When he was twenty-four years old he began playing in the California theater orchestra and remained there during the leadership of Charles Schultz, and at the same time was a member of the Second Regiment band at the Park. In 1887 he moved to San Bernardino and during his residence there formed and was leader of the Seventh Regiment band, was also the local leader of the orchestra at the Grand Opera house when his services were needed for the passing shows without orchestra. He remained in this capacity until 1879 when he moved to Santa Cruz and remained until 1894 returning to Oakland and finally settling in San Francisco where he continued in his professional line in the various theaters and musical demonstrations which presented themselves until the earthquake, when the theater where he was employed was destroyed and music, like other business was at a standstill. For over thirty years he has played with the best musical talent on the coast and has been an acceptable and reliable musician in any capacity in which he has been called. After the disaster he came to Oakland and was at once engaged to play at the Ye Liberty theater under the able management of Director August Hinrichs. At this theater he is at present actively employed.



PROF. HUGO MANSFELDT

Prof. Mansfeldt, whom all recognize as the dean of pianists, needs no words from me to place him in higher estimation of the people of California. My friendship with him extends through many years of musical companionship and during that time he has risen until now he is the acknowledged master of the instrument, and holds the most distinguished position in the musical world. His art in bringing out from time to time such a splendid array of clever pianists is proof positive of his excellent qualities as a teacher and has fixed his reputation beyond cavil. Much more could be said in regard to his artistic reputation but it would be superfluous reiterations of facts that are known to all who have heard him or have the advantage of a personal acquaintance with him as I have. I feel honored to place this sketch of him in my history with other distinguished musical celebrities of this age and generation.

A.W. KLOSE.

The subject of my sketch, A.W. Klose, was one of our pioneer singers. In 1852, when I was a girl of sixteen, he sang the bass in the choir of the Presbyterian Church of Stockton. He was there for three years. He was born January 25, 1831, in Verden, kingdom of Hanover, Germany and educated there. He came to California in 1849, to Stockton in the early part of 1854. Business called him to San Francisco in 1862. After he left Stockton we never met again until September 26, 1896, in Oakland, after forty-two years. He belonged to the Handel & Haydn society from 1860 to 1867. At that time I was in Santa Cruz. He was one of the organizers of the Harmonic society, Prof. Dohrmann, director. Later John P. Morgan was leader. He was also one of the charter members of the Orpheus society of male singers, conductor, Prof. McDougal. Connected with the Orpheus was also a choral of women's and men's voices. They gave some fine concerts in Oakland at that time. At the death of Prof. McDougal this society went out of existence, but afterward reorganized with men's voices only, as it now exists. Mr. Klose was one of the members of its musical committee for years. While in San Francisco he was director of the Methodist choir until he came to Oakland to reside. He sang in the First Presbyterian church choir for over thirty-five years. He retired about three years ago. He went to his final rest August 19, 1912, at the age of eighty-one years. The death of my friend records the last of the galaxy of fine men singers who came here in the earlier days to seek wealth. He was always ready to assist in the advancement of the best music. He sang in the days when we were judged by the knowledge of how to sing correctly and with intelligent understanding of the work. He was always a devout Christian, an efficient worker in the Sabbath school and endeared himself to all by his quiet, dignified manner. I think this testimony will stand for him in every community where he sojourned. I, as one of his earliest friends, gladly pay him my last tribute of respect and place his name in affectionate remembrance in my record of old singers. Old-time friend, "rest in Peace."

SAN FRANCISCO'S CELEBRATED FRENCH HORN QUARTETTE

GEO. FLETCHER, WM. E. BLAKE, NATHANIEL PAGE, GEORGE STOREY

The picture facing page 118 was taken in the Bohemian Grove on the Russian river during the annual outing in 1895. This quartette was part of the Philharmonic society of San Francisco. These musicians with Mr. Wm. Wellman, flutist, were engaged during the season of revelry among the pines and with their leader, Herman Brandt, discoursed the music that made the hills resound with their funeral chants over the death of dull care. Since this time Mr. Fletcher has died, Mr. Page is now in London and has risen with great honors as a composer as well as a fine musician and California is proud of her native son. Mr. Storey and my son, Mr. Blake, are still in San Francisco, playing when the occasion presents.



PROF. MAURO SOLANO

Prof. Solano, one of our best known musicians, has been a prominent harpist among us since 1873, when he came here from Guadalajara, Mexico. He was married July 24, 1862. He resided in Guadalajara eight years, then moved to Mazatlan and lived there three years. Later he came to San Francisco and taught the harp there for seventeen years. I had always enjoyed his excellent playing in the different theaters of San Francisco but it was not until I returned to San Francisco in 1888 that I fully appreciated his wonderful art in playing the Spanish harp. I took up my residence on Geary street in a lower flat and across the court in the upper flat was the professor's studio. We became mutual friends, being in the same line of work and I had the advantage of listening to his best efforts at his own practice hour night after night, if he had no other engagement. How I longed to try my voice with this beautiful music and be accompanied by a master. At last my opportunity arrived when he asked me to come and sing for him. He had fine songs for my voice. I gladly accepted his gracious compliment and it truly was an hour of musical delight. It was not my last pleasure for we had many such hours and his charming wife was an appreciative listener and would enthusiastically applaud our efforts. Those were happy hours but they too soon came to an end for he had built a home in Alameda for his old age. Later I came to Oakland and we have never met since. He was actively employed for several years after that period but has retired and lives in Alameda. I read an account of his fiftieth wedding anniversary on June 24, 1912, which was celebrated with a high mass of thanks at St. Joseph's Church in Alameda. In his profession he had many of our best known women for his pupils, among them Miss Beatrice Tobin who is now Madam Duval of Paris, Miss Theresa Fair now Mrs. Oelrichs of New York; Mrs. Fitzsimmons, Miss Jenny Dunphy, Miss Gertrude Carroll.



CHAPTER TWENTY-SEVEN

WITH MY PUPILS

WILLIAM H. KEITH

Mr. Keith was born in the sixties in San Francisco. As a young man he held for several years the position of manager of the art department of Shreve's, corner of Montgomery and Sutter streets. He began his voice lessons with Moretti. After a period he [Transcriber's Note: missing word supplied] discontinued and began his studies with Madam Blake-Alverson. After studying with her some time, he decided to adopt music as his profession. He went to Paris in 1890 where, upon the advice of Jean de Reszke, he studied several years with Sbriglia and then prepared himself for opera under Giraudet of the Conservatory of Music. He then went to London and prepared himself for oratorio under Randegger. His European career was one of continuous success and he sang in London, Edinburg, Berlin, Dresden, Paris, etc. His first great work in American concerts was at the Worcester musical festival in company with Madam Melba, Mme. Lillian Blauvelt, Campanari and other artists, all under the baton of Carl Zerrahn. After singing in concert and oratorio and other musical attractions for a number of years, he received a flattering offer from the Mollenhauer Conservatory of Music, Brooklyn, to teach the vocal department, the place he has so successfully held since 1901, besides having large classes of private pupils, both in Brooklyn and New York. He is considered a leading concert baritone of New York and his services are constantly in demand. Mr. Keith has made several visits to California with eminent artists like Rivarde, Lachaume and others.

MADAM TREGAR

Madam Tregar was one of my San Bernardino pupils of English parentage. At that time she was married and living in a modest way, desiring some day to be able to satisfy her longing to sing. When she heard of my singing and teaching she ventured to call and consult me in regard to her voice. Her appearance did not inspire me with much encouragement, but after hearing her story I decided to see what could be done. She had never had any instruction except on the piano. I tried her rather doubtfully. To my surprise I found she possessed more pure and natural tones than I had ever heard in any voice. She had a range of almost two octaves, every note without a flaw. I felt sorry that there was so much to find in the voice, without a personality to round out the perfect instrument. It was evident she would be a thorough student, and do her work conscientiously, if she began. I resolved to try and see what could be done. At the end of sixteen months the change in the voice and woman was almost incomprehensible. The obstacles which seemed unsurmountable at first were but the first defects to be overcome, but with good understanding and proper placement these faults disappeared as quickly as the frost before the morning sun. At the closing recital of my sixteen months' stay she sang for her number Gounod's Ave Maria with violin accompaniment, in the original key, to the delight and great astonishment of the San Bernardino people, who rather made her the butt of their musical jokes and hardly gave her recognition previously, as they thought her musical ability was of the most amateur sort. Her singing in the sixteen months of application in the right direction and proper placement, brought out one of the most phenomenal voices which has found favor abroad. She lives in London; sang for the late King Edward and his royal household guests and still holds sway among the musical people of London as the highest soprano from America in this century. After leaving the south I never knew what had become of her and often wondered if she kept up the good work begun in 1888. In 1904, eighteen years after, she surprised me by calling upon me to thank me for what I had done for her and her story in this time seemed like a romance to me. After I left San Bernardino she had succeeded so well that she concluded to go to her former home in London and continue the work and, after eighteen years of success, she came to San Francisco, stopped by the wayside to find her first instructor and with deep emotion thanked her for her assistance and good work when she needed a friend.

THE JORAN QUARTET

Prominent among the younger musicians of San Francisco in the 80's were three talented children since become famous both in this country and England, where they now reside. Their only teacher was their mother, who was an English pianist of repute. They formed a concert troupe in 1883 with Miss M. Hyde, accompanist and director.

Miss M. Hyde, accompanist and director. Miss Lulu Joran, 16 years old, piano virtuoso. Miss Pauline, 14 years old, violin virtuoso. Miss Elsie, 12 years old, piano virtuoso. Mrs. M.R. Blake, soloist.

It was most remarkable how these children interpreted the most difficult masterpieces, and played them with art. Once at a special concert in the Metropolitan temple, San Francisco, the youngest of them, Miss Elsie, was seated at a Steinway grand piano, too small to touch the pedals, (an adjustment had to be made) and with sixty of our best musicians on the stage she played from memory the most difficult concerto. All the children possessed the art of absolute pitch and they were able with bandaged eyes to tell the notes of any chords that were sounded. Miss Pauline was an excellent violinist besides possessing a fine contralto voice which I had trained for the space of a year and a half. She is, I am very proud to say, a most beautiful singer in London today at the age of forty years. In 1910 I clipped from one of the English papers the following: "Pauline Joran, one of the most gifted young American opera singers now in Europe, made her debut recently in Milan under Sonzogno, singing at the Teatro Lirico, the role of Santuzza and Nedda with the greatest success. She has been singing in Great Britain under Sir Augustus Harris and will be heard here next season."

A teacher can be proud that her work of the foundation of tone building resulted in such a successful finish. Pauline possessed the talent and I could foresee the future if she had the proper means, for she sang with taste and feeling. She accompanied the singer with graceful interpretation on her violin and played the piano like an artist. We traveled and sang together for two years and went to Stockton, Sacramento, San Jose and all the smaller places around San Francisco. The latter part of the eighties the Jorans returned to London where they have remained ever since. In her girlish way Pauline used to say, "Oh, dear auntie, when I am a great singer won't you be glad and proud of me?" And so I am, and I hope all who have had the same help will be as successful as this young pupil.

WM. P. MELVIN

During my professional life as a vocal teacher I have been called upon to part with some of my musical family and also to perform the last tribute which one friend can pay to another—to sing the song asked for on his deathbed. During my residence in Oakland I have parted with five of my beloved pupils. The first string of my lute was severed by God's decree when he called William P. Melvin to a higher life. He was born in Steubenville, Ohio, March 18, 1859, and came here in his infancy with his parents from Springfield, Ill. Dr. Melvin, his father, entered the drug business and William was engaged in the same business with him. Later on William was secretary of the Mountain View Cemetery association, which office he held until his last illness.

He had a beautiful, resonant and full bass voice. He came to my studio some time in 1895 and was enrolled among my students, and coming from a musical family, his brother, Supreme Justice Henry Melvin, possessing a fine baritone voice, and his beloved sister, Mrs. Mollie Melvin-Dewing, an excellent mezzo-soprano, it was not strange he sang so well in a few months. William received his instruction in the evening when his daily duties were over and came to my studio which was on the third floor of the building at 1108-1/2 Broadway, over the Clark Wise music store. He continued his studies until 1897 when his sickness began to affect his beautiful voice and his lessons were necessarily discontinued. The first two years his progress was so satisfactory that I hoped his third year would be the crowning year of his efforts as an efficient and splendid bass singer. My heart sank within me when I had learned the nature of the sickness that had permanently fastened itself upon him. He was as reluctant to discontinue as I was to have him, but we were obliged to submit to the inevitable decree, "Thou shalt die and not live." It was a sad parting. I tried to be cheerful and held out hopes for his recovery, but it was not to be. On October 3, 1899, he was laid away in the quiet tomb amidst beautiful blossoms and many tears from those who knew him best. Mr. Melvin was one of the most delightful personalities—gentle and kind as a woman, always genial and accommodating, with always a pleasant word for every one. Even though suffering from this disease which no doubt made life a burden, no one in his presence was aware of his suffering. He was always bright and cheery. As I passed his casket with other sad friends to take a farewell look upon him and place upon his coffin my tribute of violets, my tears dropped upon his last resting place as I beheld all that was mortal of my beloved and affectionate pupil for whom I mourned as a mother mourns for her son. A prayer arose to my lips to the God of the universe that as peacefully as he slept in his earthly casket that He would give him the peace that passeth all understanding when he entered the portals of Heaven. Rest, sweet spirit, rest. You are absent but not forgotten by your sincere and devoted teacher and friend.

ROSE CHAMPION

The second one of my musical family to pass out of life was Miss Rose Champion. As Jesus wept at the grave of his dear friend Lazarus, I wept, that one so young and gifted should be taken away from her little family of three beautiful girls, and a sweet-voiced singer should be forever stilled. She began her lessons with me in 1897 and continued until 1899. She was possessed of a clear, lyric soprano voice and sang with ease and grace and with soulful touch she fascinated the listener by her intelligent interpretation of song. I predicted for her a future to be envied, but circumstances over which I had no control came in the way of her future progress and she unwillingly made a change and I never heard a song from her after that. When she was married she sent for me to sing at her wedding at her home. As I was ready to return to my home she came to me before she went on her trip, and embraced me and said, "I knew you would come, and you have made me most happy for I always loved you so. It was not my fault that I left you." I told her I was sure of that and that I sang for her with all my heart and the fact that she had sent for me to perform the highest favor she could ask was sufficient proof that she had been loyal to her first instructions. For several years she lived happily as Mrs. James Lanyon. On April 21, 1908, I read with the deepest regret the announcement of her death. Having met with an accident I was not able to attend the funeral or to hear the story of the taking away of such a bright, intelligent and young mother and sweet singer, but there lingers a sweet memory which will last as long as I live. When I think of her, I also think of what might have been had circumstances decreed otherwise. It is to be hoped she may be foremost in the songs of the Immortal Choir. Sweetly sleep, sweet singer, until the Grand Amen of the Lost Chord shall be sung at the last great day, with all the redeemed in the congregation of the righteous.



LORINA ALLEN KIMBALL

The third string of my musical lute was snapped asunder when the death knell sounded for a most beloved and talented pupil, Miss Lorina Allen Kimball. A young miss of sixteen summers, she had come to my studio, 212 Eleventh street, with her mother one afternoon in 1903. I found a voice and a personality that could not be overlooked in one so young. Her notes were pure and limpid, untouched by improper use or bad training. I gladly enrolled her among my singers and she began at once with her vocal instruction. She sang with marked progress for four months when there was a break in the regularity of her lessons. She had entered the Oakland High school and with her studies she was unable to attend to the voice as she should. Lorina was born in Manchester, New Hampshire, March 12, 1886, and her death occurred in Oakland, August 5, 1906, at the age of twenty years. In 1905 her mother was called away to Manchester on business and Lorina came to live with me during her mother's absence. It was then that I learned to know and understand her character and personality. I had moved to 116 Eleventh street, to the old Abbott home. There was a large room built on for an art studio and another room led off from it which Lorina called her room. I made this large room my studio and occupied my couch on one side of it and it was here we worked each evening. She was a most excellent student and no time was wasted when her lessons were to be attended to. A bright pupil with clear reasoning ability, she was first at one lesson, then the other. I used to watch her evenings as she sat at the opposite side of the table with her books, in deep study. I often thought of her possibilities and speculated on all she could do. But our Master gives us from time to time just such rare flowers of promise for a short season, then quietly transplants them into His safe keeping from the bitter blasts of life's stormy weather. He knows they are not made to stand the rough usages of life. After finishing her term at the high school she entered the summer school at Berkeley. While there she contracted a cold which became alarming but she was unconscious that it was touching her vitals and kept busy with her books. After the school closed her mother returned and finding she did not improve, removed her to her home and concluded she had better be attended to at once. She had been gone for over a month and I supposed she was all right and was hoping to see her each week return and resume her work. After eight weeks had passed I began to be alarmed and made inquiries about her and I was informed that she had been seriously ill for days and by her request the news was kept from me. She failed rapidly after she went home.

On the morning of August 5, 1906, while I was at my breakfast table, the telephone bell rang and a voice, strange to me, said "Mrs. Alverson, Lorina Kimball is dead." Without any warning or thought of receiving such a shock, of course, the day was done for me. I mourned for her as for my own. A bright, sunny child, singing and laughing in her childish glee, she made many friends, among them, members of the Amoskeg Veterans who made her the Daughter of the Regiment in Washington, D.C., and presented her with a beautiful silk flag and an elegant crescent pin of jewels for her fine recitations and character readings.

A clearer mind I never taught and I prayed and hoped that nothing would intervene to stop her progress that had been so brilliantly begun. But my hopes did not avail. Before the bud had unfolded into maturity it was transplanted into the Garden of Eden above. Only those who have lost loved ones are able to feel how my heart's deepest sorrow went out with this young life. It was a pity that her notes could not have been recorded as they floated out into the still hour of the night. After her studies were over she would beg of me to join her in the song duets which we had perfected. When I reasoned with her not to sing, when so tired, like a spoiled child she pleaded. "My dear Lady Margaret, I am tired only with my studies, sing with me, I want to rest before I sleep." Who could resist the tender pleadings of the tired song bird. I called her my nightingale for her singing was done at night. One of her songs was the Nightingale's Trill or Queen of the Night. The memory of her singing ever lingers with me like the sweet perfume wafted from the distant isle, its subtle influence sinking upon the senses, calming the tired child as upon the mother's breast it rests in perfect peace and confidence. Its message accomplished, it floated away into space to travel on, and, forever until it reached the Giver of every perfect gift and rested in the Heavenly Courts above from everlasting to everlasting.

Rest, weary pilgrim, from toil reposing, Night's darkening shadow round thee is closing, Drear is the pathway frowning before thee, No stars on high to guide and watch o'er me; Rest, weary pilgrim; rest, weary pilgrim.

Rest, weary pilgrim, 'till morning breaking, And birds around thee bright songs awakening; Hark, through the forest chill winds are blowing, Here there is friendship and kind welcome glowing, Rest, weary pilgrim; rest, weary pilgrim.

—Donizetti.

PAULINE PETERSON

The fourth discordant note in my instrument came to me by the death of one of my later pupils, Miss Pauline Peterson, who began with her sister, Miss Minnie Peterson, in 1896. She was fair to look upon and her voice was sweet and pure and in range two full octaves. She was a member of the English Lutheran church in Grove and Sixteenth streets, was one of the Christian Endeavor workers and Sabbath school teachers and her ambition was to sing in the choir and among the young people of the church. During the three years' directorship of the choir, I had gathered the young people together and the music was of a high order. A number of them sang in the choir.

During these years Miss Pauline had become the promised bride of the man of her choice and the day was drawing near and all preparations were completed and the cozy home furnished. Only a few weeks remained before the chorus of Lohengrin was to be sung by the young voices of her friends who loved her so well. While we propose, God disposes, and our expectant bride fell sick and the edict went forth that she should be the Bride of Heaven and on May 1, 1905, she passed away. Instead of the wedding song I was called upon to sing the parting song for the beloved pupil. I thought I had fully prepared myself for the ordeal and was ready to comply and perform the sad task which befell me. After the family had passed into their pew, my tears began to start as I saw the bowed head of her devoted mother, who was giving up her first-born child so young to lie in the tomb. But I was not prepared for the sight of the white casket as it was wheeled into the church, with the solitary mourner, her promised husband, slowly following all that was left of his bride-to-be, robed as for the bridal and her shimmering veil tied in a large bow knot and the bridal wreath placed lightly upon the casket with lilies of the valley and maiden-hair ferns, trailing in graceful festoons around the casket. Truly all the heroes do not face the cannon's mouth. It requires bravery beyond conception to do this last mission for those we love and esteem. I realized for a moment the difficult task and during the reading of the scriptures the battle was raging within me. When the moment came and the organ began the prelude, I arose as in a dream, and casting my eyes away from the beloved form, I began in a low voice the beautiful song (by Felix Marti) "By the River." As I sang I forgot all earthly sorrow and directed my thought above the earthly home into the blue vault of Heaven and I followed the young spirit into the everlasting gates of pearl and left her there.

Safe in the Arms of Jesus, Safe on his gentle breast, There by his love o'ershadowed Sweetly her soul shall rest.



BERTHA GRACE HUNTER

The last and fifth string of my musical lute became silent and was hushed forever when my sweet friend and pupil passed beyond into the unknown home not made with hands of mortals. Miss Bertha Grace Hunter was born in Liverpool, England, and in 1889 came to America and then to San Francisco with her parents, later removing to Oakland. She had studied the piano in England and played well. In 1893 she decided to take up music as a profession. She consulted Mrs. Gutterson who informed her she possessed decided musical ability, well worth the cultivation. She began to study with Otto Bendix of San Francisco who informed her that she understood interpretation better than most of his pupils. Afterward she wished to become an organist and became the pupil of Mr. H. Bretherick. It was at Pilgrim church that I first met her. She was organist there, while I occupied a choir position. She was a beautiful accompanist as well and I could feel assured that I would have her full artistic nature woven into the song I sang and give me the inspiration to sing so as to call forth expressions of approval from the worshippers from week to week for us both. She also had a contralto voice of much feeling and sympathy and came to me for vocal lessons in 1896 and was my accompanist in the studio for a year, when she decided to visit England and perfect herself on the organ. She studied three years with Dr. George Smith from the Royal Academy of Music in London. She had remained so long abroad she became homesick and great was the disappointment of her teacher that she could not remain three months longer to take her degree. Her longing for home became so strong she forfeited her honors to meet her family at Christmas. Upon reaching Oakland she was appointed organist of the First Christian Scientist church, which position she held for seven years. Her untimely death in September, 1911, was a shock to her family and friends. Being of a quiet disposition one would not expect to find such a soulful and affectionate nature. To know her was to love her. My long association with her in church and studio gave me an opportunity to know her well and love her for her worth as a true friend, a musical nature and loyal to all her associates and friends and a most ardent student in her profession. She was in England when my accident occurred and since her return I met her but seldom. Her work lay in another direction in Berkeley. Her death was a sad surprise to me and my heartfelt sympathy goes out to her bereaved parents and devoted brother who mourn her loss grievously like David mourned for his son and could not be comforted.

GEORGE G. PETERSON

The subject of my sketch, George G. Peterson, began his studies at my studio 1108-1/2 Broadway. He had a deep bass voice of fine quality which he used with excellent understanding and soon attracted attention at the First Christian church where he worshipped. George was a devout Christian and prominent worker in the church and was in demand for his musical worth as well, singing so well that he became leading bass in the choir and occupied the position with honor. With all his daily work as an artisan he found time to master and play successfully the violin, mandolin, auto harp and harmonica combined, banjo and guitar. He passed out of life April 26th, 1912, leaving a wife, son and daughter to mourn the loss of a talented father. So my musical family comes and goes and I am called upon to lose them first in one way and then in another. This was a sad surprise and a shock to me. I wrote to him to come and see me and the answer came, "George has gone up higher. He is not here among us any longer." It was a sad message from the devoted wife. He was still a young, bright and active man, but thirty-seven years of age. Truly "God moves in a mysterious way His wonders to perform." In all things may we be able to say, "Thy will, not mine, be done."

ODE TO A VOICE

Dedicated to Lady Margaret, with much love, by Mary Alice Sanford. Christmas, 1909.

Singing forever from morn until night, From low and sad to high and bright, The voice of my Lady resounds in the air, And tells all the world to put aside care.

As if watching the distant horizon blue, We finally see the ships come in view, We hear the soft music rise to her lips, And those beautiful tones are our stately ships.

But listen again! Now what do we hear? Why the rippling of the waters clear, Or the lark's sweet song in yonder skies. Or the soft flight of the butterflies.

The low murmuring of the breeze, The nodding of the leaves on trees, The blushing rose, the lily pure, Is sung by a voice which can never be truer.

The anger of the stormy water, The passion of lovers who never falter, The insanity of a jealous husband's rage Is sung by the marvelous voice of the age.

Her voice is borne on the wings of a dove, With many kind thoughts and praises of love, She has sung to us all, and we'll never forget The beautiful voice of my Lady Margaret.

The writer of this poem, Mary Alice Sanford, came into my life in 1908. Her family moved into the flat above mine some time in August of that year. Her mother informed me that she was musical, and from the way she spoke I expected to see a young woman of about nineteen or twenty years. I was surprised, instead, a few days later, to see a slip of a schoolgirl looking at me in a timid way and rather reserved in manner. Later I invited her into the studio and I asked her if she liked music, to which she said yes. During the call she said she wished to sing. She had never had any instruction, her music was instrumental altogether. After she had given me an example of her instrumental work I said she should sing also, but at this she informed me she could not afford the vocal with the other, but her desire was to sing as well as play. I asked her what ability she had for reading or accompanying. She informed me she read her notes rapidly. At this I handed her the fifty lessons by Concone and opened to the first exercises, asked her to play while I sang for her. I thought perhaps the first lessons were too easy so I gave her a more difficult one, and I found she could read the most difficult lessons in the book and accompany with the greatest ease. I asked her her age, and she informed me in a month she would be sixteen years old. I asked her if she would like to earn her own lessons. She looked at me surprised at my proposition. Before her visit was over it was agreed she should be accompanist for my students, who needed her services. This was glorious news to her mother, who so greatly desired her to sing but was unable to give her both branches at this time, and she had also just pride that her daughter was able through her musical knowledge to give herself the much longed for opportunity which had come to her so unexpectedly. Everything was complete now, and the lessons began at once.

I found in her a real student, a most attentive listener, a voice small but clear and high. Later on in the development it proved very elastic, nothing acceptable below middle C. A pure lyric soprano, it was constantly developing higher in the tones. I often cautioned her not to sing so high, it would not do, when she would reply, "I cannot help it, it just goes there." I paid my closest attention to her for the period of four years. In that time she had not only learned to sing and play, but also studied harmony and languages. Latin and German she studied in school, Italian in the studio with Professor Arena, Spanish from her father, who is a linguist. With all this colossal work for this young mind and her achievements in technic and languages I was yet dissatisfied, for I had not yet received a response that I had longed and hoped for while she was drinking in all this vast amount of knowledge. She never gave out to let me see any result of all this accumulation of musical knowledge which I knew she possessed, never asking a question or advancing any question or enthusiastic outburst of expression. Being romantic in my interpretation of song I hoped she had imbibed also a strain of it which she lacked, as I noticed in the beginning. I was at my wits' ends to find the spring, but she resisted all my efforts. I knew she was excessively shy but did not think that would prevent her in showing in some way her appreciation of the instruction and her idea of what she had formed of all this teaching, explanation and example in these years.

Her songs were accurately sung in any language with which she was familiar. Her singing was highly complimented upon, yet there was something I had not yet found. I sang many hours for her the old and the new songs and she accompanied with musicianly art, but no expression came to me from her. I got an idea from her mother which songs she liked best and I soon found she had supplied herself with those she did like and I had sung for her in practice. In December, 1909, I at last reaped my reward. She, with other pupils, remembered me, and before bringing her gift she felt as though she had not given me enough, and at last she said, "I must do something more," and entered her room, and closed the door for a half hour. She had given me in verse what she could not say to me. Her excessive shyness prevented her, much as she appreciated my singing and teaching and the interpretation of song and its different modes of expression, whether it be sacred, descriptive, florid or romantic. She portrayed these lines with a poet's art—never did Tennyson write his first efforts with more beautiful description than this young poetess has written in these beautiful lines which I cannot read without emotion. She gave me her affectionate expression in this poem which I appreciate more highly than rubies, and with pride I place her offering in this book of memoirs for all to read and for all young persons who are students to feel that a conscientious teacher deserves their love and appreciation in return for their efforts to develop the highest perfection in the pupil. They cannot all be poets but they can at least honor the master by showing appreciation.

In these four years of study she had outdistanced all of those who began with her in 1908. She plays the organ each Sabbath at the English Lutheran Church. She has several piano pupils and once a week practices two hours in a private ensemble club, violins, cello and piano; has completed the course of harmony of three months, has studied composition, writes songs and the words for them. She has written a number of instrumental pieces for both hands, and two numbers for the left hand. I have been honored with the gift of two of her songs, one sacred and the other a lullaby. She began in earnest to compose some time ago and these pieces have been the result. She practices the piano about four hours daily. Her compositions are very meritorious. It is my opinion if she keeps up her work that it will not be long before the public of California will have another musician to add to the already great number gone before her. There is but one regret in the makeup of this young aspirant. It is her self-consciousness or excessive shyness, whether physical or mental, in relation to the opinion of others. She is so thoroughly conscientious she will not do anything unless it is just right. If she can overcome this malady in her contact with people there is nothing left in her pathway to prevent her successful career. It has been difficult for me to bear with patience this affliction, for I see too well her future. Shyness is no respecter of persons. Many of our great men like Charles Matthews, Garrick, Sir Isaac Newton, Byron, were afflicted with it and shunned all notoriety. She has fought successfully her other battles, let us hope she will conquer this obstacle also. I, her instructor, will be the first to rejoice in her victory and her Lady Margaret will compel her to write another song. But this time it will be a song of rejoicing and victory.



CHAPTER TWENTY-EIGHT

A LIST OF MY PUPILS

Ach, Annie, 1903, '04 High soprano Ackerly, Mrs., 1901, '02, '03 Mezzo-soprano Adler, Celia, 1890 Soprano Adler, Dora, 1890 Soprano Adler, Elsie, 1900 Soprano Aiken, Mrs., 1896 Soprano Aitken, Mabel, 1898 Soprano Aitken, Mr., 1897 High tenor Allison, George, 1906, '07, '08 Baritone, bass Alwyn, Robert, 1897, '98 Baritone, tenor Alwyn, Stella, 1898 Soprano, low Ames, Lucille, 1910, '11 Deep contralto Andrews, Mattie, 1892, '93 Alto Andrews, Vina, 1892, '93 Soprano Angus, Alice, 1899, 1900, '02, '03 Soprano Angus, Mrs. Helen, 1899, 1900, '01 Soprano Angus, Wm., 1899, 1900, '01 Tenor, primo Arena, Angelina, 1901, '02, '10 Mezzo-soprano Arena, Irvin, 1912 Boy soprano Arbergast, Mr. A., 1900, '01 Tenor Ashley, Chas. H., 1911, '12 Lyric tenor Atchison, Mrs. L.F., 1906 Soprano Atherton, Ethel, 1890, '91 Soprano Atkins, Mr., 1896 Baritone Atkins, Mrs., 1896 Soprano Austin, Grace B., 1887 Soprano Austin, Mrs. L.M., 1895 Soprano Avan, Clara, 1898, '99, '00, '01, '02, '03 Soprano Avan, Hattie, 1902, '03 Contralto Avis, Ethel, 1908 Contralto Bacon, Helen, 1898 Soprano Baer, Mr., 1900 Tenor Baker, Miss Sarah, 1898 Soprano Ball, Louie, 1892 Mezzo-soprano Ballentyne, Will, 1896 Bass, baritone Banta, Clae, 1906, '07 High Tenor Barnes, Pearl, 1909, '10 Contralto Bartlett, Mrs., 1891 Contralto Bauske, Hazel, 1910, '11, '12 High soprano Baylis, Etta, 1905, '06 Soprano Beam, Edith, 1879, '80, '82, '84, '85, '87 Soprano, also accompanist Beam, Mary, 1879, '82, '85 Soprano BeDell, Miss, 1897, '98 Soprano Bercham, Mrs., 1888 Soprano Beretta, Chelice, 1890, '91 Low voice Beretta, Mrs. I.A., 1894, '95 Mezzo-soprano. Passed out of life Bernard, Dan, 1890 Baritone Bernard, Grace, 1890, '91, '95 Soprano Bernard, Fred, 1890, '91 Baritone Bernard, L.A., 1895 Tenor Bettis, Mrs., 1894, '95, '96, '97 Soprano Bichtel, Helen, 1901 Soprano Bills, Miss, 1897 Light soprano Bishop, Biddle, 1879, '80 Bass, baritone Bisquer, Marceline, 1912 Soprano Blake, Edith, 1886 Soprano Blake, Ella, 1887 Contralto Blake, Mrs. W.E., 1894, '95, '99, '00, '01, '02 High soprano. Accompanist for the studio Blanc, Lottie, 1884 Alto Bloss, Kittie, 1884 Soprano Boise, Miss E., 1879, '85 Soprano Bonham, Mrs., 1900 Dramatic soprano Bolzer, Miss, 1896, '97 Soprano Booth, Miss A.G., 1879, '80, '81 Soprano Booth, Maud, 1908 Contralto Booth, Sue, 1909 Contralto Boutton, Miss Cloy, 1899, '90, '91 Dramatic Soprano Bowers, Genevieve, 1907, '08 Contralto Bowers, Cornelia, 1907, '08, '09 Deep contralto Bowen, Mary, 1884 Soprano Bowles, Bessie, 1908 Soprano Bowles, Kitty, 1898 Light soprano Bowley, Kittie, 1884 Dramatic soprano Bradley, Dolores, 1908, '09, '10 Contralto Brainard, Birdie, 1879, '83, '86, '87 Alto (child) Brainard, Carrie, 1879, '82, '83, '86, '87 Soprano (child) Brandeline, Mrs., 1909 Mezzo-soprano Braun, Mr., 1898 Tenor-baritone Brennan, Misses, 1884 Soprano and contralto (sisters) Brown, Elizabeth, 1879 Soprano Brown, Evelyn, 1890, '91, '92 Soprano Brown, Miss, 1888, '89 Mezzo-soprano Brown, Miss L., 1880, '81 Soprano Brown, Mary, 1884 Mezzo-soprano Bruce, Florence, 1903, '04, '05 Lyric soprano Bruce, Mrs. S.J., 1903, '04, '05 Light soprano Bruce, Ruth, 1904, '05 Contralto Bruce, Winona, 1904, '05, '06 Mezzo-soprano Bruenn, Mrs., 1892, '93 Mezzo voice Brunning, Olive, 1899, 1900 Mezzo voice Brunning, Helen, 1899, 1900 Soprano Brydges, Ada Miss, 1912 Contralto-mezzo Bryant, Miss, 1897, '98, '99, 1900 High soprano Bufford, Anna, 1888 Soprano Bufford, Tidy, 1888 Contralto Bullington, Marie, 1912 Soprano Burch, Madeline, 1912 Soprano Burch, Mrs., 1903 Contralto Burns, Belle, 1892, '93, '96 Contralto Burns, Herbert, 1906 Second tenor Burrell, Mrs., 1895 Second alto Burton, Lester, 1905, '06, '07 Bass, baritone (Dead) Caldwell, Mrs. O.B., 1900, '01 Contralto Calvin, Alice, 1901, '02, '03, '04, '05 Contralto Also accompanist for the studio Campbell, Mrs. Carrie, 1884 Soprano Campbell, Mrs. J.A., 1881 Mezzo-soprano Cantua, Theresa, 1898, '99, 1900 Mezzo-soprano Cantrell, Kate, 1884 Soprano Carpenter, Miss, 1897 Soprano Carollis, Miss, 1888 Mezzo-soprano Carovyn, Mr., 1897 Tenor voice Carrigan, Mrs., 1896 Mezzo-soprano Carrick, Mrs., 1890, '91, '92, '93 Mezzo-soprano Case, Mrs. J.M., 1894, '96, '97, '98, '99, '01 Mezzo-soprano Also accompanist for studio Cauzza, Genevieve, 1912 Mezzo-soprano Caswell, Mabel, 1890, '91, '92, '93 Soprano Champion, Rose, 1897, '98, '99 High soprano (Dead) Chapman, Sylvia, 1890, '91 Soprano Chase, Linnie, 1906 Soprano also accompanist Cheschron, Lillian, 1883 Soprano Chase, Mellie, 1890 Mezzo-soprano Christofferson, Jennie, 1900, '01 Soprano Church, Mrs. Lin, 1897 Mezzo-soprano Churchill, Byron, 1901, '02 Tenor Cianciaruolo, Lucia, 1905, '06, '07, '08, '09, '10, '11, '12 High soprano Ciseneros, Henry, 1907 Tenor, baritone Claire, Miss, 1891 Soprano Clifford, Mrs., 1894 Soprano Coghill, Mamie, 1879, 1880 Soprano Cole, Miss, 1888 Soprano Condrin, Mamie, 1884, '85 Soprano Commins, Anna, 1889, '97, '98, '01, '02, '03 Soprano Collins, Mrs. Minnie, 1888 Soprano Conklin, Louisa, 1895 Soprano Connors, Mrs. H., 1888 Soprano Conroy, Anna, 1897, '98, 99 Soprano Cooke, Grace, 1911, '12 High soprano Cooley, Allen, 1892 Tenor Coombs, Miss, 1904, '05 Soprano Cordes, H. Mrs., 1911, '12 Mezzo-soprano Courtain, Gladys, 1903, '04 Soprano Coyne, Miss N., 1901 Soprano Craig, Carrie, 1888 Soprano Cramer, Etta, 1908, '09 Soprano Crandall, Harry, 1900, '01, '02, '10 High tenor Crew, Josie, 1897, '98 Contralto Also accompanist for studio Crew, Louisa Carolyn, 1897, '98, '99, '00 Lyric soprano Cropley, F.M., 1898 Soprano Crossman, Nellie, 1888 Contralto Cullen, Lila, 1904, '05 Soprano Culver, Susie, 1893, '94, '95 Soprano Cummings, Nettie, 1898 Soprano Cunningham, Miss, 1889 Soprano Cunningham, Mrs. Louisa Crossett, 1912 Dramatic soprano Cushing, Lillian, 1898, '99, '01, '02 Contralto Dam, Miss, 1889 Contralto Danielwitz, Carrie, 1900, '01 Soprano Danielwitz, Rose, 1900, '03 Mezzo-soprano Danish, Mrs., 1897 Mezzo-soprano Davies, Alice, 1910 Mezzo-soprano Dean, Miss, 1890 Soprano Dean, Mrs. J.E., 1910, '11 Mezzo-soprano Deaner, Annette, 1898, '99 Soprano DeBonis, Elvera, 1908, '09 Mezzo-soprano Deetken, Marjorie, 1906, '07, '08, '09, '10, '11, '12 Soprano Delepaine, Mrs., 1887 Soprano Derby, Charles, 1901, '02, '03, '04, '09 Tenor Derby, George, 1901, '02, '03, '04, '05 Bass Derby, Hattie, 1896, '97, '98, '99, '00, '01 Soprano Derby, Sam, 1896 Baritone Derrick, Nellie, 1882, '84, '85 Soprano DeTurbeville, Amy, 1890, '91, '92, '93 Soprano Dickey, Mrs. Clarence, 1888 Lyric soprano Dickey, Lorena, 1905 Soprano Diggins, Miss, 1900, '01 Soprano Doan, Rebecca, 1880 Soprano Dobbins, Miss Grace, 1894, '95, '96, '97, '98, '99 Contralto Dohrmann, Dolores, 1903, '04, '05 Soprano, also accompanist Dorsett, Gertrude, 1911, '12 Soprano Dorr, Ruby, 1884 Soprano Dosier, Miss, 1884 Soprano Doubleday, Mr., 1890, '91 Baritone Dowdel, Addie, 1896, '97, '98, '99, '00 Light soprano accompanist Dowdel, Everett, 1895, '96, '97, '01 Tenor Dowling, Gertrude, 1906, '07, '08, '10, '11, '12 Mezzo-soprano Dowling, Leo, 1908 Baritone, bass Downing, Lennie, 1879, '80, '81, '82 Soprano Drais, Jessie, 1897, '98, '99 Contralto Drake, Mabel, 1904, '05 Contralto Draper, Mrs., 1888 Mezzo-soprano Dugan, Susie, 1880 Soprano Dumont, Ricardo, 1909, '10 Tenor, baritone Durbrow, Kate, 1884 Soprano Dunn, Elizabeth, 1879, '80, '81 Mezzo-soprano Dunn, Mary, 1881 Soprano Dunn, Rebecca, 1879, '80, '81, '85 Alto Dutton, Carrie, 1879, '82, '83, '85, '86, '87, '90 Lyric soprano Dwight, Mr., 1888 Bass Dyer, Ella, 1890, '91, 1900 Contralto (Died, 1900) Edwards, Jessie, 1881 Mezzo-contralto Edwards, Morton, 1880 Tenor (Dead) Edwards, Mrs. Morton, 1886 Mezzo-soprano Edwards, Daisy, Miss, 1884 Soprano Erne, Mrs., 1894 Soprano Ellis, Miss Maud, 1901 Soprano Ellis, Will, 1904 Baritone Embly, Miss, 1897 Mezzo-soprano Englehart, Ethel, 1911 Soprano Epperly, Mrs., 1888 Contralto Eubank, Susie, 1896, '97, '98 Soprano Ewing, Nellie, 1884 Soprano Evans, Mary, 1886 Soprano (Deceased) Farnum, Mrs. C.A., 1884 Soprano Faull, Mrs. Hattie, 1882, '83, '85, '86, '87 Soprano Faull, John, 1879, '82, '85, '86 Bass, baritone Faull, Rose, 1879, '82, '83, '86 Soprano Faull, Sophia, 1879, '82, '83, '86 Alto (Deceased) Faull, Will, 1894 Bass Finch, Miss Vivian, 1884, '94, '96 Soprano Finney, Miss M., 1898 Soprano Finnigan, Annie, 1886 Soprano Fisk, Mrs., 1882, '83, '84, '85 Soprano Fleming, Mrs., 1888, '89 Soprano Flick, George, 1900 Bass Flotie, Miss, 1891 Mezzo-soprano Fogarty, Miss, 1896 Soprano Folger, Mrs., 1900 Soprano (Deceased) Foote, Miss, 1901 Soprano Ford, Ella, 1894 Soprano Foss, Mrs., 1908 Alto Foster, Annie, 1884 Soprano Foster, Lizzie, 1879, '82, '84, '85 Soprano Foster, Mrs., 1891 Soprano Fountain, Beryle, 1909 Contralto Fox, Mr., 1888 Second tenor Frank, Cora, 1901 Soprano Frankenstein, Sidney, 1889, '90 Tenor Frear, Bessie, 1901 Mezzo-soprano French, Miss, 1895 Soprano Friend, Mrs., 1890 Soprano Frink, Abbie, 1879, '80, '81, '84 Soprano Frink, George, 1881 Baritone Froeb, Emma, 1909 Contralto Frost, Miss, 1901 Soprano Frost, Horatio, 1879, '82, '83, '85, '86 Tenor Frost, Mrs. Mary, 1885 Low soprano Fryer, John, 1896, '97 Tenor Fryer, Regg, 1896 Baritone Fusch, Laura, 1899 Contralto Gale, Mollie, 1904 Soprano Garcia, Louisa, 1900, '01 Soprano Gardiner, Paloma, 1908, '09, '10 Contralto Geischen, Emma, 1893, '94, '95 Mezzo-soprano Georges, Bert, 1896 Bass Gerard, Capt, 1900 Baritone Gerrior, Maud, 1908, '09 Contralto Gerrior, Rev., 1908 Baritone, tenor Gibbs, Miss, 1880, '81 Soprano Gibbs, Miss E.J., 1907 Contralto Giffin, Miss, 1897 Soprano Gilchrist, Jennie, 1898, '99 Contralto Gladding, Annette, 1904 Contralto Gladding, Susie, 1903, '04 Mezzo-soprano Glass, Mrs. Louis, 1887, '89 Soprano (Deceased) Glaze, Mrs., 1891, '92 Contralto Goddard, Mrs., 1888 Contralto Gohst, Miss, 1897 Soprano Goughenheim, Miss, 1891 Soprano Goodfellow, W.S., 1904, '05 Primo tenor Gossip, Claire, 1898 Soprano Granger, Adale, 1907 Soprano Granger, Blanche, 1907 Contralto Graves, Augusta, 1879, '82, '84, '85, '86, '87 Contralto (Deceased) Graves, Bessie, 1879, '82, '84, '85, '86 Mezzo voice. Accompanist Graham, Mr., 1905 Baritone Grant, E., 1904 Contralto Gray, Maud, 1901, '07 Soprano Greenman, Mrs., 1893 Soprano Greer, Yvonne, 1911, '12 Soprano Griffith, Ella, 1884 Contralto Griswold, Geneva, 1908, '09, '10, '11 Soprano Groenberg, Margot, 1897, 1900 Soprano Grossett, Louisa, 1899, '00 Contralto Guilbault, Agnes, 1898 Lyric soprano Gunn, Anna, 1909, '10 Contralto Gunn, Eva, 1909, '10 Soprano Hackett, Miss, 1879, '80, '81 Soprano Haggard, A., 1880 Tenor Haggard, A., 1881 Soprano Haines, Mr., 1904, '05 Tenor Haley, May, 1898 Soprano Hall, Mrs., 1894 Soprano Halm, Mrs., 1888 Contralto Hanson, Jennie, 1884 Soprano Harlow, Frankie, 1910, '11, '12 Contralto Harney, Miss, 1887 Soprano Harper, Janet, 1881, '82, '83, '84 Soprano Harris, Josie, 1892 Soprano Harrison, Mr., 1906, '07 Tenor, baritone Harrold, Alice, 1879, '80, '81, '84 Contralto Harrold, Elizabeth, 1879, '80, '81, '84, '85, '90, '91 Contralto Harrold, Eva, 1880 Soprano Harrold, Mary, 1879, '80, '81, '84, '90, '91 Soprano Harry, Dolly, 1887 Soprano Hart, Mrs., 1896, 97 Soprano Harvey, Flora, 1895, '96, '99 Contralto, also accompanist Harvey, Richard, 1895 Baritone Hastie, M.A., 1884 Soprano Hawes, Alice, 1884 Contralto Herman, Mrs., 1902 Soprano Hermansen, Christine, 1910, '11 Soprano Hewes, Gertrude, 1879, '81, '84 Contralto Hewes, Miss, 1888 Soprano Hewes, Mrs., 1891 Soprano Hewes, Sarah, 1894, '95, '96 Soprano Hewes, Mr. W., 1887, 1901 Tenor Higgins, E.B., 1887 Tenor (Deceased) Higgins, Mrs., 1887 Soprano Hill, Miss, 1896, '97 Soprano Hino, Walter, 1906 Baritone Hitchcock, Ruth, 1909, '10 Contralto Hodges, Laura, 1892 Soprano Hogan, Eva, 1903 Mezzo-soprano Holland, Julia, 1880 Soprano Holmes, Mr. 1905 Bass Holt, Mrs., 1888 Soprano Horton, Georgia, 1898, '99 Contralto Hosmer, Mr., 1884 High tenor Hough, Ernest, 1892 Tenor Huston, O.J., 1898, '99 Tenor Howard, Kate, 1879, '80, '81 Contralto Howard, Mrs. C.W., 1894 Soprano Hoyte, Mr., 1896 Tenor Hubbard, Mrs., 1888 Soprano Hudspeth, Mr., 1903, '04 Baritone, bass Hugg, Mrs. J., 1888 Soprano Huffschneider, Mrs., 1903, '04 Mezzo-soprano Huggins, Flora, 1890, '91 Soprano Huggins, Hattie, 1890, '91 Contralto Hughes, Mrs., 1901, '02, '03 Contralto Hunt, Elsie May, 1897, '98, '99, '00, '01 Dramatic soprano Hunter, Alena, 1900, '01, '02, '03, '04 Soprano Hunter, Bertha, 1900, '01 Contralto Hunter, William, 1892 Tenor Hurd, Mrs., 1903 Soprano Hussey, Ida, 1894, '95, '96 Mezzo-contralto Hussey, Minnie, 1896, '97 Soprano Hyde, Marie, 1882, '83, '84 Contralto, also accompanist for studio Hyde, E. Miss, 1898, '99, '00 Soprano Hymes, Mrs. 1903 Soprano Huston, Mrs., 1903 Contralto Ireland, Mrs., 1900 Soprano Israel, Dora, 1889 Contralto Jackson, George, 1908, '09, '10, '11, '12 Tenor Jackson, Mrs., 1904 Contralto Jacobs, Gertrude, 1905 Contralto Jacobs, Lena, 1905 Soprano Jacobs, Miss P., 1901 High soprano Jeffries, Jack, 1900, '01 Baritone Jewell, Mr., 1888 Baritone, tenor Johnston, Rita, 1908 Contralto Jolly, May Stewart, 1886, '87, '89 High soprano Jones, Ethel, 1898, '99, '00 High soprano, also accompanist Jones, Lillian, 1884 Soprano Jones, Ilma, 1908, '09, '10 Soprano Jones, J.W., 1887 Tenor Jones, Mary, 1884 Alto Jones, Miss, 1879 Soprano Jones, Mrs., 1894, '95, '97 Contralto Joran, Pauline 1884, '85 Contralto Jordan, M.F., 1895 Soprano Jory, Blanche, 1890, '91 Soprano Jory, Ethel, 1890, '91 Contralto Jory, Lillian, 1886, '87 Soprano Katzenbach, Charles, 1908, '09 Tenor Kean, Mrs., 1899 Soprano Keith, Wm H., 1881 Baritone-tenor Kelly, Edith, Miss, 1885 Soprano Kelly, Miss A., 1897 Soprano Kelly, Sarah, 1879 Soprano Kelly, Louisa Foltz Contralto, also accompanist Kerby, Mrs. A., 1903 Soprano Kennedy, Walter, 1910 Bass, baritone Kern, J., 1884, '85 Baritone Kerosier, Miss, 1889 Soprano Kiel, Stella, 1907 Soprano Kimball, Lorena, 1903, '04, '05 Soprano (Deceased) Kitridge, Mary, 1879, '80 Soprano Knight, Christmas, 1903, '04 Soprano Knight, Emma, 1890, '92 Soprano Knight, Eva, 1890, '91, '92 Mezzo-soprano Koch, Ada, 1890, '91, '92 Soprano Kroh, Blanche, 1908 Soprano Kroh, Mary, 1908 Contralto Krueckle, Anna, 1904, '05, 06, '07 Contralto, also accompanist Kullman, Celia, 1879, '80, '81, '82, '84, '85, '86, '89, '90 Soprano Kullman, Hattie, 1885 Mezzo-soprano Ladd, Mrs., 1894 Soprano Laher, Frida, 1903, '05 Soprano Lake, Hazel, 1901 Soprano Lamping, Hazel, 1905, '06 Soprano Lancaster, Lillian, 1892 Soprano Lancaster, Lottie, 1892 Soprano Lancaster, Susie, 1892 Mezzo-soprano Lane, Clara, 1908, '09 Soprano Lang, Eliza, 1879, '80 Soprano Lanktree, Bessie, 1900, '01, '12 Contralto Lanktree, Susie, 1900, '01 Soprano Larue, Grace, 1895, '96 Contralto Larue, Laura, 1903 Mezzo-soprano Law, Marguerite, 1898 Contralto Lawlor, Mrs., 1893 Soprano Layes, Frankie R., 1890, '91 Soprano Lazinsky, Josie, 1889 Contralto Leach, Mrs. Wm., 1895, '96, '97 Soprano Leach, Wm., 1895, '96, '97 Tenor Learn, Chas., 1897 Bass Leary, Dan, 1903 Baritone Leavenworth, Mr., 1890 Tenor Lee, Frank, 1897, '98, 1900, '01, '02, '04, '05, '06 Bass Baritone Lee, Henry T., 1906, '07,'08, '09,'10 Tenor Leist, Bertha, 1890, '91 Contralto Lenoir, Miss, 1892, '93 Soprano Lessig, Mrs. C, 1896, '98, '99 Contralto Levy, Mrs., 1890 Contralto Lewis, Mr., 1908 Tenor Lewis, Mrs. Nellie, 1895, '96 Soprano Libby, Alice, 1901, '08 Soprano Livingston, Malsie, 1900, '01 Soprano Lloyd, Mrs. Chas., 1899 Soprano Longmore, Miss, 1879 Soprano Lorsbach, Mrs., 1900, '01 Soprano Louderback, Carol, 1904, '05, '06, '07, '08 Soprano Louderback, Jean, 1904, '05, '06, '07, '08 Soprano Louderback, Mrs. Caroline, 1904, '05, '06, '07, '08, '11, '12 Soprano Lount, Miss, 1885 Soprano Love, Minnie, 1884 Soprano Lovick, Mary. 1906, '07, '08, '09 Contralto Lynch, Mrs. G., 1892 Soprano Lynd, Mr., 1899 Tenor Lynns, Miss, 1906 Soprano Lysale, Miss, 1902 Contralto McCarty, Miss, 1901 Soprano McCloskey, Desaix, 1905, '06, '07 Baritone McCloskey, Florence, 1904, '05, '06 Soprano McClure, Mr., 1904 Tenor McConkey, C.M., 1888 Tenor McCullough, Jennie, 1896, '97, '06 Contralto McCullough, Mrs. B.T. Contralto McCutcheon, Mattie, 1910 Soprano McDonald, Miss, 1895, '96 Soprano McDonough, Anna, 1906 Soprano McDonough, Ella, 1901 Contralto McDonough, Helen, 1905, '06 Soprano McFarlane, Ivan, 1906 Tenor McFarlane, Mabel, 1906 Soprano McGovern, Maggie, 1879 Soprano McIntosh, Miss I., 1898 Soprano McMahan, Bernard, 1906, '07, '08 Baritone McMahon, Ella, 1902, '03 Contralto McMahon, Miss, 1902, '03 Soprano McLogan, Lizzie Miss, 1884 Soprano McPhale, Mrs., 1894, '95 Contralto Mackey, Kate, 1879, '80, '81 Soprano Macomber, Mrs., 1903 Soprano Magruder, Tony, 1879, '80 Mezzo-soprano Maguire, Alice, 1882, '83, '84 Soprano Maitland, Velma, 1906 Soprano (Deceased) Manning, Miss Davitte, 1897, '98 Soprano Mausel, Miss, 1901 Soprano Marvin, Josie, 1897, '98, '99, '00 Mezzo-soprano Mauerheim, Aggie, 1890, '91, '92 Soprano Mauerheim, Minnie, 1890, '91, '92 Contralto Maul, Matilda J., 1905, '06, '07 Mezzo-soprano, also accompanist Mayfield, Miss, 1888 Mezzo-soprano Mead, Miss C., 1886 Soprano Melvin, Will, 1894, '95, '96, '97 Bass Melquiond, Clairess, 1905, '06 Soprano Melquiond, Lester, 1906, '07 Baritone Melquiond, Mrs. Rilly, 1905, '06 Mezzo-soprano Merrill, Frank, 1898, 1903, '04 Bass Merrill, George, 1898, '99, '00 Baritone Merry sisters (2), 1897 Soprano (children) Merzbach, Mrs., 1890, 1901 Soprano Mertzfelter, Mrs., 1890 Soprano Mesro, Mattie, 1895 Soprano Michler, Mrs., 1896 Soprano Michlosen, Mrs., 1908 Soprano Milan, Laura, 1894 Soprano Milan, Mrs., 1894 Mezzo-soprano Millar, Grace, 1900 Soprano Millar, Florence, 1903, '04 Mezzo-soprano Millar, Anna, 1896, '97 Contralto Millar, Bertha, 1903 Soprano Millar, Evelyn, 1903 Contralto Millar, Martha, 1898 Contralto Millar, Rachael, 1898, 1902 Soprano Minor, Mabel, 1907 Soprano Monett, Emma, 1898, '99, '00 Mezzo-soprano Moore, A.A. Jr., 1896 Baritone-tenor Moore, Miss Carmen, 1896 Soprano Moore, Bina, 1890, '91 Soprano Morris, Mrs. H.C., 1895 Soprano Moses, Clara, 1900 Soprano Moss, Miss, 1887, '89, '90 Soprano Muhler, Mr., 1898 Tenor Mulgrew, Margaret, 1912 Soprano Mullen, Miss, 1879, '80, '82, '85 Soprano Muller, Mrs., 1908, '09 Contralto Munch, Mrs. Emma, 1906, '07, '08, '10 Soprano Munday, Evelyn, 1903 Soprano Munson, Clarence, 1898, '99, 1900, '01 Baritone Murphy, Edith, 1903 Contralto Myers, Cecile, 1905, '06, '07, '08 Mezzo-soprano Nagle, Ethel, 1898, '99, '00, '06, '07, '10, '11 Soprano, also accompanist Near, Dr. J. LeRoy, 1908 Bass Neblicker, Frank, 1901 Baritone-tenor Newell, Bessie, 1892, '93, '94 Soprano Noble, Miss, 1880 Soprano Noonan, Elsie, 1898, '99, '00 Soprano Norcross, Mr., 1884 Baritone Nordin, Mrs. Alice, 1900, '01 Soprano Norman, Lillian, 1807, '08 Soprano Norton, Daisy, 1895, '96 Soprano Oaks, Marjorie, 1894, '95, '96, 1901 Contralto, also accompanist O'Brien, Mr. and Mrs., 1907 Soprano and Tenor O'Brien, Mrs. Alice, 1891 Soprano Olds, Brilliant, 1906 Soprano Olney, Mrs. Carrol, 1897 Contralto O'Neal, Fannie, 1900 Soprano Osborn, Anita, 1910 Soprano Osborn, Dade, 1910 Bass Oxley, Mr., 1908 Tenor Page, Miss, 1898, '99 Mezzo-soprano Palloci, Miss, 1902 Soprano Palmer, R.C., 1908 Tenor-baritone Partington, Richard, 1896, '97 Tenor Payne, John, 1907 Bass Payne, Kate, 1899, 1900, '01, '07 Contralto (Deceased) Peart, Lloyd, 1879, '82, '85 Baritone Peck, Kate, 1880, '82 Alto Peltris, Alma, 1902 Contralto Perata, Annie, 1898, '99, 1900 Soprano Perata, Jack, 1906, '07 Tenor-baritone Percival, Mrs., 1894 Soprano Perkins, C., 1888 Tenor Persbaker, Ruby, 1899 Contralto Peterson, George, 1901, '02 Bass Peterson, Minnie, 1900, '01 Soprano Peterson, Pauline, 1900, '01 Soprano (Deceased) Petrie, Elite, 1911, '12 Soprano Peters, R.A., 1910 Baritone Pettie, Mr., 1898 Tenor Pettie, Mrs., 1898, '99 Soprano Pfeifer, Miss, 1894, '95 Soprano Phillips, Ethel, 1909, '10 Soprano Phillips, Miss, 1882, '85 Soprano Phillips, Myrtle, 1879 Soprano Phelps, Miss, 1908 Soprano Pierson, Henry, 1912 Bass-baritone Pinkston, Virginia, 1908, '09 Soprano Pinney, Grace, 1898, '99 Soprano Pippy, George, 1879, '80, '81 Tenor Pittman, Mrs. Ethel, 1906, '07, '08, '11, '12 Soprano. Also accompanist Pitts, Mrs., 1894, '95 Contralto Pollard, Daisy, 1892, '93 Soprano Pollard, Etta, 1892, '93, '94 Contralto (Deceased) Porter, Ruby, 1899 Soprano Potts, Mr., 1903 Bass Powell, Miss, 1891 Soprano Powell, Mrs., 1887, '89 Soprano Pratt, Miss, 1905, '08, '12 Contralto Pratt, Mrs. 1911, '12 Mezzo-soprano Presher, Ethel, 1906, '07 Soprano Price, Nettie, 1892, '93, '94 Soprano Price, Pauline, 1888 Soprano Prince, Mrs., 1890, '91 Soprano Pritchard, Mrs. Jessie, 1897, '98 Soprano Proctor, Arthur, 1910 Bass Quinn, Miss, 1898 Soprano Ralston, Bessie, 1900 Soprano Ramsey, Emma, 1908, '09 Soprano Ramsey, Inga, 1908, '09 Mezzo-soprano Ramsey, Peter, 1908, '09 Tenor Randall, Mrs., 1880 Soprano Rashman, Miss, 1906 Soprano Raybum, Cora, 1900, '01 Mezzo-soprano Reed, Grace, 1898 Soprano Reeves, Mr. R.E., 1895 Baritone Reyes, Mrs., 1898, '99, 1900, '02 Mezzo-soprano Reynolds, Miss, 1891 Soprano Rhinehart, Mrs., 1879, '85 Contralto Rhodes, Kitty, 1898 Soprano Rice, Amy, 1898, '99, 1901 Soprano Richardson, Mrs., 1908 Soprano Richardson, Martha, 1884 Soprano Riley, Mrs., Edna, 1907, '08, '10, '11 Contralto Robinson, Mr., 1904, '05 Baritone Roden, Mary Kroh, 1911, '12 Contralto Rodgers, Leo, 1890, '91, '98, '99, 1900 Tenor-baritone Romaine, William, 1884 Bass Rosenkranze, Maggie, 1884 Soprano Root, Kate, 1886, '87 Soprano Root, Geo. B., 1880, '81, '82, '83, '84, '85, '86 Tenor Root, Mrs. Geo. B., 1883, '84, '85, '86, '87 Soprano Runcie, Master, 1901 Boy soprano Russell, Mrs., 1896, '97, '98 Soprano Rutherford, Marcia, 1901 Soprano Sadler, Miss, 1890 Soprano Sanderson, Georgia, 1891 Soprano Sands, Anna, 1900, '01 Soprano Sanford, Alice M., 1908, '09, '10, '11, '12 Soprano, also accompanist Sanford, Elinor, 1892, '93 Mezzo-soprano dramatico Sanford, Hoyle E., 1908, '09, '10, '11, '12 Baritone Saulsbury, Mrs., 1880, '82, '84 Mezzo-soprano Saunders, Daisy, 1900 Soprano Schmidt, Alice, 1907 Soprano Schmidt, Alma, 1895, '96 Soprano Schultz, Sayde, 1911, '12 Contralto Sellac, Mattie, 1884 Contralto Sears, Mary, 1908 Soprano Shair, Grace, 1882, '84 Soprano Shaw, Lauretta, 1894, '95, '96, '97 Mezzo-soprano Shaw, Mabel, 1894, '95, '98, '99, 1900 Soprano Shepherd, Miss, 1885 Soprano Shoonemaker, Miss, 1901 Soprano Shulken, Albert E., 1908, '09 Baritone Simmons, Mrs., 1885 Mezzo-soprano Simmons, Mr., 1884 Tenor Simmons, Mrs. M., 1907 Soprano Sinnard, Mrs., 1897 Contralto Skelly, Miss, 1885 Soprano Skinner, George, 1888 Tenor Slatterly, Mrs. W., 1895 Soprano Slaughter, Mrs., 1906 Soprano Small, Bernice, 1912 Soprano Smith, Ada, 1888 Soprano Smith, Etta, 1879, 1882 Mezzo-soprano Smith, Miss Fay, 1907 Soprano Smith, Frank, 1898, '99 Tenor Smith, Horace, 1884 Baritone Smith, Miss, 1894 Soprano Smith, Mrs. H., 1885 Soprano Smith, Luella, 1888 Soprano Smith, Anna, 1884 Soprano Smith, Mrs. S.S., 1912 Soprano Smith, W.C., 1899 Tenor Snow, J.L., 1898, '99 Tenor Solomon, Minnie, 1889, '91 Soprano Soule, Mrs., 1888 Soprano Sprecher, Ella, 1884 Soprano Sroufe, Dolly, 1879, '80, '82, '84, '87 Soprano Sroufe, Georgia, 1879, '80, '82, '84, '85 Soprano Sroufe, Susie, 1879, '80, '82, '84, '85 Soprano Starkey, Arma B., 1912 Soprano Steele, Mrs., 1895 Soprano Stevens, Annie, 1883 Mezzo-soprano Stevens, Carrie, 1880 Soprano Stevens, Louisa, 1887 Contralto Stevenson, Bert, 1908 Tenor Stewart, Mae, 1886, '87 Soprano Stewart, Susie, 1889 Contralto Steifvater, Ida, Mrs., 1906, '07 Soprano Stickler, Mr., 1890 Tenor Stoddard, Grace, 1903 Soprano Stoffles, Mrs., 1908, '09 Mezzo-soprano Stolp, E.J., 1898 Baritone-tenor Stolp, Miss, 1899 Soprano Stoner, Viola, 1905, '06, '07 Contralto Story, Mrs., 1888 Mezzo-soprano Storer, Miss Kate, 1903, '04, '05 Soprano Storer, Emma, 1903, '04 Mezzo-soprano Stubbs, Miss, 1905 Soprano Swain, Mrs., 1894 Mezzo-soprano Swale, Lillian, 1902 Soprano Swan, Eva, 1890 Soprano Swan, Miss P., 1900, '01 Soprano Taylor, Miss, 1894, '95, '96, '97, '98, '99 Soprano Taylor, Chas., 1898, '99 Baritone Teague, Mrs. W., 1912 Soprano, dramatic Terpening, Ruth, 1909 Contralto Thomas, Anna, 1897 Soprano, also accompanist Thomas, Edward, 1897, '98 Bass Thompson, Mrs., 1894 Soprano Thorn, William, 1900, '01 Baritone Tooker, Elsie, 1888 Soprano Tooker, Mrs. S., 1888 Mezzo-soprano Town, Mrs., 1888 Soprano Treaby, Mr., 1897 Tenor Treadwell, Florence, 1896, '97, '98 Soprano Tregar, Mrs., 1888 Soprano (Phenomenal, 3 octaves) Trumbell, Miss, 1895 Soprano Turner, Mr., 1898 Baritone-tenor Turner, Rachael, 1902 Soprano Turner, Esther, 1902, '03 Soprano Tyler, Mrs., 1901 Soprano Upham, Mrs. Isaac, 1879, '80, '81 Soprano (Deceased) Valentine, Inza, 1905, '06, '07, '08 Contralto Valentine, Stella, 1898, '05, '06, '07, '08 Soprano Van Pelt, Mrs. Georgia, 1884 Soprano Van Winkle, Alice, 1879, '80, '81 Soprano Van Winkle, Henry, 1879, '80 Tenor Van Winkle, Nellie, 1879, '80 Mezzo-soprano Van Winkle, Aida, 1879, '80, '81 Soprano, also accompanist Victory, Arthur, 1901, '02, '03, '09 Baritone-tenor Von Glehn, E., 1906 Soprano Walcott, Minnie Walcott, 1884 Soprano Wakott, Louisa, 1895, '96, '98 Soprano Wall, Annie, 1888 Contralto Walls, Miss, 1901 Soprano Walther, Marie, Miss, 1896, '97 Soprano Waite, Mrs., 1888 Soprano Ward, Fanny, 1890, '91 Contralto Waterous, Miss, 1900 Dramatic Contralto Wansner, Miss Ida, 1904, '05 Soprano Wedgewood, Mrs., 1898 Soprano Welsh, Grace, 1882 Soprano Wells, Mrs. E., 1888 Contralto Westeran, Mrs., 1908 Dramatic mezzo-soprano Westphal, Mrs., 1891, '92, '93 Soprano White, Mabel, 1890, '91, '92 Lyric soprano Whitney, Mae, 1886, '87, '89 Contralto, also accompanist Whittlesy, Mrs., 1884 Soprano White, Lester, 1896 Tenor Whyte, Malcolm, 1897 Tenor Wight, Edna, Mrs., 1912 Soprano Wick, Miss, 1898, '99 Soprano Wild, Ella, 1894 Soprano Wilhelm, Otto, 1901, '03, '04 Baritone-tenor Wilkins, Mae, 1894 Soprano Wilkinson, Miss, 1894 Soprano Willcox, Mr., 1907 Tenor-baritone Williams, Gertie, 1892 Soprano Williams, Miss Etta, 1894 Soprano Williams, Miss, 1889 Soprano Williams, Sadie, 1896, '97 Contralto Willings, Mr., 1896 Bass Willis, Master, 1888 Boy soprano Willis, Miss, 1888 Soprano Wilmott, Susie, 1884 Soprano Wilson, A.E., 1892, '93, '94 Soprano Wilson, Maud Booth, 1910 Contralto Wilson, Gladys, 1908, '09, '10 Soprano Wilson, Alice, 1889, '90, '91 Soprano Wilson, Miss A., 1901, '02, '03 Soprano Wilson, Ernest, 1907 Tenor-baritone Winsor, Mrs., 1896, '97, '98, '99, 1900 Soprano Wiscarver, Norma, 1911, '12 Contralto Witthall, Delia, 1894, '95, '96, '97, 1908 Contralto Wood, Dr. J.W., 1897, '98 Tenor Woodel, Miss, 1895 Soprano Woodly, Carrie, 1895 Soprano Woodside, Mrs., 1892 Soprano Woodworth, E. Leslie, 1906, '07, '09, '10 Tenor Wooly, Bessie, 1898, '99 Soprano Worden, Hattie, 1880, '81. '85, '86 Alto Worden, Nettie, 1879, '80, '81, '85, '86, '89 Soprano Wright, Mr., 1907 Bass Yarndley, Mattie, 1894 Alto Yarnold, Hattie, 1892 Soprano Young, Ruth, 1908, '09 Soprano Zander, Mattie, 1896, '98, 1900, '01 Soprano Zimmerman, Daisy, 1880, '98, '99, 1900 Soprano Zedeskie, Miss, 1888 Mezzo-soprano, also accompanist



This list of men, women and young people are the names of pupils who have been under my instruction in San Bernardino, San Francisco and Oakland for the three decades, 1882 to 1912.

It does not include singers who have simply received coaching in choirs I have directed, but only those who have had individual lessons in voice placement and the art of song.

I am very proud to know that, while all have not distinguished themselves, there are in this list names of teachers of good repute, also prima donnas and men singers of established renown in this country and in Europe.

It is especially a great satisfaction to me to note that, while numbers of my pupils have studied with the great masters in the East and abroad after leaving my studio, they have come back to testify to the correctness of my prior instruction in the principles of legitimate song.

MARGARET BLAKE-ALVERSON

Oakland, California February, 1913

THE END