But it was, after all, human
and not infallible, and on this occasion he did lose his place in the
last movement of the sonata and my father had to improvise with
him for a few bars until, with quick ingenuity, he found the thread
again.
I have spoken elsewhere of the terrible responsibilities which
were placed upon my shoulders because of the sudden death of my
father, and as the years went by I seemed to miss him more and
more, not only his wonderful companionship, but the wise counsel
with which he used to help me solve my musical riddles. I worked
hard and made progress, I think, for my circle of friends and
followers grew larger and larger. But I knew no one in this country to
whom I could turn in the same way as to my father, or who would
have given me of his wisdom so freely and generously as he. Seidl,
my associate at the Metropolitan, was not friendly and was
completely wrapped up in himself, and besides, he had, to my
thinking, only one specialty, the Wagner music-dramas. As a
symphonic conductor he was completely without experience when
he first came to America and his interpretation of the classics lacked
foundation and real penetration, in spite of the noisy acclaim which a
certain part of our public gave him because of his undoubted genius
as a Wagner conductor.
A lucky chance brought me a clipping from a German newspaper
announcing that Hans von Bülow would spend the summer of 1887
in Frankfort, where he would teach a class of advanced pianists and
devote the entire receipts toward building a monument to his old
friend, Joachim Raff, who had spent his last years in Frankfort as
director of the conservatory.
 I immediately determined to go to Germany and ask Bülow if, in
view of his old friendship with my father and my need of the help of
some great musician, he would be willing to let me study with him
the interpretation of the Beethoven Symphonies in especial, and
such other works as it would interest him to analyze for me.
Bülow was at that time considered the foremost conductor of
Germany. He had taken a little mediocre orchestra of fifty, belonging
to the Grand Duke of Meiningen, and through his supreme genius
had galvanized it into a marvellous instrument. Under his guidance
this little orchestra had created a sensation all over Germany and
Austria and a special tour de force was their playing of certain
symphonies entirely by heart without any music before them.
When I arrived in Frankfort I found that Bülow was living at the
Schwan Hotel, and with much trepidation I told him what I wanted
of him. He seemed very much touched and claimed that it was the
first time in his experience that a musician who, as he put it, “was
already prominent in opera, symphony, and oratorio” thought he
could learn anything from him. In the warmest, I may say most
affectionate terms, he promised me every possible help and advised
me to take rooms in the same hotel. This I did, and I can truthfully
say that the entire summer during which I was with him in closest
companionship, not only in his rooms and during the lesson hours
for the pianists, many of which I also attended, but on long walks to
the museums, the parks, and the suburbs of Frankfort, his almost
paternal kindliness, his wisdom, and his comments on things artistic,
literary, political, and personal were a revelation to me. So many
stories were current about his biting comments and brusque
behavior toward people who excited his enmity, that I was amazed
to find him throughout so companionable and so gentle in all his
relations toward me. He had a heart most tender and sensitive, but
life had dealt this idealist so many hard knocks that he incased his
heart in a shell with which to protect it from further onslaughts.
He went through all Beethoven’s nine symphonies with me, bar
by bar, phrase by phrase, and I still have the scores in which he
made certain notations of phrasing or illustrated changes in
dynamics of certain instruments in order to bring out the undoubted
intentions of Beethoven more clearly. He virtually analyzed the
symphonies for me in the same way as in his edition of the piano
sonatas, and at the close of our three months together he gave me
a copy of his own score of the Ninth Symphony with all his own
annotations, many of which were based on the analysis made by
Wagner during his historic performance of that work at the corner-
stone laying of the Bayreuth Fest-Spielhaus.
During these three months of intensive study I received so much
from him that was new to me, such a wealth of ideas regarding
interpretation and the technic of the conductor’s art, that it took me
years to digest it properly and to learn how, instead of merely
copying slavishly, I could make it my own and accept or reject parts
of it, according to the methods of analysis taught me by him.
During our stay in Frankfort a little Prince of Hesse, whose
mother, the Landgravine, was a “Royal Highness,” being a niece of
the old Emperor William, invited von Bülow to give a Brahms recital
at his palace. Bülow immediately insisted that I, too, must be
invited, which accordingly I was. When I accompanied him he
introduced me to the various exalted personages assembled, and the
Landgravine asked me if I were not “the son of the great Doctor
Damrosch.” I politely answered: “Yes, your Royal Highness.”
“Was he not a friend of Rubinstein?” she continued.
“Yes.”
“He played the viola, did he not?”
I said: “No, your Royal Highness, the violin.”
“No,” she said, “the viola.”
This taught me that royalty must never be contradicted, even if
they know “facts” about your own father of which you are not
aware.
The Prince of Hesse was blind and thought he had a gift for
music, in fact he “composed” string quartets which, I presume, he
more or less “dictated” to the court musician of his little princely
household.
Just before the supper the Prince came up to Bülow with a huge
laurel wreath, which enraged Bülow very much. He always called
them “vegetables of Fame,” and he immediately shouted: “Is there
no bust of Brahms here?” but as there was none, he laid the wreath
on the piano.
During the very good supper which was served to their Royal
Highnesses and von Bülow in one room and to the other guests in
another, I found to my amazement that the blind Prince was led to
my chair holding a champagne glass in his hand with which to toast
me specially, “the American musician and conductor,” and two days
later the Prince and his gentleman in waiting formally called on me
at my hotel. An hour later the gentleman in waiting returned to
inform me that the Prince would like to have me accept the position
of musician in his household with “twelve hundred Thalers a year
and free board at the palace.” I had to explain to him ever so politely
and gratefully that I was then conductor at the Metropolitan Opera
House, the New York Symphony Society, and the New York Oratorio
Society, and that with high appreciation of this offer, I could not
possibly give up these positions and my American career to come to
Germany.
Bülow, when I told him of it, burst into loud guffaws of delighted
laughter.
Bülow was in wretched health during the entire summer,
suffering from headaches, sleeplessness, and general nervous
collapse, but with an iron will he went through the summer’s
programme, accepting no financial recompense for himself, solely to
help gather money through his classes toward the completion of the
Raff monument.
I remember one night returning to the hotel after the opera, and
as I passed the door of his room to get to mine, which was on the
same floor, I heard such loud and continued sobbing that I opened
his door, after receiving no response to my knocking. I found him in
his nightclothes, kneeling before his bed, his head buried in the
mattress and sobbing so bitterly that it was heart-breaking. I rushed
over to him, thinking that perhaps he was very ill, and it was a long
time before I could quiet him. He kept reiterating that life was over
for him, that he wanted to die, and it was only by continually telling
him how much we all adored him and what his friendship meant for
us that I was able gradually to quiet him and to put him to bed,
where I sat holding his hands until early morning when he finally
went to sleep.
Weak and ill though he was after the summer’s arduous work, he
had promised the University of Marburg to give them two of his
famous Beethoven recitals, and as his friend Steyl, the music
publisher, and I were worried about his condition we decided to
accompany him in order to look after him. The arrangements for the
concerts which were to be held in the afternoon in the aula of the
venerable university were in the hands of the professor of Greek, a
typical old absent-minded gentleman who seemed overcome with
the honor of having a visit from the great von Bülow and who also
was nervously afraid of this brusque little man. I was worried over
the whole affair. Bülow had been very weak all morning and Steyl
and I wanted him to cancel the recital, but he would not hear of it
and bravely went on the stage to begin his programme.
Unfortunately, owing to the summer heat, the windows of the
aula were open wide, and during the music the cries of the children
playing below, the rumbling of carts over the rough pavements of
the mediæval streets, came up in constant clangor.
Bülow began, faltered, began again and stopped—ran from the
stage and returned to begin again. But it was no use. The noise
continued and the recital had to be called off, and after a nervous
crisis accompanied by great weeping, we got him back to the hotel
and to bed, Bülow heaping curses on the little professor on whom he
blamed everything, the glaring sunlight, the cries of the playing
children, and the noise of the carts. The recital for the following day
was, of course, cancelled, and we arranged everything for taking
Bülow back to Frankfort.
 In the morning when I called at his rooms I found him
punctiliously attired in his frock coat, high silk hat, and brown glacé
gloves, and in answer to my evidently astonished gaze, he said: “We
must not leave without paying our farewell call of ceremony on the
Greek professor.” I trembled at the outcome, but a carriage with two
horses and a liveried coachman was already waiting in the courtyard
of the hotel to take us up the hill to the old mediæval tower of the
university in which the professor lived.
We were ushered into a wonderful circular library, the books
covering the entire inner wall of the tower, and while we were
waiting for the professor, Bülow ran around the room like a dog on
the scent, examining the titles of the various books on the shelves.
Suddenly he pounced on one, pulled it out and began to turn the
leaves quickly until he got to a certain page at which he held the
book open just as the old professor entered, trembling from head to
foot. I was rather apprehensive of the meeting between the two
men, but to my astonishment, Bülow advanced, book in hand, and
with a low bow handed it silently to the gentle amateur impresario,
pointing to a certain place on the opened page. The professor read
it, blushed, and looked with a kind of dumb apology at von Bülow,
who then took up his hat and, with another low bow, left the room,
followed by me, still completely mystified by this silent ceremonial,
the meaning of which I could not understand.
During the drive back to the hotel, Bülow chirped up
considerably. Now and then he chuckled and finally, as if the joke
were too good to keep, he turned toward me and said:
“Do you know what quotation I gave to the Greek professor? It
was from one of the Greek philosophers to the effect that ‘it is not
wise for a man of learning to mix himself up in the practical affairs of
life.’ ”
Perhaps some learned reader of this may be able to tell me who
the Greek author was. Bülow never told me.
On our long walks Bülow would often reminisce about the past
and would tell me enough stories to fill a book. Two of them I shall
tell here.
Bülow was spending a winter in Florence and was invited to
conduct a performance of Beethoven’s Ninth Symphony with the
local orchestra. In those days Italy had literally no symphonic
orchestras, and the players, recruited from the opera-houses, had
but little routine for concert music of symphonic importance. The
men were willing and eager, but even such a routined conductor as
Bülow found it difficult to make them understand certain rhythmic
subtleties in this most intricate of all Beethoven’s works. In the
scherzo there comes a place where the kettledrum has to enter
rudely with a repetition of the first bar of the main theme:

This rhythm the kettledrum player simply could not grasp, no

matter how patiently Bülow endeavored to instill it. He tried it slow,
he tried it fast. Bülow got more and more excited and irritable, and
finally, as a last resort, he fairly shouted to him on the rhythm of this
theme the Italian word for kettledrum. At the top of his voice rose
the word:
“Tym—pan—y! Tym—pan—y!”

A delighted smile broke over the face of the kettledrum player.

“Ah, capisco, capisco,” he shouted, and immediately proceeded to
put his newly won knowledge to the practical proof.
Bülow told me that at one time he had adopted the habit of
jotting down any strange or incongruous names that he found on
the signs of shops in the various cities of the various countries that
he visited. In a small little German town he found over a
greengrocery, the name of “Seidenschwanz.” This appealed to him
and he tucked it away in his memory, determined to find a given
name to add that would, by its very contrast, fit it. For months he
cudgelled his brains, but in vain, until one night in Venice he jumped
up from his bed, shouting: “I have it. Caligula Seidenschwanz!” The
name of the most cruel of Roman Emperors coupled with that of the
little greengrocer!
Next morning he proceeded to an engraver and had visiting cards
printed bearing the mysterious name of:

Caligula Seidenschwanz.

Shortly after, whenever Doctor Hans von Bülow paid a call on any
one, instead of presenting his own card, he left that of Herr
Seidenschwanz, thereby completely mystifying his friends.
I told this story years after while dining at the house of my dear
friends, May Callender and Caro de Forest. Lilli Lehmann was one of
the guests, and when I finished she jumped up and said:
“Walter, that is a very remarkable story, but it is absolutely true,
as I happen to know. I was coloratura soprano at the Berlin Royal
Opera at the time when Bülow paid us a visit one night when we
performed Meyerbeer’s ‘Prophète.’ He was so disgusted with the
performance that he wrote one of his indignant and cynical letters to
a Berlin paper, in which he compared the Royal Opera to a circus,
and then added insult to injury by apologizing to Herr Renz, owner
of the greatest circus in Germany, saying that he meant no insult to
him, as he had always been a great admirer of the Circus Renz. This
letter aroused the old intendant, Baron von Hulsen, to such fury that
he forbade Bülow further entrance into the opera-house and at the
same time induced the old Emperor to withdraw the title of ‘Pianist
to His Majesty, the King of Prussia’ from von Bülow.”
 Lilli Lehmann then continued to narrate that the morning after
the performance she received a large basket of flowers in which a
card had been tucked, on which was written “To the only bright spot
in yesterday’s performance. In admiration, Caligula Seidenschwanz.”
Until that evening, when I explained the origin of the name, Lilli
Lehmann had not known that the flowers had been sent her by von
Bülow.
At the close of the summer session Bülow invited me to go with
him to the Cologne Musical Festival. He told me that he had written
to Brahms about me and wanted me to meet him, and I would also
hear a fine performance of the Brahms “Requiem.” Needless to say I
jumped at such an opportunity.
My father, who with that wonderful liberal attitude of his did not
share the narrow attitude of other Wagnerians who hated Brahms,
had been among the first to introduce his music in America and had
given the first performance of the Brahms Symphony No. 1 in C
minor in America. Bülow had become a similar propagandist for
Brahms in Germany. I considered him the last great composer of
modern times, doubly interesting because the great genius of
Wagner, whom he admired greatly, left him untouched as far as his
own creative work was concerned, and he is, perhaps, the only great
modern composer whose works can show no influence of the
Wagnerian school. To conduct his symphonies is to me still one of
the greatest joys of the winter, and I continue to marvel how little
the years have aged them and how noble in conception and rich in
subtleties of feeling they continue to express in an unbroken line the
highest ideals of the Beethoven symphonies.
In the hurly-burly of a festival, I had but little opportunity to see
much of Brahms, who was there only a very few days, and I was too
young and unimportant to claim any attention from him; but I was
grateful to Bülow for the opportunity of meeting him, and can still
see his wonderful and kindly eye turned on me as Bülow told him
some nice things about me.
 During our stay in Cologne I had an experience so curious, so
extraordinary, that I must especially assure my readers that it is true
in every particular.
One morning Bülow announced to me that he was going to cross
the river in the afternoon to visit the widow of an old friend of his,
Madame B——, who lived in a villa in Deutz. He asked me to
accompany him, and we accordingly called on a rather attractive
young widow, attired in the deepest mourning, who welcomed us
very graciously. Her husband, a Belgian pianist of distinction, had
been professor of piano at the Imperial Conservatory in St.
Petersburg and had there married a young Russian pupil of his.
After chatting awhile, she proposed that we go into the garden
for a cup of tea, and we followed her, accordingly, to a small stone
building in the middle of the garden that looked like a chapel, but
which, to my horror, I discovered, as we entered, to be a
mausoleum. In the centre stood a sarcophagus on the top of which
reposed a coffin, with a glass top, in which lay the body of B——! A
footman in livery followed us with a samovar and the teacups.
It seems that the lady had thus endeavored to demonstrate her
love for her departed husband. I confess that I became almost ill
and hurriedly left the mausoleum to smell the roses in the garden,
but Bülow punctiliously and courageously stuck it out and had his
cup of tea under these unique conditions.
Many years after I heard through Mrs. Franz Rummel, whose
husband had been a favorite pupil of B——, that his widow was
again happily married and that B—— had been properly buried
underground.
In 1889 I induced Mr. Leo Goldmark, brother of the Viennese
composer, who was interested in music and the musical affairs of
New York, to bring von Bülow to America for another visit, and more
especially to give his Beethoven sonata cycle.
Bülow brought his second wife with him and the visit was a great
success in every way. She had been a young actress of talent at the
Meiningen Court Theatre and he had married her while he was
conductor of the orchestra there.
The Beethoven recitals were given at the Broadway Theatre
which was crowded to the doors, and press and public greeted the
old master with such friendly enthusiasm that he was very much
touched and became very enthusiastic about America. He also
conducted my orchestra in a memorable concert at the Metropolitan
Opera House in which he demonstrated his marvellous powers as a
conductor. Among the works on the programme was the “Tragic
Overture” by Brahms. Just before beginning the rehearsal of this he
called out to the orchestra librarian, Russell, by name: “Where is the
contrabassoon? Why is there no contrabassoon engaged?”
In vain were Russell’s protests that he had not been told to
engage a contrabassoon, but suddenly Bülow’s anger subsided and
he began the rehearsal. During it, as was his custom, he conducted
without any orchestral score before him. His memory of what the
individual instruments had to play was indeed remarkable, although
I always felt that he enjoyed showing it off a little at rehearsals.
After the rehearsal was over he called Russell to his side and,
slipping him a five-dollar bill, whispered: “Do not say anything; it
was my mistake, there is no contrabassoon in the Brahms Overture.”
 IX

ANDREW CARNEGIE AND THE BLAINE FAMILY

In the spring of 1887 I sailed for Europe to spend the summer in
study with Hans von Bülow, and on the steamer I met Andrew
Carnegie and his young wife Louise. They were on their wedding trip
and on their way to Scotland, where Mr. Carnegie had rented
“Kilgraston,” a lovely old place near Perth. He had known my father
and had invited him a few years before to a dinner given in honor of
Matthew Arnold who had been in America on a lecture tour. Mr.
Carnegie spoke of my father with great affection and respect, and
expressed his delight that I had taken up my father’s work. He
invited me to come for a visit to Scotland after my studies with von
Bülow were over.
In the late summer, I accordingly sailed in a small steamer from
Hamburg to Leith and was received with great friendliness by Mr.
and Mrs. Carnegie at Kilgraston. Among their guests were James G.
Blaine, his wife, and two of their daughters. My acquaintance with
this remarkable family soon ripened very fortunately for me into
close friendship and resulted finally in my marriage to Margaret, one
of the daughters—but I am progressing too fast.
Mr. Blaine had been defeated for the presidency in 1884. Since
that time he had been occupied in completing his book “Twenty
Years of Congress,” and in the spring of 1887 he and his family were
taking a year’s holiday abroad.
Because of my youth and the exigencies of my profession, most
of my life had been spent among musicians and those interested in
music. This was the first time that I came into personal relations
with a great statesman, at that time the foremost in our country,
and I found to my amazement that, although an atmosphere of
great dignity surrounded him, he was absolutely simple and gentle in
his contact with other people.
His wife, a woman of singular strength of character, with a highly
original mind and an absolute devotion to her husband and his
ambitions, was in many ways as remarkable as he. Her knowledge of
and interest in literature—poetry, history, memoirs—was very
comprehensive, and the discussions thereon, which were constant at
Mr. Carnegie’s table, interested me immensely and opened new
worlds to me.
The two daughters, Margaret and Harriet, high-spirited and
sharing the interests of their parents, gave them a devotion and love
so partisan and intense in its character that it seemed at first to
attract me toward them almost more than anything else. As a boy I
had suffered agonies at seeing my father misunderstood and often
attacked by men not worthy to tie his shoe-strings, and here I found
similar conditions but on a much greater scale, as Mr. Blaine’s career
had been national and his triumphs and defeats had enlisted the
sympathies or execrations of millions of American citizens. Music had
entered but little into the lives of the Blaine family—although since
then my wife has become enthusiastically devoted to it—and I was
really delighted that for the first time in my life I was compelled to
establish relations from a purely human standpoint and without the
assistance of any of the “romantic glamour” of my profession. At this
time, however, I got but a glimpse of the Blaines, as they stayed
only a week after my arrival, but there were delightful rumors of a
four-weeks coaching trip from London to Scotland which Mr.
Carnegie was planning for the following summer and for which we
were all to be invited.
Mr. Carnegie was at that time a generous supporter of Gladstone
and the Liberal Party, and several of its leaders came to Kilgraston to
visit him, among them John Morley, who impressed me immensely
and for whom at his own and the Carnegies’ request, I played
excerpts every evening from Wagner’s “Nibelungen Trilogy,”
explaining the music and the text, as Mr. Morley had never heard the
music before. I was very proud of being able to interest so fine a
mind as his in Wagner’s music, and like to think that my Wagner
lecture recitals, which in later years I gave all over America, had
their origin in these informal talks in Scotland for Morley and the
Carnegies.
Incidentally, Mr. Carnegie became more and more interested in
the New York Symphony and Oratorio Societies and consented to
become their president and chief financial supporter. The more
intricate symphonic works did not appeal to him, but he had a
natural and naïve love for music. Because of his study and intimate
knowledge of Scotch literature, poetry especially, together with an
intense affection for the country of his birth, he particularly loved the
folk-songs of Scotland, and in a high, quavering, and somewhat
uncertain voice could sing literally dozens of them from memory. To
me these folk-songs were a revelation, and I still think that they
have a variety and charm beyond those of any other race.
I even adore the Scotch bagpipes and am almost in sympathy
with the Scotsman who says that his idea of heaven is “twenty
bagpipers a’ playin’ t’gither in a sma’ room and each one playing a
different tune.”
On our long walks and fishing excursions together, Mr. Carnegie
talked continuously and freely regarding his many plans to better the
world through liberal benefactions. He had already begun the
founding of free libraries all over Great Britain and America, and
would often tell me of his own great poverty as a child and the
difficulty of obtaining the books and education which he craved. His
imagination would kindle at the opportunities which his libraries
would give the youth of to-day, and a constant optimism as to the
future of the world seemed to direct all his plans.
The poor salaries paid to our teaching profession would
especially arouse his ire, as he considered that the entire future of
America lay in the hands of its teachers and that, therefore, the
greatest minds of the country should be enlisted in the work and
suitably rewarded. As the reader knows, this conviction finally
culminated in his remarkable and comprehensive scheme of
pensions to college professors who had served their calling a certain
number of years.
As he would unfold to me his various dreams and plans, he
became really eloquent. His little hands would clinch, and for a
moment even his fishing-pole and a possible trout at the other end
would be forgotten, especially when he talked of his greatest
aversion—war—and of its hideous uselessness in settling any
disputes.
As a boy he had had hardly any school education, but he had
inherited the Scotch passion for books. He had read omnivorously
and, what is better still, remembered what he read. Burns and
Shakespeare he knew by heart and could quote very aptly to clinch a
point in his arguments.
His sympathy for suffering, especially that caused by poverty,
was very great and expended itself in practical help in every
direction. The hard struggles of his early youth had made him very
understanding, and many widows left destitute received immediate
help from him and the children were put through school and placed
in business through his assistance.
His attitude toward religion was very curious. In those days he
professed to be an agnostic, but he had old Scotch prejudices in
favor of a “Scotch Sunday.” He despised theology and yet was really
religious, but he did not care to define his God or to explore the
mysteries or possibilities of a future life. His prejudices were as
unyielding as the pig iron which he manufactured at his Homestead
works, and no argument would move him if his mind was made up.
While Mr. Carnegie had a real admiration for music in its simpler
forms, this never crystallized into as great a conviction regarding its
importance in life as that which he had regarding the importance of
science or literature, and though always generous in its support, his
benefactions never became as great as in other directions. He could
understand that a library, a school, or a hospital could not and
should not be self-supporting, but I could not convince him that
music should fall into the same category. He always insisted that the
greatest patronage of music should come from a paying public
rather than from private endowment. He built Carnegie Hall in order
to give New York a proper home for its musical activities, but he did
not look upon this as a philanthropy, and expected to have the hall
support itself and give a fair return upon the capital invested.
In the spring of 1888 I again sailed for Europe with the
Carnegies, and on arriving at the Metropole Hotel in London we
found the rest of the coaching party already assembled—the Blaine
family, Mr. Henry Phipps a partner of Mr. Carnegie’s, and Mrs. Phipps,
Gail Hamilton (Miss Dodge), a cousin of Mrs. Blaine’s well known as
a writer; also a young Universalist clergyman, Doctor Charles Eaton,
who was the pastor of Mrs. Carnegie’s church.
We left the Hotel Metropole June 8, in the morning, on top of Mr.
Carnegie’s four-in-hand. There was a great crowd of people to see
us off and wish us “Bon voyage,” among them John Morley and Lord
Rosebery. All the men of our party looked very sporty in high gray
top-hats which we had hurriedly acquired at a hatter’s in the
neighborhood that morning.
I had been appointed treasurer of the tour by Mr. Carnegie, “with
no salary but all the usual perquisites,” as he put it.
The coachman, a stout, good-natured Scotsman of real ability,
drove his four-in-hand with such skill and care that when we arrived
in Invernesshire four weeks later, his horses were in even better
condition than when we started.
It was certainly an ideal way to travel, and the pace was leisurely
enough for us to see and enjoy the exquisite countryside of England
and Scotland. Every night we stopped at a different inn but always
carried our lunch in hampers, and at noontime halted at some
picturesque nook by the bank of a river or on some grassy meadow
in the shade of the trees and enjoyed our meal in lazy fashion.
The discussions between Mr. Blaine and Mr. Carnegie at these
picnic luncheons were certainly fascinating to listen to, and
especially illuminating to an American musician whose horizon had
perhaps been bounded too exclusively by his own ambitions and the
problems of his own art. Mr. Blaine knew England, its history, and its
great families far more intimately than any Englishman I have ever
met. It is well known that he never forgot anything, and whenever
we stopped either for luncheon or at an inn for the night, he would
immediately proceed to add to his immense store of knowledge by
questioning the local farmers, field workers, or innkeepers regarding
the economic or political conditions of that part of the country.
An amusing opera-bouffe element of the entire coaching trip was
added by the constant but furtive appearance and disappearance of
four American newspaper reporters who had been sent by their
respective papers to “shadow” Mr. Blaine because the Republican
convention for the presidential nomination was about to be held in
Chicago, and it was eagerly hoped that Mr. Blaine would accept the
nomination again. He, and through him we, of course, knew that
nothing was further from his mind, but in the dusk of evening, when
we would arrive at our inn for the night, these four reporters, having
travelled by train, would already be there and try directly or
indirectly to obtain “inside information” regarding Mr. Blaine’s
intentions. The reporters included Stephen Bonsal for the New York
World and Arthur Brisbane for the New York Sun. The latter, wishing
to combine pleasure with business, would sometimes scorn the train
and hire a high dog-cart.
Our itinerary took in all the cathedral towns of the east coast of
England. We were bound by no time-tables and, therefore, had
every opportunity to see and study the mighty Gothic churches of
Cambridge, Ely, Peterborough, York, and Durham.
I had agreed to conduct a concert in London on the 19th of June,
and so very reluctantly said a temporary good-by to our party at
York. This concert was given by Ovide Musin, an eminent young
Belgian violinist, who wished to perform a concerto of my father’s
which he had played in New York about eight years before under my
father’s own direction. I had an excellent London orchestra of
seventy-five players and also gave Beethoven’s Seventh Symphony
and the Liszt Hungarian Rhapsody Number One. It was my first
experience as a conductor in England, and as the concert passed off
very well I was much elated, especially when, just before catching
my train for Durham to rejoin the coaching party, I read some
complimentary criticisms of the concert in the London Times and
Telegraph.
It was raining when I left the railroad station in Durham to walk
to the road along which Mr. Carnegie’s coach was to appear. I well
remember my thrill of joy when I heard a merry fanfare played on
the coaching horn by one of the footmen—whom, by the way, I
always envied for his virtuosity on this instrument—and shortly after,
at a turn of the road, I saw the coach appear with everybody on top
attired in gray rain-coats and waving a friendly welcome. My wife
has always insisted to my children that on this entire trip I wore a
double-breasted frock coat which had done previous duty at my
matinée concerts in America, but I think this is a gross slander and
not based on fact.
We crossed the border into Scotland and of course stopped at
Walter Scott’s home and also visited the ruins of Linlithgow Castle, in
which Mary Queen of Scots was born. And here the four reporters,
who had been as constant as leeches and as inevitable as death and
the taxgatherer, solemnly entered the ruins and gave Mr. Blaine a
telegram which they had just received announcing Benjamin
Harrison’s nomination at the convention. As Mr. Blaine had expected
this for weeks, the news did not excite him greatly. He bade a
friendly good-by to the four young sleuth-hounds, several of whom
have since achieved fame in their profession, and we continued our
journey farther north until we arrived at Mr. Carnegie’s home, Cluny
Castle, on the evening of July 3.
It was bitter cold and the wind was whistling shrilly over the
Dalwhinny Moors as we first caught sight of Cluny, but an American
flag was floating proudly over its turrets, and inside warm fires and a
delicious dinner were awaiting us.
Then began a summer of delights for me. Mr. Carnegie had a
piper who, according to old Scotch custom, would walk around the
outer walls of the house every morning to awaken us. My room was
in the bachelor quarters and had a little fireplace in which a peat fire
smouldered comfortably. The smell of peat and the sound of the
piper as he drew nearer and nearer to my window and then again
receded in the distance are always inseparably associated in my
memory. In the mornings I usually worked at my studies in
counterpoint and composition, but from luncheon on it was nothing
but delightful entertainment or listening with keenest interest to
discussions of all kinds—political, economic, poetical. Miss Dodge
was a most stimulating person. She had a mind that would accept
nothing without analysis or proof, and the verbal duels between her
and Mr. Carnegie were fascinating, for, although she was not Scotch,
she, as much as Mr. Carnegie, typified the story of the two Scotsmen
who meet each other and one says: “Where are you going, Donald?”
“Oh, just doon to the village to contradict a wee.”
Occasionally I would accompany Mr. Carnegie to some lonely loch
among the hills to fish for trout, but I have never developed into a
very ardent disciple of Izaak Walton. I used to get more pleasure
from lying on my back watching the marvellous Scotch sky with its
low-hanging clouds framing the hills in their loving embrace, with
perhaps now and then just a speck of blue shining through, than
from the catching of the “finny monsters.” These, however, rarely
measured over six inches in length, although I certainly enjoyed
them the following morning, when we had them for breakfast, rolled
in oatmeal flour and deliciously fried.
In the evenings I had to contribute my little quota toward the
house-party by playing Beethoven and Wagner on an excellent
Broadwood piano.
During all this time I was amazed at the extreme simplicity and
gentleness which characterized Mr. Blaine’s demeanor toward all with
whom he came in contact. Here was a man who at that time was
the most loved and the most execrated American, and yet he had in
him absolutely nothing of the “prima donna” manner of many of
those in my profession who have achieved fame. His dignity,
however, was innate and unconscious, and during the many years
that I knew him and knew him intimately I have never seen any one
who dared to presume on his simplicity and general cordiality of
manner by undue familiarity. His power of abstraction from his
surroundings was remarkable. He enjoyed working in the room in
which his family were talking, laughing, and disputing on all manner
of subjects, while he would sit in a corner concentrated on some
problem of his own and work it out, absolutely oblivious to what was
going on about him.
The Blaine family left Cluny all too soon, and not only I, but the
entire household felt their absence keenly.
Other guests followed, among them John Morley, with whom I
went on long and to me very interesting walks. He seemed a very
lonely and perhaps a disappointed man. He was married, but
childless, and told me once that the great regret of his life was that
he had no son, as he would like to have brought him up and
educated him according to a theory all his own as to what an
Englishman’s training really should be. How many men have had
such dreams and how few, if any, can really control the future of
their children!
In March, 1889, Benjamin Harrison was inaugurated President
and Mr. Blaine became his secretary of state.
I was, as usual, terribly busy that winter with the opera,
concerts, and Wagner lecture recitals, and there were times when
Washington seemed very far away, but Margaret Blaine had good
friends in New York whom she visited occasionally, also a sister, the
wife of Colonel Coppinger of the United States army, who was
stationed at Governor’s Island in New York harbor. Whenever she
stayed with Mrs. Coppinger I was a very frequent passenger on the
little ferry-boat which seemed to me maintained by our beneficent
War Department for the sole purpose of enabling young men like
myself to reach this picturesque though antiquated military fortress.
Mr. Carnegie was absolutely unconscious of my aspirations
regarding Margaret Blaine, and the following summer he suggested
a visit to Bar Harbor, where Mr. Blaine had built a summer home. I
accepted with an alacrity which he mistook as springing only from
the same source as his own desire to see again the friends who had
contributed so much toward the delights of the coaching trip and
Cluny Castle. When I afterward told him of my hopes and that they
had received some encouragement during our Bar Harbor visit, he
was very much put out and vowed that if he had ever suspected
anything of the kind he would never have taken me with him. He
told me that he had hoped I would not think of marriage for many
years, but would remain as a kind of semi-attached musical member
of his household, which at that time consisted only of himself and
his wife. Of course I listened to his many arguments absolutely
unconvinced, and obstinate though he always was, he found his
equal in me. I must confess, however, that when he saw how much
in earnest I was, he not only completely receded from his position,
but accepted my engagement and marriage with absolute good
humor and approval.
My engagement to Margaret Blaine was announced in October of
the following year at the wedding of her brother, Emmons, to Anita
McCormick, of Chicago.
Mr. Blaine had bought the old Seward mansion on Lafayette
Square, very near the White House, and Mrs. Blaine, who had a
remarkable flair for harmonious house furnishings and decorations,
proceeded to make it into a dignified and charming house, the
special feature of which was a large drawing-room on the first floor,
created by changing two rooms into one.
I have told elsewhere how in those days I was compelled,
because of my youth, to confine myself at the Metropolitan to the
conducting of such operas as “Le Prophète,” “La Juive,” and
“Trovatore.” Seidl, my older colleague, completely monopolized the
Wagner operas, which I was of course particularly anxious to
conduct. Against “Trovatore” I had at that time a particularly strong
and unreasonable aversion, although it was partly justified in that
we did not have a cast in our German Opera Company that could do
justice to its Italian atmosphere or its vocal demands.
Whenever good luck would have it that the Saturday matinée
was a Wagner opera, I would ask for and obtain from Director
Stanton the permission to leave for Washington on Friday night, as
this would enable me to spend Saturday and Sunday with my
fiancée. On one of these Fridays, just after I had received my
permission, my brother Frank came to me and urged me to take the
first train to Washington that I could catch, as he had just heard that
the tenor who was to sing in “Siegfried” on Saturday afternoon was
ill, and that in all probability the opera would be changed to
“Trovatore.” I quickly took the hint, and when the message came
that I was to conduct “Trovatore,” I was nowhere to be found and
Anton Seidl was compelled to conduct it. He was furious, as he had
no greater love for it than I, and my brother told me afterward that
he conducted the entire opera with a black scowl on his face, which
was bent low over the score and from which he never lifted his eyes
once to give a sign to singer or orchestra.
During the following winter, tragedies began to overwhelm the
Blaine family. Walker, the eldest son, a young man of great talent
who had inherited much of his father’s personal charm and who had
become a great help to Mr. Blaine in the State Department, died, to
be followed shortly after by the oldest daughter, Mrs. Coppinger.
These two tragedies, following so closely upon each other, were
the first break in that perfect family circle, and this affected Mr.
Blaine’s spirit and health to such an extent that I do not think his
vitality ever recovered from it.
I was married to Margaret Blaine on May 17, 1890. I should like
to write much more than a chapter about the thirty-two wonderful
years of our married life, but as my wife has sternly forbidden me to
even mention her name in these memoirs, this chapter must close
with the best left unsaid, though the most deeply felt.
 X

THE DAMROSCH OPERA COMPANY, 1895-1899

With the return of Abbey, Schoeffel, and Grau in 1891, Wagner
virtually disappeared from the stage of the Metropolitan Opera
House as their entire energies were turned toward producing operas
of the French-Italian School. It was a natural reaction from the
seven years of opera in German and the pendulum swung far to the
other side. A company of truly great singers had been assembled by
the new managers; the audiences revelled in their bel canto, and as
Abbey, Schoeffel, and Grau assumed the entire financial
responsibility of the enterprise, the directors of the opera-house
were also well satisfied. They had become tired of the growing
deficits of the German opera.
The head and controlling spirit of the firm was Henry Abbey, a
magnificent and honorable gambler in “stars” whom he paid so
liberally that, while he sometimes gained large profits, he many
times lost more heavily. The chances of profit were too small and
generally it was too much like the roulette tables at Monte Carlo,
with the odds in favor of the stars.
John Schoeffel was not much more than the hyphen between
Abbey and Grau. I never could see that he did anything except,
perhaps, arrange for the advertisements of the opera company when
it visited Boston, where he lived as lessee of the Tremont Theatre.
The actual direction of the opera season, the arranging of the
repertoire, the engagement of the artists, and the handling of them
was in the hands of Maurice Grau, who had developed into a first-
class opera manager. He claimed but little knowledge of things
artistic, but he was astute and had a real flair, up to a certain point,
for giving the public what it wanted. He was honorable in his
dealings with the artists and in a grudging way (which operatic
artists often have) they liked him, although they tortured him
incessantly. He used to sit in his office like a spider from morning
until night, working out repertoires, quarrelling with the singers or
placating them, and altogether having no interests in life beyond
that—except, perhaps, the national game of poker, in which he and a
small group of cronies used to indulge—and a great affection for his
little daughter.
With the exception of “Lohengrin,” which had sporadic
performances in the Italian language, poor Wagner was virtually
boycotted, and with my great adoration for him I chafed under this
condition more and more.
The winter of 1893-94 I had been asked to arrange something
original in the way of an entertainment for a charity in which I was
interested, and as Materna, Anton Schott, and Emil Fischer were at
that time in America, I conceived the idea of giving a stage
performance of the “Götterdämmerung” at Carnegie Hall. Materna
was old and fat, but her voice was still glorious; Anton Schott still
made a personable Siegfried, and Emil Fischer was at the height of
his vocal and histrionic powers. The scenery, though simple, was
well improvised and part of it specially painted, and the weapons
and other properties were borrowed from the Metropolitan Opera
House.
The success was so remarkable that we repeated the work
several times and added “Walküre.” This seemed to me conclusive
proof that the American public were more than ready for the return
of Wagner, and I called on Abbey and Grau to suggest that they
include a certain number of Wagner performances in German in their
repertoire. They threw up their hands in horror at the idea, saying
that Wagner spelled ruin, but as they were very kindly disposed
toward me (I had conducted many orchestral concerts for some of
their instrumental stars) they suggested that if I wanted to be
foolish enough to give Wagner performances myself, they would
gladly rent the Metropolitan Opera House to me in the spring and on
easy terms. Almost irresistibly I was drawn into the resolve to take
their suggestion seriously, although it was made laughingly and
sceptically as to its outcome. I consulted a number of devoted
friends who shared my optimism and finally decided to make the
plunge, and, in order to finance my mad scheme properly, I sold my
house on West 55th Street.
At the home of Miss Mary Callender and Miss Caro de Forest,
both of them true friends and music lovers, a “Wagner Society” was
formed, the purpose of which was to help the sale of subscription
seats for my venture and to spread the propaganda for the project in
every way. At the first meeting of this society so many seats were
subscribed for that the success seemed assured, and, besides this,
the directors of the Metropolitan Opera House, although they were
entitled to the free use of their boxes, suggested to me very
generously that as Abbey and Grau would charge a nominal rental of
five hundred dollars a night for my performances they would pay me
that amount for the use of their boxes, so that I should have the
house virtually rent free.
Abbey and Grau, who looked on me as a kind of foolish boy who
was plunging madly toward destruction, told me with equal
generosity that I could have whatever of their enormous stock of
costumes and properties might prove of use for the Wagner operas.
About this time I received a letter from Mr. William Steinway,
then the head of the house of Steinway & Sons, and a great lover of
music, asking me to come down to see him, as he was very much
interested in my project for the return of Wagner to the
Metropolitan. I did so and found him at his desk crippled with gout
but very cheerful and happy over my venture, for which he
prophesied great success. He suggested, however, that while he
realized that the idea and the venture were entirely mine, and that I
was entitled to every credit and advantage from it, it would be a
very generous act on my part if I invited Anton Seidl to share the
conducting of the Wagner operas and music-dramas. He pointed out
that Seidl was looked on by the American public as a great Wagner
conductor, and his co-operation would show that I intended to found
my project on the broadest and most generous lines. He said that if
I would agree to his suggestion, he would arrange a meeting for
Seidl and myself at his office for the following day, and I could be
sure of his heartiest personal and financial support.
I thought well of his idea, and, while Seidl and I had never been
on cordial personal terms during the old German opera days, nor
afterward when we went our separate ways as concert conductors, I
felt that the project might be much strengthened by a combination,
and accordingly met Seidl, together with William Steinway, in the
latter’s office the following day. I outlined my project to Seidl, told
him of the support I had already gained, of my arrangement with
Abbey and Grau, and that I was financing the scheme myself, but
that, with full admiration for his work in America during the years of
German opera after my father’s death, I should be glad to divide the
Wagner operas with him. I showed him a list of the eight I intended
to produce. They were, as I remember, as follows:

“Rhinegold”
“Walküre”
“Siegfried”
“Götterdämmerung”
“Tristan and Isolde”
“Meistersinger”
“Lohengrin”
“Tannhäuser”

I suggested to him that he should pick out the four which he

preferred and that I would conduct the other four. Steinway
pronounced this offer extremely fair and generous and urged Seidl
to accept it, but Seidl said he would have to think it over and would
notify Steinway of his decision.
The next day he called on Steinway at nine o’clock in the
morning and told him that he had come to the conclusion that he
would not divide the conducting of the Wagner operas with any one
and, therefore, preferred not to have anything to do with the
venture. Steinway was furious, and when he told me of this he said:
“I am now with you heart and soul and here is my check for twenty-
five hundred dollars for which I will take subscription seats for your
season in different parts of the house.”
I arranged for a season of eight weeks at the Metropolitan and a
tour of five weeks which should take us as far west as Kansas City,
as this Far Western outpost had immediately put in a generous bid
for three performances.
I went abroad that spring to engage my artists and succeeded in
gathering a notable company of Wagnerian singers: Rosa Sucher, of
the Berlin Royal Opera for the Brunhildes and Isolde; a young singer
of twenty-three, Johanna Gadski, who sang for me in Berlin, for Elsa
and Elizabeth; Emil Fischer, of the Dresden Royal Opera, for Wotan
and Hans Sachs, and Max Alvary, the handsomest and most dramatic
of Siegfrieds and a truly knightly Tristan. He had studied the latter
rôle at Bayreuth and had sung it there at the first performances. At
Bayreuth I also found a highly gifted English singer, Marie Brema,
who was then almost unknown but who was the possessor of a rich
and expressive mezzo-soprano. Her talent for acting was remarkable
and her vocal range so great that I thought I could use her not only
for Ortrude and Brangäne, but, if necessary, for the Brunhildes as
well.
A great deal of the scenery for “Tristan” and the “Nibelung
Trilogy” as well as for “Tannhäuser” I had especially painted in
Vienna by the firm of Kautsky and Briosky. They were at that time at
the head of their profession, and such beautiful foliage as, for
instance, in the forest scene of “Siegfried,” had never before been
seen on an American stage. Our New York painters gathered around
it in amazement when it had been unpacked and properly mounted
and hung.
Such an expert on naval matters as William J. Henderson, the
eminent music editor of the New York Sun, deservedly criticised the
architecture and rigging of the ship that bore Tristan and Isolde
across the Irish seas to Cornwall. Vienna, the home of my scene-
painters, is not a seaport, and the gorgeous tent of Isolde’s, and the
sails and mast, while very picturesque, completely hid the course of
the ship from Tristan at the helm, and if he had not been an operatic
sailor, who knew exactly where the ship was going to land at the end
of the act, he undoubtedly would have sent it crashing against the
white-chalk cliffs of England instead of guiding it safely into the
harbor of Cornwall.
In the meanwhile, the subscriptions for seats at our New York
office had gone up by such leaps and bounds that the financial
success of my “crazy venture” was assured before the box-office
opened for the single sale of tickets.
I had chosen “Tristan” for the opening performance. It was in
1895. The general rehearsal had gone well and an immense
audience filled every available space of the opera-house and greeted
me warmly as I appeared on the conductor’s stand. I was just about
to begin the prelude when a whisper reached me that the English
horn player was not in his place. It was old Joseph Eller, who had
played in the Philharmonic under my father many years before. He
had, incredible to relate, forgotten his instrument and, discovering
this only on his arrival at the Metropolitan, had rushed home but had
not yet returned. Imagine my agitation! Everything was ready, the
lights turned down and the audience expectant, and I finally did not
dare to wait any longer. I assigned the English horn part to the third
French horn player and we began the long-drawn sighs of the
violoncellos of the introductory bars of the prelude. To my great
relief I saw Eller slip into his place a few minutes later, and the
performance moved well and dramatically toward a triumphant
close, in which Alvary, especially, distinguished himself by his
marvellous acting and impassioned singing in the scene preceding
the arrival of the ship bearing Isolde. Sucher invested Isolde with a
gentle, womanly dignity, but vocally she was no longer quite in her
prime and did not, I think, equal Lilli Lehmann or Klafsky and
Ternina, whom I brought to America the following year.
To re-enter the Metropolitan on such a Wagnerian wave after
German opera had been so ignominiously snuffed out five years
before, was a great triumph and satisfaction for me, more especially
because my father had laid the foundation eleven years before.
 I produced the other Wagnerian operas in quick succession, and
as the houses were sold out for every performance the profit was
considerable.
Madame Marie Brema proved herself such a valuable member of
the company, both as Ortrude and Brangäne, that I felt it would be
wise to give her the opportunity to sing Brunhilde in “Walküre” as
well. I, therefore, quietly began to train her in that rôle.
Unfortunately, during a rehearsal which I had with her alone on the
stage, Madame Sucher happened to saunter in and, hearing the
familiar music coming from my piano, she suddenly beheld another
woman singing Brunhilde. She gave me one indignant but
comprehensive glance and then majestically sailed off the stage. A
few hours later I received a letter in which she announced to me
that she wished to return to Germany on the next steamer, as she
had not been accustomed until then to have “her” rôles sung by
another as long as she was in the company.
This was the first letter of the kind that I had received during my
short career as opera impresario, but it was but the prototype of
many similar ones that followed each other like snowflakes in a
storm during my various opera seasons.
I, of course, immediately sent Madame Sucher a large bouquet of
roses and wrote to her that, quite apart from contractual obligations,
I could not understand how she would want to leave America after
she had “sung herself so gloriously into the hearts of my
countrymen.” I do not know whether my letter or the roses had any
effect, or whether wiser counsels prevailed, but she stayed with me
and continued her work with great good nature and even endured
the hated sight of having Marie Brema sing Brunhilde at several of
the subsequent performances.
In Kansas City we ended our stay with a matinée performance of
“Siegfried,” Madame Sucher as Brunhilde and Max Alvary, the
handsome, as Siegfried. My readers will remember the great scene
in which Brunhilde is awakened from her slumber of years by the
kiss of Siegfried, who bends over her in that delightful but difficult
position for a long time until a certain bar in the music denotes that
Welcome to Our Bookstore - The Ultimate Destination for Book Lovers
Are you passionate about testbank and eager to explore new worlds of
knowledge? At our website, we offer a vast collection of books that
cater to every interest and age group. From classic literature to
specialized publications, self-help books, and children’s stories, we
have it all! Each book is a gateway to new adventures, helping you
expand your knowledge and nourish your soul
Experience Convenient and Enjoyable Book Shopping Our website is more
than just an online bookstore—it’s a bridge connecting readers to the
timeless values of culture and wisdom. With a sleek and user-friendly
interface and a smart search system, you can find your favorite books
quickly and easily. Enjoy special promotions, fast home delivery, and
a seamless shopping experience that saves you time and enhances your
love for reading.
Let us accompany you on the journey of exploring knowledge and
personal growth!

ebooksecure.com