Mr. Campbell, basso, was born at Sacketts Harbor, St. Lawrence County, New York, October 30, 1838. His parents removed to Buffalo, New York, in 1842 and hewas graduated from the high school in 1854. He left New York October, 1858, for California via Straits of Magellan, arriving at San Francisco July 2, 1859. After spending two years in placer mining he returned to San Francisco in 1861. He joined the Handel and Haydn society under its first conductor, Mr. Oliver of Boston, and commenced the cultivation of his voice in oratorio with Stephen W. Leach and in German with Mr. J.B. Butler, father of Mrs. Clara Tippett, well known soprano who left this city for Boston some twenty-five years ago where she was soprano of the Old South Church for a great many years. After studying with them for several years he went to New York City to live with his father and continued his study of vocal music, commencing with some of the prominent Italian teachers who were so pleased with his voice that they wished him to study for grand opera, but not liking their methods of teaching he finally secured a teacher who did him the most good, Mr. Phillip Meyer, a German and a fine baritone singer, who after a year's teaching, allowed him to make his debut at Irving hall, at an afternoon recital at which a celebrated pianist, Mr. Wehli, just arrived from Europe, made his first appearance in America. His success was great enough to induce Mr. Lafayette Harrison, a well known manager to engage him to sing at the opening of Steinway's new hall in June, 1867, at which concert Mlle. Parepa made her first appearance in America. She afterwards became Madame Parepa-Rosa. They were both under engagement to Mr. Harrison for the season, singing in oratorio and concerts in New York and Brooklyn.
After the summer of 1867 he returned to San Francisco and was engaged as basso at Howard Presbyterian church. He remained there several years, then went to First Unitarian Church where he sang for seven years and then went to Grace Cathedral. He sang there for ten years and then took charge of the choir at the Calvary Presbyterian Church, resigning March 1, 1906, after eight years of service. During all those years he was known throughout the coast as the San Francisco basso. He made one tour of British Columbia, Washington, a territory then, Oregon and California with Madam Anna Bishop. He made another tour of California with Madam Camilla Urso, the violiniste, and a second tour of the northwest with Charles Kohler, Charles Vivian and Mrs. Blake-Alverson. He sang in all of the oratorios given by the Handel and Haydn society of San Francisco as bass soloist, Creation, St. Paul,Elijah, Samson, Mendelssohn's Hymn of Praise and Messiah. He also sang as basso of the Temple Emanuel from 1874 to 1888, thirteen consecutive years, and was the basso profundo of that celebrated male quartette, The Amphions, composed of Joseph Maguire, H.J. Tippett, Jacob Stadfeldt, Campbell and Harry Hunt, pianist. Upon the death of Joseph Maguire in 1878 the quartette disbanded as we were unable to fill his place. While singing at the First Unitarian Church the choir was composed of Mrs. Marriner, soprano; Miss Sallie Rightmire, alto; Joseph Maguire, tenor; W.C. Campbell, basso. The soprano and bass were united in the holy bonds of wedlock and are still living happily together. Having given up concert singing for several years past, Mr. Campbell still retains his magnificent voice which gives great pleasure to those who hear him. His voice has a range of two and one-half octaves from high F to low B flat, a remarkable range at the present time.
Pupils of the 90's
Mr. Zech, pianist and composer, was born in Philadelphia, Pennsylvania, and came here with his family in 1860. He began his musical studies early in life. He made such progress in his studies that later he went abroad and studied from 1882 to 1887. While in Berlin he became a private pupil of Theodore Kullack. He began to teach in 1878. His first academy was the New Academy of the Tone Art in Berlin. Before going abroad he had conducted symphony concerts and recitals and was a successful teacher, also composed many beautiful compositions in serious music, two symphonic poems and orchestral music and conducted the same successfully.
Sir Henry Heyman is the dean of coast violinists, and occupies one of the highest positions as a conscientious artist and a most successful teacher. His beginning was under the direction of Frederick Buch, a noted instrumentalist of his time. He studied a number of years in Leipsig under such famous teachers as Ferdinand David, E.F. Richter, E. Rontgen, Fred Herman, Carl Reinke and S. Jadassohn. During his studies abroad he was prize graduate at the Royal Conservatory of Music in Leipsig. On returning to his home in San Francisco he organized the Henry Heyman String Quartette. With his own company he gave concerts all over the coast cities as far north as Victoria,B.C., and as far south as Honolulu, on which occasion he was knighted by King Kalakua, who made him Knight of the Royal Order of the Star of Oceanic, also solo violinist to His Majesty, an honor he fully appreciates. Sir Henry is a vice-president of the Royal College of Violinists of London, also an honorary member of the Bohemian Club, and the Family, the latter one of San Francisco's most exclusive organizations. Apart from his great success as a teacher and concert leader he occupies a unique position in the social and musical life of the city. He still teaches and acts as musical director at all great functions. He is also an intimate friend of all the European and American celebrities, including Paderewski, Joseph Hoffman, Ysaye, Kubelik, Elman, Joseffy and many others who visit San Francisco as artists and are entertained by Sir Henry. Many noted composers have dedicated their works to him. As director and honorary secretary of the San Francisco Institute of Art, Sir Henry comes closely in touch with the younger generation of musical aspirants—many of the best violinists of today are proud to call themselves his pupils. On the occasion of the eight hundredth anniversary of the founding of Bologne (Italy) university, he was made corresponding member of the musical section for California. He is a member of the American Guild of Violinists and later has been the recipient of many honors here and abroad from those who appreciate him as a musician and genial friend to those who know him best.
Mrs. Marriner-Campbell was born and educated in Waterville, Maine. She was one of the early musical people who came here and has lived in this state, especially San Francisco since the early sixties. Of her early musical life I know nothing, it was only through our musical life in California that we became known to each other and always have been loyal friends. The first time I ever saw and heard her was at Dr. Lacy's church when the Handel and Haydn society gave the Creation. She sang the solo parts and I never have forgotten her or her singing. She was gowned in a stylish robe of some soft clinging wine-colored material and her blonde hair was done up in a soft coil on the crown of her head. At her throat was a soft frill of lace, becomingly arranged and finishing the picture, leaving a lasting impression, which was still more strengthened by her beautiful singing, for which she received themost hearty reception. Her voice was exceedingly high and her trills were like a bird's in their perfect oscillations and accurate touch, showing her perfect control of the vocal organs. At that time she was Mrs. Marriner. Several years after her husband's death she became Mrs. W.C. Campbell. She and her husband have both been extremely popular in all undertakings of a musical nature. She was the highest salaried singer of her time and foremost in all musical advancement twenty-five years ago. Her musical career, which has been exceptionally well-balanced and harmonious, is like a statue of fine proportions that beckons the young to emulation. Mrs. Campbell confines herself entirely to teaching the young people of San Francisco and is acknowledged as a teacher par excellence. She has studied abroad—in England, France and Italy, and during the years of the seventies was coached by the famous prima donna, Madam Anna Bishop, receiving from her all the traditions of the English school and particularly the oratorio traditions. She is still in California and happy both in her home and occupation of developing the young voices of her city. While abroad Mrs. Campbell studied with Errani, Albites and Muzio, a nephew of Verdi.
Mr. Mayer, organist and tenor, arrived in San Francisco, May 13, 1866, from New York City where he was organist of Calvary and other churches and solo tenor of Trinity Episcopal Church. The Sunday following his arrival he commenced his duties as tenor of Trinity Episcopal Church in San Francisco where his brother, James C. Mayer, was at that time the organist. Continuing in that position until May 1, 1868, he resigned to accept the position of organist in St. John's Episcopal Church, Oakland, remaining there until May 1, 1872, when he was appointed organist and tenor of the First Congregational Church of San Francisco, serving in this dual capacity for forty years. He relinquished the position of tenor but continued to act as organist and musical director and on May 1, 1912, he will have completed forty years of consecutive service in this church.
Mrs. Pierce has been identified with the history of music in San Francisco since the early days. Born in Philadelphia, and losing her mother when she was but five years of age, her father, Mr. Samuel Cameron, broughther to California across the Isthmus, to place her in the loving and motherly care of his sister, Mrs. Eugene Doyle, who had one daughter of almost the same age. These cousins afterward became very well known in the public school and church histories by their duet singing, Ida Doyle and Maggie Cameron being in demand on all important public festivals. On the night of the arrival of the steamer when the father and little daughter reached the home on Rincon Point, then the best residential part of San Francisco, where a hearty welcome awaited them, the little five-year-old child was told to "sing for her new-found relatives" and with pale face and dressed in deep mourning even to a little black silk bonnet, for the lost mother, she sang Lily Dale and Old Dog Tray while all listened with tears and astonishment to the sympathetic voice, and an uncle, Mr. James Cameron, exclaimed, "It's not a child, it's a witch." In the old Rincon school, so famous for its splendid teachers and also many scholars who afterwards became famous in California history, Maggie Cameron was called Hail Columbia because her voice could lead the singing of the entire school so strongly. In the old high school, corner of Bush and Stockton streets, under the leadership of Mr. Ellis Holmes, who was a devotee of music and himself possessed of a rich bass voice, Miss Cameron developed into a public singer, doing her first solo work on the "musical days" of the Girls' High School.
She was a pupil of Mrs. Marriner-Campbell five consecutive years, singing with her teacher in duets all over the state; of Otto Linden in sight reading; Mme. Rosewald, operatic repertoire, and of Richard Mulder, husband of Inez Fabbri. Mr. Mulder called Mrs. Pierce "his most distinguished pupil."
At this time she was also soprano at the First Baptist Church on Washington street, Dr. Cheney, pastor. This historic old church afterwards became a Chinese theater. Before graduation from school Miss Cameron accepted the position of soprano in the choir of Rev. Dr. A.L. Stone's church, corner of Dupont and California streets. Dr. Geo. H. Powers was the organist. While in this church Miss Cameron was married to Mr. James M. Pierce.
Pupils, 1896-1900
Soon after this Mrs. Pierce accepted the position of soprano at the Church of the Advent, Rev. Mr. Lathrop, pastor; Louis Schmidt, organist. After two years she joined the choir of the Plymouth Church, which celebratedits golden anniversary January 12, 1912, Rev. T.K. Noble, pastor. She was a member and the soprano of this flourishing church for five years. Mr. and Mrs. Pierce and their two children then took a trip East with the intention of making Boston their home, but the longing for California was too strong and after an absence of two years, during which time Mrs. Pierce was soprano in the largest Congregational Church of Freetown, Mass., they returned to California where Mrs. Pierce again resumed her church and concert work, singing in the Church of the Advent, Mr. Lathrop, and after eighteen months in Grace cathedral, Dr. William Platt, rector, and William Whittaker, organist, where she remained as soprano six years. The fine instruction she had received as a singer enabled Mrs. Pierce to hold several important positions as teacher, being several years at the Perry Seminary in Sacramento and also at the Irving Institute, San Francisco, under Mr. and Mrs. Church. She had a large class of pupils, many of whom hold important positions today. The position of soprano of the First Unitarian Church, then the largest and most fashionable congregation in San Francisco, being offered Mrs. Pierce, she accepted it, and was for ten years in this very happy connection, Dr. Horatio Stebbins, pastor, Mr. Louis Schmidt, Mr. J. Humphrey Stewart and Mr. Henry Bretherick, the present incumbent, being organists. At this period Mr. and Mrs. Pierce gave up their home in San Francisco, which had always been recognized for its hospitality and charming musical atmosphere, always welcoming and entertaining the musicians of the city and new arrivals, and removed to Berkeley to enter their son and daughter into the University. Here Mrs. Pierce again took up the leadership in the Unitarian church choir, then being held in Stiles hall and until the new church was built she sang but after the service of dedication of the church she resigned, the singing being of a congregational form and led by a baritone voice. At clubs and parlor receptions, Mrs. Pierce is still a favorite ballad singer and is always greeted with appreciation and pleasure, for her voice though not so powerful as in its prime, still exemplifies the value of her early training and fine method of pure Bel Canto. Like the authoress of this book, she proves a perfect method in youth preserves the beauty of the voice even unto and beyond the three score and ten. Mrs. Pierce and Mrs. Marriner-Campbell were the singers at the famous Chamber concerts given by Messrs. Schmidt and Weil and who were consideredby a patronizing public the exponents of the best music ever given in California, and at the concerts given by Mr. Henry Heyman and those of Mr. Jacob Rosewald. Mr. Joseph Maguire's last appearance in public was when he and Mrs. Pierce sang at a concert under the direction of Mr. Stephen Leach. They sang the fine old English duet, When Thy Bosom Heaves the Sigh to tumultuous applause and were recalled again and again. Before Mrs. Campbell's departure for Europe, at a farewell concert (held in the Howard Presbyterian Church, Mission street, before 1800 persons), Mr. Walter Campbell and Mrs. Pierce gave a most spirited rendering of the difficult old Italian duet for basso and soprano of Master and Scholar with tremendous effect. At the music jubilee held in old Mechanics' pavilion in 1878, Mrs. Pierce was seated in the third row of sopranos and very willingly took her place, when after the first chorus, Mr. Zerrahn, the leader, leaned forward and said, "Please, that lady, come out here," and placed her at his side, so telling and pure was the carrying quality of her voice that he at once singled her out for the cherished "front row."
Always associated with the highest efforts in music, Mrs. Pierce is one of the founders of the successful Musical Association of Berkeley and also of the New Oratorio Society of Berkeley which has in its membership many of the most prominent musicians in the University town, the musical center of California.
A very high compliment was paid Mrs. Pierce on her departure for the East in 1876 when the Handel and Haydn society of San Francisco, under the distinguished leader, John P. Morgan, gave her a letter of introduction to the Handel and Haydn Society of Boston, bespeaking for her all the privileges which it could grant to a "devoted and well beloved member of its sister society on the Pacific Coast." This was the first time this signal honor had ever been given to a member.
One of the most pleasurable remembrances I have of Mrs. Pierce is associated with a Handel and Haydn concert in Mechanics' Pavilion. Elijah was given and with Mrs. Campbell and Mrs. Haydn, Mrs. Pierce sang the immortal trio, Lift Thine Eyes, to tremendous enthusiasm. The trio had to be repeated three times, so evenly and perfectly were the voices blended. Later this trio was sung with great success at a reception given by the Bohemian club. Mrs. Pierce, Miss Wood and Mrs. Birmingham were the singers.
IN THE death of Joseph Maguire, California lost one of its finest tenors. He was known to a wide circle, both in this state and Nevada.
He was a mining man, but it was as a musician that he made his reputation. He was a tenor singer of great sweetness and power. The public had a keen appreciation of the purity of his vocalization and had the opportunity to hear him weekly at the Unitarian Church, Dr. Stebbins, pastor. His sickness was of short duration and his death came as a severe blow to his many musical friends and associates. He was a member of the Amphion Quartette and Bohemian Club chorus. He was tenor in the St. John's Presbyterian Church on Post street, in the quartette, where he and I sang for two and a half years. It was a half hour previous to his death while in a delirium that he sang like a bird Gounod's Ave Maria, imagining himself at a musical gathering. The last sad rites were performed under the auspices of Occidental Lodge, F. & A.M., of which Mr. Maguire was a well-beloved member. He was a native of Bolton, England, aged forty-four years.
In memory of our much beloved Joe Maguire, as he was affectionately called by his California friends who loved him for his beautiful singing and for his own self, I shall give the musical service as it was rendered at the church. A most beautiful tribute of flowers, in the shape of a lyre with the silver strings snapped and hanging loosely, was placed in the choir where he stood each Sabbath and sang his glorious songs. Certainly no one knew him but to love him, and the last tribute of song given him by his friends will last as long as memory remains in the living musicians who assisted in the ceremonies at the church.
Funeral Services in Memory ofJOSEPH MAGUIRESeptember, 1833—March, 1878First Unitarian Church, Geary streetSan Francisco, Sunday, March 24, 1878.1. Organ voluntary.2. Chorus of male voices:Brother, through from yonder skyCometh neither voice nor cry,Yet we know from thee todayEvery pain has passed away.Brother, in that solemn trustWe commend thee dust to dust,In that faith we wait 'till risen,Thou shalt meet us all in heaven.3. Readings from the Scripture: Extracts from the Book of Job.Rev. Horatio Stebbins.4. Double quartette for female voices.Their sun shall no more go down; the Lord shall be their everlasting light; and the days of their mourning are ended. For the Lord shall feed them and God shall wipe away all tears from their eyes.5. Funeral oration, by Harry Edwards.6. Choral from Spohr's Last Judgment.Lord God Almighty, we adore Thee; Thou, Lord, will take away every sorrow; Thou wilt wipe away all tears from my eyes. Yea, every tear and every sorrow Thou wilt wipe away from our eyes; nor death, nor pain, nor sorrow shalt then be known.7. Remarks and Prayer, by Horatio Stebbins.8. Hymn, Abide With Me.
Funeral Services in Memory ofJOSEPH MAGUIRESeptember, 1833—March, 1878First Unitarian Church, Geary streetSan Francisco, Sunday, March 24, 1878.
1. Organ voluntary.
2. Chorus of male voices:
3. Readings from the Scripture: Extracts from the Book of Job.
Rev. Horatio Stebbins.
4. Double quartette for female voices.
Their sun shall no more go down; the Lord shall be their everlasting light; and the days of their mourning are ended. For the Lord shall feed them and God shall wipe away all tears from their eyes.
5. Funeral oration, by Harry Edwards.
6. Choral from Spohr's Last Judgment.
Lord God Almighty, we adore Thee; Thou, Lord, will take away every sorrow; Thou wilt wipe away all tears from my eyes. Yea, every tear and every sorrow Thou wilt wipe away from our eyes; nor death, nor pain, nor sorrow shalt then be known.
7. Remarks and Prayer, by Horatio Stebbins.
8. Hymn, Abide With Me.
There were thirty-five voices in all from the societies with which he had affiliated, and the sixteen female voices were the soloists of the different choirs in which he had sung so many years. They were grouped about his casket and with superhuman effort performed the last tribute of affection for one of God's most beautiful singers whom all loved. Rest, sweet spirit, rest.
Stephen W. Leach
Among our first singers were Stephen W. Leach and his wife, Georgiana Leach. He was an English buffo singer. His wife was a beautiful soprano singer and was soloist in the Unitarian Church in the days of the sixties when the church was on Stockton. When the new Starr King church was built on Geary street, this old church was bought by the colored Methodist people. Mr. Leachformed a madrigal society in that year, and we had weekly rehearsals, perfecting ourselves for concert and other public demonstrations when required. I shall here give one of our noted programs, given by the most prominent musicians, both men and women, of our time. The numbers are worthy of historical notice for the sake of the music and the musicians who took part in this memorable concert, the first of the series.
Program ofS.W. LEACH CONCERTAt Platt's HallMonday Evening, Dec. 9th, 18781. Part Song. Strike the LyreMr. Gee and Madrigal SocietyCooke2. Song. I Fear No FoeWalter CampbellPinsuti3. Quartette for piano and stringed instruments. Sostenuto assai, Allegro ma non troppo.Miss Alice Schmidt, piano; Mr. Clifford Schmidt, first violin;Mr. Louis Schmidt, Jr., viola; Mr. Ernest Schmidt, cello.Schumann4. My QueenAlfred KelleherBlumenthal5. Duet. Quanto AmoreMrs. J.E. Tippett and S.W. LeachDonizetti6. Let All ObeyC.W. DuganS.W. Leach7. Valse Chantée—Rajon de BonhureMrs. Marriner-CampbellMattiozzi8. ReadingDaniel O'Connell9. Part Song. Introduction and ValseMadrigal SocietyS.W. Leach10. French Horn SoloErnest Schlott11. SoloMrs. J.E. Tippett12. Violin Concerto. Andante and FinaleClifford SchmidtMendelssohn13. Duet and Chorus. In the Days of Old Lang SyneMrs. Marriner-Campbell and Ben ClarkNeidermeyer14. Trio. This Magic Wove ScarfMrs. J.M. Pierce, J.E. Tippett, S.W. Leach15. Madrigal. O by Rivers (words by Shakespeare. Composed A.D. 1600)Accompanists, Geo. J. Gee and H.O. Hunt;conductor, S.W. Leach.Concert to commence punctually at 8 p.m.MEMBERS OF THE SOCIETYConductor—S.W. Leach.Sopranos—Mrs. Marriner-Campbell, Mrs. J.E. Tippett, Mrs.J.M. Pierce, Mrs. Sarah Little.Altos—Mrs. M.R. Blake, Miss E. Beutler, Miss Ida Beutler,Mrs. Chisolm.Tenors—J.E. Tippett, Ben Clark, J. Webber.Bassos—Walter C. Campbell, C.W. Dugan, Will B. Edwards.Pianist—Geo. J. Gee.
Program ofS.W. LEACH CONCERTAt Platt's HallMonday Evening, Dec. 9th, 1878
Concert to commence punctually at 8 p.m.
MEMBERS OF THE SOCIETY
Conductor—S.W. Leach.Sopranos—Mrs. Marriner-Campbell, Mrs. J.E. Tippett, Mrs.J.M. Pierce, Mrs. Sarah Little.Altos—Mrs. M.R. Blake, Miss E. Beutler, Miss Ida Beutler,Mrs. Chisolm.Tenors—J.E. Tippett, Ben Clark, J. Webber.Bassos—Walter C. Campbell, C.W. Dugan, Will B. Edwards.Pianist—Geo. J. Gee.
For years we served the public, winning fresh laurels yearly and adding to our repertoire of madrigals and songs worthy the aspirations of any competent and conscientious singers. Every number was a gem of the music writer's art. Good music never grows old, and songs like these should claim the student's attention in place of the common everyday songs that cater to a lower taste or create a laugh. They lower the standard of the singer. There are many comic songs that will bring the wholesome laugh and be welcomed by an appreciative audience. The singer makes the song as she builds her own character. It is the understanding of the writer's meaning, of the sentiment he has tried to embody, which shows the intelligent and artistic singer. Happy indeed is the singer if his success follows the rendering of his songs. This is the way our reputations are made. Is it not a great happiness to the singer and the listener that the tones come pure and limpid from the long-cherished instrument that still answers to the beautiful strains of the Last Rose of Summer or Safe in the Arms of Jesus? Can any one conceive the devotion with which a singer nurses the beautiful gift which is above rubies—a priceless gem—only to be made more beautiful when it returns to the God who gave it, and made more beautiful by the knowledge that he has done what is possible with the talent entrusted to him, and unconsciously made the gift more suitable to join the Everlasting Choir, Eternal in the Heavens, to join in the congregation of saints who had found the harmony of the Lost Chord, and to make the heavens ring with the melody of the last strain, Only in heaven I shall hear that grand Amen?
It is a fact that in writing my memoirs I felt a little reluctant at first to write all about myself and my work, but I have come to the conclusion that it is not vanity on my part to report history, and certainly I have left no stone unturned to hunt out real facts and occurrences from my letters, programs, diaries and other papers. As I have been first in many things, perhaps it may be interesting to know who sang the Lost Chord the firsttime in California, a song so widely known and sung by so many singers. In the year 1878, while Mrs. Louisa Marriner was in London on one of her yearly visits, in her generous kindness she sent me the Lost Chord and also Sullivan's Let Me Dream Again, two new compositions which, she said, were just written for me. During this year Calvary Literary society gave an evening of song for the Ladies' Relief society, and among the numbers of the programme was the Lost Chord, with piano and organ accompaniment. Mrs. Henry Norton was soprano; Mrs. M.R. Blake, contralto; C.L. Gage, bass; J. de S. Bettincourt, tenor; C. Howland, second tenor; E. McD. Johnston, bass; Miss F.A. Dillaye, organist; H.M. Bosworth, organ and piano, and Prof. Theo. Herzog, violin. It was on this occasion that I sang the song of the Lost Chord, with organ and piano.
Sometimes in recounting incidents in our lives we often wonder how they began, as, in this instance, "I wonder who sang the Lost Chord first on this coast?" In this article you have the answer.
Prof. Katzenbach was born in the city of Freimersheim, Germany, 1834. He came to America at the age of sixteen. He again returned to Germany when twenty years old and studied in Mainz, under Prof. E. Paner and Thopelus Syfert. His first position as organist was in the city of Schwabsburgh, Germany, at the age of twelve years, a position he held until he came to America, four years later. In the seventies he was in San Francisco. His first position as organist was at the Howard Street Methodist Church. Later he went to the First Presbyterian Church in Van Ness avenue, and in 1874 he was organist for St. John's Church in Post street, Dr. Scott, pastor. The choir was composed of Mrs. Robert Moore, soprano; Mrs. M.R. Blake, contralto; Joseph Maguire, tenor, and Cornelius Makin, bass. From 1870 to 1873 he taught piano at Mills seminary. During this time his wife passed out of life and he was left with one daughter and three sons. He grieved so much at his loss that he gave up his position and went East, but his love for California was too strong and he returned in 1875. He took up his musical profession once more and for a while was organist at Calvary Presbyterian Church, Rev. John Hemphill, pastor. The choir consisted of Mrs. Van Brunt, soprano; Mrs. M. Blake, contralto; Cornelius Makin, bass, and John Trehane, tenor. Later he moved to Oakland and played in the First UnitarianChurch in Castro street. Some years after that he had an organ at St. Paul's Church in Harrison street. For thirty-five years he was engaged in the churches and teaching piano, and taught many fine players in San Francisco, Oakland and other places. He never had gotten over the loss of his dear wife, and it unfortunately saddened his life, for she was indeed a perfect mother in her family. His daughter, Miss Elizabeth, was the image of her mother and was his constant thought, and his ambition was to have her life guided into the same channel of perfect womanhood. He began early with her education in music and taught her until she had grown to womanhood, and for a number of years before his death she taught with him in his studio in Tenth street in West Oakland. Some time in the eighties he desired his daughter to have a little instruction in the old-world music centers. In 1903 she journeyed to Munich, Germany, and studied for three years with Heinrich Schwartz. In 1906 she returned to California and expected to meet her father at the station, but he was taken suddenly ill and died shortly after from a nervous breakdown. His daughter returned just two days after he died, doubly bereaved, as he had been father and mother to her and her brothers since she was a child of three years. After many months she took up her music once more, where she had necessarily laid it down during her days of mourning. She is busy always and is now one of our foremost teachers of piano, and faithfully and successfully follows in the footsteps of her honored father.
Mr. Yarndley was born December 5, 1840, in Manchester, England. His parents were both musicians of a high order. His father was an organist of the first rank and a viola player of exceptional ability. He was first viola in the celebrated band of Sir Charles Halle and was complimented at one time by Mendelssohn, the great composer. The Earl of Ellsmere was his patron, who bought his pipe organ when he left for America. Mr. Yarndley's mother was a concert singer, possessing a pure soprano voice of rare sweetness and power. She sang repeatedly under Mendelssohn's directing with such artists as Madame Anna and Sir Henry Bishop, Sir George Smart, Simms Reeves, Parepa Rosa, Jenny Lind and other great singers of her day, going to Dublin at one time with the "Swedish Nightingale" as assistant at her concert.
The little Richard from the tender age of five years accompanied his mother regularly at these concerts as hersmall chevalier. He was thus from infancy reared in an atmosphere of the best music. His training was principally under his father, although he received instruction from the best teachers of the city. At the age of seventeen years he was sent to this country to hold an organ position at Detroit, Mich., for his father who was to come with the family the following year. He was playing at that time in the largest church in Manchester. He created quite a sensation the first Sunday, dressed as all English boys were, in a roundabout jacket, broad turned-down collar, and Scotch cap with long ribbons behind. During his ten years' residence in the "City of the Streets" he acquired a reputation as piano teacher, organist and conductor of the Handel and Haydn society. In 1870 he removed to San Francisco and was at once invited to take charge of the Harmonic society of Oakland and the organ of the Congregational church of that city, which position he filled until his departure for Portland, Ore., some three years later. Afterwards, returning to California, he held positions in Grace Church and St. Luke's Church, San Francisco, and in the Presbyterian church of Oakland. He was an all-round musician of no mean order and might have accomplished much, had he not been handicapped by ill health. Probably his most marked success was in Albany, N.Y., where he was intimately associated with Miss Emma La Jeunesse, afterwards Albani, who was his lifelong friend. He was given many brilliant testimonials from the musical association and citizens of Albany. Music was with him a holy passion as well as vocation. He was a man of high moral principals, singularly guileless and of a deep religious fervor. He died at Livermore, Cal., September 7, 1895, aged fifty-four years, and was laid to rest in the Masonic cemetery there.
Mr. Greer was born in St. Louis, Mo., September 22, 1850. He began his musical education early in life, first on the violin. When he had played for some years he sang in the boys' choir before his voice was placed. After he had it trained he sang in the choirs of the churches in Baltimore, Atlanta, New Orleans, St. Louis and San Francisco. He was a member of the May Festival singers. He also sang in Temple Emanuel, Sutter street, Louis Schmidt, organist; in the Mason street synagogue and in the First Methodist Church on Mission street. In Oakland, twenty years ago, he was one of the members of the earlychoir of the Brooklyn Presbyterian Church, East Oakland. He has passed out of life to join the Invisible Choir. He left a wife, daughter and sons to mourn his loss. While in Trinity choir I had the pleasure of singing with him often at high days and funeral services. He had a beautiful tenor-baritone voice which was melody itself, and he knew how to sing. It was evident to all, for he was always in demand as a church singer and occupied these positions during his life. His daughter is also the possessor of a voice of fine quality, and by accident I found her and it gave me the same great pleasure to teach the daughter as it gave me to sing with the father long ago. She occupies the position of sewing teacher in the Girl's High School, San Francisco, and is a most efficient teacher.
Mrs. Clark, daughter of Rev. D.B. Cheney, was a resident of San Francisco for years as a singer and teacher. Her voice was contralto and she occupied that position in her father's choirs. She studied voice with Mrs. Georgiana Leach, one of California's rare sopranos and wife of Stephen W. Leach, the well-known baritone. Her instructors in instrumental music were Rudolph Herold and Professor Beutler. Later she went to Boston and studied at the New England Conservatory and her teachers were Fannie Fraser Foster, Carlyle Petersilea and Zerrahn. She is still among us, but takes no active part in music outside of her home circle in Berkeley.
Mr. Schultz was born in Herzheim by Landan, Rheinplatz, Baiern, Germany, in 1830. His father, an organist of note in Herxheim, superintended his musical education under Herr Geiger until his gymnasium years, when he continued his studies under Professor Lutz of Spire until he entered Heidelberg University. Coming to America in 1854, he accepted the position of musical instructor of Minerva college, Nashville, Tenn. He married, in 1858, a cousin of "Fighting Joe" Wheeler, the famous Southern general. After the death of his wife, in 1871, he came to California, locating in Visalia, where he gave private instruction and was organist of St. Mary's Church. In 1876 he married Mrs. Catherine Griffith and to this union four children were born. In 1880 he moved with his family to San Jose and, continuing his private instruction, he became one of the best known of the musical instructors of Santa Clara county. In his seventieth year he retired and a fewyears ago decided to make Alameda his home where, at the fine old age of eighty-two, he is still enjoying a happy and contented life.
Mr. Blankart studied the violin in Mannheim, Germany, with Carl Heydt, second violin of the then renowned Jean Becker quartette. Notwithstanding his showing of great talent in his youth, his father refused to send him to the Leipsig Conservatory because of trouble with his ears. His father apprenticed him to a wholesale coffee house. When twenty-one years old he left for America. He went first to his sister in Indianapolis, then to Quincy, Ill., where he took up his violin studies again, played in concerts with Eastern pianists, got pupils, besides having a position in a music store. There he met and married Mrs. Blankart and they worked together constantly. About 1874 he came to San Francisco and gradually he gained ground as a teacher and did very well. When the Blankarts had their studios on Geary street, near Larkin, about 1882-89, they gave musicals every two weeks, and musicians like Edgar S. Kelly, Fred Zech, Jr., Otto Bendix, Luchesi, Miss Hanchette and others played there. During those years Professor Blankart formed also, in connection with Miss Hanchette, the Beethoven Quartette club and gave for several seasons in succession public concerts. In the early nineties he left San Francisco for Oakland. He went about three times to Europe on business matters, but as usual discovered that it is better to stay with one's profession than to change, and eventually, after some time, came back to the fold and worked in a quiet way; that is, he practiced hard and gave lessons. He has had the satisfaction of giving pleasure and rousing interest for the better classical music.
Mrs. Blankart had her musical education with the renowned Louis Kohler in Konigsberg, East Prussia, Germany. From the first she wanted to be a concert player. There being no piano in her home, she was compelled to practice at a piano house every morning from eight until twelve o'clock, and she said many times that she could have practiced longer if the military band passing the store daily at noon had not reminded her of the time. She kept up this arduous practice until she broke down with typhoid fever and was near death's door. When she was able tostart work again, Louis Kohler did not recognize her at all, she had changed so much. He encouraged her very much, but stated at once that, under the conditions, she ought to give up all hope of becoming a performer, as she could not stand the strain. He said she could make an excellent teacher and that he would help her in every way. For two years she taught under the guidance of this great teacher and in 1868 came to America. She taught about seven years in the East and came to California about 1874. She made the acquaintance of the then prominent San Francisco piano teachers—Trenkle, Kuhne, Holzhauer, Hartman—and they all very kindly recommended her after examination. She gradually built up her reputation and had the satisfaction to see many of her pupils become fine players. She was at the California College, teaching for over twenty years, and many a pupil from this college is today teaching with success. She always strictly attended to her profession with great love and devotion and never had time to attend social duties. Notwithstanding, she made many friends among her pupils and others.
"Gussie" Lowell was born in San Francisco in 1857 of New England parentage and began her first musical study with Professor Striby, one of the earliest piano teachers. On moving to Oakland, when nine years old, she studied first with Miss Mary Simpson (now Mrs. Barker) of the Blake seminary, then Miss Gaskill (now Mrs. Andrews) and afterwards with Mrs. Blanche Emerson and Mrs. Babcock. Organ study (on the reed organ) was begun in 1874 with John H. Pratt, and when John P. Morgan in 1875 came to Oakland from New York, where he had for years been the beloved organist of Trinity Church, Miss Lowell took up the study of the pipe organ at the old Congregational Church in Oakland and practiced there, at the First Presbyterian Church and the Independent Church, where she later became organist after a two years' service at the First Baptist Church. As Mr. Morgan was the conductor of the San Francisco Handel and Haydn Oratorio society and the Oakland Harmonic, Miss Lowell had the unusual advantage as organist of these societies of playing in all the oratorios given under the direction of Mr. Morgan as well as Mr. Toepke and Mr. Gustave Hinrichs. After Mr. Morgan's lamented death, Miss Lowell took his place as teacher of the organ in the conservatory founded by him, where also taught Mr. Morgan (piano), Mr. Louis Lisser,Mr. Henry Heyneman and Mr. Julius Hinrichs (violoncello), Miss Susie Morgan, Mr. D.P. Hughes and dear old Stephen W. Leach (voice culture).
Pupils, 1898-1902
For three years prior to Miss Lowell's departure for New York in 1880, she was organist for Rev. Mr. Hamilton's Independent Presbyterian Church, where she conducted a large choir of sixteen voices.
She studied for a short time in the New England Conservatory of Music at Boston, but as New York had the greater attraction in the presence of Mr. Samuel P. Warren, the leading organist of the country, she went there and throughout her ten years' residence in the East studied solely with Mr. Warren, but added two seasons of study in harmony technique under that master, John H. Cornell. Miss Lowell's California experience proved of great advantage to her in obtaining church positions in the big city, and immediately upon her arrival in New York she became assistant organist at St. George's and later St. Bartholomew's, Grace and other churches, and for three years was organist at the Madison Avenue Dutch Reformed Church. The desire of her heart was attained, however, when the position was offered to her as organist at the beautiful new Roosevelt organ at the Church of the Incarnation (Arthur Brooks, brother of Phillips Brooks, pastor), to succeed Frederick Archer, the great English organist. This position she held for seven years, until her marriage in 1890. The choir of thirty paid voices was the finest in the city, and at this organ Miss Lowell gave over sixty recitals. While in New York, Miss Lowell played in many public and private concerts and was conductor for seven years of the Ladies' Vocal club at Montclair, N.J., and for three years of the Choral club (ladies'), Mt. Vernon, N.Y.
After her marriage in Oakland in 1890 to Edwin Garthwaite, a mining engineer of great reputation, she retired from public life and went with him to Mexico, where much piano and ensemble work was enjoyed, then later to South Africa for twelve years. While there was no organ playing in the parts where she lived, she was able to gather musical people about her always, and in her home near Johannesburg she conducted a fine glee club of mixed voices. Up in Bulawayo, Rhodesia, she was always identified with good music and formed a musical club, where much fine work in ensemble and choral music was accomplished.
On her return to her native land, five years ago, after nearly twenty years' absence practically from the organ,Mrs. Garthwaite was able to give occasional public performances, playing as organist in the First Church of Christ, Scientist, for a year and a half, and after all these years is again organist of the First Baptist Church in Oakland, the church where she began her career as a girl of nineteen for five dollars a month.
Mrs. Garthwaite considers the most noteworthy event in her career to be the anniversary recital given last year in the Baptist Church, when she repeated her performance of twenty years before, substituting her two sons and her nephew, Lowell Redfield, for Mr. Sigmund Beel and Miss Lizzie Bogue, and giving as a great surprise to her audience a wonderful and inspiring performance by Mrs. Blake-Alverson of "The Last Rose of Summer." It was said afterwards that it was like a song from heaven and would never be forgotten.
Mr. Arrillaga was born in 1848 at Iolosa in the Province of Guipuzcoa, Spain, and at the age of ten began the study of music in the old Spanish fashion, with a solfeggio master who employed no instrumental accompaniment whatever. In the course of a year he had fully mastered all that could be taught him by his master. He then began the study of the piano as a recreation, his teacher being D.E. Aguayo, organist of the parish church. He attended school, both in Spain and France, until the age of sixteen, when, having decided to pursue the musical art as a profession, he was sent to the Royal Conservatory at Madrid, where he became the pupil of Don M. Mendizabal in piano, Don R. Hermando in harmony and Dr. H. Esloa in counterpoint. At the close of three years he was graduated with the highest honors, having obtained the first prize at the public examination and being decorated with the gold medal of the university, which was conferred on him by Queen Isabella (the second). In 1867 Senor Arrillaga went to Paris, where he studied at the conservatory and also took private lessons. At the age of twenty-one he was seized with a desire to travel and, after a sojourn in several South American cities and in the Antilles, he came to this country.
At San Jose de Costa Rica he remained for five years and he would in all probability have made his home at that delightful place, as he had every inducement offered him to do so, had not the climate of the tropics shattered his health. This compelled him to seek a more congeniallocality, and in 1875 he departed for San Francisco, where he has since resided. In all the places where he has resided or visited he has given concerts with marked success, his playing being particularly admired for the elegant and graceful style and his facile technique. When Carlotta Patti visited the Pacific coast she especially engaged him to act as her accompanist for her concert tour. Although his time has mainly been devoted to teaching, he has found opportunity to do clever and characteristic work as a composer. Conspicuously successful have been his "Gata and Danga Habanera" and his "Trip to Spain," the latter being for piano and orchestra. He has written many piano compositions, two masses and a great deal of church music, generally distinguished for its imaginative and musicianly qualities. As a teacher, Senor Arrillaga has been remarkably successful, and during his long sojourn in San Francisco he has gathered about him a large coterie of pupils, to whom he is guide in art and a valued personal friend.
[From "A Hundred Years of Music in America," published in 1889, Chicago, by G.L. Howe and W.S.B. Matthews.]
Miss Heinemann was born in the city of New York, June 12, 1863. At the age of thirteen she came with her parents to San Francisco, where her father went into business on Leavenworth street. At the age of fifteen, while visiting friends, her voice was tested under the tuition of Miss Louisa Tourney, who successfully brought her out after three years of study, so she was able to take her place as a leading mezzo-soprano, suitable for church work and concert singing. The music committee of the O Habai Sholom choir very promptly engaged her as their soprano, a place which she successfully held for fifteen years. During her time in this synagogue she was prominent in concerts and festivals and sang at special services in different churches and societies. During her singing career she was also a generous and charitable singer and gave her services often to aid other churches, societies and charities without regard to creed. I had the pleasure of singing in the same choir with her. We were together six years with the following members of the choir: Soprano, Carrie Heinemann; contralto, Mrs. Blake-Alverson; basso, Mr. Mills; tenor, Mr. Newman, and organist, G.A. Scott. On holidays extra singers assisted the regular choir. I resigned from this choir to go to San Bernardino, while she remained indefinitely. She married at that time. She still continues her singing and assists the fraternal orders in San Francisco, of which she is a prominent member as Mrs. Carrie Wallenstein.
Mr. Stedman received his first instruction on the organ from Thos. N. Caulfield at Indianapolis, Ind. During the ten years preceding 1876 he was engaged continuously in the churches of that city, the larger portion being in the First Presbyterian, the church of which President Benjamin Harrison was a member and at that time a teacher of a Bible class. In October, 1876, he arrived in San Francisco, having come to the coast under engagement to the firm of Sherman and Hyde. He had already been engaged as organist of the Howard M.E. Church and took up that work at once. The "silver-tongued orator," Rev. Thomas Guard, was in charge of the church then, and his popularity drew large audiences, who were entertained not only with oratory but music also. The church choir was under the leadership of Mr. Geo. W. Jackson, who was one of the first to announce himself as a "voice builder." May 1, 1878, Mr. Stedman was seated as organist and director of music in Plymouth Congregational Church, a position filled continuously for twenty years. During this period many of the very best known and ablest singers, now occupying positions in the highest salaried choirs of the coast as well as in the East, had their first start and encouragement from this source. In 1898 the First Congregational Church of Alameda made offers that, added to the comfort of being at home and free from travel across the bay, were accepted, and Mr. Stedman began a service which continued for five years. At this time business interests impelled a change of residence to San Francisco and, having already put in a goodly portion of time on the bench, all offers for additional service were rejected, and no work of importance has been undertaken in the way of organ-playing save an occasional day as "substitute" for a friend.
Pupils of the 1900's
One of the musical families of early years was the Hinrichs family. I think Gustav, the object of this sketch, is the oldest. He was connected with the old Tivoli and was the first to introduce opera there at popular prices. His success was permanent. He is not only a fine director but a teacher of the voice as well and is a busy man. Even in the summer, when vacation comes, he is obliged to remain in the city. Through Joseffy he was persuaded to go to New York, as the field was broader.
In opera naturally the leading singers, the chorus, the musicians, all play an important part, but by far the most important of all is that assumed by the musical director. It is his hand that binds all the component parts, that might otherwise not act in unison, into a harmonious whole; his genius that brings out all the hidden beauties of the score, all the delicate nuances the composer had in mind. It was therefore an event of more than ordinary importance and an entirely new departure in the musical world when Henry W. Savage made the announcement in regard to his immensely popular comic opera. The Prince of Pilsen, that he had as musical director no less a celebrated maestro than Gustav Hinrichs, formerly conductor for the Metropolitan grand opera company. Mr. Hinrichs ranks among the very foremost operatic musical directors, standing on a level with such geniuses as Alfred Hertz, Toscanini, Mancinelli, Campanari, Gustav Mahler and Leopold Damrosch.
Julius Hinrichs was the cello player and a most sympathetic and beautiful one. I remember in 1875 I gave a concert in old Platt's hall in Montgomery street, and he played for me that night and also played the obbligato to the slumber song by Randegger. I never sang it so well in my life. Gustave Scott was the accompanist that evening, and it proved to be the choice number of the concert. Mr. Hinrichs married one of my talented pupils, Miss Nellie Paddock. She was not only a sweet singer, but also a pianist of repute, and to hear those artists play was truly a treat. They were popular for a number of years before Julius died, some time in the eighties. I never heard what Mrs. Hinrichs did after the death of her husband. I was living in San Bernardino at the time, and when I returned to San Francisco I moved to the Western addition and never met any of the Hinrichs family until years after, when I moved to Oakland in 1891 and after the earthquake. The youngest son, August Hinrichs, is the popular leader of Ye Liberty theater orchestra, Oakland, and at this theater he charms his hearers with the magic touch of his treasured Stradivarius which he uses with such artistic skill. For years he was leader in the orchestras of old San Francisco. After the earthquake he found in Oakland a permanent refuge where he can continue his excellent work, which is duly appreciated by the constant patrons of this theater.
Mr. Pasmore, composer and teacher of harmony, studied harmony and organ and singing with John P. Morgan until the latter's death. Later he studied organ with J.H. Dohrmann and piano with Professor Lisser. When he was twenty-five years old he studied in Leipsic the art of composition and harmony, a branch of music he is eminently able to teach. He is still teaching in San Francisco. He has written many fine songs and has translated with Torek, Jodassohn's "Manual of Harmony."
Mr. Sabin was born in Northamptonshire, England. His education was acquired at Chardstock College and Magdalen College, school, Brackley. He studied piano and organ under Dr. M.J. Monk, organist of Banbury parish church, and later piano, organ, theory, etc., under Dr. T.W. Dodds, Queen's College, Oxford. He was graduated as associate and later as fellow the Royal College of Organists, London. He was organist of Magdalen College school, Brackley, 1882-1886; St. George's church, Oxford, 1887-1889; organist and choirmaster, S.S., Mary and John, Oxford, 1889-1893; assistant organist, Queen's College, Oxford, 1886-1893; organist and choirmaster, All Saints', Warwick, 1893-1894. He came to California in October, 1894, to take position of organist and choirmaster of St. Luke's Church, San Francisco, which position he held until the fire of 1906. Since that time he has played at First Church of Christ, Scientist, San Francisco. In 1895 he became organist of Temple Emanuel, San Francisco, which position he still holds. He has been director since 1894 of Vested Choir Association of San Francisco and vicinity; director of Saturday Morning (ladies') orchestra and Twentieth Century Musical club, giving such works as Bach's "Passion," Handel's "Alexander's Feast," etc. He was representative as California organist, World's Fair, St. Louis, 1904, giving two recitals. He has been president of the Musicians' club, twice a director of the Bohemian club, and composed the music for a forest play entitled St. Patrick at Tara, given at a midsummer jinks of the Bohemian club. At present he is dean of the Northern California Chapter of the American Guild ofOrganists, conductor of the Loring club and the choral section of the San Francisco Musical club, and is engaged in teaching and composition.
California has produced her share of composers. They have been prominent as pianists, violinists, leaders of musical bodies and teachers of harmony. They are writers of the highest merit and some can be classed with the song writers of Europe. The state is too young for many native composers. Our musicians all came to us in the days of gold, and others who came later educated their sons and daughters in the East and in Europe in the highest art of music and, returning to the state, made a place for themselves as writers of music.
John W. Metcalf for the last twenty-one years has been among us as teacher of piano, harmony and a song writer of the highest order, and we are glad to claim him, even if he is not a native son. We love his music and appreciate the writer who is able to give to the singing world soulful compositions that compare with those of Schubert and Mendelssohn. They are superlatively correct and scholarly. I am not a song writer but a song singer, and when I find such compositions I am proud to interpret them to the best of my ability.
John W. Metcalf is a product of my state, Illinois, and, like the writer, he inherited his musical talent from the maternal side. His first teacher was his mother's sister, who was a pupil of Bozzini and prominent as a pianist and vocalist. In 1877 he went to Leipsic to complete his schooling in music. He was accepted as a pupil at the Royal Conservatory and was one of thirty who passed. He studied faithfully three or four years, piano with Carle Reinecke and Louis Maas; theory with Ernest and Alfred Richter; composition with Reinecke, Rust and Jasassohn. The director of the conservatory, Conrad Schleints, a warm personal friend of Mendelssohn, gave solicitous attention to the promising young American and bestowed upon him at graduation the coveted Hilbig prize, which had been won but twelve times in the history of the conservatory. After returning to America, he taught four years near Chicago, one year at the Dana Institute in Ohio, and one year as head of the piano department of the Boston Conservatory. He left Boston on account of ill health. After directing for three years the Garfield University at Wichita, Kas., he came to Oakland, Cal., wherehe still resides, and we are proud to claim him as one of California's composers and renowned teachers of the pianoforte. I feel honored to sing his songs and teach them to my pupils. I append what I consider one of his best:
ABSENCE
Mr. Blake, eldest son of George H. Blake and Margaret R. Blake, was born in Stockton, California, July 8, 1858. When he was twelve years old he began his musical education under Prof. Henry Von der Mehden. He was a conscientious and faithful student. Four years later his progress was so marked that his instructor gave him first cornet place in the Silver Cornet Band, which was composed of his advanced pupils. The excellent work of the band was soon recognized and the first great public performance was at the old Woodwards Garden, before ten thousand people. Their performance was received with tremendous acknowledgment from the public. The band continued in its good work for a number of years. In 1875 he made an educational visit around the world and visited all places of interest and heard the music of the Old World and when occasion presented also assisted in various theaters in the cities where he sojourned. He returned once more to California in the fall of 1876, resuming his musical and professional engagements until September 30, 1879. He then made a second trip to the Old World, visiting Queenstown, Antwerp, Cork and other cities. He returned to California once more by way of the Indias and Japan, November 1, 1881.
When he was twenty-four years old he began playing in the California theater orchestra and remained there during the leadership of Charles Schultz, and at the same time was a member of the Second Regiment band at the Park. In 1887 he moved to San Bernardino and during his residence there formed and was leader of the Seventh Regiment band, was also the local leader of theorchestra at the Grand Opera house when his services were needed for the passing shows without orchestra. He remained in this capacity until 1879 when he moved to Santa Cruz and remained until 1894 returning to Oakland and finally settling in San Francisco where he continued in his professional line in the various theaters and musical demonstrations which presented themselves until the earthquake, when the theater where he was employed was destroyed and music, like other business was at a standstill. For over thirty years he has played with the best musical talent on the coast and has been an acceptable and reliable musician in any capacity in which he has been called. After the disaster he came to Oakland and was at once engaged to play at the Ye Liberty theater under the able management of Director August Hinrichs. At this theater he is at present actively employed.
Pupils of the 1900's
Prof. Mansfeldt, whom all recognize as the dean of pianists, needs no words from me to place him in higher estimation of the people of California. My friendship with him extends through many years of musical companionship and during that time he has risen until now he is the acknowledged master of the instrument, and holds the most distinguished position in the musical world. His art in bringing out from time to time such a splendid array of clever pianists is proof positive of his excellent qualities as a teacher and has fixed his reputation beyond cavil. Much more could be said in regard to his artistic reputation but it would be superfluous reiterations of facts that are known to all who have heard him or have the advantage of a personal acquaintance with him as I have. I feel honored to place this sketch of him in my history with other distinguished musical celebrities of this age and generation.
The subject of my sketch, A.W. Klose, was one of our pioneer singers. In 1852, when I was a girl of sixteen, he sang the bass in the choir of the Presbyterian Church of Stockton. He was there for three years. He was born January 25, 1831, in Verden, kingdom of Hanover, Germany and educated there. He came to California in 1849, to Stockton in the early part of 1854. Business called him to San Francisco in 1862. Afterhe left Stockton we never met again until September 26, 1896, in Oakland, after forty-two years. He belonged to the Handel & Haydn society from 1860 to 1867. At that time I was in Santa Cruz. He was one of the organizers of the Harmonic society, Prof. Dohrmann, director. Later John P. Morgan was leader. He was also one of the charter members of the Orpheus society of male singers, conductor, Prof. McDougal. Connected with the Orpheus was also a choral of women's and men's voices. They gave some fine concerts in Oakland at that time. At the death of Prof. McDougal this society went out of existence, but afterward reorganized with men's voices only, as it now exists. Mr. Klose was one of the members of its musical committee for years. While in San Francisco he was director of the Methodist choir until he came to Oakland to reside. He sang in the First Presbyterian church choir for over thirty-five years. He retired about three years ago. He went to his final rest August 19, 1912, at the age of eighty-one years. The death of my friend records the last of the galaxy of fine men singers who came here in the earlier days to seek wealth. He was always ready to assist in the advancement of the best music. He sang in the days when we were judged by the knowledge of how to sing correctly and with intelligent understanding of the work. He was always a devout Christian, an efficient worker in the Sabbath school and endeared himself to all by his quiet, dignified manner. I think this testimony will stand for him in every community where he sojourned. I, as one of his earliest friends, gladly pay him my last tribute of respect and place his name in affectionate remembrance in my record of old singers. Old-time friend, "rest in Peace."
Thepicture facing page 118was taken in the Bohemian Grove on the Russian river during the annual outing in 1895. This quartette was part of the Philharmonic society of San Francisco. These musicians with Mr. Wm. Wellman, flutist, were engaged during the season of revelry among the pines and with their leader, Herman Brandt, discoursed the music that made the hills resound with their funeral chants over the death of dull care. Since this time Mr. Fletcher has died, Mr. Page is now in London and has risen with great honors as a composer as well as a finemusician and California is proud of her native son. Mr. Storey and my son, Mr. Blake, are still in San Francisco, playing when the occasion presents.
The Joran Quartette
Prof. Solano, one of our best known musicians, has been a prominent harpist among us since 1873, when he came here from Guadalajara, Mexico. He was married July 24, 1862. He resided in Guadalajara eight years, then moved to Mazatlan and lived there three years. Later he came to San Francisco and taught the harp there for seventeen years. I had always enjoyed his excellent playing in the different theaters of San Francisco but it was not until I returned to San Francisco in 1888 that I fully appreciated his wonderful art in playing the Spanish harp. I took up my residence on Geary street in a lower flat and across the court in the upper flat was the professor's studio. We became mutual friends, being in the same line of work and I had the advantage of listening to his best efforts at his own practice hour night after night, if he had no other engagement. How I longed to try my voice with this beautiful music and be accompanied by a master. At last my opportunity arrived when he asked me to come and sing for him. He had fine songs for my voice. I gladly accepted his gracious compliment and it truly was an hour of musical delight. It was not my last pleasure for we had many such hours and his charming wife was an appreciative listener and would enthusiastically applaud our efforts. Those were happy hours but they too soon came to an end for he had built a home in Alameda for his old age. Later I came to Oakland and we have never met since. He was actively employed for several years after that period but has retired and lives in Alameda. I read an account of his fiftieth wedding anniversary on June 24, 1912, which was celebrated with a high mass of thanks at St. Joseph's Church in Alameda. In his profession he had many of our best known women for his pupils, among them Miss Beatrice Tobin who is now Madam Duval of Paris, Miss Theresa Fair now Mrs. Oelrichs of New York; Mrs. Fitzsimmons, Miss Jenny Dunphy, Miss Gertrude Carroll.