over this period and in 1873 he founded the Oratorio Society of New York. The first concert of this society was later that year and consisted of a programme of works by Johann Sebastian Bach, George Frideric Handel, Giovanni Pierluigi da Palestrina and others. In 1874 Damrosch gave another concert at the Oratorio Society, this the first with a full orchestra, consisting of Handel's Samson. For Christmas that year Messiah was performed. In 1876, Damrosch succeeded Carl Bergmann at the helm of the New York Philharmonic, but his high-minded programming – e.g. the entire first act of Wagner's Die Walküre – frightened the typical New York subscriber, so his tenure with the orchestra was over. In 1877 Damrosch, in connection with a number of persons interested in the cultivation of orchestral music, established the Symphony society. This society became closely identified with the Oratorio Society and several joint performances were organized. The co-operation of these societies reached its climax in the great "musical festival" which was held in the armory of the 7th regiment in New York, from 3 till 7 May 1881. The chorus numbered 1,200, the main body being the Oratorio Society, which was augmented by various choral societies from neighboring towns. An additional chorus of 1,000 young ladies from the Normal College and 250 boys from the Church choirs took part in the afternoon concerts. The orchestra was composed of 250 pieces, and Dr. Damrosch selected a large number of artists for soloists. Among the choral works performed were Handel's Dettingen Te Deum and Messiah; Rubinstein's Tower of Babel (first time); Berlioz's Grande Messe des Mortes (first time); and Beethoven's Ninth Symphony. The audience numbered from 8,000 to 10,000 at each concert, and the enthusiasm for the projector of this enterprise resulted in an ovation on the last night. The degree of Doctor of Music was conferred upon him by Columbia in 1880. In 1883, Damrosch traveled extensively through the west with his orchestra. In September 1884, he began a remarkable series of operatic performances as General Manager and chief conductor of the Metropolitan Opera in New York. The company had experienced great financial losses during its first season of Italian opera under director Henry Abbey. For its second season it turned to Damrosch to direct the company in German repertory. The company comprised some of the greatest artists of the German opera houses, and, in contrast