Il Trovatore, Verdi; Lucrezia Borgia, Donizetti; Martha, Flotow; Semiramide, Rossini; War Songs (male voices), Adams; Bohemian Girl, Balfe; I Puritani, Bellini; Maritana, Wallace; Masaniello, Auber; Enchantress, Balfe; Hark, Apollo, H.R. Bishop; Enchantress (male voices) Balfe; solo and choruses from Lucrezia Borgia, Donizetti; Hail to the Chief, Il Templario, Nicolai; quintette and chorus from Martha, Flotow; Miserere, from Il Trovatore, Verdi; Chorus of Martyrs, Donizetti; La Fille Du Regiment, Donizetti; chorus from Maritana, Wallace; chorus from Il Lombardi, Verdi; trio and chorus, Attila, Verdi; solo and chorus, Martha, Flotow; trio, Charity, Rossini; trio and chorus, Ernani, Verdi; chorus, full, Gibby La Cornemuse, Clapisson.
Il Trovatore, Verdi; Lucrezia Borgia, Donizetti; Martha, Flotow; Semiramide, Rossini; War Songs (male voices), Adams; Bohemian Girl, Balfe; I Puritani, Bellini; Maritana, Wallace; Masaniello, Auber; Enchantress, Balfe; Hark, Apollo, H.R. Bishop; Enchantress (male voices) Balfe; solo and choruses from Lucrezia Borgia, Donizetti; Hail to the Chief, Il Templario, Nicolai; quintette and chorus from Martha, Flotow; Miserere, from Il Trovatore, Verdi; Chorus of Martyrs, Donizetti; La Fille Du Regiment, Donizetti; chorus from Maritana, Wallace; chorus from Il Lombardi, Verdi; trio and chorus, Attila, Verdi; solo and chorus, Martha, Flotow; trio, Charity, Rossini; trio and chorus, Ernani, Verdi; chorus, full, Gibby La Cornemuse, Clapisson.
In the spirit of the times these two hundred voices trained especially for the occasion, it was not to be wondered at that success followed our efforts. Whenever we were called old Tremont Temple was filled to the doors. Our treasury was never depleted during all the months we were doing service in the cause of the soldier and his needs. Boston Music Hall, churches in the smaller cities were always filled to overflowing whenever we appeared in Dedham, Medford, Roxbury and Old South Church. For nearly two years this work went on. In 1862 my husband decided to come home once more, as there was less need for our services. We were in Santa Cruz when the war ended, still helping the cause through the Christian Sanitary Commission, founded at the beginning of the rebellion. Money was supplied through this medium, and through free contributions from the different states of the Union and churches and societies, etc. Having had much experience in the East we were enabled to be of great assistance to the musical people of Santa Cruz and made successful entertainments for the cause for the following year which aroused the patrioticfire in the hearts of the California defenders of the Union and crowned our efforts with success until the end of this dreadful war.
In 1869, Mr. Blake having failed in his business, we left Santa Cruz and returned once more to San Francisco to retrieve our lost fortune. Youth, hope and energy were my strong salient points and I began in earnest to gain a substantial footing in music. My opportunity came with the Lyster Opera troupe and through efforts of a friend, Mrs. Cameron, who was employed there as soprano, I secured a position at $20 per week during their season in San Francisco.
I regret that I cannot remember the name of the Baptist pastor during my stay in Santa Cruz. He is the only minister whose name I have failed to recall, yet I can see his kindly face, and I gladly helped his congregation many times when extra help was needed. It has been so many years ago there is no one to help me in my research. This is the first link in my chain of evidence that has to be left unfinished, to my sorrow.
Returning once more to San Francisco I gave my services in the choir of Calvary Church, then on the north side of Bush street, between Montgomery and Sansome streets, Rev. W.A. Scott, pastor; Prof. G.A. Scott, organist, and Washington Elliott, choir master of the large chorus choir. I became the alto of the quartette, Mrs. Van Brunt soprano, W. Elliott tenor, Charles Parent bass. Dr. W.A. Scott was pastor for a short time and Rev. W. Wadsworth succeeded him. I remained in this choir until 1863, when I was offered the place in the choir of the First Presbyterian Church with a salary attached for the first time during my services in these many churches. Rev. Mr. Anderson was the pastor and George Pettinos organist. Sarah Watkins soprano, M.R. Blake contralto, Matthew Anderson tenor, Cornelius Makin bass—one of the best choirs in the city, splendid voices and good singers. I continued here nearly two years, when there was an offer for the place in St. John's choir for me at an advanced salary. I regretted to leave where I had enjoyed the music and the singers, but in the meantime my husband failed in business and I had two children to support. I accepted the St. John's choir offer for financial reasons. The pastor was Rev. W.A. Scott, Frederick Katzenbach organist, Mrs. Robert Moore soprano, Mrs. M.R. Blake contralto, Joseph Maguire tenor, and later, Vernon Lincoln and C. Makin, bass. I resigned this choir after almost three years' service, totake the alto position in Dr. Lacy's choir, Congregational church, corner of California and Dupont streets. Later Dr. Stone arrived and on the Sabbath of his first sermon the organist was Mr. Douglas; Georgiana Leach, Mrs. Northrup, Mrs. Oliphant, sopranos; Mrs. Margaret Blake, Miss Abbie Oliphant, altos; Signor Gregg, basso; Joe Maguire, tenor, with a small chorus choir added. The musical service was of a high order. The sopranos were the foremost singers of their time. Mrs. Leach left later and became the soprano of Starr King Unitarian Church in Stockton street. Mrs. Northrup went to the new First Congregational Church in Post and Mason streets. She was there for years. Samuel D. Mayer was organist at that time, Dr. Stone pastor and later Dr. Adams. At the time of writing Dr. Charles F. Aked from New York is pastor.
Organists of the early years in San Francisco
When Dr. Stone arrived from the East he had also in his company Mr. George Powers, and, by some arrangement, without any warning, the organist and quartette were unseated by the clique he had formed of his friends. The members of his quartette were in their places the next Sabbath when the regular quartette arrived, consequently we all were obliged to retire. When the new choir began there was a surprise in store for every one. There was nothing for the old choir to do but walk out. There was great grief over the abrupt dismissal. Mr. Benchly of the musical committee was consulted and nothing could be done with the friends of the new pastor. It was a church scandal of the gravest sort. Dr. Powers was from the East and intended to show San Francisco superior music from Boston. He found out before he had been there long that superior men and women were already in the field, and while he continued at the church as organist his influence in music had been tainted and his band of singers were so inferior to those ousted that they had but a short life in the church. I immediately returned to St. Patrick's Church in Mission street and remained there altogether ten years. Our work was very difficult and we had many high days and holidays, requiems, festivals and concerts for the organ fund which had been ordered from abroad, and we were supposed to help the organ fund along until it came. I am not sure how many concerts we gave, but they were all of a high standard. Professor Dohrmann, one of our leading musicians, was organist, also leader of orchestras, and our concerts were given with orchestral accompaniment. Besides the great voices in the choir we had operatic stars whenever theycame with their troupes. Nearly all of the Italians being Catholics, Father Gray easily obtained their services and our soloists were artists music-lovers were glad to hear. By permission of Professor Dohrmann I have inserted this picture of the organ. It is the only thing left of this magnificent instrument, which cost $10,000. The earthquake and fire left not a vestige of anything that could be kept as a relic—one of the most beautiful organs that I ever sang with and played by the dean of organists.
During my time there were five fine singers, singing this difficult music: Mrs. Taylor, a Spanish soprano; Mrs. Urgi, English soprano; Miss Louisa Tourney, French soprano; Signora Bianchi, Italian soprano, who afterwards became the contralto when her voice fell by much singing and age. I became alarmed and feared I would also be obliged to resign. I was offered the position in Calvary Church once more. A new Calvary had been built on the corner of Geary and Powell streets, Rev. John Hemphill, pastor. I mentioned the fact to our leader, Prof. Dohrmann, and he objected to my going, saying he could not replace me. When I told him I had been offered a year's contract with more pay he consented. I remained until he obtained another contralto in Miss Ella Steele. I remained as contralto in this choir for the years that Rev. John Hemphill held it, which was twelve years, and also with Rev. Mr. Spucher. At the same time I sang on Saturdays at the Synagogue in Mission street, Rabbi Bettelheim, with the members of Calvary choir, excepting the soprano. The choir soprano of the Synagogue was Miss Carrie Heinemann and Mr. Newman was bass. I was the contralto of both choirs, Harry Gates, tenor. I continued in this choir six years. I had advanced toward the age of fifty years and the work of the two church choirs, my many singing pupils, art work, added to my professional work, began to tell upon my strength and at last I felt I must do something as a remedy or succumb to the inevitable. This was in 1886.
My son, George Blake, lived in San Bernardino, where he played in the Opera House orchestra and was leader of the Seventh Regiment band. My son William, alarmed at my condition, had written, unknown to me, to his brother, saying that I had worked long enough and that he should send for me. I was surprised when I received the word, "Mother, come," not aware he knew the condition. I had many hours of thought before I could decide when my voice was not even impaired, to give up my life's work and be a drone in the hive. At last I yieldedto the desire of my sons to go south. I promised on condition that I came unheralded. I supposed I was going so far away no one knew me. Alas, this world is small, so it behooves us all to make our reputation without fault. I sent in my resignation to Calvary and the Synagogue musical committees, and bade good-bye, I supposed, to music and old associations forever. I would never be able to describe the deep sorrow that was depicted on the countenance of pastor and people, rabbi and congregation and the members of the young peoples' societies of the church with whom I had labored for so many years and assisted in their successful efforts from season to season. It was the heroic battle of my life to voluntarily cut loose from all that had been so auspicious during my many years of service. I was held in great affection by the people of San Francisco, who always gave me the most cordial welcome whenever I appeared in the churches or concert halls or took part in patriotic exercises.
I left San Francisco December 1, and had two days of travel. It seemed as though I was in another world, cut loose from all I ever cherished. The world never looked so vast to me before and it was as an open desert without one friendly face in sight, alone, adrift, knowing not the ultimate point of my travels. I was rudely awakened the morning of the second day by the whistle of the engine and the clamor of bells and bustling of feet. I arose quickly and soon was received by my son, who was awaiting my coming, and I said, "Here I am, I have obeyed your orders and now I am to do just as I please, and rest from my labor." He replied, "You have earned your rest after all these years, mother." So we happily proceeded to his cottage, where welcome awaited us. All seemed strange to me after so many years in San Francisco where I was known to all, yet I hoped to meet other pleasant faces and cheerfully accepted the situation with my son and daughter and their friends. During our conversation my daughter informed me that the ladies of the Episcopal Guild had voted unanimously that I had been accepted as the soloist of the choir of St. John's Church. Through their efforts I was to receive the salary of $20 a month. The church was not more than a beginning. The congregation worshipped in a large store on one of the main streets which had been fitted into a comfortable chapel. Mrs. Foster, from San Francisco, one of the many musical people there, had settled in that city and was the organist of that church, unknown to me, as I supposed, but when we met hergreeting, "I am glad to meet you, Charity Pecksniff," surprised me. Through her the people soon found out who I was and I not only had the church position secured but also eight pupils ready to begin lessons in voice when I was ready to open my studio to them. So good or evil report follows us through our lives and makes for us our success or failure.
I made my first appearance at the Christmas service, which had been prepared with care, and extra voices were secured. My son had added from his orchestra three instruments in addition to the organ for the morning and evening services of the Christmas festival. The chapel was crowded to the doors and those who were unable to come in remained on the sidewalk during the services. The new singer was to be heard for the first time. I had chosen the beautiful Cavatina by Raff, and was accompanied by Mr. F. Erbe on the violin, who played the obbligato with exquisite grace and finish. In the evening I sang Praise Thou the Lord, O My Soul, by Holden, with two violins, cello and organ accompaniment. This extra service was the forerunner of other good services for the length of eight months, when the ladies' funds were so low they were obliged to discontinue my services, with profound sorrow, as the chapel had been crowded during all these weeks and the place was getting too small for the worshippers. A church building had been begun and money was needed there, so I reluctantly departed and took up the work in the Catholic church with Father Stockman, priest, at a salary of $40 a month, Miss Zabriskie, organist. The choir was composed of sisters from the convent, with a tenor and bass by two young priests who sang well the songs and chants of the church. In all these weeks I had also begun my classes and taught singing and painting. The change had benefited me and I busily passed the days and weeks, adding all the time new voice and painting pupils until I numbered fifty-one pupils and classes twice a week in Colton and San Bernardino. I was as busy as ever I was in San Francisco. But, alas, the hot climate (104 degrees in the morning) to which I was a stranger, was more than I could stand. At noon no one stirred out of the house or store. I stood the weather for sixteen months, then my family doctor ordered me back to San Francisco if I wanted to live.
I left San Bernardino for San Francisco, May 11, 1889. Arriving in San Francisco I took a flat on Geary street, near Steiner. On July 6 I began my work in theLarkin Presbyterian Church and continued there one year, when no funds separated singer and people. I gave the small struggling congregation another month of my services. The congregation met in a hall in the Western Addition. I think a church was built later, but it, like everything else, was destroyed in the earthquake year. I never returned, for after a year at the Geary street flat my son William and I concluded to move to Oakland. I had lost my position in the churches. Calvary Church offered me my old place but I did not wish to oust another who was giving satisfaction, and declined the honor. In Oakland we rented one of Mr. Bilger's cottages on Fourth avenue. After remaining there for two years and a half my son William married and returned to San Francisco to live.
I stayed in Oakland and began my music in the Pilgrim Congregational Church, through the influence of one of my early musical friends, Mrs. Nellie Wetherbee. I went to oblige her, as she was one of the leading spirits of the church. I remained with this church until Miss Mary Fox went East and the leader, Mr. Benham, came for me to take her place in the choir of the First Congregational church, Rev. Dr. McLean, pastor. I occupied this place for six months, giving the greatest satisfaction. Then I returned to Pilgrim Congregational Church and continued there three years. Miss Hough was organist and Mr. Redfield, choirmaster. I sang at first with the quartette, Mrs. Mollie Dewing, Mr. Redfield and Harry Melvin, now Justice of the California Supreme Court. Afterward when Mrs. Dewing left for the First Methodist Church as soprano we had Mrs. Andrew Fine, soprano. Later Mr. Redfield took charge of St. Andrew's choir in West Oakland, and I was left as soloist of the choir. Having a number of pupils in the members of the Christian Endeavor Society, I was urged upon by the pastor, Rev. Mr. McNutt, to take charge of the choir, which I did. Miss Hough continued as organist until she went abroad to study in London. Miss Bertha Hunter, who was an efficient organist, continued until my directorship closed with the advent of Rev. Mr. Silcox, who wished a man director in the choir where he was pastor. I left the choir after I had served almost continuously from 1890 to 1895. Six months of that time I sang for the First Congregational Church in Oakland. The first time was in 1890. In 1894 I substituted for two months while the contralto was ill. After leaving this church I sang with the St. Andrew's choir from January, 1893, until after the Easterservice, April 2, almost four months. On January 31, 1896, I began in the English Lutheran Church, corner Grove and Sixteenth streets. Mr. Walling was director, Miss Margaret Oaks and Miss Mabel Hussey were the organists during the time. I sang here until July 16, 1897, as a memorial to my mother, who was a Lutheran in her faith, and the church was new and beautiful to sing in. I gave my services for a year and a half. Mr. Bushnell, the pastor, was popular and the church flourished greatly during the time. In December, 1897, I assisted the choir of the Church of the Advent, East Oakland, Dr. V. Marshall Law, rector, at their Christmas service, giving such satisfaction that I was prevailed upon to help the choir. My sister, Mrs. Harrold, and family worshipped there and her two daughters were in the choir. As I had no other church in view, I consented and continued for eight months. During that time we gave several fine concerts and on one occasion gave The Daughter of Jairus with great success, H. Melvin, bass; Miss Alberta Morse, soprano; Mr. Thornton, tenor; Mrs. M.B. Alverson, contralto. Several other artists with violin and cello assisted the regular choir of forty voices. They were strangers to me so I have reluctantly omitted their names. They were excellent musicians. During the eight months' service there occurred a number of pretentious musical undertakings which were meritorious as well as financially successful.
In 1899 I was once more called to the English Lutheran Church to direct the choir, with salary. I had twenty picked voices thoroughly placed and true. We occupied the upper gallery and all was in readiness to begin the new undertaking by the first Sunday in March, 1899. The church was full and also the Sabbath school rooms were required to seat the people who were anxious to hear the new choir. The rehearsals had been thorough and we had no fear of failure, and the people were not disappointed at the new order of things. How well they all sang—how beautiful was the service of those young voices, and what praises were showered upon them for their work by the congregation for their anthems, chants, hymns and offertories! For three years this order of things lasted and all the time the voices were fully developed and giving weekly more satisfaction. The Easter and Christmas services were efforts worth remembering in history, and I write with great pride because of the good work I was able to produce with these young voices in the service of song. On December 30, 1900, I sentin my resignation, which was very reluctantly accepted. I was now sixty-five years of age and my many pupils and two services on the Sabbath with necessary rehearsals became too strenuous. I had been in the active life of song long enough to lay down the baton.
On January 6, 1901, I sang for the last time in regular active service. Later in the year I assisted at different times the Fruitvale Congregational chapel, Eighth Avenue Methodist Church, Brooklyn Presbyterian Church, churches in Alameda and other small struggling churches when they needed a helping hand. It was my pleasure to do what I could to encourage the pastors and people of these small mission churches and in other churches where I had sung before on extra occasions. On September 1, 1901, on returning from St. Paul's Church, after having heard the monthly programme of song, I met my old Santa Cruz friends of 1864, Mr. and Mrs. Charles Metti and with them walked to their home. After spending a pleasant hour with them Mr. Metti escorted me to the San Pablo avenue cars. On alighting from the car at the corner of Broadway and Thirteenth street the motorman started up when I was but half way down and I was not able to hold on firmly enough, consequently the car shot out and left me on the street with a broken body. The accident closed forever my usefulness as a public singer and rang down for me the curtain upon any future work of this kind, to my great sorrow. Twelve long years I have borne this unhappy condition of things, yet I have not been a drone in the hive of busy humanity. I have fought the battle and won, and am still able to wear a smiling countenance and guide the young people into the pleasant path of song, and my success has been a compensation for all the suffering which has passed. As long as I am a factor for usefulness I will cheerfully do my duty. As long as I am able to chronicle the best results as a competent teacher of voice, which has been my vocation for over thirty years, I will be content. I have been rewarded by having given to our state many beautiful singers who remember with gratitude their aged instructor, no matter where they may reside, and a number of them are climbing and have climbed to high positions of prominence as singers of ability, and with personal attractions which have given them their stepping-stones to higher attainments in the art of vocal music.
THREE days before my sixtieth birthday, which occurred on June 12, 1896, I incidentally mentioned to a friend that, on that date, I would also be fifty years a singer before the public. The next morning a phone message asked me to come down to theCalloffice on some G.A.R. business, as I supposed. This I did.
When I entered the office I was engaged in conversation for an hour while, unknown to me, a shorthand reporter and an artist were taking notes. I returned to my studio unconscious that my words had been recorded and that my picture had been sketched by the quick hand of Richard Partington. What was my great surprise on opening theCallon the morning of the 12th to find myself pictured on the first page as happily laughing as could be. The headlines ran like this:
HAS SUNG FOR HALF A CENTURY
Mrs. Blake-Alverson Loaned Her Voiceto Aid Union Soldiers
HER JUBILEE RECEPTION
Made Her Debut in an Ohio ChurchWhen a Little Maid of Ten
SINGS AS LUSTILY AS EVER
She Has Sung for Fifty Years in Scoresof Churches, Halls and Theatres fromBoston Across the Continent to California
My astonishment knew no bounds, for I always shrink from publicity even though I have become conspicuous during my singing life. My nature is domestic and, unless necessary, I avoid the notoriety of the press.
Golden Jubilee of Song, June 12, 1896
Directly I was called to the door and when I opened it who should be there but two men and two ladies of Lyon Corps No. 6, G.A.R., bringing me two beautiful oak chairs as an offering from the corps with congratulations upon my birthday.
They had gone but a short time when another delegation arrived, this time from Appomattox Corps, bringing me a handsome basket of beautiful carnations and ferns, decorated with white ribbon and lettered in gold with the congratulations of the corps.
After this second offering I thought it wise for me to do something by way of preparation, so I brought out all of my cherished war relics, flags and banners, medals and badges I had received in the years past. I soon had my rooms adorned for whoever else might come.
I had not long to wait. Letters, telegrams, messages, flowers, an immense cake decorated for the occasion with all kinds of suitable emblems of music for "California's Prima Donna, Mrs. Blake-Alverson," from Henry Feldmann for the German Society of Oakland.
All morning various offerings were sent in. Early in the afternoon friends began to come in by twos and threes and by evening 180 people had called, people of all walks of life, some of the members of the Handel and Haydn Society came from across the bay to renew an acquaintance of many years. Walter and Mrs. Marriner-Campbell were among the friends of long ago. Others were Messrs. Julius Oettl, J.H. Stedman, Fred Katzenbach, Harry Hunt, Q.A. Chase, William Bellrose, Zeno Mauvais, H.A. Redfield, John W. Metcalf, Clark Wise, S.J. Bruce of Kohler & Chase, who honored me by their presence.
I was so excited I had not missed many prominent pupils; but when evening came I heard voices and footsteps and going quietly to the door I discovered some three score of my pupils and their parents arranging their programmesotto vocein the hallway for the final surprise of the day. It was a happy chance I was ready for them. The bay window of the music-room was a lovely bower of flowers and verdure and on a draped table was the huge cake with its sixty candles all ablaze, one for each year. My appearance disturbed their preparation for a moment only, then all was mirth and jollity.
After congratulations a programme was given followed by a banquet. Many happy speeches of compliment were made and I gave them in return a short sketch of my musical life. At the close of the recital we reluctantlyseparated after greatly enjoying the unusual opportunity of celebrating two golden jubilees of one life on the same day.
Words are inadequate to express my gratitude to all who were factors in making this one of the greatest days I ever experienced. It seemed that everybody was a friend. The newspapers vied with each other in their write-ups of the occasion. TheCall,Tribune,Chronicle,Enquirer,Saturday Night,Berkeley Gazette,Santa Cruz Surf,Examiner,Benicia Era, the Stockton and Sacramento papers all ran full articles and pictures in my honor. At this late day I tender my sincere thanks for favors and kindly criticisms, from time immemorial.
Pen sketch of Mrs. Blake-Alverson
ONE of the most difficult tasks in writing my memoirs is the choice of the most important happenings in a busy life. There are so many things to speak of it is hard to know where to begin. I cannot begin with a more appropriate event than the Fourth of July celebration which took place in 1869, with William Seward, Secretary of State, in one of the boxes of the California theater.
Alex Austin, Esq., was president of the day and called the assemblage to order.
The programme was as follows:
Prayer by Rev. H.D. Lathrop.Music by the orchestra.Reading of the Declaration of Independence by Lawrence Barrett, Esq.God Bless our Glorious Land (written for the Fourth of July, 1869, by our friend Sam Booth). Full chorus, George T. Evans, leader.Poem by R.C. Hopkins, Esq., read by John McCulloch, Esq.Music, orchestra.Vocal music, Gloria in Excelsis, Mozart.Oration by Henry E. Highton, Esq.Song, Star Spangled Banner.Full chorus from the Handel and Haydn Society and quartette composed of Mrs. S.D. Mayer, soprano; Mrs. M.R. Blake, contralto; Mr. S.D. Mayer, tenor; Walter C. Campbell, bass.Music, orchestra.
Prayer by Rev. H.D. Lathrop.
Music by the orchestra.
Reading of the Declaration of Independence by Lawrence Barrett, Esq.
God Bless our Glorious Land (written for the Fourth of July, 1869, by our friend Sam Booth). Full chorus, George T. Evans, leader.
Poem by R.C. Hopkins, Esq., read by John McCulloch, Esq.
Music, orchestra.
Vocal music, Gloria in Excelsis, Mozart.
Oration by Henry E. Highton, Esq.
Song, Star Spangled Banner.
Full chorus from the Handel and Haydn Society and quartette composed of Mrs. S.D. Mayer, soprano; Mrs. M.R. Blake, contralto; Mr. S.D. Mayer, tenor; Walter C. Campbell, bass.
Music, orchestra.
In 1868 we were visited by the Lyster Opera company from Australia, which gave a season of ten operas at the old Metropolitan Theater on Montgomery street. They brought with them a goodly company of artists.
Henry Squires,tenorW.F. Baker,tenorArmes Beaumont,tenorLucy Escott,sopranoGeraldine Warden,mezzo-sopranoMrs. Ada King,contraltoMr. Sutcliff,baritone
LOCAL SINGERS
Sig. Roncovieri,tenorMr. Nathanson,bassMrs. M.R. Blake,contraltoMrs. Cameron,soprano
They gave, December 21 and 22, Les Huguenots; December 23 and 24, Bohemian Girl; December 25, Maritana.
They gave, December 21 and 22, Les Huguenots; December 23 and 24, Bohemian Girl; December 25, Maritana.
Mrs. Blake-Alverson on her fiftieth anniversary as a public singer
After the close of the season Mr. Squires and Miss Escott gave a farewell concert in Pacific Hall in which I participated and sang with them the celebrated trio, Protect Us Through the Coming Night.
On May 16, 1870, the Handel and Haydn Society gave Rossini's Stabat Mater in Sacramento, Prof. Hugo Mansfeldt, leader, assisted by the societies of Sacramento. The chorus was 500 strong, the soloists were the best to be secured, assisted by Henry Heyman, violin soloist.
Herr Wenderlich,bassW.C. Campbell,bassSamuel C. Mayer,tenorMatthew Anderson,tenorMrs. Marriner,sopranoMrs. S. Little,sopranoMrs. J.M. Pierce,sopranoMrs. McNeil (of Sacramento),sopranoMrs. M.R. Blake,contraltoMiss Hewlett,contraltoMiss K. Stone,contraltoCornet solo, Mr. Dick Kohler and full orchestra.Anvil chorus, with artillery accompaniment.
The undertaking was a financial as well as a musical success and added one more wreath of laurels to our musical advancement in 1873.
Also in this year the celebrated violin virtuoso, Camilla Urso, came to San Francisco on a tour. The Mechanics Pavilion then stood on the square of Stockton and Powell, Geary and Post streets, and numerous entertainments were given there. The musical festival had been successfully opened with Camilla Urso as soloist, and on the second day she tendered the society a benefit concert. The programme, a noted one which should be preserved, is as follows:
MUSICAL FESTIVALTENDERED BY CAMILLA URSOin aid of The Mercantile Library of San Franciscoat theMechanics PavilionFIRST PART1. Overture, Ali BabaGrand orchestra of 150 men.Cherubini2. Glory to God on High (from 12th Mass)Oratorio chorus, 1,200 voices.Mozart3. Symphony in C (Andante and Allegro)Grand orchestra of 150 pieces.Gade4. (a) Sleepers, Awake, Choral from St. Paul(b) Prayer of Moses in EgyptMendelssohnRossini5. Grand Concerto for the Violin (orchestral accompaniment)Camilla UrsoBeethovenPART II1. Chorus, The Heavens are Telling (from the Creation)Oratorio chorus of 1,200 voicesHaydn2. Overture of FreischutzGrand Military Band, 150 men.Weber3. Hallelujah Chorus from "Messiah"Oratorio chorus of 1,200 voices.Handel4. Anvil Chorus, from Il TrovatoreVerdiFull chorus of 1,200. Organ. Grand orchestra of 150. Fullmilitary band, drum corps of the city militia, 50 anvils,100 firemen, city fire bells and cannon to be firedfrom the stand of the leader by use of electricity.General Conductor, Mr. R. Herold. Organist, Gustav A. Scott.
MUSICAL FESTIVALTENDERED BY CAMILLA URSOin aid of The Mercantile Library of San Franciscoat theMechanics Pavilion
FIRST PART
PART II
Full chorus of 1,200. Organ. Grand orchestra of 150. Fullmilitary band, drum corps of the city militia, 50 anvils,100 firemen, city fire bells and cannon to be firedfrom the stand of the leader by use of electricity.
General Conductor, Mr. R. Herold. Organist, Gustav A. Scott.
These concerts were among the grandest achievements of our time. The music of the musicians and singers was par excellence and should never be forgotten as long as history can keep it alive. How vividly is the scene before me—the magnificent chorus, the pealing of the organ tones, the excellent performance of the orchestra and the beautiful playing of Camilla Urso and the enwrapt listeners that crowded the old pavilion to overflowing. Those were days of music for Californians who knew how to make it and we should always have the greatest pride in recounting these magnificent efforts.
In the year 1874, when Madam Anna Bishop was making her American tour, she included San Francisco, and with her troupe came also Alfred Wilkie, tenor, and Frank Gilder of New York, an organist and pianist of high repute. He was a genius in a class of his own. As the Salt Lake papers said of him, "Frank Gilder, who can snatch more music out of a piano than Beethoven could write in a week, is with the Lingard Company and will play a number of solos tonight. He is an entire orchestra, a sort of a condensed brass band, and those who don't hear him will never know what pianos were invented for." This was a unique "ad.", but was just about right. I was employed by him when he inaugurated his popular twenty-five-cent concerts. He gave thirty-six in the course and I sang twenty-five times for him. I sang one evening at one of Madam Bishop's concerts, and after he heard me sing Gatty's Fair Dove (my ghost song, as he called it) he planned out these concerts—something out of the ordinary. Each artist received ten dollars, no matter how high he stood in his calling, or the prices he received from other managers. That was the order of things and each one who sang must take that or not sing.We began in the hall of the Y.M.C.A. on Sutter street. The following artists appeared: Mrs. M.R. Blake, contralto; M.A. Anderson, tenor; Sig. C. Orlandini, baritone; Frank Gilder, pianist.
The morning Chronicle had this to say in regard to the first concert:
"FRANK GILDER'S POPULAR CONCERTS
"The first of the series was given in the presence of a large and fashionable audience. The music was first-class in every respect and nearly every piece was encored. Gilder's Galop de Concert and Orlandini's Largo al Factotum most emphatically so. Mrs. Blake distinguished herself as an accomplished vocalist in Millard's song, When the Tide Comes In, and in the favorite old Scotch ballad, John Anderson, My Joe. It was supposed from the low price that these concerts would be beneath the notice of the high toned dilettanti of the city, but the performance last evening has completely disabused not only the nicely-critical, but the public generally of this idea. The series is to be continued. The second in the course will be given on Tuesday eve of next week."
Mme. Anna Bishop
The second concert on Tuesday was given with Madam Anna Bishop, Mrs. M.R. Blake; Cornelius Makin, bass;Prof. von der Mehden, baritone; Frank Gilder, solo cornetist. With the sixth concert in the Y.M.C.A. hall we found the hall too small for our audiences, and then went to Platt's Hall. Not two-thirds of the people could get in. We tried Pacific Hall, and that did for several times, and then there were enough people on the outside to fill an ordinary hall. The theaters were too expensive, so we went on the road. We gave two concerts in Stockton theater to packed houses; two in Santa Cruz in the pavilion, with great success; two nights in Vallejo, when every seat was taken, the gallery packed and faces peeping in at the windows. A laughable act not on the programme occurred that evening which, I think, Walter Campbell and myself will never forget. We had a duet in which we always claimed the house, and this evening when our number came Mr. Gilder began his quaint Quaker march and Reuben was to come from one side of the stage and Rachel, on the other, and meet in the center of the stage like two prim Quakers. I took the steps with Mr. Gilder's tom tom of quaint chords and I arrived in the front of the stage and no Walter. I was in dismay and the people began to laugh, especially a portly individual sitting directly in front of the orchestra. He thought it was all in the bill; Madam Bishop, in the wings, feared the performance was ruined. I tried with all my might to keep from laughing at Mr. Gilder, who was keeping up the incessant march. At last I turned and saw Walter Campbell standing beside me with a face like a marble statue, still and pious as the most devout Quaker, waiting for me to begin, rising and falling on his toes. I began my song, "Reuben, I have long been thinking, etc." and the song went on, and between each stanza the applause was deafening and continued until the last too-ral-loo had died away. We received five recalls. The paper came out with glowing accounts of the success Walter and I had won and we were lionized the rest of the season. When we were allowed to retire, Walter, in his quaint way, said to me, "Susan Jane, you almost made me laugh. I never went through such an ordeal in all my singing days. It seemed I was destined to stand there forever before you began." I think we have laughed over that concert time and time again. It is one of our best jokes between us when we recount the enjoyment of our successful concerts given in California, Oregon and British Columbia.
Associated musicians, 1860-1913
After returning from these smaller towns Mr. Gilder resumed the popular concerts in Pacific Hall until theclose of the thirty-sixth concert. It was while we sang in Pacific Hall that King Kalakua was the honored guest. Sam Booth composed a welcome song to His Majesty and great was the reception given him. These concerts made quite a stir among the older musicians, who thought it strange that a twenty-five-cent entertainment should receive such acknowledgment. The halls of the dollar concerts were deserted and the twenty-five-cent concert hall was overflowing with music lovers. The older musicians challenged Gilder to play the music of the old masters. He consented, but the trial never came to anything but words. After he had gone back to New York these disgruntled musicians tried to do the same as Mr. Gilder had done, but it was a complete failure. One of the thirty-six concerts was given in the Tent Amphitheater back of the Palace Hotel, July 4, 1874. The artists were Mme. Anna Bishop, soprano; Mrs. M.R. Blake, contralto; Alfred Wilkie, tenor; Cornelius Makin, bass. The Silver Cornet band was under the direction of Professor Henry von der Mehden and Frank Gilder, pianist. There was an audience of 12,000 people and the programme was one to be remembered for its musical value and splendid singers who received the plaudits of the people in their great enthusiasm at the successful and artistic performance of each number.
PROGRAMME FOR JULY 4TH, 18741. Overture—Poet and PeasantSuppe2. Song. The Sword of Bunker HillMr. C. MakinCovert3. Scotch Ballad. Within a Mile of Edinborough Town.(encore) Annie Laurie.Mrs. M.R. Blake4. Piano solo. America, with variationsFrank GilderGilder5. Grand Aria. Let the Bright SeraphimMme. Anna Bishop; Prof. Mehden, cornet obbligatoHandel6. Song. The Anchor's WeighedMr. Alfred WilkieBraham7. Grand operatic pot-pourriVon der MehdenSECOND PART1. Duet. The Moon Has Raised Her Lamp AboveMessrs. Alfred Wilkie and C. Makin2. Ballad. Old Folks at Home (by request)Mme. Anna BishopFoster3. Quartette for horns. Call Me Thine OwnBandHalevy4. Song. Vive l'America(Encore) Uncle Sam's FarmMrs. M.R. BlakeMillard5. Ballad. Will o' the WispMr. C. Makin6. Song. The Star Spangled BannerMadam Anna Bishop and the other artists7. Grand finale, National Melodies of different nationsSilver Cornet BandVon der Mehden
PROGRAMME FOR JULY 4TH, 1874
SECOND PART
In speaking of these concerts it is interesting to note the number of fine singers that we had in California in 1874 and how easy it was for a manager to select the best out of these for any occasion.
Women's Voices: Madam Bishop, Mrs. M.R. Blake, Mrs. A. Thiesen, Miss Marian Singer, Mlle. Franzini, Mlle. Anna Elzer, Miss Susan Galton, Madam Babcock, Signora Bianchi, Mrs. Eliza Boston, Miss Rowley.Men's Voices: Signor C. Orlandini, Charles Metti, M.A. Anderson, C. Makin, Henry Baker (tenor of the opera troupe), Sig. Luigi Contini, Ben. Clark, W. Finkeldey, Carmini Morley, Alfred Kelleher, Sig. Fulvio Rigo, Sig. E. Bianchi, Alfred Wilkie, Sig. G. Marra, W.C. Campbell, Mons. Davidowitz (Russian opera tenor), Geo. Carltos, Sam Booth, Amos Durant, F.L. Phelps.Musicians: F. Gilder, Prof. Hartman, Prof. H. von der Mehden, Ernest Schlott, Mulder Fabbri, Prof. M. Schultz, C.J.J. Smith (flutist), Louis Boedecker (pianist), Stephen Marsh (harpist), George L. Blake (cornetist), Bender, Shepherd, Emerson, Wilson (horn quartet), Miss Rotier (pianist), Prof. G. Cellarius (violinist), A. Kessels (pianist), Miss E.M. Burkhardt (Chicago pianist), H.F. Todd (cornet).
Women's Voices: Madam Bishop, Mrs. M.R. Blake, Mrs. A. Thiesen, Miss Marian Singer, Mlle. Franzini, Mlle. Anna Elzer, Miss Susan Galton, Madam Babcock, Signora Bianchi, Mrs. Eliza Boston, Miss Rowley.
Men's Voices: Signor C. Orlandini, Charles Metti, M.A. Anderson, C. Makin, Henry Baker (tenor of the opera troupe), Sig. Luigi Contini, Ben. Clark, W. Finkeldey, Carmini Morley, Alfred Kelleher, Sig. Fulvio Rigo, Sig. E. Bianchi, Alfred Wilkie, Sig. G. Marra, W.C. Campbell, Mons. Davidowitz (Russian opera tenor), Geo. Carltos, Sam Booth, Amos Durant, F.L. Phelps.
Musicians: F. Gilder, Prof. Hartman, Prof. H. von der Mehden, Ernest Schlott, Mulder Fabbri, Prof. M. Schultz, C.J.J. Smith (flutist), Louis Boedecker (pianist), Stephen Marsh (harpist), George L. Blake (cornetist), Bender, Shepherd, Emerson, Wilson (horn quartet), Miss Rotier (pianist), Prof. G. Cellarius (violinist), A. Kessels (pianist), Miss E.M. Burkhardt (Chicago pianist), H.F. Todd (cornet).
These men and women singers and musicians took part in these series of concerts given by Frank Gilder in 1874 and were available at any time when needed. They were only a number of the many fine singers then in San Francisco. I doubt if you could be so successful today, for these were genuine tried singers, ready to go at any time and fill the place, either with sacred, secular or operatic music. There were also the members of the Loring Club, all good singers, picked and tried, who sang in choirs, concerts and also in prominent musical undertakings of the period. I have tried to leave no name out of the list of singers. Professional jealousy does not exist in any of my musical life. It never did, and if people will use their good, common sense and judgment and see a singer in her true light they will find out very quickly that there exists no grounds for such a feeling with true artists. In the first place no two people look alike, neither are they made alike. I have had the strange experience of teaching five pairs of twins. They were so much alike that it was with difficulty we could distinguish them apart. Especially the Faull twins, who were obliged to wear a gold bar pin with "Rose" and "Sophia" engraved upon them to distinguish them, and yet they were unlike in every respect. The figures were different; their voices, one a contralto, the other soprano; one delicate, the other robust. Rose is living and the other passed out of life. It is so in everything in life. The petty jealousy of singers and players is a laughable farce. Even our grandest singers have shown this weakness because a rival was billed with lettering a quarter of an inch larger. This lowers the singer in the eyes of the public. No two singers can sing alike, even if they sing the same song. The interpretation belongs to the individual singer. It will remain hers forever in the remembrance of the listeners and no amount of jealousy will remove the fact. When once a singer has climbed to a place of recognition and can be classed as a true artist and acknowledged by the public as such, she is entitled to recognition. "Give honor to those to whom honor is due," is the safest way.
Loring Club; French Horn Quartette
Enlarge
I will continue my narrative of special engagements. I had eighteen years' experience in singing for the Welsh colony of men and women who formed a society known as the Cambrian Mutual Aid Society. It had been in existence four years before I was engaged as vocalist. The society was prosperous and about 300 strong at that time. Professor Price, Mr. Jehu, Samuel Williams, Gomer Evans, H.J. Owens (Obedog), E. Meredith (tenor) and J.R. Jones (bass) were the prominent persons connected with the society. March 1st was the day for celebrating the yearly singing tryout. The Welsh miners and their families came yearly from Mt. Diablo mines for a holiday of sociability and song. The day was called St. David's Day. My first engagement with this society occurred on the 2d day of March, 1874, the first having come on Sunday. We were obliged to sing the Welsh airs. This was a new departure for me, but, nothing daunted, I began the study of the Welsh music, and when the night came for the yearly banquet and evening of song I was well prepared to give them their desire. I had as other artists, on this evening programme, Mrs. Howels, a Welsh soprano who sang like a bird, so beautifully; Mrs. Von der Mehden, soprano; Mrs. M.R. Blake, contralto; C. Makin, bass; John Hughes, bass; Joseph Maguire, tenor; Vernon Lincoln, tenor, and the Mt. Diablo singers, about fifty fine voices. The initial concert was a pronounced success, about 600 being present. In 1878, at the annual concert, I met for the first time Mr. D.P. Hughes, tenor, who sang a Welsh song, Cwymp Lewelyn, also in a male quartette, (oh, what full delight), Hughes, Roberts,Jones and Hannis. This was Mr. Hughes' first bow to the society of singers in San Francisco. I was the first American singer he had met in San Francisco thirty-four years ago. Later he became director of the Orpheus Society, leader of church choirs, teacher of voice, and still teaches and directs a women's singing club in Oakland, Cal.
In September, 1877, the town of San Rafael was in need of a fire engine, and to begin the collection for the fund a series of concerts was inaugurated. The first was held in the district courtroom, September 8th. The following well-known artists took part: Theodore Herzog, violinist; J. Lewis, bass; Mrs. H.M. Bosworth, soprano; Ben Clark, tenor; Walter C. Campbell, bass, and Mrs. M.R. Blake, contralto. The room was full to overflowing and the singers were given a splendid welcome. The women of the city decorated the hall most lavishly and our reception was notable. The treasury received a splendid amount of funds to carry on the good work so auspiciously begun. This was the second city wherein I assisted in the beginning of a fund for a fire engine. The other was Santa Cruz.
In 1877, old folks' concerts were often given with great success. The quaint hymns of Father Kemp's collection seemed to be an attraction to the people, and seldom a month passed without concerts of this kind. The societies and churches reaped a goodly sum from them. The different singing clubs concluded to give two concerts for the old folks. They were to be on a grand scale, and the Grand Opera House was secured. My programme does not give the promoters' names or the object of this great gathering of singers. I remember only that I was engaged for the two nights with Walter Campbell to sing those songs we were accustomed to sing together on such occasions. The concerts were held June 28 and 29, 1877. These were memorable evenings for us and we did our best with Reuben and Rachel, Ten O'Clock and the Old Saxon, etc., which we were obliged to repeat to satisfy the great audiences which greeted us. The chorus of 500, composed of singers in all walks of life, people of leisure who had good voices which they had been taught how to use, often take pleasure in giving the public a treat if a pretext can be found for doing so. In this case it was thought that an imitation of the manners, dress and costume of a past age would attract an audience when a simple concert might not. This proved to be true, especially of the Easter Anthem, which was magnificentlysung, and an encore was demanded by the delighted listeners. Each night the stage was completely filled with this splendid chorus, and the effect was tremendous when the voices rose with such magnificent volume, unaccompanied. The leader gave the pitch from an old-fashioned tuning fork, which was the only thing that was used at that time, to start the music. The leader would cry out in a nasal tone, "All please sound," when the pitch would be taken by the four parts led by the timist to the successful finish.
Other entertainments of this nature were given. H.M. Bosworth's operetta, "Mother Goose Reception," had a tremendous run. It became so popular that it was played in every city and town of any size from San Bernardino to Sacramento and Stockton and as far north as Oregon. There was a rivalry between it and the Milkmaid's Convention which received its full merit throughout the state. Mrs. Hodgkins and Miss Lucy Grove were the bright originators of this cantata, which proved one of the most interesting debates upon the milk question and microbes ever propounded in any community with musical setting and was a genuine side-splitting entertainment.
One of the special engagements that occurred yearly were the commencement exercises of the Benicia Female seminary, a meeting of alumnæ and pupils. From 1862, on my return to California from Boston, until the death of our instructor, Mary Atkins-Lynch, I was the honored guest as vocalist at these gatherings, and I count these epochs in my career some of the special occurrences. I was among the first pupils of the school and added my talent on all occasions of note during the continuance of the seminary. It was in Benicia where Mrs. Lynch first began her work as principal of the seminary. Her pupils are now scattered over every quarter of the globe. A thousand invitations were sent out and 250 accepted and others sent their regrets from the different cities in which they resided. These were put in a list and read with interest by those who gathered in 1878—the last and most notable reunion of the school. There were at this time Messrs. Gray, Jones, Woodbridge and Hastings, trustees of the seminary when it was founded. They had not met for years, and the pleasure they felt at this accidental meeting can be imagined. It was like one large family reunion, for these men were our friends as well, and through their efforts the seminary was placed upon a high standard. We were visited yearly by the notable men of the state legislature, army and navy, professional men and womenof culture and talent. It would not be amiss to let the younger generation be familiar with the names of early Californians who stood high in the nation and honored men of the state: Capt. and Mrs. Matthew Turner; Dr. Cole and wife of San Francisco; Professor Trenkle, pianist, San Francisco; Dr. S. Woodbridge; Judge D.N. Hastings and wife; Hon. L.B. Mizner and wife; Bishop Wingfield; Major Hackert; Professor Roger of St. Augustine College; Capt. E.H. von Pfister; General Kautz; Major Wells; Major Wilhelm; Captain Rixford; Lieutenant Scriven, U.S.A; Lieutenant Weresch, U.S.N.; C.B. Houghton; Rev. Mr. Easton; Professor Corbaz; Mrs. Brackett, class '59; Harriett Riddell, Class 72; Major Townsend; Dr. Peabody; Samuel D. Gray and wife; John Denning; Judge Lynch; Professor Trenkle, one of the pioneer musicians of the state and seminary; Mrs. Mary Loughlin Kincaid, of San Francisco high school fame, president of the alumnæ; Mrs. Mary Hook-Hatch, vice president; Mrs. Agnes Bell Hill, treasurer; Miss Kittie Stone, secretary; Mrs. M.R. Blake, the first vocalist of the seminary to distinguish herself in the world of music and song.
Dr. Woodbridge in his address alluded to old memories connected with this young ladies' seminary, the trials and vicissitudes of one of its first principals; how she had taken the school in early days with six or eight pupils and in a few short months had 140 scholars beneath the roof. The doctor paid a fitting tribute to the ability and worth of Mrs. Lynch and the grandeur of her position in the cause of education. Her life was a glorious victory and one that should be handed down to posterity.
DURING my ten years' engagement at St. Patrick's Church, on Mission street, San Francisco, we gave many masses and also arranged concerts which would prove of great value to the singers of today who have aspirations for better music than the frivolous songs and bad style of singing which is in vogue. The masses that we sang were written by the best masters. Our organist and director was educated in Europe and received the best musical education and understood the standard which should be upheld. We were familiar with all of Mozart's masses, requiems and vespers. The Twelfth was the most frequently sung if grand, joyful music was required. The Requiem Brevis, a gem of church music, was given on the most solemn service. All Saints' Day generally claimed that number. The Fifth Mass was the one chosen when we dedicated the magnificent $10,000 organ, June 20, 1869, which was bought with the money received from the grand concerts which were given from time to time by the regular choir and chorus of thirty voices with orchestra and visiting soloists of high repute, if they happened to be in the city at the time of giving.
I am more than grateful that I can place within these pages a fine photograph of this magnificent organ, a reminder of the once beautiful and grand instrument which was destroyed and burned until there was not a souvenir left to tell the story of the great and grand music that it pealed forth so many years, and of the work of the beautiful voices that once sang the praises and the power of the grandest music ever written by a galaxy of writers who are no longer with us. Of Haydn's sixteen masses we usually sang from one to eight, these being the most used, and No. 16 B Flat mass was often chosen. His Vespers No. 1 was sung many times. We generally used Weber's masses—one written in E flat and one in the key of G. They were the most familiar of his masses. One of the most difficult masses we sang was written by I.J. Paine of Boston. It was the first massand required artists to give the proper importance to this magnificent mass. Rossini's Solenelle was given on the solemn occasion of the death of Pius IX. It was rendered for the first time in California October 31st, by sixteen solo voices, thirty-five in the chorus and the regular choir, full orchestra and organ. The following was the programme for the requiem mass Solenelle sung by the soloists and assisted by the chorus and orchestra and organ; Introit, Dies Iræ, Lacrimosa, Benedictus, Agnus Dei, Lux Aeterna were all from Cherubini's compositions; offertory, Dominus from Verdi, Libera from Palestrina:
Mrs. Brandel,sopranoSignora Bianchi,mezzo-sopranoMrs. M.R. Blake,mezzo-contraltoSignor Bianchi,tenorSignor Meize,tenorMr. Stockmyer,bassMr. Yarndley,bassJ.H. Dohrmann,organistOrchestra 30 pieces.
J.H. Dohrmann; Organ of St. Patrick's
With a crowded church and the altars draped in black, with the rest of the gifted singers on that occasion, will candelabras that were all burning, with many priests upon the altar, and the other accessories, the scene was notable. Time never can erase the picture as it comes back in memory. The wonderful music, in which I took part, with the rest of the gifted singers on that occasion, will never be forgotten.
Later, as years rolled on and the old singers retired, we had other artists who were the singers in this choir:
Mrs. Urig,sopranoMrs. Young,sopranoMrs. Taylor,sopranoSignora Bianchi,mezzo-sopranoMrs. Herman,mezzo-sopranoMrs. M.R. Blake,contraltoMiss Ella Steele,contraltoMr. Buch,bassMr. Schnable,bass
We had also the masses of Lambillotte, the one in D being the most familiar. There was Peter's Mass in E flat. His smaller masses were complete. Mercadanti, four-voice mass, also one for three voices; W.A. Leonard's mass in B flat, four voices; Millard's masses complete; Farmer's masses, one in G, one in B flat; Schubert's five masses and vespers, 2d, 3d and 4th; Beethoven's two masses, the one in C being the most difficult. There was another written in D. Schubert's 2d, 3d and 4th masses were sung frequently. The grand mass of John Sebastian Bach, written in B minor, was sung by our choir for the first time in San Francisco, April 17,1869. No one who is a singer can be blamed for being justly proud in rendering this music with the following artists:
Miss Brandel,sopranoSignora Bianchi,mezzo-sopranoMrs. M.R. Blake,contraltoSignor Bianchi,tenorF. Shoenstein,bass
Only the solemnity of the sanctuary refrained the people from giving the proper appreciation in applause when we sang this grand mass which was rendered by this splendid choir and directed by our beloved organist, the dean of that magnificent instrument (of which we were so proud) for we were the principal workers in the cause for obtaining the money for it. We then had the happiness to sing each week and listen to its beautiful notes. Our happiness was complete.
In 1874, July 5th, we sang for the first time Roeder's heavy mass. We often sang Concone's three-voice mass, Verdi's mass and Dominus, Palestrina's Libera, Paolo Giorza, and Regina Coeli. The choir library was complete with all kinds of masses, small and large. Many of them we sang. Some of them were very old and written in manuscript. I remember the professor gave me at rehearsal a celebrated old heavy German mass (No. H Messe von Rader) in manuscript and my part was the counter-tenor. Imagine my consternation when he placed it in my hand. I could always make an alto to any tune, so I just looked at it blindly and made my harmony as it fitted and did not disturb the harmony of the music. After rehearsal he came to me and said, "You did very well at faking, but if you will go up two notes and fall an octave you will get your part." That was enough for me. On my way home I bought some music paper and immediately set to work to get the mass ready for Sunday. This was Tuesday. By Friday the task was complete and I gave my work to my son George and asked him to look it over and see if I was all right. There was not a correction to be made, and I went to mass as proud as could be and sang the service through. After the service the professor came to my music stand and quietly took my fine copy and put in into the bookcase and that was the last I ever saw of my week's work. He said it was very nice of me to make such a good copy; it would be ready for the next singer who could not sing the manuscript. While I was disappointed, he was pleased that I had been clever enough to get out of the trap hehad set for me, for he well knew I had never seen that music before.
Besides a splendid supply of masses, there were vesper services, Gregorian chants, Ave Marias, Veni Creator, solos, Mozart's Ave Vernum, requiems from various writers, Stabat Mater by Rossini; Franz Liszt's O Salutaris; Bach's Tantum Ergo; Salutaris, Carlo Bassini; contralto solos from Rossini's Solenelle; O Salutaris, Agnus Dei, Quae Te Christi by Millett; duet soprano and mezzo, Agnus Dei, Geo. Bizet; Lascia ch'io pianga, Handel; Raff's Cavatina for contralto; Millard's Ave Marias numbering 7 and No. 1, Salutaris; Mozart's 16th mass.
All these beautiful masses and songs, duets and solos were familiar to me, and I had opportunity to sing them with the grandest singers of the day. I also sang many times at St. Mary's Cathedral, California and Dupont streets, (Bishop Alemany); St. Ignatius, when the college and church was on Market street, where the Emporium now stands; Vallejo Street Catholic Church, Mission Dolores, Notre Dame French Church, Alois Lejeal, organist, Bush street. One special Candlemas Day the St. Ignatius Church was so crowded I had to be carried by two strong men who pushed their way through the jam of worshipers. We sang Mozart's Twelfth Mass that day. The organist was one of the brothers of the college. I think I sang requiems in every Catholic church in San Francisco at that time. It seemed to be my share in life to sing for the dead of all creeds and kinds. If I attempted to give an account of requiems alone I could publish a book of good size. I have also taken part in the musical service at the funerals of the great men of California, like Ralston, Hopkins, Captain Metzger, Thos. Breeze, J.B. Painter, Colonel Larkin.
In 1874 I lived on Post and Powell streets. Trinity Church was at that corner and many people who were strangers were taken to the mortuary chapel. One sad funeral occurred there on June 18, 1887, of Abner Lincoln Blake, a grandson of Major-General Lincoln of revolutionary fame. He was ex-deputy of the custom house in Port Townsend and was on his way to Washington, with papers of importance, to give evidence against certain men who were in government service. He was followed by some of their hirelings all the way on his journey and, arriving at Chicago, he was sand-bagged, but the villains were not quick enough to get his valise. They were frightened by the appearance of some one coming, and thevictim was taken to the hospital. When the chief of police discovered who he was he did all he could to save the valuable evidence and notified the authorities at Washington. Everything was done to save his life, but he lapsed into unconsciousness for a week and died. He was brought to San Francisco, where a large family awaited his coming. It was one of the saddest funerals I ever witnessed or attempted to sing for. He had been cut down in the prime of life doing his duty for his country.
After leaving San Francisco in 1886 I sang in the Episcopal church in San Bernardino, and after eight months of service was engaged the remainder of the time in the Catholic church, Father Stockman. While there, I had a full repertoire of masses, old and some new to me. No matter where one goes, the church must have the best singing, and to my surprise I found the musical library was filled with masses, many of which we had in St. Patrick's:
Mozart's 12th, Haydn's 6th in B flat, Mercadanti's three-voice mass, Haydn's 3d in D, Haydn's 8th mass, Haydn's 16th in B flat, Mozart's mass in C No. 1, Haydn's in C No 2, Farmer's Mass in G, Mozart's No. 7, Peter's Mass in E flat, Mozart's Vespers in C Dur.
The requiem for Good Friday, April 25th, was sung from the quartette books used in the choir. We sang Buchler's vespers (the Memoria) and masses, Borduse mass, Werner's mass, Concone's mass and Gregorian chants. Before leaving San Bernardino choir for the closing masses, November 20th, requiem was sung, Father Koenig and Father Stockman officiating. On December 8th the Second requiem was sung from the quartette books. On December 22, 1888, we sang Borduse mass for the last time before returning to San Francisco.
I cannot give any information upon the music of the synagogue, although I sang six years there. The music is all manuscript and the cantors of the different schules all have their own services and nothing else is used, but they are very chary of their services, as they call them. I believe during my time we had six different ones, with their accompanying hymns, responses and chants, all in the Hebrew language. We had high days and holidays, which were very impressive and solemn, and the music was very beautiful and delightful to sing, even if we could not understand the meaning of the Hebrew. When the words of one service had been conquered, the others were easy to sing—like the Latin in the masses. The Episcopal service, which is as familiar as all the others tome, has the same Te Deums, hymns and chants, choruses and quartette, litany and vespers, services, glorias and sacred cantatas. There is extra music for Christmas festivals and appropriate music for Lenten seasons and joyful songs for Easter, processional and recessional hymns written for this service by well-known men. The orthodox services are not so elaborate—an opening anthem, hymns, offertories selected from the many available churchly compositions written by Dudley Buck, Adam, Mason, Ambrose and other English and American writers of our time and before our time. I have a wonderfully fine collection of such songs that I have used all these years and have successfully sung. My sixteen years' service in Calvary gave me opportunity to collect the best songs to use for the church. We used the church and home collection, Mosenthal's collection, Mendelssohn's Hymn of Praise, cantata of O for the Wings of a Dove, Te Deums by the best composers of sacred songs and anthems, oratorios, Moses in Egypt, David, Samson, Creation, Elijah, St. Paul, Messiah (by Handel), Stabat Mater (by Rossini), Daughter of Jarius, God, Thou Art Great (by L. Spohr), Baumbach collection of sacred music, Easter and Christmas music written by the well-known writers of the times.
Leaving the sacred work, I have also a grand collection of other works that I have sung in my musical life—Racine's Athalie, The Erl King's Daughter (by Miles W. Gade), First Walpurgis Night. Esther formed one of the epochs of my time, given in Platt's hall, on Montgomery street, by Mr. William Badger, for the benefit of the Episcopal Sabbath schools of the city in 1874; Queen, Madam Anna Bishop, soprano; King, Walter Campbell; Haman, Vernon Lincoln; Haman's wife, Mrs. M.R. Blake, contralto. The chorus was composed of members of the Handel and Haydn Society. The old hall was filled to overflowing and the singers at their best, and certainly success crowned every number. The enthusiasm of the audience knew no bounds and we were crowned with honors from the beginning to the end. If ever there was a happy man, it was William Badger, the piano dealer and Sunday school children's friend. We were all paid the highest salaries and still the benefit was a grand financial success for the Sunday schools. Should I attempt to give all the different amusements and entertainments of every kind during my life of song, it would require a book of many hundred pages. It is my intention to speak of the most important musical and dramatic performances and epochs of my life, as I have had a partin all these demonstrations and met all kinds of artists. It will in a measure, I hope, be an incentive for those who are musically inclined to pursue with energy, enthusiasm and faithful work the delightful task which music brings to us like other lines of education. You will find there is no "royal road to learning." The highest attainments can only be gained by careful, conscientious and intelligent study in the different departments undertaken. Students must remember, "those who go slowly go safely, and those who go safely go far."
Eminent Divines