My book has already assumed such proportions that I shall not be able to give many of the interesting and worthy occurrences which have occurred in my public life as a singer. I have sung for the Masonic lodges, Knights of Pythias, Rebekahs, Eastern Star. I have sung at concerts for the different charities, church societies, Christian associations, on anniversaries of special nature, at public demonstrations in the school department, among them the tree-planting by the children of the Lincoln school and demonstration chorus singing by the children in Mills Tabernacle. I have entertained artists who have come to our coast and sung in opera and concert. Madam Etelka Gerster and her company were entertained in my home in 1884; the prima donna, Materna, of Wagner fame, and her tenor, Ondricek, and Madame Anna Bishop and her artists were also my guests. I have enjoyed the friendships of our artists, Rudolph Herold, Ernest Hartman, Prof. Trenkle, J.H. Dohrmann and hosts of others. When Henry Clay Barnabee and his opera company were at the Columbia theater I enjoyed many hours of real comradeship, chatting about old times in Boston and other artists of our day. Emma Shafter Howard made it possible for many musical people to meet the celebrated violinist, Ysaye, a number of years ago. It would require many pages to recount the number of such meetings which have taken place during my sojourn in Boston, Mass.; Cincinnati, Ohio; Oregon, Victoria, and throughout the cities of California. In San Bernardino I found during my sixteen months' stay many prominent families who extended their cordial support and appreciation and welcome. I take great pleasure in mentioning especially Mr. Seth Marshall and wife, Dr. and Mrs. Addison Collins, Mr. and Mrs. Charles Perkins.

On returning to Oakland I received the right hand of fellowship from Horace A. Redfield, who visited me in my studio, and his wife, Addie Lowell Redfield and her sister Mrs. Gussie Lowell Garthwaite. Through these friends it became known that I had come to this city to reside. At that time Mr. Redfield was prominent as an impresario, a musical critic and the writer of the Lyre and Song column in the Oakland Enquirer. Through my singing in church choirs and public concerts I later made permanent friends of many of the good people of Oakland who encouraged music of the highest order in their homes. Mrs. Gutterson, Mrs. John L. Howard, Mrs. Emma Shafter-Howard were among the earlier friends and later in East Oakland Mr. and Mrs. W.S. Goodfellow, who are thoroughly musical. He possessed a fine tenor voice while his wife was a splendid musician and pianist. It was my good fortune to gain their friendship while I served the Church of the Advent for eight months, they being members of that diocese. During the life of Stephen W. Leach, Mr. Goodfellow formed the Glee Club of friends who were well known singers and players. S.W. Leach was director of this club. It was Mr. Goodfellow's recreation from his much worry and work in his profession. Mr. and Mrs. William Angus, Mr. George Collins, wife and two daughters, Mr. and Mrs. Klose and Miss Augusta Klose were the friends who were among the musical people of the club. It was in 1896 I began singing in the choir and in looking around for the leader for the club I was accepted as soloist and leader. I was reluctant to do this, as I well knew the ability of Mr. Leach, having belonged to his Madrigal club long years before in San Francisco, but my good fortune lay in knowing how to sing these English, Scotch and Welsh madrigals and airs, many of them so familiar to me. For nearly three years we enjoyed the advantage of the club and the carefully selected musical library which Mr. Goodfellow possessed and placed at our convenience. It was a delightful gathering of congenial friends and gave restful pleasure to our good host and charming hostess who made it possible for us all to benefit by their generous hospitality. These delightful weekly gatherings were only discontinued when Mr. Goodfellow was obliged to rest from his labor and travel for a year. Our last meeting occurred February 2, 1900, when he and his wife left for their tour of the world. During their absence changes had taken place among the families. It has been my good fortune to meet prominent men and women in the different cities where I have lived who devoted time and money to promote the best music in their home cities. By their generosity many worthy aspirants have received encouragement to greater advancement in their chosen career who perhaps would not have had opportunity to be known or heard otherwise.



CHAPTER TWENTY-FOUR

REPERTOIRE AND OTHER DATA. MUSICIANS AND SINGERS OF THE LAST CENTURY

Thinking it may be of interest to my readers and also of some historical value, I append a list of the halls and theaters as well as the churches where I have sung. A list of the masses, oratorios, cantatas, etc., is also given. I also give a list of the pastors of the various churches where I have sung.

HALLS AND THEATERS WHERE I HAVE SUNG

Alcazar Hall, O'Farrell street. B'nai B'rith Hall, O'Farrell street. California Theatre, Bush street. Old Metropolitan Hall, Montgomery street. Pacific Hall, Bush street. Mechanics Library Hall, Bush street. Sherman and Clay Hall, Sutter street. Old Dashaway Hall, Post street. Greer's Hall, Minna street, between 17th and 18th streets. Western Addition Hall, Mission street. Grand Western Hall, corner Bush and Polk streets. Hamilton Hall, corner Steiner and Geary streets. Mission Music Hall, 21st and Howard streets. Laurel Hall, Shiel's Building, O'Farrell street. Mission Opera Hall, Grove and Laguna streets. Old Platt Hall, Montgomery street. Pacific Hall, Howard street. Union Hall, Mission street. Masonic Temple, corner Montgomery and Sutter streets. Mechanics Pavilion, Union Square. Mechanics Pavilion, Mission street. Mechanics Pavilion, Market street. Knights of Pythias Hall, Market street. Woodward's Gardens, Mission street. Pioneer Hall, Fourth street, between Market and Mission streets. Metropolitan Temple, Fifth street. Y.M.C.A. Hall, Sutter street. Sang eight years here. Wigwam, political meetings, James G. Blaine and others, Stockton and Geary streets. Odd Fellows Hall, Western Addition, Geary and Steiner streets. Mark Hopkins Institute, California street. Odd Fellows Hall, Mission street. Tent Pavilion, Mission street, back of the old Palace Hotel. Ixora Hall, Mission street. Winter Garden, Stockton street, between Sutter and Post streets. Ladies' Relief Society. Protestant Orphan Asylum.



CHURCHES WHERE I HAVE SUNG

First Presbyterian Church, 1870-1871, Stockton street. St. John's Presbyterian Church, Post street. St. Patrick's Church, Mission street, March 21, 1869, 1870-1874. St. Mary's, California and Dupont streets, 1869, 1870; 3 months. Congregational Church, Dupont and California streets. Calvary Church, Bush street. Calvary Church, Geary street, May 7, 1882. Fruitvale Congregational Church, Oakland. Noe Valley Mission, Noe Valley. Hamilton Hall Mission, Western Addition. Howard Presbyterian Church, Howard street. First Methodist Church, Mission street. Church of the Advent, Mission street. Church of the Advent, East Oakland. Powell Street Methodist Church, Powell street. Green Street Church, Green street. Episcopal Church, Stockton street. Larkin Presbyterian Church, Larkin street. O Habi Sholom, Mason street, September 15, 1887, 1888. Old Catholic Mission Church, Mission Street. Pilgrim Congregational Church, East Oakland. St. Brigid's, Western Addition, San Francisco. San Bruno Road Catholic Church, 1875. St. Ignatius Church, Market street, 1869. Notre Dame, French Catholic Church; Organist, R.A. Lucchesi. Unitarian Church, Geary street; Harry Hunt, organist. Howard Street Methodist Church; Martin Schultz, organist. St. Luke's Episcopal Church. Trinity Church, Powell street. Grace Cathedral, corner California and Stockton streets. Alemany, Bishop, St. Mary's Catholic Church, California street, San Francisco. Akerly, Father, St. John's Episcopal Church, Oakland. Anderson, Rev. John, First Presbyterian Church, Stockton street, San Francisco. Anderson, Rev. John Jr. (assistant), First Presbyterian Church, Stockton street, San Francisco. Buchard, Rev. Father, St. Ignatius Roman Catholic Church, Market street, San Francisco. Baylis, Rev. Mr., First Presbyterian Church, Stockton street, San Francisco. Barrows, Rev. D.D., Calvary Church, Bush street, San Francisco. Beecher, Henry Ward, Congregational Church, Walnut Hills, Cincinnati, Ohio. Bettleheim, Rabbi, Jewish, Mason street, San Francisco. Bailey, Rev. Mr., Congregational Mission, Sixteenth street, Oakland. Beecher, Lyman R., Congregational Church, Walnut Hills, Cincinnati, Ohio. Bokum, Rev. Henry, Reformed Church, Betts street, Cincinnati, Ohio. Burgess, Rev. Dr., Congregational Church, Dedham, Mass. Birmingham, Rev. Father, Roman Catholic Church, Mission street, San Francisco. Burrows, Dr., School for Boys, Stockton and Geary streets, San Francisco. Curry, Rev. James, Emanuel Presbyterian Church, Oakland. Cunningham, Rev. Dr. D., Presbyterian Church, Stockton street, San Francisco. Cool, Rev. P.Y., First Methodist Church, Santa Cruz, California. Cook, Rev. Dr., Y.M.C.A., Sutter street, San Francisco. Cheney, Rev. B.G., Baptist Church, Washington street, San Francisco. Cox, Rev. H., Methodist Church, Mission street, San Francisco. Chapman, Rev. Dr., Congregational Church, East Oakland, California. Dixon, Rev. Frank, Y.M.C.A., Sutter street, San Francisco. Dille, Rev. E.R., Methodist Church, Fourteenth and Clay streets, Oakland. Dodge, Dr., Presbyterian Church. Ells, Rev. James, Presbyterian Church, Stockton street, San Francisco. Edwards, Rev. Mr., Hamilton Hall, Oakland. Eston, Rev. Giles, Episcopal Church, Santa Cruz. Freer, Rev. James, Congregational Church, Santa Cruz. Frisk, Rev., Congregational Church, San Francisco. Freidlander, Rabbi, Jewish, Fourteenth street, Oakland. Gray, Rev. Father, Roman Catholic Church, Mission street, San Francisco. Gibson, Rev. M., Scotch Presbyterian Church, Jones street, San Francisco. Gerrior, Rev. Mr., Congregational Church, Jones avenue and East Fourteenth street, Oakland. Guard, Rev. Thomas, Presbyterian Church, Bush street, San Francisco. Hemphill, Rev. John, Presbyterian Church, Geary and Powell streets, San Francisco. Hemphill, Rev. Joseph, Presbyterian Church, Noe Valley, San Francisco. Hewes, Rev. Mr., Baptist Church, Mission District, San Francisco. Horton, Rev. Mr., Presbyterian Church, Fourteenth and Franklin streets, Oakland. Hagar, Rev. E.W., Episcopal Church, Stockton, California. Happersett, Rev. Mr., Presbyterian Church, Stockton, California. Jewell, Rev. Frank, Methodist Church, Mission street, San Francisco. Kip, Bishop Ingraham, Grace Episcopal Church, San Francisco. Koenig, Rev. Father, Roman Catholic Church, San Bernardino. Kroh, Rev. Henry, German Reformed Church, Betts street, Cincinnati, Ohio. Kroh, Rev. Phillip H., German Reformed Church, Stockton and Anna, Jonesboro, Union County, Illinois. Levy, Rabbi, Jewish Synagogue, Mason street, San Francisco. Lathrop, Rev. H.D., Episcopal Church, San Francisco and Oakland. Lacey, Rev. E.S., Congregational Church, Dupont and California streets, San Francisco. Larkin, Rev. James, Roman Catholic Church, Mission street. Law, Rev. V. Marshall, Episcopal Church, East Oakland. McClean, Rev. Dr. D., Congregational Church, Twelfth and Clay streets, Oakland. McSweeney, Father, Roman Catholic Church, Grove and Hobart streets, Oakland. Morrison, Rabbi, Jewish, Mason street, San Francisco. McKenzie, Rev. Robert, Presbyterian Church, Mission street, San Francisco. Morrisey, Rev. Father, St. Patrick's Roman Catholic Church, San Francisco. Machias, Rev. James, Presbyterian Church, Geary and Powell streets, San Francisco. Myerson, Rev. Dr., Jewish, Mason street, San Francisco. Mathews, Rev. James, Presbyterian and Calvary Churches, San Francisco. McNutt, Rev. George L., Congregational Church, East Oakland. Nugent, Rev. J.F., Roman Catholic Church, Mission street, San Francisco. O'Brien, Rev. W.J., Episcopal Church, San Bernardino. O'Connor, Rev. Father, St. Patrick's Roman Catholic Church, San Francisco. Palmer, Rev. Mr., Congregational Church, Oakland, California. Pittblado, Rev. Dr., Calvary Presbyterian Church, San Francisco and New York. Patterson, Rev. Mr., Presbyterian Church, Stockton. Rust, Rev. Henry, German Reformed Church, Betts street, Cincinnati, Ohio. Rader, Rev. Wm., Congregational Church, Oakland and San Francisco. Reed, Rev. S.F., Presbyterian Church, San Francisco; came from Victoria. Smith, Mathew Hale, Presbyterian Church, San Francisco; came from New York. Scott, Rev. Dr., Presbyterian Church, San Francisco; came from Glasgow, Scotland. Stone, Dr. A.L., Congregational Church, Mason street, San Francisco. Sprecher, Rev. Dr., Presbyterian and Calvary Churches, San Francisco. Silcox, Rev. Dr., Congregational Church, East Oakland. Simmons, Rev. Dr. (1852), Methodist Church, Stockton. Starr-King, Rev., Unitarian Church, Stockton street, San Francisco. Stebbins, Rev. Horatio, Unitarian Church, Geary street, San Francisco. Scott, Rev. W.A., D.D., LL.S., St. John's Presbyterian Church, Post street, San Francisco. Stockman, Father, Roman Catholic Church, San Bernardino, California. Scudder, Rev. Dr., Presbyterian Church, Mission street, San Francisco. Talmage, Rev. DeWitt, Presbyterian and Calvary Churches, San Francisco and New York. Thompson, Rev. J., Presbyterian Church, Mission street, San Francisco. Upchurch, Rev. J., Methodist Church, Mission street, San Francisco (Eastern minister). Wood, Rev. James, Presbyterian Church, Stockton. Woodbridge, Rev. Sylvester, First Presbyterian Church, Benicia. Wadsworth, Rev. Dr., Calvary Presbyterian Church, Bush street, San Francisco. Wendte, Rev. Mr., Unitarian Church, Oakland. Williams, Rev. Albert, Presbyterian Church; founder of the first Presbyterian Church of San Francisco. Wheeler, Rev. O.C., Baptist Church, San Francisco. Willey, Rev. H.S., Presbyterian Church, Mission street, San Francisco. Weber, Archdeacon, Episcopal missioner at Church of the Advent, East Oakland.

ORATORIOS AND CANTATAS I HAVE SUNG IN BOSTON, SAN FRANCISCO, SACRAMENTO, STOCKTON, OAKLAND, SAN BERNARDINO AND SANTA CRUZ

David. Saul. St. Paul. Moses in Egypt, by Rossini. Creation, Haydn. Messiah, Handel. Samson, Handel. Elijah, six different times. Israel in Egypt, Handel. Stabat Mater, Rossini. Racine's Athalie, Mendelssohn Bartholdy. Paradise and the Peri. Schumann's Cantata. Erlking's Daughter, Miles W. Gade. First Walpurgis Night. Daughter of Jarius, J. Stainer. God, Thou Are Great, L. Spohr. Esther. Baumbach's Collections Sacred Music. Mosenthal's Quartettes—church and home collection.

Sacred music sung in San Francisco, Oakland, Santa Cruz, San Bernardino, and other cities in California and United States.

All of Sudd's collections.

Millard's collection of songs for Sunday school children, Episcopal service.

While in Boston I was a member of the Edwin Bruce United Choir Chorus, composed of the best soloists of the day.

Dr. Burgess' choir of Dedham. Newton Musical Association. Bowdoin Street choir, 200 voices, and Church of the Unity choir.

We formed an operatic bouquet of artists. All through the war we gave concerts for the volunteer soldiers of the State of Massachusetts. Our repertoire consisted of choruses from:

Il Trovatore Norma Martha Semiramide Sicilian Vespers, Verdi Lucrezia Borgia Solo and choruses from Lucrezia Borgia, Donizetti Solo and choruses from Il Templario, Nicolai Quintette and chorus, Martha, Flotow Miserere, Il Trovatore, Verdi Les Huguenots Bohemian Girl Puritani Charity, Rossini Masaniello Chorus, La Fille Du Regiment, Donizetti. Chorus, Maritana, Wallace I Lombardi, Verdi Trio and chorus, Attila, Verdi Solo and chorus, Martha, Flotow Chorus, Donizetti, The Martyrs

MASSES I HAVE SUNG IN THE DIFFERENT CATHOLIC CHURCHES IN CALIFORNIA

Mozart's 12th. Haydn's 6th in B flat. Mercadanti, three-voice mass. Haydn's 3d in D. Mozart's mass in C, No. 1. Haydn's in C, No. 2. Farmer's mass in G. Haydn's 3d in D. Mozart's No. 7. Haydn's 8th. Peter's mass in E flat. Haydn's 16th in B flat. Concone, three-voice mass. Roeder's mass. Sung July 5th, 1874, for first time. Weber's mass in G. Mozart's 16th mass, St. Mary's church. Weber's mass in E flat. Beethoven's in C. Mozart's No. 1. Mozart's No. 7. Bach's mass in B minor for five voices. Sung April 17th at St. Patrick's. Haydn's No. 1. Millard's mass. Haydn's 16th mass in B flat. Schubert's 2d mass and vespers. Schubert's 3d. Schubert's 4th. Haydn's 3d mass in D. Weber's mass in G. Beethoven's mass in C. Mozart's vespers in C dur. Mozart's No. 1. Mozart's No. 2. Mozart's No. 3. Buchler's vespers. Mozart's 9th requiem. Mozart's 4th mass and vespers. Mozart's 5th mass. (Sung on June 20th at dedication of new organ which the choir aided in purchasing.)



MASSES SUNG IN 1869

March 20, began singing in St. Patrick's church. Candlemas Day, St. Ignatius church (Market street), Mozart's Twelfth. March 15th, Notre Dame school. April 4th, St. Patrick's. April 11th, 18th and 27th, requiem mass. May 2d, St. Patrick's. August 29th, St. Mary's. October 7th, September 6th, requiem at St. Mary's. October 21st, requiem at St. Patrick's. October 26th, requiem at St. Patrick's. November 2d, 5th and 27th, requiem at St. Patrick's. December 5th, 19th, and 23d, St. Patrick's. Eighteen Mozart masses. Requiem brevis. Sixteen Haydn masses. Lambillotte, First Mass in D. Beethoven, two masses, one in C and one in D; very difficult. October 31st, Weber's E flat (mostly sung). Schubert's five masses.

On All Saints' Day, 1870, we sang Rossini's "Solenelle Requiem" with 16 solo voices and a full orchestra, and 35 in chorus.

I.J. Paine of Boston, first mass; very difficult. Bach's masses. Peter's smaller masses (complete). Cherubini's masses (complete).

Choir in St. Patrick's during these years were: Soprano, Mrs. Urig, Miss Louisa Tourney, Mrs. Young and Mrs. Taylor; mezzo-soprano, Mme. Bianchi and Mrs. Herman; mezzo-contralto, Mrs. M.R. Blake; contralto, Ella Steele; tenor, Mr. Buch; bass, Mr. Schnable.

MASSES SUNG AT ST. PATRICK'S CHURCH, MISSION STREET, 1870

December 24th, Midnight mass. December 25th, repeated Christmas Day. December 27th, requiem. January 27th, requiem at 8:30 a.m. June 25th, mass. June 26th, mass and vespers. July 7th, requiem at 8:30. July 10th, Mercadanti, four-voice mass. July 17th, Mozart's mass. July 27th, requiem at 8:30. July 31st, Lambillotte mass. August 21st, Weber's mass E flat. August 28th, Farmer's mass. August 18th, Beethoven's mass in C. September 4th, Beethoven's mass in C. September 20th, requiem at 8:30. September 25th, Beethoven's mass in C. October 2d, Mozart's mass No. 1, vespers at six o'clock. October 3d, requiem at 8:30 a.m. October 7th, requiem, Mission Dolores. October 8th, requiem at 8:30, St. Patrick's. October 9th, Mozart's mass No. 1. October 13th, requiem at 8:30. October 16th, Mozart's 7th mass and vespers. October 23d, Haydn's No. 1 vespers (black book). October 30th, Beethoven's mass in C. October 31st, benediction at church All Saints' Day. Requiem and chants. Rossini's "Solenelle" for first time in California. November 1st, Beuhler's mass. November 2d, requiem, All Souls' Day, 2 p.m. November 3d, benediction evening. I sang solo. November 3d, sang requiem at 10 a.m. November 6th, Haydn's 5th mass. Benediction. November 18th, requiem at 8:30. November 20th, Mozart's mass No. 2. November 27th, repeated same mass. December 4th, Farmer's mass. December 11th, repeated mass. December 18th, Mozart's mass No. 2. December 19th, 20th, 21st, rehearsal with orchestra. December 24th, midnight mass. December 25th, repeated midnight mass.

SOLEMN HIGH MASS FOR POPE PIUS IX, 1880

Rev. Father Bingham officiated as celebrant. Deacon, Rev. T. Larkin, sub-deacon Rev. J.P. Nugent, Rev. P.J. Gray acted as master of ceremonies. Father Gray delivered a brief discourse on the life and character of Pope Pius IX. The music by the choir was of high order and excellently rendered. The selections included Introit, Dies Irae, Lacrimosa, Sanctus, Benedictus, Agnus Dei and Lux Aeterna—all from L. Cherubini's compositions. Offertory, Domini from Verdi and Libera from Palestrina. Artists were:

Soprano—Miss Brandel, Miss C. Bush. Contralto—Mrs. M. Blake, Signora Bianchi. Tenor—Signor Bianchi and Signor Meize. Bass—Mr. Stockmyer and Mr. Yarndley. Organist—J.H. Dohrmann. Full orchestra, thirty pieces.

MASSES SUNG IN ST. PATRICK'S CHURCH, 1873 AND 1875

Mozart's 12th. Haydn's 6th in B flat. Mercadanti, three-voice. Haydn's 3d in D. Mozart's No. 1 in C. Haydn's No. 2. Farmer's mass in B flat. Weber's in G. Haydn's 3d in D. Mozart's No. 7. Haydn's mass No. 8. Peter's mass in E flat. Haydn's 16th in B flat.

MASSES SUNG IN ST. MARY'S CHURCH

Mozart's 12th. Farmer's in B flat. Weber's in E flat.

MASS SUNG IN ST. IGNATIUS CHURCH

Mozart's 12th in C.

MASS SUNG IN THE FRENCH CHURCH

Weber's mass in G.

MASSES SUNG IN 1874

June 20th, Mozart's 5th mass. June 21st, Concone's three-voice mass. July 2d, a high mass for wedding at 10 a.m.; full choir and orchestra. July 5th, Roeder's mass. July 12th, requiem. July 17th, requiem. July 19th, Mercadanti mass. July 26th, repeated the mass. July 29th, requiem. August 2d, Peter's mass. August 8th, requiem. August 9th, Roeder's mass. August 11th, requiem. August 14th, requiem. August 15th, Holy Thursday. Haydn's 16th in B flat. Schubert's 2d mass and vespers. Schubert's 3d mass. Schubert's 4th mass. Haydn's 3d in D. Weber's Mass in G. Beethoven's in C. Mozart's vespers in C dur. Mozart's 1st and 2d mass. Mozart's 3d mass. Buchler's vespers. Mozart's 9th requiem. Mozart's 5th mass. Mozart's 12th, 6th, 7th and 8th. Mozart's 9th Haydn's 6th in B flat. Mozart's No. 1 in C. Haydn's No. 2 in C. Farmer's mass in B flat. Haydn's 8th. Peter's mass in E flat.

GRAND HIGH MASS AT ST. PATRICK'S CHURCH, 1881

April 17th, Easter Day.

CHOIR

Miss H. Brandel, soprano Mrs. M.R. Blake, contralto Signora Bianchi, mezzo-soprano Signor Bianchi, tenor F. Shoenstein, bass

Music rendered:

Vide Aquam, V. Novello. Veni Creator, Mrs. M.R. Blake. "Alma Vergo," Mrs. Brandel. Mass in B minor (five voices), John Sebastian Bach. Sung for the first time in San Francisco. J.H. Dohrmann, master and organist. Romberg's Te Deum—Orchestra. J.K. Paine, mass. W.A. Leonard's mass in B flat, four voices. Regina Coeli (Paolo Giorza). April 8th, extra Easter music—violin, organ, voice.

1888

October 28th, Concone mass. Vespers at 4 p.m. November 20th, requiem—Father Koenig—Father Stockman. December 2d, Bordeuse mass. December 8th, requiem at 8:30. December 22d, Bordeuse mass.

1889

January 1st, Bordeuse mass. January 6th, part of three masses. January 13th, Werner's mass. January 20th, Bordeuse mass. January 27th, Peter's mass. February 17th, Bordeuse mass. February 24th, high mass—Millard's mass, second time. March 3d, mass, Concone. Vespers at 4 p.m. March 10th, Peter's mass. Vespers at 4 p.m. March 24th, third Sunday in Lent, Gregorian chants. March 31st, Gloria and Kyrie from Easter mass. April 7th, Werner's mass. Vespers at 4 p.m. April 14th, Palm Sunday, Millard's mass. April 19th, Good Friday, requiem from green book. April 21st, Easter Sunday, Buchler's mass and vespers. April 25th, sang for the Sodality in the afternoon (Sisters of Mercy). April 30th, closed my engagements at this church.

EARLY MUSICIANS OF CALIFORNIA

1852—Mary Matilda Kroh, organ, piano, Stockton, Cal., from Cincinnati, O. 1853—H.B. Underhill, organ, piano, Stockton, from New York. 1853—Paul Pioda, Benicia Female Seminary, from Italy. 1853—Mary E. Woodbridge, piano, organ, Benicia Female Seminary. 1853—Emily Wash, piano, Benicia Female Seminary. 1854—Johanna Lapfgeer, piano and organ, Benicia Female Seminary.

FIRST CHOIR OF SINGERS, 1852

Mary Matilda Kroh, organist Emma Jane Kroh, soprano Sarah Rebecca Kroh, soprano Margaret R. Kroh, alto Mary Matilda Kroh, alto James Holmes, bass Wm. W. Trembly, tenor H. Noel, tenor Geo. H. Blake, tenor Wm. Belding, bass Amos Durant, bass



1853

Lucy Grove, soprano Mary Newell, soprano Lizzie Fisher, alto Jennie Grove, alto Sam Grove, tenor Wm. H. Cobb, tenor James Holmes, bass The Ainsa Family (Castilians), Lola, Anita, Belana, Leonore, (1852) H.B. Underhill, organist and piano (1854) Louisa Falkenburg, pianist

EMINENT SINGERS, 1854

Anna Thillon's corps of artists were:

Julia Gould S.W. Leach Mr. Ronconvieri Mr. Hudson Geo. Loder, director

MUSICIANS WHO CAME LATER IN THE FIFTIES

Beutler, Prof., piano Bodecker, Louis, piano Bosworth, H.M., piano, organ Batkin, I., piano, organ Bulle, Ole, violin virtuoso, 1854 Brandt, Herman, violinist, arrived 1894 Blankart, Otto, violinist Blake, Geo. L., cornet and drum, French horn Coggins, I.O., cornet Dohrmann, J.H., piano, organ, harmony, composer Dellepiane, F., piano, organ Eaton, Prof., organ, composer Espinosa, Signor, organ Evans, George, organ Fabbri, Mulder, organ Foley, Prof., violin Gee, George, piano, organ Homier, Louis, piano, violin Hunt, Harry, organ and piano Hartmann, Ernest, piano Hemme, Prof., piano Heyman, Henry, violin Hefferman, Prof., leader of band Herold, Rudolph, piano Hinrichs, Julius, violoncello Hinrichs, August, violin, leader Hinrichs, Gustave, piano Hartdegan, Prof. A., violoncello Herzog, Theo., violin Herold, Oscar, piano, leader Holt, Prof., organ Koppitz, George, flute Koppitz, Henry, arranger of music Kohler, Dick, cornet Kuhne, Arnold, piano, organ Katzenbach, Fred'k, piano, organ Lisser, Louis, pianist Loring, D.W., Loring Club leader Linden, Otto, piano Little, Geo. C., organ, piano Mayer, James C, organ Mayer, D. Samuel, organ, piano Mundwyler, John, bassoon, double bass Mundwyler, Louis, oboe, clarionet, violin Mundwyler, Fred, trombone, viola McDougall, W.J., organ, piano Mansfeldt, Hugo, pianist virtuoso, 1873 McCume, Chas., piano Oettl, Julius, piano Pettinos, George, organ, piano Pipers, Fritz, violin Paddock, Nellie, piano Rosenberg, A.A., piano Rosewald, Prof., violin Sabin, Wallace, piano, organ, composer Schmidt, Louis Sr., violin leader Schmidt, Louis Jr., violin Schmidt, Ernest, violin Schmidt, Clifford, violoncello Schmidt, Alice, piano Simonson, Martin, violin virtuoso Scott, Gustave, piano and organ Stedman, H.S., organ, piano Sewell, Prof., organ, piano Schultz, Charles, pianist. California Theater leader. Schlott, Ernest, French horn Schmitz, Christof, French horn Schmitz, Joseph, Leader Spadina, Prof., clarionet and director Solano, Mauro, harp, piano, cello Seward, William, organ, piano Stadfeldt, Jacob, piano and singer Sleuter, Prof., piano Schultz, Martin, organ, piano Seib, Prof., organ, piano Trenkle, Joseph, piano Toepke, Wm., piano Uhlig, Robert, violin Urba, Prof., horn Von der Mehden, L., cornet, flute, violin Wand, Prof., piano Weil, Oscar, piano composer Wysham, Clay, flute Yarndley, T.R., organ Zech, August, pianist, Royal Court of Leipsic

WOMEN PIANISTS

Beutler, Clara, piano Blankart, Theresa Mrs., piano Bacon, Alice M., piano Carmichael, Carr, piano Carusi, Inez, piano and harp Cohen, Madam Waldo, piano Dillaye, Miss, piano, organ Jaffa, Madam, piano Cottlow, Augusta, piano virtuoso Lada, Madam, piano Tojetti, Madam, piano

WOMEN SINGERS OF EARLY YEARS, 60'S AND 70'S

Abby, Mrs. A., mezzo-soprano Biscaccianti, Mme. E. (nee Eliza Ostinello), coloratura singer, soprano Brambrilla, Signora Elvira, prima donna, soprano Bianchi, Signora, mezzo-soprano Bishop, Mme. Anna, prima donna, soprano Blake, Margaret M., mezzo-contralto Beutler, Clara, soprano Beutler, Ida, mezzo Beutler, Emma, contralto Bateman Sisters, in 1854 Bowden, Mrs. Anna Shattuck, soprano Buthen, Mrs., soprano (St. Patrick's) Carusi, Inez, soprano Cowen, Safa Tate, soprano Campbell, Mrs. Marriner, coloratura soprano Chisolm, Mrs., contralto Cameron, Mrs. soprano Escott, Lucy, prima donna, soprano Elzer, Anna, prima donna, contralto Fabri, Inez, prima donna, soprano Gerster, Etelka, prima donna soprano Galton, Susan, lyric soprano Gould, Susan, contralto Howard, Etna, soprano Keen, Laura, soprano Little, Sarah Watkins, soprano (1864) Leach, Georgiana, soprano Lester, Louisa, soprano Mills, Louisa, prima donna, soprano Melville, Emily, prima donna, soprano Menans, Madam, soprano (St. Patrick's) Moore, Hattie, soprano (opera) Mohrig, Ida Semminaro, mezzo-soprano Northrup, Elizabeth, mezzo-soprano Neilson, Alice, soprano (opera) Orlandini, Gabriela, soprano (opera) Parker, Elizabeth, soprano Pierce, Mrs. J.M., soprano Rightmire, Sallie, contralto Rosewald, Julia, prima donna soprano (opera) Shattuck, Anna B., soprano Sconcia, Madame, soprano Stone, Kate, contralto Schultz, Susan, soprano States, Agatha, soprano Taylor, Mrs., soprano (St. Patrick's) Tourney, Louisa, soprano (St. Patrick's) Thursby, Louisa, prima donna, soprano Uhrig, Mrs., soprano (St. Patrick's) Van Brunt, Mrs. R.A., soprano, (Calvary Church) Valerga, Ida, mezzo-soprano (opera) Wilson, Alice, soprano Wetherbee, Nellie, mezzo-soprano Williams, Mrs. Barney, soprano Young, Mrs. soprano (St. Patrick's)

1896

McDonough, Luckstone, piano Materna, Amelia, famous prima donna Frantz, Ondricek, famous tenor

MEN SINGERS IN EARLY DAYS

Adler, Herman, baritone Bianchi, Signor, tenor Borneman, Fred, bass Bettencourt, J. de S., tenor Campbell, Walter, bass (1859) Clark, Benjamin, tenor (1854) Coch, S.W., bass Dugan, Charles, baritone Duffy, Thomas, baritone Elliott, Washington, tenor Formes, Karl, basso profundo Fuchs, Prof., tenor Freedburg, A., tenor Gates, Harvey, tenor Goe, Dr. S.E., tenor Hughes, D.P., tenor Howard, Frank, baritone Kelleher, Alfred, tenor Langstroth, J.A., tenor Lyster, Fred, tenor Leach, Stephen W., baritone Mayer, Samuel D., tenor Morley, Signor, tenor Makin, Cornelius, bass Mancusi, Signor, baritone Maguire, Joseph, tenor Nesfield, D.W.C, baritone Otty, Major W.N., tenor Reuling, Signor, baritone Richel, M.D., basso profundi Squires, Henry, tenor primo Stadfeldt, Jacob, basso Stockmyer, Herr, basso Tippetts, J.E., tenor Trehane, John, tenor Wilder, Dr. A.M., tenor Wetherbee, Henry, tenor Williams, Barney (1854), tenor

CALIFORNIA COMPOSERS

Sabin, Wallace A. Metcalf, John W. Koppitz, Geo. Lejeal, Alois Dohrmann, J.H.



CHAPTER TWENTY-FIVE

EARLY CALIFORNIA REMINISCENCES OF MUSICIANS AND SINGERS

RUDOLPH HEROLD

The first famous orchestra leader in San Francisco was Rudolph Herold, born in Prussia, Germany, March 29, 1832, and died in San Francisco, July 25, 1889. He received his musical education at Leipsic Conservatory with Plaidy and Moscheles, his teachers on the piano, and Mendelssohn, teacher of the theory of music and composition.

He arrived in San Francisco in 1852 as solo pianist and accompanist with the famous Catherine Hayes. He saw opportunities in this young city for fostering and cultivating good music and remained here until his death. He was closely identified with every important musical event up to the time when he was stricken with paralysis three years preceding his death.

In the early fifties he organized, under the patronage of Harry Meiggs, who was an ardent lover of music, the San Francisco Philharmonic society and rendered such important works as Elijah, St. Paulus, by Mendelssohn, Mass Requiem, by Mozart, The Desert, by Felician David, etc., etc. He also organized the famous San Francisco Harmonie, a singing society for male voices. He was organist at St. Mary's Cathedral and the First Unitarian Church for over twenty years and Temple Emanuel for twenty-five years. He had full charge of the great musical festival in 1870, given by Camilla Urso in aid of the Mercantile Library fund and conducted at the second festival given by Sumner Bugbee in conjunction with Carl Zerrahn of Boston. He conducted all the earlier Italian opera seasons given by Bianchi at the old Metropolitan, Maguire's opera house. In 1874 he organized his Symphony orchestra and continued his concerts without financial backing up to the time of his illness, producing the standard symphonic works of the old masters and also those of the more modern composers, such as Schuman, Rubinstein, Raff, Brahms and St. Saens.

J.H. DOHRMANN

Mr. Dohrmann, a native of Hesse, Germany, took his first piano lesson when but six years old. At the age of eleven years he had made such remarkable progress that his parents sent him to a seminary at Homburg to further develop his musical talent and other studies. Dr. Wilhelm Volekmar, an eminent organist, pianist and accomplished musician, was the head of the musical department. Under his tuition he became a brilliant pianist and a good organist. He was an indefatigable student, not only in music but also languages—the foundations of which were laid there. After remaining a few years there, his parents decided to emigrate to America and came to San Francisco, where a son had preceded them in 1854.

Dohrmann went to school there to perfect his knowledge of the English language, and continued his studies in music, harmony, theory and instrumentation for some time, under the guidance of Prof. R. Herold, and later alone, when compelled to live in the country on account of failing health.

In 1857 he located in Sacramento, where he remained one year, then went to San Jose, where he was successful as a teacher, also as director of singing societies. However, being ambitious to associate with better musicians, and to be in a greater field for music, in 1861 he came to San Francisco. There he soon became a favorite with the musicians as a pianist. In 1862 he made his advent as pianist in a theater of which he became the leader of the orchestra later. Since then he has been the musical director in a number of theaters in San Francisco—Metropolitan, Montgomery street; American, Sansome street; Alhambra (later Bush Street Theater); Shiels Opera house, Bush street; Platts Hall, Montgomery street; a few performances at the California Theater, in 1876; Grand Opera House, Mission street; Winter Garden, Post and Stockton streets; Tivoli, Eddy street; in Oakland, Oakland Tivoli; Cameron Hall, Fourteenth street; Oakland theater, later Coliseum, Twelfth street; also was director of the Oakland Harmonic society until he became director at the Grand Opera House, San Francisco. Became organist at St. Patrick's church, March, 1864, then located at the corner of Annie and Market streets, San Francisco, later on Mission street. Held that position until May, 1899. During the greater part of his musical career he has resided in Oakland, where he is still busy as a teacher.

I.G. Drebler, in April, 1910, desired him to accept the chair of musical director and critic of the Technique System Conservatory of Music, Los Angeles. His business of so many years' standing could not be properly adjusted for him to accept this advantageous offer and he still continues his musical instructions in his home studio, Eighth street, Oakland, and San Francisco.

RICHARD CONDY

Mr. Condy was from Philadelphia. I never knew with whom he studied, but I can safely say he was a thorough musician. In 1856 he organized the first brass band in Stockton and was identified with it for four years. He was unexcelled as an E flat cornet player and played several instruments with great artistic skill. He was also a most beautiful flute player. All the years of his residence he was closely allied with the advancement of the best music in Stockton. In 1862 he enlisted in the third regiment of cavalry and became the leader of the cavalry band. At the close of the war he became a prominent member of Rawlins Post, G.A.R. He also stood high in Odd Fellowship. His second wife was Miss Lizzie Fisher, my early companion, the only daughter of Alvin Fisher, who with his brother, Samuel Fisher, ran the first stage coach line into Stockton. She came to Stockton from the East in 1854 and sang with me in the Episcopal choir. Being a fine alto singer she was gladly welcomed among the musical colony of Stockton. Condy died November 3, 1903, and was deeply mourned by many sincere friends who honored and esteemed him. With his death the last of the pioneer musicians are gone. He is survived by Mrs. Condy and three sons.

FREDERICK KRAUS

Mr. Kraus was born in Basel, Switzerland, in 1827. He arrived in San Francisco in 1851. He was not only a fine musician but also took an active part in civic affairs. He was one of the Vigilance committee, of the Empire Engine Company, volunteers, and also belonged to the Swiss sharpshooters. He was a familiar figure in those societies, very few parades were formed without Fred Kraus, and his company of sharpshooters, or as the leader of the Sixth Regiment band. He was every inch a soldier and marched with his stately body erect, with dignified step, proud of his companions and his band of fine musicians. He also belonged to the Musicians' union for many years. He answered his last call January 16, 1912. Five children survive him.

SARAH P. WATKINS-LITTLE

Miss Watkins was born in the little town of Mendham, N.J., July 10, 1842. She came to California in 1859 and to Oakland on the day before Christmas. The following year she was engaged to sing soprano in the First Presbyterian church. After two and one-half years there she went to Calvary Church where she sang for another two and a half years and then went to the Unitarian Church, where Rev. Dr. Stebbins preached. In 1864 she was married to William C. Little.

Geo. F. Pettinos was organist in the First Presbyterian Church; Mr. Anderson was tenor, Emily King, now Mrs. K.S. Latham, contralto, and Mrs. Blake-Alverson contralto.

The choir in Calvary Church: Organist, Gustave Scott; large choir with quartette, Washington Elliott, leader.

Choir Unitarian Church: Rudolph Herold, organist; Mr. Wunderlich, superb basso; Mr. Mitchell, tenor; Miss Fisher, alto; Mrs. Little, soprano.

She was much interested in the oratorio society, Handel and Haydn, in which she took part in Oakland, and was soprano at St. John's Church, following Mrs. Shipman.

When Dr. Eells came to the First Presbyterian Church in Oakland she had charge of the choir and was the soprano. She raised about $1500 toward the purchase of an organ for the church. She took part in solos when Creation was given there.

When Hattie Crocker Alexander presented the First Congregational Church of San Francisco with a large organ, Mrs. Watkins raised money and purchased the original organ for Plymouth Church of Oakland and it is now in use in that church. The first choir was as follows: Emily King, contralto; Mr. Anderson, tenor; Sallie Little, soprano; George Pettinos, organist.

After two and a half years she went to Calvary Church. Mr. Elliott was leader of the choir and Gustave Scott, organist; Dr. Wadsworth, pastor. Mrs. Little now lives in Oakland with her daughter, who is also a gifted singer and a teacher of voice.

WALTER CHAUNCY CAMPBELL

Mr. Campbell, basso, was born at Sacketts Harbor, St. Lawrence County, New York, October 30, 1838. His parents removed to Buffalo, New York, in 1842 and he was graduated from the high school in 1854. He left New York October, 1858, for California via Straits of Magellan, arriving at San Francisco July 2, 1859. After spending two years in placer mining he returned to San Francisco in 1861. He joined the Handel and Haydn society under its first conductor, Mr. Oliver of Boston, and commenced the cultivation of his voice in oratorio with Stephen W. Leach and in German with Mr. J.B. Butler, father of Mrs. Clara Tippett, well known soprano who left this city for Boston some twenty-five years ago where she was soprano of the Old South Church for a great many years. After studying with them for several years he went to New York City to live with his father and continued his study of vocal music, commencing with some of the prominent Italian teachers who were so pleased with his voice that they wished him to study for grand opera, but not liking their methods of teaching he finally secured a teacher who did him the most good, Mr. Phillip Meyer, a German and a fine baritone singer, who after a year's teaching, allowed him to make his debut at Irving hall, at an afternoon recital at which a celebrated pianist, Mr. Wehli, just arrived from Europe, made his first appearance in America. His success was great enough to induce Mr. Lafayette Harrison, a well known manager to engage him to sing at the opening of Steinway's new hall in June, 1867, at which concert Mlle. Parepa made her first appearance in America. She afterwards became Madame Parepa-Rosa. They were both under engagement to Mr. Harrison for the season, singing in oratorio and concerts in New York and Brooklyn.

After the summer of 1867 he returned to San Francisco and was engaged as basso at Howard Presbyterian church. He remained there several years, then went to First Unitarian Church where he sang for seven years and then went to Grace Cathedral. He sang there for ten years and then took charge of the choir at the Calvary Presbyterian Church, resigning March 1, 1906, after eight years of service. During all those years he was known throughout the coast as the San Francisco basso. He made one tour of British Columbia, Washington, a territory then, Oregon and California with Madam Anna Bishop. He made another tour of California with Madam Camilla Urso, the violiniste, and a second tour of the northwest with Charles Kohler, Charles Vivian and Mrs. Blake-Alverson. He sang in all of the oratorios given by the Handel and Haydn society of San Francisco as bass soloist, Creation, St. Paul, Elijah, Samson, Mendelssohn's Hymn of Praise and Messiah. He also sang as basso of the Temple Emanuel from 1874 to 1888, thirteen consecutive years, and was the basso profundo of that celebrated male quartette, The Amphions, composed of Joseph Maguire, H.J. Tippett, Jacob Stadfeldt, Campbell and Harry Hunt, pianist. Upon the death of Joseph Maguire in 1878 the quartette disbanded as we were unable to fill his place. While singing at the First Unitarian Church the choir was composed of Mrs. Marriner, soprano; Miss Sallie Rightmire, alto; Joseph Maguire, tenor; W.C. Campbell, basso. The soprano and bass were united in the holy bonds of wedlock and are still living happily together. Having given up concert singing for several years past, Mr. Campbell still retains his magnificent voice which gives great pleasure to those who hear him. His voice has a range of two and one-half octaves from high F to low B flat, a remarkable range at the present time.



FREDERICK ZECH, JR.

Mr. Zech, pianist and composer, was born in Philadelphia, Pennsylvania, and came here with his family in 1860. He began his musical studies early in life. He made such progress in his studies that later he went abroad and studied from 1882 to 1887. While in Berlin he became a private pupil of Theodore Kullack. He began to teach in 1878. His first academy was the New Academy of the Tone Art in Berlin. Before going abroad he had conducted symphony concerts and recitals and was a successful teacher, also composed many beautiful compositions in serious music, two symphonic poems and orchestral music and conducted the same successfully.

HENRY HEYMAN

Sir Henry Heyman is the dean of coast violinists, and occupies one of the highest positions as a conscientious artist and a most successful teacher. His beginning was under the direction of Frederick Buch, a noted instrumentalist of his time. He studied a number of years in Leipsig under such famous teachers as Ferdinand David, E.F. Richter, E. Rontgen, Fred Herman, Carl Reinke and S. Jadassohn. During his studies abroad he was prize graduate at the Royal Conservatory of Music in Leipsig. On returning to his home in San Francisco he organized the Henry Heyman String Quartette. With his own company he gave concerts all over the coast cities as far north as Victoria, B.C., and as far south as Honolulu, on which occasion he was knighted by King Kalakua, who made him Knight of the Royal Order of the Star of Oceanic, also solo violinist to His Majesty, an honor he fully appreciates. Sir Henry is a vice-president of the Royal College of Violinists of London, also an honorary member of the Bohemian Club, and the Family, the latter one of San Francisco's most exclusive organizations. Apart from his great success as a teacher and concert leader he occupies a unique position in the social and musical life of the city. He still teaches and acts as musical director at all great functions. He is also an intimate friend of all the European and American celebrities, including Paderewski, Joseph Hoffman, Ysaye, Kubelik, Elman, Joseffy and many others who visit San Francisco as artists and are entertained by Sir Henry. Many noted composers have dedicated their works to him. As director and honorary secretary of the San Francisco Institute of Art, Sir Henry comes closely in touch with the younger generation of musical aspirants—many of the best violinists of today are proud to call themselves his pupils. On the occasion of the eight hundredth anniversary of the founding of Bologne (Italy) university, he was made corresponding member of the musical section for California. He is a member of the American Guild of Violinists and later has been the recipient of many honors here and abroad from those who appreciate him as a musician and genial friend to those who know him best.

MRS. LOUISA MARRINER-CAMPBELL

Mrs. Marriner-Campbell was born and educated in Waterville, Maine. She was one of the early musical people who came here and has lived in this state, especially San Francisco since the early sixties. Of her early musical life I know nothing, it was only through our musical life in California that we became known to each other and always have been loyal friends. The first time I ever saw and heard her was at Dr. Lacy's church when the Handel and Haydn society gave the Creation. She sang the solo parts and I never have forgotten her or her singing. She was gowned in a stylish robe of some soft clinging wine-colored material and her blonde hair was done up in a soft coil on the crown of her head. At her throat was a soft frill of lace, becomingly arranged and finishing the picture, leaving a lasting impression, which was still more strengthened by her beautiful singing, for which she received the most hearty reception. Her voice was exceedingly high and her trills were like a bird's in their perfect oscillations and accurate touch, showing her perfect control of the vocal organs. At that time she was Mrs. Marriner. Several years after her husband's death she became Mrs. W.C. Campbell. She and her husband have both been extremely popular in all undertakings of a musical nature. She was the highest salaried singer of her time and foremost in all musical advancement twenty-five years ago. Her musical career, which has been exceptionally well-balanced and harmonious, is like a statue of fine proportions that beckons the young to emulation. Mrs. Campbell confines herself entirely to teaching the young people of San Francisco and is acknowledged as a teacher par excellence. She has studied abroad—in England, France and Italy, and during the years of the seventies was coached by the famous prima donna, Madam Anna Bishop, receiving from her all the traditions of the English school and particularly the oratorio traditions. She is still in California and happy both in her home and occupation of developing the young voices of her city. While abroad Mrs. Campbell studied with Errani, Albites and Muzio, a nephew of Verdi.

SAMUEL D. MAYER

Mr. Mayer, organist and tenor, arrived in San Francisco, May 13, 1866, from New York City where he was organist of Calvary and other churches and solo tenor of Trinity Episcopal Church. The Sunday following his arrival he commenced his duties as tenor of Trinity Episcopal Church in San Francisco where his brother, James C. Mayer, was at that time the organist. Continuing in that position until May 1, 1868, he resigned to accept the position of organist in St. John's Episcopal Church, Oakland, remaining there until May 1, 1872, when he was appointed organist and tenor of the First Congregational Church of San Francisco, serving in this dual capacity for forty years. He relinquished the position of tenor but continued to act as organist and musical director and on May 1, 1912, he will have completed forty years of consecutive service in this church.

MRS. J.M. PIERCE

Mrs. Pierce has been identified with the history of music in San Francisco since the early days. Born in Philadelphia, and losing her mother when she was but five years of age, her father, Mr. Samuel Cameron, brought her to California across the Isthmus, to place her in the loving and motherly care of his sister, Mrs. Eugene Doyle, who had one daughter of almost the same age. These cousins afterward became very well known in the public school and church histories by their duet singing, Ida Doyle and Maggie Cameron being in demand on all important public festivals. On the night of the arrival of the steamer when the father and little daughter reached the home on Rincon Point, then the best residential part of San Francisco, where a hearty welcome awaited them, the little five-year-old child was told to "sing for her new-found relatives" and with pale face and dressed in deep mourning even to a little black silk bonnet, for the lost mother, she sang Lily Dale and Old Dog Tray while all listened with tears and astonishment to the sympathetic voice, and an uncle, Mr. James Cameron, exclaimed, "It's not a child, it's a witch." In the old Rincon school, so famous for its splendid teachers and also many scholars who afterwards became famous in California history, Maggie Cameron was called Hail Columbia because her voice could lead the singing of the entire school so strongly. In the old high school, corner of Bush and Stockton streets, under the leadership of Mr. Ellis Holmes, who was a devotee of music and himself possessed of a rich bass voice, Miss Cameron developed into a public singer, doing her first solo work on the "musical days" of the Girls' High School.

She was a pupil of Mrs. Marriner-Campbell five consecutive years, singing with her teacher in duets all over the state; of Otto Linden in sight reading; Mme. Rosewald, operatic repertoire, and of Richard Mulder, husband of Inez Fabbri. Mr. Mulder called Mrs. Pierce "his most distinguished pupil."

At this time she was also soprano at the First Baptist Church on Washington street, Dr. Cheney, pastor. This historic old church afterwards became a Chinese theater. Before graduation from school Miss Cameron accepted the position of soprano in the choir of Rev. Dr. A.L. Stone's church, corner of Dupont and California streets. Dr. Geo. H. Powers was the organist. While in this church Miss Cameron was married to Mr. James M. Pierce.



Soon after this Mrs. Pierce accepted the position of soprano at the Church of the Advent, Rev. Mr. Lathrop, pastor; Louis Schmidt, organist. After two years she joined the choir of the Plymouth Church, which celebrated its golden anniversary January 12, 1912, Rev. T.K. Noble, pastor. She was a member and the soprano of this flourishing church for five years. Mr. and Mrs. Pierce and their two children then took a trip East with the intention of making Boston their home, but the longing for California was too strong and after an absence of two years, during which time Mrs. Pierce was soprano in the largest Congregational Church of Freetown, Mass., they returned to California where Mrs. Pierce again resumed her church and concert work, singing in the Church of the Advent, Mr. Lathrop, and after eighteen months in Grace cathedral, Dr. William Platt, rector, and William Whittaker, organist, where she remained as soprano six years. The fine instruction she had received as a singer enabled Mrs. Pierce to hold several important positions as teacher, being several years at the Perry Seminary in Sacramento and also at the Irving Institute, San Francisco, under Mr. and Mrs. Church. She had a large class of pupils, many of whom hold important positions today. The position of soprano of the First Unitarian Church, then the largest and most fashionable congregation in San Francisco, being offered Mrs. Pierce, she accepted it, and was for ten years in this very happy connection, Dr. Horatio Stebbins, pastor, Mr. Louis Schmidt, Mr. J. Humphrey Stewart and Mr. Henry Bretherick, the present incumbent, being organists. At this period Mr. and Mrs. Pierce gave up their home in San Francisco, which had always been recognized for its hospitality and charming musical atmosphere, always welcoming and entertaining the musicians of the city and new arrivals, and removed to Berkeley to enter their son and daughter into the University. Here Mrs. Pierce again took up the leadership in the Unitarian church choir, then being held in Stiles hall and until the new church was built she sang but after the service of dedication of the church she resigned, the singing being of a congregational form and led by a baritone voice. At clubs and parlor receptions, Mrs. Pierce is still a favorite ballad singer and is always greeted with appreciation and pleasure, for her voice though not so powerful as in its prime, still exemplifies the value of her early training and fine method of pure Bel Canto. Like the authoress of this book, she proves a perfect method in youth preserves the beauty of the voice even unto and beyond the three score and ten. Mrs. Pierce and Mrs. Marriner-Campbell were the singers at the famous Chamber concerts given by Messrs. Schmidt and Weil and who were considered by a patronizing public the exponents of the best music ever given in California, and at the concerts given by Mr. Henry Heyman and those of Mr. Jacob Rosewald. Mr. Joseph Maguire's last appearance in public was when he and Mrs. Pierce sang at a concert under the direction of Mr. Stephen Leach. They sang the fine old English duet, When Thy Bosom Heaves the Sigh to tumultuous applause and were recalled again and again. Before Mrs. Campbell's departure for Europe, at a farewell concert (held in the Howard Presbyterian Church, Mission street, before 1800 persons), Mr. Walter Campbell and Mrs. Pierce gave a most spirited rendering of the difficult old Italian duet for basso and soprano of Master and Scholar with tremendous effect. At the music jubilee held in old Mechanics' pavilion in 1878, Mrs. Pierce was seated in the third row of sopranos and very willingly took her place, when after the first chorus, Mr. Zerrahn, the leader, leaned forward and said, "Please, that lady, come out here," and placed her at his side, so telling and pure was the carrying quality of her voice that he at once singled her out for the cherished "front row."

Always associated with the highest efforts in music, Mrs. Pierce is one of the founders of the successful Musical Association of Berkeley and also of the New Oratorio Society of Berkeley which has in its membership many of the most prominent musicians in the University town, the musical center of California.

A very high compliment was paid Mrs. Pierce on her departure for the East in 1876 when the Handel and Haydn society of San Francisco, under the distinguished leader, John P. Morgan, gave her a letter of introduction to the Handel and Haydn Society of Boston, bespeaking for her all the privileges which it could grant to a "devoted and well beloved member of its sister society on the Pacific Coast." This was the first time this signal honor had ever been given to a member.

One of the most pleasurable remembrances I have of Mrs. Pierce is associated with a Handel and Haydn concert in Mechanics' Pavilion. Elijah was given and with Mrs. Campbell and Mrs. Haydn, Mrs. Pierce sang the immortal trio, Lift Thine Eyes, to tremendous enthusiasm. The trio had to be repeated three times, so evenly and perfectly were the voices blended. Later this trio was sung with great success at a reception given by the Bohemian club. Mrs. Pierce, Miss Wood and Mrs. Birmingham were the singers.



CHAPTER TWENTY-SIX

REMINISCENCES OF LATER CALIFORNIA MUSICIANS AND SINGERS

JOSEPH MAGUIRE

In the death of Joseph Maguire, California lost one of its finest tenors. He was known to a wide circle, both in this state and Nevada.

He was a mining man, but it was as a musician that he made his reputation. He was a tenor singer of great sweetness and power. The public had a keen appreciation of the purity of his vocalization and had the opportunity to hear him weekly at the Unitarian Church, Dr. Stebbins, pastor. His sickness was of short duration and his death came as a severe blow to his many musical friends and associates. He was a member of the Amphion Quartette and Bohemian Club chorus. He was tenor in the St. John's Presbyterian Church on Post street, in the quartette, where he and I sang for two and a half years. It was a half hour previous to his death while in a delirium that he sang like a bird Gounod's Ave Maria, imagining himself at a musical gathering. The last sad rites were performed under the auspices of Occidental Lodge, F. & A.M., of which Mr. Maguire was a well-beloved member. He was a native of Bolton, England, aged forty-four years.

In memory of our much beloved Joe Maguire, as he was affectionately called by his California friends who loved him for his beautiful singing and for his own self, I shall give the musical service as it was rendered at the church. A most beautiful tribute of flowers, in the shape of a lyre with the silver strings snapped and hanging loosely, was placed in the choir where he stood each Sabbath and sang his glorious songs. Certainly no one knew him but to love him, and the last tribute of song given him by his friends will last as long as memory remains in the living musicians who assisted in the ceremonies at the church.

Funeral Services in Memory of JOSEPH MAGUIRE

September, 1833—March, 1878 First Unitarian Church, Geary street San Francisco, Sunday, March 24, 1878.

1. Organ voluntary.

2. Chorus of male voices:

Brother, through from yonder sky Cometh neither voice nor cry, Yet we know from thee today Every pain has passed away.

Brother, in that solemn trust We commend thee dust to dust, In that faith we wait 'till risen, Thou shalt meet us all in heaven.

3. Readings from the Scripture: Extracts from the Book of Job.

Rev. Horatio Stebbins.

4. Double quartette for female voices.

Their sun shall no more go down; the Lord shall be their everlasting light; and the days of their mourning are ended. For the Lord shall feed them and God shall wipe away all tears from their eyes.

5. Funeral oration, by Harry Edwards.

6. Choral from Spohr's Last Judgment.

Lord God Almighty, we adore Thee; Thou, Lord, will take away every sorrow; Thou wilt wipe away all tears from my eyes. Yea, every tear and every sorrow Thou wilt wipe away from our eyes; nor death, nor pain, nor sorrow shalt then be known.

7. Remarks and Prayer, by Horatio Stebbins.

8. Hymn, Abide With Me.

There were thirty-five voices in all from the societies with which he had affiliated, and the sixteen female voices were the soloists of the different choirs in which he had sung so many years. They were grouped about his casket and with superhuman effort performed the last tribute of affection for one of God's most beautiful singers whom all loved. Rest, sweet spirit, rest.



MR. AND MRS. STEPHEN W. LEACH

Among our first singers were Stephen W. Leach and his wife, Georgiana Leach. He was an English buffo singer. His wife was a beautiful soprano singer and was soloist in the Unitarian Church in the days of the sixties when the church was on Stockton. When the new Starr King church was built on Geary street, this old church was bought by the colored Methodist people. Mr. Leach formed a madrigal society in that year, and we had weekly rehearsals, perfecting ourselves for concert and other public demonstrations when required. I shall here give one of our noted programs, given by the most prominent musicians, both men and women, of our time. The numbers are worthy of historical notice for the sake of the music and the musicians who took part in this memorable concert, the first of the series.

Program of S.W. LEACH CONCERT At Platt's Hall Monday Evening, Dec. 9th, 1878

1. Part Song. Strike the Lyre Cooke Mr. Gee and Madrigal Society

2. Song. I Fear No Foe Pinsuti Walter Campbell

3. Quartette for piano and stringed instruments. Sostenuto assai, Allegro ma non troppo. Schumann Miss Alice Schmidt, piano; Mr. Clifford Schmidt, first violin; Mr. Louis Schmidt, Jr., viola; Mr. Ernest Schmidt, cello.

4. My Queen Blumenthal Alfred Kelleher

5. Duet. Quanto Amore Donizetti Mrs. J.E. Tippett and S.W. Leach

6. Let All Obey S.W. Leach C.W. Dugan

7. Valse Chantee—Rajon de Bonhure Mattiozzi [Transcriber's Note: Possibly a misspelling of "Raison de Bonheur"] Mrs. Marriner-Campbell

8. Reading Daniel O'Connell

9. Part Song. Introduction and Valse S.W. Leach Madrigal Society

10. French Horn Solo Ernest Schlott

11. Solo Mrs. J.E. Tippett

12. Violin Concerto. Andante and Finale Mendelssohn Clifford Schmidt

13. Duet and Chorus. In the Days of Old Lang Syne Neidermeyer Mrs. Marriner-Campbell and Ben Clark

14. Trio. This Magic Wove Scarf Mrs. J.M. Pierce, J.E. Tippett, S.W. Leach

15. Madrigal. O by Rivers (words by Shakespeare. Composed A.D. 1600) Accompanists, Geo. J. Gee and H.O. Hunt; conductor, S.W. Leach.

Concert to commence punctually at 8 p.m.

MEMBERS OF THE SOCIETY

Conductor—S.W. Leach. Sopranos—Mrs. Marriner-Campbell, Mrs. J.E. Tippett, Mrs. J.M. Pierce, Mrs. Sarah Little. Altos—Mrs. M.R. Blake, Miss E. Beutler, Miss Ida Beutler, Mrs. Chisolm. Tenors—J.E. Tippett, Ben Clark, J. Webber. Bassos—Walter C. Campbell, C.W. Dugan, Will B. Edwards. Pianist—Geo. J. Gee.

For years we served the public, winning fresh laurels yearly and adding to our repertoire of madrigals and songs worthy the aspirations of any competent and conscientious singers. Every number was a gem of the music writer's art. Good music never grows old, and songs like these should claim the student's attention in place of the common everyday songs that cater to a lower taste or create a laugh. They lower the standard of the singer. There are many comic songs that will bring the wholesome laugh and be welcomed by an appreciative audience. The singer makes the song as she builds her own character. It is the understanding of the writer's meaning, of the sentiment he has tried to embody, which shows the intelligent and artistic singer. Happy indeed is the singer if his success follows the rendering of his songs. This is the way our reputations are made. Is it not a great happiness to the singer and the listener that the tones come pure and limpid from the long-cherished instrument that still answers to the beautiful strains of the Last Rose of Summer or Safe in the Arms of Jesus? Can any one conceive the devotion with which a singer nurses the beautiful gift which is above rubies—a priceless gem—only to be made more beautiful when it returns to the God who gave it, and made more beautiful by the knowledge that he has done what is possible with the talent entrusted to him, and unconsciously made the gift more suitable to join the Everlasting Choir, Eternal in the Heavens, to join in the congregation of saints who had found the harmony of the Lost Chord, and to make the heavens ring with the melody of the last strain, Only in heaven I shall hear that grand Amen?

It is a fact that in writing my memoirs I felt a little reluctant at first to write all about myself and my work, but I have come to the conclusion that it is not vanity on my part to report history, and certainly I have left no stone unturned to hunt out real facts and occurrences from my letters, programs, diaries and other papers. As I have been first in many things, perhaps it may be interesting to know who sang the Lost Chord the first time in California, a song so widely known and sung by so many singers. In the year 1878, while Mrs. Louisa Marriner was in London on one of her yearly visits, in her generous kindness she sent me the Lost Chord and also Sullivan's Let Me Dream Again, two new compositions which, she said, were just written for me. During this year Calvary Literary society gave an evening of song for the Ladies' Relief society, and among the numbers of the programme was the Lost Chord, with piano and organ accompaniment. Mrs. Henry Norton was soprano; Mrs. M.R. Blake, contralto; C.L. Gage, bass; J. de S. Bettincourt, tenor; C. Howland, second tenor; E. McD. Johnston, bass; Miss F.A. Dillaye, organist; H.M. Bosworth, organ and piano, and Prof. Theo. Herzog, violin. It was on this occasion that I sang the song of the Lost Chord, with organ and piano.

Sometimes in recounting incidents in our lives we often wonder how they began, as, in this instance, "I wonder who sang the Lost Chord first on this coast?" In this article you have the answer.

PROF. FREDERICK KATZENBACH

Prof. Katzenbach was born in the city of Freimersheim, Germany, 1834. He came to America at the age of sixteen. He again returned to Germany when twenty years old and studied in Mainz, under Prof. E. Paner and Thopelus Syfert. His first position as organist was in the city of Schwabsburgh, Germany, at the age of twelve years, a position he held until he came to America, four years later. In the seventies he was in San Francisco. His first position as organist was at the Howard Street Methodist Church. Later he went to the First Presbyterian Church in Van Ness avenue, and in 1874 he was organist for St. John's Church in Post street, Dr. Scott, pastor. The choir was composed of Mrs. Robert Moore, soprano; Mrs. M.R. Blake, contralto; Joseph Maguire, tenor, and Cornelius Makin, bass. From 1870 to 1873 he taught piano at Mills seminary. During this time his wife passed out of life and he was left with one daughter and three sons. He grieved so much at his loss that he gave up his position and went East, but his love for California was too strong and he returned in 1875. He took up his musical profession once more and for a while was organist at Calvary Presbyterian Church, Rev. John Hemphill, pastor. The choir consisted of Mrs. Van Brunt, soprano; Mrs. M. Blake, contralto; Cornelius Makin, bass, and John Trehane, tenor. Later he moved to Oakland and played in the First Unitarian Church in Castro street. Some years after that he had an organ at St. Paul's Church in Harrison street. For thirty-five years he was engaged in the churches and teaching piano, and taught many fine players in San Francisco, Oakland and other places. He never had gotten over the loss of his dear wife, and it unfortunately saddened his life, for she was indeed a perfect mother in her family. His daughter, Miss Elizabeth, was the image of her mother and was his constant thought, and his ambition was to have her life guided into the same channel of perfect womanhood. He began early with her education in music and taught her until she had grown to womanhood, and for a number of years before his death she taught with him in his studio in Tenth street in West Oakland. Some time in the eighties he desired his daughter to have a little instruction in the old-world music centers. In 1903 she journeyed to Munich, Germany, and studied for three years with Heinrich Schwartz. In 1906 she returned to California and expected to meet her father at the station, but he was taken suddenly ill and died shortly after from a nervous breakdown. His daughter returned just two days after he died, doubly bereaved, as he had been father and mother to her and her brothers since she was a child of three years. After many months she took up her music once more, where she had necessarily laid it down during her days of mourning. She is busy always and is now one of our foremost teachers of piano, and faithfully and successfully follows in the footsteps of her honored father.

RICHARD THOMAS YARNDLEY

Mr. Yarndley was born December 5, 1840, in Manchester, England. His parents were both musicians of a high order. His father was an organist of the first rank and a viola player of exceptional ability. He was first viola in the celebrated band of Sir Charles Halle and was complimented at one time by Mendelssohn, the great composer. The Earl of Ellsmere was his patron, who bought his pipe organ when he left for America. Mr. Yarndley's mother was a concert singer, possessing a pure soprano voice of rare sweetness and power. She sang repeatedly under Mendelssohn's directing with such artists as Madame Anna and Sir Henry Bishop, Sir George Smart, Simms Reeves, Parepa Rosa, Jenny Lind and other great singers of her day, going to Dublin at one time with the "Swedish Nightingale" as assistant at her concert.

The little Richard from the tender age of five years accompanied his mother regularly at these concerts as her small chevalier. He was thus from infancy reared in an atmosphere of the best music. His training was principally under his father, although he received instruction from the best teachers of the city. At the age of seventeen years he was sent to this country to hold an organ position at Detroit, Mich., for his father who was to come with the family the following year. He was playing at that time in the largest church in Manchester. He created quite a sensation the first Sunday, dressed as all English boys were, in a roundabout jacket, broad turned-down collar, and Scotch cap with long ribbons behind. During his ten years' residence in the "City of the Streets" he acquired a reputation as piano teacher, organist and conductor of the Handel and Haydn society. In 1870 he removed to San Francisco and was at once invited to take charge of the Harmonic society of Oakland and the organ of the Congregational church of that city, which position he filled until his departure for Portland, Ore., some three years later. Afterwards, returning to California, he held positions in Grace Church and St. Luke's Church, San Francisco, and in the Presbyterian church of Oakland. He was an all-round musician of no mean order and might have accomplished much, had he not been handicapped by ill health. Probably his most marked success was in Albany, N.Y., where he was intimately associated with Miss Emma La Jeunesse, afterwards Albani, who was his lifelong friend. He was given many brilliant testimonials from the musical association and citizens of Albany. Music was with him a holy passion as well as vocation. He was a man of high moral principals, singularly guileless and of a deep religious fervor. He died at Livermore, Cal., September 7, 1895, aged fifty-four years, and was laid to rest in the Masonic cemetery there.

WILLIAM M'FARLAND GREER

Mr. Greer was born in St. Louis, Mo., September 22, 1850. He began his musical education early in life, first on the violin. When he had played for some years he sang in the boys' choir before his voice was placed. After he had it trained he sang in the choirs of the churches in Baltimore, Atlanta, New Orleans, St. Louis and San Francisco. He was a member of the May Festival singers. He also sang in Temple Emanuel, Sutter street, Louis Schmidt, organist; in the Mason street synagogue and in the First Methodist Church on Mission street. In Oakland, twenty years ago, he was one of the members of the early choir of the Brooklyn Presbyterian Church, East Oakland. He has passed out of life to join the Invisible Choir. He left a wife, daughter and sons to mourn his loss. While in Trinity choir I had the pleasure of singing with him often at high days and funeral services. He had a beautiful tenor-baritone voice which was melody itself, and he knew how to sing. It was evident to all, for he was always in demand as a church singer and occupied these positions during his life. His daughter is also the possessor of a voice of fine quality, and by accident I found her and it gave me the same great pleasure to teach the daughter as it gave me to sing with the father long ago. She occupies the position of sewing teacher in the Girl's High School, San Francisco, and is a most efficient teacher.

MARY CHENEY-CLARK

Mrs. Clark, daughter of Rev. D.B. Cheney, was a resident of San Francisco for years as a singer and teacher. Her voice was contralto and she occupied that position in her father's choirs. She studied voice with Mrs. Georgiana Leach, one of California's rare sopranos and wife of Stephen W. Leach, the well-known baritone. Her instructors in instrumental music were Rudolph Herold and Professor Beutler. Later she went to Boston and studied at the New England Conservatory and her teachers were Fannie Fraser Foster, Carlyle Petersilea and Zerrahn. She is still among us, but takes no active part in music outside of her home circle in Berkeley.

CHAS. H. SCHULTZ

Mr. Schultz was born in Herzheim by Landan, Rheinplatz, Baiern, Germany, in 1830. His father, an organist of note in Herxheim, superintended his musical education under Herr Geiger until his gymnasium years, when he continued his studies under Professor Lutz of Spire until he entered Heidelberg University. Coming to America in 1854, he accepted the position of musical instructor of Minerva college, Nashville, Tenn. He married, in 1858, a cousin of "Fighting Joe" Wheeler, the famous Southern general. After the death of his wife, in 1871, he came to California, locating in Visalia, where he gave private instruction and was organist of St. Mary's Church. In 1876 he married Mrs. Catherine Griffith and to this union four children were born. In 1880 he moved with his family to San Jose and, continuing his private instruction, he became one of the best known of the musical instructors of Santa Clara county. In his seventieth year he retired and a few years ago decided to make Alameda his home where, at the fine old age of eighty-two, he is still enjoying a happy and contented life.

OTTO BLANKART

Mr. Blankart studied the violin in Mannheim, Germany, with Carl Heydt, second violin of the then renowned Jean Becker quartette. Notwithstanding his showing of great talent in his youth, his father refused to send him to the Leipsig Conservatory because of trouble with his ears. His father apprenticed him to a wholesale coffee house. When twenty-one years old he left for America. He went first to his sister in Indianapolis, then to Quincy, Ill., where he took up his violin studies again, played in concerts with Eastern pianists, got pupils, besides having a position in a music store. There he met and married Mrs. Blankart and they worked together constantly. About 1874 he came to San Francisco and gradually he gained ground as a teacher and did very well. When the Blankarts had their studios on Geary street, near Larkin, about 1882-89, they gave musicals every two weeks, and musicians like Edgar S. Kelly, Fred Zech, Jr., Otto Bendix, Luchesi, Miss Hanchette and others played there. During those years Professor Blankart formed also, in connection with Miss Hanchette, the Beethoven Quartette club and gave for several seasons in succession public concerts. In the early nineties he left San Francisco for Oakland. He went about three times to Europe on business matters, but as usual discovered that it is better to stay with one's profession than to change, and eventually, after some time, came back to the fold and worked in a quiet way; that is, he practiced hard and gave lessons. He has had the satisfaction of giving pleasure and rousing interest for the better classical music.

MRS. THERESA BLANKART

Mrs. Blankart had her musical education with the renowned Louis Kohler in Konigsberg, East Prussia, Germany. From the first she wanted to be a concert player. There being no piano in her home, she was compelled to practice at a piano house every morning from eight until twelve o'clock, and she said many times that she could have practiced longer if the military band passing the store daily at noon had not reminded her of the time. She kept up this arduous practice until she broke down with typhoid fever and was near death's door. When she was able to start work again, Louis Kohler did not recognize her at all, she had changed so much. He encouraged her very much, but stated at once that, under the conditions, she ought to give up all hope of becoming a performer, as she could not stand the strain. He said she could make an excellent teacher and that he would help her in every way. For two years she taught under the guidance of this great teacher and in 1868 came to America. She taught about seven years in the East and came to California about 1874. She made the acquaintance of the then prominent San Francisco piano teachers—Trenkle, Kuhne, Holzhauer, Hartman—and they all very kindly recommended her after examination. She gradually built up her reputation and had the satisfaction to see many of her pupils become fine players. She was at the California College, teaching for over twenty years, and many a pupil from this college is today teaching with success. She always strictly attended to her profession with great love and devotion and never had time to attend social duties. Notwithstanding, she made many friends among her pupils and others.

M. AUGUSTA LOWELL-GARTHWAITE

"Gussie" Lowell was born in San Francisco in 1857 of New England parentage and began her first musical study with Professor Striby, one of the earliest piano teachers. On moving to Oakland, when nine years old, she studied first with Miss Mary Simpson (now Mrs. Barker) of the Blake seminary, then Miss Gaskill (now Mrs. Andrews) and afterwards with Mrs. Blanche Emerson and Mrs. Babcock. Organ study (on the reed organ) was begun in 1874 with John H. Pratt, and when John P. Morgan in 1875 came to Oakland from New York, where he had for years been the beloved organist of Trinity Church, Miss Lowell took up the study of the pipe organ at the old Congregational Church in Oakland and practiced there, at the First Presbyterian Church and the Independent Church, where she later became organist after a two years' service at the First Baptist Church. As Mr. Morgan was the conductor of the San Francisco Handel and Haydn Oratorio society and the Oakland Harmonic, Miss Lowell had the unusual advantage as organist of these societies of playing in all the oratorios given under the direction of Mr. Morgan as well as Mr. Toepke and Mr. Gustave Hinrichs. After Mr. Morgan's lamented death, Miss Lowell took his place as teacher of the organ in the conservatory founded by him, where also taught Mr. Morgan (piano), Mr. Louis Lisser, Mr. Henry Heyneman and Mr. Julius Hinrichs (violoncello), Miss Susie Morgan, Mr. D.P. Hughes and dear old Stephen W. Leach (voice culture).



For three years prior to Miss Lowell's departure for New York in 1880, she was organist for Rev. Mr. Hamilton's Independent Presbyterian Church, where she conducted a large choir of sixteen voices.

She studied for a short time in the New England Conservatory of Music at Boston, but as New York had the greater attraction in the presence of Mr. Samuel P. Warren, the leading organist of the country, she went there and throughout her ten years' residence in the East studied solely with Mr. Warren, but added two seasons of study in harmony technique under that master, John H. Cornell. Miss Lowell's California experience proved of great advantage to her in obtaining church positions in the big city, and immediately upon her arrival in New York she became assistant organist at St. George's and later St. Bartholomew's, Grace and other churches, and for three years was organist at the Madison Avenue Dutch Reformed Church. The desire of her heart was attained, however, when the position was offered to her as organist at the beautiful new Roosevelt organ at the Church of the Incarnation (Arthur Brooks, brother of Phillips Brooks, pastor), to succeed Frederick Archer, the great English organist. This position she held for seven years, until her marriage in 1890. The choir of thirty paid voices was the finest in the city, and at this organ Miss Lowell gave over sixty recitals. While in New York, Miss Lowell played in many public and private concerts and was conductor for seven years of the Ladies' Vocal club at Montclair, N.J., and for three years of the Choral club (ladies'), Mt. Vernon, N.Y.

After her marriage in Oakland in 1890 to Edwin Garthwaite, a mining engineer of great reputation, she retired from public life and went with him to Mexico, where much piano and ensemble work was enjoyed, then later to South Africa for twelve years. While there was no organ playing in the parts where she lived, she was able to gather musical people about her always, and in her home near Johannesburg she conducted a fine glee club of mixed voices. Up in Bulawayo, Rhodesia, she was always identified with good music and formed a musical club, where much fine work in ensemble and choral music was accomplished.

On her return to her native land, five years ago, after nearly twenty years' absence practically from the organ, Mrs. Garthwaite was able to give occasional public performances, playing as organist in the First Church of Christ, Scientist, for a year and a half, and after all these years is again organist of the First Baptist Church in Oakland, the church where she began her career as a girl of nineteen for five dollars a month.

Mrs. Garthwaite considers the most noteworthy event in her career to be the anniversary recital given last year in the Baptist Church, when she repeated her performance of twenty years before, substituting her two sons and her nephew, Lowell Redfield, for Mr. Sigmund Beel and Miss Lizzie Bogue, and giving as a great surprise to her audience a wonderful and inspiring performance by Mrs. Blake-Alverson of "The Last Rose of Summer." It was said afterwards that it was like a song from heaven and would never be forgotten.

SANTIAGO ARRILLAGA Y ANSOLA

Mr. Arrillaga was born in 1848 at Iolosa in the Province of Guipuzcoa, Spain, and at the age of ten began the study of music in the old Spanish fashion, with a solfeggio master who employed no instrumental accompaniment whatever. In the course of a year he had fully mastered all that could be taught him by his master. He then began the study of the piano as a recreation, his teacher being D.E. Aguayo, organist of the parish church. He attended school, both in Spain and France, until the age of sixteen, when, having decided to pursue the musical art as a profession, he was sent to the Royal Conservatory at Madrid, where he became the pupil of Don M. Mendizabal in piano, Don R. Hermando in harmony and Dr. H. Esloa in counterpoint. At the close of three years he was graduated with the highest honors, having obtained the first prize at the public examination and being decorated with the gold medal of the university, which was conferred on him by Queen Isabella (the second). In 1867 Senor Arrillaga went to Paris, where he studied at the conservatory and also took private lessons. At the age of twenty-one he was seized with a desire to travel and, after a sojourn in several South American cities and in the Antilles, he came to this country.

At San Jose de Costa Rica he remained for five years and he would in all probability have made his home at that delightful place, as he had every inducement offered him to do so, had not the climate of the tropics shattered his health. This compelled him to seek a more congenial locality, and in 1875 he departed for San Francisco, where he has since resided. In all the places where he has resided or visited he has given concerts with marked success, his playing being particularly admired for the elegant and graceful style and his facile technique. When Carlotta Patti visited the Pacific coast she especially engaged him to act as her accompanist for her concert tour. Although his time has mainly been devoted to teaching, he has found opportunity to do clever and characteristic work as a composer. Conspicuously successful have been his "Gata and Danga Habanera" and his "Trip to Spain," the latter being for piano and orchestra. He has written many piano compositions, two masses and a great deal of church music, generally distinguished for its imaginative and musicianly qualities. As a teacher, Senor Arrillaga has been remarkably successful, and during his long sojourn in San Francisco he has gathered about him a large coterie of pupils, to whom he is guide in art and a valued personal friend.

[From "A Hundred Years of Music in America," published in 1889, Chicago, by G.L. Howe and W.S.B. Matthews.]

MISS CARRIE HEINEMANN

Miss Heinemann was born in the city of New York, June 12, 1863. At the age of thirteen she came with her parents to San Francisco, where her father went into business on Leavenworth street. At the age of fifteen, while visiting friends, her voice was tested under the tuition of Miss Louisa Tourney, who successfully brought her out after three years of study, so she was able to take her place as a leading mezzo-soprano, suitable for church work and concert singing. The music committee of the O Habai Sholom choir very promptly engaged her as their soprano, a place which she successfully held for fifteen years. During her time in this synagogue she was prominent in concerts and festivals and sang at special services in different churches and societies. During her singing career she was also a generous and charitable singer and gave her services often to aid other churches, societies and charities without regard to creed. I had the pleasure of singing in the same choir with her. We were together six years with the following members of the choir: Soprano, Carrie Heinemann; contralto, Mrs. Blake-Alverson; basso, Mr. Mills; tenor, Mr. Newman, and organist, G.A. Scott. On holidays extra singers assisted the regular choir. I resigned from this choir to go to San Bernardino, while she remained indefinitely. She married at that time. She still continues her singing and assists the fraternal orders in San Francisco, of which she is a prominent member as Mrs. Carrie Wallenstein.

HENRY S. STEDMAN

Mr. Stedman received his first instruction on the organ from Thos. N. Caulfield at Indianapolis, Ind. During the ten years preceding 1876 he was engaged continuously in the churches of that city, the larger portion being in the First Presbyterian, the church of which President Benjamin Harrison was a member and at that time a teacher of a Bible class. In October, 1876, he arrived in San Francisco, having come to the coast under engagement to the firm of Sherman and Hyde. He had already been engaged as organist of the Howard M.E. Church and took up that work at once. The "silver-tongued orator," Rev. Thomas Guard, was in charge of the church then, and his popularity drew large audiences, who were entertained not only with oratory but music also. The church choir was under the leadership of Mr. Geo. W. Jackson, who was one of the first to announce himself as a "voice builder." May 1, 1878, Mr. Stedman was seated as organist and director of music in Plymouth Congregational Church, a position filled continuously for twenty years. During this period many of the very best known and ablest singers, now occupying positions in the highest salaried choirs of the coast as well as in the East, had their first start and encouragement from this source. In 1898 the First Congregational Church of Alameda made offers that, added to the comfort of being at home and free from travel across the bay, were accepted, and Mr. Stedman began a service which continued for five years. At this time business interests impelled a change of residence to San Francisco and, having already put in a goodly portion of time on the bench, all offers for additional service were rejected, and no work of importance has been undertaken in the way of organ-playing save an occasional day as "substitute" for a friend.



THE HINRICHS FAMILY

One of the musical families of early years was the Hinrichs family. I think Gustav, the object of this sketch, is the oldest. He was connected with the old Tivoli and was the first to introduce opera there at popular prices. His success was permanent. He is not only a fine director but a teacher of the voice as well and is a busy man. Even in the summer, when vacation comes, he is obliged to remain in the city. Through Joseffy he was persuaded to go to New York, as the field was broader.

In opera naturally the leading singers, the chorus, the musicians, all play an important part, but by far the most important of all is that assumed by the musical director. It is his hand that binds all the component parts, that might otherwise not act in unison, into a harmonious whole; his genius that brings out all the hidden beauties of the score, all the delicate nuances the composer had in mind. It was therefore an event of more than ordinary importance and an entirely new departure in the musical world when Henry W. Savage made the announcement in regard to his immensely popular comic opera. The Prince of Pilsen, that he had as musical director no less a celebrated maestro than Gustav Hinrichs, formerly conductor for the Metropolitan grand opera company. Mr. Hinrichs ranks among the very foremost operatic musical directors, standing on a level with such geniuses as Alfred Hertz, Toscanini, Mancinelli, Campanari, Gustav Mahler and Leopold Damrosch.

Julius Hinrichs was the cello player and a most sympathetic and beautiful one. I remember in 1875 I gave a concert in old Platt's hall in Montgomery street, and he played for me that night and also played the obbligato to the slumber song by Randegger. I never sang it so well in my life. Gustave Scott was the accompanist that evening, and it proved to be the choice number of the concert. Mr. Hinrichs married one of my talented pupils, Miss Nellie Paddock. She was not only a sweet singer, but also a pianist of repute, and to hear those artists play was truly a treat. They were popular for a number of years before Julius died, some time in the eighties. I never heard what Mrs. Hinrichs did after the death of her husband. I was living in San Bernardino at the time, and when I returned to San Francisco I moved to the Western addition and never met any of the Hinrichs family until years after, when I moved to Oakland in 1891 and after the earthquake. The youngest son, August Hinrichs, is the popular leader of Ye Liberty theater orchestra, Oakland, and at this theater he charms his hearers with the magic touch of his treasured Stradivarius which he uses with such artistic skill. For years he was leader in the orchestras of old San Francisco. After the earthquake he found in Oakland a permanent refuge where he can continue his excellent work, which is duly appreciated by the constant patrons of this theater.

H.B. PASMORE

Mr. Pasmore, composer and teacher of harmony, studied harmony and organ and singing with John P. Morgan until the latter's death. Later he studied organ with J.H. Dohrmann and piano with Professor Lisser. When he was twenty-five years old he studied in Leipsic the art of composition and harmony, a branch of music he is eminently able to teach. He is still teaching in San Francisco. He has written many fine songs and has translated with Torek, Jodassohn's "Manual of Harmony."

WALLACE A. SABIN, F.R.C.O., F.A.G.O.

Mr. Sabin was born in Northamptonshire, England. His education was acquired at Chardstock College and Magdalen College, school, Brackley. He studied piano and organ under Dr. M.J. Monk, organist of Banbury parish church, and later piano, organ, theory, etc., under Dr. T.W. Dodds, Queen's College, Oxford. He was graduated as associate and later as fellow the Royal College of Organists, London. He was organist of Magdalen College school, Brackley, 1882-1886; St. George's church, Oxford, 1887-1889; organist and choirmaster, S.S., Mary and John, Oxford, 1889-1893; assistant organist, Queen's College, Oxford, 1886-1893; organist and choirmaster, All Saints', Warwick, 1893-1894. He came to California in October, 1894, to take position of organist and choirmaster of St. Luke's Church, San Francisco, which position he held until the fire of 1906. Since that time he has played at First Church of Christ, Scientist, San Francisco. In 1895 he became organist of Temple Emanuel, San Francisco, which position he still holds. He has been director since 1894 of Vested Choir Association of San Francisco and vicinity; director of Saturday Morning (ladies') orchestra and Twentieth Century Musical club, giving such works as Bach's "Passion," Handel's "Alexander's Feast," etc. He was representative as California organist, World's Fair, St. Louis, 1904, giving two recitals. He has been president of the Musicians' club, twice a director of the Bohemian club, and composed the music for a forest play entitled St. Patrick at Tara, given at a midsummer jinks of the Bohemian club. At present he is dean of the Northern California Chapter of the American Guild of Organists, conductor of the Loring club and the choral section of the San Francisco Musical club, and is engaged in teaching and composition.

JOHN W. METCALF

California has produced her share of composers. They have been prominent as pianists, violinists, leaders of musical bodies and teachers of harmony. They are writers of the highest merit and some can be classed with the song writers of Europe. The state is too young for many native composers. Our musicians all came to us in the days of gold, and others who came later educated their sons and daughters in the East and in Europe in the highest art of music and, returning to the state, made a place for themselves as writers of music.

John W. Metcalf for the last twenty-one years has been among us as teacher of piano, harmony and a song writer of the highest order, and we are glad to claim him, even if he is not a native son. We love his music and appreciate the writer who is able to give to the singing world soulful compositions that compare with those of Schubert and Mendelssohn. They are superlatively correct and scholarly. I am not a song writer but a song singer, and when I find such compositions I am proud to interpret them to the best of my ability.

John W. Metcalf is a product of my state, Illinois, and, like the writer, he inherited his musical talent from the maternal side. His first teacher was his mother's sister, who was a pupil of Bozzini and prominent as a pianist and vocalist. In 1877 he went to Leipsic to complete his schooling in music. He was accepted as a pupil at the Royal Conservatory and was one of thirty who passed. He studied faithfully three or four years, piano with Carle Reinecke and Louis Maas; theory with Ernest and Alfred Richter; composition with Reinecke, Rust and Jasassohn. The director of the conservatory, Conrad Schleints, a warm personal friend of Mendelssohn, gave solicitous attention to the promising young American and bestowed upon him at graduation the coveted Hilbig prize, which had been won but twelve times in the history of the conservatory. After returning to America, he taught four years near Chicago, one year at the Dana Institute in Ohio, and one year as head of the piano department of the Boston Conservatory. He left Boston on account of ill health. After directing for three years the Garfield University at Wichita, Kas., he came to Oakland, Cal., where he still resides, and we are proud to claim him as one of California's composers and renowned teachers of the pianoforte. I feel honored to sing his songs and teach them to my pupils. I append what I consider one of his best:

ABSENCE

Sometimes between long shadows on the grass The little truant waves of sunlight pass, My eyes grow dim with tenderness the while, Thinking I see thee, thinking I see thee smile.

And sometimes in the twilight gloom, apart, The tall trees whisper, whisper heart to heart, From my fond lips the eager answers fall, Thinking I hear thee, thinking I hear thee call.

GEORGE LINCOLN BLAKE

Mr. Blake, eldest son of George H. Blake and Margaret R. Blake, was born in Stockton, California, July 8, 1858. When he was twelve years old he began his musical education under Prof. Henry Von der Mehden. He was a conscientious and faithful student. Four years later his progress was so marked that his instructor gave him first cornet place in the Silver Cornet Band, which was composed of his advanced pupils. The excellent work of the band was soon recognized and the first great public performance was at the old Woodwards Garden, before ten thousand people. Their performance was received with tremendous acknowledgment from the public. The band continued in its good work for a number of years. In 1875 he made an educational visit around the world and visited all places of interest and heard the music of the Old World and when occasion presented also assisted in various theaters in the cities where he sojourned. He returned once more to California in the fall of 1876, resuming his musical and professional engagements until September 30, 1879. He then made a second trip to the Old World, visiting Queenstown, Antwerp, Cork and other cities. He returned to California once more by way of the Indias and Japan, November 1, 1881.