CHAPTER EIGHT

ON THE ROAD WITH DICK KOHLER, MR. VIVIAN, WALTER CAMPBELL, MR. WAND AND CHARLES ATKINS

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 nothing during 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 the merest 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.



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. Thus ended 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.



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 and brought 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.



CHAPTER NINE

EARLY MUSIC AND MUSIC HOUSES. MUSICAL INSTRUMENT MAKERS. OLD-TIME SINGERS

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 golden city 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 its roof 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.



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 have come 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.



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 for everybody 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 the present 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 every quarter 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.



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.



CHAPTER TEN

AS A CHURCH CHOIR SINGER. BARNABEE, ZERRAHN, PATTI, JENNY LIND, JOE MAGUIRE, SAM MAYER, HARRY GATES

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 had arrived in California and sent the gold for us to follow him to the golden land, as he called it.



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. He at 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. My husband, 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.



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 were founded 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 the soldier 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:

Il Trovatore, Verdi; Lucrezia Borgia, Donizetti; Martha, Flotow; Semiramide, Rossini; War Songs (male voices), Adams; Bohemian Girl, Balfe; I Puritani, Bellini; Maritana, Wallace; Masaniello, Auber; Enchantress, Balfe; Hark, Apollo, H.R. Bishop; Enchantress (male voices) Balfe; solo and choruses from Lucrezia Borgia, Donizetti; Hail to the Chief, Il Templario, Nicolai; quintette and chorus from Martha, Flotow; Miserere, from Il Trovatore, Verdi; Chorus of Martyrs, Donizetti; La Fille Du Regiment, Donizetti; chorus from Maritana, Wallace; chorus from Il Lombardi, Verdi; trio and chorus, Attila, Verdi; solo and chorus, Martha, Flotow; trio, Charity, Rossini; trio and chorus, Ernani, Verdi; chorus, full, Gibby La Cornemuse, Clapisson.

In the spirit of the times these two hundred voices trained especially for the occasion, it was not to be wondered at that success followed our efforts. Whenever we were called old Tremont Temple was filled to the doors. Our treasury was never depleted during all the months we were doing service in the cause of the soldier and his needs. Boston Music Hall, churches in the smaller cities were always filled to overflowing whenever we appeared in Dedham, Medford, Roxbury and Old South Church. For nearly two years this work went on. In 1862 my husband decided to come home once more, as there was less need for our services. We were in Santa Cruz when the war ended, still helping the cause through the Christian Sanitary Commission, founded at the beginning of the rebellion. Money was supplied through this medium, and through free contributions from the different states of the Union and churches and societies, etc. Having had much experience in the East we were enabled to be of great assistance to the musical people of Santa Cruz and made successful entertainments for the cause for the following year which aroused the patriotic fire in the hearts of the California defenders of the Union and crowned our efforts with success until the end of this dreadful war.

In 1869, Mr. Blake having failed in his business, we left Santa Cruz and returned once more to San Francisco to retrieve our lost fortune. Youth, hope and energy were my strong salient points and I began in earnest to gain a substantial footing in music. My opportunity came with the Lyster Opera troupe and through efforts of a friend, Mrs. Cameron, who was employed there as soprano, I secured a position at $20 per week during their season in San Francisco.

I regret that I cannot remember the name of the Baptist pastor during my stay in Santa Cruz. He is the only minister whose name I have failed to recall, yet I can see his kindly face, and I gladly helped his congregation many times when extra help was needed. It has been so many years ago there is no one to help me in my research. This is the first link in my chain of evidence that has to be left unfinished, to my sorrow.

Returning once more to San Francisco I gave my services in the choir of Calvary Church, then on the north side of Bush street, between Montgomery and Sansome streets, Rev. W.A. Scott, pastor; Prof. G.A. Scott, organist, and Washington Elliott, choir master of the large chorus choir. I became the alto of the quartette, Mrs. Van Brunt soprano, W. Elliott tenor, Charles Parent bass. Dr. W.A. Scott was pastor for a short time and Rev. W. Wadsworth succeeded him. I remained in this choir until 1863, when I was offered the place in the choir of the First Presbyterian Church with a salary attached for the first time during my services in these many churches. Rev. Mr. Anderson was the pastor and George Pettinos organist. Sarah Watkins soprano, M.R. Blake contralto, Matthew Anderson tenor, Cornelius Makin bass—one of the best choirs in the city, splendid voices and good singers. I continued here nearly two years, when there was an offer for the place in St. John's choir for me at an advanced salary. I regretted to leave where I had enjoyed the music and the singers, but in the meantime my husband failed in business and I had two children to support. I accepted the St. John's choir offer for financial reasons. The pastor was Rev. W.A. Scott, Frederick Katzenbach organist, Mrs. Robert Moore soprano, Mrs. M.R. Blake contralto, Joseph Maguire tenor, and later, Vernon Lincoln and C. Makin, bass. I resigned this choir after almost three years' service, to take the alto position in Dr. Lacy's choir, Congregational church, corner of California and Dupont streets. Later Dr. Stone arrived and on the Sabbath of his first sermon the organist was Mr. Douglas; Georgiana Leach, Mrs. Northrup, Mrs. Oliphant, sopranos; Mrs. Margaret Blake, Miss Abbie Oliphant, altos; Signor Gregg, basso; Joe Maguire, tenor, with a small chorus choir added. The musical service was of a high order. The sopranos were the foremost singers of their time. Mrs. Leach left later and became the soprano of Starr King Unitarian Church in Stockton street. Mrs. Northrup went to the new First Congregational Church in Post and Mason streets. She was there for years. Samuel D. Mayer was organist at that time, Dr. Stone pastor and later Dr. Adams. At the time of writing Dr. Charles F. Aked from New York is pastor.



When Dr. Stone arrived from the East he had also in his company Mr. George Powers, and, by some arrangement, without any warning, the organist and quartette were unseated by the clique he had formed of his friends. The members of his quartette were in their places the next Sabbath when the regular quartette arrived, consequently we all were obliged to retire. When the new choir began there was a surprise in store for every one. There was nothing for the old choir to do but walk out. There was great grief over the abrupt dismissal. Mr. Benchly of the musical committee was consulted and nothing could be done with the friends of the new pastor. It was a church scandal of the gravest sort. Dr. Powers was from the East and intended to show San Francisco superior music from Boston. He found out before he had been there long that superior men and women were already in the field, and while he continued at the church as organist his influence in music had been tainted and his band of singers were so inferior to those ousted that they had but a short life in the church. I immediately returned to St. Patrick's Church in Mission street and remained there altogether ten years. Our work was very difficult and we had many high days and holidays, requiems, festivals and concerts for the organ fund which had been ordered from abroad, and we were supposed to help the organ fund along until it came. I am not sure how many concerts we gave, but they were all of a high standard. Professor Dohrmann, one of our leading musicians, was organist, also leader of orchestras, and our concerts were given with orchestral accompaniment. Besides the great voices in the choir we had operatic stars whenever they came with their troupes. Nearly all of the Italians being Catholics, Father Gray easily obtained their services and our soloists were artists music-lovers were glad to hear. By permission of Professor Dohrmann I have inserted this picture of the organ. It is the only thing left of this magnificent instrument, which cost $10,000. The earthquake and fire left not a vestige of anything that could be kept as a relic—one of the most beautiful organs that I ever sang with and played by the dean of organists.

During my time there were five fine singers, singing this difficult music: Mrs. Taylor, a Spanish soprano; Mrs. Urgi, English soprano; Miss Louisa Tourney, French soprano; Signora Bianchi, Italian soprano, who afterwards became the contralto when her voice fell by much singing and age. I became alarmed and feared I would also be obliged to resign. I was offered the position in Calvary Church once more. A new Calvary had been built on the corner of Geary and Powell streets, Rev. John Hemphill, pastor. I mentioned the fact to our leader, Prof. Dohrmann, and he objected to my going, saying he could not replace me. When I told him I had been offered a year's contract with more pay he consented. I remained until he obtained another contralto in Miss Ella Steele. I remained as contralto in this choir for the years that Rev. John Hemphill held it, which was twelve years, and also with Rev. Mr. Spucher. At the same time I sang on Saturdays at the Synagogue in Mission street, Rabbi Bettelheim, with the members of Calvary choir, excepting the soprano. The choir soprano of the Synagogue was Miss Carrie Heinemann and Mr. Newman was bass. I was the contralto of both choirs, Harry Gates, tenor. I continued in this choir six years. I had advanced toward the age of fifty years and the work of the two church choirs, my many singing pupils, art work, added to my professional work, began to tell upon my strength and at last I felt I must do something as a remedy or succumb to the inevitable. This was in 1886.

My son, George Blake, lived in San Bernardino, where he played in the Opera House orchestra and was leader of the Seventh Regiment band. My son William, alarmed at my condition, had written, unknown to me, to his brother, saying that I had worked long enough and that he should send for me. I was surprised when I received the word, "Mother, come," not aware he knew the condition. I had many hours of thought before I could decide when my voice was not even impaired, to give up my life's work and be a drone in the hive. At last I yielded to the desire of my sons to go south. I promised on condition that I came unheralded. I supposed I was going so far away no one knew me. Alas, this world is small, so it behooves us all to make our reputation without fault. I sent in my resignation to Calvary and the Synagogue musical committees, and bade good-bye, I supposed, to music and old associations forever. I would never be able to describe the deep sorrow that was depicted on the countenance of pastor and people, rabbi and congregation and the members of the young peoples' societies of the church with whom I had labored for so many years and assisted in their successful efforts from season to season. It was the heroic battle of my life to voluntarily cut loose from all that had been so auspicious during my many years of service. I was held in great affection by the people of San Francisco, who always gave me the most cordial welcome whenever I appeared in the churches or concert halls or took part in patriotic exercises.

I left San Francisco December 1, and had two days of travel. It seemed as though I was in another world, cut loose from all I ever cherished. The world never looked so vast to me before and it was as an open desert without one friendly face in sight, alone, adrift, knowing not the ultimate point of my travels. I was rudely awakened the morning of the second day by the whistle of the engine and the clamor of bells and bustling of feet. I arose quickly and soon was received by my son, who was awaiting my coming, and I said, "Here I am, I have obeyed your orders and now I am to do just as I please, and rest from my labor." He replied, "You have earned your rest after all these years, mother." So we happily proceeded to his cottage, where welcome awaited us. All seemed strange to me after so many years in San Francisco where I was known to all, yet I hoped to meet other pleasant faces and cheerfully accepted the situation with my son and daughter and their friends. During our conversation my daughter informed me that the ladies of the Episcopal Guild had voted unanimously that I had been accepted as the soloist of the choir of St. John's Church. Through their efforts I was to receive the salary of $20 a month. The church was not more than a beginning. The congregation worshipped in a large store on one of the main streets which had been fitted into a comfortable chapel. Mrs. Foster, from San Francisco, one of the many musical people there, had settled in that city and was the organist of that church, unknown to me, as I supposed, but when we met her greeting, "I am glad to meet you, Charity Pecksniff," surprised me. Through her the people soon found out who I was and I not only had the church position secured but also eight pupils ready to begin lessons in voice when I was ready to open my studio to them. So good or evil report follows us through our lives and makes for us our success or failure.

I made my first appearance at the Christmas service, which had been prepared with care, and extra voices were secured. My son had added from his orchestra three instruments in addition to the organ for the morning and evening services of the Christmas festival. The chapel was crowded to the doors and those who were unable to come in remained on the sidewalk during the services. The new singer was to be heard for the first time. I had chosen the beautiful Cavatina by Raff, and was accompanied by Mr. F. Erbe on the violin, who played the obbligato with exquisite grace and finish. In the evening I sang Praise Thou the Lord, O My Soul, by Holden, with two violins, cello and organ accompaniment. This extra service was the forerunner of other good services for the length of eight months, when the ladies' funds were so low they were obliged to discontinue my services, with profound sorrow, as the chapel had been crowded during all these weeks and the place was getting too small for the worshippers. A church building had been begun and money was needed there, so I reluctantly departed and took up the work in the Catholic church with Father Stockman, priest, at a salary of $40 a month, Miss Zabriskie, organist. The choir was composed of sisters from the convent, with a tenor and bass by two young priests who sang well the songs and chants of the church. In all these weeks I had also begun my classes and taught singing and painting. The change had benefited me and I busily passed the days and weeks, adding all the time new voice and painting pupils until I numbered fifty-one pupils and classes twice a week in Colton and San Bernardino. I was as busy as ever I was in San Francisco. But, alas, the hot climate (104 degrees in the morning) to which I was a stranger, was more than I could stand. At noon no one stirred out of the house or store. I stood the weather for sixteen months, then my family doctor ordered me back to San Francisco if I wanted to live.

I left San Bernardino for San Francisco, May 11, 1889. Arriving in San Francisco I took a flat on Geary street, near Steiner. On July 6 I began my work in the Larkin Presbyterian Church and continued there one year, when no funds separated singer and people. I gave the small struggling congregation another month of my services. The congregation met in a hall in the Western Addition. I think a church was built later, but it, like everything else, was destroyed in the earthquake year. I never returned, for after a year at the Geary street flat my son William and I concluded to move to Oakland. I had lost my position in the churches. Calvary Church offered me my old place but I did not wish to oust another who was giving satisfaction, and declined the honor. In Oakland we rented one of Mr. Bilger's cottages on Fourth avenue. After remaining there for two years and a half my son William married and returned to San Francisco to live.

I stayed in Oakland and began my music in the Pilgrim Congregational Church, through the influence of one of my early musical friends, Mrs. Nellie Wetherbee. I went to oblige her, as she was one of the leading spirits of the church. I remained with this church until Miss Mary Fox went East and the leader, Mr. Benham, came for me to take her place in the choir of the First Congregational church, Rev. Dr. McLean, pastor. I occupied this place for six months, giving the greatest satisfaction. Then I returned to Pilgrim Congregational Church and continued there three years. Miss Hough was organist and Mr. Redfield, choirmaster. I sang at first with the quartette, Mrs. Mollie Dewing, Mr. Redfield and Harry Melvin, now Justice of the California Supreme Court. Afterward when Mrs. Dewing left for the First Methodist Church as soprano we had Mrs. Andrew Fine, soprano. Later Mr. Redfield took charge of St. Andrew's choir in West Oakland, and I was left as soloist of the choir. Having a number of pupils in the members of the Christian Endeavor Society, I was urged upon by the pastor, Rev. Mr. McNutt, to take charge of the choir, which I did. Miss Hough continued as organist until she went abroad to study in London. Miss Bertha Hunter, who was an efficient organist, continued until my directorship closed with the advent of Rev. Mr. Silcox, who wished a man director in the choir where he was pastor. I left the choir after I had served almost continuously from 1890 to 1895. Six months of that time I sang for the First Congregational Church in Oakland. The first time was in 1890. In 1894 I substituted for two months while the contralto was ill. After leaving this church I sang with the St. Andrew's choir from January, 1893, until after the Easter service, April 2, almost four months. On January 31, 1896, I began in the English Lutheran Church, corner Grove and Sixteenth streets. Mr. Walling was director, Miss Margaret Oaks and Miss Mabel Hussey were the organists during the time. I sang here until July 16, 1897, as a memorial to my mother, who was a Lutheran in her faith, and the church was new and beautiful to sing in. I gave my services for a year and a half. Mr. Bushnell, the pastor, was popular and the church flourished greatly during the time. In December, 1897, I assisted the choir of the Church of the Advent, East Oakland, Dr. V. Marshall Law, rector, at their Christmas service, giving such satisfaction that I was prevailed upon to help the choir. My sister, Mrs. Harrold, and family worshipped there and her two daughters were in the choir. As I had no other church in view, I consented and continued for eight months. During that time we gave several fine concerts and on one occasion gave The Daughter of Jairus with great success, H. Melvin, bass; Miss Alberta Morse, soprano; Mr. Thornton, tenor; Mrs. M.B. Alverson, contralto. Several other artists with violin and cello assisted the regular choir of forty voices. They were strangers to me so I have reluctantly omitted their names. They were excellent musicians. During the eight months' service there occurred a number of pretentious musical undertakings which were meritorious as well as financially successful.

In 1899 I was once more called to the English Lutheran Church to direct the choir, with salary. I had twenty picked voices thoroughly placed and true. We occupied the upper gallery and all was in readiness to begin the new undertaking by the first Sunday in March, 1899. The church was full and also the Sabbath school rooms were required to seat the people who were anxious to hear the new choir. The rehearsals had been thorough and we had no fear of failure, and the people were not disappointed at the new order of things. How well they all sang—how beautiful was the service of those young voices, and what praises were showered upon them for their work by the congregation for their anthems, chants, hymns and offertories! For three years this order of things lasted and all the time the voices were fully developed and giving weekly more satisfaction. The Easter and Christmas services were efforts worth remembering in history, and I write with great pride because of the good work I was able to produce with these young voices in the service of song. On December 30, 1900, I sent in my resignation, which was very reluctantly accepted. I was now sixty-five years of age and my many pupils and two services on the Sabbath with necessary rehearsals became too strenuous. I had been in the active life of song long enough to lay down the baton.

On January 6, 1901, I sang for the last time in regular active service. Later in the year I assisted at different times the Fruitvale Congregational chapel, Eighth Avenue Methodist Church, Brooklyn Presbyterian Church, churches in Alameda and other small struggling churches when they needed a helping hand. It was my pleasure to do what I could to encourage the pastors and people of these small mission churches and in other churches where I had sung before on extra occasions. On September 1, 1901, on returning from St. Paul's Church, after having heard the monthly programme of song, I met my old Santa Cruz friends of 1864, Mr. and Mrs. Charles Metti and with them walked to their home. After spending a pleasant hour with them Mr. Metti escorted me to the San Pablo avenue cars. On alighting from the car at the corner of Broadway and Thirteenth street the motorman started up when I was but half way down and I was not able to hold on firmly enough, consequently the car shot out and left me on the street with a broken body. The accident closed forever my usefulness as a public singer and rang down for me the curtain upon any future work of this kind, to my great sorrow. Twelve long years I have borne this unhappy condition of things, yet I have not been a drone in the hive of busy humanity. I have fought the battle and won, and am still able to wear a smiling countenance and guide the young people into the pleasant path of song, and my success has been a compensation for all the suffering which has passed. As long as I am a factor for usefulness I will cheerfully do my duty. As long as I am able to chronicle the best results as a competent teacher of voice, which has been my vocation for over thirty years, I will be content. I have been rewarded by having given to our state many beautiful singers who remember with gratitude their aged instructor, no matter where they may reside, and a number of them are climbing and have climbed to high positions of prominence as singers of ability, and with personal attractions which have given them their stepping-stones to higher attainments in the art of vocal music.



CHAPTER ELEVEN

GOLDEN JUBILEE OF SONG SERVICE, JUNE 12, 1896

Three days before my sixtieth birthday, which occurred on June 12, 1896, I incidentally mentioned to a friend that, on that date, I would also be fifty years a singer before the public. The next morning a phone message asked me to come down to the Call office on some G.A.R. business, as I supposed. This I did.

When I entered the office I was engaged in conversation for an hour while, unknown to me, a shorthand reporter and an artist were taking notes. I returned to my studio unconscious that my words had been recorded and that my picture had been sketched by the quick hand of Richard Partington. What was my great surprise on opening the Call on the morning of the 12th to find myself pictured on the first page as happily laughing as could be. The headlines ran like this:

HAS SUNG FOR HALF A CENTURY

MRS. BLAKE-ALVERSON LOANED HER VOICE TO AID UNION SOLDIERS

HER JUBILEE RECEPTION

MADE HER DEBUT IN AN OHIO CHURCH WHEN A LITTLE MAID OF TEN

SINGS AS LUSTILY AS EVER

She Has Sung for Fifty Years in Scores of Churches, Halls and Theatres from Boston Across the Continent to California

My astonishment knew no bounds, for I always shrink from publicity even though I have become conspicuous during my singing life. My nature is domestic and, unless necessary, I avoid the notoriety of the press.



Directly I was called to the door and when I opened it who should be there but two men and two ladies of Lyon Corps No. 6, G.A.R., bringing me two beautiful oak chairs as an offering from the corps with congratulations upon my birthday.

They had gone but a short time when another delegation arrived, this time from Appomattox Corps, bringing me a handsome basket of beautiful carnations and ferns, decorated with white ribbon and lettered in gold with the congratulations of the corps.

After this second offering I thought it wise for me to do something by way of preparation, so I brought out all of my cherished war relics, flags and banners, medals and badges I had received in the years past. I soon had my rooms adorned for whoever else might come.

I had not long to wait. Letters, telegrams, messages, flowers, an immense cake decorated for the occasion with all kinds of suitable emblems of music for "California's Prima Donna, Mrs. Blake-Alverson," from Henry Feldmann for the German Society of Oakland.

All morning various offerings were sent in. Early in the afternoon friends began to come in by twos and threes and by evening 180 people had called, people of all walks of life, some of the members of the Handel and Haydn Society came from across the bay to renew an acquaintance of many years. Walter and Mrs. Marriner-Campbell were among the friends of long ago. Others were Messrs. Julius Oettl, J.H. Stedman, Fred Katzenbach, Harry Hunt, Q.A. Chase, William Bellrose, Zeno Mauvais, H.A. Redfield, John W. Metcalf, Clark Wise, S.J. Bruce of Kohler & Chase, who honored me by their presence.

I was so excited I had not missed many prominent pupils; but when evening came I heard voices and footsteps and going quietly to the door I discovered some three score of my pupils and their parents arranging their programme sotto voce in the hallway for the final surprise of the day. It was a happy chance I was ready for them. The bay window of the music-room was a lovely bower of flowers and verdure and on a draped table was the huge cake with its sixty candles all ablaze, one for each year. My appearance disturbed their preparation for a moment only, then all was mirth and jollity.

After congratulations a programme was given followed by a banquet. Many happy speeches of compliment were made and I gave them in return a short sketch of my musical life. At the close of the recital we reluctantly separated after greatly enjoying the unusual opportunity of celebrating two golden jubilees of one life on the same day.

Words are inadequate to express my gratitude to all who were factors in making this one of the greatest days I ever experienced. It seemed that everybody was a friend. The newspapers vied with each other in their write-ups of the occasion. The Call, Tribune, Chronicle, Enquirer, Saturday Night, Berkeley Gazette, Santa Cruz Surf, Examiner, Benicia Era, the Stockton and Sacramento papers all ran full articles and pictures in my honor. At this late day I tender my sincere thanks for favors and kindly criticisms, from time immemorial.



CHAPTER TWELVE

CAMILLA URSO'S FESTIVAL, 1873. MADAME ANNA BISHOP. THE LORING CLUB. ALFRED WILKIE, FRANK GILDER, D.P. HUGHES

One of the most difficult tasks in writing my memoirs is the choice of the most important happenings in a busy life. There are so many things to speak of it is hard to know where to begin. I cannot begin with a more appropriate event than the Fourth of July celebration which took place in 1869, with William Seward, Secretary of State, in one of the boxes of the California theater.

Alex Austin, Esq., was president of the day and called the assemblage to order.

The programme was as follows:

Prayer by Rev. H.D. Lathrop.

Music by the orchestra.

Reading of the Declaration of Independence by Lawrence Barrett, Esq.

God Bless our Glorious Land (written for the Fourth of July, 1869, by our friend Sam Booth). Full chorus, George T. Evans, leader.

Poem by R.C. Hopkins, Esq., read by John McCulloch, Esq.

Music, orchestra.

Vocal music, Gloria in Excelsis, Mozart.

Oration by Henry E. Highton, Esq.

Song, Star Spangled Banner.

Full chorus from the Handel and Haydn Society and quartette composed of Mrs. S.D. Mayer, soprano; Mrs. M.R. Blake, contralto; Mr. S.D. Mayer, tenor; Walter C. Campbell, bass.

Music, orchestra.

In 1868 we were visited by the Lyster Opera company from Australia, which gave a season of ten operas at the old Metropolitan Theater on Montgomery street. They brought with them a goodly company of artists.

Henry Squires, tenor W.F. Baker, tenor Armes Beaumont, tenor Lucy Escott, soprano Geraldine Warden, mezzo-soprano Mrs. Ada King, contralto Mr. Sutcliff, baritone

LOCAL SINGERS

Sig. Roncovieri, tenor Mr. Nathanson, bass Mrs. M.R. Blake, contralto Mrs. Cameron, soprano

They gave, December 21 and 22, Les Huguenots; December 23 and 24, Bohemian Girl; December 25, Maritana.



After the close of the season Mr. Squires and Miss Escott gave a farewell concert in Pacific Hall in which I participated and sang with them the celebrated trio, Protect Us Through the Coming Night.

On May 16, 1870, the Handel and Haydn Society gave Rossini's Stabat Mater in Sacramento, Prof. Hugo Mansfeldt, leader, assisted by the societies of Sacramento. The chorus was 500 strong, the soloists were the best to be secured, assisted by Henry Heyman, violin soloist.

Herr Wenderlich, bass W.C. Campbell, bass Samuel C. Mayer, tenor Matthew Anderson, tenor Mrs. Marriner, soprano Mrs. S. Little, soprano Mrs. J.M. Pierce, soprano Mrs. McNeil (of Sacramento), soprano Mrs. M.R. Blake, contralto Miss Hewlett, contralto Miss K. Stone, contralto

Cornet solo, Mr. Dick Kohler and full orchestra. Anvil chorus, with artillery accompaniment.

The undertaking was a financial as well as a musical success and added one more wreath of laurels to our musical advancement in 1873.

Also in this year the celebrated violin virtuoso, Camilla Urso, came to San Francisco on a tour. The Mechanics Pavilion then stood on the square of Stockton and Powell, Geary and Post streets, and numerous entertainments were given there. The musical festival had been successfully opened with Camilla Urso as soloist, and on the second day she tendered the society a benefit concert. The programme, a noted one which should be preserved, is as follows:

MUSICAL FESTIVAL

TENDERED BY CAMILLA URSO in aid of The Mercantile Library of San Francisco at the MECHANICS PAVILION

FIRST PART

1. Overture, Ali Baba Cherubini Grand orchestra of 150 men.

2. Glory to God on High (from 12th Mass) Mozart Oratorio chorus, 1,200 voices.

3. Symphony in C (Andante and Allegro) Gade Grand orchestra of 150 pieces.

4. (a) Sleepers, Awake, Choral from St. Paul Mendelssohn (b) Prayer of Moses in Egypt Rossini

5. Grand Concerto for the Violin (orchestral accompaniment) Beethoven CAMILLA URSO

PART II

1. Chorus, The Heavens are Telling (from the Creation) Haydn Oratorio chorus of 1,200 voices

2. Overture of Freischutz Weber Grand Military Band, 150 men.

3. Hallelujah Chorus from "Messiah" Handel Oratorio chorus of 1,200 voices.

4. Anvil Chorus, from Il Trovatore Verdi

Full chorus of 1,200. Organ. Grand orchestra of 150. Full military band, drum corps of the city militia, 50 anvils, 100 firemen, city fire bells and cannon to be fired from the stand of the leader by use of electricity.

General Conductor, Mr. R. Herold. Organist, Gustav A. Scott.

These concerts were among the grandest achievements of our time. The music of the musicians and singers was par excellence and should never be forgotten as long as history can keep it alive. How vividly is the scene before me—the magnificent chorus, the pealing of the organ tones, the excellent performance of the orchestra and the beautiful playing of Camilla Urso and the enwrapt listeners that crowded the old pavilion to overflowing. Those were days of music for Californians who knew how to make it and we should always have the greatest pride in recounting these magnificent efforts.

In the year 1874, when Madam Anna Bishop was making her American tour, she included San Francisco, and with her troupe came also Alfred Wilkie, tenor, and Frank Gilder of New York, an organist and pianist of high repute. He was a genius in a class of his own. As the Salt Lake papers said of him, "Frank Gilder, who can snatch more music out of a piano than Beethoven could write in a week, is with the Lingard Company and will play a number of solos tonight. He is an entire orchestra, a sort of a condensed brass band, and those who don't hear him will never know what pianos were invented for." This was a unique "ad.", but was just about right. I was employed by him when he inaugurated his popular twenty-five-cent concerts. He gave thirty-six in the course and I sang twenty-five times for him. I sang one evening at one of Madam Bishop's concerts, and after he heard me sing Gatty's Fair Dove (my ghost song, as he called it) he planned out these concerts—something out of the ordinary. Each artist received ten dollars, no matter how high he stood in his calling, or the prices he received from other managers. That was the order of things and each one who sang must take that or not sing. We began in the hall of the Y.M.C.A. on Sutter street. The following artists appeared: Mrs. M.R. Blake, contralto; M.A. Anderson, tenor; Sig. C. Orlandini, baritone; Frank Gilder, pianist.

The morning Chronicle had this to say in regard to the first concert:

"FRANK GILDER'S POPULAR CONCERTS

"The first of the series was given in the presence of a large and fashionable audience. The music was first-class in every respect and nearly every piece was encored. Gilder's Galop de Concert and Orlandini's Largo al Factotum most emphatically so. Mrs. Blake distinguished herself as an accomplished vocalist in Millard's song, When the Tide Comes In, and in the favorite old Scotch ballad, John Anderson, My Joe. It was supposed from the low price that these concerts would be beneath the notice of the high toned dilettanti of the city, but the performance last evening has completely disabused not only the nicely-critical, but the public generally of this idea. The series is to be continued. The second in the course will be given on Tuesday eve of next week."



The second concert on Tuesday was given with Madam Anna Bishop, Mrs. M.R. Blake; Cornelius Makin, bass; Prof. von der Mehden, baritone; Frank Gilder, solo cornetist. With the sixth concert in the Y.M.C.A. hall we found the hall too small for our audiences, and then went to Platt's Hall. Not two-thirds of the people could get in. We tried Pacific Hall, and that did for several times, and then there were enough people on the outside to fill an ordinary hall. The theaters were too expensive, so we went on the road. We gave two concerts in Stockton theater to packed houses; two in Santa Cruz in the pavilion, with great success; two nights in Vallejo, when every seat was taken, the gallery packed and faces peeping in at the windows. A laughable act not on the programme occurred that evening which, I think, Walter Campbell and myself will never forget. We had a duet in which we always claimed the house, and this evening when our number came Mr. Gilder began his quaint Quaker march and Reuben was to come from one side of the stage and Rachel, on the other, and meet in the center of the stage like two prim Quakers. I took the steps with Mr. Gilder's tom tom of quaint chords and I arrived in the front of the stage and no Walter. I was in dismay and the people began to laugh, especially a portly individual sitting directly in front of the orchestra. He thought it was all in the bill; Madam Bishop, in the wings, feared the performance was ruined. I tried with all my might to keep from laughing at Mr. Gilder, who was keeping up the incessant march. At last I turned and saw Walter Campbell standing beside me with a face like a marble statue, still and pious as the most devout Quaker, waiting for me to begin, rising and falling on his toes. I began my song, "Reuben, I have long been thinking, etc." and the song went on, and between each stanza the applause was deafening and continued until the last too-ral-loo had died away. We received five recalls. The paper came out with glowing accounts of the success Walter and I had won and we were lionized the rest of the season. When we were allowed to retire, Walter, in his quaint way, said to me, "Susan Jane, you almost made me laugh. I never went through such an ordeal in all my singing days. It seemed I was destined to stand there forever before you began." I think we have laughed over that concert time and time again. It is one of our best jokes between us when we recount the enjoyment of our successful concerts given in California, Oregon and British Columbia.



After returning from these smaller towns Mr. Gilder resumed the popular concerts in Pacific Hall until the close of the thirty-sixth concert. It was while we sang in Pacific Hall that King Kalakua was the honored guest. Sam Booth composed a welcome song to His Majesty and great was the reception given him. These concerts made quite a stir among the older musicians, who thought it strange that a twenty-five-cent entertainment should receive such acknowledgment. The halls of the dollar concerts were deserted and the twenty-five-cent concert hall was overflowing with music lovers. The older musicians challenged Gilder to play the music of the old masters. He consented, but the trial never came to anything but words. After he had gone back to New York these disgruntled musicians tried to do the same as Mr. Gilder had done, but it was a complete failure. One of the thirty-six concerts was given in the Tent Amphitheater back of the Palace Hotel, July 4, 1874. The artists were Mme. Anna Bishop, soprano; Mrs. M.R. Blake, contralto; Alfred Wilkie, tenor; Cornelius Makin, bass. The Silver Cornet band was under the direction of Professor Henry von der Mehden and Frank Gilder, pianist. There was an audience of 12,000 people and the programme was one to be remembered for its musical value and splendid singers who received the plaudits of the people in their great enthusiasm at the successful and artistic performance of each number.

PROGRAMME FOR JULY 4TH, 1874

1. Overture—Poet and Peasant Suppe

2. Song. The Sword of Bunker Hill Covert Mr. C. Makin

3. Scotch Ballad. Within a Mile of Edinborough Town. (encore) Annie Laurie. Mrs. M.R. Blake

4. Piano solo. America, with variations Gilder Frank Gilder

5. Grand Aria. Let the Bright Seraphim Handel Mme. Anna Bishop; Prof. Mehden, cornet obbligato

6. Song. The Anchor's Weighed Braham Mr. Alfred Wilkie

7. Grand operatic pot-pourri Von der Mehden

SECOND PART

1. Duet. The Moon Has Raised Her Lamp Above Messrs. Alfred Wilkie and C. Makin

2. Ballad. Old Folks at Home (by request) Foster Mme. Anna Bishop

3. Quartette for horns. Call Me Thine Own Halevy Band

4. Song. Vive l'America Millard (Encore) Uncle Sam's Farm Mrs. M.R. Blake

5. Ballad. Will o' the Wisp Mr. C. Makin

6. Song. The Star Spangled Banner Madam Anna Bishop and the other artists

7. Grand finale, National Melodies of different nations Von der Mehden Silver Cornet Band

In speaking of these concerts it is interesting to note the number of fine singers that we had in California in 1874 and how easy it was for a manager to select the best out of these for any occasion.

Women's Voices: Madam Bishop, Mrs. M.R. Blake, Mrs. A. Thiesen, Miss Marian Singer, Mlle. Franzini, Mlle. Anna Elzer, Miss Susan Galton, Madam Babcock, Signora Bianchi, Mrs. Eliza Boston, Miss Rowley.

Men's Voices: Signor C. Orlandini, Charles Metti, M.A. Anderson, C. Makin, Henry Baker (tenor of the opera troupe), Sig. Luigi Contini, Ben. Clark, W. Finkeldey, Carmini Morley, Alfred Kelleher, Sig. Fulvio Rigo, Sig. E. Bianchi, Alfred Wilkie, Sig. G. Marra, W.C. Campbell, Mons. Davidowitz (Russian opera tenor), Geo. Carltos, Sam Booth, Amos Durant, F.L. Phelps.

Musicians: F. Gilder, Prof. Hartman, Prof. H. von der Mehden, Ernest Schlott, Mulder Fabbri, Prof. M. Schultz, C.J.J. Smith (flutist), Louis Boedecker (pianist), Stephen Marsh (harpist), George L. Blake (cornetist), Bender, Shepherd, Emerson, Wilson (horn quartet), Miss Rotier (pianist), Prof. G. Cellarius (violinist), A. Kessels (pianist), Miss E.M. Burkhardt (Chicago pianist), H.F. Todd (cornet).

These men and women singers and musicians took part in these series of concerts given by Frank Gilder in 1874 and were available at any time when needed. They were only a number of the many fine singers then in San Francisco. I doubt if you could be so successful today, for these were genuine tried singers, ready to go at any time and fill the place, either with sacred, secular or operatic music. There were also the members of the Loring Club, all good singers, picked and tried, who sang in choirs, concerts and also in prominent musical undertakings of the period. I have tried to leave no name out of the list of singers. Professional jealousy does not exist in any of my musical life. It never did, and if people will use their good, common sense and judgment and see a singer in her true light they will find out very quickly that there exists no grounds for such a feeling with true artists. In the first place no two people look alike, neither are they made alike. I have had the strange experience of teaching five pairs of twins. They were so much alike that it was with difficulty we could distinguish them apart. Especially the Faull twins, who were obliged to wear a gold bar pin with "Rose" and "Sophia" engraved upon them to distinguish them, and yet they were unlike in every respect. The figures were different; their voices, one a contralto, the other soprano; one delicate, the other robust. Rose is living and the other passed out of life. It is so in everything in life. The petty jealousy of singers and players is a laughable farce. Even our grandest singers have shown this weakness because a rival was billed with lettering a quarter of an inch larger. This lowers the singer in the eyes of the public. No two singers can sing alike, even if they sing the same song. The interpretation belongs to the individual singer. It will remain hers forever in the remembrance of the listeners and no amount of jealousy will remove the fact. When once a singer has climbed to a place of recognition and can be classed as a true artist and acknowledged by the public as such, she is entitled to recognition. "Give honor to those to whom honor is due," is the safest way.