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Maurice Levy: This is Maurice Levy speaking to Mary Hardy for the Oral
History of Music in Pittsburgh project. It's August. Do you have any
musical background? You. You began to work at the Carnegie Music Hall in
19
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Mary Hardy: October 1st, 1930.
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Levy: 1930.
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Hardy: And I really wasn't hired to work in the Music Hall. I was working
for the manager of buildings and grounds, but he was also the manager of
the Music Hall. I didn't know that until I got there. And my, uh, knowledge
of music had nothing to do with my getting that position. It was just darn
lucky because it was right in the middle of the depression, and I was just
out of business school, and I needed a job.
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Levy: So you're, uh, that that was your. You didn't have any musical
training as such?
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Hardy: Yes. I mean, I, uh, I played the piano fairly.
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Levy: Oh, you do play that.
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Hardy: And I'm a organist, not a real professional organist. But I've
always played our church organ, not always as the official organist, but
substituted, and I'm still substituting, and I played. In our church for.
Ten years, I think, and another 10 or 15. So I have an organ background,
but strictly amateur. And I've always I majored in music in college. A
piano, although I took some organ in college to. But it was pure
coincidence when I got there and had to type Doctor Heinroth's programs.
That I have some idea what they were all about, and that I recognized the
names of the composers. Although I hadn't studied much organ, I didn't go
into playing organ. For money until. The war came along Second World War,
and the organists were so scarce that I was begged to take a job here in
Crafton in one of the other churches, and I did so, and I enjoyed that
extra money. So I would up until about 3 or 4 years ago, I. Have been
playing an organ in one church or another.
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Levy: So you began to work at the Music Hall, and Mr. Ambrose was your,
uh, your boss.
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Hardy: The immediate boss. He had a secretary who was really the.
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Levy: And what were your duties there?
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Hardy: Well, I was listed as a as a stenographer at first because he had a
secretary, and I worked under her. Actually, Mr. Ambrose didn't like to
dictate. So when he wrote letters, he wrote them out. And I didn't like to
take shorthand. So that was just a nice coincidence that I took very little
shorthand while I was there, because I'd finished a business school, but I
wasn't very good at shorthand, so I, I was called a stenographer anyway,
because I wrote the letters and I typed the programs for the organ recitals
and sent them off to the newspapers. I usually they used to publish the
program of the Saturday night and Sunday afternoon organ recitals. They
would publish them in the newspapers, and I had to send them there. And
then I sent them down to the printing department. At that time, we had the
Carnegie Institute Press and all the printing for the library and the Art
museum and the Museum of Natural History. That was all done in the
building. And one of the things they printed were the organ recital
programs.
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Levy: Uh, the organist when you came there was, uh, Charles. Charles.
Heinroth, what do you remember of him?
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Hardy: I never knew him personally. He was. I think everybody was a little
bit in awe of him. He was a splendid organist. And at that time they had
the Saturday night programs as well as Sunday. And I used to they used to
say that the organists came to the Sunday night or to the Saturday night
rehearsal. To hear him. Other organists in town Sunday afternoon was the
public that would stray in from the museum. That's what I was told.
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Levy: And they had larger crowds on Sunday afternoon because.
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Hardy: No Sunday movies in those days. There's nothing else to do except
to go to the museum.
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Levy: And there wasn't even baseball. They weren't allowed to. Sunday
baseball. No. Even though you were right there in Oakland.
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Hardy: Yes. No. Sunday baseball.
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Levy: And, uh. What what what do you say you you remember about him as
such?
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Hardy: Uh, I thought he was, uh, I remember that he had, as I say, he had
great respect among the other organists in the city. He was also the
organist. I believe it was the organist. Yes, I'm sure it was the Third
Presbyterian Church on. The corner of a on Fifth and maybe Maryland around
in there. I forget just which side street that is. Uh, I remember they had
a telephone at the organ. And, uh, so he could get calls. And I remember
one day he was turned off, and somebody was trying very hard to get him.
And I went down to the Music Hall and told him, and he said, well, who
turned it off? Well, of course, I had no idea who turned it off. He could
be a little bit grouchy, I remember, but he was a splendid organist. I
didn't know him personally when he left. He as I remember, I think he went
to the City College of New York. One of the New York or NYU? I'm not sure.
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Levy: Yeah. That's right. The CCNY, CCNY became professor of music there.
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Hardy: I understand that he went there because at that time, Carnegie
Institute had no. Um. Pension program that anyone could rely on. And he
could get one here. That was what I was told.
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Levy: He was looking for security. Yes. Right. Uh, the, uh. Of course he's
the culmination. He's not the culmination, but he's one of the people who
are instrumental in the story, of course, of Carnegie, who who gave those
thousands of organs all over the world. Yes. And they Andrew Carnegie, do
you know that?
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Hardy: I know. About that. Our in fact, our organ at our church here in
Crafton was given by him originally. And a lot of organs were and a lot of
people now in these churches that are not as well off as they were. So if
they all still get some money from the Foundation that that's. I understand
his job.
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Levy: That's pretty good.
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Hardy: Yeah.
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Levy: So that that was an evidence of, uh, the story that he woke up on
the ship, you know, and he heard the organ playing when Andrew Carnegie
when he came over to this country. Boy, I didn't know that. And he was so
astounded by it. And, uh, he, uh. And he was. Well, it says here he was
awakened by a brass band. And then he had the of course, he had pipe organs
installed in his, in his home. And, of.
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Hardy: Course, I've heard that.
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Levy: Across the world, actually. Uh, the so the organ is, is the thing
that many Pittsburghers remember Carnegie Music Hall for. I think because
it was free. Right. Yes. And so and so you had uh, uh, thousands of people
come every year, as many as 60,000 in a year.
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Hardy: And they programs were bound into one volume at the end of each
season. And there's a complete set of them, I think, in the music library
there should be. In fact, I have a few of them myself, because there was
some left over that I just helped myself to. We they weren't for sale. They
were a Doctor. Heinroth and I and Doctor Bidwell would send us a list of
people that he wanted us to mail them to. And they they were, I'm sure a
young budding organist would think they were wonderful because the program
notes were so good. And told them about all these. Have you ever seen one
of the bound volumes?
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Levy: I've. No, I really haven't. But I'm going to look at I'm going to
look when I get there.
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Hardy: Would you like to see them.
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Levy: Oh well when we're finished I'll. I'll get them. Sure. Fine. And
I'll look at them in the library when I get back there. Um.
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Hardy: The notes are invaluable too.
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Levy: Notes were written by Doctor, Doctor Heinroth. And then Doctor
Bidwell wrote the notes for his programs. Uh. So you didn't know him? Uh,
personally. But I'm sure you knew, Doctor.
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Hardy: I got to know Doctor Bidwell quite well. Yes.
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Levy: Tell me about him.
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Hardy: Well, he was an entirely different kind of a person. I can't really
describe him his. His wife. He married a Pittsburgh woman after he came
here. Very, uh. I forget what her name had been. She'd been married before.
And they had one daughter. I was at their house once, and they were
spending the summer up near a place where we go in the summer. So he came
over one day and spent the day at our cottage with his wife and daughter, I
remember that. Yeah, I got to know him pretty well because about that time
I joined the Organist Guild. I wasn't intending at all. Ever had no idea of
getting an organ job. But during the war, as I say, organists were scarce.
They were. All the men were all off fighting, and one of the women in
Crafton was about to become a mother and she couldn't find anybody to take
her place. So she asked me if I'd take it, and I thought I was supposed to
go up there until the baby was born. But I stayed for nine years and nobody
ever told me to stop.
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Levy: So that's a pretty long baby. By that.
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Hardy: Time, he was pretty old, and I got accustomed to that little extra
money, you know? And once you get accustomed. So from then on, I just after
I left there, I went to the West End Methodist and played for ten years
there, and then came to our own, the Episcopal Church at Crafton, where I
was baptized and grew up, and I played there two different terms, but I
when I got to be 80, I retired. But this is not the Music Hall, but it just
shows that I learned a little bit more about the organ all the time.
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Levy: I think it illustrates the fact that people, uh, participated in
music on a personal level. It wasn't passive like it is today with the
radio. And during the concert, people had pianos in their homes. Right.
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Hardy: That's why I think that to I belong to the American Guild of
Organists, and I think they're always fussy because they can't find
substitutes and they can't get pupils. And I think that. This is my own
observation, but when I was growing up, everybody had a piano. They'd save
money to buy a piano like today. They saved money to buy the TV. And or the
VCR or whatever they are. I don't know what a VCR is. I've never yet found
out what one is because I know I don't have it, but however. Um. I think
that I think that's the reason. And really, you'd need a piano background
to play the organ. So our organist never had a piano lesson in his life,
and he's pretty good. But I'm the one in your church? Yes. I've never heard
of another organist. Take the piano player piano first.
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Levy: So maybe while you've learned the American Guild of Organists. And
was that the Pittsburgh chapter? Pittsburgh chapter? Well, maybe before we
get into the Music Hall, you can you can tell us something about that
because that's, that's a, a group that's been going on for many, many
years. It's one of the.
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Hardy: Largest chapters in the country. I really.
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Levy: Really I know I've seen uh, uh, programs that they've put on. Yes.
And they and they've had conventions here.
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Hardy: Oh, yes. We had the national convention here. I remember many years
ago before I joined and they were having they used the Music Hall for some
of the concerts. And I've been to two of the national conventions myself,
not in here, but in Boston and in Washington, because I happen to have
relatives in both cities, and I didn't have to pay for a hotel.
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Levy: Now, the the membership of the American Guild of Organists, where
the organists in the area. Right people, the church organists, maybe people
from the universities who were taught it. People like that. Teachers,
things like that. What were they, uh, what was their primary goal? Uh,
disseminating music?
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Hardy: Uh, I don't know. I think you ought to interview one of the
officers of the of the AGO, as we call them. Okay. Rather than me. I'm. I'm
just one of the many. I say that I'm really not an organist. I'm just a
hymn player because.
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Levy: But you you belong to it. You have a you have a little different
perspective than somebody who sits behind a desk. Who? Administrator. Oh,
yes. And what did you get out of the.
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Hardy: Well, I've made a lot of friends and other and other organist with
whom I for whom I have a lot of respect because I know how good they are.
Don Wilkins, who's out of Calvary Church and he's one of the best organists
in the city, I imagine. For their. Many organists because they have full
time jobs at churches like that. Though most of these little churches, all
they can do to pay their clergy would allow the organist.
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Levy: Well, you you of course you did. You met people there and so forth.
Uh, on a professional level, what what, uh, did that organization.
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Hardy: Well, they have good recitals and I've learned a little bit of, uh,
of, uh, organ music. Not most of it would be beyond my ability to play. I
was certainly I studied some of those harder numbers, but not very often. I
was mostly self-taught in the organ. I took a year at college. Of Organ,
but I didn't practice very hard. I was really majoring in piano.
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Levy: Where did you go to college?
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Hardy: Elmira College in New York state. Do you know where it is?
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Levy: We were there a couple of years ago. We saw the Mark Twain study,
which is which is on the campus there. Right?
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Hardy: Right, right, right. It wasn't when I was in college, but it was
moved there a few years ago. I've seen it. I go back for reunions. I'm glad
you know about Elmira, because a lot of it was never very strong among
Pittsburgh girls. But. I loved it. It was a wonderful college, co-ed now.
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Levy: Co-ed now.
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Hardy: And the students didn't want it. The trustees put that over there
when behind their backs, and they didn't like it at all.
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Levy: Well, that's happened to many of the so-called girls schools. They
still have.
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Hardy: To. They really have to, because for financial reasons.
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Levy: So you you you took some music at Elmira? Yeah, I.
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Hardy: Majored in music.
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Levy: Yeah. You majored in music there.
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Hardy: And I got out of college and couldn't earn a living, so I had to go
to business school so I could earn some money. So the has nothing to do
with the musical. Yeah. It's just coincidence that I got the job there.
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Levy: No, it's just as long as it's music. Where the name of the project
is the Oral History of Music in Pittsburgh. And that's music, because it
isn't just everybody thinks it's just Symphony or the opera, but, uh, the
as you indicated, music making was done in the home. People stood around
the piano and sang. Isn't that right? Right. Sure. They the people didn't
buy records. They bought sheet music. They went down to the to the music
stores and bought
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Hardy: On Fifth Avenue. And there was always a pianist in there playing
these pieces. She, you they'd pick up. I would pick up. I'd never did it.
But that's what I could have done if I'd been a customer. Go in there and
see this song, I think. Oh, I think that sounds nice. I'd give it to the
pianist and she'd play it for us.
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Levy: I remember. Oh yes, I remember, I remember when I was about 7 or 8
years old and that would be in the early 30s going into, I think,
Woolworths. And they had a pianist. Yes. And they played the popular music
of the day. Stacks of sheet music there. And the sheet music had pictures
of the people who introduced the music. There would be a picture of, of of,
uh, I guess Russ Columbo. Right? Yes. Right. And uh, who, whoever, uh, they
associated with it and they would play the music. And then the teenagers, I
guess, who were older, they would buy it.
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Hardy: There was no. Radio. So you didn't hear it on the radio. People
would buy records and they'd.
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Levy: Well, there was well, there was radio and that was there. But it
really wasn't central to music at that time. No.
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Hardy: And that isn't where you learned your music. Probably.
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Levy: But that eventually died out. But it is a, uh, from what I
understand, that's that's what.
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Hardy: The drug stores, our drug store here in Crafton used to sell
records.
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Levy: Oh, yeah. It's all the old 78 shellac records. Yeah, yeah. So the
American Guild of Organists.
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Hardy: Uh, but I you should interview them as, as an organist.
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Levy: Well, I'll get that. You'll give me a name when we're finished, I
can.
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Hardy: All right. They are bringing on the first Wednesday. I think it's
the 3rd or 4th of September. The King's College Choir from Cambridge
University in England, and they are one of the best choirs of that kind.
They're perfectly marvelous. I'm sending off a. The letter to the church
because I want five tickets for it.
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Levy: Where are they? Holding them in the.
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Hardy: In Shadyside Presbyterian.
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Levy: Church. Presbyterian.
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Hardy: I wanted I had a record. They put out a Christmas record some years
ago. And those boys are just. Their voices are just marvelous. Of course,
it's men and boys as all those English cathedrals have. And I am an
Episcopalian, so I was interested in the Anglican Church as such. But one
year I found that record in a record store, and I thought, I am going to
England to hear that choir. So. So 1963, I was a little freer to go. My
mother had died and I was freer to travel. And I went to England and I went
to Cambridge, and I heard that choir, and I'm going to hear them again out
there.
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Levy: Were you born in? In Crafton. Crafton? Uh. Well, Doctor Bidwell, you
have anything else? I mean, aside from the spiritual attributes. You must
have dealt with him, though.
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Hardy: He was a kind. Of a nervous man. He and he had an entirely
different kind of personality from Doctor Heinroth. It's a little hard to
describe him. Uh. I don't know how I could really describe him.
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Levy: You recall attending some of the concerts?
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Hardy: I used to. Go to the some of the recitals, and I knew him
personally because he'd come waltzing in every week with his programme and
I'd have to take it and tape it, you know? And.
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Levy: That he had. No, he didn't particularly comment on what he was
doing. It was was it more or less a professional relationship?
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Hardy: Yeah. That's all. He had an office in the Music Hall backstage on
the second floor. And that's where he. Laid out his notes and maybe did
some practicing. I think there was I think there was a piano there, and he,
both Doctor Heinroth and Doctor Bidwell practiced a lot in on the Music
Hall organ.
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Levy: You could hear that in the, in the, in the library.
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Hardy: Oh, yes. Yes.
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Levy: I remember being up in the music. Yes.
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Hardy: Listening to the Irene Millen used to get so mad because she said
he'd make the same mistakes over and over and over again.
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Levy: Well,
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Hardy: This is a little. Too close to them for comfort, I think, because
it was right behind the organ pipes, you know.
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Levy: That's right. That wall that that you face when you come into the
music room, that's the that's where the pipes are. That's where the pipes
are. I can recall growing up there and hearing and hearing the music coming
through the wall.
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Hardy: And but going back to the Music Hall itself in the rentals and the
organizations that used it. Uh. I'm trying to think of some funny things
that happened. Um. I don't know how well acquainted you are with the
Lutheran Church, but the Lutheran Church has a lot of different synods, as
I call them. And each one of them thinks they're the only ones that should
exist. And for many years every fall on what they called Reformation
Sunday, which I believe is the last Sunday of October. Not sure. There are
two different organizations in Pittsburgh that wanted to have a program
that Sunday night, and the first at our policy at the Music Hall office,
was to give the rent the Music Hall to whichever organization signed a
contract for it first. Sometimes they would take an option on a date, but
they just didn't get around to signing the contract. And. Usually one
organization would have it the last Sunday in October, and the other
organization would have theirs on the first Sunday in November. Well, one
year one of the Lutheran pastors came storming into the office. And several
months ahead of time they would have to book. These make these bookings
months ahead of time, sometimes a year ahead of time. We wouldn't even have
our books set up yet. But remember, one time one of the Lutheran pastors
came in and said he wanted that. And I said, well, I'm sorry, but this
other organization has it. He was furious. He said, well, you know, we are
the only real Lutherans. And I said, well, I'm sorry, but I'm not Lutheran.
So I couldn't decide who the real, only real Lutherans. He stormed out and
he didn't get his date. That was and.
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Levy: That they used that for a service.
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Hardy: Yeah, they have had a regular service. Yeah. I never was at one.
But you'd find the programmes for them. And then, um. You you did you
remember May Beegle?
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Levy: Oh, yes.
Hardy: Yes, yes. Well, May Beegle was quite a character.
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Levy: Can you tell us about her? She. She was a promoter of, wasn't she?
She brought in attractions.
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Hardy: Yes. And she made a fortune. I understand she died a millionaire. I
don't know whether that's true or not, but that was the rumor. When she
died, she didn't have many of her concerts at the Music Hall in my day. She
had them at the once. But she was. Kind of tricky. She would call us up and
take options on certain dates. Because then if anybody called us and wanted
that date, we had to call her and say, do you want such and such a date in
May? Or what's going likely in the winter? November? Well, who wants that?
She'd say she wanted to know what other organizations had booked their
concerts. Not necessarily in the Music Hall, but at the Mosque. And we had
to tell her that that date was booked. Did she want it or didn't she? Well,
who wants it? You see, she was pretty cute. So we'd say, well, such and
such one said, oh. Well, if they were going to, you know, it might make her
change her date at the Mosque.
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Levy: In other words, she she used the fact that she knew who who optioned
it to set her own schedule up. Exactly. Which was she.
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Hardy: Was she was cute. When I say cute, I mean cute in a tricky little
word.
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Levy: I know.
Hardy: But she was a good businesswoman.
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Levy: She was a sharp businesswoman. She protected. Herself.
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Hardy: And she. For a long time, she was the manager of the Art Society,
which wasn't her, uh. She didn't belong to it. I mean, she didn't. I don't
even know whether she was even paid. Probably not, I don't know, but they
had their concerts in the Music Hall, and then she had her series over at
the. Mosque. And after she died, I had trouble getting these. Life
membership tickets that had been my uncle's that I was supposed to get
every year, and I don't. I have no idea what happened to the the Treasury.
They she died and somebody else managed it for a while and it just kind of
died off. And they gave it a nice series of concerts every year. They were
more of a solo type. Completely different from the symphony, you know.
00:24:27.000 --> 00:24:30.000
Levy: She brought in. She brought in singers? Yes.
00:24:30.000 --> 00:24:33.000
Hardy: Singers and well known pianists and things like that.
00:24:33.000 --> 00:24:37.000
Levy: It was the recital kind of thing, maybe that the wife does. Yes,
that.
00:24:37.000 --> 00:24:43.000
Hardy: Sort of thing. Exactly. Now I see that the Y is over in the music.
And the music. Yes.
00:24:43.000 --> 00:24:44.000
Levy: A couple of years ago.
00:24:44.000 --> 00:24:53.000
Hardy: And I don't know where I was, I was out here in crafted nine and a
half. Eight and a half miles from the Music Hall. I don't know what goes on
out there anymore.
00:24:53.000 --> 00:25:04.000
Levy: They finally moved to the University of Pittsburgh, bought the Y,
bought the what happened? And of course the the auditorium that they had at
the Y was at best primitive because the I still had.
00:25:04.000 --> 00:25:06.000
Hardy: A good concert there.
00:25:06.000 --> 00:25:10.000
Levy: Oh, the concerts were wonderful. But you remember the seats were a
little uncomfortable. I never had those.
00:25:10.000 --> 00:25:13.000
Hardy: Big up in. I was up in the balcony usually when I went. Oh yeah.
00:25:13.000 --> 00:25:31.000
Levy: Well, you said you said in one of the regular theaters, but the ones
on the first floor were upholstered. But they were. If you got there late,
somebody had slid the, you know, the seats were movable. Then you had your
knees up in your ears, but they're now at the Music Hall and where.
00:25:31.000 --> 00:25:36.000
Hardy: They should be, because the acoustics are so wonderful that the the
concerts would be much. Better.
00:25:36.000 --> 00:25:44.000
Levy: I should think that actually they're selling many more tickets. Are
they? Because the Y only held 2000 and the Music Hall holds 1900.
00:25:44.000 --> 00:26:11.000
Hardy: Something like 2002, I think, or something. I used to have those
figures in my head too, because people would call us I. But as I say, I've
been retired for so many years that I can't remember everything. But, you
know, I was just thinking. After you called me, I began to think of all the
people that I worked with as employees of the Music Hall. John Luchsinger
was the head usher. Mr. Fulton was the one that would. Um.
00:26:11.000 --> 00:26:15.000
Levy: So the usher, the ushers were professional. They were paid. They
they paid.
00:26:15.000 --> 00:26:17.000
Hardy: They were paid. They were mostly college students.
00:26:17.000 --> 00:27:05.000
Levy: Oh, I.
Hardy: C Tech and Pitt students. Just boys. They have girls now. And John
Luthsinger was their head, and Mister Fulton was the one that would arrange
the stage the way the people wanted it. You know, if they wanted the loud
speaker or if they wanted the piano, uh, such and such, and are there to
kind of supervise the concert for the benefit of the people who were
renting it. But he's dead. I don't can't think of one person that would
have been necessary to put on a concert there. There's still a lot. Except
me. And it's just it's really coincidence that you should ask me because
there's nobody else could answer these questions. It isn't that I think I'm
so wonderful. I'm not. My memory is not too good. But they're all dead.
00:27:05.000 --> 00:27:09.000
Levy: You're doing just fine. So if if if an artist.
00:27:09.000 --> 00:27:10.000
Hardy: I mean, this is on. Here now, too?
00:27:10.000 --> 00:27:37.000
Levy: Oh, sure. Oh, sure. If an artist, uh, is engaged or somebody has
rented the hall. Right. The procedure is, of course, they get a contract.
The contract goes to the manager who approves it. And then if they have any
special needs, they let them know. And then you, you contact the people,
the stage manager or whatever you call them, and they would provide they
knew that a they needed a grand piano or two grand.
00:27:37.000 --> 00:27:41.000
Hardy: We had our own piano, but some of them would have to bring in their
own because they brought.
00:27:41.000 --> 00:27:46.000
Levy: Some of them were, of course, under contract for certain piano
companies. They had to play their piano.
00:27:46.000 --> 00:27:49.000
Hardy: Yeah, well, mostly we had a Steinway and I, most of them.
00:27:49.000 --> 00:27:50.000
Levy: Yeah, most of them played the same.
00:27:50.000 --> 00:27:53.000
Hardy: But some of them would travel with their own piano.
00:27:53.000 --> 00:27:55.000
Levy: Too. But you
00:27:55.000 --> 00:28:02.000
Hardy: Getting a piano wasn't easy. They finally fixed the stage door so
that they could run a truck. Truck?
00:28:02.000 --> 00:28:21.000
Levy: The truck. Now it's backed up. There's a loading dock. Yeah. Yeah,
right. That must have been difficult before. So they they were. So if let's
say a string quartet comes, then of course, they know they have to have
four stands, four chairs. And if it's a quintet and a piano quintet, then
they they.
00:28:21.000 --> 00:29:13.000
Hardy: Brought their own music stands. I don't remember them, but we
always had to have the chairs fixed for them, and, and, uh, they would
fuss. Some of them would fuss about the lighting. They couldn't read their
music because we didn't have the right kind of lights up there. And. And it
was it all wasn't just, uh, there were complaints, you know, and arguments
about things and and the. Uh, ushers were told not to let anyone in in the
middle of a. Particular piece. Of course, most, as you know, if you must
know something about music, you wouldn't be doing this. Most of the, uh.
Well, let's take a string quartet would have various movements, and maybe
they would be allowed in between the movements, but maybe they wouldn't.
They? Usually the usher had to. They had. Usher was in charge of that.
00:29:13.000 --> 00:29:23.000
Levy: They usually thought the men at the end of the first movement of the
first piece. Oh, is that sometimes. Yeah. And sometimes they don't. Okay.
Uh, I don't know how.
00:29:23.000 --> 00:29:27.000
Hardy: They're doing it now, but I remember they were very strict about
that.
00:29:27.000 --> 00:29:31.000
Levy: Well, they should be, because the people. Come on, you don't come on
time. Too bad. Yeah.
00:29:31.000 --> 00:29:44.000
Hardy: So that interferes with the. It spoils the. It for the symphony or
for the audience to have the doors opening and people coming, rushing down
and pushing aside to get certain seats and things like that.
00:29:44.000 --> 00:29:50.000
Levy: Well, there were there were a variety of course, for a while the
symphony was out of business. And you.
00:29:50.000 --> 00:29:59.000
Excuse me, that's.
00:29:59.000 --> 00:30:59.000
Levy: This interview is being conducted on August 19th, 1991. The
interview continues on side B.
