Walter Campbell, Mr. Anderson, Sam Booth and myself were engaged as soloists for the Visalia concerts that lasted three nights, given under the auspices of the Good Templars of that city. Local talent was used for choruses. We were paid $50 each and all our expenses. When we arrived, December 3, 1878, the city was billed as for a circus. Posters were everywhere, old fashioned stages carrying passengers had posters on each side with our names printed in ten to twelve inch lettering. We were amazed at our popularity and were a jolly quartette. At the rehearsal we discovered some musical folk, capable of interpreting the old-time songs and to our great pleasure and surprise we found we had a fine support to aid us in our quaint songs which had made for us a reputation in our own city. By seven o'clock of the first night the sidewalk was crowded with eager and expectant citizens, waiting with good humor until the time for the opening. Before the concert began the house was filled to overflowing. Promptly at eight the instrumental march began. In the first number it was arranged for all the performers to be on the stage to make a picturesque showing of the costumes. It was many minutes before we were allowed to begin the programme. It was a demonstration to satisfy the ambition of any singer and spur him on to greater things. We were all in the best of voice and with the good will of the audience we carried out the programme without an error, with encores galore.
The second night was a repetition of the vast crowd of enthusiastic people. A surprise was in store for me. Rev. P.Y. Cool stepped upon the platform and informedthe audience that when he was pastor of the First Methodist church in Santa Cruz in 1864 I was the solo singer in his church. He said the audience had the opportunity of hearing by far California's best and oldest singer and to his mind the best he ever heard sing sacred songs. He finished by saying that he felt it an honor to hear once more her beautiful voice. Because of the great hit we had made we were asked to give a third performance and to this we agreed. The choruses were the same for the third night as were the character duets between Walter Campbell, Sam Booth, Anderson and me, which were repeated by request. The solos were alone changed. Sarah Walker also repeated her Opinions at the Pastor's Donation Party, causing much merriment that such an old lady could still take part with the younger set, even if she was seemingly eighty years old. The programme came to an end about eleven o'clock, which closed three most successful nights both artistically as well as financially for the cause of temperance in Visalia. On our departure in the morning the committee escorted us to the train and presented us with offerings of autumn flowers and fruits as tokens of their appreciation.
IN 1876, I signed a six weeks' agreement with the Vivian Kohler Troupe to tour Oregon, Victoria and the cities on Puget Sound. We sailed from San Francisco on February 24 on the steamer City of Panama. Our party was made up of six people: Mr. Dick Kohler, the only Vivian, Walter C. Campbell, Margaret B. Alverson, Mr. Wand, pianist, Mr. Charles Atkins, advance agent. We were a goodly company indeed, all up in our parts and anticipating success in our venture. We arrived in Victoria, February 28. As we landed, rockets were sent up and cannons gave forth a deafening roar to inform the people the steamer had arrived, but it was too late for us to disembark, and reluctantly we repaired to our bunks to pass another night on board. Morning came at last and I opened my eyes upon a quiet little bay surrounded by high, rocky mountains, covered with foliage, including tall pines, and in the distance the snow-capped mountains, lighting up the background of the beautiful scene before me. By seven o'clock we were taken ashore in small skiffs to the opposite shore where we were met by our agent, Mr. Atkins, who had arranged for our conveyance to Victoria. After a smart ride of an hour we stopped at the Fayhard Hotel, too early for these slow Englishmen. After a decided rattling at a heavy dark oaken door of an ancient-looking mansion, a dull, grim old Chinese made his appearance, wondering who was disturbing his slumbers at such an early hour. The landlord, a polite little Frenchman, greeted us with many bows and much palaver and popped behind the bar, which motion was not lost on the chilled travelers who called for their favorite and drank with a satisfied smack. I felt like the dog who had gotten into bad company, the saloon being the only room with a fire. After a half hour of waiting we heard the welcome call for breakfast to which we needed no second bidding. I am a victim of sea-sickness and had eaten nothingduring the entire voyage except a little gruel, and I leave you to imagine what I did to the delicious breakfast placed before me, served only as Frenchmen can serve. It consisted of fish, chops, steak, rolls, coffee, potatoes and an omelette.
After breakfast I was shown to my room where I had a good view of the town and I found we had been largely billed to appear on Thursday night. We had a day of rest before our first performance. We moved in the meantime to the Colonial Hotel or Driard House, and were shown to a comfortable room with a fireplace, quaint and small, in which a bright fire was burning. The room was cheerful and attractive with many windows. The floors were painted and covered with rugs, bright and warm, and the white French curtains hung as in the days of Napoleon. Mahogany furniture of old fashioned shape added to the strange furnishing which was very attractive, and I felt at home at once. About ten o'clock that morning, Walter Campbell came and escorted me to the cupola of the hotel where we could see the city for miles, a good-sized place, with several prominent buildings and churches and a fine sight of Mount Baker in the distance, covered with snow. After a quarter of an hour we decided to have breakfast and joined the rest of the company and a stranger who was presented to us as Commodore Maury, a pleasant and distinguished-looking man who was a welcome addition to our company and extended us many a courtesy while we were in the city. After breakfast the company separated. I retired to my room and practiced an hour before going to try the voices in the Theater Royal. While in the midst of my practice a queer accident occurred in front of the hotel. A man in a watering cart, in backing up to the sidewalk, turned too abruptly and the traces gave way, the cart turned turtle and the poor horse hung in mid-air. Relief was soon at hand, a dozen or more of the brawny Englishmen righted the position of the animal and all was over and no harm done. After a good laugh everyone went his way. At ten o'clock we strolled to the theater to look it over. The people of Victoria think it is fine. They ought to come to California and pattern after some of our playhouses. It was small, the acoustics bad and the mixtures of colors was as a crazy-quilt to me. The boxes were ludicrous in their attempt at ornamentation. The seats were long benches, upholstered with solferino-colored damask and the scenes were themerest daubs. We did not rehearse in the theater. We returned to the hotel and rehearsed in the parlors for an hour, then each one retired for the night.
Ministers with whom Mrs. Blake-Alverson has been associated
At last the first night is over and we have taken the people by storm. The theater is crowded and every number is encored. We have set the town talking and I expect the theater will not hold the people for tonight. House packed. Vivian is the funniest man I ever saw or heard. I nearly choke with laughter. In singing my song in costume tonight, a very pretty and touching incident occurred. Lord Mayor Drummond and family occupied one of the boxes. With them was their grandchild, about three or four years old. When I came out dressed as an old Scotch woman and leading Mr. Kohler, who represented John Anderson my Joe, her clear voice rang out, "Oh, grandpa, can I give my posie to the dear old lady?" By the time I had placed John in the large arm chair they had quieted her and the song proceeded. When the song was finished a silence of death was the only evidence we received, until we were nearly off the stage and the people awoke to the realization that the song was done and the singers gone. Then applause broke like a whirlwind and we were obliged to return three or four times to acknowledge our appreciation. At the close of the performance the Lord Mayor came with his family on the stage with his grandchild to see the dear old lady. I had retired to the dressing room and removed my costume and was ready to go to the hotel. When I came back Mr. Kohler introduced me and pointed me out to the child. She drew back with her posies and said, "Not this lady, the old lady." No persuasion could induce her to give me the bouquet. At last I told her to come with me and I'd show her the old lady. I returned to the dressing room and showed her the cap and other articles of the costume and told her I wore them and I was only playing I was old. She looked at me and drew a long breath, smiled and handed me the posies. I took the flowers from the child and we joined the party who were watching our performance with much pleasure. They asked her if she found the old lady and she replied, "Yes, she only played she was old like grandma." Mayor Drummond complimented me on my song and reminded me that it was his favorite Scotch song. Our first night won for us great recognition. About two o'clock we were serenaded at the hotel by the Victoria band.The company acknowledged the compliment but I remained in my room.
The next day we were taken all over the city and shown the principal features by the Lord Mayor and his family. At two o'clock we returned to his mansion where we had luncheon. After passing several hours pleasantly with his lordship we were brought home in time to rest for the second night's performance, Friday. The house was again packed, enthusiasm ran high and everything on the program was encored. The boxes were filled with beautiful women and their escorts. The morning papers were loud with praises of our selections and how they had been rendered.
The wind and rain had turned into a heavy snow fall. We were due at Nanaimo for the next concert and despite the storm we started and arrived safely Wednesday morning, March 8. We sang in Institute hall and a fine place for sound it was. We had a crowded house and were well received. We were to return to Victoria the following day. The snow was deep and it was cold and blowing hard. Unable to secure an express wagon, we improvised a sleigh and the boys put our things into it and dragged the sleigh to the depot. We boarded the Northern Pacific and started up the Sound. Snow everywhere. The scenery was beautiful. Mount Baker was a lovely sight, just like one solid piece of ice. We arrived in Seattle at one o'clock in the afternoon and went directly to the Cosmopolitan.
Let me quote from my diary. Saturday, March 11th: "Our entertainment last night was given in the cabin of a steamer which had been fashioned into a music hall and it proved a fine place to sing in and we had a packed house in spite of snow and rain. We met with a great reception and one encore after another had to be given. Sunday, 12th. We started for Steillacoom on the steamer Alida and arrived early and were taken to the Harmon House. In the absence of a hall to sing in we gave our concert in the hotel dining-room with a melodeon for our only instrument. We made the best of the situation. All were in good humor and our auditors enjoyed the programme very much. The next morning we left for Olympia. At one o'clock we arrived in Olympia, the capital of Washington Territory, and were taken to the Carlton House. Concert tonight and off for Tacoma tomorrow at eight o'clock."
After the concert was over at Olympia I was surprised to be called back to the auditorium by Mr.Kohler who informed me that some friends wished to speak to me. To my surprise twenty-five persons greeted me and made me welcome. I never knew one of them before, but each one had heard me sing in San Francisco years gone by and was as glad to hear me sing as if we had been old friends. My singing had impressed them so that they desired to know me personally upon hearing me again. Several of them even told me the songs I sang and others the different places and particular concerts where I sang. At this point I wish to say that to me this means the true singer. If the interpretation of the song and the singer leave a memory of pleasant remembrance, then the singer has found the secret of success and earns the reputation that no one can deny or take away from him or her. Riches, influence, envy, jealousy can never buy that which the singer has not. It must rest with the individuality and musical temperament of the artist and the art of giving to the hearer what the writer intended he should give.
At Tacoma we had very comfortable quarters at the Carlton House. As we were coming up the Sound in the steamer Zephyr I was in the cabin asleep. The Sound was rough, I am not a good sailor, and how long I slept I know not, but I awoke with a start and a loud report greeted my ears. As I opened my eyes I saw the white faces of women and children and steam filling the cabin. In my bewilderment I was really frightened. All this must have taken place in a moment, for I had not time to fully awaken when the members of our troupe hastily entered enquiring for Mrs. Blake, is she hurt, etc. Well the Tacoma concert is also a thing of the past and we left many friends in consequence of our good work. Now we are off for Portland, Oregon. March 17th, St. Patrick's Day. Our concert last night was a bouncing one. The beautiful theater was packed and we were received royally and the morning papers were loud in our praise. We are having rain this morning. Being St. Patrick's day our house was not packed, but comfortably filled. Of course we had an Irish programme which was just the right key note and the people gave us a hearty reception and many recalls. After the concert, friends came in carriages and took us to the St. Patrick's ball given by the upper class of Irish citizens. It was my first experience at an Irish ball. I did not retire until two o'clock in the morning, pretty well convinced that the Gaelic dancers are people to enjoy their fun to the utmost. March 18th.At the matinee this afternoon a very laughable episode occurred. After singing the second encore there was a fine bouquet thrown on the stage for me. It failed to reach but fell in the orchestra. A nice looking and well groomed gentleman quickly jumped over and caught the bouquet and sent it upon the stage with a bow and a smile. As he attempted to return he fell headlong. Such a laugh went up! It was funny to see him sprawling on the floor in full dress. The cheers and laughter were so uproarious I was obliged to stop until they had subsided. He turned to the audience and made a profound bow, then we proceeded with the programme. This evening's concert was a success from start to finish.
Sunday, March 9th. Having met some pleasant people in our travels, Mrs. Baxter of Tacoma, Mrs. Gaten of Portland, and a friend of mine, Mrs. Kilbourn, we were enabled to see more of the places of interest during our stay in Portland. At ten o'clock our friends arrived at the hotel and in a smart conveyance we were soon enjoying the brisk morning air. Our destination was a Sisters' Hospital. After an hour's ride we alighted in front of this spacious, comfortable-looking building which proved to be St. Joseph's Hospital. We were welcomed by Sister Josephine who guided us all over the place, the dormitories, dining room, halls and corridors. Everything was kept in the neatest order. At last we stopped in front of the chapel. The place was partially lighted, showing the altar of white and gold, the brass candlesticks and vases of marble filled with roses. The altar was draped with white linen and pink silk linings and lace frills. A soft pink light pervaded the place, which gave it an ethereal appearance and filled me with solemn awe as I turned away. The day had begun very fair but when we returned to the hotel the rain was in full force. After dinner our friends called again and we were taken to their beautiful mansion where we met a company of eight very interesting persons, and with pleasant repartee and some good music we enjoyed the hours until ten o'clock when we were once more returned to the hotel and, tired out from our day's adventures, sleep soon claimed us. Monday, the 20th, we gave our last concert and we had a most magnificent reception and a crowded and enthusiastic house. Vivian was in great form and his "Ten Thousand Miles Away" and "Where's Rosanna Gone" took the house by storm. Walter and I received our share of glory as did Mr. Wand and Mr. Kohler. Thusended our three nights and one matinee in Portland, Oregon. Left Portland for Oregon City and arrived about six o'clock in the evening. The scenery here is magnificent. The city is one long street, the valley is not wider than to allow one street and two rows of railroad tracks, then comes the Willamette river and across that the canal and the high mountains again. Above the Imperial Mills are the Willamette Falls. As I stood within several feet of the falls I looked on the scene below the large mills, the canal, mountains, the small quaint town. We could see the boats in the canal unloading their freight. The Cliff House was the only hotel; not attractive but well kept. Our house was not well filled; the mill men were angry at a dollar admission so remained away and missed the fun for their pains.
Wm. H. Keith, Baritone
Next morning we left for Salem. The trip was beautiful in the extreme. The scenery was wonderful, rocks covered with moss of every shade made a picture gorgeous to behold. Arrived in Salem at eleven o'clock in the morning and drove to the Chemeketa Hotel, the largest one in Oregon. We are billed for two nights, then we separate and start for home. The concerts were well patronized and by the best people. Those who generally go wanted circus pieces, therefore the grouch and thin houses. Any one who knew Dick Kohler soon found out that nothing of the cheap sort goes where he is the leader. We started out on a venture on the 24th of February and separated on the 24th of March. I was the only woman in the company and a queen could not have received better attention than I from each member of the troupe. Wherever we remained Mr. Kohler reminded the people I should have the best. Sometimes we fared badly along the Sound and at the coaling camps the fare was rough and the accommodations uncomfortable. Such occurrences come to all who travel and we were the best natured company, ready for good, bad or otherwise. We were four nights in Victoria, B.C., two nights in Nanaimo, one night in Victoria on our return, two nights in Seattle, one night in Steillacoom, one in Olympia, one in Tacoma, Portland three nights and matinee, Oregon City one night, Salem two nights—nineteen performances.
After all expenses and salaries, Mr. Kohler returned to San Francisco with fifteen hundred dollars clear gain in four weeks. We left Portland for home on the steamer Ajax. But friends in Portland entertained us the last day and in parting came to the steamer andbrought papers and magazines to read during the voyage. But as for me, I had no use for anything but the bed. I am not a good sailor. The 26th the snow came down so fast the pilot could not see to take us out. After several hours there was a lull long enough for us to reach the steamer. It was rough crossing the mouth of the Columbia river, the rain and hail followed us for two days out. At last we came in sight of the Golden Gate, and we were home once more. After a pleasant trip, a welcome reception in every city and town in which we sang, our salaries in our pockets and wiser for our experience as entertainers, we were ready to take up the usual routine of our lives and continue to the successful end when traveling days are done for us all. If we had a regret it was at the hour of parting of our goodly company. The good-byes were said on the 24th of March, 1876, and three of the company never met again. To my knowledge all have passed away but Walter C. Campbell and the writer, Margaret Blake-Alverson.
BEFORE our time the beginnings of music were comparatively insignificant. These we can divide into four heads, as follows:
1. The music of the Indians.2. The Mission music of the padres.3. The Spanish and Mexican music.4. The music of the miners.
These epochs have no bearing upon the music of today. Even the beginnings in 1850 and 1851 were of the most primitive sort. As early as 1849 in the then village of San Francisco, music was given by traveling companies from all parts of the globe, lured here by the song of gold. As the priests built the missions and gathered the people into the churches, they sang the songs of the Church, such as the Gregorian chants. Their scores were written on sheets of parchment, some of them exist today and can be seen in the Bancroft collection of California music.
Most of the miners were men who sang songs which were not of the highest order, and they showed no great proficiency as singers, but if they were not singers they were good listeners, and occasionally a strolling violin player would arrive in the camp and he was given the closest attention and rewarded always with an ounce of gold, which had the value of $16. He was extended full hospitality and shared their grub (as the miners called their food in the camp in early days.)
Many of these quaint songs were composed by the miners in their camps, and later we had men like the well known singer, Sam Booth. The titles were unique as well as the sentiment, and fitted the time and place in the early years. With the advent of women the guitars and banjos were employed in the dance halls and fandangoes of the Mexican men and women, who were the only women in the state when we arrived. There is much romance coupled with as much stern reality in building up the music of our state. The goldencity was little better than trails over the wind-swept sand hills, our beautiful bay was covered with craft of all nations, lured here by the story of gold and deserted by crews who joined the masses of humanity of all nations and creeds ashore, infected with the delirium of the gold fever. They thought little of music that was stable. There were a few practical business men among them who looked farther than the mere hunting of gold.
Having been so closely identified with the earliest music and musicians I have undertaken to give you an exact recital of facts in my long association and in the performance of this pleasant art, which is a beautiful memory in my long years of experience. In this work I have been assisted by diaries, programmes and notes from the musicians of my time. It will give me gratification and reward for my work if I can present an historical account from the small beginnings of 1851 to the colossal and substantial basis upon which the music houses stand today. The pioneer men in the business had many struggles and obstacles to overcome. The early fires swept away the beginnings several times, but like the fabled Phoenix they steadily arose from the ashes of their disappointments to begin again with renewed energy and strength of purpose.
I think I can safely say that the music house of Joseph Atwill & Company on Washington street was the first which dealt exclusively in musical instruments. Atwill did not import largely but bought of Mr. A. Kohler who dealt in musical instruments, notions, fancy goods and toys. Mr. Atwill in 1860 sold out to Matthias Gray, a former clerk of his, and he and William Herwig in 1862 opened at 613 Clay street. After a short time Mr. Herwig, who was a clarionet player, dropped out. Gray's business prospered rapidly, being aided by the acquisition of the Steinway piano agency. Gray's music store was the headquarters for many years of all visiting artists and it may be claimed that it was the first devoted entirely to the music art. Later two of Gray's clerks, Charles McCurrie and Julius Weber, established a favorite home for the music business and during some years were on Post street near Kearny street and later on Kearny street between Sutter and Bush streets. In the meantime Gray removed to Kearny street next to the White House. At this location McCurrie and Weber rejoined Gray and the business was again moved to larger quarters on Post street and included under itsroof a large second story salesroom, that was easily converted into a recital room and was designated Steinway Hall. A very tempting offer from the then young dry goods firm of O'Connor, Moffatt & Co. induced Gray to give up his lease and move a block further out Post street. Just prior to this the business was incorporated and known as the "Matthias Gray Co." Later Mr. Gray passed away, and still later the business was terminated. The immense stock of music was purchased "for a song" by Oliver Ditson Co. During its existence Gray did an extensive publishing business and became a member of the Music Board of Trade, which then controlled prices, etc.
Charles H. McCurrie and Julius Weber were so thoroughly identified with music as an art for many years that a word about their present activities may be of interest. Mr. McCurrie went into Eastern piano factories and interested himself in the technical makeup of pianos and the art of tuning and returning settled and still lives in Alameda, Calif., where he has written several successful operettas and collections of songs for children. Selections from the latter are in daily use in the public schools, although not written for that purpose. The Rival Queens and The Marsh King are also two successful cantatas, the Quest of Truth being his latest work of that nature. Mr. Julius Weber joined the faculty of piano teachers at Mills College and remained there until recently, the demands upon his time by pupils at his residence in Berkeley having compelled him reluctantly to resign. He is still successfully teaching and is identified with the best musical advancement in our college city.
Music House of Kohler & Chase
Kohler and Chase were established in 1850, starting as a toy and notion shop and selling musical instruments. They were not wholly in the music business until about 1853 or 54. Mr. Kohler imported nothing but French and German upright pianos at that time. In 1860 they were fully established as a regular music house, on Clay street and afterwards moved to Post street. The same year A. Kohler opened a large wholesale house on Sansome street. The first grand pianos were imported by them about 1859. They came from Europe and arrived on board ship just in time to be exhibited at the first Mechanic's Fair, held in a building put up for that purpose on Montgomery street. At that time Montgomery street toward Market street consisted mostly of vacant lots. Kohler & Chase's music house has been one of the most successful during all these years of changes which havecome during all these years. They had nothing but successful advancement until our great earthquake demolished the entire city and they suffered as did other music houses, but at the present time of writing they are housed in a most magnificent building of their own on O'Farrell street and Bagley place, built especially for them, and ten stories in height. They occupy the entire building. It is the largest and most complete music house in the West and an acknowledged musical center.
When the Matthias Gray Company went out of business Mr. McCurrie selected from the shelves the music and books for the store of Wm. B. Frisbee & Company, opened in the old Masonic Temple, Montgomery street near Market. With Mr. Frisbee was the late H.M. Bosworth, a leading organist and critic, Bohemian, etc. Later the firm became Frisbee & Scott. Gustave A. Scott, now dead, was a well known and successful music teacher and for many years organist of Calvary Church on Bush street, and later at the corner of Geary and Powell streets. He was also organist for the synagogue on Mason and Geary, Rabbi Bettelheim, pastor, and accompanist for the early Handel & Haydn Society on California and Dupont streets, where we occupied Dr. Lacey's church with Mr. Oliver as business director and a brother of Judge Shafter as one of the musical committee of the society which numbered 500 fine singers. Later the business of Frisbee & Scott was transferred to the southwest corner of Kearny and Sutter streets. Changing hands again the business was taken over by A.A. Rosenberg, another music teacher, and finally became known as the firm of Sherman & Hyde, Mr. Sherman having been in the employ of A.A. Rosenberg. After several years, Sherman & Hyde became known as Sherman, Clay & Company, who have been doing a successful business, occupying at the present time a fine building which has been erected since the earthquake. They are one of the leading music houses. Since the earthquake the senior member, Major C.C. Clay, has passed away. The business is now incorporated and among the officials are Mr. Fred Sherman, son of L.S. Sherman, and Mr. Phillip Clay, son of the late Major Clay. Mr. Leander Sherman, one of the founders of the firm, is still living and continues in the business as in former years. The firm also owns its own building in Oakland at the corner of Fourteenth and Clay streets, built since the earthquake, one of the finest structures in the business center of Oakland.
Heads of pioneer music houses of San Francisco
Since music was so much a part of the life of the earlier days it may not be amiss to mention the names of a few great specialists of that time. There were the Zechs, Jacob and Fred, manufacturers and repairers. Many examples of the former's work still exist. Jacob was encouraged by the late Wm. C. Ralston and built many grand pianos for the old Palace Hotel and other places. Both the Zechs have passed away but their descendants are in the front rank as musical artists, teachers and composers. A celebrated artist in his line was Urban, the violin repairer. Phaff, the flute and clarinet man was another. Others were Senor Nojica, maker of guitars, harps in the Italian quarter of Kearny street, Charles Morrill, of banjos, Tall Dan Delaney, drummer at Maguire's Theater (who wouldn't learn a note of music and played as he pleased) who repaired drums, and C.C. Keene, maker of accordeons, in former days much played, Professor Wm. T. Ferrer, the guitarist, lately deceased, came here in early days from Mexico with his family and made a place for himself as a guitar and mandolin teacher. His family were all talented, Annita Ferrer was a beautiful soprano singer and sang in concert and church. She occupied the place as soloist in Calvary Church for a while when the choir was composed of Harry Gates, tenor, Fred Borneman, bass, M.R. Blake, contralto, G.A. Scott, organist. Prof. Ferrer was not a commonplace performer, but played operatic selections of his own arrangement for the guitar that no one else attempted as far as I can recollect. He had a severe time in the beginning as prices for lessons were so low, and he had all he could do to keep the wolf from the door. We gave him several benefits which were greatly appreciated. One night we crowded the old Mercantile Hall with his admirers. The singers and players were Mrs. Hall McAllister, Mrs. Marriner-Campbell, Clara Tippits, Amphion Quartette, Mrs. M.R. Blake, Sig. Mancusie, Wunderlich, J. Stadfeldt, Harry Hunt, accompanist. I shall always remember that night. The dear professor thanked us with broken speech, tears filling his eyes. He said the excellent program was a surprise and one of the greatest pleasures he had in California. He was made doubly glad by a well-filled purse of a thousand dollars, the receipts of the concert. This act on our part made him our perpetual friend until he died. He lived long enough to see his prices increased fourfold, which enabled him in his later years to live in apparent comfort. We were glad of it foreverybody liked Prof. M.W. Ferrer. He passed to his rest several years ago.
Among the earlier piano dealers were Badger & Lindenberger, who handled the Chickering pianos and also did a wholesale clothing business (a strange combination) at Battery and Merchant streets. After several years they were succeeded by the surviving partner, Wm. G. Badger, who continued the business until his death, after which it was disposed of by his heirs. Mr. Badger was a faithful worker in the Sabbath schools and took a deep interest to promote good music among the young. Some time in 1874 he produced the cantata of Esther, with Madam Anna Bishop, queen, W.C. Campbell, king, Vernon Lincoln, Hamen, Mrs. M.R. Blake, Hamen's wife. The old Platt's hall was packed to its fullest capacity. The cantata was given to the unbounded delight of Mr. Badger, and the audience cheered us all to the utmost. Enthusiasm was at the highest pitch and encomiums of praise were showered upon us. Those were halcyon days for fine singers. We had no lack of voices to call upon at all times.
Among the earliest music stores was that of an aged Italian named Salvator Rosa. He occupied half of a store on Montgomery street, near Market, and was a genial, quiet old gentleman, who spoke very little English. His stock was principally selections from Italian operas, of which he knew every note. Both American and Italian artists loved to visit the old fellow and sun themselves in his doorway. Rosa moved later to Sacramento street and continued in the field and was followed by Rasche Bros., in turn by J.T. Bowers, a brother-in-law of the Rasche brothers. After Bowers, the business was conducted by Chas. S. Eaton, and then after some years faded from sight. Also established in the music literature business at one time in Clay street, was Schubert & Co.'s branch New York house, succeeded by the Ruppell Bros., their managers, who later gave up the business. Blackman & Davis, Southerners, tried the business for a while, being among the first to occupy a store in the original Phelan Building. Another off-shoot of Gray's was John Broder, who commenced work as a little boy. He is now in ripe manhood conducting a similar business in the Byron Mauzy building on Post street where he is still successfully conducting the work he chose when a boy.
Engaged in the earlier years of the music business was Woodworth, Allover & Co. Here the founder of thepresent firm of Benj. Curtaz & Son was employed. Woodworth, Allover & Co. dealt mostly in imported French pianos and harmoniums. They were succeeded by Woodworth, Schell & Co. and with them was connected Mr. Curtaz, who later was in the firm of Hemme & Long. Woodworth, Schell & Co. after several years discontinued. A.L. Bancroft & Co. for a few years also engaged in the music business on Market street but later retired. A. Waldteufel was a late comer from San Jose and sold Blethner pianos. His chief clerk was the late well known Julius Oettl, a fine teacher of the piano and an encyclopedia of musical knowledge. Later he was in the music department of the branch house in Oakland of Kohler, Chase & Co. with whom he was connected until sickness prevented his continuing in the business any longer. He died several years ago, mourned by many friends he had made in his long career of music in the state. S.H. Long, a music teacher from Marysville, after handling the Chickering piano for a while at the corner of Montgomery and Post streets was joined by August Hemme and for several years they manufactured the Hemme & Long pianos. They are both deceased and the business was continued for a while by Mr. E. Caswell and Mr. Curtaz but finally was wound up.
The well known firm of the Zeno Mauvais Music Co. was established in 1877 at 420 Twelfth street, Oakland, under the name of its founder, Zeno Mauvais. In 1882 it was deemed best to locate in San Francisco and at 749 Market street the stock and sign was first shown to the people on that side of the bay. Two years later the business had so increased as to make a removal to more commodious quarters an absolute necessity. 769 Market street was secured and with the increased facilities for carrying stock and attending to the wants of patrons the business was soon in a fair way to eclipse in volume its oldest competitors. Mr. Mauvais saw early in his musical career that the public demanded more "up-to-date methods" in the way of "bargains" "right prices" and "square dealing" than had been offered before, and he began to put into operation the policy of "quick sales and small profits" which was characteristic of the house during its entire existence and brought to it an ever increasing trade. One of the special features was the handling of enormous quantities of the 50-cent folios and the 10-cent editions of popular issues. These were bought in carload lots and sent out to nearly everyquarter of the globe. Pianos and musical goods of all descriptions were included in the lines carried by the firm, whose well known policy of discounting its bills enabled it to secure very desirable agencies and lowest prices on all purchases. In June, 1890, the house sustained an irreparable loss by the death of its founder, Zeno Mauvais, who passed away after a very brief illness. Devotion to business and a never ceasing expenditure of energy and vital force was the cause of this man's withdrawal from the activity of an hitherto busy life, during which he made and kept many friends. The incorporation of the firm under the name of the Zeno Mauvais Co. was the next change made in the affairs of this house. Mrs. Mae Mauvais was elected president and during the next five years her brother, R.L. Eames, occupied the position of manager. At this time a change being deemed expedient, Mr. H.S. Stedman, who had been connected with the house since 1883, was elected as manager and secretary, continuing as such until the conflagration of 1906 destroyed the entire stock together with all the books of the concern.
Under the new management the firm renewed its effort to expand and took the two upper floors of the building in addition to the one previously occupied. A very successful feature was the division of the lower floor into rooms for the display and sale of different kinds of small goods, each having a room of its own. This was a new thing on the coast and was fully appreciated by the large number of patrons who took advantage of the opportunity to try instruments in comparative seclusion. In 1904 the largest holder of stock, Mr. Roy Mauvais, who was actively engaged in looking after the interests of the firm desired to concentrate his energies in furthering other lines of business in which he had engaged, and found more congenial. At this time an offer from the Wiley B. Allen Co. to purchase the entire stock of pianos, organs and piano players was accepted, and in accordance with the conditions of the sale the stock of small goods, sheet music and books was moved to 933 Market street, in the room adjoining the piano warerooms of the Allen Company and there handled under the name of the Zeno Mauvais Music Co. until the fire of April, 1906, obliterated all traces of it. It was not considered advisable by the stockholders to re-establish the business after this unfortunate occurrence and so one of the best and most favorably known music houses of the Pacific Coast ceased to exist.
Music House of Sherman, Clay & Co.
I will close my chapter with the story of the Zeno Mauvais Company. My story deals only with early history, for it would not be possible for me to give any accurate account of the business except from 1851 to 1877. I moved away from San Francisco twice and as my work was upon different lines, I got out of touch. My music was confined to the churches and concert halls and teaching in music and art and other branches of industrial development for the young of our growing city. I am indebted to my good musical friends of earlier days for much of this knowledge.
When my earlier co-workers in music heard that I was to write about our early days they were all interested and entered into the proposition with unabated enthusiasm and not one has refused to give me information to make this volume a souvenir of the days when we began as factors in the development of music from the small beginnings of 1850 to the solid foundations of today.
MY career as a church singer dates as far back as my childhood. As children our father pressed us into the service of the Sabbath school and church services. There were seven girls and three boys. As soon as we were old enough to do the work, our parts were assigned to us, consequently singing the church service was part of my young life. Before I could read the notes I was able to make an alto part to almost any hymn. That is one reason why I do not read notes as readily as others, for it was easier for me to make my own part than take the trouble to read the music. But later on I was obliged to read my part, if I sang in concert with others.
We moved from Illinois and settled in Cincinnati in 1845. My father was the founder of the Betts Street First German Reformed Church and was its pastor for seven years. During that time I sang each Sabbath. When father came to California and another pastor occupied the pulpit, we were obliged to give up the parsonage. Other arrangements were made for the music and my sister Mary became the organist of the old Sixth Street Presbyterian Church and Mr. Charles Aiken, director of the music. By accident I went with my sister Mary and sat in the choir loft. Mr. Aiken noticed my presence and recognized me as one of his pupils in the public school where he taught the singing during the week. Surprised at seeing me he asked how I happened to come into the choir. I told him I was with my sister, Miss Kroh, "Ah," he replied, and smiled and left me. I saw him in conversation after she had finished her voluntary. When she was seated beside me she said, "Maggie, when the choir arises to sing go over and stand with the altos and sing with them." When the time came she gave me the music and I sang my first service when I was ten years old, in a double quartette and in that capacity I sang for five years, each service, until 1850, the latter part of the year, when father hadarrived in California and sent the gold for us to follow him to the golden land, as he called it.
First church choir in California
At the time of our arrival in California there were no choirs or singers in San Joaquin county. There was one Catholic church in Stockton but it was only a mission and the worshippers were Spanish and Mexicans, priest, Father Mauritz. Our family was the first white family in the city of Stockton, there being only one white woman in the place and she was the wife of Rev. James Woods. Gladly she received us and we were made welcome at her home for two weeks before we were able to see father, who had been sick in Scorpion Gulch for some time and we were obliged to await his coming. After the arrival of our father it was planned that a choir should be established in the First Presbyterian Church of which Rev. Mr. Woods was pastor. We had all the female voices needed. We had made the acquaintance of several of the prominent men in Stockton who were fortunately also singers, and they readily consented to sing as members of the choir. What was to be done for music? There was nothing to be had in Stockton. There were two music stores in San Francisco and the first task was to supply an instrument, if possible. Fortune favored us and between the joint efforts of these musical people we obtained a good sized Mason and Hamlin melodeon, which was duly installed into the choir of the church. The choir members were as follows: Sopranos: Miss Emma Jane Kroh, Miss Sarah Rebecca Kroh; Altos: Miss Mary M. Kroh, Miss Margaret R. Kroh; Tenors: Wm. W. Trembly, Henry Noel, George H. Blake; Bass: Wm. H. Knight, James Holmes, Wm. Belding; Organist, Miss Mary M. Kroh.
These men and women were the original members of the first choir that had its beginning in Stockton, in 1851. During the years of 1853 and later, the men who had families in the Eastern cities arranged for their coming and not many months elapsed before we had a goodly number of splendid ladies, the wives of these men, and some children and young maidens. Quite a colony of musical folks sprang up. They took an interest in the different choirs that had been formed. There were the Episcopal, Methodist and Baptist missions, begun during this time, and they had their followers and formed their musical services as soon as they were able to procure singers. During this time there came to Stockton from New York, Mr. Henry B. Underhill. He was not only a fine organist but an organ builder. Heat once joined our colony of musicians and we rejoiced in the addition of a second organist to rely upon. Up to this time my sister was the only available musician that could be called upon to play on all occasions where music was needed. The Episcopal mission of which Rev. E.W. Hager was rector, desired my sister as organist for his service which was held in one of the large rooms of the city hall. As Mr. Underhill was a member of the Presbyterian faith and desired to help the church they exchanged places. The choir had grown rapidly, some of the singers were Episcopalians who preferred their own service and all was amicably settled with the result that Stockton could boast of two choirs and two organs, or melodeons.
It was not many years before each mission had built a church of its own with separate organs and choirs. During these years I was sent to the Benicia Seminary, the only available school in the state, to finish my education which had been interrupted when I left Cincinnati to come west. Miss Atkins worshiped in the Presbyterian church, Rev. Sylvester Woodbridge, pastor, and his daughter, Miss Mary Emma Woodbridge, organist. She also attended the seminary and those of the pupils who could sing were invited into the choir. I was one that was chosen on the alto side to help in the worship. After singing here for a year, Miss Atkins joined the Episcopal church and was confirmed and baptised in that faith by Bishop Wm. Ingraham Kip, D.D. I sang a special song at that time. I was now eighteen years old and was in the last year of my school days. After leaving school I returned to Stockton where I again joined the Episcopal choir—St. John's—and sang until I was married, September 17, 1857, to George H. Blake, Rev. E.W. Hager, rector, reading the service.
When my oldest son was seven months old we went to Boston, Mass., and later to Dedham, a suburban town out of Boston, when my husband was appointed manager of a department store by the firm of Parker, Barnes and Merriam. I heard my first concert, where I listened to some of the great singers of the day in Boston Music Hall, January 28th, 1859. The oratorio, "The Messiah," was given by the Handel & Haydn society, with 300 or more in the choir. Among the soloists were Clara Louisa Kellogg, Isabelle Hinkley, Adelaide Phillips, Signor Stigelli, Mons. Guilmetti. On April 3rd, 1859, I heard Neukomm's grand oratorio of David with grand opera principles. Among the singers were Mrs. J.H. Long,Louisa Adams, C.R. Adams, P.H. Powers, J.P. Draper, Edward Hamilton, George Wright Jr., Carl Zerrahn, conductor, J.C.D. Parker, organist. After these two grand performances I heard many oratorios Sunday evenings at the Boston Music Hall, where each Sabbath a sacred concert was held instead of evening services in the churches. These opportunities helped to lay the foundation for my musical training. The oratorios were interpreted by the best singers. I never dreamed of such an opportunity when my husband told me I should hear the best and Boston was the place.
It was not many months before my opportunity came to be admitted into the Oratorio Society. It came about like this. My husband's people were Unitarians and attended the First Church, of which Starr King, then a young man, was pastor. There was no choir singing, but congregational song with a precentor who stood in the middle aisle and led the people, with the large organ at one side of the church, J.C.D. Parker, organist. As the service began my husband said, "Maggie, when the hymn is given out you can sing, since the entire congregation sings here." He had an excellent tenor voice, and we both sang, unconscious that we were attracting any attention. Between the hymns Mr. Barnes (the precentor) stood three pews behind us. After the service was ended he came to our pew and introduced himself, telling us that when he heard my contralto he thought the church had a visitor, Miss Adelaide Phillips, of the opera company, and Boston's foremost contralto. He was surprised to find my name was Blake instead. I did not know until I heard this wonderfully beautiful singer in opera oratorio how highly I had been complimented. Then I realized the comparison and did my best to merit the praise which had been bestowed upon me in my twentieth year. When we parted Mr. Barnes invited us to meet some friends at his home on Monday evening, when we met the principal members and officers of the Handel and Haydn Society, and after a pleasant evening of part song, solos and duets, I was asked to sing for the company. I was reluctant to comply, as I was not considered a solo singer, my place was always in quartette work and duets. Contraltos were not so popular in those days as the soprano and tenor and not considered solo voices where I ever sang before. It was only now I realized I was to have a place also. As I sang many beautiful duets with my husband, we favored them with a number. It was still insisted I must sing a song. Myhusband, accustomed to accompany me, arose and led me to the piano and I sang the old song, When the Swallows Homeward Fly, in the German language, as all German songs should be sung to bring out their full feeling and significance. That song was the climax and I was lionized for the rest of the evening. There were also German professors present and their compliments would have turned any one's head were it not poised on good common sense shoulders. My success began on that night.
There were three factions or grades of society in Boston, the literary, wealthy and musical. The position of my husband's family enabled us to enter all three. Consequently the sails of my ship, success, were flung to the breeze and for four years I had fair winds and bright skies in the realm of song. Is it to be wondered at that memory comes floating up before me like a panorama of beautiful pictures and remembrances of happiness—times enjoyed with souls filled with the love of song, good comradeship and lifelong friendship which can never be erased? It is here where I sang for the first time with the renowned singer and actor, Henry Clay Barnabee, a young man then, just three years my senior, over fifty years ago. There are still five of us left to tell the stories of the singing days, when the city of Boston held scores of the finest male and female singers that ever pleased an exacting public.
On April 3, 1859, began the forty-third season of oratorio with such singers as Mrs. J.H. Long and Miss Louisa Adams, sopranos; Adelaide Phillips, contralto; C.R. Adams, P.H. Powers and J.P. Draper, tenors; Edward Hamilton, George Wright Jr. and Carl Formes, bass; Carl Zerrahn, conductor; J.C.D. Parker, organist, and full orchestra. Among the productions rendered were: Magic Flute, David, Creation, Messiah, Moses in Egypt, Samson, Elijah, etc., with Clara Louisa Kellogg, soprano; Isabella Hinkley, soprano; Adelaide Phillips, contralto; Signor Stigelli, tenor; Signor Guilmetti, bass.
Grand opera began the season of 1861 and I had my first opportunity to hear an opera given by such a galaxy of fine artists, being a member of the Handel and Haydn Society, and assisting in the chorus and also a member of the celebrated choir in Dedham, Mass., I was enabled to have especial advantages to hear this grand music. "La Juive" was the first with Mme Colson, Hinkley, Signor Stigelli and Susini as Cardinal; Sig. Hartman, Mancini, Barilli, Sig. Sheele. Martha with Colson, Phillips, Brignoli, Susini, Arili, Mancini; Il Giuramento with Colson, Phillips,Brignoli, Farri; Lucia di Lammermoor with Isabel Hinkley, Sig. Ferri, Sig. Lotti, Stigelli and N. Birelli.
Henry Clay Barnabee
At the close of the season, January 28, Sig. Stigelli was prevailed upon to give a farewell concert in Boston Music Hall, assisted by the Oratorio Society and Orpheus Musical Society. Soloists for the occasion were Mlle. Carlotta Patti, who sang the aria from the Magic Flute, Carl Formes, basso profundi, Signor Stigelli, tenor. It was a gala night and every seat was filled at the exact hour to hear for the last time the famous tenor who had sung himself into the hearts of the people by his beautiful voice and exquisite singing of the different arias of the opera in which he excelled. The hall was crowded to overflowing. Never had I beheld such beautifully gowned women and brilliant lights; the tremendous chorus and the full orchestra left a lasting impression upon me which cannot be erased by time. It is over fifty years since I saw such gorgeous splendor and heard the marvelous singing of these birds of song. The singing of Mlle. Carlotta Patti was a revelation almost beyond my conception. I heard her in 1861 and heard Adelina in 1886, twenty-five years afterwards, and of the two sisters I'd give Carlotta the preference. Her trills were like warblings of the birds and filled the auditorium and floated to the high arched ceiling of the cupola in the center of the hall and sounded like a chorus of birds rejoicing over the advent of their nestlings. Words are not adequate to explain the beautiful work of this petite singer and the reception she received on this occasion. This concert was my first opportunity to hear such artists. They were singers and players of the highest art.
It was to me not real. The music that I had heard and sung before was sacred, on the Sabbath, and in songs familiar at that time, Home, Sweet Home, Swanee River, Mary of Argyle, etc., and songs moderately difficult, anthems and Te Deums and German leider were all we aspired to. Others than these were not to be thought of. Nothing worldly was tolerated. The minister's daughters must always be proper in all walks of life. In 1846 when Jenny Lind made her tour of the world my sister Mary was the fortunate one to be able to hear her. All of her beautiful songs were in vogue and I was familiar with them, as my sister was a fine singer. She obtained these songs and although it is over sixty-six years ago I still have a great number of them, yellow with age, published by Pond and Company, and Oliver Ditson Company. These publishing houses werefounded during my early life, Ditson and Company began in 1834 and I was born in 1836. When I was ten years old I was sent to these places to purchase the music sister required in her teaching, church and home songs. For sixty-seven years I have patronized the house of Ditson and Company. The original men have passed out and the sons are now the members of the firm. Only this year I received a cheery holiday greeting from the firm. I have digressed somewhat and gone back to my girlhood days in Cincinnati.
Let us return again to Boston fifty years ago and listen to this fine concert given in Boston Music Hall. It is almost impossible for me to describe the grandeur of this magnificent chorus and the orchestra and grand organ with Carl Zerrahn directing this multitude of singers and players and Howard Dow at the organ, playing with such a masterful touch. The brilliant audience listened with marked attention to this beautiful music and the stillness was only broken by the mighty applause of approval at the close of the grand performance and the repeated recall of the artists who deserved all of this great demonstration. The first great concert was but the beginning of my career. In the four years I had opportunities that were of a lasting profit to me. It was the cradle of my musical life and I often go back in my mind and see those beautiful singers I learned to love as friends and companions in song. Friends made then have lasted as long as life. All have passed beyond and only five or six of the galaxy of male and female singers of that time are left to remember with pleasure the days of Auld Lang Syne.
During this period of 1861 the Civil War broke out and every patriotic man and woman was called into action. The union of the states must be preserved. The excitement was intense. Volunteers were called for and business men, clerks and rich men enrolled at once and soon our boys and men were drilling for the march to the south. It was not many weeks before the order was given to march. The first fire had been heard at Fort Sumter and the American citizen soon became a soldier and as the call was given he marched away. Shall I ever forget the sight of those splendid young men as they marched away, company after company. As I saw them in the strength of their manhood going to their destruction, my heart wept inwardly knowing many of them would never return. But those at home had no time for repining, and we were called upon also to supply the needs of thesoldier who was fighting for us with willing hands and stout heart. Each one kept busy. Our choir was enlisted when the call came for funds, and faithfully we all responded. Many choirs were united by Edwin Bruce, and we were at once formed into a chorus of willing singers, great and small, in the realms of music, and in several months were well equipped for the work of raising funds for the war needs. The chorus was formed from Dr. Burgess' choir of Dedham, Newton Musical Association, Boudoin Street choir, Church of the Unity choir, the Bullfinch choir, number 200 voices in all. We were known as the Operatic Bouquet of artists. Our repertoire consisted of national and martial songs, our choruses selected from the following great compositions: