CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1891 BY HENRY WILLIAMS SAGE MU§IC LiiJRARY Cornell University Library ML 200.H85 i o« music in AjBefiJ'Alli, Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022271153 A HtiNDREB YEARS t\(d3\e IN AnERIGA. AN ACCOUNT OF fflysiGAL ErroRT in America Dtiring the past century, including Popular Music and Singing Schools, Church Music, Musical Conventions and Festivals, Orchestral, Operatic and Oratorio Music ; Improvements in Musical Instru- ments ; Popular and the Higher Musical Education ; Creative Activity, and the Beginning of a National ^ School of Musical Composition. A FuiHE present work undertakes three things. First, To give an intelligible and fairly complete account of the persons, organiza- tions and influences which have developed this country to its present point in musical knowledge and taste. Second, To give f^ a. good general idea of its present condition, as shown in its leading Musical Societies, its I^eaders, Composers, Teachers, Educational Institutions, the enormous extension of the Music Trade, and the manu- facture and sale of musical instruments of all kinds. Third, To gather from the results of these two lines of investigation a fair forecast of the future of American music, especially as it regards the likelihood of the creation here of an original school of American Music. No such exhaustive collection of material for the musical history of this country has ever been attempted before. We have availed ourselves of the labors of previous workers in the same field wherever possible, especially of those of Mr. F. O. Jones' American Musicians, Dr. F. I,. Ritter's Music in America, and certain articles in Mr. John W. Moore's Encyclopedia. All of these together, however, were wholly insufficient for our purpose. At immense expense of trouble and patience we have collected from the persons themselves, or their immediate representatives, biographical particulars and professional careers of more than five hun- dred prominent musicians, composers, teachers and educators. The material thus furnished, some of it with singular reluctance, considering the quality and value of the work proposed to be served by it, we have carefully digested, and added to it whatever seemed necessary from the personal knowledge of the editor. The material so gathered has been digested and put together into the book now in the reader's hands, in a typographical form which every person can estimate for himself Our portrait gallery is very large. We give no less than two hundred and forty portraits of musicians more or less prominent. Among them it is easy to find almost any one hundred and fifty names likely to be proposed by a reader acquainted with the personnel of the musical profession of the country. A few names which ought to have been here are omitted. Most of them have been written to according to the most promising post-office addresses accessible in the ofiice, many of them several times. In some cases no response has been received; in others the information came too late for insertion. In many cases, after waiting as long, as possible, we have written biographical sketches of persons required upon historical grounds, from the best authorities accessible, rather than do entirely without them. If inaccu- racies occur in these accounts, we ought not to be held blamable. We are confident that no reader will rise from a careful examination, of this book unimpressed by the richness of the material here presented. It sheds a new light upon the present status of the musical profession in this country, and shows that America possesses a wealth in this direction which few, even among musicians, imagined. In the line of original composition, also the record, although not complete, is reassuring. The good works already produced give promise of many and many more to follow. The appearance of composers entirely educated in America is also a hopeful feature, especially as some of these are among the. most promising young artists we have. The organization of the American College of Musicians affords suitable ideals of musical graduation, and an examining body capable of administering its own standards impartially and locally. It is not necessary to go abroad for musical education, or for contact with musical minds of first-class stimulative power. The particulars given concerning the music trade, manufacture of instruments, and musical invention belong to the category of musical activity, and are an index to the general interest taken in the art of music by the purchasing community. TABLK OK COKTKNTS. ChapTBr I.— Psaimody from 1620 to 1789. PAGE. People's Debt to Psalmodists— Psalmody Had Its Origin with the Puri- tans — Various Divines on the Duty of Singing Sacred Songs — Bay Psalm Book — First Music Printed in Boston— Curious Method of Varying Meters from Same Printing— Reform in Psalmody in 1720— Objections to New Way — First Organ Built in America — ' Urania — American Harmony — Paul Revere — I/ining the Hymns Abolished , 7-24 Chapter II.— William Billings, to 1800. Billings the First Original Composer and Pioneer— New England Psalm Singer — Fugue Tunes — Singing Master's Assistant — An- drew Law 25-29 Chapter III. — Opening of the Nineteenth Century. Reaction against Florid Church Music — Abijah Forbush — Goel Har- mon — Bridgewater Collection — Columbian Harmonist — Western Minstrel '. 130^3 Chapter IV. — Lowell Mason, Founder of National Music. Need of a Master Spirit to Give Direction — Thomas Hastings — Boston Handel and Haydn Collection — Geo. James Webb — Pestalozzian Principles — Woodbridge — Boston Academy of Music — Music Introduced in the Boston Schools — Manual of the Boston Academy — Rise of Musical Conventions — Religious Sentiment of His Work — Mason's Counterpoint as Characterized by Hauptmann — Boston Academy Collection of Choruses — Normal Classes — Mason's Musical Letters 34-44 Chapter v.— Career of Opera to 1840. Beggar's Opera — English Opera in New York — Messiah in 1823— John Howard Payne's Clari — Garcia and Malibran— Italian Opera in New York — Mrs. Austin — ^Horn's Reminiscences of Sin — Satan — Lorc:nzo Da Ponte 45-54 Chapter VI.— Progress of Oratorio to 1840. Gottlieb Graupner in Boston in 1798 — His Philharmonic Society — Oratorio at Kings Chapel in Honor of General'Washington — Peace Jubilee of 1815 — Handel and Haydn Society — Presidents of the Handel and Haydn — New York in Oratorio — Oratorio Music Cul- tivated in Various'.-Parts of the Country — Hastings' Academy of Sacred Music 55-59 Chapter VII. — Two Decades preceding the War. Mr. and Mrs. John Ward — Seguin Family in English Opera — Havana Company in Italian Opera — Sontag — New York iAcademy of Music — Ole Bull's Prize for a New Opera on an American Subject, in 1855 — Pyne and Harrison English Opera — Fry's Leonora — Opera in New Orleans — Baltimore 60-65 Chapter VIII.— Period of the War Songs. True American Folk-Song — Dr. Geo. F. Root, Charles Carroll Saw- yer— H. C. Work— F. Scott Key— H. L. Schreiner— A. E. Blackmer 66-78 Chapter IX. — New Era of Art Life succeeding the War. Causes Operating to Impart Extraordinary Vitality to This Period — Jenny Lind— Thalberg— Rise of the Thomas Orchestra — War as an Awakener of Mind— Conservatories— New Art Centres 79-83 Chapter X. — Psalmody and Popular Music after the War.- page. Increase of General Interest in Music — Wm. B. Bradbury — I. B. Woodbury— L. O. Emerson— H. R. Palmer— P. P. Bliss— H. P. Main — Popular Secular Music — Stephen C- Foster — H. P. Danks — Will S. Hayes— Constance 'P. Runcie— Chas. D. Blake— E. S. Mat- toon— J. E. Trowbridge— A. E. Warren— T. P. Ryder— Maro L. Bartlett... 8«11 Chapter XI. — Piano Playing and Pianists. Great Pianists as Popular Educators — Mason's Recitals — Rubinstein — Von Bulow — Essipoif— Teresa Carreno — Julie Riv^-King — Rafael Joseffy— Louis Maas — Emil Liebling — August Hyllested — Carlyle Petersilea — Miss Amy Fay — Carl Wolfsohn — Fannie Bloomfield- Zeisler — Charles Wels — Constantin Sternberg — Miss Neally Stevens — A. W. Doerner — Ernst Perabo — Carl Faelten — Otto Bendix— J. D. Buckingham— Epstein Brothers 112-167 Chapter XII. — Concert and Operatic Singers. Success of American Singers Abroad — Talent for Higher Forms of Art — Necessity of a National School of Singing — Clara Louise Kel- logg — Mme. Albani — Ronconi — L. G. Gottschalk — Helena Has- • treiter — Adelaide Phillips— Anna Louise Cary — Minnie Hauck — Adelina Patti— L. W. Wheeler— Marie Litta— Ella Russell— Alice . Ryan— Julie Rosewald — Augusto Rotoli — Emil Agramonte — Pau- ""line L'AUemand — Karl Formes — Lillian Norton Gower — Lill- ian Russell — Myron W. Whitney — L. A. Phelps — Mrs. Estelle Ford — Chas. R. Adams — Grace Hiltz — Caroline Ritchings Bernard — Marie Van Zandt — Emma Thursby — Antoinette Sterling — ■ Zelie De Lussan — Hope Glenn — Sybil Sanderson — Emma Hayden Eames — Emma Juch — Emma Abbott — Jessie Bartlett-Davis — H. C. Barnabee— Tom Karl— The Bostonians 168-235 Chapter XIII. — Organists, Liturgical Music and Virtuosi upon Different . Instruments. Scientific Organ Playing Comparatively New in America — Sketch of Its Rise — Geo. Washbourne Morgan — J. H. Wilcox — S. P. Warren — Clarence Eddy — Geo. E. Whiting — Harrison M. Wild — Henry Dunham — Nathan H. Allen — Louis Falk — I. V. Flagler^Rise of " Vested Choirs — Personal Reminiscences of Rev. Canon J. H. • Knowles— H. S. Cutler— S. B. Whitney— Present State of the Vested Choir — H. B. Roney — The St. Csecilia Society of America — Chev- alier Singenberger — Popular Interest in Violin Playing — Ole Bull — S. E. Jacobsohn— Wm. Lewis — Ovide Musin — Timothie Adam- owski — Thomas Ryan — Anton Sbrignadello — J. M. Deems — Heman Allen— Frederick Hess— Josephine Chatterton. , '.. 236-305 Chapter XIV.— The Great Musical Festivals. Pour Classes of Festivals— Handel and Haydn Festivals — Gilmore Peace Jubilees — Cincinnati May Festivals — Cincinnati Opera Festivals — Chicago May Festivals — Chicago Opera Festival — Chicago Audito- rium ;.... ; 306-324 Chapter XV. — Musical Instruments and the Music Trade. Early Manufacture of Musical Instruments in America— Jonas Chick- ' ering—Steinway& Soils— -New Method of Stringing Pianos — Or- gan Building — Wm. A. Johnson — Hilbourne L. Roosevelt — Reed Organs — Emmons Hamlin — Poole's Enharmonic Organ— Henry Ward Poole — Violin Making — Geo. Gemunder — J. C. Hendershot — C. G. Conn— Oliver Ditson— John C. Haynes— P. J. Healy 325-358 Chapter XVI. — Literary Factors in Musical Progress. The Uses of the Literary Element in Musical Progress — Function? of Criticism— Daily Newspapers— H. E. Krehbiel — H. T. Finck-^W. PAGE. A. Apthrop — Geo. P. Upton — Musical Journalism — J. S. Dwight ' — H. C. Watson— W. M. Thorns— J. Travis Quigg— F. D. Abbott —J. O. Von Prochaszka— H. B. Smith— A. G. Emerich— Theodore Presser— Wm. F. Sherwin— John S. Van Cleve— 1<. C. Elson— Karl Merz— W. S. B. Mathews— Dexter Smith— Jas. R. Murray— A. J. Showalter 359-409 Chapter XVII. — Improvement in the Popular Standard of Performance, Especially in the Department of Operatic and Orchestral Works. Influnces Entering into This Movement — New York Philharmonic So- ciety — Harvard Musicial Association — The Boston Symphony Or- chestra — Theodore Thomas — B. J. Lang — Carl Zerrahn — Oratorio Society of New York — Dr. Leopold Damrosch — New York Sym- phony Society — Walter Damrosch — F. H. Torrington — Wm. Iv. Tomlins — Adolphe Rosenbecker — Otto Singer — Metropolitan Opera House 410-448 Chapter XVIII. — Institutions for the Higher Musical Education. Remarkable Progress in Musical Education — New England Conserva- tory — Eben Tourj^e — Boston University — Boston Conservatory — Julius Eichberg — The New York Grand Conservatory — Ernst Eberhard — New York College of Music — Alexander Lambert — Metropolitan Conservatory — H. W. Green — Chicago Musical Col- lege — Florence Ziegfeld — Mrs. O. L. Fox — Chicago Conservatory of Music — Samuel Kayzer — Wm. H. Sherwood — American Con- servatory of Music — J. J. Hattstaedt — Chicago College of Vocal and Instrumental Art — A. E. Ruff— Balatka's Academy of Musical Art — Hans Balatka — College of Music of Cincinnati — Geo. Ward Nichols — Reuben Springer — Cincinnati Conservatory — Miss Bauer — H. G. Andres — Cincinnati Wesleyan College — W. Waugh Lau- der — Oberlin Conservatory of Music — Fdn^lon B. Rice — Cleveland School of Music — Alfred Arthur — Philadelphia Academy of Music — Richard Zeckwer — Dana's Musical Institute — W. H. Dana — Northwestern Conservatory of Music — Chas. H. Morse — Detroit Conservatory of Music — J. H. Hahn — Cleveland Conservatory- - Bassett and Heydler— Charles S. Brainard 449-535 Chacter XIX.— Music Teaching as a Profession. Astonishing Advance in the Status of Professional Musicians — Incomes of Teachers — Standard of Professional Qualification — American College of Musicians — E. M. Bowman — Robert Bonner — Wm. Horatio Clarke — Music Teachers' National Association — Albert R. Parsons— J. C. Fillmore— W. F. Heath— H. S. Perkins— Distin- guished Teachers— Mrs. Clarence Eddy— Clara E. Munger— Elena Varesi— Mrs. C. M. Brinkerhdff— F. Jeannette Hall— A. D. Turner — F. N. Adams— F. A. Porter — Santiago Antillaga— Geo. H. Rowe John Underner— F. W. Root— W. L. Blumenschein— D. C. McAl- lister— S. N. Penfield— C. E. Tinney— Theo. F. Seward— Z. M. Parvin— F. Mueller— H. O. Famum— M. J. Seifert— H. Kelso— M. A. Gilsinn— Thos. Martin— N. Coe Stewart— F. J. Campbell— Al- bino Gorno— Michael Brand— Louis Erghott— B. W. Foley— Chas. H. Brittan — H. A. Clarke— V. Garwood— Carl Lachmund — Max Leckner— W. H. Donley— R. A. Heritage— Chas. W. Landon— C. B. Cady— C. P. Denude— J. H. Howe— J. H. Deems— F. C. Mayer — EmilMahr— J. M. Tracy—Jno. Jeffers — Geo. Schneider 536-635 Chapter XX.— Composers of Salon and Chamber Music. Louis Moreau Gottschalk— William Mason— Chas. C. Perkins— J. A. Butterfield— Arthur Foote— Walter Petzet— Fred'k Brandeis— Ed- gar S. Kelley— Stephen A. Emery— Wm. P. Sudds— Adolph M. Foester— S. B. Mills— Johann Beck— Adolph Koelling— Reginald deKoven— W. C. Seeboeck 636-671 Chapter. XXI. — Dramatic, Orcliestral and Oratorio Composers. pagS. Wm. Henry Fry— Jno. Knowles Paine— Dudley Buck— C. C. Converse Dr. F. L. Ritter— Silas G. Pratt— Frank Van der Stucken— Max Maretzek — Geo. W. Chadwick — Ed. Alex. MacDowell — Prof. J. C. D. Parker 672-702 Chapter XXII. — Supplementary Directory of American Musicians, and Index 703-716 LIST OK ILLUSTRATIONS. PAGE, Abbott, Emma 231 Abbott, Frank D 3S5 Adams, Chas. R 229 Adams, F. Norman 569 Adamowski, Timothie 293 Albani, iMdlle 175 Agramonte, Kniilio 205 Allen, Nathan H 255 Allen, Heman 301 Allen, Chester 93 Andres, Henry G 509 Apthorp, Wm. Fo&ter 369 Arthur, Alfred 523 Arrillag^, Santiago 653 Auditorium 323 Au,stin, Mrs 49 Barnabee. H. C .'. 235 Bassett, F 535 Bartlett, Maro 1, 105 Baur, Miss Clara 507 Bendix, Otto 161 Beck, Johann H 663 Blake, Chas. D 105 Blumenschein, W. L 581 Bloom, Jacob 509 Bliss, P. P 93 Banner, Robt 547 Bowman, E. M; S43 Bradbury, Wm. B 85 Brand, Michael 505 Brainard, Chas. S 353 Brandels, Fred'k 653 Brittan, Chas. H 60s Brinkerhoff, Clara 565 Buck, Dudley 681 Buckingham, J. D 165 Bull, Ole 285 Burritt, Nelson A 573 Butterfield, Jas. A 649 Cady, C. B 621 Campbell, Francis J 601 Cappiani, I^nisa 565 Cary, Annie Louise 185 Carreno, Teresa 119 Chatterton, Josephine 305 Chickering, Jonas 329 Clarke, Wm. Horatio 545 Conn, C. G 349 Converse, Chas. C 685 Cutler, Henry Stephen 271 Damrosch, Dr. Leopold 433 Damrosch, Walter.. 435 Danks, Hart Pease 99 Dana, W. H 529 DaPonte, Lorenzo 53 DaPonte, Lorenzo, Autograph Poem 54 Davis, Jesse Bartlett 235 Deems, James M 299 Deems, J. Harry 627 DeKoven, Reginald 667 PAGE. DeLussan, Zelie 225 Denude Chas. F 623 Ditson, Oliver 355 Doemer, Armin W 155 Donley, W. H 615 Dunham, Henry M 253 Dwight, Jno. Sullivan 375 Eames, Emma Hayden 225 Eberhard, Ernst 471 Eddy, Clarence 247' Eddy, Mrs. Sara Hershey 563 Edwards, Gertrude 229 Eichberg, Julius 467 Elson, Louis C 397 Emenck, Albert G 391 Emerson, Luther 89 Emery, Stephen A 655 Epstein, Marcus 1 167 Epstein, A. I .? 167 Erghott, Louis 509 Evans, Fred'k S 509 Faelten, Carl 159 Falk, Louis 259 Fay, Amy 139 Farnum, H. 573 Fiuck, Henry T 367 Fillmore, J. C 557 Flagler, I. V 261 Foley, B. W 505 Foester, Adolph M 657 Ford, Mrs. Estelle 219 Formes, Karl 209 Foster, Stephen C... 97 Fox, Orvin L 631 Fox, Mrs. O. L 483 Fry, Wm. Henry 673 Garwood, Victor../. 607 Gemunder, Geo....i 349 Gilmore, P. S 311 Gilsinn, M. A 593 Gleason, Fred'k Grant 699 Glenn, Hope 225 Goldbeck, Robt 653 Gorno, Albino 505 Gottschalk, L. Gaston 179 Gottschalk, Louis M 639 Greene, H. W 477 Hahn, J. H 533 Hastreiter, Helene 183 Hauck, Minnie 187 Haynes, T. C 357 Hattstaedt, J. J 491 Hays, Will loi Heath, W. F 550 Healy, P. J 339 Hendershot, J. C 351 Heritage, R. A 617 Hess, Frederick ^o-t Heydler, Chas 53I Hiltz, Grace 229 vii^ PAGE Hook, Ehas 343 Howe, Jas. H 625 Huntington, Agnes 235 Hyllesied, August 133 Jacobsohn, S. E 287 JeflFers, Jno 573 Jonnson, Wm. A 343 Joseffy, Rafael 125 Juch, Emma 229 Jung, Rev, J. B 281 Karl, Thomas 235 Kayzer, Samuel 4S5 Kelley, Edgar S 653 Kellogg. Clara Louise 173 Kelso, Hugh A 573 Key, F. Scott 75 King, Julie Riv^ 123 . Kiusey, J. S 407 Knowles, J. H.., 267 Koelling, Adolph 665 Krehbiel, H. E 365 I^achmund, Carl V 611 I^'Allemand, Pauline 207 I^ambert, Alex 473 X^ndon, Chas. "W 619 I^ng, B. J 427 Lauder, W. Waugh 513 Leckner, Max 613 I^ewis, Wm 289 Liebling, Emil 131 Liszt, Franz, Lachmund and wife 609 Ifitta, Marie 195 Lombard, Louis 573 Lowry, Robt 93 Maas, Dr. Louis 127 MacDouald, Mrs. Marie Stone 235 Magrath, George 509 Mahr, Emil 447 Maretzek, Max 695 Martin, Thomas 595 Mason, Wm, 641 Mason Autograph X Mason, Br. Lowell 37 Main, Hubert P 93 Mathews, W. S. B 405 Mattioli, Liuo. 505 Mattoon, Edmund S log McAllister, D. C 583 Merz, Karl 401 Mills, Sebastian B 659 Morgan, Geo. W 239 Morgan, Mand 307 Morse, Chas. H 531 Mueller, Franz 591 Hunger, Clara 565 Murray, J. R 407 Musin, Ovide 289 NeflF, Peter Rudolph 503 Nevada 221 New England,Conservatory 455 Nichols, George Ward.... 499 Oberlin Conservatory 515 Paine, John Knowles 677 Payne, John Howard 47 Palmer, Horatio R 91 Parker, Prof. Jas. C. B 701 Parsons, Albert Ross 555 Faton, Miss 51 Parvin, Zimri M 5S9 Patti, Adelina 189 Peck, Ferd.W 321 Perabo, Ernst 157 Perkins, Chas. C 645 Perkins, H. S 553 Petersilea, Carlyle 135 Petzet, Walter 653 Phelps, L. A 217 Poole, Henry Ward 343 Porter, Frank A - 571 Powell, Maud 289 Pratt, Silas G 689 PAGE. Presser, Theo 407 Prochdszka, J. O. Von 387 Quigg, J.. Travis 383 Remenyi, Eduard 289 Rice, Fenelon B 519 RiLter, Dr. F. L 687 Ronconi, Giovanni B 177 Roney, H. B 275 Roseubecker, Adolph 443 Rosewald, Julie 201 Rotoli, Augusto 203 Roosevelt, Hilbourue L 337 Root, Br. Geo. F 69 Root, Fred'k W 579 Rowe, Geo. H 575 RudersdorflF, Mme 565 Ruff, Albert E 493 Runcie, Constance F 103 Russell, Ella 197 Russell, Lillian 213 Ryder, Thos. P 109 Ryan, Alice .^ 199 Ryan, Thomas 295 Sanderson, Sibyl 225 Sawyer, Chas. Carroll 71 Sbrignadello, Anton 297 Seeboeck, W. C. E 671 Schneider, Geo 505 Schreiner, H. L 77 Seward, Theo. F 585 Sherwin, Wm. F 393 Sherwood, Wm. H 489 Showalter, A. J 409 Singer, Otto 445 Smith, Bexter 407 Smith, Harry B 389 Smith, Wilson G -. 661 Sing:enberger, Jno. B 279 Springer, Reuben 501 Steinway, Henry, Sr 333 Steinway, Cf. Th 333 Steinway, Wm 333 . Sterling, Antoinette 225 Sternberg. Constantin 151 Stevens, Neally 153 Stewart, N. Coe 597 Sudds, W. F 407 Thomas, Theo 419 Thoms, Wm. M 381 Thursby, Emma 223 Tinney, Chas. E 587 Tomlins, Wm. L 439 Tourj^e, Eben 461 Tracy. J. M 633 Trowbridge, J. E 105 Turner, Alfred B 567 Upton, George P 373 Undemer, John.: 577 Van Cleve, John S 395 Van der Stucken, Frank 693 Van Zandt, Marie 229 Varesi, Elena 565 Warren, A. E 105 Warren, Samuel P 243 Watson, Henry C 379 Webb, Geo. J 93 Wels, Charles 149 Wheeler, Lyman W 191 Whiting, Geo. E 249 Whitney, Myron W 215 Whitney, Samuel B 273 Wilcox, John Henry 241 Wilhelmj, Aug 289 Wild, Harrison M 251 Wilkins, Hervi D 257 Wolfsohn, Carl 143 Work, Henry C 73 Zeckwer, Richard 525 Zeisler,. Fannie Bloomfield 147 Zerrahn, Carl 431 Ziegfeld, Dr. Florence 481 NoTB. — This autograph was -written by Dr. Mason, on his eightieth birthday upon the fly-leaf of the " Pestalozzian Music Teacher," in possession of W. S. R Mathews, of Chicago. A CENTURY OF MUSIC IN AMERICA. CHAPTER I. Psalmody from 1620 to 1789. '. N entering upon a retrospect of the musical life and effort of Am- erica during the past century, we desire briefly to advert to some special reasons which entitle a work of this kind to an honorable place upon the bookshelves of American libraries. As is sufficiently indicated in the preceding introductory, it is not, on general principles, just to the labors and the genius of the present, and the brief past which attaches to it, that posterity should enjoy the bountiful fruit of their skill and industry, without opportunity of knowing and duly honor- ing those who have laid well the broad foundation of a national temple of the musical art. We desire more especially to call the attention of the general or secular reader — who, though alien thereto, recognizes and en- joys the beauties and blessings of the divine realm of harmony — to the nature and extent of the people's debt to those who are the ministers, the teachers and exemplars of music and song. In none of the sciences, arts and industries do we find one which can at all compare with music in the extent, universality, directness or beauty of the beneficence with which it dowers the human family. In none other is there the same wide and un- restricted enjoyment, free and priceless to all, of such treasures as those with which melody so abundantly enriches. No other comes so near to the hearts, the homes and the happiness of the millions as this. Nor are there, among those who direct those other instrumentalities of civilization, any who present to the service of the culture and the refinement of their age the same enthusiastic devotion to their art for art's sake, and unselfish zeal that all shall be embraced in the light and radiance of its beauty, as we find among the priests of the gospel of music. The nobility of their work, its all-pervading power for elevation and refinement, which pene- trates and illumines the humblest cottage, and lends majesty to the grandeur of the noblest cathedral; its marvelous grasp and direction ot the highest and most exalted emotions and of the tenderest and holiest sentiments, take men nearer to the peace and happiness of heaven than any other agency at the direction of the human will. Yet what other has been so neglected in that kind of honor which places its representa- tive men in enduring eminence upon fame's immortal scroll ? The law, the pulpit and the press, invention and discovery, philanthropy and hero- ism have each and all their multiplied biographers and historians. The priests of music, who come nearer to our lives, and to whom our grati- tude should be more direct aM devout, are alone left to the transient and evanescent reward of passing praise. To what more eloquent task can type — which is our modern universal tongue, speaking the voice of the heart and intellect of the age — be placed, than to that of rescuing these from ingratitude and forgetfulness, and giving them, both for the pres- ent and for posterity, enduring place and honor ? And what more fitting time could be chosen for a work of long-delayed justice, for the formu- lation and promulgation of such a roll of honor as this book sets forth, than this fertile year of our centennial remembrances ? In order to an adequate understanding and appreciation of the work of musical progress for the past century it is necessary to go back to the elements of its history, and to trace the first feeble eflbrts of its hum- blest and earliest pioneers. The thoughtful student will be thus enabled to comprehend and realize the truth, that the musical culture of America to-day is a tree of native growth; that it first struggled through the uncongenial soil of the earliest settlements of New England, amid the most adverse and unsympathetic conditions; that it had its root in the rude and unskillful efibrts of the psalmodists of the Pilgrims; that it grew slowly through the painful and laborious essays of the Puritan pioneers in sacred song, gathering strength, accelerated progress and new resources with each onward step, until it gradually entered upon the new conditions which led up to its present high plane of art endeavor and achievement, and univer- sal cultivation and diffusion. It has been too much the custom of writers upon American music to sneer and cavil at the crudities which, as visible to our more enlightened and educated perception, characterize the work of the pioneers of American music and song, and even in our later days, to refuse with blind and unjust persistence to accord to the genius of American effort that praise and credit which it has justly earned, while they are too ready with even fulsome laudation to assign to sporadic adventurers from abroad — transient seekers after the advantages of lucre rather than the advancement of art — that credit which should be mainly if not altogether awarded to native effort and to those from abroad who have become Americanized — imbued fully with American pride, ambition and ideas — who, while giving us the benefit of their European education, have still been inspired in their art work and aims by the invigorating genius of American institutions. These we include in all our allusions to artists as ' 'American, ' ' in our estimate of what is due to national achieve- ment as compared with that which is essentially and unquestionably for- eign. The principle of justice, as well as an imperative requirement of a proper and intelligent understanding of the musical career of our country, demands that we should regard all those earlier efforts, no matter how rude and unrefined they may now appear, in the light only of the condi- tions in which they were in their day evolved, and which at each step of advancement surrounded, limited and governed the exertions of those who labored in the field of musical cultivation. Thus we may effect the con- trast between present and past, and find abundant reason to rejoice over the m.arvelous advancement which such comparison illustrates, without disparagement of or injustice to those who directed the feeble and uncertain steps of the infancy of the art in our country. The importance, both his- torically and from these reasons, of this earlier history, is admirably sug- gested by the following extract from the preface of George Hood to his "History of Music in New England," in 1846. He says: "All things must have their beginning, and this, though small, is important. We know that our music was mean; but as we hope not to have a low seat among the nations, and as we hope in the future to have a history of the art worth preserving, we would not lose the past, but carefully gather it up and set it with the future, that the contrast may appear the more bright and beautiful. " It is a curious fact that the cultivation of the most refined and poetic of the arts in America should have its origin with the stern and prosaic Pilgrims and Puritans of the early days. And yet it is in that forbidding soil that we have to recognize the root of American musical effort, which has to-day grown to such fair and noble proportions. True, their musical activity, and it is but a formula of words to call it such, was confined to psalmody alone, and it was directed by religious rather than by art impulses ; but it was none the less the origin from which we have to trace the musical history of our country. Indeed, the history of music in America, for nearly two centuries after the landing of the Pilgrims, is simply the story of psalmody in its various periods. . In order to understand the low condition of psalmody, as practiced in the germinating period to which we refer, we must go back to the events which in Europe preceded the exodus of the Pilgrims and the later emi- gration of the Puritans. Metrical psalmody originated with the Reforma- tion, but had made no considerable advance in England up to the time Oi the great revolution which cost Charles I his head, and placed the govern- ment of church and state in the hands of the Puritans. These latter, in their zeal to abolish "popish practices," demolished the organs and destroyed the music in the churches; drove the musicians out of the gal- leries at bayonet's point, and peremptorily dissolved all organized choirs. This vandalism in the name of pure religion was most thoroughly carried out in the rural districts of England, from which the Puritan settlers of New England were mainly recruited, and thus it came about that in the first days of our colonization their church music consisted of the crude version of the psalter made by Henry Ainsworth, of Amsterdam, or that of Stem- hold and Hopkins. All effort or aspiration toward improvement was paralyzed by a creed that regarded music as a frivolous trap of the Evil One, prepared to ensnare the souls of men; and even such sacred music as was authorized for the purpose of worship was only accepted after labored argument by the ministers that the singing of psalms was a divine insti- tution. Secular music of all kinds was sternly interdicted as a menace to the salvation of souls. Such were the conditions that obtained in New England up to the year 1640. Just previous to this time, a growing realization of the barbarous offenses against the sense of harmony which the prevailing system of psalmody contained, or rather, of which it was wholly composed, led to the appointment of a committee of ministers, namely: Rev. Thos. Weld, Rev. John Eliot and Rev. Richard Mather, to make a new version of the psalms for use in the worship of praise. The result of the work thus set on foot led to the formulation of the ' ' Bay Psalm Book," printed and published in 1640, being the second book ever printed in British America. This version had a second edition in 1647, and a third, in which it was revised and greatly refined, by Rev. Henry Dunster and Richard I^yon, in 1650. The Bay Psalm Book came slowly into use, the prejudice against it as an unchristian, or at least unwarranted, innovation being difficult of eradication, while, as the old version had come to be regarded as holy, and as a divine and unchangeable ordinance, the effort to supplant it was regarded by many as sacrilegious. In 1647 Rev. John Cotton, a divine who had been a Fellow and Tutor in Emanuel Col- lege, Cambridge University, where he was noted for his ability and learning, — of whom Palfrey says : "In Boston his professional labors had been of an astonishing amount, and the sanctity and mingled force and amiableness of his character had won for him a vast influence, " — in order to prepare the way for the more general use of the improved version of the Bay Psalm Book, published a treatise entitled : ' ' Singing of Psalms as a Gospel Ordinance." In this he said: "Wee lay downe this conclusion for a Doctrine of Truth. That singing of Psalms with a lively voyce is an holy Duty of God's worship now in the dayes of the New Testament. When we say, singing with lively voyce, we suppose none will so farre misconstrue us as to thinke wee exclude singing with the heart ; for God is a Spirit : and to worship him with the voyce without the spirit were but lip-labour, which (being rested in) is but lost labour (Isa. xxix. 13), or at most profiteth but little (Tim, iv. 8). But this wee say. As wee are to make melody in our hearts, so in our voyces also. In opposition to this there be some Anti-psalmists who doe not acknowledge any sing- ing at all with the voyce in the New Testament, but onely spirituall songs of joy and comfort of the heart in the word of Christ." At this time, and for many years after, tlie prejudice of the Puritans against secular music, and particularly against all instruments of music, as unchristian, was so deeply rooted as to preclude any attempt whatever in this direction, but in this treatise we find in John Cotton a spirit in advance of the bigotry of his time, and the first seed sown from which sprung, later on, the first real musical effort of America. On this point he wrote: "We also grant that any private Christian who hath a gifte to frame a spirituall song may both frame it and sing it privately for his own private comfort and remem- brance of some speciall benefit or deliverance. Nor doe we forbid the use of any in- strument therewithall : so that attention to the instrument does not divert the heart from attention to the matter of song." Although there was no immediate result from this (for the age) broad-minded, enlightened and liberal pronouncement, we may fairly assume that many who possessed a natural appreciation of harmony, and whose instincts urged them toward refinement, freely accepted these views as lifting the ban from musical cultivation in private life, and doubtless, though we have no record to establish it, many took advantage of and acted upon this suggestion of Mr. Cotton's treatise. It is a fact worthy of note that while these prejudices, which operated so banefuUy upon the interest of musical progress, were not at first shared by the Pilgrims who preceded the Puritans, and whose continental resi- dence had given them greater liberality, as well as a culture in psalmody far superior to that of the English Puritans, the adverse conditions which they had to confront in the days of their early settlement drove them into retrogression as surely and fatally as did the bigotry of Puritan prejudice in their case. It is inferred that on their first arrival they had a fair degree of the musical culture of their day. Winslow, one of the " May- flower ' ' company, writes : "We refreshed ourselves with singing of Psalms, making joyful melody in our hearts, as well as with the voice, there being many of our congregation very expert in music, and, indeed, it was the sweetest music that mine ears ever heard." The hard conditions which ensued, the loss of one-half the company in the dreadful winter of 1621, the constant struggle for the bare maintenance of life for some years, the absence of printed music, and the loss of the skill in singing which the fathers brought over, soon relegated to oblivion all traces of the better knowledge of psalmody. Hence they were in a short time, by dire necessities, driven to the same plane with re- gard to music as that occupied by the Puritans from choice and prejudice. In 1 66 1 Rev. John Eliot translated the psalms into Indian verse, en- titled : Wame Ketoohomae Uketoohomaongash. The following specimen, which we extract from Hood's "History of Music in New England," is given as a musical fact of more curious than important interest : A PSALM OP DAVID. (Psalm cxviii.) Waeenomok Maniz wame ■wutohhmoneunk Waeenomokkenaau wame mifBnninnuog wonk Ummonaneteaonk miffi eu kuhhogkanonut Wunnomwaonk God michemohten watenomook Maniz. The progress of the Bay Psalm Book in the favor of the churches was slow. It was only in 1667 that it was used in the churches of Salem and Ipswich, and it was 1682 before it was adopted by Plymouth. From 1640 for fifty years little was done to advance the cause of music. The Bay Psalm Book was the only work used in the churches of New England, and it passed through some thirty editions, the last of which was printed in Boston in 1744. The first music was printed in Boston in 1 690, when the great scar- city of tunes for use in the churches led to the printing of appended music. The earliest specimen extant was printed in 1698 at Boston. This was very crude and full of errors, which in our day seem ridiculous even to the tyro. The music was without bars, except to divide the lines. Under each note was placed the initial of a syllable denoting the tone to be ap- plied in singing by note, with other directions for singing. The tunes for singing embraced in it are exceedingly limited, and comprised the fol- lowing, which is the full list : ' ' I^itchfield, " " I^ow Dutch " or " Canter- bury," "York," "Windsor," "Cambridge," " St. David's," "Martyrs," "Hackney" or "St. Mary's," and the looth, 115th, 119th and 148th psalm tunes. The tunes are printed in two parts only, and are ac^ companied by ^ ' SoMB Few Directions for ordering the voice in setting these following tunes of the Psalms : " First, Observe how many notes compass the tune is. Next, the place of your first note ; and how many notes above and below that ; so as you may begin the tune of your first note, as the rest may be sung in the compass of your and the people's voices without squeaking above or grumbling below. For the better understanding of which take notice of these following directions. "Of the eight short tunes used to four lines only, whose measure is to eight syllables on the first line, and six on the next, and may be sung to any Psalm of that measure. Oxford Tune 1 ^r- t. i Wtchfield Tune To Psalms I.0W Dutch Tune F°°=°l^'°'^y- York Tune \ To Psalms of Prayer Windsor Tune J Confession and Funerals. "Cambridge Short Tunes to peculiar Psas.— as 21, 2i, 33, 70, 8G first metre, 114, 132. " These six short tunes in the tuning the first note, will bear a cheerful high pitch in regard to their whole compass from the lowest note ; the highest is not above five or six notes. St. David's Tune \ To Psalms of Praise Martyr's Tune J and Thanksgiving. " These two tunes are eight notes compass above the first note, and therefore begin the first note low. "Of the five long tunes following : "Hackney Tune — 119 Psa. Tune, second Meti-e. — These two tunes begin your first note low, for the compass is nine notes, and eight above the first note of the tune. " 100 Psa. Tune. — ^This one tune begin your note indifferent high, in regard you are to fall four notes lower than your first pitch note. " 115 Psa. Tune and 148 Psa. Tune. — These two tunes begin your first note low, in regard the tune ascends eight notes above it." This will fairly indicate the extent and nature of musical knowledge at this period. They had no instruments to serve as a guide to time or modulation. There is nothing in the letters which constituted the musical notation to indicate any knowledge of the degree of pitch. Yet they were undoubtedly the best instructions that could be given by the most proficient in such musical knowledge as was at that time available. In 1693 the Stemhold and Hopkins version was still in use, and, indeed, though never a general favorite, continued to be used in some churches till the time of the Revolution. This version, though it lacked adequate conformity to the original to make it a faithful rendering, , was still, as correctly estimated by Hood, superior to either the New England version (Bay Psalm Book) or Ainsworth, in smoothness and rhythm. After entering upon the eighteenth century, there is visible, a per- ceptible restlessness and dissatisfaction on the part of the more educated classes with the existing order of musical affairs; and yet its fruition was a slow and laborious work. In 17 12 Rev. Mr. Tufts, pastor of Newbury, published the first practical musical instruction book printed in America. It was entitled : "A very plain and easy Introduction to the Art of Singing Psalm Tunes : With the Cantus or Trebles of Twenty-eight Psalm Tunes, contrived in such a manner, as that the learner may attain the skill of singing them with the greatest ease and speed imaginable. By Rev. John Tufts. Price 6d, or 5s the duz. ' ' In 1 7 14 (we accept the date assigned by Hood) Mr. Tufts published a second book, which, reached its nth edition in 1744, which was entitled : ' ' An Introduction to the Singing of Psalm Tunes in a Plain and Easy Method, with a Collection of Tunes in three Parts. ' ' This was designed to be bound with the Bay Psalm Book. The music was written in three parts only, and was purely choral — the only style at that day used. Out of thirty-seven tunes all but one were in the common metre. In 1718 Dr. Cotton Mather published his " Psalterium Americanum," described in the title page as ' ' The Book of Psalms in a translation exactly conformed unto the original ; but all in blank verse. Fitted unto the tunes commonly used in the Church." Each psalm is accompanied by illustrations, as stated, ' ' To assist the reader in coming at the vast Profit and Pleasure which is to be found in this rare part of the Christian Asceticks every Psalm is here satellited with Illustrations, which are not fetched from the Vulgar Annotations (whereof, still. Reader, continue thy esteem and thy improvement). But are the more Fine, Deep and Uncovtvion Thoughts, which, in the course of long Reading and Thinking, have been brought in the way of the Collection. They are the Golden Keys to Im- mense Treasures of Truth. ' ' In the introduction to this book the author says : ' ' For the JVew Translation of the Psalms, which is here endeavored, an Appeal may be with much assurance made, unto all that are masters of the Hebrew Tongue, whether it be not much more agreeable to the Original than the Old one, or to any that has yet been offered unto the World. It keeps close to the Original, and, even when a word of supply is introduced, it is usually a needless compliment unto the care of correctness to distinguish it, as we have done with an Italic-Character, for it is really the intention and emphasis of the Original. Yea, the just Laws of Translation had not been at all violated, if a much greater Liberty had been taken, for the beating out of the Golden and Massy Hebrew into a more extended Eng- lish:' In common with nearly all the metrical compositions of that day this work was arranged in common metre, alternate lines of eight and six syllables. In some few instances long metre was used, and this was provided for by the interjection of two additional syllables in the second and fourth lines, in black letters, so that they Could be sung without alter- ing the sense, and thus giving the option of long or common metre tunes as might be preferred. An example of this is given in the following po- tion of the 1 1 6th psalm. Psalm cxvi. 1. I'm full of love: It is because || [of tbiS] that the ETERNAL God 11 hath hearkened dow unto my voice ; || [an& batb] my supplications heard. 2. Because that he hath unto me || [fttnOlS] inclined his gracious ear ; |l therefore upon him I will call || while I have any days [of Kfc]. 3. The cords of Death surrounded me || and me the [ftreaOf Ul] pains of Hell || found out ; a sad anxiety || I found and sighing [beavg] grief. 4. But I did call upon the Name || of the ETERNAL God [for tbi6] ; 1| I pray thee, O ETERNAL God, || Deliver now my [slnftlng] soul. 5. Most full of tender clemency || [forevet] is th' ETERNAL God ; || Righteous is he too ; and our God || is most compassionate [wttbal.] 6. The simple ones th' ETERNAL God |1 takes into [bfS IlinO] custody ; || I ■was brought miserably low, || and then [(t Wa0] God helped me. 7. O now my Soul, do thou return || where 'tis [abOVe] thou findest rest ; || Because that the ETERNAL God || hath well [enOUgb] rewarded thee. 8. Because thou has from threatening death || [safelg] delivered my soul ; || tny eye from tear ; my foot from fall || by a thrust given [utltO] me. This work was divided into five parts, the first extending to the forty-second psalm ; the second to the seventy-third ; the third to the ninetieth ; the fourth to the one hundred and seventh; and the fifth to the €nd. It was in noble contrast to the absurdities that characterized other versions, and yet it does not appear ever to have been used, owing no doubt in part to the fact of its being written in blank verse, and partly tecause the work had no music appended to it. Shortly previous to the year 1720, it seems to be evident that the majority of the ministers had become convinced of the desirability, both arising from an appreciation of propriety in musical worship, and regard for its highest value, of a reform in the method, or want of method, in the singing of psalms in the church. Militating against this spirit was an obsti- nate and bigoted resistance on the part of the congregations to all inno- vation upon the old traditional way. To combat these objections the more learned and liberally enlightened divines, actuated by a desire for orderly and seemly song-worship, and urged by a natural and innate artistic sensi- bility, published many ingenious treatises to prove that the better way was authorized by divine injunction and sanctioned by the most ancient prac- tice. For a long period it seemed that the more reasonable and convincing the "arguments" oifered by the clergy, the more bitter, bigoted and unreasoning became the "objections" of those who opposed the reform. Among the writers of essays in behalf of the "new method " (z. e., that introduced by Messrs. Tufts and Walter) may be mentioned the Revs. Symmes, Eliot, Edwards, Mather, Wise and Walter, whose devotion to the cause of improved music endured till it ultimately was rewarded with success. The manner in which objections were formulated may be gathered from the following propositions in "Cases of Conscience," a pamphlet published by a number of clergymen in 1723, and which was designed to satisfy and remove the scruples of those who were conscien- tiously opposed to the musical reform. The following are selected from the propositions : "Whether do you believe that singing Psalms, Hymns and Sacred Songs is an external part of Divine Worship, to be observed in and by the assembly ot troa & people on the Lord's Day as well as on other occasional meetings of the Samts, lor the worshipping of God ? . "Whether do you believe that singing in the worship of God ought to be clone skillfully? . . "Whether do you believe that skillfulness in singing may ordinarily be gamed by the use of outward means by the blessing of God ? ■ u 1 "'Is it possible for fathers of forty years old and upwards to learn to sing by rule. And ought they at this age to attempt to learn ? " Do you believe that it is lawful and laudable for us to change the customary way of singing the Psalms? -u- i. • "Whether those who purposely sing a tune different from that which is appointed by the pastor, or elder, to be sung, are not guilty of acting disorderly, and of taking God's name in vain also, by disturbing the order of the sanctuary ? " Dou,btless the real grievance of the objectors arose from the fact that those of ' ' forty years and upward ' ' were to a large extent debarred by the new way from participating in the worship of praise, and thus considered the reform as a proposal to shut them out from one of the ordinances of worship. Then, excuses were formulated of more serious nature, on the surface, and these are given lucidly by Rev. Thomas Symmes, as follows : " 1. That it is a new way, an unknown tongue, "2. That it is not so melodious as the usual way. "3. That there are too many tunes. We shall never have done learning. "4. That the practice of it gives disturbance; rails and exasperates men's spirits ; grieves sundry people, and causes them to behave themselves indecently and disorderly. "5.' That it is Quakerish and Popish, and introductive of instrumental music. "6. That the names given to the notes are bawdy, yea blasphemous. "7. That it is a needless way, since the good Fathers that were strangers to it are got to heaven without it." Again, objections were made against the persons who were the pro- moters, admirers and practitioners of this ' ' new way, ' ' and these are summed up by Mr. Symmes, under these headings : 1. It is said to be a contrivance to get money. 2. They spend too much time about learning. They tarry out a nights disor- derly, and family religion is neglected by the means. 3. They are a company of young upstarts that fall in this way and set it for- ward, and some of them are lewd and loose persons. This gives us a clear insight into the nature of the opposition to the reform, and also' a comprehension of the seriousness of these objections to the older members of the congregations. Mr. Symmes combats these objections in an able and convincing way, shrewdly taking the ground best calculated to appeal to those advocates of the "old method," that ' ' what is now called the usual way, in opposition to singing by note, is but a defective imitation of the regular way.'''' He says : " Your usual way of singing is but of yesterday, an upstart novelty, a deviation from the regular, which is the only scriptural good old way of singing ; much older than our fathers, or our fathers' grandfathers. The beauty and harmony of singing consists very much in a just timing and tuning the notes ; every singer keeping the exact pitch the tune is set in, according to the part he sings. Now you may remember that in our congregation we used frequentl)' to have some people singing a note or two after the rest had done, and 3-ou commonly strike the notes, not together, but one after another, one being half way through the second note before his neighbor has done with the first. ' ' One of the most effective and impor- tant of these publications was that by Rev. John Eliot, which is described on the title page as "A Brief Discourse Concerning Regular Singing, Shewing from the Scriptures the Necessity and Incumbency Thereof in the Worship of God. Boston, N. England. Printed by B. Green, Jun., for John Eliot, at his shop at the South End of the Town, 1725." From this admirable discourse, written in the most persuasive, pacificatorj-, con- ciliatory and convincing manner, we feel constrained to extract the fol- lowing: ' ' That musick, which in itself is concord, harmony, melody, sweetness, charm- ing even to irrational creatures ; cheers the spirits of men, and tends to raise them in devotion, and in the praises of God, and was instituted by God as a means of divine wor- ship, which is a terror to evil spirits, the delight of holy Angels, and will be everlast- ing employment of these Seraphim and the glorified Saints should be an occasion of strife, debate, discord, contention, quarreling and all manner of disorder ; that men, the only creatures in the lower creation that are accomplished with reason and apt organs to praise God should improve them so to dishonour him ; and that in- stead of an angelick temper in man, which they are capable of, and is required of them, and especially in this matter ; there should be a cyuick disposition and an im- provement of such noble organ to bark, snarl at, and bite one another ; that instead of one heart and one voice in the praises of our Glorious Creator and most bountiful Benefactor ; there should be only wrangle, discord and sluring and reviling one another, etc. This is and shall be a lamentation." From the essay of Rev. Mr. Symmes, in 1723, in which the objectors to improvement in the method of singing, complain that the music re- formers ' ' spend too much time in learning, they tarry out a nights dis- orderly," it may be inferred that singing classes had at that time been established, and the probable date of their first formation may be taken to be 1720. Rev. Thomas Symmes proved himself an earnest advocate of singing schools. From a paper of his on this subject, we take the follow- ing ; "Would it not greatly tend to promote singing of i)salms if singing schools were promoted ? Would not this be conforming to the scripture pattern^ Have we not as much need of them as God's people of old ? Have we any reason to expect to be inspired with the gift of singing, any more than of reading? Or to attain it with- out suitable means, any more than they of old, when miracles, inspirations, etc., were common ? Where would be the difficulty or what the disadvantage, if people who want skill in singing would procure a skillful person to instruct them, and meet two or three evenings in the week, from five or six to eight, and spend the time in learn- ing to sing? * * * \^ov\&.\\.-ao'i'be.-^rfyp^rior school masters in country parishes to teach their scholars? * * * Would it not be very servisible in ministers to encourage their people to learn to sing? Are they not under some obligation by •virtue of their office to do so ? " The means at the command of the singing master of that day were not only limited, but of very meagre and unsatisfactory character. In addition to the books of Rev. Mr. Tufts, to which reference has been made, they had a new singing book in 1721, by Rev. Thomas Walter, of Roxbury, Mass. , entitled : ' ' The Grounds of Music Explained. Or an Introduction to the Art of Singing by Note, Fitted to the Meanest Capac- ity. ' ' This was the first music printed with bars in America, and was probably adapted from Playford's " Breefe Introduction to the Skill of Musick" (1654), and "Whole Booke of Psalms" (1677), published some fifty years previously in England. Walter, in his introduction to his " Brief and very plain Instructions for Singing by Note," says : ' ' Musick is the art of Modulating Sounds, either with the Voice, or with an Instrument, and as there are Rules for the Management of an instrument, so there are no less for the ordering of the Voice. And the nature itself suggests unto us a Notion of Harmony, and many Men, without any other Tutor, may be able to strike upon a few Notes — tolerably tuneful ; yet this bears no more Proportion to a Tune than the vulgar Hedge Notes of every Rustic does to the Harp of David. * * * Singing is reducible to the Rules of Art ; and he who has made himself Master of a few of these Rules is able at *first Sight to sing Hundreds of New Tunes, which he never saw or heard before ; and this by the bare inspection of the Notes without hearing them from the mouth of the Singer." The following, the first rule of these instructions, will give an idea of the quality of the degree of acquaintance with the science of music with which this apostle of harmony was endowed : " There are in Nature hut seven distinct sounds, every Eighth Note being the same. Thus when a tune is sung by another upon a key too low for the Compass of my Voice, if I will sing with the person, it must be all the Way, eighth notes above him. I naturally sound an Eighth higher. So a Woman naturally sounds eighth Notes above the grum and low sounding Voice of a Man, and it makes no more difference the singing of two Persons upon an Union or a Pitch. So, on the con- trary, when we sing with a Voice too high and shrill for us, we strike very naturally into an Octave or Eighth below. And here let it be observed, that the Height of a Note or the Strength of singing it, are two different Things. Two Notes of equal Height may be sounded with different degrees of Strength, so that one shall be heard much further than the other." In the light of our later and larger knowledge, we may be disposed to smile at this definition of elementary music, but we have to regard it from the point of comparison with that which it succeeded and supplanted, and of the limited opportunities available to those who devoted them- selves to the elucidation of a practical system for the diffusion of skill in. singing. With a more appreciative sense of what is justly due to these pioneers in the cause of harmony, we turn to the results which directly followed their efforts. They not only gave an impulse and direction to musical cultivation, but enabled the recently established ' ' singing socie- ties " to acquire an intelligent knowledge and beneficial practice of part singing. It opened up to the musical amateurs of the day the higher beauties of harmony, and led them into a new world of exquisite enjoy- ment, the participation of which lent form and direction to the inherent but hitherto dormant artistic sensibility of all the more refined and cultured of the day. It supplied to America the first breath of art life and aspiration, feeble but true, and ushered in the dawn of a brighter and better day, whose hopeful and -inspiring radiance soon overspread the whole eastern sky. It has been remarked that while in this rugged soil, after long delay and much fruitless effort, against adverse conditions, it was only at this time that true musical culture succeeded in taking a firm root, in Europe this was the period of the most sublime achievement. Monteverde was originating opera in Italy; Purcell was restoring the grandeur of a lost art in church music in England, and Haydn and Mozart were illuminating the page of musical history in Germany; while Handel and Bach had already accomplished their work for art and for the ages. While this is true, the fair student of history, and specially of musical history on this continent, is bound to consider in its connection, that the pioneers of music in America had none of those vast and important accumulations of musical wealth and tradition upon which to found their labors, as had the great masters of contemporary period in the old world. In fact, they had no past. All musical effort proceeded ab initio. The work accomplished from 1620 to 1750 was, in effect and in fact, the same as had occupied centuries of development in Europe. There were no wealthy classes to foster and encourage art. They had access to no granary of musical knowledge in which was stored the accumulation of human ■ endeavor since the beginning of civilization. They had no Mozart, starving in a garret while creating celestial melody to delight all posterity. Such progress as they made they had to originate, almost as if the old world had never been. Yet progress once safely launched in the right direction was there- after without retrogression. The singing classes performed not only the useful work of training voices for the proper interpretation of such music as was at their command, but they formed and cultivated musical taste — the desire for higher things in the art, which had fruition later on in a further development of the art of harmony. In 1742 the first organ ever built in America was constructed in Boston by Edward Bromfield. An intuitive perception of the fact that poetry in the matter was a necessary accompaniment to melody in the Psalms and sacred songs grew up, and in 1752 Rev. Mr. Barnard intro- duced rhyme into a translation of the psalms, adding a few hymns. He entitled his work, " A new version of the Psalms of David ; fitted to the tunes used in the churches ; with several hymns out of the Old and New Testaments. By John Barnard, pastor of a church in Marblehead." This work was supplemented by sixteen pages of creditably engraved music with bars, comprising fifty different tunes, of choral style ; also forty-eight tunes in three parts, well engraved, with bars ; the musical appendix being preceded by one page of elementary instruction. In his preface he says : "Though the New England version of the Psalms of David, in metre, is gen- erally very good, and few of the same age mav be compared with it, yet the flux of languages has rendered several phrases in it obsolete, and the mode of expression in various places less acceptable ; for which reason an amendment or new version has been long and greatly desired by the most judicious amongst us." "Alter waiting long for the performance of some more masterly pen, and Upon repeated desires, I have ventured to employ all the spare time of my advanced age (this day, through the forbearance of God, completing my seventieth year) in com- posing a new version suited to the tunes used in our churches, which by Divine assistance is now finished." The use of this work does not, however, appear to have extended beyond Mr. Barnard's own congregation. Rev. Thomas Prince, in 1758, revised the Bay Psalm Book, and published his work with the following title : " The Psalms, Hymns, and Spiritual Songs of the Old and New Testaments faithfully translated into English metre. Being the New England Psalm Book revised and improved by an endeavor after a yet nearer approach to the Inspired Original, as well as to the rules of Poetry. With an addition of fifty other Hymns on the most important subject of Christianity. With their titles placed in order, from the fall of Angels and Man, to Heaven after the general Judgment." These continued to be those most generally used till gradually supplanted by those of Dr. Watts, a second edition of the book being published in 1773. In 1761 was published a book bearing the title : ' ' Urania, or a choice collection of Psalm Tunes, Anthems and Hymns, from the most approved authors, with some entirely new. In two, three and four parts. The whole peculiarly adapted to the use of churches and private families, to which are prefaced the plainest and most necessary Rules of Psalmody. By James I^yons, A. B., Philadelphia." It was handsomely printed, contained twelve pages of elementary instructions, and about two hun- dred pages of music, ninety of which were devoted to anthems. It con- tained poor attempts at fuguing and imitation, and evinced in many points the ignorance of the writer of some of the fundamental rules of harmony. It was dedicated "To the clergy of every denomination in America." With all its imperfections, however, it is to be taken as a con- vincing evidence of the upward tendency of musical efibrt. When the Puritans first came to this country it was their custom to sing without ' ' reading the line, ' ' but on the introduction of the Bay Psalm Book this latter practice came in and gradually became general. Plymouth Church adopted it in 1681, and in 1664 the Westminster Assembly recommended to the churches that were not supplied with books the reading of the psalms line by line, so that all might follow the verbiage of the text in singing. This, however, though intended only to meet an emergency for the poor, became adopted and recognized as a gen- eral rule, rendering the worship of praise by singing grotesque and absurd. By 1750 it had come to be the almost universal practice, though the diffusion of printed psalm books rendered it without the slightest intelli- gent excuse. Rev. Dr. Watts, in the preface to an early edition of his psalms and hymns, was the first to protest against the derangement -created by this practice, and in the endeavor which followed, by the more intelligent and progressive element, to remedy the evil, there arose a virulent and bitter controversy, which continued till after the war of the revolution, the practice being only finally extinguished when the choir system prevailed, when the " lining out " method became no longer practicable. Here again the cause of music owed to the enlightened efforts of the Puritan ministers the removal of a stumbling block that stood in the way of advancement in sacred music as performed in the churches ; for no matter how skillful the singers might become in their classes, and at private gatherings, it was manifestly impossible that effective rendering could be had while a break or pause in the music was interjected to give time for the "reading out of the line." Controversy on this point, in which the ground taken by the objectors was the same as that of the former diflBculty over the ' ' new method, ' ' that of old usage, was only ended when choirs in the churches became the universal rule. Meantime, in 1741, Dr. Franklin had published at Philadelphia an edition of Dr. Watt's hymns, the first which went into general use in America, and about the same time an edition of Tate and Brady's " Book of Psalms in Metre ' ' was published in the colonies, and it was from this work that the psalms used in the ' ' Protestant Episcopal Church in the United States of America" were taken. In 1753 William Tuckey, a schoolmaster of New York, taught singing to the children of his district. He had been %'icar, or superintendent of singing, of the Cathedral Church of Bristol, England, and had some musical acquirement. He composed the anthem "Iviverpool" used in Eyons' collection, and in 1766 was paid by the trustees of Trinity Church ;^i5 for performing the music for the opening of St. Paul's Church in New York. From such facts we gather that the popular appreciation of music was on the increase. In 1764 appeared a new book of church music, entitled "A collection of the best Psalm Tunes, in two, three and four parts ; from the most approved authors, fitted to all measures, and approved by the best masters in Boston, New England ; the greater part of them never before printed in America. Engraved by Paul Revere and sold by him and Jos. Flagg." This was a book of some eighty pages, engraved with very good skill, and printed on paper manufactured in the colonies, of which fact Josiah Flagg says that he hopes that ' ' it will not diminish the value of the work in the estimation of any, but may in some degree, recommend it. ' ' This collection embraced one hundred and sixteen tunes and two anthems. In the same year Daniel Bailey, of Newburyport, Mass. , published ' 'A new and com- plete Introduction to the Grounds and Rules of Music, in two books." This book met with much success, and in 1769 Bailey published a new collection called "The American Harmony." This collection was pub- lished, in two volumes, the second appearing in 1771. The full title of this publication was : The American Harmony : or Royal Melody Cotnplete. In two volumes ; Vol. I. By William Tansur, Printed and sold by Daniel Bayley, Newbury Port, 1774. Vol. II. The American Harmony, or Universal Psalmodist. By A. Williams, Teacher of Psalmody in London. Printed and sold by Daniel Bayley, Newbury Port, Jan. 13, 1774. Each volume contained 96 pages. The tunes were arranged in three parts, and the first volume is intro- duced by "A new and correct Introduction to the Grounds of Musick, Rudimental, Practical and Technical." In the preface to the second volume Bailey said : "I take this opportunity to return my thanks to my Friends and Customers for their kind acceptance of my Publications of Musick, which has far exceeded my expectations. * * * j have also' added sundry Hymns and Anthem Tunes, from the latest and most cele- brated authors." This work contains some music which, though uniden- tified, is believed by competent critics, to be of American production, probably contributed by Flagg and Billings. These earlier musical works were generally plentifully marred by errors, due to inexperience in the art of musical printing and to the lack of qualified assistance in the proof reading. On the whole, however, they were very creditable to the time to which they belonged, and the publishers chose the part of wisdom when they preferred to risk an occasional error to the chances of worse confounding confusion by attempting a work of correction for which they realized their incompetence. The extensive demand for these works proves the rapid growth of general musical cultivation in the only field open at that time, while the diversity of characteristics embraced in the books of Lyon, Flagg and Bailey's collections, indicates an advance beyond the old limitations of the New England Psalmody. Bailey ' s last book, above mentioned, shows that contrapuntal music was beginning to be cultivated as it contains ' ' fuguing choruses ' ' and canons from ' 'two in one to seven parts in one. ' ' The English anthem, with its embellishments of fioriture, came into favor, and these, with the solos and duets introduced in the anthems, indicate a great advance in skill on the part of those who prac- ticed them. In 1773 Josiah Flagg, who with the functions of composer and pub- lisher combined those of performer and concert manager, established a band in Boston of which he was the leader, and with which he gave public concerts in Faneuil Hall, on one of which occasions, according to Moore, there were over fifty performers. This affords another evidence, not only of increasing musical skill, but of an awakened popular appre- ciation of musical culture. In 1774 appeared " The Gentleman and I^adies' Musical Companion; Containing a variety of excellent Anthems, Psalm tunes, &c. , collected from the best Authors ; with a short explanation of the rules of music. The whole corrected and rendered plain. By John Stickney. 1774. Printed and sold by Daniel Bayley, Newbury Port, and by most book- sellers in New England. ' ' The two following books made their appearance in 1778 : ' ' The Singing Master' s Assistant ; or Key to Practical Music. Being an abridgment from the New England Psalm Singer, together with several other tunes never before published. Boston : Draper and Folsom. En- graved by Benjamin Pierpont. June, 1778." One hundred and four pages. " The Northampton Collection. ByEliasMann. Nov. 3, 1778." During this period another struggle was going on between the pre- judices of the sticklers for old traditions and the progress of those who were endeavoring to gain for church music the benefit of the improved methods now very generally practiced outside the churches, resembling in all its features those which had preceded it with regard to the ' ' usual way" of singing and the " lining out " of the psalms. The adoption of the choir system did not become universal till 1790, and the course of its gradual progress is best illustrated by a few extracts from historical rec- ords. Felt's History of Ipswich has the following: " 1753. The seats of the choir were designated by the First Parish in Ipswich, being ' two back on each side of the front alley." "Similar provision was made at the Hamlet, now Hamilton, in 1764, and at Chebaco in 1788. The choir of the First Parish began to sit in the gallery in 1 78 1 . This alteration was soon imitated in other parishes. ' ' "Ipswich," says Hood, in his History of Music in New England, ' ' is one of the oldest churches away from the seaboard, and, though famed for its singers, the above notes render it almost certain that they had no choir at that time ; but within five j^ars after this they had an eflScient choir, sitting in the front gallery, the place assigned." In the History of Rowley are to be found the following data : " 1765. The parish voted that those who had learned the art of sing- ing may have liberty to sit in the front gallery. They did not take the liberty (objecting tb singing after the clerk's reading)." " 1780. The parish requested 'Jonathan Chaplin, Jr., and Lieutenant Spafford to assist Deacon Spafford in Raising the tune in the Meeting house." 1785. The parish desire the singers, both male and female, to sit in the gallery, and will allow them to sing once upon each Lord's day with- out reading by the Deacons. ' ' The History of Worcester gives an interesting account of the final scene which ensued on the abolition of the ' ' lining out ' ' system, and the introduction of the choir. On Aug. 5, 1779, it was voted, "That the singers sit in the front seats of the gallery, and that those gentlemen who have hitherto sat in the front seats in said gallery, have a' right to sit in the front and second seat below, and that said singers have said seats ap- propriated to said use. Voted, that said singers be requested to take said seats and carry on the singing in public worship. Voted, that the mode of singing in the congregation here be without reading the psalms line by line to be sung. ' ' The Sabbath after the adoption of these votes, after the hymn had been read by the minister, the aged and venerable Deacon Chamberlain, unwilling to desert the custom of his fathers, rose and read the first line, according to the usual practice. The singers, prepared to carry the alter- ation into effect, proceeded without pausing at the conclusion. The white-haired of&cer of the church, with the full power of his voice, read on till the louder notes of the collected body overpowered the attempt to resist the progress of improvement, and the deacon, deeply mortified at the triumph of musical reformation, seized his hat, and retired from the meeting house in tears. His conduct was censured by the church, and he was for a time deprived of its communion for absenting himself from the public services of the Sabbath." CHAPTER II. WiLWAM Billings, to 1800. 3 f I/THOUGH he had commenced his career as a composer of church 1^ music a few years prior to the war of the revolution, it was not till about 1779 that William Billings had fairly and effectively embarked upon a work that left a decided and beneficial impress upon the course of musical cultivation, and that made his name a landmark in the progress of the art in America. Although the reforms and improvements introduced by Billings were to the critical analyst, who judges of the work accomplished by him in the light of the highest standard of the art of music, crude, unrefined and even vulgar, it in no wise detracts from the credit which is undoubtedly due him as a powerful factor in the formation of a more general musical taste than had heretofore existed, and in the creation of an upward and onward impulse in the course of musical advancement. Prior to his time the career of music had been a level and monotonous plain, unbroken by any impor- tant incident, and uninspired by any ambition to rise above the field to which all effort had been confined. Such advances as had been made were rather in the nature of a reduction of chaotic elements to the condi- tions of order and the possibilities of development. In William Billings we find the first original composer, and the pioneer in a new era of mu- sical progress, whose efforts, such as they were, led up and paved the way to higher achievements later on, and who thus, rightly judged by the results that flowed out of his labors, rather than by the comparison of his work with that of a higher musical world, has conferred upon American musical culture benefits which it is difficult to-day to estimate. Billings, by the nature of his talent, and the bent and limit of his ambition, was naturally fitted to the work of evolution which it was his mission to perform. We are not of those who believe that, in the direction of pro- gress of any of those arts and sciences which tend to the elevation and 25 refinement of mankind, there is anything left to chance ; and the work per- formed by Billings was not of the fortuitous character that might grow out of accidental circumstances, but was in pursuance of the grander de- signs of an overruling power that chooses the instruments of its high pur- poses with a wisdom unerringly justified in ultimate results, however incomprehensible to human judgment. Had Mozart or Bach, with all their sublime and ineffable genius, appeared in the place of Billings, the tanner-miisician, the seeds of their art inspirations from which the world has reaped so glorious a harvest of harmonic beauty, would have perished on a soil too barren for even the faintest development of that higher mu- sical life for which Billings was as one sent to prepare the way. The chief influence which made hini an efiective factor in musical development, lay in the adaptation of his particular talent to the conditions of the day, and in the nature of his musical advances, which were not so violent as to repel confidence ; were not beyond the imperfect musical comprehension of the time ; were practicable, and led by easy and natural steps in the direction of the light. William Billings was born in Boston Oct. 7, 1764, and died in that city Sept. 29, 1800. He learned the trade of tanner, and certainly found no musical inspiration in any of the surroundings of his occupation. Hav- ing a natural liking for music, he became a member of the singing schools of the day, and acquired such knowledge as was then available and was .essential to a successful singer in the church choirs. Being gifted with a natural instinct of harmony, he began to realize that there was something lacking in the music then in use in the churches — something in the stiff and formal tunes that antagonized his instinct of free and spontaneous melody. Accordingly, he began to experiment by imitation of the form of such psalm tunes as best pleased his musical sense, introducing new combinations, and harmonizing them according to his ability, at first, it is said, using the sides of leather, or the walls of the tannery, on which his inspirations were inscribed in chalk. Having been associated with Gov- ernor Samuel Adams and Dr. Pierce, of Brookline, both as a choral singer, and on the platform on concert occasions, he derived much encouragement in the development of his musical ideas from their friendly promptings, and also benefited personally and in his mental habits from contact with those in the higher walks of life. They forwarded his interests as a sing- ing teacher, to which profession he was naturally led, and on ascertaining his faculty for composition, encouraged him in its exercise. Doubtless, too, they were instrumental in inspiring him with confidence in his own powers, which first took shape in the publication, in 1770, of a collection of his musical work, which was entitled : Tlie New England Psalm Singer ; or American Chorister. Containing a num- ber of Psalm tunes, Anthems and Canons. In four and five parts. (Never before published.) Composed by William Billings, a native of Boston, in New England. Matt. xii. 16 : " Out of the mouth of babes and sucklings has thou perfected praise." James V. 13: "Is any merry? I,et him sing psalms." O, praise the I^ord with one consent, And in this grand design, Let Britain and the colonies trnanimously j oin. Boston, New England. Printed by Edes & Gill. It cannot be said that this work was founded upon a high ideal. Such as had some knowledge of the true elements of musical science criti- cised the workmanship of the new composer. Yet the New England Psalm Singer became popular and was successful with the public, mainly because, no doubt, it opened to the singers novelty and variety in musical forms, and a way out of the dry and monotonous routine to which they had heretofore been confined. When we reflect that Billings was en- tirely self-educated ; that he had no higher guide in the rules of composi- tion than such imperfect works as had been published with previous English hymn tune collections, and consider his daring flight in his first publication into the realm of contrapuntal music, we must certainly give him credit for even the approximation of true art form and idea. In the preface to this work, he says he has ' ' read several authors' rules on com- position, ' ' and finding there that ' '■ the strictest of them make some excep- tions," he justifies himself by induction from the law of "poetic license" for a like lapse from the strict rules of music which he had found. He admits that ' ' in some sort of composition there is dry Study required, and Art very requisite. For instance, in a fuge. But even there Art is sub- servient to genius, for Fancy goes first, and strikes out the "Work roughly, and Art comes after and polishes it over. ' ' And ultimately he concludes : ' ' So, in fact, I think it is best for every composer to be his own learner. ' ' Governed by this idea, it was hardly possible that Billings' first work should escape an ample crop of fair reasons for criticism, and it only remains a wonder that it should have embodied so much of melodic charm as it unquestionably did. /Shortly after, a new direction was given to Billings' musical talent. The war of independence broke out in 1775, and continued till 1782, and during a large portion of this period Billings gave himself and his musical talents to patriotic effusion. The revulsion against everything British was complete, and extended to the psalm tunes from the detested source as well as to other matters. As aptly described in 'SAtt&r's Musicin America, " Billings now became the patriotic psalm singer. He paraphrased the psalms and transformed them into political (patriotic) hymns, or took such words as he found fit for the expression of the patriotic spirit, and composed or adapted one of his lively psalm tunes to them." These soon resounded in the choir, the family and the military camp, and in their unbounded and universal popularity expressed and stimulated the patriotic ardor. His tune of Chester, adapted to the words opening — Let tyrants shake their iron rod, And slavery clank her galling chains, We'll fear them not, we'll trust in God ; New England's God forever reigns, was, it is recorded, frequently heard from every fife in the New England ranks, and led the way to indomitable victory on many a hard-fought field. As with the songs later on of the great anti-slavery war, they embodied and expressed the pent-up heart emotions of the people, and are to be rec- ognized essentially as the first American folk-song. It may be said of them, too, that they broke up the springs of true harmonic instinct in the people, hitherto frozen up by the constricting and congealing influence of the old and lifeless conventionalities of the psalmody period, and led not yet to any wide understanding of the functions and human ideal of mu- sical art, but to a growing appreciation of its beauties. They gave also an upward art impulse to the composer himself, and in his second musical collection, The Singing Master's Assistant, we find not only higher approach to true musical theory than had characterized the Nnv England Psalm Singer, but evidence of a realization on the part of Billings that his old idea that Nature and not Art must be the teacher was a fallacious one, and a recognition of the truth that better art results were to be ob- tained by the observance of those " rules of composition," which he had previously undervalued. In his preface (1778) he says : Kind reader, no doubt you remember that about ten years ago I published a book entitled "The New England Psalm Singer," and truly a most masterly per- formance I then thought it to be. * * * Said I :" Thou art my Reuben, my first born, the beginning of my Strength, the Excellency of my Dignity and the Excellency of my Power. " But to my great mortification I soon discovered that it was Reuben in the sequel and Reuben all over ; I have discovered that many pieces were never worth my printing or your inspection. The essential features which distinguished the best of his work — and his most ambitious compositions, anthems, etc. , were his least in musical importance, being scarred with glaring imperfections — were a buoyancy of rhythm, originality, life and melodic fluency, and these characteristics, so radically differing from those of preceding musical effort, must have presented a charm and improvement that appealed strongly to the natural musical instinct of the day. Perhaps his highest merit was his strict originality. He neither borrowed, adapted nor stole the melodies of others. Such as he produced he evolved out of his own musical conscious- ness and the resources with which nature and self-education had gifted him. In other directions, too, he performed important service in giving a first distinct and definite progressive movement to musical development. He introduced the pitch-pipe in church choirs, and took the extremely audacious measure, for that time, of enlisting the viol as an accompani- ment in church music, and was the first to institute public musical concert exhibitions in New England. Conspicuous among the contemporaries of William Billings was Andrew Law, who was born in 1748, at Cheshire, Conn. Law was a man of liberal education, and he became a music teacher while yet in his teens. The violin was his principal instrument, but he also taught the flute. While a less diligent worker than Billings, Andrew Law was a more cul- tivated musician, and no small degree of critical taste is manifested in the several collections of church music which he published. As a composer he enjoyed less popularity than Billings, and but few of his psalm tunes are found in modern collections, though his Archdaie had a place in manj^ volumes of comparatively recent date. He was an excellent type of the musical pedagogue of that epoch, and he worked zealously for many 3'ears as a singing master in the New England states. He devised a new method of musical notation, doing away entirely with the lines of the staff; but the novelty was not received with any high degree of favor. He li^'ed and labored in his native town, and there he died in 1821. Jacob Kimball was another composer of church music whose career extended over about the same period. He was born in 1761 and died in 1826. In 1793 Kimball published a book of psalm tunes called Rural Harmony. He was accredited a talented man and a poet in his way ; but he died in the alms house at Topsfield, Mass. Among other contributors to the church music of the epoch were Oliver Holden, Samuel Holyoke, Daniel Read, Timothy Swan, Jacob French, OUver Shaw ("the blind singer"), Bab- cock, Button, Lee, King and several others, all in some degree disciples and followers of William Billings. To the labors of Billings and his contemporaries American music owes a debt similar in character to that which American civilization owes to the pioneers and discoverers. They were stanch and sturdy New Englanders, and their work reflected their personality. CHAPTER III. Opening of the Nineteenth Century. ^ HE conditions which obtained at the opening of the nineteenth century were not hopeful for the cause of musical advancement. A reaction arose against the florid style of church music, and in the zeal of some for more chaste simplicity in sacred song, much „f, that was elevating and improving in the music of Billings was lost 1 sight of for a time, and without any compensating advantage. The publications of the period opened with an original collection of Sacred Dirges, Hymns and Anthems, in 1800, a book of twenty-eight pages, printed by Isaiah Thomas and E. T. Andrews. In 1801, Timothy Swan published The New England Harmony, a book of one hundred and four pages, containing the well known tunes China, Pownal a.ndi Poland. These tunes are still in vogue, and that they have so long survived their author is some proof of inherent merit. Swan was a native of Suffield, born in 1760, and this appears to have been the only work that he offered to the public. He had the satisfaction of seeing his book attain a wide popu- larity, due to the fact, in part, of its excellence, and in part to its fitting so happily the revulsion of feeling against the Billings method. He died at Northfield, Mass., in 1842. Following this, William Cooper, of Boston, assisted by Jonathan Huntington, a well known music teacher of North- ampton, published, in 1804, The Beauties of Church Music and Sure Guide to the Art of Singi7ig. In 1805, Cushing and Appleton, of Salem, pub- lished The Salem Collection, of 124 pages, with a selection of some seventy tunes by a committee of the congregation of Dr. Prince. In this work reference is made to The Massachusetts Compiler (of Gram, Holyoke and Holden, 1795) as one of the most valuable existing musical publications. In 1805, Jeremiah Ingalls, at Exeter, N. H., published The Christian Harmony; or. Songster' s Companion, containing some two hundred pages. Ingallv'i was a violoncellist of some merit, and a tenor singer, but did not make a luxurious living out of his art, as he had to combine the teaching of singing schools in the evenings with work at his trade of cooper by day. In the same year appeared, by Stephen Jenks, of New Canaan, Conn., The Delights of Harmony; or, Norfolk Compiler, which is described on the title page as ' 'A new collection of psalm tunes, hymns and anthems, with a variety of set pieces from the most approved American and European authors, likewise the necessary rules of Psalmody made easy. The whole particularly designed for the use of singing schools and musical societies in the United States." To this book Mr. Jenks himself contributed twenty-six pieces, the balance of selections being all American. In 1806 Abijah Forbush produced The Psalmodisf s Assistant, including, with a choice collection, 108 original melodies. In 1807, Prof. John Hubbard, of Dartmouth College, founder of the Handel Society of that college, ■delivered an essay on music before the Middlesex Musical Society. Already, it will be observed, musical societies appear to be of recognized importance, as shown by this address, as well as by the title of Stephen Jenks' Delights of Harmony. This lecture evinces a high degree of acquaintance with the aesthetics of music, and in it he bewails the fruit- fulness of ambitious dullness. He says : ' 'Almost every pedant, after learning the eight notes, has commenced author. With a genius sterile as the deserts of Arabia, he has attempted to rival the great masters of music. On the leaden wing of dullness he has attempted to soar into those regions of science never penetrated but by real genius. From such distempered imaginations no regular productions can be expected. The unhappy writers, after torturing every note in the octave, have fallen in oblivion and have generally outlived their insignificant works. ' ' This harsh and wholesale condemnation of native effort was doubtless not with- out some measure of justification, yet it evidently sought the opposite extreme to the fault which it aimed to correct. Again, in August, of the same year, Francis Brown, in an address before the Handel Society of Dartmouth College, assails the prevailing style of church music and explains its shortcomings by saying that ' ' The greater part of those in our country who have undertaken to write music have been ignorant of its nature. Their pieces have little variety and little meaning. * * * As they are written without any meaning they are performed without expression. * * * Another very serious fault in the greater part of American music denominated sacred, is that its- movements and air are calculated rather to provoke levity than to enkindle devotion." Brown claims for American musical talent as much merit as attaches to that of the Europeans, but he says: "Our best musicians, instead of being awakened to exertion by call for splendid talents, have been discouraged by the increasing prevalence of a corrupt taste." He traces this evil to these causes : ist, the passion for novelty ; 2d, the antipathy of the higher classes, more particularly ladies, to taking part in the music of the sanctuary ; 3d, the lack of attention to the character and qualiiications of the instructors. In 1809 Joel Harmon, Jr., at Northampton, Mass., published the Cohcmbia Sacred Minstrel, a book of some eighty pages, containing original melodies in three, four, five and six-part airs. Harmon, a resident of Pawlet, Vt., had undertaken to reform those features of church music which supplanted dignity with levity, and in his preface he states : " It is with pleasure that the author discovers that fuguing music is gen- erally disapproved of by almost every person of correct taste." In 1812 appeared at Boston, published by Brown, Mitchell and Holt, the Templi Carmina; or, Songs of the Temple, afterward called The Bridgewater Collection, a book of 350 pages, which had an extensive popularity, a-id was the most important publication between Billings and Mason. From this work all tunes of American origin were eliminated, all the tunes and anthems being taken from English sources. In 18 13 David Pool and Josiah Holbrook, music teachers of Abington, R. I., published The Americmi and European Harmony; or, Abingto7t Collection of Sacred Music, and in the same year appeared The Village Harmony; or, Youth's Assistant to Sacred Music. This work went through no less than seven- teen editions. It contained 350 pages, and in his " general observations," the author gives these directions : ' ' When a tune is well learnt by note it may be sung by words. Pronounce every word as distinctly as possible. Never sing through the Nose, for that will spoil the voice, make the music disagreeable, and have a disgusting effect upon the hearer." In 1815 the Boston Handel and Haydn Society was organized, being incor- porated in 1816, and in this year gave its of&cial recommendation to The Bridgewater Collection. In the same year Timothy Flint, at Cincinnati, O., published a book of two hundred pages, which he called The Columbian Harmonist. Rev. Samuel Willard, of Greenfield, Mass., in 18 1 8, published the Deerfield Collection of Sacred Music, in which he introduces some quaint and remarkable ideas — such as that three varieties of time can be made to answer all the purposes of nine; that the vowels must not be prolonged, and that the singers should ' ' suspend the time of a movement and shorten the notes wherever a pause would be required in good reading. " F. Goodale, at Hailowell, Me., in 1819, published The Hallowell Collection of Sacred Music, and Jonathan M. Wainwright, A. M. , of Hartford, Conn., issued his work, entitled Cha^its, "adapted to the hymns in the morning and evening service of the Protestant Epis- copal church. ' ' He introduces this work, in the preface, by saying : ' ' Metrical music is but a modem invention, and adds nothing to true devotion and the worship of God; the conceit of versifying the psalms, though it seems in some degree to unite the pecuUar advantages of the anthem and chant, in no less degree excludes the excellences and effects of both; and owes its success not so much to its propriety and fitness for the holy sanctuary as to its gratifying the natural propensity of mankind to be pleased with rhymes and meter." And now the piano-forte began to assert its importance and to demand attention of musical authors. In 1820 E. Riley, New York, published Vocal Melodies, a collection of foreign airs adapted to American words and arranged for the pianoforte, the music being engraved, and published in numbers of eight quarto pages, the whole work embracing twelve numbers. In 1820, also we note the publishing of The Western Minstrel, by A. C. Heinrich, of Kentucky, author of the Dawning of Music. This was a selection of songs and airs for voice and pianoforte, and Heinrich says of it : " If I should be able by this effort to create one single star in the west, no one would be ever more proud than myself to be called an American musician." We have here traced the uneventful course of psalmody up to the time of the appearance of L,owell Mason upon the scene. The same activity had been developed in New York, Boston and Philadelphia in the larger forms of music, but these aspects of progress will be more appro- priately dealt with in another department. It will be recalled that Francis Brown in 1809 struck directly at the root of the difficulty at that time in the way of successful effort and true direction in musical life, when he deplored the absence of incentive through the ' ' prevalence of a corrupt taste. ' ' The truth was really that there was no generally cultivated musical taste at all to inspire genius to its greatest results. The formation of a popular musical sentiment, in the proper sense of the term, as the broad foundation of the musical culture of the future was to be the work of a master spirit who now appeared upon the stage in the person of lyowel Mason. 33 CHAPTER IV. Lowell Mason, Founder of National Music. : N the advancement of every art and every interest it is the unvary- ing experience that from time to time men are raised up by an overruling destiny for the performance of a work wider than any personal ambition of their own and of more far-reaching influence than their brightest dreams might suggest. As William Billings, in ■his time, was the apostle of a musical progress which in its day marked a great advance upon anything that had preceded it, so when the time was ripe for a second era of musical development, we find a new instrument of progress in the person of Lowell Mason, to whose labors and efforts are due a debt of gratitude, on account of the grand results to which they paved the way — results that it is yet, perhaps, too early to estimate, but that are clearly and undeniably perceptible, and are readily acknowledged by the broadest minds to-day in American musical culture. In the general progress of art there are so many figures of interest and importance — so many factors converging toward the common center of a higher stage of evolution, that it is ofttimes difiicult to credit to its due and proper source, the origin or formulation of a higher creed. The pro- gress of one art student merges insensibly into the labors of another, neither constituting in itself a complete factor, but united forming a chain of influences which ultimately, through the special effort of some master mind, have their fruition in the removal of the whole stage of musical activity to a distinctly higher plane. The work of Billings was elaborated and elevated by many contemporary and subsequent workers in the same field of musical cultivation — Law, Hastings, Hooker, Gram, Little, etc. , — but until the time of Lowell Mason there was no master spirit to give new direction, new ambition and new object and aims to the career of musical progress. True, he had been closely preceded in influence by Thomas Hastings, the results of whose services to music as a purely devotional art are not to be underestimated. Hastings was born in Litch- field, Conn., Oct. 15, 1787. He dedicated himself early to music, and at the age of twenty -six became a member of the Handel and Haydn Society, of Utica, N. Y. , the existence of which may be mentioned, en passant, as an evidence of progressing musical taste developing into culture. In con- junction with Warriner, of that place, in 1822, he published .^wMca Sacra, which after became merged with the Springfield Collection. In the same year he published a Dissertation on Musical Taste, which he afterward in 1853 republished in an enlarged form, but with many modifications of his first views upon the aesthetic grounds of music. The scope of Hastings' usefulness was limited by his extreme views regarding the subordination of the objects of music to the purposes of- religious devotion. He made the error of supposing the highest and the broadest function of music to be that of exemplifying gospel teachings, rather than its real mission of beautifying and elevating religion, in common with every other civilizing influence. As he himself stated, he was ' ' not willing to acknowledge excel- lence in any music of this kind [oratorio] any further than it can be made to subserve the great ends of religious edification. ' ' The earnestness and sincerity of a pious nature cut short his true appreciation of the beauty of the art. In short, he failed to realize that music, the highest language of the emotions, cannot be cut down to the pattern of any creed or dogma, but lives to brighten and beautify every aspect, every instinct, every am- bition and every aspiration and sentiment of the nobler elements of human life. Yet the impress of his usefulness was neither narrow nor unim- portant. He did much to promote correct singing of established church music, and supplied new and original work characterized by general cor- rectness of harmony. He published many collections of psalm tunes and books of elementary instruction, and was the author of versification that indicates more than ordinaiy talent in that branch of musico-literary activ- ity. In 1832 he settled in New York, and the balance of his lifetime, which lasted till May 2, 1872, was devoted to the improvement of church choir music according to his light. Dr. lyowell Mason, who entered the sphere of musical activity almost contemporaneously with Hastings, was a man of broader mind and higher literary qualifications. • His ideas of art were not restricted by the limita- tions which characterized the activity of Hastings. His musical ambition was unfettered by the conventional restrictions which bounded and defined the labor of the latter. He introduced himself into musical life with a distinct and well defined goal, and he labored with zeal and intelligence until he had seen effected a complete revolution in the character and ob- jects of all musical activity in America. He was born in Medfield, Mass., Jan. 8, 1792. From childhood he had manifested an intense love for music, and had devoted all his spare time and effort to improving himself according to such opportunities as were available to him. At the age of twenty he found himself filling a clerkship in a banking house in Savan- nah, Ga. Here he lost no opportunity of gratifying his passion for mu- sical advancement, and was fortunate also to meet for the first time a thoroughly qualified instructor, in the person of F. I,. Abel, probably a member of the noted English musical family of that name. Applying his spare hours assiduously to the cultivation of the pursuit to which his pas- sion inclined him, he soon acquired a proficiency that enabled him to enter the field of original composition, and his first work of this kind was em- bodied in the compilation of a collection of church music. The founda- tion of this work he had in the Sacred Melodies of WilHam Gardner, an English composer, who had created many psalm tunes of exquisite melody by incorporating in their construction musical ideas gathered from Haydn and Mozart. With selections from these were included many of young Mason's own productions, and the book, as a whole, in manuscript, was' offered first to a Philadelphia publisher, and afterward to those of Boston, without success. Just at this critical moment, when he was to about return with his unappreciated MSS. to his desk at Savannah, it was fortunately brought to the attention of the Boston Handel and Haydn Society, and after securing the approval of Dr. G. K. Jackson, who added to it some work of his own, it was finallj- published in 1822 as the Boston Handel and Haydn Society Collection of Music. It sprang soon into universal popularity, being at once adopted by the singing schools of New England, and through this means entering into the church choirs, to whom it opened up a higher field of harmonic beauty. Its career of success ran through some seventeen editions. Mason had now found the true sphere of his life labor. He soon removed from Savannah to Boston, and in 1826 we find him prominent and admired, lecturing upon church music and ad- vocating reforms calculated to elevate the musical tone of this important feature of public worship, in which he rendered eminent and lasting service. One of his lectures on this subject was published, and attract- ing the favorable attention of the press, was given a wide field of cir- culation, and his ideas of musical reform were thus disseminated in the most direct and effective manner, reaching out beyond the limit open to an)' individual activity. Mr. Mason's central idea, however, was the promulgation and diffusion of improved musical knowledge by means of the introduction of the study of music in the public schools. His saga- cious mind recognized that the most effective means and the most direct route to the bviilding up of a general musical cultivation based upon sound musical knowledge and appreciation were to be attained by infusing, upon 36 ■CU>6(_ t-^D^_^€l^^^'2-«_ true principles, a taste for musical cultivation into the ediication of the youth of the land. He foresaw that thus would be founded an influence that would in a few brief years afford a broad foundation for higher mu- sical efibrt, upon which the natural and symmetrical growth of the art in America might be left safely to depend. Whatever of purely art ambition he himself may have entertained, he set aside for the accomplishment of a purpose of broader utilit}-, and he thereafter devoted the labor of his life to the preparation of a musical soil in which for all the future there mi*;iit be the germinating influence of true and healthy growth and progress. By 1830 he had formulated his plan in which he had the ready and earnest co-operation of George J. Webb, Hon. Samuel Eliot and other gentlemen, of Boston, who had for some time been interested by him in the importance of cultivating musical talent and awakening musical taste. Just at this juncture an incident occurred which introduced to Mr. Mason a new and powerful element of progress, and gave a somewhat difierent bent from that which he had contemplated, to the course of his efibrt. William C. Woodbridge, an American teacher of high repute as an earnest and success- ful educator, had been compelled to visit Europe for the restoration of health, shattered by too close application to his labors. He made use of the opportunities opened up by this tour to make a study of European educational institutions, with the view of incorporating into the American common school system such elements of improvement as he found useful and practicable. While thus engaged in examining into the Pestalozzian system of education as practiced in Germany and Switzerland, he became especially impressed with the importance of music as an educational factor. In short, he became convinced by his observation there of the practicabil- ity and advantage, upon other than purely musical grounds, of a system, which Dr. Mason had at home already shaped out as the highest means to the end of musical progress. On returning home, Mr. Woodbridge brought over the ideas of Pfeiffer, Kobler and Nageli on this system of singing instruction, and Mr. Mason was soon convinced, on testing the capabilities of the system, that it offered- an admirable means to insure success for his cherished object of incorporating musical instruction in publia school education. It cannot be said that he accepted this innovation upon the methods to which he had been accustomed spontaneously. His nature was not of that kind. While he was progressive he was also intelligently conservative. He had already attained phenomenal success as a teacher. But having thoroughly tested the Pestalozzian system, he became convinced of its great advan- tages, and was thereafter its earnest and enthusiastic promoter. In Janu- ary, 1832, a resolution previously submitted to the primary school board 3^* by G. H. Snelling was adopted : ' ' That one school from each district be selected for the introduction of systematic instruction in vocal music, ' ' etc. This experiment received only a partial trial, and Dr. Mason became convinced that it was necessary for the success of this movement that more potent influences be brought to bear in shaping public opinion as an influence with the educational authorities. He himself organized gratu- itous classes for children, and gave concerts illustrating their proficiency and the practicability of his scheme for primary musical education, the proceeds of which were devoted to public charities. Thus popular interest and sympathy became aroused. He had been since 1827 president of .the Boston Handel and Haydn Society, but as the work, useful and important in its results, of this organization was concentrated upon the development of taste for classical music, he decided to organize a separate society for the promotion of his object. In 1831 he declined re-election in the old society, and in 1832 absolutely refused to serve longer, that he might devote unrestricted effort to the new work. He enlisted the co-operation of George J. Webb and Hon. S. A. Eliot, as above mentioned, and in company with other gentlemen organized the' Boston Academy of Music, in whose name was thereafter carried on the work in which Dr. Mason was in reality the central and pivotal figure. In fact, he was the vital force of the society during the course of its existence for progress and use- fulness. Dr. Mason relinquished a lucrative situation to devote his whole time to the instruction of the classes, and Mr. Webb, at that time organist of St. Paul's church, was secured as assistant professor. The first report of the society says : In order to excite the interest and confidence of the public two juvenile con- certs were given in the spring of 1833 at which the performances were exclusively by the pupils of Mr. Mason. The repetition of both was called for, and the crowded and attentive audiences gave ample evidence of the satisfaction which was felt. In this year the whole number of pupils in charge of the academy exceeded 1,500, Dr. Mason teaching 400 and Mr. Webb 150, in regular classes, and each having supplementary classes. It took time, however, even with the demonstration of results given by frequent public concerts, to remove prejudices, and it was not till September, 1836, that the school board, on petitions from the citizens, authorized the introduction of music in the public schools, and even then the city council failed to make the necessary appropriation. Dr. Mason, however, had practically attained his end. Financial object was nothing to him, and his proposition to teach in one of the schools for one year, free of charge, was accepted, and he not only did this, but furnished his pupils with the necessary books and materials at his own expense. The result was a report of the committee on music, in August, 1838, which testified to the entire success of the experiment, and said : ' ' The committee will add, on the authority of the masters of the Hawes school, that the scholars are further advanced in their other studies at the end of this than of any other school year." As a result, now seven years after the enterprise was first taken in hand by Dr. Mason, of his unselfish and generous labors, a work was accomplished whose influence has ever since been felt, and continues to expand in the sphere of its beneficent operation, throughout the whole United States. In the last year mentioned music was formally adopted in Boston as a public study. Dr. Mason was placed in charge of the direction of the work, and the school committee in their report of 1839 justly say : "It may be regarded as the Magna Charta of muscal education in America. ' ' Thus was founded a factor in musical development which not only endures, but takes added vigor with age, and borrows fresh strength from each new demand upon its resources ; the circle of its influence is ever widening, and it gathers power for the advancement of the art of music with every added responsibility. From Boston, as an example, and at first by the direct activity of Dr. Masgn personally, the use of musical education in the schools was copied, and to-day is the universal rule in every enlight- ened community. Thus in Dr. Mason's labors were founded the germi- nating principles of a national musical intelligence and knowledge, and afforded a soil upon which all higher musical culture has been founded. The desire for musical advancement thus established, and the capacity created for appreciation of the higher mission of the art, has been the fallow field in which all subsequent endeavor has been rooted, and to which whatever success that may have attended the labors of those musicians who have turned the advantages of foreign education into a source of income are due; and yet we find many to-day, who are substan- tially reaping the pecuniary benefits of the broad and general elementary culture upon true musical principles for which Dr. Mason prepared and made easy the way, endeavoring to undermine and belittle the true greatness whose labors have led to results so important. Dr. Mason, however, was not a man of a single idea. His mental activity sought other fields of musical usefulness. Having prepared a book of instruction for teachers of vocal music, published as the Manual of the Boston Academy of Music, itself a novel idea at that time, he was led to formulate a plan for the convening of classes of teachers, in which they might be trained to better methods, and profit by interchange of experience. The first of these classes, which developed into the " Teach- ers' Conventions," was formed of twelve members. By 1838, the class had included representation from ten states, and numbered 134 teachers. So evident was the usefulness of this institution that demand soon arose for professors from the academy to hold classes in other cities, and thus arose the ' ' Musical Conventions, ' ' which shortly began to be an important factor in shaping the course of musical development. It gradually assim- ilated modern musical ideas ; its assembly of the best talent in a state or district enabled the production of a higher class of music, and thus, through its means, the past generation became first acquainted with the beauties of the standard choruses of the great oratorios ; and it was the fore- runner of the later musical festival, and made possible such events as the Peace Jubilees of subsequent date. The career of musical conventions will be elsewhere -dealt with; meanwhile, let us revert to the work which he performed for church music. Up to the time when he formulated the Handel and Haydn Collection, sacred music was in an anomalous and unsatisfactory condition. The old tunes were sung without musical training or system, each singer following the bent of his own musical fancy. With the introduction of the ' ' fugue tunes ' ' came confusion worse confounded, since composers who possessed natural talent without cultivation or knowledge of the rules of harmony, made each a law unto himself, and flooded the time with compositions of chaotic imperfection, and destructive of true musical taste. Dr. Mason, in his book above mentioned, reformed these abuses by presenting harmonies so attractive as to recall the wandering musical talent of the day from the paths in which it had been astray. His Carmina Sacra, the most popular tune book ever put in print, appealed so powerfully to musical instinct, and opened up such a field of pure musical delight, that it permanently con- firmed American musical taste in the higher and better style of sacred music. So strongly did it appeal to the innate sense of musical pro- priety, that its sale reached half a million copies, and in every quarter of the Union singing schools sprang up to practice and share in the new field of harmonic beauty, to which it opened the way. • A reference to this branch of his work would not be complete without drawing attention to the truly religious sentiment which characterized this branch of his work. The solemnity and devotional meaning of his sacred music was the predominating thought, both in his composition and in his teaching. His church music was not only a musical service, but in this respect was subordinate to its higher devotional meaning. He believed that such music could be only truly interpreted by those partici- pating in it entering truly and sincerely into its religious meaning. This idea is scoffed at by Dr. Ritter, who speaks about Dr. Mason's "semi- amateurish ideas about church music." Yet it is the true principle and fundamental element of legitimate art that the interpreter must enter into and surrender himself to the emotional meaning of the music. Dr. Mason's wisdom was higher than that of his critic, even from the strictly art standpoint. The soul of music is its essence, and, other things being equal, the singer who realizes and feels the divine afflatus that is a part of the music of the worship of God, must be incomparably superior in the truth and fidelity of his interpretation to him who is but the cold and unimpassioned exemplificator of its mechanical art features. Had Dr. Mason sought a higher field of musical activity, that is, from the exacting view of modern art, he would undoubtedly have satisfied whatever of personal ambition he might have entertained in this direction; but his useful life would have been shorn of much of its utility, and of many of those important results which followed his faithful and competent labor upon a less exalted level. Of the real intrinsic merit of his work an incident will give a fair idea from a point of judgment of much higher authority than of his pseudo American critic : Dr. William Mason relates that while he was in Leipzig, his father sent a copy of a new book of his to him, a present to Moritz Hauptmann, the great theorist, and William Mason's teacher of harmony, with L,owell Mason's compliments. William Mason was morti- fied to death at the very idea. ' ' What, ' ' he asked himself, ' ' will the great Hauptmann think of my father when I give him this simple book as a musical production ? " It had to be done. So he took the book and at the end of the lesson, at the very minute of leaving the room, he delivered his father's message and the book. At the next lesson he hoped Hauptmann had forgotten all about it. But no. Hauptmann spoke in praise of the* work, sajdng that he had had great pleasure in looking it over. Besides the extremely well made elementary department, as he said, he found the harmonies of the tunes dignified and churchlike, and he especially complimented the author's success in writing good, plain counterpoint, which was at the same time singable and melodious, as well as dignified. He added that this was one of the most difficult tasks in musical composition, and that many musicians failed in it whose scholastic attainments were of a high order. The ground we have here traversea will show the three great respects in which I^owell Mason stands in important relation to American music. First: His books of psalmody were the first works of their kind published in this country which were respectable from a musical standpoint. That they met and satisfied the public desire for a better element, is plain from their immediate success, and from the large number of tunes in all the hymn and tune books derived from his works still suhg in all Protestant churches. Second : The personaUty of Dr. Mason was of great use to the art of music in this country, or rather to the American appreciation of it. He was of a strong mind, dignified manners, yet sweet and engaging; religious, and of so commanding a mind that he would have carried weight in any line he might have chosen. Hence he was able to combine the elements of public and influential support for music teaching in the schools, the Boston Academy, and his great choir, as well as for his works. It was under the auspices of the Boston Academy that a Beethoven symphony was first played in this country by an orchestra. The conductor was Mr. George James Webb, author of the well known hymn tune. The Morning Light is Breaking. It is also in point that all the subse- quent leaders in American psalmody, excepting the immediate disciples of Mr. Hastings, modeled their methods and their manners after him. Third : As a musical educator, and as an advocate of musical instruction in the public schools, I^owell Mason did a great work. His personality was so commanding that he held high rank as lecturer in the state teachers' institutes, lecturing not only upon musical instruction, but upon the Pestalozzian ideas in general. The whole apparatus of elementary musical terminology was very much improved by Mason, and the singing school method has been bettered little or none since his time. Mason had aspirations higher than psalmody. He compiled, doubtless in part through Mr. Webb's co-operation and inspiration, the Boston Academy Collectio7i of Choruses, containing such Handelian favorites as Hallelujah, Hailstone, The Horse and His Rider, the favorite chorus from Joshua, Mozart's Gloria, from Twelfth Mass, Haydn's The Heavens are Telling — in short, the best things in the chorus repertory — and later editors have restricted the field instead of enlarging it. These works Mason conducted himself and sought not only proper attack and the externals of chorus performance, but also good musical expression. This point he carried to high degree. In his later years, in 1851 or thereabouts, he held, with George F. Root, normal classes at North Reading, Mass. , lasting three months. A daily exercise was a chorus practice upon classical choruses and Mendelssohn's part songs. The voices were of fine qualitj^, and of course a fine degree of sympathy was reached by this daily practice. In the end they sang the choruses of the Messiah and other things about as well as they have been heard. Musical connoisseurs came from great distances to hear them, among others the celebrated English music publisher, Mr. James Alfred Novello, who said without reserve that he had never heard any- thing so well. done. Mr. Root tells of one occasion when the chorus Behold the Lamh of God was in study. Mason was very much annoyed at the stiffness and inexpressive manner of its delivery. He talked to the class, in his own deeply feeling and impressive waj-, of the passion. After talking, they would try to sing it again. At length he affected the class almost entirely to tears. He called for one more trial, phrase by phrase, the voices singly. One of the altos, more affected than any of the others, and the possessor a noble voice, gave the key. She sang the opening phrase. Behold the Lamb of God with such fervor, Mr. Root said, that never to his dying day would he forgent it. It went through the class like an electric shock. The whole chorus was then sung as an act of worship, and the hour closed with silent prayer. It was his depth of religious feeling, and his earnestness, as well as his capability as a leader that made his instruction so inspiring. A scene like that mentioned contrived beforehand would have fallen flat; ' ' Mason knew how to control the currents of feeling, and direct them. Of his work in the musical conventions W. S. B. Mathews, who in his younger days caught and benefited by the Mason enthusiasm, tells the writer : Mason was a natural teacher, full of tact, logical, handy with crayon at the blackboard, and delightfully simple in his phraseology. In this capacity he exerted a great influence. He used to go as far west as Rochester, N. Y. , and meet choruses of 500 voices, many of them teachers of singing who had come 100 miles for the occasion. I used to meet a singing teacher in western New York who told me what those Rochester meetings were to him. He was a plain man, a carpenter by trade, playing the violin and melodeon, and singing with a good tenor voice and teaching classes in winter. His enthusiasm for Handel and Haydn and Beethoven (for Hallelujah to the Father, of Beethoven, was in the Boston Academy book) was equal to that of an Englishman. Dr. Mason in 18 17 married Miss Abigail Gregory, of I^eesborough, Mass. The family consisted of four sons, Daniel Gregory, I)red merchant, came originally from Virginia. The boy was educaed at the academy, and in 1841 entered Jefferson college at Cannonsburgh, where he finished his education. After this he acted as bookkeeper fir his brother, studying German, French, drawing and painting in his lei.-^ure moments. In his school days he had made a beginning^ as composer of several popular pianoforte pieces and songs. These he submitted to the criticism of his friend, Mr. Henry Kleber, a musician of Pittsburgh, from whose advice he derived no small advantage. At length it happenird that a minstrel troupe being in town, he submitted to them his song. Oh, Sus- annah! Upon singing the song it was found to be very successful. The audience received it with acclaim. The future career of the composer was decided, and henceforth he was a writer of people's songs. T e i.dvice of friends that he educate his musical talents, he rejected, from a four tliat it might injure his originality. I^ater he discovered that the effect of edu- cation is to increase originality rather than diminish it, because it gives a man full use of his natural talents in the easiest and most effective way. The peculiar negro flavor of many of his songs he acquired by attending negro camp meetings. In 1854 he was married to Miss Jennie McDowell. But it was only a few years before dissipated habits had ruined prospects once so bright. He went to New York, sinking lower and lower, haunt- ing groceries and cheap hotels, where he produced some of his sweetest tnelodiesamid surroundings as uncongenial and unpoetic as can be imagined. He died in 1864. He was unfortunate as a business man. Although his compositions sold enormously, his Old Folks at Home having reached a sale of half a million copies, he received little or nothing for it. It was the same with his other songs, the composer being compelled by his neces- sities to accept the meagre sums the publishers were willing to offer. In figure he was slight, a little below middle height, with a timid expression of countenance, soft brown eyes, and a lofty forehead. His life and story remind one of the unfortunate litterateur, Edgar Allan Poe; both were geniuses of whom America is proud, but to whom while living the world made a sorry return. A popular song is the most difficult thing to account for in the whole domain of music. Why one song should thrive and another precisely similar should fall unnoticed from the press, is something which many a young, and old composer, too, would give much to learn. Every popular melody will be found on examination to be very much like something^ else, generally like a melody by an older and more capable writer. A folks song, nine times out of ten, is a degradation of type, a feebler remin- iscence of something better. Very many of the melodies of Mr. Geo. F. Root are very like parts of melodies in opera. Dr. William Mason tells that once, many years ago, he was sitting upon a hotel piazza watching some negro roustabouts unload the cargo of a steamer. As they worked they whistled or sang one melody, which seemed to him exactly Uke Verdi's anvil chorus, until a certain point was reached. At this point they uniformly turned aside and ended Verdi's melody improperly. Hearing this for an hour or more finally awakened a missionary spirit in the conscientious musician, and he strolled down to the wharf to give the dusky singers a lesson, and secure artistic justice to Verdi's music. But when he began to teach them the correct interpretation, he seemed to them to be spoiling their melody, which upon farther investigation proved to be Geo. F. Root's Tramp, Tramp, the Boys Came Marching. A simi- lar case is known in the pianoforte piece by the talented woman, Thekla Badarzewski, whose Maiden's Prayer was played all over the world. The piece owed its popularity to its melody, which was a very thin adap- tation of an aria from an opera of Bellini's. A popular song represents the average musical consciousness. The late Chauncey Marvin Cady used to say that the firm of Root & Cady had on their shelves hundreds of songs which ought to have succeeded, and would have succeeded, but for some one or two unfortunate notes in them. If the composers would only have listened to him, he could have shown them how to remove the stumbling blocks from their road up the sunny side of Parnassus. The new writers represent a higher strain of musical originality, and a more musicianly sentiment commensurate with the widening and deep- ening of the popular musical consciousness. One of the most popular of recent writers is Mr. H. P. Danks, as shown in all directions covered by the present lines of inquiry. Hart Pease Danks. This noted writer of American ballads was bom at New Haven, Conn., April 6, 1834. His parents removed to Saratoga Springs, N. Y., in 1842, and there young Danks acquired his first rudimentary education at the chief district school. It was in that city that he first studied music,. although he had previously sung soprano in the Saratoga Metho- dist church. His teacher was Dr. Whiting, who at that time was the principal physician of Saratoga, as well as the most cultured musician in the place. About the year 1851 the family moved to Chicago, where the elder Banks followed his trade as a master builder, and was aided much of the time by his son. Hart. In 1853 Hart engaged with a firm in the photographic line, and shortly afterward he went into the same business for himself As a photographer he was not a monetary success, owing to the fact that his mind was all on music, which also occupied his leisure time. He engaged in various musical pursuits in Chicago, appearing as bass singer, choir leader, conductor of musical societies, etc. His first composition was a simple psalm tune called Lake Street, which was introduced by William Bradbury in \iSs Jubilee collection. Mr. Bradbury thought hig"hly of the composition. As a composer, Mr. Banks is in great measure self-taught, and he read and studied many works on composition, which gave him an insight into theory and harmony, counterpoint, etc. His first songs were pub- lished in 1856. They were two in number, Anna Lee, published by Bitson & Co. , and The Old Lane, published by Higgins Bros. , of Chicago. Buring the following year he published six songs. Buring 1858 he published onty one song; in 1859, four; in i860, thirteen; in 1861, six; in 1862, five. He was married in 1857 to Miss Hattie R. Colahan, of Cleveland, O. He removed to New York in 1864, and has resided there ever since. In 1870 appeared one of Mr. Banks' most popular ballads, Don't be Angry with Me, Darling, which made a hit and was sung everywhere. In 1872 Mr. Banks published no fewer than forty songs and also an operetta called Pauline. Among his productions this year was Silver Threads among the Gold, which, it is said, has had the largest sale of any copyrighted song ever published in America. This caused his name to be known to English publishers, who have readily accepted his works for publication ever since. In 1873 he published thirty -eight songs, among them Not Ashamed of Christ, which is one of the most pop- ular sacred songs ever written and has had an immense sale. Since this period Mr. Banks has been most prolific in his compositions, in one year he has published as many as eighty-eight songs in sheet music form, while the total number of his works runs far up in the hundreds, and his compiled song books for churches and scoools have been exceedingly numerous. He takes greatest pride in his sacred music, and it is that in which he is at his best. His choir works are used more extensively than those of any other author in America. His writings for church services are strong and effective, and have the good quality of being easy for ordinary voices to sing. He has filled the following choir positions as solo basso and musical director in New York: Zion Protestant Episcopal church, Church of the Incarnation, St. Stephen's in Brooklyn, at the Holy r • ^' ' lot Trinity, First Baptist, Lafayette Avenue Presbyterian, and others equally prominent. He has been well known also as a concert basso, singing with such artists as Anna Bishop, Maria Brainerd and others of equal note. He has published the extraordinary number of thirteen hundred compositions. There were several writers of popular melodies nearly as popular as Foster, yet on the whole there was no one worthy of being placed beside him. The most popular writer of the entire list is Mr. Will S. Hayes, of Louisville, Ky. WiLiv S. Hayes. William Shakespere Hayes was born July 19, 1837, at Louisville, Ky. He began his career as a song writer when he was about twenty years old, with Evangeline, which, had a large sale. During the war he wrote upon semi-patriotic themes. After the war he made an engagement with the publishing house of J. L- Peters, in pursuance of which he wrote something like three hundred songs. Some of these had an enormous sale. Write Me g. Letter from Home is said to have reached 350,000; We Parted by the River, 300,000; and many others nearly as many. Music is merely afi amusement for Mr. Hayes. He is a journalist, connected with the staff of the Louisville Courier-Journal. His success with the masses was well deserved. Nor were instrumental composers slow to claim their share ot the new interest in music. There are half a dozen whose compositions have sold by the hjundred thousand. It is quite true that musically considered, these pieces are very poor. Like the popular songs, they represent the average musical consciousness, but upon a lower plane in consequence of having no poetry to keep them in check. This music usually consists of a very simple and natural melody, set to the most elementary harmony, and brightened up with a few stock passages, arpeggios and the like, simple and easily to be executed by players of small attainment, but modeled upon passages in pieces by first-class writers. Of this kind may be men- tioned the variation pieces of A. P. Wyman, Chas. Grobe, the operatic arrangements of James Bellak, and the variations of Thos. P. Ryder, Chas. D. Blake and others. All of these men made money, and several of them received large sums which a poetic justice would rather have seen bestowed upon worthier efforts. Even these parasites upon poetic music have their uses. While they occasionally take up space which might be better occupied, they do, nevertheless, afford delight to many whose interest in music is so .flight that nothing less easily assimi- rr^cV/fcZLeo 7^ ^^i^^:^<^ lated would stand a chance of being received. Of these wcSrks it might be said, as of the sacred music of this later dispensation, it represents the effort of composers to adapt themselves to the newer and more democratic and untrained public, opened to them by the enormous popularization of musical instruments and fondness for the art, consequent upon the accu- mulation of wealth following the war. The older music of little difficulty was mainly of French origin, in the style of Frangois Hunten. In this music the left hand had very little to do, but the melodies were delicate and refined, and although simple as to mechanical demands upon the player, it had a certain air and grace, npt uncomely. This later popular music of America of the writers now under consideration has no grace, but what it lacks in this respect it makes up in pretension. Its sole aim is to sell, and to delude the purchaser into the idea that in playing it he is performing something worth while. Quite different in moral purpose, at least, are the productions of some of the lady composets, one of the most popular of whom is mentioned next on the list. Constance Faui'TT le Roy Runcie. Although Congtance Faunt le Roy Runcie is talented and distinguished as a pianist, it is as a composer that she has greatest claim to a position among the notables who have done service to musical art in America. The maiden name of Mrs. Runcie was Constance Faunt le Roy. She was born in Indianapolis in 1836. Her maternal grandfather was the well known advocate of co-operative associations, Robert Owen. Her maternal great-grandfather was David Dale, lord-provost of Glasgow Scotland. Her father, Robert Henry Faunt le Roy, was of the old and extensive family stock of Faunt le Roys, of eastern Virginia, Her mother was born in Scotland and educated in lyondon, where she received, in addition to all her scientific and literary attainments, a thorough training on piano and harp, and acquired facility* in drawing and painting. Her father died while attending to his coast survey duties, in the Gulf of Mexico, during the winter of 1849. In 1852, Mrs. Faunt le Roy, in order to develop still further the training of her family, by giving them the advantages of modem languages, German literature and art, took them to Germany and remained there almost six years. Both before leaving for Germany and after her return to New Harmony, Ind., Miss Faunt le Roy's environment was highly favorable: that town being winter quarters of the officers connected with the several ■ geological surveys; having also an extensive public library and occasional lectures, besides being the residence of her four uncles, all devoted to science or literature. M. I,. BARTLETT. A. E. WARREN. While in Germany, Mrs. Runcie had the best musical advantages obtainable, and she developed decided talent as a composer. She has written for orchestra, and has composed over fifty songs, as well as a concerto for violin, a symphony, a piano sonata, and chamber music. It was at the suggestion of Annie lyouise Gary that Mrs. Runcie published her first songs. Many of the most celebrated American artists haVe highly praised Mrs. Runcie' s gifts as a songwriter, and have used her music for concert purposes. Among her songs that have been most successful are: Hear Us, O, Hear Us; Round the Throne; Silence of the Sea; Merry Life; Tone Poems; Take My Soul, O, Lord; I Never Told Him; Dove of Peace; I Hold My Heart so Still; My Spirit Rests, and many others. Mrs. Runcie is equally talented as a writer, and much of her poetry is of a very high order. She writes the lyrics for her own songs, which are exceptionally good in sentiment and rhythmic art. March g, 1 86 1, she was united in marriage to Rev. James Runcie, D. D., a most devout Christian minister, whose useful labors in the Protestant Episcopal church at Madison, Ind., continued from 1861 to 1871, when he accepted a call to St. Joseph, Mo. , where they have resided ever since. They have a family of two daughters and two sons. Chas. D. Blake. This popular composer was born at Walpole, Mass., Sept. 13, 1847. His early musical instruction v/as obtained under the care of Professor Paine, of Harvard, and Mr. J. C. D. Parker. At an early age he com- posed certain piano pieces, which being published, immediately attracted attention. They were followed by others in the same popular vein, with such success that it was not long before Mr. Blake made a contract with the music publishing house of White, Smith & Co. to write for them exclusively. This contract remained in force for eighteen years, termi- nating in 1888, since which Mr. Blake has published and sold his own pieces. His success in retaining his popularity for so long a time unim- paired, indicates the possession on his part of no small fertility of invention, as well as tact in guiding the soarings of his muse according to the momentary direction of the popular winds. Many of Mr. Blake's pieces have sold enormously. To the eye of a musician they are all more or less open to criticism upon the ground of their obvious aim at pleasing mainly the uncultivated taste. But whatever the reader may think upon this point, if he will write some twelve hundred pieces successively, and please the public in all of them, he will be in a better position to judge the variety of qualities entering into the successful performance of such a task, than any one can possibly be merely by cold-blooded inspection. Another promising and talented composer is included here on account of the pleasing character of his compositions, and their evident hold upon the public, although they are perhaps somewhat more pretentious from a technical standpoint than those of the composers just mentioned. Edmund S. Mattoon. Occupying a prominent position among the musicians of the state of Ohio and in the Ohio Music Teachers' Association, is Mr. Edmund S. Mattoon. He was born at Columbus, where he at present resides, in 1841. His mother was musically inclined, and his early instruction in the art was derived from her. When he was twelve or fourteen years old he was much paraded as a musical prodigy, and while upon a concert tour in the towns of his native state he met a fine vocalist, Mrs. Isabella Chapman, who became greatly interested in him and took him as a pro- tege. He lived with the Chapman family in New York for four years and studied piano, harmony and theory with WoUenhaupt, then a distin- guished pianist and composer Returning home from New York, Mr. Mattoon at once devoted him- self to teaching, being occupied in that capacity in the Xenia Female College, next in the Wesleyan University at Delaware. At the conclusion of these engagements he became connected with the Caroline Richings English Opera Company as pianist and conductor, and traveled with them for one year. After several years' connection with traveling concert com- panies as pianist and musical director, Mr. Mattoon, located for a time at Detroit, Mich., where he lived for ten or twelve years. He then removed to Columbus, O. , where he still resides. In Detroit and at Columbus he has been active and efBcient in directing choral societies. He is also a diligent worker and an active spirit in the Ohio State Music Teachers' Association. He has been director of the Detroit Choral Union, the Detroit Philharmonic Society, the Columbus Choral Union and other societies, doing eflBcient work as a wielder of the baton. As a composer, Mr. Mattoon has decided talent. His Tarantella for four hands, published by S. Brainard's Sons, has been played frequently in concerts in New York, Boston and elsewhere by Mr. William Sherwood and others. It is a brilliant and effective composition. Another produc- tion is a scherzo, entitled Joyousness. Other numbers from the pen of Mr. Mattoon, issued by the press of S. Brainard's Sons, in 1889, are The Sigh; Morceau Poetique, a saltarello and a valse sentimental. The compositions which Mr. Mattoon regards as among his best are Fruhlingslied, Op. 29, played by Miss Neally Stevens; Deuxieme Saltarello, dedicated to Mme. Rive-King; Impromptu Capriccioso, dedi- cated to Arthur Foote; Wood-Nymph, published by Arthur P. Schmidt; Dream of Hope, published by Oliver Ditson, Boston; The Caress, valse sentimental, published by S. Brainard's Sons, Chicago, 111.; Rippling Waters, morceau etude. John Eliot Trowbridge Was born at Newton, Mass., Oct. 20, 1845. He seems to have had his bent in life determined by the musical tastes of both father and mother, the former being for years the leader of the choir in the old E iot church at Newton. There were three sons, all of whom were musically inclined, but it was reserved for John to make that his profession. His first master was Prof. B. C. Blodgett, of " Smith " college, Northampton, Mass., under whom he studied the organ for some years. Eater, he was under the tutelage of Prof. Junius W. Hill, of Wellesley college, Wellesley, Mass. , who taught him the piano, theory, harmony and composition. It was not until he was twenty-seven of age that his first published composition appeared. For twenty years past he has been church organist and direc- tor of choirs in Newton and Boston, and since 188 1 has held the position of organist in the Congregational church at W^st Newton. Mr. Trow- bridge has conducted the Choral Union, of Newton, for the last five years, and under his guidance they have done some very creditable work. The best known of Mr. Trowbridge's pieces is the oratorio Emmanuel, which was produced in 1887 in Tremont temple, Boston, and attracted very fav- orable notice. Other compositions by him are settings of the 3d, 23d and 95th Psalms; a Te Deum, " We praise thee, O God"; several anthems, responses and mottettes; selections and exercises for the Sunday school; Lydia, a cantata, for Sunday schools; The Santoral, a church choir book (in connection with the late S. H. Palmer); mass in E major; The Heroes of '7(5, a secular operatic cantata; instructor for the reed organ, and no select pieces for church or cabinet organ; three sacred male quartettes and one secular; besides a number of hymn tunes. This list alone indicates a busy life, one in which few opportunities have been lost, few spare mo- ments left unfilled. Alfred E. Warren. This popular composer was born in 1834, at Edmonton, now a suburb of London, Eng., where his father was a prominent piano manufacturer. When young Warren was about eighteen years old he decided to adopt music for his profession in life, and went through a course of musical education in London. Accepting an offer to go put to Calcutta, India, he remained there for several years, but his health gave way and he was Thomas P. Ryder. compelled to seek another climate. He came to America in 1861, made Boston his home, and has remained there ever since. His reputation as composer, pianist and teacher stands very high. It was in 1861 also that his first published composition, Valse de Favorita, appeared. The Inman Line March, dedicated to William Inman, was composed for the world's peace jubilee of 1872, and was performed at every concert given through- out the jubilee. The Strauss Autograph Waltzes also gained much popularity, and were believed for some time to be by Strauss himself; in fact, they were republished in England under Johann Strauss' name. In addition to the above Mr. Warren is the composer of the following marches: Army and Navy, which was written for the dedication of the monument on Boston Common, Match de Syrians Spirit of the Age ; No Surrender; In the Ranks, and Major McLean^ s Grand March; Strauss Engagement Waltzes; Thoughts of Love, mazurka; Rays of Hope, mazurka; Heart's Delight, gavotte; Peep 0' Day, polka; and these songs: Silent Evermore ; Life of a Sailor Free ; The Fisherman' s. Wife ; Under the Leaves that Fall ; Good-by My Dearest, Good-by ; Sleep On; Sad Tears are Falling ; Farewell; Skylark Greeting ; Song of the Angel; The Bridge (^xsjobcxv^'C), and Rocked in the Cradle of the Deep (transcript). Thomas Phii At. Weber hall, Chicago, Mme. Carreiio played the following pro- gramme: Sonata Appassionata Beethoven. Prelude in D flat -> Polonaise in C sharp minor \ Chopin. Tarantelle j Songs (Mr. Knorr) .Jensen and Raff. Suite Moderne (First time in America) MacDowell. Impromptu Schubert. Zur Guitarre Hiller. Soiree de Vienne Schubert-Liszt. Two Songs (Mr. Knorr) Rubinstein. Prelu'le and Fugue Mendelssohn. Des Abends Schumann. Minuet Boccherini-Dulcken. Etude in C Rubinstein. The following programme Mr. Sherwood played at Evanston, 111., in August, 1880. Concerto in E flat (Accompt. of second piano) Beethoven. Fantasia in C minor Bach. Gigue in C major Mozart. Sonata, Prestissimo Scarlatti. Mazurka, F sharp \ Nocturne in G [■ Chopin. Scherzo in C sharp minor ) Barcarole Kullak. Wedding Procession Grieg. Saint-Saers, Chorus of Dervishes Beethoven. Lohengrin's Verweis an Elsa ) Wagner-Liszt. Isolde's Liebestod ) Waltz, from Gounod's " Faust " Liszt. Programmes like these would attract attention in any part of the world, and it must be counted a strong point of compliment to American audiences that their appetite for music should be found sufficient to take them through successions of pieces so exacting to hear properly. As to the quality of the playing, all that needs be said is that these players uni- formly dispensed with notes, and were able to render their enormous pro- grammes in a manner to sieze the attention of the hearers and retain it to the end. No greater compliment could be paid the player. Mention has also been made of unusual pianistical attainments of young American girls, a striking example of which is furnished in a recital of I,iszt works played at Chickering hall, in Chicago, Jan. 28, 1883. The selections were ar- ranged in three numbers, with the design apparently, of illustrating the remarkable endurance of the young player, and her powers of memory and musical feeling. The first number contained four concert pieces: Polonaise Heroique in E!, La Canipanella, Spinnerlied from Flying Dutchman, and march from Tannhduser. The second number also had four pieces: Schubert's Watidercr, Erl King, Waldesraucken and themes from Faust. The third number consisted of the concerto in 13 fiat with accompaniment of second piano. The pianist of the evening. Miss I^ydia S. Harris, was about twenty-two years of age. As an illustration of physical endurance and boldness, this programme is a curiosity. It de- serves to be added, in order to complete the record, that among those who praised the playing was that excellent master, Mr. Emil Liebling, who wrote handsomely concerning it in the New York Musical Critic, of which he was at that time correspondent. The same pianist repeated upon several occasions a programme consisting of four works only: Bach, Chromatic Fantasia and Fugue ; Beethoven, Sonata in C minor. Op. 1 1 1 ; Schumann, Etudes Symphoniques, Op. 13; Chopin, Polonaise in A flat. Op. 53 — a still further illustration of the American penchant for magni- tude and merit. This is but one of many similar cases of the astonishing facility of American girls in the art of playing the piano. Taking up in order the list of pianists of national fame, given above, we begin with the name of Mme. Carrefio. Teresa Carreno. There are few names better or more favorably known among the dis- tinguished virtuosi of America than that of Teresa Carreiio, who has the distinction not only of being an ornament to the musical profession of America, but the bright particular star which in our musical sky repre- sents the southern continent. She was born at Caracas, Venezuela, in December, 1853, her father, who was an accomplished amateur musician and at one time a minister of state, being her earliest instructor. Her musical education began at the age of six years, when, as she relates: "I practiced two hours in the morning and two in the afternoon, and the rest of the day I played with my doll. ' ' Her daily practice was continued from the age of six to eight, under the instruction of her father, from whom she received her earliest lessons. She made such progress that at the age of seven she had mastered Thalberg's Norma fantasia. She was then placed under charge of Julius Hoheni, a German professor, and in 1862, being then but nine years of age, she appeared in New York, where she had an interview with Gottschalk, with whom she played on the piano a four-hand piece. Under the instruction of this master she soon learned to play his Bananier and Jerusalem without notes, and is, perhaps, the only person who plays Jerusalem, one of that author's most difiScult composi- tions, full of tremendous chords and chromatic octave passages. This intricate morceau de concert the young Teresa mastered in two days. She played in public in her native city, and the people were in rapture over her accomplishments. In 1862 she came north, and many of our readers may possibly recall the little girl with the white frock and the red sash, who, after climbing upon the piano stool, with difficultymastered the intricacies of Thalberg and Gottschalk, and roused them to enthusiasm. In 1863 she played in her concerts some of her own compositions, and that austere critic, Dwight, remarked: "What we liked best in little Miss Teresa's concert was her own two fresh little compositions. ' ' She continued study under her father, and had occasional lessons from Gjttschalk, and in the season of 1865-66 went to Europe. Of the impression she left there we can give no better idea than to quote an incident. The celebrated Camille Stamaty, who had be.;n the tutor of Gottschalk, was much inter- ested in the Teresita, as she was known. On a morning succeeding one of her concerts, which he had been unable to attend, he asked an American pupil what ' 'la petite ' ' had played. He was told I,iszt's fantasie upon Lucia. Stamaty shook' his head decidedly. ' ' You need not tell me, ' ' said he, ' ' that there is any woman living, much less a girl of thii- teen, who can play that diable of a fantasie." Being convinced by hear- ing her play it in private, he Remarked: " Well, no one but an American girl could have done it! " The career of this splendid woman is fuller of interesting incidents than perhaps that of any other artist of recent times. Upon her return to America after the European successes already mentioned she had several years of concert experiences, not altogether satisfactory', financially or artistically. As yet she was following the traditions of the Gottshalk rigime, not realizing how far public taste had advanced since his time. Presently, however, she made an arrangement with the house of Albert Weber to play so many concerts per year, wherever desired, for a lump sum and expenses. She was thus relieved from pecuniary anxiety, and although her tours were often inconveniently planned for traveling, she had considerable time in a year for study, while the incidents of business afforded her the constant education of meeting prominent musical people in all parts of the country. Soon her ambition was excited, and she set herself to carry out the high ideals of popular piano playing already defined in the work of her predecessors. In doing this she brought to the task an amplitude of ability not inferior to that of any of them, and in many of her concerts her playing arose to a great height of virtuosity and rare artistic quality combined. One or two of the episodes in the life of this artist are worth remem- bering. At her first appearance she was a singularly beautiful and fascinating woman. When still a mere girl of fifteen, her figure had the maturity of twenty, and her intellect and womanly intuitions were fully developed. In England she had a great success before she reached I^ondon, but the idea of facing the public of that great city rather dismayed her. She made the acquaintance of Mapleson and the great singer Mme. Tietjens in several places where the opera happened to coincide with her concerts. After the completion of her concerts in Edinburgh, lyondon being her next objective point, she was much with Mme. Tietjens, the opera being there. Mapleson found himself in a dilemma for a queen in The Huguenots. The house had been sold out for the queen's birthday, but the lady who was to sing the r61e of " Marguerite of Valois," fell sick, and could not possibly appear. Mapleson telegraphed all over Europe, but no soprano able to take the r61e could be found near enough to reach Edinburgh in time for the performance. On Thursday Mapleson said: "Teresa, I have an idea. You shall sing the 'Queen.' ' "But I have never been on the stage, ' ' said Carreiio. "It makes no difference, ' ' said Mapleson. ' ' You have voice, presence and beauty. You would make a lovely ' Queen.' " " But I do not know the music," objected the young artist. " You have four days," said Mapleson, " it is time enough for you." After a minute's reflection, Carreiio replied, " I will do it upon certain conditions." "Name them," said Mapleson. "You shall give me the singers I want for my L,ondon concerts." "Done!" said the impresario. Accordingly a contract was duly drawn giving Carreiio for her lyondon concerts all the best singers then in England, thus assuring her success there. But for fear of failure as a singer she appeared under a stage name. She made a great success, and was sorry enough she had not added this feather to her own proper cap. Her voice had large com- pass, and had been carefully cultivated. In 1885 and 1886, Mme. Carreiio made tours of her native country, Venezuela, under circumstances of peculiar romance. She is a grand niece of the liberator of South America, Bolivar, and about ten years ago the government sent the national hymn to her to set to music, which she did, her composition now being the national hymn of Venezuela. The year of her tour was about that of the Bolivar centennial, and she was the recipient of one long ovation from first landing in the country until she left it. For nine months she and her husband were guests of the state. They were met at railway stations with brass bands, the military, civic and municipal ofiicers, the freedom of the city in a gold-lined box, and their time was filled up with serenades at hotels, grand civic banquets and all that sort of thing, until they were nearly killed with kindness. Tickets to their concerts were sold out at high prices far in advance, and taking it all around it was an experience which rarely befalls an artist. The following year they went back in order to carry on a season of Italian opera. This time they were less fortunate. An impending revolution brought the opera season to financial disaster, swallowing up not only the governmental subvention, but also their savings from the previous season. Once, indeed, they narrowly escaped being blown up by a mine placed under the opera house for the benefit of the president and cabinet During this season the successive discharge of the conductor and assistant conductor left the company upon the point of going to pieces. As no conductor could be obtained in the country, Mme. Carreiio herself took the conductor's baton and carried the season through for more than two weeks. This is perhaps the only case upon record where a woman has filled the conductor's chair in Italian opera. In 1889 Mme. Carreiio again visited Europe, playing in many of the principal cities, but it is still too soon to give particulars of her career there. It deserves to be said of her that she is one of the best lady pianists now upon the stage, and more richly gifted in her general musical nature than perhaps any other woman now in music. In person she is attractive, quiet and genial, full of good humor and of a happy disposition; instead of being unduly exalted by her numerous triumphs and great social popularity, she becomes every year more and more modest in her manner. She has composed much piano music, and several more ambitious works. Juiipzig, Blassman and Rischpieter of Dresden and of I^iszt at Weimar. In 1874 she made her dibut at Iveipzig in one of the Euterpe concerts, Reinecke conducting, playing Beethoven's third concerto and Liszt's second rhapsodie with such exquisite skill and artistic finish and expression that she evoked the greatest enthusiasm of applause in the critical audience. A concert tour of Europe was soon after arranged for her, when she was recalled home by the sad news of the sudden death of her father, killed in a railway disaster. In the winter of 1873-74 she made her dSbutheiore. an American audience at Cincinnati, where she created a profound impression in musical circles. Her reputa- tion was greatly enchanced by her brilliant performance of I^iszt's E flat concerto, and Schumann's Faschingsschwank at the concert of the New York Philharmonic in 1875. She established her fame in Philadelphia by rendering Beethoven's fifth concerto at the Philharmonic concerts, and later Julie Rive-King took Chicago by storm at one of the concerts of the Apollo Club. Her playing upon this occasion was of the brilliant school, her number creat- ing the sensation being Liszt's second Hungarian Rhapsody, at that time was not so familiar as it has since been made through orchestral transcrip- tions. She played it with most dazzling brilliancy, and there was nothing to do but admire the consummate ease of her technique and the sweep of her brilliant octaves in the last part. The applause was immense, and she was recalled again and again.. Here opened a new chapter in the career of this artist. Henceforth for some time she appeared in recitals in all parts of the country, with programmes of enormous range and difficulty, specimens of which appear earlier in this chapter. Nothing daunted this quiet woman. Bach, Beethoven, Schumann, Chopin, lyiszt, Tausig, everything went. Her programmes were well arranged for presenting the music in agreeable sequence, and her work formed the distinct continuation of that of Rubin- stein and Bulow in the variety, length and difficulty of the programmes, no less than in the attractive manner in which she played therd. The strain was too great. After a few years of this kind of work she b|egan to take things more'easily, and as her concert engagements called for' a great deal of traveling, she played the same pieces more frequently, atid for a time left off some of those which made demands upon her nerye force too great for ordinary occasions. Many amusing incidents could be related ijf space permitted,, of the curious ideas that people fell into con- cerning the ease with which programmes could be arranged out; of this apparently interminable variety of material. Her reputation be4ame so great for reliable and masterly work that people seemed to think it! reason- able to ask for any piece in her vast repertoire, by memory and without a moment's notice, however difficult or however unusual it might be for her to be called upon to play it. Julia Rive was married in 1887 to Mr. Frank H. King, who had been her friend and manager for several years. She has since resided mostly in New York. Mme. King's record as a player with orchestra has been singularly large for an American pianist. She has played with all the orchestral conduqtors in this country, of any distinction, from Carl Berg- mann to Gerricke. With Mr. Thomas she played in upwards of two hundred concerts. In this connection she has produced a large number of concertos, invariably with the finished technique which has always distinguished her work. She has introduced many new works of high rank to the American public. For several years she has devoted considerable time to composition, and has written a large number of piano pieces and a few for orchestra. Her waltz. On Blooming Meadows, written for piano, has been scored for orchestra and played with great success. She has also distinguished herself by her carefal editions of pieces from her repertoire. In person Mme. King is of medium height, blonde complexion, pleasant cast of countenance, and simple and entirely unaffected manners. Her circle of friends is extremely large, and her position in the front rank of pianists unassailable. RAFAEIy JOSEFFY. This wonderful pianist was bom, of Jewish parents, at Miskolcz, Hungary, July 3, 1853. His musical genius showed itself when he was quite a child, and it was so evident that he was placed under the guidance of the great teacher, Moscheles, in Leipzig. From him Joseflfy passed to another successful master and great virtuoso, Tausig. He made his first appearance in Vienna and met with instant and unqualified success. The Vienna musical critics went into raptures over his playing. One of them said: "Joseffy held his audience spell-bound; with each fresh number they were electrified by the. grand achievements of the artist; the softness and elasticity, the whispering, the elegance and sparkle of Josefiy's fioratures and runs cannot be described; such brilliant delicacy, such elegant fluency, such tender shading has not been heard since the time of Tausig and Liszt. ' ' Josefiy then made a concert tour through Holland and Germany, and was received everywhere with applause, and especially in Berlin recog- nized as a true successor to the great Tausig. Later on he made art- istic tours through Italy, all of Germany, Denmark, Sweden, Norway and Russia. He came to America about 1879 or 1880, and has appeared reg- ularly in all the principal cities of the United States, everywhere received as a master, but most of all in New York city, where his position is one which no other artist can dispute. The general characteristics of his style are sufiiciently indicated above. His technique, while equal to every possi- ble demand of modern pianoforte composers, is nevertheless retparkable chiefly for its delicacy and finish. For this reason it has been frequently denied of him, by critics, that h^ possessed anything of the fire of artistic genius; this, however, is entirely unjust. Manj- of his interpretations are masterly, and notwithstanding the delicacy of his playing, at times he calls out the entire force of the Steinway pianos, upon which he invariably plays. His repertoire includes nearly all the great concertos, his. especial favorites being Chopin's in E minor and Liszt's in E flat. His own com- positions and arrangements are among the best studies in delicate and refined pianism that the teaching repertory embraces. In person Mr. Joseffy is short, inclining to stoutness. His manners are singularly quiet, but he is witty and, upon occasion, very sarcastic. 126 Dr. Louis Maas. 127 Dr. Louis Maas. Among distinguished musicians who have, after achieving recognition and reputation in Europe, made America their home and identified them- selves with the cause and progress of the art in their adopted country, the name of Dr. Louis Maas is prominent, and his reputation is as wide and favorable as that of anj^ other pianist and musical director before the public during the last decade. Dr. Maas was born at Wiesbaden, Germany, June 21, 1852, his father being the principal music teacher of that town. He inherited the musical proclivity, and at the age of six could play pro- ficiently such selections as his father thought judicious to permit him to learn. While still a child his father removed to London, and the latter being reluctant to have him adopt an art career, the lad was sent to school with a lay profession in view. Of his aptitude for the acquisition of knowledge, we may judge from the fact that at fifteen he graduated at King's College, with high class honors. He had still, how- ever, cultivated music, in which he gave such undoubted evidence of superior talent that the elder Maas, chiefly through the advice of Joachim Raff, the great composer, finally withdrew his objections, and young Maas, to his great joy, was sent back to Germany in 1867, entering the Royal Conservator^' of Leipzig, where he remained, till he graduated, the pupil of Carl Reinecke and Dr. Papperitz. Up to the time of his death, in 1870, the renowned composer Moscheles took a keen interest in the career of young Maas, in which his experienced and unerring judgment discerned a high and hopeful promise. In 1867 he felt himself strong enough to set his musical aspirations in a work for submission to the exacting judgment of the critical musical world of Leipzig, and his first overture was performed in the spring of 1868, at the annual conservatory concert in Gewandhaus Hall, with gratifying success. The following year his second overture was brought out with equally gratifying results, and in 1872 his first symphony was produced, eliciting such marked approval that it received the compli- ment»of a performance at the Gewandhaus, the composer conducting. In 1873 and 1874, he spent the winters in teaching in Dr. Theodor KuUak's conservatory (having previously enjoyed the privilege of his instruction), and the summer seasons at Weimar, where he had the inestimable advan- tage of intimate association with the immortal Liszt, who took a deep interest in the art career of Mr. Maas, and gave him the priceless advan- tage of his counsel, advice and encouragement. Of the impression there made, we may judge from the fact that he played by invitation at court concerts, and received warm critical praise for his rendering of Chopin's K minor concerto. During 1874 he played in the principal cities of Germany, and in 1875, in answer to a unanimous call of the directory, accepted a vacant professorship in his alma mater, the lycipzig Conservatory, which, but eight years previously, he had entered as a pupil. Here he remained for five years, during which time he had under his instruction over three hundred pupils, of whom two hundred were Americans. Association with the latter, and the knowledge thus acquired of the social conditions and musical possibilities of this country, led him, in 1880, to resign his position at the conservatory to accept a lucrative concert engagement in America, which, however, he was prevented from fulfilling by a serious illness. On his recovery some months afterwards, liberal inducements were offered him to return to lyeipzig, while Joachim Rafi" offered him the first professorship at his Frankfort conservatory, but he had determined to cast his lot in America, and his services were secured by Dr. Eben Tourjee, director of the New England Conservatory of Music, ever on the alert to secure the highest available talent for that admirable institu- tion of musical learning. Here he has since remained, performing a work of the highest importance, not only to that school, but to the cause of music throughout his adopted country, and high rank has been univer- sally accorded to him, as pianist, composer and director of philharmonic concerts. He has frequently appeared in concert performances in the lead- ing cities of the Union, and has thus attained a wide and appreciative popularity. He has also been an industrious composer of music of a high order, producing overtures, symphonies, suites, a triumphal march, fan- tasie-stuck, etc. , for orchestra, a string quartette, songs, violin pieces, three important sonatas, and many miscellaneous works, including a concerto for the pianoforte. [Since the preceding sketch was written we have the sad news to chronicle that on his return from a visit to Europe, Dr. ]\Iaas died suddenly at Boston, Sept. 18, 1889.] EmIL IvIEBLING. In the front rank of the musical profession, not of Chicago only, but of the United States, Mr. Emil I^iebling is readily accorded a foremost place, as well through the scope and breadth and many-sided character- istics of his musical skill and knowledge, as by the brilliancy of his per- formance as a virtuoso. He was born in Pless, Germany, in 1857, and is one of four brothers, all distinguished in musical life. Emil Liebling came young to America, and engaged for several years in teaching in schools and colleges. His intellectual mold was such that, as stated in Freund's Music and Drama, he soon "acquired the thorough American adaptability characteristic of the best order of German minds only." When he had attained a position that enabled him to devote time to higher training he went to Berlin, where for several years he engaged, in part, in study under KuUak, Ehrlich, and lyiszt, and, in part, teaching the piano in KuUak's Conservatory of Music. Here he acquired the friendship of such distinguished artists as W. H. Sherwood, Scharwenka, Moszkowski, Sternberg and others, and moved in an atmosphere admi- rably adapted to elevate and enlarge a musical mind naturally gifted with those refined qualities which urge heart and intellect irresistibly toward the highest plane of art. Nor was his culture confined to the art of music alone ; he acquired literary attainments of a high order, and is not only an accomplished linguist, but a graceful, fluent and forcible writer, who, in contributions to American musical journals, has proved himself a com- petent critic, of well balanced and judicial judgment and an infallible instinct of recognition for true art, as distinguished from superficial shal- lowness or mere pretense : he is known as a musical reviewer, as implac- ably merciless toward the latter, as considerate and encouraging toward the former. On returning to Chicago in 1876, he astonished and delighted musical circles by the refinement of a technique always brilliant and resourceful, the intelligence and poetry of his interpretations and the rare power, which he possesses to a simply marvelous degree, of adapting him- self with equal facility and perfection to either the classical or modem schools of piano music. Of Bach he is one of the most perfect exponents to-day, interpreting that master's compositions, not only with conscientious fidelity and unequaled skill, but elucidating the spirit and motive of the music with an intelligence and power not often witnessed. And yet he can turn to Liszt, and with equal mastery portray the spirit and brilliancy of that master with a vividness and superb effect not excelled by the high- est representatives of this school. In every epoch of piano music he is equally at home, and whether it be Beethoven, Chopin, Schumann or Mendelssohn, he enters into and identifies himself with the emotional content of the subject, and infuses into the instrument the very spirit of the composer. He adds to the highest fluency of finger technique, an unerring musical instinct and a refined, artistic sensibility. His recitals have become musical events of the best order, and cover a remarkably wide range of works, including nearly everything from Moszkowski, Scharwenka, Tschaikowski, Sgambatti and Saint-Saens, as well as Bach, Beethoven, Mendelssohn, Schumann and Chopin, which he plays without notes, and as that discriminating critic, Mr. Mathews, says, "with the genuine ease that belongs only to a master." He has also a brilliant record in chamber music. His public work has been extensive, embrac- ing concerts in Berlin, where he was eulogized by the most conservative critics, in Steinway Hall, New York, and other cities since 1877, with i^^^'-T^-y^-z-*^ C>C^ '-<^-'^^2^-^u^^^ Theodore Thomas in orchestra, with Wilhelmj, the violinist, and a vast amount of work in Chicago, where he enjoys unlimited popularity in cultured circles, and especially in the best walks of musical life. Mr. Liebling has exercised a very active and important influence in develo'oing musical taste upon higher lines, and extending the knowledge and appre- ciation of the best forms of music by his masterly exemplificatibn of its power and beauty. As a composer he has won distinction, and has the capacity to perform, as we may fairly anticipate, distinguished service in the future for the elevation of American creative art. His compositions include : Florence, valse de concert ; Meteor e, galop ; Feu Follet • Album- blatt, a gavotte moderne for the piano, a collection of scales, and a song entitled. Adieu. All of Mr. Iviebling's brothers are distinguished as pianists. Mr. Max lyiebling has been for many years a prominent accompanist and conductor in New York, whence he has gone out from time to time with concert companies. His brother Saul is a brilliant concert pianist with a high European reputation. He was much esteemed by Liszt. A still younger brother, George, has an enormous repertoire and a phenomenal technique. He has made several highly successful concert tours in Europe. He is likely to be heard of more extensively as years go by. Mr. Emil Iviebling is happily married, and lives in a charming home in one of the pleasantest parts of Chicago. August Hyllested. August Hy nested, the Scandinavian pianist, was bom in, 1858 at Stockholm, Sweden, where his father occupied the position of stadtmusicus. The son early exhibited remarkable musical talent, entering upon the study of the art at the early age of five, and plalying in public in Stockholm with great success when but eight years of age. Three years later he made a concert tour through Scandinavia. In 1871 he was sent to Copen- hagen, where he had for an instructor Edmund Neupert, at that time director of the piano department at the Royal Conservatoire, and where he had tuition in composition, by the great composer, Neils W. Gade, president of the conservatoire. After five years devoted to study under such distinguished auspices, he made a second tour of Scandinavia as conductor of orchestra and solo pianist with Ferdinand Strakosch and his company, including Signora Domia Dio, Signora Montoya and Signor Holman. Returning to Copenhagen, he became organist of the Kykjobing cathedral and conductor of the musical society. Removing to Berlin two years later, he became a pupil of Xaver Scharwenka and the celebrated Theodor Kullak. In 1880 he went to Weimar to play for the great master, Franz lyiszt. I^iszt was greatly interested in Hyllested, spoke warm words of encouragement, and in a letter to the Danish royal assessor at Copenha- gen, said: "Among the many pianists I have had the opportunity to hear I find only a few that are really talented artists, but among these few is particularly the Scandinavian pianist, August Hyllested." This high commendation did not prevent the artist from returning to Berlin and studying counterpoint under Kiel. In 1883 he made a very success- ful concert tour through Great Britain, playing at the Crystal Palace, and also in the principal cities throughout the country. Soon after, upon the invitation of her royal highness the Princess I/Ouise, he spent the sum- mer at her residence in Itzehoe. In the fall he left for England with letters from the royal family of Denmark to the Princess of Wales. He gave his first concert at the house of the Earl of Dudley, and afterward played before the royal family at Marlborough House. In 1885 Hyl- lested came to this country under the well known impresario, L. M. Ruben. After giving four concerts in Stein way Hall, N. Y., with Ovide Musin, the Belgian violinist, he made a tour of the principal eastern cities of the United States and Canada. At the National Music Teachers' Convention in Boston that year, he became acquainted with Dr. Ziegfeld, and was induced to come to Chicago, where he became and remains assistant, director of the piano department of the college. That the young instructor has won popular favor in Chicago, goes without saying. His concert work has been very successful afld his compositions have been well received, while his influence through the classes of his pupils is trans- mitted throughout the country, to the great advantage of general musical culture. The Society of Merit, of Palermo, Italy, has recently sent him a gold; medal in recognition of his ability as an artist. We know of no one who is more conscientiously devoted to his art, or who more thor- oughly recognizes his obligations to the great work of musical cultivation. CarLYLE PETERSIIvEA. No musician of American birth has attained a higher eminence in that broader world of art, which knows no geographical distinctions, than the subject of this sketch. As pianoforte virtuoso, as teacher and as the author of standard didactic works, whose excellences are approved by the highest and most critical musical authority, Mr. Petersilea has acquired an enviable reputation for himself, and brought honor upon American art life. He was born in the city of Boston, Jan. 18, 1844, and inherited his musical predilection from his father, Franz Petersilea, a musician of superior attainments, the author of the Petersilea Piano System, published 1872, and who had hiinself been the pupil of the great and gifted Hum- .^ mel. To direct and develop the musical talent which young Petersilea early evinced was a labor of love for his father, and so thoroughly was this work performed and so readily did the genius of the pupil respond to the promptings of the preceptor that after being admitted to the Con- servatory of lycipzig, whither he was sent to perfect his musical education, in October, 1862, he was enabled to graduate with honor in August, 1865. His talent was recognized by that keen and discriminating observer and grand old musician, Moscheles, and this great master was pleased to bring him forward on all important occasions. On his graduation a testimonial was awarded to him, signed by the names of eleven distinguished masters, including Moscheles, Dr. Papperitz, Carl Reinecke, Franz Brendel, E. F. Richter and Ernest Hauptmann, which relates that — Mr. Petersilea attained superior accomplishment in his general musical educa- tion, and particularly in piano playing (solo and ensemble), by musical conception and technical virtuosity, the highest eminence. In the Grand Pruefengen of the Conservatory at Leipzig, held in the Gewand- haus Hall, Mr. Petersilea rendered Concert Fantastique of Moscheles, April 18, 1863 ; F Minor Concerto of Chopin, April 8, 1864 ; Concerto for Pianoforte of Henselt, April 27, 1865, achieving great and deserving distinction ; and at Easter, 1865, the prize out of the Helbig Fund was awarded to Mr. Carlyle Petersilea, at the unanimous request of the directorial board and individual teachers of the Conservatory of Music at Leipzig. On leaving Leipzig, Mr. Petersilea played with distinguished success in the leading cities of Germany, and subsequently returned to his native city, where he astonished and delighted musical circles with the brilliancy of his musical accomplishments. Entering upon the career of teacher and executant, he was induced by friends to establish a school of music, which, as. the " Peteirsilea Academy of Music," was in successful opera- tion from 1871 to 1886, when he was induced to give it up and accept the position which he has since held, at the New England Conservatory of Music. In 1884 he visited Europe, where he passed the spring at Weimar, with the great master l,iszt. He gave, on April 10, a concert at the Singakademie, Berlin, in which he commanded the most eulogistic notice from the critics. H. Ehrlich, in the Berliner Tageblatt, said : "In all these pieces, Mr. Petersilea proved himself a very solid and scholarly pianist." The Berliner Fremdenblatt said : " His technique is extraordi- nary and reliable." The Kreuz Zeitung: "His playing is characterized by great purity, beautiful aud expressive touch, and almost infallible technical accuracy, combined with an animated and profound conception." The Vossiche Zeitung: ' ' He possesses a magnetic, facile and accurate technique, especially with a tendency tothe majestic, and, all in all, an animated style of playing." The Deutsche Musik Zeitung: "The con- cert giver proved himself not only a cultivated musician, but also a superb pianist, whose renderings glow with warmth and fire." Leonard 136 Bmil Bach, court pianist at Berlin, in a letter to the German press, enthusiastically praises the American virtuoso, saying of a meeting at the house of an American citizen at Berlin : "I had the pleasure of making the acquaintance of the eminent pianist, Mr. Carlyle Petersilea, from Boston, who excited our amazement by his grand and masterly perform- ance, which had all the passionate fire of Rubinstein, ' ' etc. Mr. Peter- silea has received from the Italian Academy of Art and Science a diploma, with a grand gold medal and other decorations. His technical studies, and also his complete scales and Arpeggios have become standard works, in use both in Europe and America. He possesses a phenomenal musical memory, having at different times performed from memory the entire Beethoven sonatas, and other important and difficult works. Miss Amy Fay. Miss Amy Fay was born at Bayou Goula, May 21,1 844, on a plantation on the Mississippi river, eighty miles from New Orleans, ILiszt's attention to the prescibed movement, "Andante Marziale " and not "Presto." Liszt took the sug- gestion good-naturedly. He afterward regaled the company with such playing as Liszt only was equal to. Wels also made the acquaintance of 148 3faAA^:^/C^^ !f Richard Wagner there, he being leader of the Royal Opera, where his Rienzi and Tannhduser were just fighting their way into public recogni- tion. In 1849 Mr. Wels decided to come to America. Arriving in New York, he found himself in competition with Maurice Strakosch, who was at that time giving concerts and appearing as a pianist. His contempor- aries were: Timm, Scharfenberg, WoUenhaupt, Bristow, Eisfeld, Richard Hoffman and a few others. He settled down to teach in New York, appearing occasionally at concerts, and making short trips through the country as concert pianist. He was very successful as a teacher; his pupils were legion, some of whom are known now as men of high stand- ing, as for instance S. B. Whitney of Boston; I/)uis Bonn, of New York, and others. He was intimate with the lamented H. A. WoUenhaupt, whose sister became his beloved wife, and shares still with him his joys and sorrows. T-i. M. Gottschalk was an intimate friend of Mr. Wels, and the two were frequently heard together in concert, playing four hand pieces. Mr. Wels also appeared as concert organist, and for the past thirty-five years he has been engaged as organist by some of the most prominent churches in New York. He has written compositions of every kind, piano solos, songs, church music and orchestral suites. He is still young in mind and hale and hearty in physique. His career has been a most useful and honorable one. CONSTANTIN STERNBERG. Aiong the admirable pianists of America Constantin Sternberg holds an honorable and prominent position. A well known critic recently referredjto him as "A musician by God's grace, and a gentleman, in the word's noblest meaning." This is enthusiastic praise, certainly; but the musical; world has had abundant evidence of Mr. Sternberg's talents as a musiciajn, while of his qualities as a man, his friends and those who know him best speak in terms of eulogy scarcely inferior to the above-quoted phrase. ; He was born in St. Petersburg, Russia, of noble parentage, in the year 1852. Though a Russian by birth, he is a cosmopolitan in culture and a German in musical education. At the age of eleven he was taken to Weimar, where lyiszt was residing, and the great master, taking notice of the boy, advised that he be sent to the conservatory at L,eipzig. At that grand school he studied with such famous instructors as Reinecke, Richter, Moschelles and Hauptmann. In .1867, when not quite fifteen years of age, he obtained his first engagement as a conductor of light opera at the Vaudeville Theatre at I,eipzig, and for six years he followed this branch, of the profession in various cities of France and Germany. He afterward graduated to grand opera, of which he became the con- ductor at the opera house at Strelitz. When he was about twenty-one years old, Mr. Sternberg attracted the attention of Kullak, who said to him: "You must learn to play the piano." Any excuses on the score of poverty were of no avail, and for several years the young man remained with Kullak at the expense of that great master, who has now gone from the scene of his labors for art. To repay this generosity and interest Stern- berg studied and practiced for thirteen hours a day, and the. I'esult was an attack of nervous prostration, from which he was rescued by a strong constitution. It was at Kullak' s suggestion that Sternberg went to visit Iviszt, who, just about starting for Rome, took the brilliant young pianist with him. Ho soon returned to Germany, concertized a while and was then appointed court pianist to the grand duke of Mecklenburg, with whom he lived on terms of friendliest intercouse, and from whom he received the order of the Crown of Wendland. Sternberg remained two years under the duke's patronage. He then went upon a prolonged concert tour, which included all the principal cities of Europe, and even extended into Asia and Africa. In 1880 he returned to Germany, and among other recognitions of his merit was a summons to appear before King William I, by whom he was treated with marked consideration and kindness. Shortly afterward he received an offer to visit America and, accepting the invitation, he filled engagements for 152 concerts and met with great success wherever he appeared. After his first American tour he returned to Germany to be married, and then Mr. and Mrs. Sternberg departed for America, having concluded to make their home here. After a concert tour with Mme. Minnie Hauk, Mr. Sternberg received a flattering offer to IjOcate at Atlanta, Ga. , and take charge of the music of the Female College at that city. His admirable work in this important position has been varied by occasional concert tours, and Mr. Sternberg's career in America has been both gratifying to the musical public and satisfactory to himself Mr. Sternberg has composed a variety of works, and he has written agreeably on many subjects relative to musical art. As a pianist he is not a mere technician, although his execution is brilliant; but he ever makes the executant secondary to the scholar and thinker. Miss Nearly Stevens. One of the youngest and one of the most popular of the American pianists of the present is Miss Neally Stevens, whose brilliant work in various important concerts during the past few years has endeared her to audiences in all parts of the country. Recently at several meetings of NEALLY STEV-ENS. the Music Teachers' National Association, as well as at the reunions of several state associations ^iss Stevens' work has been praised in glowing terms by audiences of the most exacting nature — those made up of pro- fessional musicians. Miss Stevens is an American girl who has accom- plished much for the art of music in her native country. She enjoyed the advantages of study with the best masters of Europe. The Abbe Iviszt, Dr. Von Bulow, Moszkowski, Scharwenka and many other celebri- ties may be accounted among those who have given her their guidance. While studying in Germany she made frequent appearances in concert, and her work was warmly praised by the late Abbe Liszt and by other famous connoisseurs. Her repertoire is a most extensive one, and she has a par- ticular penchant for the works of American composers, frequently devot- ing entire programmes to their interpretation. Miss Stevens has played in most of the leading cities of the Union. She succeeded in capturing the favor of critical Boston. In that city the critic of the Home Journal, said: ' ' Her technique was shown to have all the mastery and charm of the bravura pianist, while in contrasting attendance upon this tue perfect refinement, clearness, pliancy and finish were the unmistakable traits of the real artist. Her phrasing was that of a thoroughly sincere, able and discriminating musician, while the tone she produced from the inotrument was unusually musical and refined." On the occasion of her appearance in New York, the Musical Courier' s well known critic wrote of her: " Miss Stevens has a refined musical nature and a very brilliant technique. She gave several difiicult bravura passages in a nianner that deserves the highest praise. Her scale work was excellent, and scarcely a blur was noticed throughout. Her octave passages and chords were given in a very broad manner, and showed plenty of reserve power. She aroused her audience to great enthusiasm, and was often recalled." Miss Stevens is but a trifle over twenty years of age, and she has made most rapid progress in her art. Her gifts include a charming man- ner and appearance, and her playing is characterized by warmth of expres- sion, facility of technique and intelligence that readily grasps the intent and purpose of a composer's thoughts. She is devoting herself wholly to concert playing, and thus far has been so successful that a brilliant future for her may be anticipated. ' Armin W. Doerner. This well known pianist and teacher, who has been connected with the Cincinnati College of Music, since its foundation, was born in Mari- etta, O., June 22, 1852. He came to Cincinnati in 1859 with his parents, and at the age of ten years he received his first instruction on the piano, t^yl.-T-X'^l^^'^^^ /^ ^^^^ d from his father, who could only teach him the elements, and had not the slightest intention of making him a musician. An inborn love of music prompted him, however, to pursue his studies with indefatigable zeal, dhd at the age of seventeen he had already decided to follow music as a pro- fession. In April, 187 1, he went to Berlin and entered the New Academy of Music, under Theodore Kullak, taking at the same time private lessons from the celebrated Franz Bendel, and studying theory and composition with Carl Weitzmann. In the following year he entered the conservatory of Stuttgart, where he remained two years and a half, under the instruction of such eminent professors as Pruckner, Techert and Faisst. Subsequently he studied for several months in Paris, under Edward Wolff, a pupil of Chopin. After undergoing this complete and' thorough course of training from the most famous foreign masters, he returned to Cincinnati, and in 1879, when the College of Music was established, he was appointed professor of piano, in which capacity he has labored conscientiously and with extraordinary success. He is a piano instructor in whom all the requisites of a complete intellectual and mechanical mastery of the piano are blended. His book of Technical Exercises is clear, concise and methodical in treatment, and is well adapted to the daily use of the advanced artist and the mere tyro. Aside from his well-merited success as a teacher, Mr. Doerner has achieved a national reputation as a superior executant, and in connection with Prof. Andres, of Cincinnati, gained much applause for superior finish of duet playing upon two pianos. This was before the meeting of the National Association of Music Teachers, at Philadelphia, in July, 1889. In this connection it may be of interest to state that some of the highest musical authorities, and among them the talented musical critic of the New York Tribune, say that their ensemble playing, in the higher quality of unity of thought and harmony of purpose, in the nice adjustment of individual characteristics and the unselfish subordination of everything to the expo- sition of the contents of the composition, has no superior. Having.already accomplished so much and being yet in the prime of life and usefulness, we can safely predict that Mr. Doerner will yet add many interesting and brilliant pages to the history of music in America. John Ernst Perabo Was born at the pretty, straggling little town of Wiesbaden, in Ger- many, on Nov. 14, 1845, the son of Michael Perabo, whose entire family of nine children entered the musical ranks. His father began to teach him music when he was only five years old. In 1852 they came to Amer- ica, and the family settled in New York, where they remained for two years. During the second year the lad appeared before the public for the first time in a concert given by Professor Heinrich, and a great future was predicted for him. His parents then removed to Dover, N. H. , and after- ward to Boston, where they made their home for a year, and during this time the boy received instruction on the violin from William Schultze, of the Mendelssohn Quintette Club, and played at a concert, under Carl Zerrahn's direction, at the Music hall. From there the family went to Chicago and to Washington, where they saw President Buchanan, and sought assistance from the government in order to help the lad to prose- cute his musical studies in the old world. They were unsuccessful, not unnaturally, but finally induced William Scharfenberg and a committee in New York to send John Ernst to Germany to receive a more extended musical culture. He left for Hamburg in 1858 and spent four years in ' ' the town of the three turrets, ' ' but, owing to the delicate state of his health, did not study music to any extent. He entered the conservatory at Leipzig in 1862. His teachers were Professors Moscheles and E. F. Wenzel, on the piano; Dr. Robert Papperitz, Dr. Moritz Hauptmann and Dr. E. F. Richter, in harmony, and at a later period he had instruc- tion in composition from Carl Reinecke. He won some distinction, taking the Helbig prize, and at the public examination of the conservatory in 1865, playing the second and third movements of Norbert Burgmiiller's concerto in F sharp minor, then just published. When he returned to the country in 1865 the committee told him that they expected no pecuniary reward for their services, and that he was absolutely free. Mr. Perabo went to Sandusky, O., where his parents lived, and gave several successful concerts in that city and at Lafayette, Chicago and Cleveland. In 1866 he returned to New York and played at a number of concerts, meeting with such favor that he started a series of Schubert mat- . inees, at which he rendered all the sonatas of that composer. : He has has played every winter at the Harvard concerts bringing out many works previously unknown. He has published four collections of piano pieces for pupils, and transcriptions of lyowe's ballads. The Dance of the Dead, Melek at the Spring, and The Secluded. Besides these, he has made concert arrangements of the first movement of Rubinstein's Ocean Sym- phony for two hands, the same author's overture Dimitri Donskoi, the first movement of Schubert's unfinished symphony, and transcriptions from Beethoven's Fidelia and Sullivan's lolanthe. He has also composed several short pieces for the piano, among them Moment Musicale, Waltz, Intro- duction and Andante, Souvenir, Studies, Scherzo, Prelude, Pens&e Fugitive and After School. He is now living in Boston, engaged in the work of a teacher. 158 Carl Faei,ten. Carl Faelten, one of the principal teachers in the New Kngland Con- servatory, and an artist distinguished in the world of music, was bom in Ilmenau, Thuringia, Dec. 21, 1846. While a school boy he evinced a strong passion for music, and was fortunate enough to secure competent preliminary instruction in piano and in theory. Possessed of an ambition to become a good pianist, and as his parents were unable to provide the means to enable him to gratify this ambition, he had recourse to his own industry and exertions. He entered one of those orchestra schools in Ger- many, known as the Sfadtpfeifereien, at Arnstadt, where he remained from his fifteenth to his nineteenth year, and where, while pursuing every advan- tage open to him for study and improvement, he was compelled to do the most laborious and unsatisfactory work of the musical profession, playing dance music, etc. ; but this in itself was an advantage to him in after years, as it gave him practical acquaintance with many orchestral instruments, and he became especially proficient in the violin and clarionet. After playing the violin in orchestras in Germany and Switzerland, he became connected with a_small orchestra in Frankfort-on-the-Main. Here he was able to resume his piano study, which he had been compelled to neglect for nearly seven years, and was fortunate enough to attract the attention and secure the friendly advice of several prominent musicians, among them Herr Julius Schoch, a pupil of Aloys Schmidt. Thus encouraged, he studied and practiced with great energy, and was making rapid progress, when another untoward event interfered with his ambition. The inexorable German military law took him away to service as a soldier of the line dur- ing the Franco- Prussian war, and when he returned to Frankfort, he found his fingers so stiff from handling the musket, that he had to begin over again his training for the piano. However, difficulties served but to increase his ardor, and so diligently and successfully did he now pursue his mu- sical education that after 1874 he appeared successfully in symphony con- certs with other eminent artists, and gave recitals of his own, which soon gave him a reputation in critical circles. He appeared at Berlin, Bremen, Cassel, Haag, Schwerin, Wiesbaden, Vienna, lyondon and other European cities, with increasing fame, and also devoted much time to teaching, with such skill and success and evidence of a natural aptitude for the work that he attracted the attention of Joachim Raff, whose friendship he had formed at Wiesbaden. In 1877 Raff organized the conservatory at Frank- fort-on-the-Main, and selected Faelten to be associated with Mme. Clara Schumann, as the best available talent combining eminence as a pianist with skill as a teacher. Here he had special charge of the training of teachers, and delivered annually numerous lectures on theoretical and practical requirements of teachers in piano playing. His piano classes were very successful, and lie graduated a great many finely trained stu- dents. On Raffs sudden death, a little over three years later, Faelten determined to come to America, and in 1882 settled in Baltimore under engagement with the Peabody Institute. Here he labored successfully for a few years, when his services were secured by Dr. Tourjie for the New England Conservatory of Music, where he has found the work so con- genial, and all the surroundings so entirely to his satisfaction, that he has determined to devote the balance of his life to musical work there. His success has been remarkable, and its results justify the wisdom and dis- cernment of both Raff and Dr. Tourjee in their appreciation of the quali- ties which make him so valuable an acquisition to a musical conservatory. He has become widely known outside the conservatory — at New York, Boston, Baltimore and elsewhere, in connection with the symphony con- certs — and wherever he has appeared his talents as a pianist and musician of the first rank have been universally recognized and applauded in the most critical circles. Otto Bendix. The name of this eminent pianist and teacher has been widely famil- iarized through the United States, not only through his prominent connection as an instructor during the last nine years at the New England Conservatory of Music, Boston, but also in connection with many important musical events in the leading cities of the Union. Mr. Bendix is a native of Copenhagen, Denmark, where his boyhood was passed. His musical talent is inherited, his father, Emanuel Bendix, a prosperous merchant of the Danish capital, having been an amateur musician, noted for his skill as a flutist. At the house of the elder Bendix, the Royal Orchestra was accustomed to frequently meet for practice, and thus the subject of this sketch grew up in a musical atmos- phere. As early as at nine years of age, young Bendix had attained such proficiency at the piano that he was allowed to play with the orchestra, and the bent of his genius being evident, he was allowed by his father to entier upon a course of study with a view to a musical career. He studied first under Antoine Ree, at Copenhagen, and afterward under the eminent Danish composer, N. W. Gade, director of the Copen- hagen Conservatory, where his progress was so rapid and his proficiency so remarkable that it was decided to open up to him the broader advan- tages of the Berlin schools. At Berlin he remained for two years a pupil of the distinguished KuUak, and had the additional benefit of a warm , personal intimacy with this famous composer and instructor. On com- pleting his studies with Kullak, he gave successfully a series of concerts in Berlin, under the patronage of that master. Thence he went to Weimar, and for three consecutive summers had the inestimable advantage of the advice and instruction of the great I,iszt. At Weimar he gave numerous matinees of the same class as those given by Von Bulovv and Rubinstein, and these entertainments were patronized by the grand duke of Weimar, who in this and other ways manifested a keen interest in the art career of the young performer. Having thus completed the preparation for his musical career under such distinguished auspices, he returned to Copen- hagen and was at once installed as a foremost teacher in the conservatory, where he soon acquired a prominent reputation, both as executant and teacher. In addition to his work as instructor of the piano at the con- servatory, he played the first oboe in the Royal Theatre orchestra during the thirteen years of his connection with the Copenhagen institution. Having determined to remove to America, he made his first appearance in Boston, in 1880, and gave an introductory recital at Chickering's piano rooms, which was attended by the leading musicians and critics of the city, whose verdict upon his playing was extremely favorable. He shortly after accepted a position as piano teacher in the New England Conservatory, where he still remains among the most efficient as well as the most popular of the teachers of this institution. During this time he has frequently appeared as a virtuoso in our principal capitals, and has been everywhere recognized as undoubtedly one of the most brilliant instrumentalists of the modern school. He combines remarkable technique with a truthfulness and sympathy of interpretation which enable him to render the compositions of the great masters in a manner that invariably elicits the approval of every artistic listener. Combined with this faculty he possesses a rare adaptability to the work of imparting musical knowledge to others, and this has rendered his services in con- nection with the conservatory of tte greatest value, both to that institu- tion and to the students committed to his care. Mr. Bendix is one of the most thoroughly Americanized of our naturalized musical citizens, and desires to be considered nothing if not American. The nature and extent of his other labors preclude any great efibrt at composition, although he has written an octette for piano and wind instruments that has been highly admired, and other works which indicate ability as a composer. J. D. Buckingham. One of our most successful pianoforte teachers, judging the quality of the instructor by the fruits of his instruction, is Mr. J. D. Buckingham, for ten years past connected with the faculty of the New England Conservatory of Music. Mr. Buckingham was born in Huntingdon, Pa. , 163 May 17, 1855, his father being the Rev. J. D. Buckingham, a minister prominent in the Methodist denomination. Very early in life he evinced not only a strong predilection for music, but marked talent in that direc- tion, and could play with tolerable proficiency when, at the age of twelve, he was placed under a teacher at York, Pa. Subsequently he studied under various masters until the fall of 1873, when he entered the New England Conservatory as a student. He there continued his musical studies until 1879, taking instructions in pianoforte from J. C. D. Parker; organ, George E. Whiting; harmony and theory, S. A. Emory; counter- point, fugue and general composition, history of music and aesthetics, J. K. Paine, of Harvard College. In 1879 he graduated, and received a full diploma from Boston University, C. M. Since that time Mr. Bucking- ham's work has been wholly devoted to the New England Conservatory as pianoforte instructor, though at times making public appearances at His lessons — vocal and piano — are sought by artists. His productions are performed everywhere, and by such pianists as Wm. H. Sherwood, Calixa Lavallee, Mme. Rive-King, Mme. Fannie Bloomfield, Mrs. Clara E. Thoms, Miss Neally Stevens, Mme. Dory Burmeister Petersen, Con- stantin Sternberg, Emil I^iebling, etc. , and by such vocalists as Miss Zelie de I^ussan, Miss Effie Stewart, Miss Dora Henninges, Miss Grace Hiltz, Dr. Carl Martin, Mr. Chas. Knorr, etc. As a composer he is one of the few who possess a genuine gift for the invention of melody, and who are also invariably musicianly in whatso- ever they may indite. His compositions combine the artistic and the popular without ever descending to triviality. In 1888-89 Mr. Smith was president of the Ohio Music Teachers' Association, and the meeting held under his regime was one of the most successful in the history of the association. During the present year (1889) Mr. Smith, with Calixa Lavallee and Dr. Ziegfeld, comprise the programme committee of the Music Teachers' National Association. Mr. Smith has also appeared before the State and the National Associations as an essayist, in which field he has been notably successful. His article upon the subject of ' ' American Composers ' ' has been copied far and near. Mr. Smith has pub- lished over a hundred compositions, vocal and instrumental, and it is a striking fact that not only are his works played and sung by leading artists everywhere, but his name as a composer is also to be found upon the programmes of the various state music associations, as well as the Music Teachers' National Association. Mr. Smith has had a brilliant career which is as yet in its early stages, and still greater fame yet awaits- him in the vocation he has chosen. 1611 ^O^^toctg ^^ 165 Marcus I. Epstein and A. I. Epstein. Two of the representative musicians of St. l/ouis are the Messrs. A. I. and Marcus I. Epstein, who have a national reputation as players of piano duets. The Epsteins are an exceptionally talented musical family, another brother being equally distinguished as a pianist. Mr. Abe Epstein was born at Mobile, Ala. , in January, 1857. He has studied with Lovitzsky, Prevost and other masters, both here and in Europe. Since he has resided in St. Louis, Mr. Epstein has devoted himself mainly to teaching the piano, organ and composition, but he has also found time for frequent concert tours, which have placed him prominently before the public as a virtuoso of pronounced talents. He has written a co icerto for piano and orchestra, which has been highly praised, and he has also composed a great deal of church music. He has been pronounced by Mariana Brandt and other famous vocalists one of the very best of accom- panists. Marquis I. Epstein, who has always been closely associated with his brother in musical studies and pursuits, is also a native of Mobile, Ala., where he was born in 1855. He pursued his studies with Reinecke, Richter and Jaddasohn from 1871 to 1874, and with each of these famous instructors he was accounted a most talented student. He has been associated with his brother, Abe I. Epstein, for a number of years, and the Epstein brothers are conceded to have done a great deal of excellent work for music in St. l/ouis. He has been engaged in teach- ing the piano and playing in concert. He has also composed many works of considerable importance, including a polonaise in C sharp minor, a sonata for violin and piano, a polka caprice, and many minor piano pieces, transcriptions. Together with his brother, he has acted as impresario for the bringing out of several popular operas in St. I/Ouis, enterprises which have been brought to a successful consummation. During the meeting of the Music Teachers' National Association at Philadelphia, in 1888, the Messrs, Epstein attended, and their duet playing made a decidedly favor- able impression. At that time a well known critic paid them the follow- ing tribute in an eastern musical paper: ' ' The famous Epstein brothers, of St. Louis, Mo. , who have the reputation of being the finest duet players in this country, were at Phila- delphia during the convention, and one morning, accompanied by a chosen few, they repaired to one of the largest and finest warerooms, and held their impromptu audience entranced for a brief hour by their remarkable talents. They gave the Liszt concerto, Mr. A. Epstein playing the solo part with astonishing power and brilliancy, and showing a command of technique that aroused enthusiastic praise from his hearers. His no less talented brother gave the orchestral part brilliantly, 166 CHAPTER XII. Concert and Operatic Singers. "^^IrN no form of musical art have the American people distinguished themselves more than in that of song. The emotional tempera- ment of the American woman, her mental acuteness and her -capacity for hard work combine to make her the most ductile 'musical material furnished by any nation. While the climate of our country might not at first sight be thought favorable to the voice as an organ, the record shows a vast number of successful public singers of American birth. These people, especially in recent years, make successful careers abroad, and even take the stage and hold it against the rich voices and attractive personalities of Italian women. In fact, there have been a large number of Americans who have had brilliant successes in Italy within recent years, most notable among them being, perhaps, that richly endowed nature, Mme. Iv-?-^ c> ^ ■^ appearance of importance in this country was made at McVicker's theatre, Chicago, Nov. i6, 1878, and she achieved a triumph as "Iu^ piano and harp respectively, but the former left concert life upon her marriage, and the latter died just as her career was beginning. Julie was educated at the conservatory of Stuttgart and in the Royal Theatre school there. The latter position was a high distinction, since but two candi- dates annually were selected by the king from the most promising voices in the conservatory. When fifteen years old her mother sent her to visit some relatives in Baltimore, in order to break her connection with the German stage. At her married sister's house she met Mr. I. H. Rose- wald, a young Baltimorean, conductor of several musical societies, violin- ist and composer, whom she married at the age of sixteen. She then began to appear at concerts with great success, and a year later, at her earnest request, was sent to Europe to complete her musical education. There she placed herself under the direction of the celebrated Marie von Marra, then residing at Frankfort, At the end of her studies she was invited by the great song writer, Franz Abt, to accompany him to this country, in order to interpret his songs in his concerts here. In 1875 Mr. C. D. Hess heard her sing at Baltimore, and insisted upon her adopt- ing the operatic stage, and accordingly, after considerable opposition on the part of her relatives, she made her dibut at Toronto in 1875, as " Mar- guerite ' ' in Faust. She achieved a great success, and was immediately engaged to go to California with the company, at the liberal salary of $150 a week. Within four weeks she had a repertoire of fifteen operas. In the spring of 1877 she went again to California in the company of Mr. Hess, and appeared as ' ' Senta' ' in The Flying Dutchman, the first represent- ative of the part seen upon the Pacific coast. In the following years she sang in Europe, but returned to America in order to accept an engage- ' ment with the Abbott company in 1880, and remained with it for three years. She withdrew from the stage in 1884 and located with her husband in San Francisco, Cal., where she lives as teacher of singing and concert artist. AUGUSTO ROTOLI. This distinguished master of singing and the art of music was bom at Rome, Jan. 7, 1847. His father dying while the subject of this sketch was still a small boy, his early days were spent amid limited circum- stances, of which little more than the memory of his mother's tenderness remains to him. At the age of nine he entered the Hospice of San Michele, and was presently selected as one of the choir boys for the Lateran and I^iberian chapels. At the end of two months he made his dibut as soloist at the Julian chapel of St. Peter's, his aria being the Ave, Regina Ctzlorum, of Tornelli. To use his own language : ' ' My love, my passion, for music dates from that moment. ' ' He was in demand for all -^^^-cC^ i/ot;'-^ ^^^^.nA^c:?.,'^^^^ the cathedrals, singing at masses anJ vespers, and in the sacred melo- dramas at the Academy of Music. At the age of eleven he was regularly- engaged as singer at St. Peter's, at a monthly stipend. " Oh, how happy I was," he says, "when I took the first money earned by my beloved art to my poor mother ! " In this position he spent five years, learning the tradition of the venerable masterpieces of Italian art, the music of Pales- trina, Porpora, Pergolese and the other favorite masters of Roman ecclesi- astical song. When he iOst his natural soprano voice he devoted himself still more assiduously to the principles of the art of music, his main instructor being I^udovico Luchesi. Under his direction he worked with indefatigable zeal, and at length, by public examination, obtained, in 1868, the title and position of Master in the Academy of St. Csecilia. He was also organist, and composed and conducted sacred music with great success. There he instituted the Lenten choral concerts, which are still maintained with considerable of their former prestige; From this time his work con-- tinually broadened in its field, and the number of his pupils grew contin- ually larger and larger. Meantime his compositions were making him known in other cities and countries, and in 1873 the queen of Portugal, wishing to express her appreciation of his services to art, bestowed upon him the insignia of the Order of the Cross. In 1876 he visited I^ondon for the first time, but his fame had preceded him, and Mr. Henry Leslie made him the conductor of his choir in two concerts where the music of the greatest Italian masters was performed. His compositions were published by' the Ricordi in Milan, and found a wide sale. The best are Benedidus, for solo voices, and a Funeral Psalm, for baritone solo, chorus and orchestra. In 1885 Signer Rotoli accepted the call of the New England Conservatory to come to Boston and represent in their course the best traditions of Italian art. He gave a farewell concert in Rome, which was a remarkable occasion. The beautiful theatre of Costanzi was resplen- dent with the aristocracy of the city, headed by the queen. Signor Rotoli was recalled time and time again, and was the recipient of innumerable testimonials. In Boston the same success has attended him. He has a fine tenor voice, rich, expressive and highly cultivated. Emiuo Agramonte. This distinguished artist, one of New York's most successful vocal teachers, was born at Puerto Principe, in the island of Cuba, in 1844, ^-'^'i comes of an illustrious family. His father intended that he should join the legal profession, and sent him to Madrid to study law, where he re- ceived his degree of 1,1,. D. He had, however, an artistic temperament, and commenced the study of music, in which he soon became proficient, going to Paris, where he studied the piano under Marmontel and composi- tion with Maiden. He also studied singing in Paris with Delle Sedie and in Madrid with Selva. He came to New York in 1869, and at once oc- cupied a prominent position in the art life of the metropolis. He was im- mediately elected musical conductor of the Eight o' Clock Musical Club, and he originated the Amateur Operatic Club, with which he successfully produced seven acts of as many different operas. Mr. Agramonte also produced and directed the fourth act of La Favorita, two acts of Trovatore, the opera of L' Ombre, by Flotow, and the fourth act of Ernani. He has successfully trained and conducted several choral societies, and is at pres- ent conductor of the Gounod Choral Society, of New Haven, Conn., which produced for the first time in this country, and, under his direction, Mas- sanet's Eve. He has had a remarkable success as a vocal teacher, and among his pupils who have achieved distinction are Mr. Geo. Sweet, Miss Gertrude Franklin, Miss Gertrude Griswold, Mr. Coletti, Mr. Wilkie and Mile. Mendes, now a prima donna in France. In 1886 Mr. Agramonte gave six matinees at Chickering hall, devoted to the production of new compositions by European and American com- posers, he being one of the first to recognize and encourage the movement to give American composers a fair hearing. At these matinees he produced several compositions of E. A. Macdowell, also a delightful set of songs, Flowers of an Old Garden, of Chadwick. Arthur Foote and others. His name has been brought prominently before the public in connection with the proposed erection of a new opera house on Fifth avenue, intended to occupy the same relation to this city as the Opera Comique to Paris, a per- manent house for opera sung in the language of the country. He recog- nizes the important fact that it is indispensably requisite that opera must be sung in the language of the people upon whom it must depend for support. Mr. Agramonte is acknowledged to be one of the best accom- panists in America, and also one of the best sight readers, having estab- lished three clubs, one in New York, one in Detroit and one in Grand Rapids, for the purpose of promoting proficiency in sight reading, in which he takes a deep interest. Paui,ine ]v'Aliim). Mr. Theodore Thomas was the conductor and Dr. Otto Singer the chorus master. Dr. C. C. Miller was the official agent. The principal soloists were Miss A. I<. Gary (contralto), Mrs. H. M. Smith (soprano), Mr. Nelson Varley (tenor) and Mr. Whitney (bass). The work done by chorus and orchestra was above reproach. There was a large attendance at all the concerts, and so great was the enthusiasm aroused that a request for another festival was presented on the last evening from the leading citizens of Cincinnati. The second musical festival began on May 17, 1875. It was held in the Exhibition hall, and showed in every respect a marked advance upon the first festival. The business arrangements were in the hands of the Cincinnati Biennial Musical Festival Association, which had been incor- porated in 1874. In the autumn of that year the chorus was organized .under Prof. Otto Singer, who had then just made his home in the city. The programme was very strong, including Brahm's Triumphal Hymn (Op. 55), Beethoven's seventh symphony, Wagner's Lohengrin, Mendels- sohn's Elijah, Bach's Magnificat, Beethoven's ninth symphony, Schu- bert's symphony in C, and Liszt's Prometheus. The chorus, consisting of 294 sopranos, 134 altos, 145 tenors and 223 basses, in all 796 voices, was finely trained and did its work excellently. The principal soloists were Mrs. H. M.- Smith and Miss Whinnery, sopranos; Miss Annie I^ouise Gary and Miss Emma Crauch, contraltos; Messrs. Winch and Alex. Bischoff, tenors, and Messrs. F. Remmertz and M. W. Whitney, basses. The chorus was perfectly trained and rendered that portion of the music with wonderful grace and technical skill. As to the orchestra, composed of the same elements as that of the first festival, it was in the hands of a leader like Thomas necessarily almost above praise. Mr. Thomas led throughout, with Prof. Singer as chorus master, and Mr. Dudley Buck as organist. It is only due to Mr. John Church, Jr., of Cincinnati, to say that the main credit for carrying the festival through to a successful financial conclusion was owing to his unremitting efforts. The success of the festival was so marked that it started the movement, generously headed by Mr. Springer, which gave to Cincinnati the finest (at that time) music hall and organ in America. Owing to the time required to complete this hall the next festival did not take place till 1878. The third festival celebrated the opening of the new music hall, which had a seating capacity for 4,400 persons, and was equipped with a remarkably fine organ, built by Messrs. Hook & Hastings, and contain- ing 6,237 pipes. The chorus on this occasion was unusually good. It numbered some seven hundred people, five hundred of whom had been in constant practice together for many months. The singers had been carefully chosen and the parts were admirably balanced. Theodore Thomas was again the musical director and Otto Singer his assistant. The principal soloists were Mme. Eugenie Pappenheim and Mrs. E. Aline Osgood, sop- rano; Miss Annie Louise Cary, Miss Emma Crauch and Miss Louise Roll- wagen, contralto; Mr. Charles Adams and Mr. Christian Fritsch, tenor; Mr. M. W. Whitney and Mr. F. Remmertz, bass; Signor G. Tagliapietra. Mr. George E. Whiting presided at the organ. The programme was a varied one, the chief pieces being Gluck's Alceste, Beethoven's third sym- phony, Handel's Messiah, selections from Lohengrin and Gdtterddmme- rung, Beethoven's ninth symphony, scenes from Wagner's Meistersinger and Schumann's Manfred, Liszt's Missa Solennis, and Berlioz's Romeo and Juliet. A Festival Ode, composed by Prof. Otto Singer for the dedication of the hall, was also performed. The masterpiece of the festival was The 314 Messiah, the rendering of which called forth high critical praise. This was undoubtedly the most successful of all the festivals up to that time, and marked the period when they began to be looked forward to as one of the important events in the musical world. On May i8, 1880, the fourth festival was held and brought together a more representative musical and critical assemblage than any of the pre- vious occasions. The chorus and orchestra were made up of the same materials as composed those of the third festival. The principal soloists included Miss Amy Sherwin and Miss Annie Burt Norton, soprano; Miss Annie lyouise Gary, and Miss Emma Cranch, contralto; Signor Italo Campanini and Mr. Fred Harvey, tenor; Mr. M. W. Whitney, bass; and Mr. J. F. Rudolphsen, baritone. The programme did not present any great piece, but was a good selection from a variety of works. Among them were Bach's cantata, A Stronghold Sure, Mozart's symphony in C major, Handel's y^i^z'/a^if, Mendelssohn's Midsummer Night' s Dream, Saint-Saens' symphonic poem, Beethoven's Missa Solennis, Schumann's fourth symphony, Wagner's Die Walkure, Dudley Buck's Scenes from the Golden Legend, fragments from Wagner's Meistersinger and Gotterddm- merung, Beethoven's fifth symphony and Handel's Coronation Anthem. The most markedly successful of all the pieces was Mr. Buck's cantata, the performance of which aroused the greatest enthusiasm. At its con- clusion the composer was called forward and received quite an ovation. Mr. Thomas on the last night was also the recipient of a pleasing testi- monial in the shape of a handsome carved music stand. After paying all the expenses the treasurer had a balance in hand of about $14,000, a suf- ficient proof of success. The record of the Cincinnati Musical Festivals is one of ever growing success. From all points of views the event of 1882 was a remarkable advance upon all previous attempts, and drew the warmest criticism from all quarters. Several of the great musical critics of Europe were present, and praised the performance loudly and earnestly. The chorus conductor on this occasion was Prof. Arthur Mees, and he brought the members up to the highest pitch of perfection, so that on the last night of the festival Mr. Thomas publicly acknowledged his indebtedness to Mr. Mees for the good work done. The chortis numbered over 600. The chief soloists were Matema, the great dramatic singer, of whom Wagner once said, ' ' I have found my Brunhilde"; Candidus, the tenor; Miss Cary, Cincinnati's favorite contralto, and Whitney, the bass. The principal works performed were Mozart's Requiem and Beethoven's seventh and eighth symphonies, Bach's /'a55zi?« Music, representative selections from the chief of Wagner's operas, Schumann's Faust, Schubert's symphony in C and Gipsy Sym- phony, Weber's Euryanthe and Berlioz' Fall of Troy. A marked sensation was made by the rendering of Gilchrist' s prize composition, the Forty-sixth Psalm, the composer being called forward to receive the enthusiastic plau- dits of the audience. The great feature of the festival was the grand exposition of Wagner's music by Matema, who was heard to perfection as ' ' Brunhilde ' ' in selections from the G'dtterdammerung . JMr. George E. Whiting was again the organist. The sixth May festival was held in 1884. The programme on this occasion was remarkable, not alone for its representative character, but the exceeding great difi&culty of many of the works presented. The per- formance was a trying test of that ' ' noble six hundred, ' ' the chorus, and of the orchestra, but they came out of the ordeal triumphantly. The soloists were stronger than they had ever been before. Among them wl re Materna, Christine Nilsson, Miss Emma Juch, Mrs. Annie Norton- Hartdegen, Miss Emily Winant, Winkelmann, the Wagnerian tenor, Emil Scaria, and Messrs. Remmertz, Toedt, Heinrich, Lindan and Gerold. The festival opened with Gounod's Redemption, which was followed by Beethoven's fifth symphony, Wagner's Tannhauser, scenes from Wag- ner's chief operas, selections from Beethoven's works, Handel's /fr«f/z« Egypt, Brahm's Requiem, etc. The finest work was done in this last- named piece, which has been spoken of as " the most fiendishly difficult effort ever laid before a chorus." It was a genuine triumph for singers and orchestra, even Mr. Thomas, usually so impassive, laying down his baton and joining in the applause. Artistically the most perfect and effective work was in the Wagnerian music. Matema, Winkelmann and Scaria were a trio that could not well be beaten as exponents of that school, and their efforts were ably seconded by the superb execution of the orchestra and chorus. Mr. Arthur Mees was the chorus master, and dur- ing the week he was presented with a handsome testimonial, consisting of a draft on Berlin for 1,200 marks. Mr. Krehbiel, the musical critic of the New York Tribune, said of this festival: "The fact is significant for the musical culture of the country, for it was demonstrated again to-night that the Cincinnati interpretations are model performances from whatever point of view they are considered. But the charm of the festival, that which made it unique among the performances of the work which Mr. Thomas has conducted, lay in the work of the chorus and orchestra. To this too much praise could scarcely be given, even if rhapsody should be indulged in. ' ' In the year preceding the seventh festival, which was held in 1886, Mr. Thomas had reorganized his famous orchestra and had raised it to even a higher level of perfection. The Cincinnati Festival Chorus had also 316 been placed upon a more solid foundation, and its continuance was no longer contingent upon the receipts at the biennial meetings. This was not the least valuable of the results which have flowed from the festivals. The chorus was the same in numbers, about six hundred, while the orches- tra consisted of ii8 members. Among the soloists were Miss lyillie I^eh- mann. Miss Emma Juch and Mme. Helene Hastreiter, soprano; Miss Emma Cranch, contralto; Mr. "William Candidus and Mr. Whitney Mock- ridge, tenor; Mr. M. W. Whitney, Mr. Wm. Ludwig and Mr. A. E. Stod- dard, baritone and bass. The works performed were Haydn's Creation, Beethoven's third and seventh symphonies, Bach's mass in B minor, Beethoven's music to Goethe's Egntont, Berlioz's Damnation of Faust and Symphonie Fantastique, Rubinstein's Tower of Babel, and Wagner's yJ/m- tersinger. This was the first time that Bach's mass in B minor, a work of wonderful difficulty, had been given in America, and it was remarkably well rendered. Mr. Mathews, writing in the Chicago Tribune, said : "The chorus has a right to be proud of its success. It means long train- ing, hard study, great esprit de corps, and rare patience and tact- upon the part of the chorus master, Mr. Arthur Mees. In the matter of quality of tone I do not think this chorus so good as that of the last Chicago festival, but in technique, the ability to sing the correct notes, this one is great." In the Tower of Babel a chorus of children selected from the public schools, under the direction of Prof. Junkerman, did some effective work. Of the work of Mr. Mees, in training the chorus, and of Mr. George Schneider, as pianist, too much cannot be said in praise. The programme was one of exceptional difficulty, and the manner in which the music was rendered was a wonderful credit to all who took part. The festival of 1888, the eighth of the series, was noteworthy for its great soloists, and also as making a better financial showing than most of the former meetings. The chorus, which was rather smaller than before, had practiced under some difficulties. It had three different conductors since the last festival, and of course each change did a certain amount of harm. On this occasion Mr. Ehrgott was the chorus master, and Mr. Arthur Mees presided at the organ, with Theodore Thomas in his old place as musical director. The soloists were lYillie Lehmann, Miss Cranch, Mme. Volda, Mrs. Corinne Moore-Lawson, Miss Hetlich, Edward Uoyd, the English tenor, Herr Kalisch (Mme. lyehmann's husband), Messrs. A. F. Maish, Toedt, Whitney, Stoddard, etc. The programme was of a more popular standard than usual. The chief works were Beethoven's fifth symphony, Goldmark's Rural Wedding, Weber's Hymn of Praise, Men- delssohn's St. Paul, Dvorak's Spectre's Bride, Rubinstein's Paradise Lost, and selections from Wagner, Haydn, Liszt, etc. Prof. J. K. Paine wrote the Song of Promise especially for this festival, and it was worthily per- formed, the composer being called to the platform to acknowledge the gen- erous applause of the audience. The feature of the festival was the splendid singing of Mr. Lloyd in the oratorio of St. Paul and in Dvorak's wort. This was the latest of the Cincinnati May festivals, which have grown to be such notable events in the musical world. The Cincinnati Opera Festivals. This series of festivals, which commenced in 1881, grew, not altogether happily, out of the Cincinnati May Festivals. These latter had for one of their heartiest supporters Col. Geo. Ward Nichols, who was the organizer of the College of Music, he being chief manager and Theodore Thomas musical director. Between the two there arose differ- ences of opinion, which ended in Thomas leaving Cincinnati, but continuing the management of the May festivals. The festival chorus, however, would have nothing to do with Colonel Nichols, and suc- ceeded in excluding him from the board, whereupon he devised the scheme of the opera festivals, and the first one was given in 188 1 in the Music hall, converted for the time being into an opera house. Maple- son's Opera Company had been engaged; there was an orchestra of about one hundred and a chorus of three hundred. No operas new to this country were brought out, but those that were given were pro- duced worthily. They included Lohengrin, Magic Flute, Aida, Moses in Egypt, etc. The chorus, which had been trained by Prof. Otto Singer, was composed largely of amateurs, and in consequence of its size was difficult to handle on the stage in opera. But the company was numerous and effective, and the festival went off successfully, while the receipts gave the Cincinnati Musical College about $10,000 as net gain. At the festival of 1882 Patti was the central figure. The operas given were Htiguenots, Faust, Carmen, Fidelio, William Tell, Magic Flute and Lohengrin. Colonel Mapleson had brought a good company, the college chorus had been well trained, and Signor Arditi had under his command a competent orchestra of about a hundred players. Cam- panini and Minnie Hauck divided the honors, though mention should also be made of Mile. lyauri, a Chicago lady, and Mile. Dorani (Dora Henninges), a Cleveland girl and a pupil of the College of Music, who made her dibui on the operatic stage as ' 'I^eonore' ' in Fidelio, and scored a marked success. Patti sang at two concerts in mixed programmes and excited the same enthusiasm that she arouses everywhere. This festival was a decided success. The sale of tickets reached the sum of $90,000. Colonel Mapleson' s company at the third festival was very strong — 318 Patti, Albani, Scalchi, Fursch-Madi — while at the same time Christine Nilsson was singing at concerts in another part of the city, so that Cin- cinnati had a surfeit of singing that week. The festival began Jan. 29, 1883. The operas given were Lohengrin, Faust, Semiramide, Don Giovanni, William Tell and Traviata, Chorus and orchestra were again good, the latter under the direction of Signor Arditi. Patti made her great success as "Semiramide" and " Zerlina " in Don Giovanni, Albani as " Elsa " in Lohengrin and " Marguerite" in Faust. The fes- tival of 1884, beginning February 11, was spread over two weeks. The operas were Faust, Le PropKite, Lucia, Gioconda, II Trovatore, Le Nozze di Figaro, La Sonnambula, Mignon, Hamlet, Robert le Diable, Martha and MefistofUe. The company this time was the well known Abbey Opera Troupe, in which were Mmes. Nilsson, Sembrich, Scalchi, Valleria, Tre- belli, Fursch-Madi and Signors Campanini, Del Puenti, Capoul, etc. The festival was financially unfortunate, coming as it did directlj' after the disaster of the great flood at Cincinnati, but it was a musical and a dra- matic success. The mountings of the various operas were especially fine. Upon the whole this series of festivals is interesting musically in much the same manner as the others upon the list. By reason of good management, the number of performers taking part, and unusual effort at advertising it, many people were newly interested in music, and thus the public available as hearers of future performances was materially enlarged. Chicago May Festival. The May festivals, held at Chicago in 1882 and 1884, were the work of Theodore Thomas. The conception and the carrying out of the musical part were entirely due to him. At the festival of 1882 the orchestra numbered about 160 players and the chorus about 900 (280 sopranos, 235 altos, 195 tenors and 180 basses), rather smaller than at New York but larger than at Cincinnati. The chorus master was Mr. Wm. 1,. Tomlins, who, by dint of untiring energy, had drilled the members into a state of high efficiency. Of the orchestra the New York Tribune said: " Not the least part of the glory of the evening was the orchestra. How wonderfully it supported the singers! How it sustained, filled out and mellowed the tone of the chorus! Here we have a colossal orchestra in high efficiency and in fine temper, commanded by the best of leaders, and it plays with a splendor, force, passion, supple- ness and grace, of which we can scarcely say too much. ' ' The principal works performed during the week were the fifth symphony of Beethoven, scenes from Lohengrin, symphony in C Jupiter by Mozart, selections 319 from Le Nozze di Figaro (Mozart) and from Euryanthe (Weber), The Messiah, Bach's cantata Festo Ascendonis Christi, Beethoven's ninth sym- phony, selections from the Nibelungen Trilogy, Sacra Missa in C minor (Schumann) and the Fall of Troy (Berlioz). The soloists were Miss Gary, who was unhappily suffering from a sevefe cold during most of the time, Miss Winant, Mme. Matema, Mrs. Osgood, Signor Campanini and Messrs. Toedt, Remmertz, Henschel, Whitney and Candidus. At the last concert Mr. Tomlins received immense applause for the admirable way in which he had trained and led the chorus. He was personally thanked by Mr. Thomas, and was presented with a complete copy of the works of Handel as a mark of appreciation by the chorus. The festival of 1884 was as great, as its predecessor. The orchestra and chorus were about the same as in 1882, though the former (notably in the Berlioz Requiem) was rather strengthened. There were playing in this orchestra J. EUer, oboe, H. Brandt, principal of first violins, and Adolph Hartdegen, first 'cellist — three very fine performers. The chorus was again under the leadership of Mr. Tomlms, who had trained it so successfully before. The chief works were Mozart's symphony in G minor; Beethoven's symphony No. 3, Eroica; Schubert's symphony in C, No. 9; Haydn's Creation; Wagner's Tannhduser; selections irom. Lohengrin, Par- sifal and the Walkicre, Messe des Marts (Berlioz), Handel's Dettingen Te Deum and Gounod's Redemption. The soloists were Matema, Emma Juch, Christine Nilsson, Winant, Scaria, Winkelmann, Remmertz, Toedt, Heinrich, etc. The Festival Association, under whose auspices the festivals were given, was composed of the following: . President, N. K. Fairbank; vice- presidents, Geo. \^. Dunlap and A. A. Sprague; committee on music, Chas. D. Hamill, Philo A. Otis and J. P. Kelly; committee on finance, A. C. McClurg, Chas. L. Hutchinson, J. Hardy Bradley; committee on press, etc., Geo. C. Clarke, Edward G. Mason and Franklin MacVeagh; committee on hall, John M. Clark, W. S. Crosby, Jas. Van Inwagen. Mr. Milward Adams was the business manager on both occasions. First Chicago Grand Opera Festivai<. The musical movement in Chicago, which has given the city her grand auditorium, had its birth in 1884, when the details were planned for the first Chicago Grand Opera Festival. The men at the head of this project were A. A. Sprague, R. T. Crane, Geo. Schneider, Ferd. W. Peck, Henry Field, Geo. F. Harding, Eugene Cary, John R. Walsh, Louis Wahl, Geo. M. Bogue and Wm. Penn Nixon, who formed the board of directors. The gradual withdrawal, in 320 America, of grand opera out of the reach of the masses and its limitation as a luxury to those who possessed more ample means, prompted the incep- tion of this plan for providing grand opera for the people at popular prices within the reach of all, and at the same time it was desired to raise the performances to a higher standard of excellence. The ultimate hope of the projectors was to foster the production of original works in our own lan- guage. The city at that time had no hall or theatre with adequate seat- ing capacity for such an undertaking, and the Chicago Opera Festival As- sociation (incorporated April i6, 1884) determined to erect a suitable auditorium in the north end of the exposition building. A fine structure, with a seating capacity of six thousand, was built at a cost of $70,000, Messrs. Adler & Sullivan being the architects. The enterprise, starting out with such an enormous expenditure, seemed hazardous, but the suc- cessful end fully justified the daring of the promoters. The association engaged Col. J. H. Mapleson to furnish his entire troupe. The chorus of sixty was augmented by a local organization of three hundred fresh voices, and the orchestra was increased to one hun- dred musicians. I/Uigi Arditi, the veteran conductor of Her Majesty's Opera Company, was the musical director and Colonel Mapleson managing director. The company was remarkably strong, including Patti, Fursch- Madi, Dotti, Scalchi, with Emma Steinbach, Saruggia and Emma Nevada, the last three of whom made their first appearance on this occasion. The tenors were Giannini, Rinaldini, Cardinal!, Vicini, Bialetto and Nicolini; baritones, De Anna and De Pasqualis, both appearing for the first time; basses, Cherubini, Caracciolo, Manni, De Vaschetti and Serbolini. Mme. Malvina Cavalazzi was premiere danseuse. The following were the operas in their order of production: Semiramide (Rossini), L'Africaine (Meyer- beer), Mirella (Gounod), Aldd (Verdi), Lucia di Lammermoor (Donizetti), Martha (Flotow), Der Freischutz (Weber), La Sonnambula (Bellini) // Trovatore (Verdi), Puritani (Bellini), Faust (Gounod) and Lohengrin (Wagner). Artistically the festival could not fail of success. The only doubt was as to the popular prices proving sufficiently, remunerative to cover the cost of the building and of the engagment of such an expensive company. In order to guard against disaster many of the citizens came forward and guaranteed a sum large enough to cover any possible deficit, but fortu- nately the actual receipts, about $119,000, were sufficient to mark the fes- tival as a signal success in every particular, and further than this, the taste for grand opera was so awakened in the city that a scheme was set on foot for building the present auditorium, containing one of the finest halls for this purpose in the world. Chicago Auditorium. The Chicago Auditorium. This remarkable building which followed the great Chicago opera fes- tival of 1 855 in a similar way to that in which the Cincinnati Music Hall grew out of the May festivals in that city, is due to the courage, enthusiasm and business sagacity of one man, Mr. Ferd W. Peck. Mr. Peck was born in Chicago in 1841, and educated in Chicago. It has been his pride to lend his remarkable administrative ability, and his still more unusual gift of influencing others, to every good purpose likely to reflect honor or benefit upon his native city. In this way he has been connected with a" great variety of public enterprises, president of the city board of education, etc. , until now, when his name is one of the best known and honored in the city. Previous to the Auditorium one of his great achieve- ments was that of building a complete opera house in the Exposition structure, within five weeks, at an expense of $60,000. The Auditorium building, of which a perspective view fronts this page, occupies half a block, running 160 feet on Wabash avenue, 362 on Congress, and 187 feet on Michigan avenue. It is ten stories high, with a great tower containing twenty stories of rooms. The Michigan and Con- gress street fronts are devoted to hotel purposes, containing 400 rooms. The Wabash avenue front is an ofiBce building, with a large number of desirable rooms. The great feature, of the building, however, is the opera house, the largest in the world, and probably the most complete in all stage appointments. The audience room is 180 feet from rear to the proscenium line, 119 feet wide, and 81 feet high in the highest place. The proscenium opening is 75 feet wide and 43 feet high. It can be reduced, however, by a curtain of iron and plaster, to an opening 34x46. This opening, again, is closed by a fire proof curtain of iron. The room is very handsome, and the successive tiers of seats rise so rapidly as to afford every one an uninterrupted view of the stage. There are many private boxes. The full seating capacity is 4,100. For convention purposes, however, this can be increased by the entire stage space of 62x 108 feet. The height of the stage is 89 feet. It embodies all the latest improvements in the way of hydraulic apparatus, electric lights, a horizon eficct, which contains more than 1,600 square yards of canvas, traps and movable pieces of stage, capable of being raised or lowered entire through a variation of twenty feet. The perfection of this part of the house may be judged when it is known that the cost of the stage alone, and its appointments, has been nearly $200,000. There is a concert organ with electric action, and many wonderful improvements. The total cost of building and ground is aboiit $4,000,000. ^^t- MUSICAL INSTRUMENTS IN AMERICA. N the early days instrumental music and musical instruments were banned by the Puritans as Quakerish and Popish devices, snares of the evil one. The first organ of which we have record was introduced in Boston, in August, 1713, being presented to the J)^ Queen's chapel by Thomas Brattle, but the prejudice against its use was such that it remained unpacked in the porch of the church for seven months. In 17 14 it- was erected and used there until 1756, when it was sold to St. Paul's church, of Newburyport. It was there in use till 1836, when it was again transferred by sale to St. John's church, Portsmouth, N. H. The first organ was built in America, by Edward Bromfield, Jr., of Boston, in 1745; Rev. Thomas Prince in the Panoplist, thus describes this pioneer effort at musical instrument construction: As he was well skilled in Music, he, for exercise and recreation, has made a most accurate organ, with two rows of keys and many hundred pipes, his intention being twelve hundred, but died before he completed it. The workmanship of the keys and pipes, surprisingly nice and curious, exceeding anything of the kind that ever came here from England ; which he designed not merely to refresh his spirits, but with harmony to mix, enliven and regulate his delightful songs to his great Creator, Preserver, Benefactor and Redeemer. * * * And what is surprising was that he had but a few times looked into the inside work of two or three organs that came from England. "At Christ church, Cambridge, Mass., in 1764," says John M. Bachelder, of Cambridge, who, in 1884, presented to the New England Conservatory of Music the relics described, ' ' a sermon was preached by Rev. East Apthorp, on ' Sacred Poetry and Musick, ' the occasion being the opening and use of an organ which was made by Snetzler, of London, a German artist, the best organ maker of the day. It had been procured through the liberality and exertions of Barlow Trecothic, a relative of Mr. Apthorp, and afterward Lord Mayor of London. Eleven years later, in 1775, after the battle of Lexington, Cambridge was occupied by the provincial troops, and before the barracks were built their quarters were in the church, the colleges and other buildings.* At this time the window weights and the organ pipes were taken by the soldiers and molded into bullets, which, on June 17, were a part of the ammunition used at Bunker's Hill. On the last Sunday of the year 1775, services were held in this church by Col. William Palfrey, and were attended by General Wash'r.g- ton and wife, Mrs. Custis and others. Whether there were enough pipes left iii the organ to allow of its use on that day, we are not informed. It was repaired in 1790, and did good service until 1844, when it was removed and a new organ put in its place." In 1752 an organ was built by Thomas Johnston for Christ church, Boston. He also built an organ for the Episcopal church of Salem, Mass. , a portion of which, now in possession of Hook & Hastings, shows that it had but one manual and six stops. On the name boara is an inscrip- tion in German text, in ivory, as follows: "Thomas Johnston, fecit, Boston, Nov. Anglorum, 1754." Johnston died about 1768, and was suc- ceeded in organ building by Dr. Josiah lycavitt, previously a practicing physician, who was for a number of years engaged in the business. The next organ builder was Henry Pratt, of Winchester, N. H., who died in 1849, and who in the early part of the present century constructed upwards of fifty instruments, including small church organs and chamber organs. The first important organ builder of America was William M. Goodrich, born at Templeton, Mass., 1777. He was a self-taught and exceedingly ingenious mechanic, a student of general knowledge, a diligent investi- gator, with a correct musical ear and considerable proficiency in music. He united these faculties in his devotion to organ building with such success that during the time he continued in business, from 1805 to 1833, but three foreign organs were introduced into Boston, while his instruments became known throughout the whole of the United States. His brother, Kbenezer Goodrich, also entered the manufacture of organs shortly afterward. About 1807, Thomas Appleton, an employe of William Goodrich, entered into partnership with Alpheus Babcock, a pianoforte maker, the firm being Hayts, Babcock & Appleton, manu- facturing both classes of instruments. This firm was dissolved in 1840, Appleton carrying on organ building with Ebenezer Goodrich, and afterward Corri, as voicer and tuner. I^ater he manufactured organs in company with Mr. Warren (father of Samuel P. Warren, the organist and composer), the latter subsequently removing to Montreal, Can., where he carried on the business. In 1827 EUas and George G. Hook commenced the business of organ building in Salem, the former having been an apprentice of W. M. Goodrich. They removed to Boston in 1832, and became for many years the most famous and successful organ builders in America. They built 155 organs up to 1855, at which time F. H. Hastings was engaged with them, becoming a partner in 1865, and now carrying on the business under the name of Hook & Hastings. George G. Hook died in 1880, at the age of seventy-three, and his brother Elias in 1881, at the age of seventy-six. 326 The first piano ever manufactured in America was constructed by Benjamin Crehorne, of Milton, Mass., in 1803. Gen. H. K. Oliver, a Boston musical veteran, born in 1780, and a singing boy in the Park street church in 1810-14, says, in his reminiscences: "There was no organ at Park street, the accompaniment of the singing being given by a flute, a bassoon and a violoncello. At that remote date very few musical instruments of any sort were to be found in private houses. In the entire - population of Boston, then some six thousand, not fifty pianofortes could be found. ' ' In 1820 Jonas Chickering was associated with James Stewart in piano making in Boston. In 1823 the house of Chickering, now world- famed, was founded. Conrad Meyer had established a piano factory at Philadelphia prior to 1830, and the business of manufacture soon became general. Piano construction is the one department of musical achieve- ment, in which American invention, enterprise and genius has out-dis- tanced all old-world effort, and the details of its advancement may be best gathered from the history of the leading piano manufacturing establish- ments, which is given hereafter. Of these important institutions, we commence with a sketch of the career and work of the pioneer house of Chickering, founded, as above mentioned, by Jonas Chickering, of Boston, who was among the earliest to apply to the art of construction of the piano- forte that genius of invention which has long since become recognized as a distinguishing characteristic of our people, and whose improvements have been of so important and radical a nature as to distinctly mark periods in the history of the evolution of the capabilities of this instrument. Jonas Chickering. Jonas Chickering was born in New Ipswich, a New Hampshire village, in April, 1798, his father being a farmer and also the village blacksmith. Here he received the plain but thorough common school education of the day, and at seventeen became apprenticed to the cabinet maker of the town. There was but one piano in the community, and one maiden only who could make it eloquent with the simple music of the day, but the young Chickering had a soul attuned by nature to the beauties of harmony, and he became a constant worshiper at this humble altar of Euterpe. Hence, when the instrument got out of order, it was young Jonas Chickering, noted for his ingenuity, who was called upon to see if he could set it right, which, after much experimenting, he succeeded in doing. From this arose his first interest in piano construc- tion, which afterward found fruition in the most important results. About 1820 Mr. Chickering was associated with James Stewart, a Scotch- 327 man, in conjunction with whom the first important impetus was given to piano making in America, where hitherto this industry had been carried on on the smallest scale and in the most desultory manne. Two years later, however, Stewart returned to England, where he subsequently became well known through connection with the house of CoUard & CoUard. In the year 1823 the house of the Chickerings was founded, *and under the management of Mr. Jonas Chickering grew rapidly in the extent of its business, as well as in the excellence and popularity of its instruments. In the same year (1823) Mr. Chickering constructed the first upright piano made in America, (this instrument, which to-day possesses an archaeological interest, being in the factory of the house at Boston), though it was not till 1830 that it can be said the manufacture of uprights was begun by him. About 1831, William Allen, a young Scotch tuner in employ of Stoddart, of London, patented a cast-iron frame combining string plate, tension bars and wrest plank all in one casting. Previously to this, in 1825, this invention had been anticipated by Alpheus Babcock, of Boston, U. S., who patented in that year a partial cast-iron frame for a square piano. Neither of these inventions proved acceptable, through inherent defects, and the compound wood and iron construction continued to be preferred, both in England and America, mainly on account of a prevailing belief that it was beneficial to tone. In 1837 Jonas Chickering was the first to give practical value to the new invention by perfecting its construction in the first grand piano with a full iron frame all in one casting, ever manufactured in the world, and which formed the foundation of the reputation which the American grand piano has since achieved throughout the world. In 1843 he patented a most important improvement, by incorporating in the casting the pin socket rail, bridge and damper, the strings passing through orifices drilled in an iron flange, which gave them a finer upward bearing, and also added strength to the frame. These instruments were exhibited at the great World's Fair in I^ondon in 1851, and attracted profound attention. In 1856 this feature was supplemented by a further improvement, the casting of a solid iron flange on the under side of the cast-iron frame, running parallel with the wrest plank, into which the "agrafes" are screwed. Other improvements were also embodied, giving greater stifihess to the head block and strength to the instrument, as well as additional power of standing in tune. The immense expansion of the capabilities of the grand piano effected by these and minor inventions was recognized at the Paris Exposition of 1867 by. the award of the highest honor, the Imperial Cross of the lyCgion of Honor, as well as one of the first gold medals. In 1845 Jonas Chickering, in connection with the entire iron frame, which he had 328 (^ X i^-^^^--?X-« brought to practical perfection, introduced in the square piano the circular scale, by means of which the oyerstringing of square pianos was rendered practicable. This was left unpatented, and its general adoption has con- tributed powerfully to those distinguishing qualities which give Ameri- can square pianos their superiority over all others — their power, depth and beauty of tone. In 1849 Mr. Chickering adopted the upright piano as one of his popular styles, and in order to overcome the difficulties aris- ing from climatic influences, which so seriously impaired the durability and power of staying in tune of European makes, he invented and applied the overstrung bass in connection with the full iron frame, thus revolu- tionizing the system of manufacture of this instrument, and furnishing a model for all subsequent constructive efforts. In 1852 the factory was burned, and in the same year Mr. Chickering laid the' foundation stone of the present vast establishment, Tremont street, Boston, but did not live to see it completed. Mr. Chickering died in December, 1853. Aside from his inestimable services to the cause of music in the development of the piano, he was a citizen of high moral worth, of unusual intelligence and much public spirit. His personal qualities secured him a deserved popularity, which was well exemplified in a toast once offered in his honor — ' ' Jonas Chickering — the grand, square and upright. ' ' The house of Chickering & Sons was thereafter conducted by the three sons, Gen. Thos. E. Chickering, Charles F. Chickering and George H. Chick- . ering, and so continued till the death of Gen. Chickering on Dec. 14, 1 87 1, since which time the other members of the family named have been, as they still are, at the head of the business. In addition to minor improve- ments of detail, the most important change effected since the death of Jonas Chickering was the invention in 1877 by Charles F. Chickering of the metallic bar, by means of which a great gain was effected in the quality of tone, both in respect to richness and volume. American mu- sical effort certainly owes much to the enterprise and the inventive genius of the house of Chickering. It might be added here, that musical life in America owes a debt of gratitude to Jonas Chickering and to his sons and successors on other and perhaps higher grounds, so far as the development of the art has been concerned. Early in life the founder of this house became a liberal and earnest patron of every movement to foster and encourage the progress of the art in America. For many years the piano rooms of the house were the headquarters of every progressive movement. Foreign artists and native talent alike made their introduction to the musical public through his friendly offices, and his sympathy, liberality and enthusiasm in the cause of music never failed. He was a genuine lover of the art, and the interest and pride which he took in its develop- ment in his native land were spontaneous and unselfish. The brilliant development of American piano making, with its artis- tic result in the way of singing musical tone, and the princely liberality of dealing with artists and the public which the noble Jonas Chickering made a characteristic of the American trade, have been taken up in the same spirit, and, if possible, carried still further by their more recent competitors, the world-famous house of Steinwav & Sons. Steinway & Sons. The story of the house of Steinway & Sons reads like a romance. It is now only about forty years since a German mechanic and three sons landed in New York, with a small capital of hardly earned German money. In order to acquire the American ways, they took work for two years with three different American houses of piano makers. At the end of the time they set up for themselves in an inexpensive house in a back street. They worked along in the honest German way, making about one piano a month, then one a week, as business brightened. At length there came an important fair of the American Institute, at the Crystal Palace, in 1855, where there was a large exhibition of musical instru- ments, with prizes to the best, and judges well known for eminence and fitness. When the fair was in operation and the judges of pianos were ready to do their work, the chairman, Mr. William Mason, suggested that as they were all good musicians, each having his own favorite among the leading builders, they should make this test a perfectly fair one, for their own satisfaction. So they all agreed, and having the name boards removed (the instruments being all square pianos) and the room partly darkened, in order that styles of cases might not affect the judg- ment of the investigators, each man went through the list, marking for first, second and third premiums. The poorest were thrown out without difficulty, and there were finally about a dozen selected among which the prizes must be distributed. The judges tested carefully, and at length all agreed in awarding the three prizes to certain instruments. When the name boards were brought, it was found that all three of these pianos were made by a firm of which no one of the judges had ever heard, Steinway & Sons. The best of the three was awarded the first premium, and two other pianos were taken for the second and third premiums, and the award was closed. The next day Mason started out to discover who Steinway & Sons were. He found them in their humble place of work, and asked whether they made grand pianos. It turned out that they had their first one nearly done. The next week they asked him to examine it. 331 He did so, and said that from that time on he should play a Steinway piano, until some one made a better, which it would seem has not yet happened, -for his lessons are still given at Steinway hall. Thus this remarkable firm stepped at once to a leading rank, and they have held it ever since. One improvement after another has been made by them, all good to advertise, but no one of them or all of them taking the place of the true secret of the uniform excellence of their work, which is, extreme care in construction, and the use of the very best material. The firm of Steinway & Sons is entitled to the honor of being the leading firm of artistic piano makers in the whole world, their best instru- ments surpassing those of any European maker, as artists universally admit. Under their administration the upright piano has been developed to its present solidity and breadth of tone, so that it has almost the power and tone quality of a grand, and has entirely superseded the square piano, which only twenty years ago was practically the sole piano sold. While the Steinways did not make the first upright piano made in America, they certainly did make the first upright piano of satisfactory tone quality. It is true that their first inventions in this line were long ago given up as worthless. But something better has always been forthcoming, and their pianos still stand in the front rank, in spite of the earnest efforts of all the leading builders to surpass them. With them in point of artistic tone- quality must be reckoned the pianos of three houses, Chickering, Decker, and Mason & Hamlin. Each of these is made as well as the workmen are able, and of none but the best materials. Quality is the key note in all of their manufactories. Nor is it proper to ignore those who are manufacturing popular pianos, by which is meant pianos of good wearing qualities, but less expensive. There are a dozen makers of pianos of this class who have made themselves rich, and furnished instruments of music to millions — instruments which if something short of those of the great makers already mentioned, are nevertheless much better than those of the Chickerings and Steinways themselves, so recently as i860, so rapidly has the world moved along this line. At the present time the extent of the piano trade of the United States is believed to reach substantially an aggregate of eighty-five thousand instruments annually. The occasion for national pride in this part of the record is found in the fact that America has not only equaled Europe in the artistic part of this business, but so far surpassed her that American pianos are univer- sally admitted to be the best in the world, and only their expense keeps them out of European markets. A very important improvement in piano making has been discovered 332 and patented by two different inventors within the past ten years. It is the method of stringing and tuning. All the pianofortes before the public, except the work of one or two firms, are strung in the same way, the wire being wound around a tuning pin which simply sticks in the wood of the wrest plank, being held from slipping by friction alone, the same as a tuning pin of a violin. The B. F. Baker piano and the Mason & Hamlin piano are strung upon a different principle, the tuning pin being what is called a "set screw, ' ' passing through a nut or collar, on the steel plate above where the ' ' wrest plank ' ' would be. In this method of tuning the strings cannot slacken except by stretching, it being absolutely impossible for the pin to slip. The Mason & Hamlin method has certain advantages over tihe other, and the pianofortes turned out by the house are of a highly musical tone quality, while the tenacity of tune under hard usage is simply incredible. It appears quite certain that this improvement or something similar must eventually, and that very soon, be adopted by all piano makers. V Organ Buii do the musical criticism for the New York Tribune, to which paper he is still attached in an editorial capacity. Mr. Krehbiel has been an active and zealous worker all his life, though, owing to the prevailing anonymity ot modern journaUsm, he has necessarily received no credit for much of his work. Among his published books may be mentioned. An Account of the Fourth Musical Festival, Held at Cincinnati, May 18, ip, 20 and 21, 1880, Aldine Printing Works, Cincinnati, 1880; The Technics of Violin Playing, by Carl Courvoisier (an abridged translation of two works by Courvoisier), Cincinnati, A. E. Wilde, 1880; Notes on the Cultivation of Choral Music and the Oratorio Society of New York, New York, Edward Schuberth & Co., 1884; Review of the New York Musical Season, from 1885 to 1889, in four volumes. New York and I^ondon, Novello, Ewer & Co. , and several books of programmes of festivals at New York, Cincin- nati and Pittsburgh. 'Mr. Krehbiel is a pleasing and graceful writer and a musical critic of recognized ability. Personally he is one of the most attractive figures in the profession, being fully six feet high, well propor- tioned and of an agreeable and inviting cast of countenance. Physically and mentally he is the kind of man who passes through the arduous grind of daily journalism with a minimum of friction and a maximum of results. Another very distinguished representative of this class of critics is Mr. H. T. Finck, widely known as an author, aside from his purely crit- ical writings. Henry T. Finck. Henry T. Finck, musical editor of the New York Nation and Evening Post, was born on Sept. 22, 1854, at Bethel, Shelby county. Mo. His father, Henry C. Finck, a physician, was a great musical enthusiast, who played every orchestral instrument except the harp, composed a num- ber of songs, and frequently organized bands and mixed choirs for his own amusement, with such material as a small town affords. His children therefore had an opportunity from their earliest days of hearing 366 '.«^.......,.//ii^/^,^^A,'^A.^,U/....,. "M^.,„C../,MS^.-'^'^-'-< (- . <-1--^^i^!^<:^-5mlX engaged on the regular staff of the Cincinnati Commercial, a post which he held till 1883, when he went over to the News-Journal, of that city. Van Cleve has given a great many recitals in various parts of the country, and is well known as a pianist of marked ability. As a teacher he has also met with deserved success. Starting in Cincinnati, in 1880, with two pupils, he now has forty. But it is his work as a musical critic that is most valuable and most deserving of recognition. That very acuteness of hearing consequent upon his sad afSiction renders him all- powerful as a critic, for he is able to perceive shades of tone that cannot be detected by the finest normal ear, and when this acuteness is joined, as in Van Cleve, to keen perception of the beautiful in art, and eloquent power of expression in words, his opinion commands immediate attention. A blind critic! Yes; but his blindness is the key to his power. That is nature's recompense. Louis C. Elson. The name of Louis C. Elson has long been familiar in the leading musical circles of America, through his admirable lectures upon art topics in various cities of the Union, and before the leading American institutes. He is known, too,' through a long and useful career in musical journalism, and also as a prominent and successful teacher of the voice and of the theory of music, in connection with the New England Conservatory of Music at Boston. Mr. Elson is a native American, of German descent, and was bom in Boston, April 17, 1848. His inclination toward music was displayed at a very early age, and he began to receive instruction when but six years old. He had the advantage of the advice and direction, particularly in the field of the German lied, of August Kreissman — acknowledged by Liszt to be one of the best contemporary interpreters of Robert Franz. He also owed much of that equipment which has given him so much importance in the field of theoretical knowledge to Carl Gloggner, of the Leipzig Conservatory, who aroused his interest in musical literature and supervised his earliest attempts at original production in this department of musical activity. Mr. Elson made his first entrance into musical journalism as reviewer in the Musician and Artist, a magazine of repute in critical circles. He subsequently became a contributor to, and afterward editor of the Vox Humana. It was in this journal that the first numbers appeared of his historical work on Ancient Music — since published and widely circulated in musical circles under the title of Curiosities of Music. Subsequently he became musical editor of The Score, in which paper was first published his history of German Songs and Song 398 Writers. He has also been connected with the Musical and Dramatic Times, Wide Awake and other art-literary ventures. His connec- tion with musical progress has, however, by no means been confined to his literary work. As vocalist he has been prominently connected with Trinity church, Emanuel church and other leading choirs of Boston. Of his work in the New England Conservatory it is unnecessary to speak further than to say that his labors there, transmitted through his pupils to all parts of the United States, have been an important factor in the promotion of vocal musical culture throughout the country. Since his connection with the conservatory Mr. Elson has been one of the associate editors of the Musical Herald, of Boston, and his papers have formed one _ of the most valuable features of that important publication. He displays not only acumen and thorough mastery of analytical criticism as applied to musical subjects, but possesses a ripe and finished literary style, rarely found outside the ranks of professional authors. This faculty seems to improve from year to year, and his articles in the Herald have come to be looked forward to with keen interest as a source of pleasure and profit by all lovers of the art and the associations connected with it. Kari< Merz, Mus. Doc. Perhaps no musician is to-day more widely known throughout the United States than is the subject of this sketch, who has been so long and so deservedly prominent in so many important departments of musical activity — as editor, author, lecturer, theorist, composer and teacher — and it is a striking proof of the versatility of his talent that in each of these fields he has taken, by general concession, a first rank. Karl Merz' was bom in Bensheim (a city near Frankfort-on-the-Main), Germany, Sept. ID, 1836. His father having been a public school teacher and a skillful organist and accomplished musician, young Merz had the advan- tage not only of a musical talent by inheritance, but of a thorough literary education, as well as efficient musical training. In addition to the instruction of his father, he studied under P. J. Kunkel — a musician of reputation, but lacking in those gifts which are essential to success as a teacher. Graduating in arts in 1852, he was appointed by the govern- ment, in 1853, teacher in a little town near Bingen-on-the-Rhine, but already he had cast his eye upon the land of wider liberties and more unrestricted possibilities of advancement and distinction. His artist nature, too, revolted at scholastic drudgery, and urged him to devote him- self wholly to music as the mistress of his ambition. In 1854 he sailed for America, landing in Philadelphia in September of that year. Being unable to speak English at that time, he had to encounter many difficul- ties and drawbacks, but was finally engaged as organist in the South Presbyterian church of Philadelphia. After a year here he removed to I/ancaster county. Pa., where he was engaged as teacher in a young ladies' seminary, and played the organ in the college church. In the quietude and serenity of this life of comparative retirement, he devoted his leisure hours to diligent study, and entered upon the work of composition. Subsequently he was successively engaged in Salem, Roanoke county, Va., in Harrisonburg and in HoUin's Institute, Botetourt Springs, Va. While on a vacation north, the war broke out, and Mr. Merz not only endured serious personal loss, but was forced to still another removal. Probably the outcome was fortunate for himself and for the cause of musical culture in this country. He now accepted a position as teacher of music at the Oxford Female College, Oxford, O., where he remained . for a period of twenty-one years. When this institution closed in 1882, his services were brought into immediate requisition by the University of Wooster, at Wooster, O., where he has since remained as director of the musical and art departments. As a musical writer, he first began to be widely known through his Musical Hints for the Million, first pub- lished in Brainard's Musical World, commencing April, 1868, and which has had an extraordinary circulation and popularity, and moreover con- stitutes a work of permanent and important usefulness. He continued to contribute to the Musical World until 1871, when he was made associate editor, and since September, 1873, he has been chief editor. A facile and graceful writer, he unites literary polish with profound musical skill to a degree that leaves him without a superior in musical journalism. Dr. Merz has also been known as a lecturer on musical topics, and in this capacity his mastery of musical subjects, combined with a love and enthu- siasm that never fails to touch an audience with contagious sympathy, has made his platform work a subject of admiration in critical circles. Of his didactic works, his Modern Method for Reed Organ has attained practically universal circulation in this country, and is generally recog- nized as a standard authority with teachers. Karl Merz^ Piano Method, is probably the most superior of any work of the kind for popular use. It has elicited the highest indorsements by the profession, and has sprung into remarkable popularity in an incredibly short space of time. His text book on Harmony and Musical Composition is adopted by thousands of teachers. In the higher field of musical creation he has published a sonata of a high order of merit, embracing three numbers, L' Inquiitude, &loge, and La Belle Americaine. These are characterized by a ^./t^A£wKAws KJ O^T/VNAsaO^A-X^^ some pieces for the violin; a collection of church music, Si. Cecilia; sev- eral male choruses, and some songs. Dr. Damrosch was of a kindly, genial nature, and his death was a heavy loss, not alone to the musical world, where he had done his life work, but to a wide circle of pe sonal friends. New York Symphony Society. This orchestral organization was the result of the late Dr. Damrosch' s personal inspiration. It was organized in 1878, and chartered April 8, 1879, for the study and public performance of different forms of classical music, especially symphony. Among those most prominent in its forma- tion were Messrs. Morris Reno, F. Beringer, Wm. H. Draper, August Lewis, Benj. J. Phelps, etc. It gives regularly twelve public performances each season, and its programmes have been remarkable for the number of new works presented. The society was prosperous from the start, and after the death of Dr. Damrosch, the direction was transferred to the hand of his son, Mr. Walter Damrosch, who inherits much of his father's ability as musician and director. This society represents American progress in orchestral music, or perhaps more properly. New York progress in resources of this kind, in the fact of its being organized and maintained out of material already existing in the community, without interfering perceptibly with the work of older organizations in the same field. The concerts of the society are given with an orchestra numbering from eighty- five to ;One hundred and twenty. The audiences are of the best, and very large in number. It iS' one of the most creditable organizations in the country. Frederic Herbert Torrington, One of the most prominent figures in the Canadian musical world, was born ill Dudley, England, in 1837, and was taught piano, organ and har- mony by James Fitzgerald, of Kidderminster. In 1853 he became organ- ist and' choir master of St. Ann's church, Bewdley. Four years later he left England for Montreal, where he was appointed organist of Great St. James Street church, a position he held for twelve years. During his resi- dence in that city he founded several vocal societies and the Montreal Amateur Musical Union Orchestra. He also gained a high reputation as a violin soloist. In September, 1868, he gave a performance on the great organ at Boston and was very favorably criticised. Shortly after, at the invitation of Mr. Gilmore, he formed the Canadian orchestral contingent for the first great Boston jubilee. At the close of that festival he was offered and accepted the position of organist at King's chapel, Boston, and held it for four years. During this time he, was one of the regular solo 436 organists at the Music Hall, one of the first violins in the Harvard Sym- phony Orchestra, a teacher of the piano at the New England Conserva- tory of Music, conductor of six vocal societies, and was often solo organ- ist at the concerts in Henry Ward Beecher's church at Brooklyn. In 1872 Mr. Torrington conducted the mass rehearsals of the great chorus of 20,000 voices for the second Boston Peace Jubilee. The following year he removed to Toronto, and was at once appointed organist and choir- master of the Metropolitan church and conductor of the Toronto Philhar- monic Society. The successful development of this society was entirely due to Mr. Torrington 's ability and energy. The society was founded in 1872, and at the time he took hold of it, was a small choir largely dependent upon the piano for its accompaniments. Now it is a laige and flourishing society, with a chorus of three hundred picked voices, an efficient orches- tra of sixty musicians, and means to engage the best solo talent on the continent. It has produced from thirty to forty chief works of the great masters, some of them more than once, and many of them for the first time in America. The society has done a good work for music, and has been the pioneer of numerous other societies in the province. For some years Mr. Torrington was also conductor of the Hamilton Philharmonic Society, which has given many standard and modern works. In 1886 Mr. Torrington originated and carried to a successful issue the first Toronto Musical Festival. This consisted of four concerts, given by a chorus of one thousand, a school children's chorus of 1,200, an orchestra of about one hundred, and the following principal soloists: I^illi Lehmann, Mrs. E. Osgood, . Mrs. Gertrude Luther, Miss Agnes Huntington, Albert 1,. King, Max Heinrich and D. M. Babcock. The public of Toronto subscribed $35,000 as a guarantee fund, but this proved to be unnecessary, the festival being an eminent financial success. Gounod's Mors et Vita and Handel's Israel in Egypt were the works given, and two miscella- neous concerts. A permanent result of the festival was the organization a few months later of the Torrington Orchestra, which has been developed into an excellent concert organization, and has given nine highly success- ful concerts. But Mr. Torrington' s best workup to this date was in the foundation of the Toronto College of Music. This promising institution was founded in September, 1888, in a build- ing specially arranged for the purpose, with a fine music hall within its walls, and a grand organ. The college is established upon an essentially practical basis, has a large staff of competent and thoroughly qualified instructors, holds numerous concerts, piano and organ recitals. , etc, and possesses a long list of scholarships, prizes and medals, while the fees are comparatively low. So successful has the college been in just a little over a year that plans are being made for the enlargement of the building. Mr. Torrington is also the organizer of the Toronto Quintette Club, the semi-centennial festival in 1884, the Apollo Club, the Sym- phony Orchestra and the University College Glee Club. For five years he was director of music at the Whitby I^adies' College, and for nine years teacher of vocal music at Loretto Abbey. He has been remarkably successful as a teacher, and many of his pupils have gained a wide reputa- tion. It would be interesting- to trace, were there opportunity, the history of music in Toronto from the time when it was a muddy little place called York (about 18 18), the only resident musician being Mr. Maxwell, who was distinguished "for his defective eyesight and for his homely skill on the violin," to Mr. Torrington' s day when every member of a great work is criticized with merciless judgment by ' ' the men who have. failed in literature and art." Few men can point to so busy a life and full a record as Mr. Torrington, and fewer men to the eminent success which has crowned his tireless efforts. Wii development in which it has been so powerful a factor ; because it is, in an especial sense, the representative and embodiment of those results which, in the natural evolution of musical progress, have sprung from the labors of Lowell Mason and his coadjutors ; from the fact that it is in the best sense American, both in its origin, its purposes and its achievements; and from the fact that it has equipped so many artists of high rank, who are to-day the best representatives of American musical culture. The New England Con- servatory is not alone in this work of creating musical taste, and of expanding, from year to year, the sphere of musical refinement and useful- ness. There are other important and valued musical institutions engaged in the same field of labor, with the same zeal, activity and earnestness, without a record of whose work no history of American musical progress would be complete; but none will dispute the place of honor with^ this as the pioneer in a great work which distinctly marks an era in our career of musical progress. That we have in flourishing activity to-day so many of these institutions, conducted on a scale of such importance and embrac- ing in their operations all the best elements of higher musical education that can even be found in the oldest seats of musical learning in the old world, is but an evidence of the rapid strides which our sixty millions of people are making in the cultivation of art and refinement, of a constantly broadening current of musical taste, requiring the highest aids to an advanced culture. Each of these institutions has its sphere of musical and educational usefulness, whose growing needs will constantly tax their efforts and their enterprise, so that none has either the time or the occasion to divert from its legitimate activities to the narrow purpose of depreciat- ing or envying the achievements of others. Indeed, it is the truth that each of these directly supplements the labor and adds to the resources of all others in the same field, for every current that flows into the broad tide of general musical cultivation contributes to those progressive influences upon which the ever expanding desire for higher musical education is founded, and multiphes constantly the aggregate numbers of those who are impelled to seek for the highest advantages of musical education, in the most individually convenient and desirable quarter. The New England Conservatory, however, possesses many features entirely unique, and is in many of its methods dissimilar from any of the other important schools of music pursuing the conservatory plan. One of the most striking of these peculiar features of interest is the fact that with all its immense educational machinery and corresponding means for making money, "it yields no profit, dividend or emolument of any kind in any way to any person or association of persons," and this, notwithstanding that its average attendance for the past six years has been 2,065 students. The absence of the motive of profit is, however, nobly compensated by a higher object of incomparably greater force as a stimulating influence to the' best results. We cannot better illustrate the springs upon which the activity of this institution turns than to state briefly the central idea upon which the life work of its founder has been based. This is, that perfect education requires the isymmetrical development of all the faculties ; that education that begins and ends with the intellect is faulty and imperfect ; that the heart is the ' ' center of being and the point of departure for per- fection," and hence the true center of a perfect culture that will afford equipoise and stability in every direction ; that music, which is the universal language, appealing to the heart as the center of emotional existence, is and ought to be recognized as the fundamental requisite of true and harmonious education. In a report dated May 1, 1883, Dr. Tourjee thus describes the circumstances and the ambition in which the New England Conservatory had its origin : For thirty years it has been the aim and effort of my life to found and equip an institution which should bring within the reach of the many the priceless benefits of a first-class musical education, that these in turn might become missionaries for its universal diffusion. The struggle through which I had to pass, and the difiiculties which I had to overcome in obtaining even the fragmentary education in music which this country could then afford, led me to this determination ; and, keeping this object before me, I have, by every means in my power, labored both in season and out of season for the accomplishment of that purpose. Under God, my success has been beyond my expectation. When I begatl the study of music, there were no music schools and few teachers of eminence, and these latter commanded such prices for their services as put them beyond the reach of the poor. The conservatory system of Europe was without illustration in this country; and its later discovery was to me a revelation, the possibilities of which I undertook to realize to my countrymen. The first effort made to establish the class system for musical educa- tion was made at Fall River, Mass., in 1853. In 1859 he obtained a charter for and organized a musical institute in conne<5tion with the academy at East Greenwich, R. I. Afterward he sought a larger field at Providence, R. I., and in 1867 went to Boston, where the New England Conservatory was incorporated in 1870, and obtained quarters in the Central Music Hall building, which were occupied till 1882, when the magnificent building which we here illustrate was secured. Gradu- ally, in working out his plan of establishing and equipping an institution which should realize his ambition of " a generous and liberal culture, with music as the fundamental element," the institution has been made to embrace in one system of co-operative effort, schools of music, art, elocution, literature, languages, tuning and physical culture, with the accessories of an extensive musical library and cabinet, and a Christian home for young women, and the higher appendage, in connection with Boston University, of a College of Music. ' In 1882 the corporation of the conservatory was authorized to hold real and personal estate to the amount of $500,000, the original charter providing for only $100,000. In 1883 the stockholders surrendered the stock of the institu- tion, and the corporation was reorganized on the same footing as Harvard, under a deed of trust, which expressly provides that there shall be no profits or dividends to accrue to any individual out of the earnings of the institution, everything thus going into cheapening the cost of musical education and increasing the resources of the conservatory. The annual report of the diredtor for 1886 shows an important accession to the teaching strength — the acquisition of such artists as Faelten, Rotoli, Tinney, Petersilea and Alden; the addition of the elegant Sleeper Hall, through the munificence of the late Hon. Jacob Sleeper, etc. Previously, in 1884, the great organ of the Boston Music Hall, purchased for the institution by W. O. Grover, one of the trustees, had been stored on the premises of the institution, where it still awaits the construction of a suitable special building, but we trust will not have to thus remain. The diredlor is, however, indefatigable in his labor for still further additions to the forces which combine to embody in this school the ideal which he has kept in view. So far as school equipment goes, it is probably as nearly perfect as it is possible to attain, but it is Dr. Touijee's earnest desire to secure for the conservatory such state aid as will practically throw its great advantages open to all who have ambition and talent to benefit by musical and general culture. Of the importance of the school as a radiating centre for the diffusion of musical light, we may men- tion the fact that graduates of the conservatory, among other institutions, are employed at De Pauw University, Indiana, University of Kansas, the North Western Conservatory of Music, the Ohio Wesleyan Univer- sity, Denver University, the Illinois Wesleyan University, Hamilton College, Ky., Allegheny College, Pa., New York Institute for the Blind, Ontario Institute for the Blind, Ripon College, Wis., Cornell College, la., Science Hill College, Ky., Beaver College, Pa., Baker University, Kan., Napa College, Cal., Jacksonville (111.) Female Seminary, I^ansdowne College, Ont., Washburn College, Wis., Vermont Ladies' Seminary, Montpelier, Pennsylvania State Normal School, Dartmouth College, Wilbraham Academy, East Greenwich Academy, Searcy College, Ark., Oxford (Ohio) Female Seminary. In addition to this eloquent statement it may be stated that the directors of music and organists at many important cathedrals and churches owe their musical education to this conservatory, of which Nordica (Lilian Norton), at present reigning star as a vocalist in Furope, is a graduate; and to this showing add the fact that there are now upwards of 40,000 ladies and gentlemen who have been musically equipped in this school, and are to-day transmitting its influence throughout every quarter of the land, and we have some idea of the important relation in which the New England Conservatory of Music stands to the influences which make for higher musical progress in America. The branches of instruction m tne conservatory embrace, in addition to the post-graduate course, eleven individual schools, as follows: A school for the piano. For the organ. For the formation and cultivation of the voice, lyric art and opera. For the violin, orchestra, quartette and ensemble playing. Orchestral and band instruments and art of conducting. For harmony, composition, theory and orchestration. For sight singing and vocal music in public schools. For tuning pianos and organs. A school of general literature and languages. A college of oratory and forensic art. A school of fine arts. A school of physical culture. The college of music. The following is the faculty: Piano-forte — Board of Instruction. — John Alden, Otto Bendix, John D. Buck- ingham, Charles F. Dennee, Carl Faelten, James W. Hill, Frederic H. Lewis, Fred- erick F. Lincoln, Louis Maas, Sarah Eliot Newman, James C. D. Parker, Carlyle Petersilea, Frank Addison Porter, Madame Dietrich-Strong, Allen W. Swan, Mrs. J. B. Willis. Organ. — Henry M. Dunham, George E. Whiting, Allen W. Swan. [It is worthy of mention that in order to furnish every facility for acquiring a mastery of all kinds of organ music, a large, three-manual pipe organ, with two and a half octaves of pedals, and an ample variety of registers in each manual, is placed in the hall of the conserva- tory for the use of its classes. Three additional — one three-manual and two two-manual — pipe organs have been set up in the conservatory, mak- ing fourteen in all in constant use in the institution, with the great organ formerly in Boston Music Hall in reserve for the future use of the institu- tion. The London Choir speaks as follows of the organ department of the institution : "In the New England Conservatory of Music, recitals are so arranged as to provide illustrations of all classes of music for that instru- ment. In this respect the American music school is far in advance of our own academy, and, indeed, of every English educational institution."] Voice Cultivation, Lyric Art and Opera. — ■William H. Dunham, Abdon W. Keeiie, Frank E. Morse, John O'Niell, Mrs. John O'Niell, Sig. Augusto Rotoli, Charles E. Tinney, Lyman W. Wheeler, William I,. Whitney. • Violin Schools. — Joseph B. Claus, flute, clarinet, cornet, etc.; Benj. Cutter, violin and viola ; Wulf Fries, violoncello ; A. Goldstein, contra basso ; Herman Hart- mann, violin ; Emil Mahr, violin and ensemble playing ; Dr. R. Shubruk, cornet. Harmony, Composition, Orchestra and Theory. — George W. Chadwick, Ben- jamin Cutter, Louis C. Elson, Stephen A. Emery, Frank W. Hale, Sarah Eliot New- man, James C. D. Parker, George E. Whiting. Sight Singing and I^ocal Music in Public Schools. — Samuel W. Cole, Abdon W. Keene, George A. Veazie. Piano and Organ Tuning Schools. — Frank W. Hale, principal; Edward D. Hale, instructor; Edward W. Davis, superintendent of factory work; Geo. H. Ash, polishing. General Literature and Languages. — Rev. C. Cotton Kimball, D.D., principal and instructor in Wordsworth, English literature and rhetoric ; John B. Willis, A.M., associate principal ; Dr. William J. Rolfe, lecturer and instructor in Shakespeare ; Rev. Charles A. Dickinson, lecturer on mental and moral science ; Hamlin Garland, lecturer and instructor in American literature, etc. ; Miss Elizabeth I. Samuels, in- structor in Latin, mathematics and sciences ; Jean De Peiffer, head of department of languages, and instructor in French language and literature; Albert Rosenstein, A.M., instructor in German language and literature; M. E. Imovilli, instructor in Italian language and literature ; W. M. Swallow, instructor in penmanship. Elocution, Oratory and Forensic Art. — Samuel R. Kelley, A.M., principal, and instructor in expression and forensic oratory ; Miss Annie B. Lincoln, instructor in elocution and voice building ; Miss Bessie M. Houghton, instructor in pose and gestic- ulation. Fine Art. — Tommaso Juglaris, principal, and teacher of drawing and painting, historical decoration and composition, and artistic anatomy; Miss Harriet Thayer Durgin, water-color painting ; W. A. Claus, drawing from flat, the antique, still life, flowers, and landscape painting, and charcoal drawing , Miss Edith Pope, china painting. Physical Culture. — Miss Annie O'Connor. A most important feature of the institution is the ' ' Conservatory Home," which offers in connection \yith the advantages of the variotls schools of culture, the higher benefits of a great Christian household, 45S attended by all the comforts and refinements of elegant life, and free from the perils and disadvantages which usually surround the footsteps of young ladies who are compelled to leave the parental home for educational improvement. This department has accommodation for 500 young ladies, with few formal restrictive regulations ; depends largely upon liberal self-government, and yet maintains the most watchful and effective care of the minds, morals, physical health, safety and sanitary environments of the pupils. The College of Music, in connection with the Consen'atory, is affili- ated with Boston University, on whose authority degrees are granted. The faculty is as follows : William F. Warren, LI/.D., president Boston University; Eben Tourjde, Mus. Doc, dean; James*C. D. Parker, professor of the piano- forte ; Carl Faeltcn, professor of the piano-forte ; Carlyle Petersilea, professor of the piano-forte ; Otto Bendix, professor of the piano-forte; Louis Maas, Mus. Doc, professor of the piano-forte; Henry M. Dunham, professor of the organ ; George E. Whiting, professor of the organ and com- position ; Emil Mahr, professor of the violin ; Wulf Fries, professor of the violoncello ; Sig. Augusto Rotoli, professor of Italian singing ; John O'Niell, professor of English and Italian singing ; Charles E. Tinney, professor of English singing, oratorio and church music ; Stephen A. Emery, professor of counterpoint and composition ; Louis C. Elson, professor of theory, history, literature, biography, testhetics and criticism ; George W. Chadwick, professor of composition and orchestration ; Fac- ulty of College of Liberal Arts, Boston University. The requirements for admission are identical with those for graduation from the conservatory. Candidates for a degree, in addition to the completion of the required work in the college of music course, must be qualified to pass a satisfactory examination in two of the following languages : Latin, German, French and Italian, and also in logic. Graduates of the college of music who satisfactorily meet these require- ments or their equivalent, receive the degree of Bachelor of Music. The degree of Doctor of Music is never conferred as an honorary degree, but it may be attained by Bachelors of Music who shall have completed the Boston University Course or its equivalent, upon passing satisfactory examination in fugue, form and orchestration, musical literature, history of music, the piano-forte, violin or organ. Full and regular members of the college of music have the opportunity of pursuing, without extra cost, in Boston University, any of the following branches : Languages — French, German, Italian, Spanish, Anglo-Saxon, Latin and Greek; Mathematics and Natural Sciences — Solid geometry, trigonom- etry, analytical geometry, physics, chemistry, biology, etc. ; History, Literature and Law — English literature, rhetoric, history, Roman law, constitution of the United States, political economy, etc. ; Philosophy — psychology, logic and the theory of knowledge, principles of metaphysics, theistic and ethical philosophy, etc. Eben Tourjee, Mus. Doc. The subject of this sketch is called in Grove's Dictionary of Music and Musicians, ' ' The father of the conservatory or class system of musical instruction in America." When the final statement is made, not only this but much more is likely to be found in the crystallized biographical history of cyclopedias and dictionaries. He was born of Huguenot ancestry, June ist, 1834, in Warwick, R. I. His parents were not wealthy, and, at the early age of eight, he was put at work in a calico printing factory in East Greenwich, R. I. , and later in a woolen mill of the same town. With some of his earnings he entered the East Greenwich Academy, where he made good use of the little opportunity afforded him to secure the education which was to help him in his work. At the age of eleven his definite and conscious spiritual life began, and he became a church member. At thirteen he was engaged in the cotton mills of Hon. Elisha Harris, of Harrisville, R. I. Gov. Harris, benevolent, pious, sagacious, noticed quickly the energy and talent of the boy, his faithfulness to church and Sabbath school, and his unusual musical ability. It was through thi% gentleman that the boy of thirteen was appointed organist of the village church, before his fingers had even touched a key board; but between Wednesday evening and Sunday morning, he prepared himself to accompany the choir satisfactorily. From this time he bent his energies in the direction of a musical education, and to forward this he became clerk in the store of a music dealer in Providence. Pushing for- ward in the direction of his taste, he set up for himself, at the age of seventeen, in the business of music dealer, in Fall River, Mass., where he also taught in the public schools and otherwise, and published a musical paper. The Key-note, which he afterward enlarged into the Massachu- setts Musical Jourjial. His residence in Fall River enabled him to get instruction from the best masters in Boston, then, as now, the musical metropolis of the country. About this time the thought that opportunity for musical educa- tion was not offered as it should be to people of limited means, by reason of its costly methods, was deeply impressed upon his mind, and led him to offer instruction once a week for %i per quarter, to classes in piano, violin, voice, etc. Five hundred and sixty pupils were thus instructed. This was the birth and beginning of the conservatory system in America. In 1859 he founded a musical institute in East Greenwich, R. I. , and became director of music in the same academy in which he began his education. And here began to appear that remarkable ability, grasp of details, well directed force and clear perception of Best methods and of the needs and pqssibilities of musical education, which some have called 460 ' ' enthusiasm, ' ' but which might, perhaps, better be named Christian good sense. His success was naturally very large, but such a man could never rest without attaining the highest results, and, therefore, with the purpose to give music to the world, we find him, in 1863, in Europe, conferring and studying with eminent masters of the old world — Sterne, Grell and Haupt, Dr. Marx, Clapison and others — and making examination of the methods 'and text books used in conservatories of Germanj^ France and Italy, with the purpose fixed so to improve musical education in America, that no student need cross the ocean to obtain any musical advantages whatever ; and also, that these great opportunities should be open to pupils of limited means. This purpose has long been fulfilled in the great institution of which he is now the director — the New England Conserva- tory of Music, in Boston. Returning to America, he established the Providence Conservatory, which was not confined to music alone, but to metrical culture, and like its greater successor in Boston, contained a home for lady pupils, a school of fine arts, etc. This school triumphed so signally over prejudice and opposition that in 1867 he enlarged his operations by establishing a similar school in Boston, which, under his vigilant care, has steadily improved, advanced and enlarged, until its success has come to stand alone, as the greatest of its kind in the world. The personal history of this man has numerous points of special interest. In 1869 he received, unexpectedly, from the Wesley an Univer- sity, the degree of Doctor of Music. He was also honored, in 1887, with a fellowship in the Society of Science, I,etters and Art, of London. In 1869 at the request of those in charge, he organized the chorus of the Peace Jubilee, a project so colossal that it excited both opposition and ridicule, and its supporters became so disheartened that in all probability it would have been given up but for the energy and perseverance of Dr. Tourjee. Complete success crowned his labors, and musical culture received an impulse unfelt before in America. He rendered a similar service in the organization of the chorus of the World's Peace Jubilee in 1874, where nearly 20,000 singers were brought together, and of which he was one of the conductors. In 1870, by the special request of the Teachers' Association, he delivered in Cleveland, O., his strong and conclusive Plea for Vocal Music in Public Schools. This was published at the request of the association, and has become a national document u{)on the subject. To Dr. Tourjee the country owes the Praise Service. This form of worship he labored personally to establish, lecturing upon and illustrating the subject in nearly a thousand churches, with him every- thing being subordinate to the interests of the Kingdom of God. These remarkable labors were reported to the musical veteran, Lowell Mason, 462 and so cheered and gratified him that he wrote in his seventy-ninth year, from Orange, N. J., to Dr. Tourjee, a long and interesting letter expressing his joy that a champion of choral praise in worship had arisen at last, making him, like Paul at Puteoli, "thank God and take courage." "Work on," wrote the patriarch, "with all diligence. Defend the cause of universal song in the house of the Lord. Defend the right of the poor, the weak and feeble voices, the untutored ear, the poor in the knowledge of notes, to their part in the service. I^et no one be excluded, but let all participate in this heart-stirring exercise ; go on, I say, and prosper. He who in an upper chamber introduced song into the worship of the Christian church, by joining in one, with His disciples, will smile upon j'our efforts. ' ' The Boston North End Mission, "widely known," says an able writer, ' ' as one of the noblest charities in this country, owes its existence to his active exertions and fostering care." Through the personal influence of Dr. Tourjee, and under his advice, the system of musical instructioii in Japan has been entirely changed, and made in all its 30,000 schools, to conform to the methods in use in the New England Conservatory. A gentleman who had been a teacher in the conservatory, Mr. lyUther Whiting Mason, was appointed by the Japanese government to carry out this great and useful reform. The subject of this sketch has filled many ofEces and done much service to the general public. He has been president of the Boston Young Men's Christian Association, the City Missionary Society and National Music Teachers' Association. He is now dean of the College of Music of Boston University and director of the New England Con- servatory of Music. He has also done large service as an editor of musical works, among which are Piano Method, Tribute of Praise, Chorus Choir, Hymnal of the Methodist Episcopal Church, and the Musical Herald is also under his managing editorship. As an educator he takes high rank. Mr. H. E. Sheldon, in the magazine Education, says Dr. Tourjee' s life "embodies the three fundamental elements of the teacher's success." " He is an inspirer of enthusiasm in others," is possessed of "sympathy," and "he lives in and for and through others, " "he goes down to the platform of his pupils, and leads them step by step up to the higher plane. No one can meet him, even casually, without being impressed with the inborn grace and suavity of his manners," qualities which spring "spontaneously from a nature overflowing with sympathy." "It was this quality of sympathy," says Mr. Sheldon, "which led him to provide the highest advantages in musical education for those of limited wealth, by the class system. 45j This sympathy for others has led Dr. Tourjee and his wife to sacrifice the quiet of a delightful home to organize a great Christian household for the hundreds of young women who come to the conservatory. He is America's Great Commoner in music." "The third quality of the teacher is ' Vision of the possibilities which are before himself and his pupils, and a power to inspire them with his faith.' We have been especially struck with his plan for enlarged general culture for students of music. If carried out it will revolutionize musical culture, and make the conservatory one of the potent factors in shaping the civilization of the twentieth century. ' ' Since Mr. Sheldon wrote the above, six years ago, the plan has been pushed on toward its full development, and the graduates of the conser- vatory have taken higher and higher rank among educators of the age ; so that to-day they are sought for by institutions of learning throughout the country. Thus has been justified the opinion of the directors, that ' ' Music opens the way to a broad general culture, and that the im- pression that the concentration of effort, necessary to secure the success of students pursuing a musical course, precludes all possibility of culture, is false. ' ' " Educatiion," says Dr. Tourjee, " is a whole, simply becau'^e man is a unit, and one part of man cannot be developed to the highest point without the cultivation of the other parts of the nature. A free education is the harmonious development of all the faculties to their highest power, and their application to the highest use.'' Dr. Tourjee, "in person," says Mr. Richard W. Husted, "is rather below the medium height, of slight, graceful figure, with unusually warm, courteous address, and rare fascination of manner ; yet winning not more surely by the grace and sweetness of his demeanor, than by the impressive tenderness and fervor of his nature. He unites to a broad musical culture, administrative abilities of the highest order, an indomitable energy and an aptitude for severe and long-continued exertion which is seldom equaled, and all are crowned by a deep, pervasive piety, vitalizing and refining his whole life. Of his special call to be an apostle of music, he entertains not the slightest doubt. I^uther was not more profoundly impressed of his . mission to preach the Reformation than he is that he is set apart to disseminate musical intelligence araong the masses. ' ' Says Sir George Grove, in his dictionary : ' ' Many are the charitable enterprises in which he has been active, and the persons who have been aided by his bounty." He has twice married, and has four children — two sons and two daughters. » 464 BOSTON CONSERVATORY OF MUSIC. I [IyTHOUGH not the oldest conservatory of tausic in Boston, nor f the most extensive in its operations, the above school, under the W' direction of that distinguished artist, Mr. Julius Eichberg, has achieved a reputation as a seat of musical learning which is not confined to America alone, and judging by its strictly musical 1 importance, from the results, as exhibited in the artistic distinction attained by its graduates, is certainly second to no other in America. In one branch of musical cultivation, this conservatory is without a peer, and has performed a work of great importance that cannot be too highly estimated. As the violin, that only perfect musical instru- ment, is the specialty of this school, so the violin department is its highest feature of excellence. No one has done more than Mr. Eichberg to remove the prejudice which formerly existed against violin playing, as an unsuitable recreation, not to say profession, for the gentler sex. He has, in fact, proven that so far from the violin not being a woman's natural instrument of musical expression, she is, by her refined sensibili- ties, peculiarly adapted to the elucidation of the divine spirit of harmony that makes the violin its home. Such graduates as Albert von Raalte, I,ilian Chandler and I,iliap Shattuck attest the excellence of the methods of Mr. Eichberg as a teacher skilled in the peculiar art of imparting to others the musical skill and learning, in which he himself excels, as well as the capacity of the American youth of both sexes for fellowship, in the highest walks of musical art. Other special features of the institution are the large pipe organ, specially constructed for the conservatory, containing all the stops, etc. , and competent instructors from the best English and German schools,enabling those who so desire to perfect themselves for that special branch of musical labor. Another distinguishing feature is the limit of numbers in class instruction. Not more than four are taught in class at one time, and while this is a hobby of Mr. Eichberg, and is not demanded by the experience of the conservatory system, yet it cannot fail to be recognized as one of the influences that have combined to give this insti- tution so high a reputation for thoroughness in the musical education of its pupils. No diplomas are given to students who have been less than four consecutive terms at the conservatory, except in special cases and for 465 unusual proficiency. Diplomas are granted to students who have com- pleted a full course of instruction, theory and harmony included, to the satisfaction of the directors, such course usually occupying from two to three years. The following is the list of instructors for 1889-90 : Julius Eichberg, Mrs. Chas. lyCwis, Carl Pflueger, Thomas A. I,everett, "W. R. Gibbs, Miss lyilian Shattuck, Miss Emma Ee B. Kettelle, Herman P. Chelius, Albert Van Raalte, Miss Eaura Webster, Wulf Fries, M. DeFor- rest Siple, Geo. Behr, Miss Villa Whitney White. Juwus Eichberg. Among those Americans by adoption who occupy a place' of eminence in American musical history, a most important figure is that of Julius Eichberg, the founder and head of the Boston Conservatory of Music, and a gentleman of both American and European repute as musician, teacher and composer. Mr. Eichberg was born in Diisseldorf, Germany, in 1824. He came of a musical family, his father being a violinist and composer. He handled the ' ' pony ' ' violin almost as soon as he was large enough to hold it, and at the age of seven had attained considerable proficiency. At eight he was sent to Mayence, and took lessons of F. W. Eichler, the celebrated virtuoso. Thence he returned to the excellent tuition of his father at Diisseldorf, where he had also the advantage of training by Julius Rietz, afterward a famous director of Gewandhaus concerts and kapellmeister to the king of Saxony at Dresden. Through this connection he was introduced to the great Mendelssohn, who, after hearing the boy play, wrote a commendation in these words : At so early an age young E. joins to a remarkable firmness and certainty in bowing, and use of his left hand, a great deal of true expression, which will lead him, I doubt not, to become a great artist — to be an honor to his art, and to render it important service, and to fulfill all the expectations which his remarkably precocious talents have awakened concerning him. During this period he appeared as second violin in the orchestra, and was also brought into communication with Robert Schumann and Herbert Bergmuller. He next studied under the celebrated theorist and musical historian Fetis at the Royal Conservatory at Brussels, and also under the renowned De Beriot, and an graduating gained the first prize for violin playing and composition. Entering upon the practice of his profession, he went to Geneva as director of an opera company, and his talents soon advanced him to the position of professor in the conservatory and director of sacred music in a prominent church. There he remained for eleven years, when he came to America with a view of benefiting his health, land- ing in New York in 1857. He played and taught in that city for two years, removing to Boston in 1859. His first engagement was that of 466 /- c^^C^lZyy) director of music at the Museum, where he soon enlisted the admiration of the lovers of the art in Boston. While here he wrote the operetta The Doctor of Alcantara, a charming work, successfully produced April 7, 1862, and which maintained its popularity for twenty years. He also composed The Rose of Tyrol, Two Cadia and A Night in Rome. He remained at the Museum for seven years, and then, after a year of rest, was enabled to carry into effect a long cherished ambition in the founding of the Boston Conservatory of Music, an institution which is to-day the first violin school of the country, and which has performed and continues to carry on a work of national importance in the cultivation and diffusion of music, and in elevating the standard of art excellence throughout the country. He was, shortly after the establishment of this institution, appointed general supervisor and director of music in all the high schools of Boston, in which capacity he has performed a noble work for thei people of the modern Athens, a work, too, of far-reaching influence outside the boundaries of the city and state. For one of the annual concerts of the combined choirs of these schools, he wrote the famous chorus. To Thee, O, Country, Great and Free ! a work preferred in the east as a national hymn. His other works of composition include a set of piano pieces, Lebensfruhling , published at Leipzig ; sets of string quartets, and books of violin studies, adopted in the European conservatories, besides minor work. Mr. Eichberg, despite his foreign birth and education, the latter an important factor in contributing to the advancement of the cause of music in this country, is in every instinct and fiber an American, and as such the American musical world is proud of his reputation and achievements. It is a striking peculiarity of Prof Eichberg' s musical activity that the theatre of his labor embraces what we may term the extremes, of use- fulness. On the one hand, he is devoted with admirable skill and method to the cultivation of the grand work of a general musicail taste, by his work in the direction of music in the public schools of a great city ; on the other, in the most exalted walk of the art, he is an active and important instrument in the illustration of the loftiest capabilities of music, and a potent agent for the promulgation of the best forms of higher musical culture. The principal points of Prof Eichberg' s usefulness to American music, and his important place therein, outside of the work of the excellent insti- tution which he has conducted with such fidelity to the highest traditions of musical art, may be summed up as follows : First, his thorough iden- tification with the representative ideas of Americanism ; second, his impor- tance in the field of composition ; third, the conscientious effort which he has devoted to the grounding of musical sentiment upon a faithful art basis, so far as its direction has fallen into his hands ; fourth, in the rank which he takes as a composer in the list of those whom we are privileged to regard as American. THK GRAND CONSERVATORY OF MUSIC OF THE CITY OF NEW YORK. This institution was founded in 1874 by Ernst Eberhard, and incorporated by act of legislature, passed May 23, 1884, empowering it to confer the degrees of bachelor, master and doctor of music> Testimonials are granted to students who have mastered the course of studies to the satisfaction, of their instructors, and whose record in regard to regularity of attendance and application is faultless. Diplomas are given to graduates who have passed through the full course. They are expected and required to appear at a public recital, at which they must demonstrate their ability and proficiency in the several departments of obligatory study comprising the grand conservatory course, vocal, instrumental, theoretical or otherwise. It is the intention and determination of the directors and faculty that every diploma or other testimonial from this institution shall pe fairly and honestly earned. Applicants for diplomas are expected to have a thorough knowledge of harmony, and must be able to harmonize properly a given bass or melody, and to write in two, three or four parts in all the orders of single counter- point. A good knowledge of musical form and musical history is required, as well. Students who pass the required examination, and who produce a composition for voices with accompaniment for the organ or pianoforte, containing polyphonic writing (fugue in four parts), will be granted the degree of bachelor of music (B. M.). The degree of master of music (M. M.) is granted to those who are able to pass a satisfactory examina- tion in canon, fugue, etc., in addition to the requirements for the degree of bachelor of music, and who can produce a work for chorus and orchestra. A comprehensive knowledge of musical history and acoustics, and ability to work out a thesis on some musical subject, is also expected of applicants for this degree. The degree of doctor of music (Mus. Doc.) is conferred upon artists whose long and devoted services in their art may seem to justify or demand a recognition as exalted as the board of directors have in their power to grant. The Grand Conservatory occupies a spa- cious building of its own, at No. 98 Fifth avenue, and is largely patron- ized by the best classes. 4S9 Ernst Eberhard. Ernst Eberhard was bom in Hanover, Germany, May 30, 1839. He studied under Heinrich Enckhausen, H. Marshner and H. I,ahmeyer. When he first came to this country he held a number of positions, but finally determined tq go south, where he taught in different colleges and seminaries and played in concerts. In 1864 he returned to New York city and accepted an engagement as baritone singer in a church. After this his rise was rapid. His great musical knowledge and his commanding powers as an organist gained him a position at St. Ann's church in Brooklyn. From St. Ann's he went to the church of the Paulists, on Fifty -ninth street, where he remained as conductor and organist for ten years and acquired a reputation for his conscientious, excellent work. At this church he had under his direction many of the best soloists, a large chorus, a choir of some eighty singers and an orchestra composed of members of the Philharmonic, among whom were such distinguished performers as Grill, Noll, Besig and Bohm. To give an idea of the character of the work done it may be mentioned that Mr. Eberhard brought out Beethoven's Mass in C, Haydn's Imperial and Sixteenth Masses, Gounod's Great Mass, two masses by Cherubim, one by Righini, and Cherubini's Requiem. He also arranged all the mottettes and hymns sung in the church, for chorus and orchestra. While at the PauUst church, he was also conductor of several German singing societies, con- ductor of the St. Cecilia mixed chorus, of the Flora mixed chorus, of the Harmonic and Philharmonic societies in Newark. He also gave a number of symphony concerts at the Academy of Music in Brooklyn, and at Steinway hall. With these various societies he produced such works as the second, third, fifth and eighth symphonies of Beethoven ; Mendel- ssohn's Scotch symphony and a number of others by Haydn and Mozart. Among the oratorios produced under his direction, were Haydn's Creation and Seasons, Handel's Messiah and Judas Maccabceus, and Mendelssohn's Elijah. The soloists at these concerts were such artists as Clara ]>uise Kellogg, lima dl Murska, Parepa Rosa and Pauline Ivucca. In 1873 he left the church of the Paulists to accept the position of organist at the First Baptist church. Finally, in 1876, Mr. Eberhard gave up all his various positions to start the Grand Conservatory of Music, with which institution he has remained ever since, conducting it with remarkable energy, and bringing it up to the prominent position which it holds to-day. Mr. Eberhard is author of twelve books of studies for piano, a new piano method (two books), and a number of other educational publications. 470 '^U^^t^i^rty, THE NEW YORK COI.I.EGE OF MUSIC. 'HE New York College of Music was established in 1878, and duly incorporated under the laws of the state of New York. ^^ The college building is on East Seventieth street, near Lexing- ton avenue. The officers of the company are Rev. Richard D. <$i Harlan, president; Morris Reno, vice-president; Alexander Lambert, director; Latham G. Reed, secretary; Otto Rother, treasurer. The faculty of the New York College of Music is an excellent one, including Alexander Lambert, the director, who is assisted in the piano department by Louis Oesterle, D. M. Levett, Florian Oborskt and H. Woehaf; in the vocal department, Mme. Anna Lankow? Luigi Meola, Geo. F. Allen and Pietro Bignardi; violin department, Mr. Henry Lambert 'and Mr. Gustav Dannreuther; violoncello department, Mr. Adolph Hartdegen; harmony, C. C. Mueller and S. Austin Pearce; and in addition compe- tent and well known instructors in the departments of elocutioh, organ, vocal hygiene, history of music, chamber music, wind instruments and languages. The college (opened in 1878), has for its object the foundation and the diffusion of a high musical education, which, based on the study of the classic masters, embraces whatever is good in modern art. The institution endeavors to attain this end by well grounded instruction imparted not only to those who wish to devote themselves to music as artists and teachers, but also to amateurs, whose only object it is to acquire a correct knowledge of music. The college building is advantageously located a few blocks from Central Park, and it is an edifice admirably adapted to the purpose to which it is devoted. The concert hall in connection with the school is in constaiit use for musical entertainments, lectures, etc., to which, students and their families have free admission. In order to accustom advanced pupils to perform in public,, and to give all pupils the greatest possible opportunity to hear good music and to increase their knowledge of musical literature, performances and concerts are given during the winter terms, and as a general rule every two weeks. The remarkable public interest manifested in the concerts of the college, as shown in the attendance, having repeatedly outgrown the halls [ ^ ?-ci -i^-if^ 1^^ IHHBk ■ ^ VI <«l^ ^ ^s r ' J^Hh « v»:^ ' P tftti^ ►■ H|HH^3H^^|k]^ '"^.^H ^ T^K^^ hR m ' k "^"' ^n .. ^M*^:. ... in which they are held, and the addition to the faculty of the eminent performers, have led to an important extension of the college plans in this department. A special concert is also given each season at Chickering hall, in which an orchestra participates, under the direction of Mr. Walter Damrosch. A limited number of free scholarships are given every year to talented and deserving pupils, as well as several partial scholarships which carry with them the advantage of studying at the college at reduced rates. The concerts given under the auspices of the college are of notable excellence, and some of the best musical talent in New York participates in them for the benefit of the pupils of the institution. During last year Mr. Wm. J. Henderson, the talented critic of the New York Times, lectured on musical history before the pupils on a number of occasions. During the past eleven years the college has developed steadily, and the roster of pupils each year shows a large increase. Under the able direction of Mr. I^ambert and with the fine corps of teachers connected with it, the school has been doing excellent work in the field of educa- tion in art. Alexander IvAmbert. The subject of this sketch is a native of Poland, having been born in Warsaw in 1862. He inherited the musical talent, his father having been a musician of reputation, and after a course of study at home, was by the advice of Rubinstein sent to Vienna, where he entered the conservatory, and after completing his studies under Julius Epstein, the noted pianist, graduated at sixteen, with the highest honors. Subsequently he studied at Weimar under I^iszt, after which he appeared in concerts with great success in many German cities. On coming to the United States, his success was immediate and flattering to his capacity. He was first heard in Schumann G minor sonata, and his interpretation of this secured the admiration of the New York critics, who classed him with pianists of rank, and particularly with Joseffy. At Steinway hall he appeared with Remenyi and freely shared the honors with the great Hungarian violinist. His playing at that time was noted for its boldness and confidence, his certain method of attack, and the correctness of his conceptions. His dexterity was prodigious and was always the subject of remark. With his many good qualities, however, he united some defects, and this was freely criticised in the musical newspapers. Determining to render his faculty beyond the reach of criticism if necessary, Mr. Lambert determined to spend a year in Germany, and here his style of playing was greatly matured, and acquired those qualities which had previously been lacking. He improved in the shading and color of his interpretations, and infused into his work qualities of the art. While in Europe he was asso- dated with Moszkowski and later with Joachim, the latter having engaged him for a tour through Germany. On this occasion at Kiel he played before the prince and princess of Schleswig-Holstein. Subsequently he was invited by the Philharmonic Society of Berlin to play on the occasion of the anniversary of the death of Beethoven. On suggestion of Hans von Bulow, he gave the great concerts C major and C minor concertos with the original cadenzas. This was an exceedingly happy choice, and won from the press and public of Berlin many encomiums. I^eaving Berlin, Mr. I^am- bert then paid a visit to his native city of Warsaw, where he made the acquaintance of Sarasate, with whom he gave concerts. Next he went to the Mecca of all artists of the time, Weimar, and paid a visit of four months' duration to Franz Liszt. Among other artists at Weimar during this time were Jaell, Silote and Saint Saens. Of this sojourn Mr. Lam- bert says: "He who has enjoyed the distinction of being the object of the Master's solicitude knows how precious is every word of Liszt's while one is playing for him. It is especially interesting to hear him play Chopin and embrace each object of relation, the history of the sentiments describe in tone." Having thus completed his art equipments, Mr. Lam- bert resumed his work in New York with an enlarged repertoire and a degree of proficiency that brought constant and brilliant success. His first performance after his return was at one of the Van der Stucken con- certs, with the G minor pianoforte concerto by Saint Saens. The brill- iancy of his technique combined with brilliancy and extreme beauty in tone, attracted universal applause. Franz Van der Stucken thus expresses his opinion of Mr. Lambert's playing of the Chopin F minor concerto. "It was a complete surprise to most all of his friends, who were not slow to realize they were being favored by an ideal performance of this musical gem, in which technical perfection was enforced by brilliancy, fire, inspi- ration and intellectual depth. ' ' He was recalled four times amid a per- fect furor of applause. He played equally with Littolf Scherzo. During several seasons previous to his connection with the New York College of Music, he was a leading attraction on the principal occasions of the Sym- phony Society, of New York, the Damrosch Symphony Society, of Brook- lyn, the Boston Symphony Orchestra, under Gericke, the Anton Seidl con- certs. New York, and the Novelty concerts. Symphony concerts, Sunday Orchestral concerts and Classical Afternoon concerts by Vanderstucken. At the head of the New York College of Music, he is in a position to benefit rising artists by the qualities which have surrounded his musical career with so much distinction personally. Mr. Lambert is an earnest and conscientious artist, and is admirably fitted for the position he occupies. METROPOWTAN CONSERVATORY. HE Metropolitan Conservatory of Music, located at 21 East Fourteenth street, New York city, was organized in 1885, by ^ Messrs. C. B. Hawley and H. W. Green, for the purpose of affording well balanced musical education, according to the stand- ards of the American College of Musicians, of which body nearly all the faculty are prominent members. Herbert W. Greene, One of the founders, and now secretary and business manager of the Metropolitan Conservatory of Music, New York, was born in 1852 at Holyoke, Mass. He had no early advantages of instruction in music, and it was not until he grew to manhood that he had the opportunity to study. He devoted some years to his art in America, and then visited the art centres of Europe, where he studied under the best masters of voice, and acquainted himself with all the best methods of musical instruc- tion as a voice specialist. Returning to the United States, he developed a plan for a school of advanced musical culture. Mr. Dudley Buck con- sented to head the faculty, and Mr. Samuel P. Warren, Mr. H. R. Shelley, Mr. L,. R. Russell, Mr. Clifford Schmidt and other eminent specialists co-operated in the movement, and the work was begun, Mr. Charles B. Hawley, a former pupil, being a partner. Since then the conserva:tory has combined with the Stern School of lyanguages and the Dowd School of Physical Culture, and has been remarkably successful, exerting a wide- spread influence for good in the country. The phenomenal success of this school is largely due to the energy and business tact of Mr. Greene, whose genius for education is sufficiently evident in the selection of so eminent a faculty. Most of the teaching is done individually, only a small part of it in classes, and these are kept small, the design being to' retain the stimu- lative advantages of the class system, without sacrificing thoroughness and individuality. Great stress is laid upon the necessity of well balanced education in theory. The faculty is one of the most distinguished yet brought together in America, Mr. A. R. Parsons heading the pianoforte department. 476 CHICAGO MUSICAL COIyLEGE. 7 HIS important institution of musical learning, which ranks with the best in America, was originally established by Dr. ^Florence Ziegfeld, in 1867, being at first known as the Chicago, Musical Academy. Its success was immediate and cumulative froin year to year, and expanded in its operations so rapidly that it was driven from one location to another larger, and so on, till in the fall of 187 1 it occupied the whole of the then splendid building at 253 Wabash avenue, and Dr. Ziegfeld, the president, was looking forward to the fall and winter terms to give new evidence of success, with his improved and enlarged surroundings and facilities, when the great fire of Chicago came, and in a few hours all was swept away. But nothing could daunt the indomitable courage and determination of its president, nor impair the confidence of the public, and before snow fell that year he had his school re-established. It has ever since maintained an onward and upward career, and to-day its standing is recognized in Europe as superior to that of many continental institutions. In 1882 the college occupied its present extensive, attractive and admirably arranged quarters in the Central Music Hall building. State and Randolph; but even with this accommodation it has been found neces- sary to establish a branch at 501 Adams street, and it is hoped that at an early day the directors will be able to gratify their ambition to place at the disposal of the faculty a building which shall be a temple of the musical art worthy of its high purposes and importance, and of the wide reputation of this institution. In every department of this school. Dr. Ziegfeld has always been particular — indeed, it has been an ambition with him — to secure the highest attainable talent ; and hence the college offers to its pupils the advantage of instruction by artists of established reputation in the musical world. The system pursued is not only strictly academic, but it is as strictly and thoroughly applied as in any of our higher universities. We use the words of the New York Musical Courier in describing the plan pursued: Through the arrangement of examinations held at the end of each term of ten weeks, in every department, most satisfactory results have been reached. In this way pupils in the college are stimulated to their best efforts to become as proficient as possible in their respective studies, and there is a strict accounting kept at these examinations of the pupils' progress. A report is issued to every pupil, giving the average standing for the term, for attendance, practice and improvement. Through ■ 478 these reports the parents aud friends of scholars become acquainted with their gen- eral progress. At the end of the school j'ear, the final examinations take place. The gold medals are of beautiful design, set with a diamond, and are donated by public-spirited citizens who feel the importance of encouraging aspiring students who have musical talent and abilitj-, and are awarded at the commencement exercises to pupils who have especially distinguished themselves by rapid advancement in their respective studies. Through concerts, soirees, recitals and the weekly ensemble class, a musical atmosphere is created, and affords the student the opportunity to become acquainted with the best works of composers of symphonies, oratorios and CHICAGO MUSICAL COHEGE. chamber music. In the soirees the pupils take part, therebj- gaining a self-possession which only comes through experience. A remarkable public interest is manifested in the grand concerts, when the facultj' of eminent performers take part in programs of the choicest music, assisted by a full orchestra under the direction of Dr. Ziegfeld. Other collateral attractions are the orchestra school, sight-reading class, and lectures upon musical topics every week. Dr. Ziegfeld has shown his art s_vmpath5' in determining that lack of means shall not debar deser^dng talent from the advantages of his admirable iustitution. One of its features is the throwing open to the public of fifteen free scholarships, and one hundred partial scholarships, to talented and deserving students, who have not otherwise the means to provide for thorough musical equipment. The regular school year has four terms of ten weeks each. The first term commences second Monday in September, and closes ■* third Saturday in November. The second term commences third Mon- day in November, and closes second Saturday in February. Two weeks vacation — from December 23 to January 4. The third term commences second Monday in February and closes third Saturday in April. The fourth term commences third Monday in April and closes last Saturday in June. The annual concert and commencement exercises take place last week in June. There is also a summer normal session of one month, commencing second week in July. Among the graduates of this institution, who exemplify its advan- tages, are such brilliant pianists as Mrs. Frank Nightingale, Miss L. Clare Osborne, Miss Mollie A. Nuveen, Miss Emma Wilkins, Miss Sadie Hayman, etc. The officers of the college are Dr. F. Ziegfeld, president ; F. Ziegfeld, Jr., treasurer and secretary; John B. Harris, Belle Sawyer and Agnes Matthews, assistant secretaries. Board op Directors. — Rev. Dr. H. W. Thomas, William M. Hoyt, N. K. Fairbank, W. W. Kimball, Dr. Ph. H. Matthei, J. Harley Bradley, Gen. Chas. Fitz Simons, Julius Rosenthal, Dr. F. Ziegfeld and F. Ziegfeld, Jr. The following constitute the faculty, and have charge of the different branches of instruction. Piano.-^Dr. F. Ziegfeld, director ; August Hyllested, assistant director ; Victor Garwood ; Louis Falk; Adolph Kcelling ; Maurice Rosenfeld ; ly. Clare Osborne ; Emma Wilkins ; Addie Adams Hull ; EiBe Murdock ; Maud Quivey ; Stella Sisson ; Eva B. Loehr ; Ida Strawbridge ; Margaret Rankin. Vocal Music — L. A. Phelps, director; Mrs. O. L. Fox ; J. Allen Preisch ; Eva Emmet Wycoff. Sight Reading. — Dr. H. S. Perkins. Chorus Class. — J. A. Phelps. Organ. — Louis Falk; Violin. — S. E. Jacobsohn, director; Joseph Ohlheiser; Theodore Binder. Violoncello. — Meinhard Eichheim. Harp. — Mme. Josephine Chatterton. directress; Miss Julia Phelps. Flute and Clarionet. — Fred Fowler. Cornet. — Herbert Hutchins. Mando- lin. — S. Tomas. Banjo and Guitar. — W. S. Baxter ; F. J. Kugler. Harmony, Count- erpoint, Canon and Fugue. — Louis Falk ; Adolph Kcelling. Composition. — Adolph Kcelling. History of Music- — W. S. B. Mathews. Elocution. — Mrs. Laura J. Tisdale, directress ; Mrs. Lillian Woodward Gunckel. Foreign Languages. — Henry Cohn, German ; Leontine Arnot-Cohn, French ; Candido Rosi, Spanish ; G. Mantellini, Italian. Physiology of Vocal Organs. — Dr. Boeme Bettman. Dr. Florence Ziegfeld. ' 'Among the foremost of those who have devoted their lives to musical art in Chicago, and have contributed to the development of taste and cult- ure in music, stands Dr. F. Ziegfeld, the founder of one of the largest mu- sical conservatories in the United States — one that rivals, in all its depart- 48P (M '■(^/^ 48 1 ments, the best in Europe." We may adopt these words and extend them in their application to the whole field of musical cultivation in this country. Dr. Ziegfeld was born in the town of Jener, in the grand duchy of Oldenburg, Germany, in 1843. His father, a court official of the grand duke, was passionately devoted to music, and when the taste and talent for the art became evident in young Florence, in his earliest years of intelligence, the father was delighted to afford them every opportunity for development. He took his -first lesson on the piano at the early age of six years, and under the guidance of the best available teachers soon attained remarkable proficiency, playing, when but ten years old, in public and private concerts with a skill and confi- dence that elicited admiration and secured many flattering prophecies of a distinguished career. Continuing his studies with excessive zeal and application, to the detriment of his health, he made, at fifteen,* his first voyage to America, to visit a brother in New York, and to regain the physical vigor which had been impaired. This visit at that time decided him to make America his future home, but in order to thoroughly equip himself for the career which his ambition had in view, he returned to Kurope and entered the Ivcipzig Conservatory, where for several years he remained the pupil of such eminent musicians as Moscheles, Richter, Pap- peritz, Plaidy, Wenzel, David and others. In 1863, having refused a most tempting offer to go to Russia to take charge of a large conservatory there, he came to America, and November of that year found him settled in Chicago, and soon successfully engaged as a teacher of music. . By 1867 his patronage had become so extensive as to suggest the necessity for organization on the conservatory system, and in that year he established the Chicago Academy of Music, which was the precursor of the larger and more complete and important institution, the Chicago Musical College. In 1868, with his pupils, he gave his first public concert, which, despite unfavorable conditions, was a gratifying success, and from that day to the present the people of Chicago have never failed in avail- ing themselves of every public opportunity of testifying their appreciation of the services which Dr. Ziegfeld has so zealously and unremittingly rendered to the.cause of musical culture. Of his success in building up the Chicago Musical College, we treat elsewhere. Since settling in Chicago, Dr. Ziegfeld has visited Europe no less than eleven times ; on one occasion taking a number of his pupils with him, to improve their opportunities, and on another to select attractions for the great Boston Peace Jubilee, in 1872, having been chosen for this latter task out of all the prominent figures in music in America at that time. Dr. Ziegfeld has always maintained acquaintance and correspondence with the princi- 483 pal masters of Europe, Liszt, Wagner, Joachim, Strauss, Rubinstein, Franz Bendel and others, and of the esteem in which he is held in the higher musical circles, we may judge from the following extract from a letter addressed in 1872 by Dr. Conrad Schleinitz, director of the Leipzig Conservatory of Music, to Miiller von Werra, the distinguished poet : Of Dr. Ziegfeld himself it gives us great pleasure to say that his own profound and comprehensive musical attainments are the result of his early studies in our institution. While here he was so distinguished for conscientious industry in his studies, as well as for great natural talent and exemplary conduct, that we looked forward with high expectation toward his future career. These expectations have been more than realized. * * * From Dr. Ziegfeld's exceptional artistic accom- plishments, and his conscientiousness as a teacher, we feel safe in concluding that the instruction of the academy is of the most thorough description. The scholars who come from this institution have shown such careful and symmetrical develop- ment, that we are convinced that the Chicago Academy of Music is a most reliable school, and its graduates are for the same reason peculiarly welcome to our con- servatory. Dr. Ziegfeld is not only an artist of high talent, but he possesses a genius for teaching — that rare faculty of being able to successfully impart musical knowledge and artistic taste and perceptions to others ; and he is, moreover, as a business man and an organizer in every work that comes under his hands, without a rival in skill and thoroughness. Mrs. O. L. Fox. Prominent among western teachers of the vocal art is Mrs. O. L. Fox, who for years has done vigorous and persevering work for the devel- opment of musical culture in the west. Mrs. Fox is a native of Boston, where at the age of seven years she began the study of music, with such notable progress that at the age of seventeen she was a successful choir singer, and very soon became prominent as solo artist at musical conven- tions in all parts of New England. In June, 1869, Mrs. Fox was engaged as soprano at the Second Presbyterian church, of Chicago, having been selected for the position by Mrs. J. H. Long, her celebrated Boston teacher. She made her debut the following winter with the Chicago Orpheus Society, under the direction of Hans Balatka, in Haydn's Crea- tion. Mrs. Fox remained soprano of the Second Presbyterian church until the great Chicago fire of 1 8 7 1, when she returned to Boston for a year and renewed her study, returning to the western metropolis to accept a position at the Fourth Presbyterian church, then Professor Swi'ig's- For five years past she has been connected with the Chicago Musical Col- lege, in this capacity having instructed some of the best singers graduated from that institution. Mrs. Fox is also known in a literary way, having for several years been musical critic for The Indicator, and contributed liberally to other periodicals. As concert soprano she has an honorable record east and in this city. 484 CHICAGO CONSERVATORY OF MUSIC. - N this conservatory we find a school whose career lies largely before it, but which is fouijded upon a plan aiming at so high an ideal, of whose attainment we have already had so convincing an "evidence, that it is entitled to a prominent place among the musical institutions of the country. Mr. Samuel Kayzer, founder and director of the conservatory, is a native of Warsaw, in Russian Poland, bom 1853. After several years of study in Europe, he came to Chicago in 1878, and was connected with the Hershey School of Musical Art, where he became widely known as a successful teacher of elocution and dramatic art, and in the course of a few years had a large and enthusiastic following of students. In 1885 he conceived the idea of founding the Chicago Con- servatory of Dramatic and Musical Art. His ambition was to build up a conservatory upon the best European models, in point of the standard of excellence in every department, and of the advantages offered for the development of musical and dramatic culture upon the highest artistic plane — a school, in short, that would ultimately rank with the best in the world in these respects, and whose guiding instinct should be art, not profit. He wisely determined, measuring the boldness of his ambition with the difficulties that stood in the way of its achievement, to apply the high standard with which he had set out, even to the modest beginning to which circumstances restricted his undertaking. At the beginning the conservatory was strictly dramatic in its color, as might be expected from the field to which Mr. Kayzer was personally more strongly inclined, and in which his experience gave him greater reliance. His efforts, however, attracted appreciative attention. Discerning patrons of art had watched his earnestness, his energy, industry and determination, and the encour- agement of the press and of prominent citizens enabled him to enlarge the sphere of his operations, and to make a nearer and earlier approach to the realization of his ambition than he had probably anticipated. He was soon enabled to widen the scope of the conservatory, until it became as pronouncedly musical in its leading characteristics as theretofore it had been in the dramatic feature. The professional department, whose pleasant monthly entertainments soon became fashionable, and which is really but the representative and illustration of the larger departments of 486 private study, brought the excellence of the methods pursued into more public recognition, and the advantages of the conservatory continued to be sought after by a widening circle of art students. When the great Auditorium building was designed the ninth floor of this massive monu- ment of the art of architecture was set apart to the purposes of a temple of the sister art of music, and here the conservatory found a permanent home, which, for convenience, elegance and the perfectness of all its appointments for the object to which it is devoted, is not excelled in America. Here the director is enabled to give an expanded scope to the objects of the institution, to accompany which he has secured the highest talent available, both as a means to the results which he desires to see accompany the operations of the conservatory, and. in order to crystallize into the permanent educational machinery of this school those high aims which he had always kept steadily in view. With such talent as is now at the head of the departments, we may look confidently in the near future to see the Chicago Conservatory taking a high rank in the world of music, and becoming the alma mater of many distinguished exponents of lyric drama, and of representatives of the different branches of musical activity, who shall do honor to the art culture pf America. Wm. H. Sherwood. At the head of the piano deparment of the Chicago Conservatory stands an artist who is not only one of America's most celebrated pianists, but also an artist of recognized eminence in Europe^ as well. Mr. Sherwood is a native American, and was bom at Lyons, N. Y., Jan. 31, 1854, his father, Rev. Iv. H. Sherwood, M. A., being a cultivated musician, and the founder of the Lyons (N. Y.) Musical Academy. In early boyhood he evinced a remarkable talent for music, and received very careful training from his father, by which he profited so well that between the ages of nine and eleven he made frequent public appearances in New York, Pennsylvania and Canada, attracting much attention both by the skillfulness of his playing and the precocity of his genius. From 1866 to 187 1 he was partly occupied with teaching in his father's school, but mainly devoted to the acquisition of a literary education, though designing music as his perma- nent profession. In the latter year he became the pupil of Dr. William Mason, at the time holding a normal institute at Binghampton, N. Y. , but in the fall of the same year, by Mr. Mason's advice, he placed himself under the instruction of KuUak, at Berlin, also studying theory and composition under the renowned theorist Carl Kriederich Weitzmann. So rapid was his advance that within seven months he was one of those selected to play at KuUak's annual concert at the Singakademie, where he executed Chopin's fantasia in F minor with such skill as to elicit great applause. Among others who took part in this event were such pianists as Scharwenka, Moszkowski and Nicode, who who have since become famous as solo pianists. Leaving Berlin for a short time to recruit his health, he studied composition at Stuttgart under Doppler, for several months> returning to Berlin and continuing his studies under KuUak and Weitzmann. The following season he played the great K flat concerto of Beethoven, accompanied by a large orchestra, before an audience of 4,000 people, Wuerst, royal kapellmeister, conducting, with such success that at the close of the performance he was recalled eight times. This, in the face of the most critical musical community of the world, and of an existing prejudice against American talent as something less than mediocre, was a triumph of which in itself American art may feel proud. His success did not stop here ; his talent forced recognition in the world of composition. He had at this time (1873) composed several PP. pieces that were favorably received. His Capriccio (Op. 4) was printed later on by Breitkopf & Hartel, and Ops. i , 2 and 3, printed by Behr, of Berlin, were used for didactic purposes by Theodor KuUak, in his more advanced classes. The following year he devoted to the development of his technique and touch, and in the fall was married to Miss Mary Fay, a talented pianist of Williamsburg, N. Y., then studying under Kullak at Berlin. In February, 1875, he studied counterpoint and composition under Richter, at I,eipzig, for some months; when he went to Weimar on the arrival of Liszt at that place. This great master was warm in his appreciation of the young American, became godfather of his first child, and at his last matinie of the season had Sherwood to play two numbers before a distinguished audience. He went to Hamburg, where he made six successful appearances, and Feb. 18, 1876, at the Singakademie, Berlin, gave a concert, in which he was assisted by his wife, which was highly praised by the German musical press. " In this concert," said an eminent critic, ' ' Mr. Sherwood, a young American, proved himself the blood brother of the Titan Rubinstein." He now returned to America, and played in Boston, New York, Philadelphia, Cincinnati, Chicago and other cities, with great success, establishing a reputation as a pianist which he has ever since maintained and enhanced. During the Philadel- phia Centennial Exhibition he appeared before enormous audiences at the Academy of Music, and elicited the greatest enthusiasm. In the autumn of that year he settled in Boston, and though for a short time in connection with the New England Conservatory, has since devoted himself to private instruction and public appearances. In 1877 he gave two recitals at the opening of Hershey Music Hall, Chicago, and has since been extensively 4Sg before the public and active in musical life, especially in lectures and recitals in connection with the meetings of the Music Teachers' National Associa- tion. As a pianist Mr, Sherwood is noted for perfection of technique, power and delicacy of expression, and thorough musicianship. In composition he is rather finished and conscientious than fertile, and though he has not burdened the printing presses, his productions are such as to reflect credit upon American art. The principal of these are a Scherzo in E major, an Idyll in A minor ; Scherzo Symphonique, in G sharp minor ; Allegro Pattetico and Medea, with other productions. Aside from his eminent abilities as a solo artist Mr. Sherwood has rendered exceptional services to the art of piano playing through his labors in establishing a thoroughly scientific method of developing the muscles which are employed in piano playing, guided by his own wide experience, both as player and instructor. The process he employs for rendering the fingers strong and at the same time flexible is greatly superior to those which were generally taught, even by the best teachers, at the time when he made his own studies, and are the outcome of deep reflection which was forced upon him by his own needs during the period he was engaged in developing his own technique. Chicago is certainly to be congratulated upon the acquisition of a concert artist and instructor of such rare ability. The faculty of the Chicago Conservatory in 1889 is the following: Piano— Mr. William H. Sherwood, director; Mr. Calvin B. Cady, Mr. H. A. Kelso, Jr., Miss Julia Carruthers. Vocal Music — Mme. Biro de Marion, Signor A. Jannotta, Miss Grace Hiltz. Sight Heading — Mr. Calvin B. Cady, Miss Grace Hiltz. Violin — Mr. A. Rosenbecker, Mr. Richard Seidel. Violoncello — Mr. M. Eichheim. Flute — Mr. Otto Helms. Cornet — Mr. John Quinn. Mandolin — Signor C: Vali^si. Guitar — Miss Lulu Hiltabidel. Harmony, Counterpoint, Composition and Orches- tration — Mr. Frederic Grant Gleason. Foreign Languages — Prof. Henry Cohn, Ger- man; Mme. Tanty, French; Signor G. Mantellini, Italian; Mons. Gouere, French conversation and elocution; Mr. Caudido Rosi. Spanish. Dramatic and Poetic Reading — Mr. Samuel Kayzer. Elocution, Delsarte Theory of Expression and Physical Culture — Miss Anna Morgan, Miss May Donnally, Mr. Samuel Knecht. AMERICAN CONSERVATORY OF MUSIC. This excellent school of music, located at Weber Hall, in Chicago, was founded in 1886 by Mr. John J. Hattstaedt, who became and remains its director. Organized from the first with a staff of qualified specialists, mainly Americans, though in many cases having the advan- tage of foreign education, it sprang at once into success and popularity, and in its first year enrolled a list of over 600 pupils, among whom nearly every Western state and territory was represented. By having special regard'to American needs it has since maintained and increased both its proficiency and its popularity. It adopts the class system, as bringing a €oH 6lXajL{^yf~ higher grade of instruction within the reach of people of moderate means, as well as affording the incentive of ambition to excel through the emulation excited. Its course is divided into preparative, academic, col- legiate and normal. The academic course includes one year's study of harmony and musical history, in connection with regular piano, organ or violin lessons. Graduates who attend and pass satisfactory examina- tion in the teachers' training class receive teachers' certificates. In the collegiate class diplomas are awarded on examination by a board of examiners. No arbitrary time is fixed as a basis of graduation, the test of proficiency, being governed by the previous preparation and capacity for progress of the pupil. A normal course, at which lectures are given by the principal, W. S. B. Mathews and Miss Amy Fay, is free to all pupils of the academic and collegiate classes. The teaching staff includes the following: Piano. — John J. Hattstqedt, Frederick Haines, Victor Everham, Florence G. Castle, Susie Kraft, Ida M. Kaehler, Harrison M. Wild, Gertrude E. Hogan, Annette E. Crocker, A. Constance Locke, Emelie Emilson, Rae M. Hill. Vocal Music. — Noyes B. Miner, Viola Frost-Mixer, Edward Meek. Organ. — Harrison M. Wild. Violin. — Josef Vilim, Theodore Martin, Maggie White. Harmony, Counterpoint, Canon and Fugue. — P. C. Lutkin. Composition. — John A. West. Violoncello. — Fr. Hess. Flute. — Aug. Holm. Zither. — A. Maurer. Guitar and Banjo. — Mrs. A. F.Swan- der. Reading at Sight. — H. S. Perkins, Wm. Smedley. Normal Department. — John J. Hattstaedt, W. S. B. Matthews, Amy Fay. School of Oratory. — W. W. Cames. Delsarte System of Dramatic Expression. — Miss Ella Abeel. German. — H. Von Beschwitz. French. — Mme. Fleury Robinson Italian.— WaAaao Nocerino. Phys- iology of Vocal Organs. — Dr. E. B. Murdock, Dr. J. B. S. King. John J. Hattstaedt. The founder and director of this institution was bom at Monroe, Mich. , in 185 1, and received a sound musical education, both in Europe and America. He entered upon a professional career at Detroit, Mich. , subse- quently taught in St. Louis, and finally located in Chicago, where he connected himself with the Chicago schools of music as teacher of the piano and lecturer on history and aesthetics. In this capacity he labored for several years, during which he built up an enviable reputation as an accomplished and successful teacher and educator. In 1881 he made an extended trip to Europe, visiting all the principal conservatories in order to familiarize himself with the methods of instruction and manage- ment. The American Conservatory was the result of his observations, guided by experience and his acquaintance with American needs. The institution has done excellent work, and has, no doubt, a long career before it of success and usefulness as a factor in the promotion of musical education. Mr. Hattstaedt has also been a contributor of articles of musical interest to the Etude, of Philadelphia, and other papers, and is the compiler of an admirable Manual of Musical History used in this conservatory. ■=^ THE CHICAGO COLLEGE OF VOCAL AND INSTRUMENTAL ART. fctN 1883 this educational institution was founded by its present director, Mr. Albert E. Ruflf; since that time it has steadily pro- gressed and grown in favor, and it now has an enviable reputa- tion among the music schools of the west. The school is virtually the outgrowth of Mr. Ruff's personal classes in vocal culture, but it now comprises departments of instruction in all branches of the art of music, singing, piano, violin, 'cello, flute, cornet, elocution, harmony, composition, etc. The college is located on the second floor of Weber Music Hall, at the corner of Wabash avenue and Jackson street. The rooms have been especially arranged and designed for the college, and they are both attractive and suitable for the purpose of giving musical instruction. The location is one of the most central and convenient in the city. The promoters of the Chicago College of Vocal and Instru- mental Art have secured an able corps of instructors, and by the adoption of purely scientific principles in teaching they have established an insti- tution possessing excellent advantages. Concerts and soirees are given every two weeks by the college, in which all pupils are expected to take part, the concerts being given in Weber Music Hall. Another feature peculiar to this school is the "concert rehearsal" which is designed for young amateurs making their first appearance, by these and other means pupils of the institution are given every opportunity for acquiring the self-possession and poise without which musical ability is of little practical benefit or pleasure. Among the teachers in the faculty, besides Mr. RufF, may be named Mr. W. C. E. Seeboeck, Baron Leon de Vay, Mr. James Watson, Mrs. A. E. Ruff and Mrs. J. T. Clark. Although the school is by no means an old one, its career has been in every way praiseworthy. Albert E. Ruff. This gentleman who founded the Chicago College of Vocal Music, now in its fourth year, was born in Glasgow, Scotland, in 1851. He entered upon musical study at Mannheim, Germany, at the age of eleven, devoting his earliest effort to the violin. Five years later he joined the Theatre Royal orchestra, of Glasgow, retaining his connection for two years, at the end of that time leaving to complete his musical edtication at the conservatory at I— ^, 513 The Structure of Musical Instruments, The Sonata Form and Wagner's Music Dramas, all with recitals. The energetic president of the Wesleyan College at Cincinnati, Dr. J. H. Brown, has secured Mr. I^auder's services for three years, and he will likewise devote his abilities to the Ohio College of Music. In these labors he will be assisted by Mrs. I^auder and six other aids. Though he has accomplished so much, Mr. I^auder is but thirty-one years of age. He is a native of Oshawa, Ont., in which place his father was superintendent of public schools and a member of parliament. When very young he became interested in music, and he joined the choir of the Metropolitan church of Toronto, also acting as pianist of the Philharmonic Society of that city. He has made three visits to Europe, and in 1878 he entered the I^eipzig Conservatory, where he remained four years. He played at the celebrated Gewandhaus con- certs, and was accounted one of the best executants of the conservatory. He studied theory with Dr. Oscar Paul, the author of the History of the Piano, Boetius' Five Books on Music, The Musical System of the Greeks, Dictionary of Music, and harmony with the celebrated cantor, E. F. Richter. Erom Leipzig he went with letters from his teachers to Liszt^ in Weimar, where he spent the summers of 1879 and 1881, and was selected by Hans von Bulow to accompany him, together with Arthur Friedheim, Carl Pohlig and Alfred Reissenhauer, to Rome, where he studied in the Villa, d'Este with I^iszt, during the winter of 1880, on one occasion play- ing Liszt's great A major concert with the " Meister's" personal accom- paniment in the villa of Mme. Helbig on the Capitoline Hill, Rome. At the banquet given by the Liszt pupils in Rome, on Oct. 23, to commem- orate the peculiar coincidence of the triple birthday of Liszt, Oct. 22, Friedheim, Oct. 23, Lauder, Oct. 24, the master presented his pupils with beautiful medallions of himself, by H. Wittig, sculptor, in gold and bronze. During his sojourn in Europe, Mr. Lauder had, the dis- tinction conferred upon him of performing before the royal families of Saxony and Italy, the Holy Father at the Vatican, the grand duke of Weimar, and in the great concerts of Leipzig and Rome, Frankfort and other cities. Mr. Lauder, while in Venice, had the honor of playing to Richard Wagner arrangements of his operas by Liszt, Rubinstein, Brassin, Tausig, Jaell and Bulow. Mr. Lauder is one of the most remarkable of American musicians. To rare erudition and sound scholarship he unites a technical facility as a pianist which is electrifying. That he has not a world-wide reputation as a concert performer can only be accounted for by the fact that so much of his time has been given up to the work of a lecturer and instructor — Vork which Mr. Lauder enjoys and finds congenial. 514 OBERIvIN CONSERVATORY OF MUSIC. f HE musical life at Oberlin, as was true, indeed, of the origin of modern music, had its beginning in a religious want. The earnest people who founded a college in the woods must needs utter their emotions in song. The idea which founded Oberlin was the training of Christian workers, and Christian workers must know how to sing. Hence free instruction in choral singing was provided almost from the start. This of course was music in a very modest way. After a time a professor of music was installed in the person of G. N. Allen, a young man of fine taste, who had been a pupil of I,owell Mason. His influence made decidedly in favor of a musical progress ; and though the college provided no instrumental instructions, the piano began in his day to be cultivated in the colony, doubtless in the face of some little prejudice. There were, moreover, certain special circumstances in the situation, which furthered any effort toward improvemenf in the art, especially in sacred music. The worshippers of the place all gathered in one large assembly, and the presence of numerous intelligent young people of both sexes in the institution, furnished material for a large choir. But it is hardly possible for a large choir in a large church to be long content merely with singing a little better and louder, what everybody can sing. Both they and the audience demand something in keeping with the dignity of the occasion and with the means in command. The large church and large choir, moreover, soon called for a large organ, and one which was something of a wonder in that day and locality, presently made its appearance. The further circumstance must be mentioned that several leaders of opinion in the community, including President Finney, were men of considerable musical feeling. The musical influences of the place before long became strong enough to prompt susceptible young men to the choice of music as a profession. In 1865 the woods had been cleared, the war was over, and the country was becoming sensible of its finer wants. It had become necessary for the young ladies at least to know the piano, and the churches needed singers, and organists. Oherlin 516 was musically disposed ; there mas a large mass of young women as well as young men in attendance upon the college ; hence it was an entirely natural place to establish a conservatory. Such an enterprise was under- taken by two sons of the place, Mr. J. P. Morgan and Mr. G. W. Steele, both of whom had supplemented their Oberlin beginnings with German advantages. At first the school of music had no organic connection with the college, though in relations of reciprocity with it. But the relations between the two were found to be necessarily so intimate, that in 1867 the conservatory became a department of the institution, though under the condition that it should be financially independent. This is perhaps the first, at any rate a typical instance, of a conservatory becoming an organic part of a college. This result was reached just as coeducation came into practice at Oberlin and throughout the west, not as the product of anyone's theories, but as the outcome of the situation. The theory, however, is not difiBcult to construct after the fact. Music was simply asserting its right to form an integral part of education. It should be observed, too, that the way was prepared for this movement by coeduca- tion. A conservatory attached to an exclusively male college is an absurdity, while a purely female school of music is at least essentially weak. We must not pause to philosophize ; but the now common introduction of the conservatory into coeducational institutions is a highly suggestive fact. While the founders of the Oberlin Conservatory were men of capacity and high ideals, and while the Conservatory never lacked pupils, yet the beginning was only the beginning. Every good school is more or less the product of an evolution, even when the means are large; and here the means were in various ways limited. The mind of the college and com- munity must be educated up to a full sympathy with the enterprise; nay, the Conservatory itself must have time to work out its own ideals and methods. A reputation and a constituency were to be won. On the material side, means were scant; the school had to accommodate itself in odd cor- ners, there was but one sizable pipe organ in the place. The department, however, prospered, and established itself as a permanent factor in the college life. Professor Morgan soon removed to New York, Prof. F. B. Rice became an instructor in 1869, in two or three years Professor Steele withdrew, and in 1872 Professor Rice became director of the conservatory. Professor Rice's musical significance has been such that he merits a per- sonal sketch in this book; yet his public work has been so completely identified with the Oberlin Conservatory that here is a natural place to speak of him. 517 Fenelon B. Rice was born in 1841 at Greensburg, Trumbull Co:, O. His advantages were only of a local character until about 1861, when he went to Boston for larger opportunities. In 1863 lie took charge of the musical department of Hillsdale College, Michigan, where he continued until 1867. At this time he went abroad with his wife, who was herself musical and became an accomplished vocalist, for the extension of their musical culture. His time was spent at Leipsic, under the instruction chiefly of Dr. Papperitz in piano and Professor Richter in theory. He there found the standard of criticism higher than any he bad hitherto met, and set about mastering the lycipsic point of view, with results that were determining for his own taste. His teachers, also, were men of high moral conceptions, and their influence fostered Professor Rice's natural sentiment in favor of high morals in company with high art. It was soon after his return from Germany that he began his work at Oberlin. His connection there has proved congenial to both parties. With the charac- teristic moral and religious sentiment of the place he could heartily sym- pathize; and if the average musical feeling was not up to his standard, at any rate there were few places where it was better, or where the public mind was more tractable. He set about his work with the I^ipsic Con- servatory for his model of organization, and with an unbending devotion to the lofty art ideals which had won his heart. Within a few years, however, his aims acquired a certain somewhat specific direction which has been very significant in the life of the school. This development may be explained by a quotation from an address of Professor Rice at the opening of the concert room in Warner Hall. ' ' Well do I remember one Sabbath morning," says the professor, "that a new sense of the inadequacy of our work, and the possibilities that might lie before us, came to me almost with the strength of a revelation. I talked with some of my fellow teachers, and found a response that I had hardly dared to expect. Then I talked with some of the college faculty, and found them ready to second any reasonable efifort to secure what seemed so much needed. The par- ticular direction of this need, as we felt it, was not the lack of schools where education in the higher branches of the art of music could be secured. This is amply provided for by the many large and justly cele- brated schools in Kurope, but the great need which all seemed to feel, was that of schools in which this higher development could be coupled with a thorough Christian growth on the part of the student, or at least where the student might enjoy opportunities for the highest musical culture, and at the same time be surrounded with such an atmosphere as should foster the development of Christian character." In the adoption of the aim here indicated, the conservatory became conscious, in a way it had not been 518 hitherto, of having a mission, and this consciousness is always a source of strength. It must not be supposed that the idea was to create a school exclusively or mainly of sacred music. Though sacred music received some special attention, the aim was not so much to cultivate religious music as to cultivate all noble music religiously. As a matter of fact the piano pupils have always far outnumbered the organ pupils. Another event of great consequence to the conservatory . was the acquisition of a home. This good fortune was due to the beneficence of Dr. Lucien C. Warner (an alumnus of the college) and Mrs. Warner, of New York. Seeing the cramped condition of the conservatory, they undertook the erection of an adequate building, the central portion of which came into use in 1885, and the north wing in 1888, leaving on wing to be added. The building is a four-story structure of Ohio sand- stone, elegant in design, containing office and library, numeroiis lesson and practice rooms, and a fine concert hall, and furnished with steam heat and elevator. While the main thing in an institution is its inward- ness, yet it is impossible for it to live and act without an outwardness, and the possession of this building has been conducive not only to attend- ance, but also to the improvement of the work. The addition of good organs may be mentioned in this connection, while pianos have multi- plied indefinitely. The patronage of the conservatory has gradually increased, till at present the annual catalogue numbers an attendance of between five hundred and six hundred, 335 students being on the ground in the fall term of 1889. The number of young men is about one-fourth that of the young women. A large number of these pupils are either taking music as an accompaniment of other studies, or other studies as an accompaniment of music, thus realizing in some measure one of the Ober- lin ideas, that a musician needs to be something more than a musician. The college gives no degree for exclusively or chiefly musical studies; conservatory graduates receive a diploma. The number of graduates is very small, ranging apparently from one to about six per year. Com- paratively few young people are ready and able at present to give them- selves to an exhaustive muslfcal course of four years or more, and not many have the aptitude which would warrant it. The corps of instructors has risen to about sixteen. The policy of the conservatory has been largely to raise up its own teachers by selecting, successful students and encouraging them to go abroad after graduation for further development. In this manner Professor Rice has been able to surround himself with men and women in sympathy with his own ideals. The circumstances earlier alluded to as favorable to the development of choral music have continued to operate, and with greater power. The two large churches 520 of the place possess noble chorus choirs, singing continually the highest styles of church music; while the Musical Union renders not only the well known oratorios of Handel and Mendelssohn, but such fresh and di&cnlt works as Yerdi's Mamoni Jiegmem and Max Bruch's Odysseus. Without wishing to discredit Professor Rice's capacity in other respects, it seems to us that his main strength has lain, on the one hand, in his refined and severe musical tastes and his earnest, we may say religious, devotion to a high musical ideal; and on the other hand, in an admirable capacity for practical planning and execution, which is not the gift of every musician. These endowments, under the circumstances in which he was placed, have enabled him to impress a multitude of plastic young minds with enlightened musical views and tastes, and thus to con- tribute a quiet, but powerful, influence toward the musical advancement of the country. The Oberlin Conservatory, indeed, is not Professor Rice's creature; it was the product of the conditions, and its success is due also to the faithful labors of many workers before and along with him. And yet it is fair to say that under his management it has attained a loftiness and definiteness of aim, and a solidity of structure, which without him it might not soon or ever have reached. (S.) It is located in the Warner hall, a fine stone building, the magnifi- cent gift of Dr. and Mrs. Lucien C. Warner, of New York city. The course of study is liberal and aims rather at the student's obtaining a broad knowledge of music in all its branches than following one special line to the exclusion of others. Rev. J. H. Fairchlld is president, Mrs. A. A. F. Johnston principal of the ladies' department and Mr. Fenelon B. Rice director and teacher of harmony and theory. There is a large and excellent staff of instructors in all branches. The conservatory is well equipped in other respects, having thirteen lesson rooms and forty practice rooms, supplied with three pedal organs, two pedal pianos, one pipe organ and sixty-eight pianos. The charges are remarkably low, and the students have the great advantage of being able to follow up in the college any literary or special studies for which they have a mind. Pro- vision is made in the college rules that studies in harmony and counter- point, after the second term's work, shall count as two-fifths courses, in substitution for any elective in the college course, and that music students in the last two years of their conservatory course, who shall be recom- mended by the conservatory faculty, may have their advanced work in other studies counted, the same as in harmony, but in this case a musical thesis is also required. The success of the conservatory is well shown by the fact that the attendance has grown from about a dozen pupils in 1865 to 342 in 1889, and the intellectual grade of the students shows advance. 521 THE CLEVELAND SCHOOL OF MUSIC. [HIS highly successful school was founded in 1884 by Mr. Alfred Arthur, who still remains its director. It occupies an entire ^ building of its own, having a large hall, a recital hall, a well ap- pointed two-manual organ of Hook and Hastings, and elegantly arranged apartments for teaching. The course of study is broad and thorough, and a high standard of scholarship is insisted upon. There is a large library of music accessible to the students. There is a school of languages, and about fifty public recitals of choice music are given yearly, many of them composed with reference to acquainting the classes with the works of the masters of the period before Bach. Alfred Arthur, The founder and director of this school, was born Oct. 3, 1844, near Pittsburgh, Pa. He received his musical education in Boston, Mass., under private teachers, the Boston conservatory and the Boston school of music, graduating at the latter institution in 1868. In 1871 he located in Cleveland, O., where he has been very successful as a vocal teacher. His compositions of importance are: Progressive Vocal Studies for Medium Voice and Seventy-nine Short Studies for Alto or Bass; three operas. The Water Carrier, Cavaliers and Roundheads and Adaline. The Water Carrzer was successfully produced in May, 1875, by an ama- teur company, under the composer's direction. The other two operas have not yet been produced. In 1873 Mr. Arthur accepted the position, which he still holds, of conductor of the Cleveland Vocal Society, well known for its fine part song singing. This organization has perhaps the largest library of part songs, cantatas and oratorios in the country. Its performances are. of a high order of merit, and the chorus has gradually been increased to one hundred voices. Three concerts a year are given, besides May festivals every two years. The works presented by the society in 1889 were Ma-o.- Aelssohn's Hymn of Praise, Rubinstein's Tower of Babel, Berlioz's Dam- nation of Faust, and The Messiah. Mr. Arthur is also the conductor of the Bach Society, which is considered one of the best models of chorus choirs in the United States. Mr. Arthur is an active and faithful worker, and it is to his zeal in the cause of art that the above-mentioned institutions owe their flourishing condition. THE PHIIvADELPHIA MUSICAL ACADEMY. REPRESENTATIVE school of music. in Philadelphia is the Mu- sical Academy, which is now already in its twentieth year. This 11^^^ institution was founded in 1869, and it was one of the first Ameri- can musical colleges where class teaching was adopted. The found- ers were Messrs. John P. Himmelsbach, Rudolph Hennig and Wen- zel Kopta, true artists and competent teachers, who had earned their diplomas at celebrated conservatories. At the first- class night Of the new college there were no fewer than two hundred pupils present, which cer- tainly argued well for the prosperity of the institution. During the first decade qf its existence the academy educated over two thousand pupils, and at the end of its first ten years there were four hundred pupils enrolled. There are now eleven hundred. At the end of the first three years Mr. Hennigileft the school and joined the Mendelssohn Quintette Club, of Bos- ton. Mr. Kopta returned to Europe, leaving Mr. Himmelsbach sole direc- tor. Under his direction the academy flourished, and personally he was beloved and respected by all. Three years ago, as he wished to revisit Leipzig, Mr. R. Zeckwer succeeded him as proprietor and director of the school, having been attached to it ever since its foundation. This gentle- man is a graduate of the Leipzig Conservatory, having studied, while there, under Moscheles, Hauptmann, Richter and Reinecke, all celebrated masters. He came to America in 1869, and has since been teaching at the Phila- delphia Musical Academy. Since becoming its director, he has endeavored to always have an ef&cient corps of instructors — several of whom, like himself, have been teaching at the academy since its foundation. Prominent in the large faculty of the academy at present are such teachers as Mauri ts Leefsoii, Martinus van Gelder, Hermann Mohr, Leland Howe, David Wood, Gustav Hille, Pasquale Rondinella, W. W. Gilchrist, H. L. Albrecht and many others of equal excellence and acknowledged reputation. Concerts by the faculty and the students are made a feature of the college course, and all concerts are given in the acad- emy hall connected with the school. A diploma from the Philadelphia Academy of Music must be fully earned before it is awarded; for example graduates from the department of theory rpust compose a four-part fugfue as a test of their equipment. Six free scholarships are given every year OL'-.^ to talented students who have not the means to educate themselves. The academy has handsome and commodious quarters on Spruce street, and also has a branch ofiice and class rooms at Germantown. The aim of its founders and of its present director, Mr. Richard Zeckwer, has always been to secure to the pupils every advantage for a thorough musical education, by procuring the best instructors, by afford- ing them, through their concerts, opportunities of frequently hearing the works of the old masters; by lectures upon various subjects connected with sound and musical literature, and by establishing additional free classes, such as harmony, choral and symphony classes, which under no other course of instruction can be available to the pupils. It is the earnest desire and purpose of the director to place his academy upon as endur- ing a basis as the great schools of Leipzig, Berlin or Paris. * Richard Zeckwer, The eminent director of the Philadelphia Academy of Music, is one of the most prominent musical figiires in the Quaker City, and he has been a diligent worker for the cause of the art for many years past. He is a native of Prussia, where he was born at Stendal in 1850. When a boy he manifested decided musical talents, his parents gave him advantages, and eventually he entered the Leipzig Conservatory in which celebrated school of music he remained for several years,' graduating in 1869 and distinguishing himself by his diligence and his natural gifts. Especially were his studies directed to the piano, theory and acoustics, and as a theorist he has taken especially high rank. Very soon after his graduat- ing at the Leipzig Conservatory, Mr. Zeckwer, feeling a strong desire to see the new world, came to America, arriving in this country in the year of his leaving the college. Going to Philadelphia, his talents were at once recognized by the projectors of the Philadelphia Academy of Music, which institution had just been started. He was invited to become a member of the faculty, and he accep'ted. He has been connected with the school ever since, for the greater part of the time as its head and front, as he accepted the directorship in 1876. Under his efficient superinteiidence the academy has prospered and flourished, and he has displayed not only his fine faculties as an instructor but also his remarkable executive ability. As a composer Mr. Zeckwer has found time to exert his more than ordinary talents. Among his works may be named The Bride of Messina overture. The Festival Overture, and many piano and vocal works, most of them published by Oliver Ditson & Co. He is also the inventor of Zeckwer' s metronome. Mr. Zeckwer is a man of broad culture and an educator, who is in love with his work, and is zealous in his enthusiasm. 526 DANA'S MUSICAI, INSTITUTE. HE history of this school is necessarily to a great extent a biog- raphical sketch of its founder and present director, Mr. William * H. Dana, who has been identified with its interests from its in- ._^ ception. The institute is located in Warren, Trumbull Co., O., one of the most beautiful cities of the Mahoning valley. The At- lantic & Great Western railway passes through the city, forming an unbroken line from New York to Cincinnati, connecting at different points with the principal roads of the United States; also the Cleveland & Ma- honing railway, which joins Pittsburgh to Cleveland, thus making the school easy of access from the lakes, and the .roads connecting Chicago with Albany. There are also two other roads passing through the city, which connect Pittsburgh with the lakes: The Ashtabula, Youngstown & Pittsburgh railroad, striking the lake at Ashtabula, and the Painesville, Youngstown & Pittsburgh, meeting the lake at Painesville. The institute occupies a handsome and spacious building of its own, fitted up with every convenience which the needs of such a school might suggest. Its home patronage is understood to be small on account of the demands made for close adherence to study, but the reputation of the school has brought to its doors students from Dakota, Kansas, Iowa, Minnesota, Wisconsin, Illinois, Indiana, Michigan, Kentucky, Ten- nessee, Maryland, Pennsylvania, West Virginia, New York, Virginia, I/)ng Island, I^ouisiana, Canada, Mississippi, Ohio, etc. The school is not found connected with any institution, but is a self-supporting school of music, depending entirely upon its reputation and patronage for support. Besides Mr. Dana, who is at the head of the institute, there are con^ nected with it: Mr. Julius Dana, Mr. C. Koontz, Mr. W. W. Leffing- well, and Messrs. H. C. Thayer, J. Schmidt, A. V. Alcorn, E. H. Heyser, H. E. B. Coursen, J. D. Cook, R. Nugent, O. Farrar as well as several others. The school is divided into four departments, namely: the parlor music department, church music department, the orchestral music depart- ment and the brass band music department. The course is a very thor- ough one, and essential to graduation are the following acquirements: The completion of the course of study in the chosen instrument; the completion of the course of study in theory; a written examination in rudiments, averaging eighty-five per cent; a written examination in theory, averaging eighty-five per cent; a written examination in reading by sound, averaging eighty-five per cent; an examination in reading at sight, averaging eighty-five per cent; the writing of a choral work for solo, chorus and orchestra, to take not less than fifteen minutes in its rendition; the writing- of a thesis from a topic offered in theory, in the examination of which the candidate's knowledge of the English language (composition, spelling, punctuation, etc.) is taken into account. This institution was founded in 1869, and for twenty years has been doing noble service by the development of a love for music and proficiency in musical art. It is a monument to the talent and energy of its .founder, and a factor of importance in the growth of art in the state of Ohio. WiLiviAM H. Dana. It would be impossible to indite a history of American music, at least of that portion of it relating to the state of Ohio, without referring to Mr. William H. Dana, who has practically grown up with the art in his native state. Mr. Dana was born in the town of Warren, O., which place fias- been the scene of his principal labors and successes. He was born in 1849, and he developed a deal of musical ability at an early age, at a period when the facilities for the study of the arts were by no means what they are now in that part of the country. The greater part of Mr. Dana's musical education was acquired at the Royal Academy, lyondon, Eng., and at Berlin, under the celebrated teacher August Haupt. He is entitled to special consideration in a musical history, owing to the fact that he was one of the founders of the Music Teachers' National Associa- tion, an institution which has been of incalculable benefit to the music teachers of this country. In this society Mr. Dana has been conspicuous since the date of its origin. He was its treasurer for a number of years, and faithfully and efficiently discharged the duties of that oflSce. His essays read at the several reunions of the association have been favorably regarded by reason of their originality of thought and their forceful expression. In fact, he has written a great deal upon musical art, and he was selected by the publishers of the Encyclopedia of Music and Musicians, at Glasgow, Scotland, to contribute the articles relating to music in America. Mr. Dana's compositions include, Dana's Practical Harmony, Dana' s Practical Composition, Dana' s Practical Thoroughbass, a National School for Comet, and works on orchestration and military band instrumentation. * \\MkAJsY^. ^ ^< -CUvU>-' THE NORTHWESTERN CONSERVATORY OF MUSIC, MINNEAPOIvIS, MINN. ^^HIS prosperous school of music was established in September, 1885, by Mr. Chas. H. Morse, and, under his able direction, it has continued to prosper year by year. The enterprise and spirit of this institution are shown in the character and accomplish- ments of its instructors, and the efiBciency and thoroughness of its work. Thirty choice concerts had been given previous to 1889, and its work received the cordial and hearty indorsement of the best educators. This conservatory is valuable to the citizens of Minneapolis and the north- west, not only as a school of music and a teacher of its pupils, but also as an educator of the public, giving it a taste for music and culture. Charles H. Morse. Mr. Charles H. Morse, founder of this excellent school, was born at Bradford, M>ass., Jan. 5, 1853. When a boy of fifteen he had already become so good a musician as to serve regularly as church organist in his native town, filling the position so well that he was presently called to important Boston churches, Tremont Temple and ' ' Adirondack ' ' Mur- ray's congregations among the number. His education was acquired under Professors Paine, Whiting, Petersilea, Parker, Perabo and Baermann. In 1876 he received from Boston University the degree of Bachelor of Music, the first in order given by this institution. He served Wellesley College nine years as professor of music, leaving there in 1865 to accept a position as organist for the First Baptist church of Minneapolis. In the same year he founded the school of which he is still the head. The unusual success of the conservatory is due, no doubt, in part to the excellence of the other teachers associated with Mr. Morse in the faculty. Among them are Mr. Walter Petzet, the composer. Miss Julia May, Mr. Adolph Greten, and a score of others. As Mr. Morse is still a young idan, it is easy to predict for him a career of great usefulness in the mighty north- west. As composer, Mr. Morse is best known by his arrangements of class- ical works for the organ, but it is understood that he has a number of more ambitious works in hand. 530 THE DETROIT CONSERVATORY OF MUSIC. [HIS representative institution, now in its fourteenth year, is not an endowed college, but is dependent for its success upon the r* earnest, persistent and well directed efforts of its faculty and its president, Mr. J. H. Hahn. An idea of the growth of the estab- lishment may be gained when it is stated that in the year 1880 120 students were enrolled, while in the year 1888 there were no fewer than 609. The following are the principal members of the faculty: Mr. J. H. Hahn, director piano, harmony and composition; Mr. F. H. Pease, director of vocal department; Mr. J. C. Bachelder, organ and piano; Mr. Mr. Chas. E. Piatt, organ, harmony and composition; Mr. Fred A. Abel, piano, singing and 'cello; Mr. William Luderer, violin and ensemble playing; MisS Kate Jacobs, piano; Miss Agnes Andrus, piano; Miss Alice Andrus, voice culture, and a number of other teachers. The faculty con- sists of well known instructors, graduates of the most celebrated institu- tions of musical learning in Europe, including the Royal Conservatories of L,eipzig, Dresden and Stuttgart; the KuUak and Scharwenka Music Schools at Berlin; the Raff Conservatory at Frankfort; the I^iszt Class at Weimar, and the Royal Academy of Music, lyondon. More than 350 concerts have been given under the auspices of the conservatory by Joseffy, Carreno, Rive-King, I^ouis Maas, Sherwood, Bendix and others. Mr. J. H. Hahn Was born in Philadelphia in 1847. Having decided talent for music as a child, he early made public appearances, and afteward studied with Dr. Ziegfeld, in Chicago, and for three years at I^eipzig. Upon his return to America, Mr. Hahn came to Detroit, where in 1875 he founded the con- servatory which has so greatly prospered. He was one of the organizers of the Michigan Music Teachers' Association, and has always been prom- inent in the National Association of Music Teachers. As already indicated in the success of the institution he has built up, Mr. Hahn adds to his purely musical qualifications unusual sagacity as a business man. He has accumulated a comfortable property, and is stockholder in various commercial and financial enterprises. Through his influence and stimulation the musical profession of Detroit is thrifty and united, to a degree rarely seen in a city of its size. 532 THE CI,EVEI.AND CONSERVATORY OF MUSIC. THIS institution was founded in 187 1, and now occupies specially arranged apartments in the beautiful new Clarence building on ^ Euclid avenue. In 1888 the Conservatory of Music became the nlusical department of the Western Reserve University, as a recog- nition of its salutary influence upon the progress of musical art in Cleveland. The faculty is made up of instructors whose artistic merits and thorough qualifications are generally recognized. Mr. F. Bassett, one of the directors of this school, is an accomplished musician and a very successful instructor. He was educated at the I,eipsic Con- servatory, and also studied under Plaidy and Jadassohn. He has resided in Cleveland since 1877, and became a director of the conservatory in 1882. Mr. Chas. Heydler, who is also a director, is a native of Cleve- land, having been born May 20, 1861. He began his career as a vio- linist, but finally took up the violoncello as his principal instrument. He has studied with some of the most prominent teachers of Europe and ot this country, and has played in concerts with some of the most noted artists of the day. The school is in a highly flourishing condition. Charles S. Brainard, Son of the distinguished musician and music publisher, Silas Brainard, of Cleveland, was born in Cleveland in 1841, and educated in his native city. His musical education was commenced early, and he made credit- able progress upon the piano, organ and several other instruments, before he was fifteen years of age. When his school education was completed, he entered his father's store as salesman, and in 1864 was admitted to a partnership. At the death of Mr. Silas Brainard in 1871, the firm of S. Brainard's Sons was- formed, and in 1884 the S. Brainard's Sons Company was formed, a stock company in which Mr. C. S. Brainard owns a controlling interest. In 1869 the business was removed to Chicago, where Mr. Brainard now lives. Since 1864 Mr. Brainard has been man- aging and controlling editor of Brainard's Musical World, Karl Merz being literary and critical editor. The publication has a very large circu- lation and is one of the most practically useful journals of its class. As a publisher, Mr. Brainard is enterprising and liberal, and the new editions of music, issued by this house, present a very elegant appearance. 534 w O w HI o w < pq CHAPTER XIX. Music Teaching as a Profession. j[ GREATER contrast to the ideas of a century ago could not be I [ found than the position and social standing of many professional 11^°-" musicians whose names and work are recorded in the pages fol- lowing. The change from the rank of ' ' fiddler ' ' to that of leading members of the musical profession is world-wide, wider in the social ideas involved than the pecuniary transition implied, although the latter is also very large. In these sentiments we write as Americans. It is not true that an honorable position was generally denied musicians in former times in other lands. In the Netherlands in the fifteenth century, in Italy in the sixteenth, in Germany and England in the seventeenth, men learned to recognize musicians as worthy of honor. Still there was something illusory iii the social and professional estimation bestowed upon this class. There were a few musicians, of rare force of mind and character, no doubt, who were honored in those countries, and in all of them at the periods here referred to the musical profession held a high degree of public estimation. This, however, was given to a limited class only. Those who were great performing artists, or who were successful composers, were highly esteemed, and in their successful moments were admitted to kiss the king's hand or to entertain their majesties while engaged in eating. Customs of this kind, prevailed until within one or two generations of the present. Haydn was the leader of the domestic orchestra of Prince Ester- hazy. Beethoven, indeed, refused so humiliating a position. He asserted his own rank among the princes of divine right. Even in the times when a few musicians were held in esteem, the greater number of the profession pursued the heavenly maid in by-paths and in humble walks of life. The pecuniary rewards of their .work were meagre indeed, and the social esti- mation of the musician was about as low as his enemy could desire. In America the position of a music teacher has been peculiarly un- pleasant. If possessed of high attainments and lofty ideals, he has been brought into contact with a mercantile public, measuring success by a 536 money standard, and nearly or quite insensible to the fine points of his professional fancy. Add to this the fact that the larger number of teachers in the country at large, until very recently, were imperfectly qualified for their work, and we cannot wonder that the public has not been ready to class teachers of music along with school teachers, whose attainments stand in so much closer relation to success or failure in life. Moreover, the profession has been full of people undertaking a class in music without experience in teaching or adequate technical preparation therefor, merely as a pastime, or as a ready means of earning money for a brief period until the young lady could get herself established in life. Superficiality and temporality were the two vices of the profession below the higher walks of it. But while the young woman still disports herself in teaching music for a few years, between the time of finishing school and getting married, there is a great difference in the situation now as compared to that of a quarter of a century ago. She is now much better prepared than her older sister of that time, and she has in her more of the feelings and ideal of a musician. Hence her attitude toward the art is entirely different, and her influence in it correspondingly increased. She does more for music, and music in turn does more for her. Three causes have helped toward the better standing of musicians: First, their better education, accord- ing to the standard of the excellent schools noticed in the earlier chapters hereof; second, the formation of the National Association of Music Teach- ers, which has operated to bring music teachers together in large num- bers, giving them a confidence due to their numbers, and enabling the public generally to estimate their mental and personal weight more justly. These meetings have also promoted brotherhood among teachers to a marked degree. The old-time narrow-minded hostility of neighboring teachers to each other's person and work has given place to a feeling of professional brotherhood and mutual helpfulness. This trait has, indeed, much room still to enlarge itself before it takes in all members of the pro- fession. But it is operative now throughout the country to a perceptible degree, and is destined to be much more operative in the future. There is yet a third element which has aided this elevation of the profession. It is the formation of the American College of Musicians, of which a full account will be found further on. In the line of pecuniary rewards of success in this department of edu- cation there is still room for improvement. The average teacher of music, a woman, in small villages, earns but a meagre pittance, but then she commonly brings to it but a meagre capital. From nothing nothing comes. In all the smaller cities there are teachers now earning in teaching music about the same as the principal clergymen, school teachers or college pro- fessors of the vicinity. In the cities the average music teacher, suffi- ciently' important to be generally known by'reputation, earns rather more than most professors in colleges in this country. There are a few who earn handsome incomes. The large prizes, indeed, are few, and then do not compare favorably with the large prizes accessible to lawyers, doctors and other leading professional men. Still, when mere teaching is capable of yielding an income of eight or ten thousand dollars a year, as it does to quite a number of the prominent teachers of singing and a few teachers of pianoforte, in the following pages, the profession has reached the line of respectability, according to a bankable standard. Concert players earn more, and singers much more, if successful. A salary of $300 a week is not large for a favorite singer many degrees short of a Patti or Nilsson. The ordinary teacher, indeed, is subject to considerable annoyance, to use no harsher term, in consequence of the irregularity and uncertainty of the income. Still, this is incident to all professions in the earlier or lower grades of them. Every year sees an improvement. The conservatories and seminaries have assisted teachers considerably at this point by estab- lishing the proper rule, that the pupil loses lessons missed. Unfor- tunately, many teachers are so irregular themselves in attending the pupil that they cannot in clear conscience charge the pupil for lessons missed when there is a good excuse. Music teachers owe it to themselves to sys- tematize their work in this respect as much as possible, and by habits of strict punctuality upon their own part place themselves in position to in- sist upon like qualities upon the part of their pupils and patrons. In yet another way the schools have assisted the private teachers. By establish- ing standards of study and conditions of graduation, they have formed the ideal of complete education in music. This takes longer, assists in making it easier to work for true ideals, where, without some such incentive, the pupil would not undergo the drudgery. It also prolongs the school year and steadies it. Several times in the history of the National Association the idea has been broached of establishing certain conditions of professional qualifica- tion, and of excluding from the association teachers not so qualified. Upon thoroughly canvassing the proposition, however, it has been discovered that the association is not :n condition to risk its future in an attempt of this kind. The often quoted example of physicians, who are not allowed to practice without diplomas, is justified in the risk of life which the care- less administration of remedies involves. In music teaching nothing more serious is risked than the time of the pupil and the auditory comfort of the neighborhood in which she does her practicing. This being the case, it has so far been thought more consistent with the freedom of American 5-S institutions that ambitious youngsters continue to exercise their talents for getting on in the world by giving music lessons, to whatever degree their character and personal popularity or their talent may gain them patronage, than to endeavor to cut them off by an arbitrary prescription, which in the nature of the case could not be enforced. If a girl wishes to teach, and some one wishes to pay her for doing so, it will be found ex- tremely difficult to prevent the two poles of the commercial battery from coming into contact and interchange of state. Improved standards of qualifications are demanded by patrons, who judge by results as compared with the attending expense. They are also desired by the young teachers themselves who have pride in doing their work well. With increased qualifications there will come increased social estimation, and presently a demand which will justify the individual in demanding a higher price for services. Thus the standard of the profes- sion is continually being elevated. There is one point shown by the individual biographies following, to which especial attention is invited. We refer to the unanimity with which the teachers here recorded have continued to exercise themselves in the less profitable departments and more artistic tasks of musical com- position. The number of sonatas and other large works shown in the records of this book is very large, and bears eloquent testimony to the earnestness and genuine artistic spirit of the musical educators of America. Nor should the reader forget that the members here spoken of in detail and presented in portraits are only a few of the representative members of a profession numbering scores, if not hundreds, in every county of the United States. The most important event in the history of the profession of music teaching in the United States, is the establishment of the American Col- lege of Musicians, of which the plan is as follows: The American Cohege of Musicians. It is very difficult to draw the dividing line between artistic sensibility and mechanical proficiency. If all that is wanted in music be the striking of certain notes in due succession and in definite, rhythmical time, we can get a machine to play it better .than a man. The glory of music lies in whatever of human there is in it, in its power of interpreting human thought and action. Music may be divine, but it is the human light behind the transparency that lends it grace. To see this human soul in music, to love it, and to bring it out so that other people may see it and love it is the part of a great musician, and his ability to do so is what separates him from the crowd who play on blindly, seeing naught of the glory, hearing naught but a succession of pretty sounds, and pocketing a given number of dollars and cents for turning themselves, for the time, into machines. When the Music Teachers' National Association was formed, in 1876^ it was supposed that it would immediately have the effect of raising the standard of professional qualification, and help to draw the line between those teachers using a smattering of musical knowledge as a means of earning a little pocket money or a scanty livelihood, and the higher class who love art and practice it understandingly. But after a few years it was seen that this end could not be gained without splitting up the asso- ciation and rendering it of no account as a brotherhood of true musicians. A separate fraternity must be established, having for its sole aim the maintenance of a high standard of professional qualification. That was the origin of the American College of Musicians. A pre- liminary organization was effected in 1884, and committees were appointed to draft a constitution, prepare plans of examination, and to devise prac- tical methods of work. It was two years before the first prospectus of the college was issued, and the objects of the organization were stated, as follows: 1. To establish a proper standard of attainment. 2. To encourage those intending to follow the art of music as a profession, to prepare themselves according to that standard. The standard was established by means of a series of graded tests, and a broad and general invitation was extended to musicians, both native and foreign, to apply for examination. In the various branches of musical theory the examination is conducted in writing, and thorough scholarship insured in everything of music which can be definitely communicated and tested by question and answer. But a much more difiicult point was the test of artistic feeling of the candidate — whether he was a man or a machine. It was all-important to discover what degree of artistic sensi- bility he possessed, for a machine cannot influence or educate. This test is applied by the demonstrative recital or performance of selected compositions representing all the leading schools of the department in which the test is to operate, and the recitals are given by the candidate while the judges are concealed from him, knowing him only by a number. The following list of examiners shows that they are taken from among the most distinguished musicians in this country, thus assuring candi- dates the opportunity of being judged by artists of unimpeachable ability and integrity under conditions reasonably free from embarrassment and absolutely exempt from the possibility of partiality or imposition. Board OF Examiners ■.— Pianoforte: William H. Sherwood, lyouis Maas, Will- iam Mason. Voice: Mme. I^uisa Cappiani, Mrs. Sarah Hershey Eddy, J. , 540 H. Wheeler. Teachers of Micsicfor Public Schools: W. F. Heath, N. Coe Stewart, WilHam H. Dana. Organ: Clarence Eddy, S. B. Whitney; Samuel P. Warren. Violin: S. E. Jacobsohn, Henry Schradieck, J. H. Beck. Musical Theory: E. M. Bowman, W. W. Gilchrist, Frederic Grant Gleason. Defining these tests was a great work, for the result of their application was to arrive in a manner at the candidate's inner conscious- ness, to determine not only how he was playing, ill or well, but why he was playing in that particular way. If the American College of Musi- cians had accomplished nothing more than the work of defining these tests, its record would be a proud one, for, in the nature of the case, when it has once been shown that such tests of thoroughness and competence can be defined and impartially applied, the public will demand them — not alone from this body, but from schools, seminaries and from conser- vatories in general. Candidates from twenty-one states have been examined, and thirty- seven passed. Of the twelve who failed, three presented themselves a second time, and, having passed successfully, are now members of the college. At the meeting of 1888 the question of forming local sections of the college, with power to hold examinations under the same condi- tions for the associate degree, was considered, and a plan adopted by which, within a short time, the college will be able to reach candidates at all the principal commercial centres. There are three grades of mem- bers : Initiatory (associateship). Intermediate (fellowship) and Senior (mastership). There is also a special examination for teachers of music in the public schools. For each of these degrees there is a diploma issued with the seal of the College of Musicians afiixed. The following are the officers for 1889: President, E. M. Bowman; first vice-president, Clarence Eddy; second vice-president, S. B. Whitney; secretary and treasurer, Robert Bonner (address, 60 William street, Providence, R. I.). Prospec- tuses of the college or other information may be had by addressing the secretary Edward Morris Bowman, Originator ana president of the American College of Musicians, was bom at Barnard, Vt. , July 18, 1848. He learned to read music at Moses Cheney's singing school in the village, and at ten years of age was sent away to attend school at the Academy, Eudlow, Vt., where he received his first piano lessons from Miss Ella Sparhawk. In 1859 the family removed to Canton, N. Y. , where young Bowman studied the piano with Miss Anna Brown, and afterward the piano, organ and harmony with A. C. Feville, attending school at the academy and finally at St. Lawrence University. Four years later he began his professional life as a teacher and player it Minneapolis. He spent the winter of 1866-67 studying the piano in New York with Dr. William Mason, and organ and theory with John P. Morgan. During this time also he acted as organist at Old Trinity church. lyate in that year he went to St. Louis, where, in 1870, he married Miss Mary E. Jones, and with her spent the years 1872-74 in Europe. Most of this time was occupied in Berlin studying the piano with Franz Bendel, the organ with August Haupt and Edouard Rhode, and theory and composition with C. F. Weitzman. Mr. Bowman also studied the organ with Batiste in Paris, and spent some time in traveling through Great Britain and on the Continent, visiting Liszt, Wagner, Joachim and many others. On his return to St. Louis he devoted himself to study, teaching, church and other public work, and to the preparation for the press of Weitzmann's Manual of Musical Theory, a work compiled from notes taken during his lessons with Weitzmann. In i88i he again visited Europe for the purposes of study and travel, paid a brief visit to Guilmant at Paris, and did some work in London with Professor Macfarren, Dr. Bridge, of Westminister Abbey, and E. H. Turpin, of St. George's, Bloomsbury. He also gained the degree of associate of the Royal College of Organists (A. C. O.). In 1882 at Chicago he was elected president of the Music Teachers' National Association, and was re-elected in 1883 at Providence. The following year he organized the ' American College of Musicians, became its president and has remained so ever since. He was also musical director and organist of the Second Baptist church, St. Louis, from 1879, and did an immense amount of work as a teacher in that city. He removed in 1887 to Newark, N. J., where a magnificent new church is now (1889) on its way to completion, and in it Mr. Bowman will pre- side at the splendid organ which is being built from his specifications. As a musical director Mr. Bowman endeavors to adapt the Wagnerian theory to church music, and to follow, in the musical service, as far as practicable, the line of thought pursued by the preacher. That such an ideal service is desirable cannot be doubted, but to carry out the theory requires tact, judgment, quick perception, an extensive repertoire, and, above all, sympathetic relation with the methods of thought and delivery employed by the preacher, that can come only from long association together. It speaks volumes for Mr. Bowman's ability as an organist that he is able to carry out his theory so successfully. Mr. Bowman is also actively engaged as a teacher of organ, pianoforte and theory in New York city. E- M. Bowman. Robert Bonner. This eminent musical educator was born at Brighton, Eng., March lo, 1854. He came of a musical stock, and after pursuing his musical studies as far^ as possible in his native town and under the nearest good teachers, he was sent to I^eipzig, from whence he was graduated in 1868, having been a classmate there with a number of other well known teachers, Mr. John C. Fillmore being one of the best known. He came to America about eighteen years ago and settled at Providence, R. I. , where he has resided ever since. He is organist of St. John's church, secretary of the American College of Musicians, president of the Rhode Island Music Teachers' Association, and has a large business as teacher of pianoforte, organ, violin and musical theory. Mr. Bonner is an excellent all-around musician, and a careful and capable business man. He has written a number of ambitious works of church music, and has published quite a number of compositions for piano and voice. He was married just before coming to America, in 1869. WiLUAM Horatio Clarke. This well known concert organist, musical litterateur and teacher^ was born of an old New England family at Newton, a suburb of Boston, in 1840. His ancestry was distinctly musical, and the inclination of the subject of this sketch so pronounced in this direction that when a mere boy he was able to play upon almost every kind of instrument. At the age of nine he began to compose church music, and when about ten he selected the organ as his favorite — a decision which he has never since repented. In 1856 he was organist in his native town, leaving that position for one at the very large organ in Berkely street, Boston^ in 1859. Changing once for a position at Woburn, and back again, he remained here until 1872, when he removed to Dayton, O., and still later to Indian- apolis, Ind. In 1884 he returned to Woburn, and now resides in Reading. Mr. Clarke is one of the most universally gifted men in the musical pro- fession. As a musical author he has produced a large number of text books for the organ and other instruments, which have proven uniformly successful, and have been of great practical value to students. As a concert organist he has maintained series of free organ recitals for many years, in which he has brought forward a great number of compositions of all schools. Perhaps the most singular incident in his long and varied career was his engagement as preacher and organist at the same time, which happened at Woburn, Mass. , and continued for several years. He has five sons who inherit his musical talents. if'7ro Jhcnatccr i002iA^. MUSIC TEACHERS' NATIQNAI, ASSOCIATION. RIOR to the organization of the Music Teachers' National Asso- ciation several efforts had been made for a like purpose, but W^ without success. These futile attempts, which developed the ^ifj weak points, or causes for failure, together with the experience of j '^ men who had for many years been identified with the organization and conducting of musical conventions, county, district and state, naturally and logically prepared the way for a more practical effort. The subject having been under discussion for some time, with leading teachers and nfusicians, Mr. Theodore Presser, music teacher in the Ladies' Semi- nary, Delaware, Ohio; Mr. N. Coe Stewart, superintendent of singing in the schools of Cleveland; W. H. Dana, principal of Dana's Musical Institute, of Warren, Ohio, and others, issued a call for a meeting in Delaware, for the purpose of organizing a national association. ' The meeting was held the last week in December, 1876. An important his- torical record is the list of charter members, as follows: From Ohio, Theodore Presser, Anna M. Nation, T. C. O'Kane, Emma Slough, Jennie Hussey, Miss G. Humphreys, of Delaware; N. Coe Stewart, of Cleveland; W. H. Dana and A. J. Phillips, of Warren; S. A. Collins, of Sandusky; J. D. lyuse, of Norwalk; W. B. Colson, Jr., Geo. R. Housel and N. I,. Glover, of Akron; J. Albert Davis and E. Eugene Davis, of Prospect; Minnie S. King and J. J. Houser, of Wester\alle; Jas. H. Fill- more, of Cincinnati; Imogene Miller, of TifBn; Ella M. Herritt, J. Addi- son Brown and Wm. F. Dann, of Xenia; Katie E. Short, of Winchester; Wm. H. Pontius, of Ada; Miss J. Myers and Alia Failor, of Bucyrus; J. W. Christy, of Etna; David Reimer and Miss E. J. Myer, of I,ondon; C. C. Williams and C. C. Case, of Gustavus; Jas. A. Porter, of Galion; F. B. Rice and C. B. Cady, of Oberlin; Miss N. E. Moulton and M. N. Dane, of Toledo; D. T. Davis, of Mt. Gilead; A. Knox, of Granville; H. H. Johnson, of Havana; Nettie Gettle, of New London ; E. S. Eorenz, of Dayton, and Karl Merz, of Oxford. From Indiana, G. M. Cole and August Rue, of Richmond; Emma E. Johnson, H. H. Shull, Wm. E. Bates, Mrs. Jennie E. Bates and Isadore Gilbert, of Columbus. , From Pennsylvania, Laura E. Risler, of Anville; Spencer M. Free, of New 546 Freedom, and Jas. McGranahan, of ■ Meadville. From Michigan, F. M. Ford, of Morenci, and Geo. W. Chadwick, of Olivet. From Illinois, Geo. F. Root and H. S. Perkins. From New York, J. William Suffern. From Massachusetts, E. Tourjeeand I^uther Whiting Mason. From Maryland, G. W. Walker, of Moravia. , The officers were, Eben Tourjee, president; Theo. Presser, secretary, and G. M. Cole, treasurer. Programme committee, W. S. B. Mathews, N. Coe Stewart and F. B. Rice. Papers were read by Geo. F. Root, F. W. Root, H. S. Perkins. H. W. Fairbank, Geo. W. Chadwick, Jas. McGran- ahan. Rev. C. H. Payne, D. D., L. W. Mason, N. Coe Stewart, W. H. Dana, J. A. Brown and Eben Tourjee. The convention was in session three days. A constitution was adopted setting forth the objects of the association and for its government. The second meeting was held July 2, 3 and 4, 1878, at Chautauqua, N. Y., with an attendance of thirty- eight. President Tourjee not being present, J. A. Butterfield was chosen president pro tern. At this meeting the first piano recital was given under the auspices of the association, by Wm. H. Sherwood. The third meeting was held in Cincinnati, July 3, 4, and 5, 1879, with Rudolf de Roode, of L,exington, Ky., president; J. A. Butterfield, of Chicago, secretary, and J. H. Fillmore, of Cincinnati, treasurer. The programme committee was J. Wm. Suffern, of New York; J. S.Van Cleve, of Cincinnati, and Wm. B. Chamberlain, of Oberlin. There were 175 members in attendance. At this meeting musical programmes were for the first time introduced as a part of the regular exercises, and a concert was tendered the members by the management of the Thomas orchestra. • The fourth meeting was held in Buffalo, June 29, 30 and July i, 1880, with F. B. Rice, of Oberlin, O., president; Carl Seller, of Philadelphia, secretary, and John G. Parkhurst, of Albany, treasurer. Executive committee, Chas W. Sykes, of Buffalo; W. F. Heath, of Ft. Wayne, and E. M. Bowman, of St. I^ouis. The membership was 151. The social feature was prominent at this meeting. The fifth meeting was held in Albany, July 5, 6 and 7, 188 1, with a membership of 304. President, P". B. Rice; secretary and treasurer, Edgar S. Werner, of Albany. Organ recitals were for the first time a part of the programme. They were given by A. A. Stanley, of Providence, and Eugene Thayer, of New York. Mr. Bowman, then in Europe, sent a letter which was read at the meeting, describing the Royal College of Organists in England, and proposed the organization of a similar institu- tion in America applicable to all branches of the music teaching profes- sion. This was an important meeting, and new life was given to the association. 548 The sixth meeting was held in Chicago, July 5, 6 and 7, 1882, with a membership of 158. President, Arthur Mees, of Cincinnati; secretary and treasurer, Edgar S. Werner, of Albany, who not being present, W. F. Heath, of Ft. Wayne was chosen to serve. Executive committee, Chas. W. Sykes, H. S. Perkins and F. W. Root, all of Chicago. The small attendance at this meeting was the result of delayed preparation and insufficient announcement, occasioned by a premeditated postponement of the meeting that year by Messrs. Root and Sykes, of the executive com- mittee, who reported their decision to President Mees, while Mr. Perkins, the other member of the committee, was in California. When the latter returned in May and learned of the postponement, he reversed the decis- ion, and itnmediately took vigorous measures for holding the meeting. His energy turned into success what seemed, for a time, destined to be an ignominious failure, and a most unfortunate disaster to the Music Teachers' National Association. Mr. Perkins arranged the entire programme and managed the finances. The essays and musical programmes were of an excellent order, the latter including several organ recitals, by Clarence Eddy and others, with recitals and chamber concerts. In preparing the programme for this meeting, Mr. Perkins established the principle of not compensating pianists or other artists for their services at recitals or concerts given by the association. The subject was discussed of organizing a college of musicians, for the purpose of examining those desiring to teach, and issuing certificates of various grades. The seventh meeting was held in Providence, July 4, 5 and 6, 1883, with a membership of 312. President, E. M. Bowman ; secretary and treasurer, W. F. , Heath. Executive committee, Robert Bonner, A. A. Stanley and H. E. Holt. The literary and musical programmes were of a high order, and renewed faith in the success of the association was gained at this meeting. A committee was appointed to present a plan for the organization of a national college of teachers, consisting of E. M. Bowman, W. H. Sherwood, Carlyle Petersilea, S. B. Whitney and N. Coe Stewart. The vocal and instrumental divisions of the programme for hearing essays and discussions were held in different places. This experiment proved to be not for the best interests of the individual mem- bers or the association. A committee was appointed, with Willard Burr as chairman, to consider the question of an international copyright law, and report at the next meeting. This was the first step taken in the interest of American composers. The citizens of Providence tendered the association a steamboat excursion down the river to Rocky Point, and a clam-bake dinner. The eighth annual meeting was held in Cleveland, with a member- ship of 575. President, E. M. Bowman ; secretary and treasurer, W. F. Heath. Executive committee, N. Coe Stewart, Dr. P. H. Cronin and C. L,. Capin. In addition to the very excellent order of exercises two important steps were taken, viz. : the performance of an entire programme of piano works by American composers, by Calixa Lavallee, of Boston, and the organization of the American College of Muiscians, all of which pro- duced a very general conviction that the association was going to become "national " in fact as well as in name. Congress was petitioned to enact an international copyright law for the protection of American composers. At the recital made up of works of American composers, the following were represented : Arthur Foote, Wilson G. Smith, Stephen A. Emery, J. H. Beck, S. G. Pratt, John Orth, William Mason, J. K. Paine, Louis Maas, Dudley Buck, Mme. I^uisa Cappiani, W. H. Sherwood, F. Dewey, G. W. Chadwick, W. W.' Gilchrist, Carlyle Petersilea, Emil I,iebling and C. I/. Capin. The ninth annual meeting was held in New York, July 2, 3 and 4, 1884, with S. N. Penfield, president, and A. A. Stanley, secretary and treasurer. Business committee, A. R. Parsons, Carlyle Petersilea and H. S. Perkins. Programme committee, W. W. Gilchrist, F. B. Rice and Dr. F. Ziegfeld. The membership at this meeting was 630. The policy as outlined at Cleveland was carried out by the employment, for the first time, of an orchestra, chorus and soloists for two evening concerts, one of which was devoted exclusively to American composers. They were given in the Academy of Music. A noteworthy event was the appoint- ment of a committee, at the request of the Department of Education at Washington, to assist in preparing a report on the state of musical instruction in the public schools. At the American composers' concert the following authors were rep- resented : Frederic Grant Gleason, Calixa I,avallee, John K. Paine, Louis Maas, S. G. Pratt, Constantin Sternberg, Willard Burr, Jr., Will- iam Mason, Dudley Buck, Robert Goldbeck and S. N. Penfield. The board of examiners appointed at Cleveland formulated the standard of attainment and outlined the course to be pursued with candidates for the three degrees. Associate, Fellow and Master, in the American College of Musicians. The departments included piano, organ, violin, voice and music in public schools, with three members of the examining board in each. At this meeting the scheme was adopted for the examination of American compositions to be performed under the a.uspices and at the meetings of the association. The examining committee consisted of Wil- lard Burr, Jr., W. W. Gilchrist and Frederic Grant Gleason. The by- law was waived for the first time, so as to permit the exhibition of music publications, devices and inventions designed for teaching, and helpful to the teaching profession, within the building where the convention was held. H. S. Perkins, on behalf of the association, presented President Pen- field with a beautiful bronze medallion vase in a fitting speech, to which the recipient pleasantly responded. On the last day of the convention Mrs. Jeannette M. Thurber complimented the members of the association with a steamboat excursion down the bay. The tenth annual meeting was held in Boston June 30, July i and 2, 1886, with A. A. Stanley, president ; and Theo. Presser, secretary and treasurer. Executive committee, S. B. Whitney, W. F. Heath and Max I^eckner. Programme committee, Calixa Lavallee, F. B. Rice and A. R. Parsons. The membership was increased to 952. A large chorus, orchestra and soloists supplied material for two evening concerts on a large scale, both devoted to American composers, while recitals of piano, vocal and chamber concert music diversified the daily sessions. Two significant features were the presence of a committee of four from the Ontario Music Teachers' Association (of Canada) and the reception of a greeting from the Society of Professional Musicians of England. Mr. W. T. Miller reported on the subject of Musical Pitch, and advocated the French pitch, A3^435, as the standard to be recognized by the associa- tion. The following American (resident) composers were represented at the two evening concerts : Johan H. Beck, Otto Floersheim, O. B. Brown, A. A. Stanley, G. W. Chadwick, Dudley Buck, Calixa Lavallee, J. C. D. Parker, John A. Brockhoven, John K. Paine, Louis Maas, H. W. Parker, Wm. Rhode, Ad. M. Foerster, Arthur Bird, Edgar S. Kelley and Arthur Whitney. The eleventh meeting was held in India;napolis, July 5, 6, 7 and 8, 1887, with Calixa Lavallee, president, and Theo. Presser, secretary and treasurer. Executive committee. Max Leckner, G. M. Cole and Johannes Wolfram. Programme Committee, S. N. Penfield, J. C. Fillmore and Clarence Eddy. Examining committee of American compositions, Dudley Buck, H. S. Schradieck and Geo. E. Whiting, with Arthur Mees, alternate. The membership was 722. President Lavallee being ill and unable to preside, W. F. Heath was chosen president pro tern and occu- pied the chair after the first day. The American College of Musicians held its second annual examina- tions, which resulted in the admission of thirteen candidates. Three choral and orchestral concerts were given by a large chorus of Indianapolis singers and the Van der Stucken orchestra of New York. Recitals of instrumental and vocal music interspersed the daily exercises. The presi- dent elect was requested to appoint a delegate to attend the next meeting of the Society of Professional Musicians in England. Calixa lyavallee was appointed. Under a like motion, N. Coe Stewart was appointed delegate to the Ontario (Canada) Music Teachers' Association. At the American composers' concert the following were represented: W. W. Gilchrist, F. X. Arens, Geo. E. Whiting, Otto Floersheim, and G. W. Chad wick. The session closed with a grand reception at the state house by the Hon. I. P. Gray, governor of Indiana. The twelfth annual meeting was held in Chicago July 3, 4, 5 and 6, 1888, with Max Leckner, president, and H. S. Perkins, secretary and treasurer. Executive committee. Dr. F. Ziegfeld, Hans Balatka and H. B. Roney. Programme committee, lyouis Maas, A. R. Parsons and Frederic W. Root. Examining committee of American compositions, Calixa Lavallee, A. A. Stanley and Otto Singer, with J. H. Beck, alternate. The attendance was the largest in the history of the association, the mem- bership reaching a grand total of i , 649. The opening evening was devoted to a social gathering at the Palmer house and Art Institute. The liter- ary exercises, recitals and chamber concerts were held in Central Music hall and the three evening concerts in the Exposition building. The latter, consisting of choral and orchestral works by a Chicago chorus and the Thomas orchestra, with first-class solo artists, were largely patronized. Mr. lyavallee made a report as delegate to the Society of Professional Musicians of England, and Mr. Stewart as delegate to the Ontario Music Teachers' Association. A resolution was passed inviting Mr. Edward Chad- field, honorable secretary gi the society of England , to represent his society as delegate, and become the guest of the Music Teachers' National Asso- ciation at the next meeting. The thirteenth meeting was held in Philadelphia July 2, 3, 4 and 5, 1889, with W. F. Heath, president, H. S. Perkins, secretary, and W. H. Dana, treasurer. Executive committee, Richard Zeckwer, Thos. £t- Becket and Fred S. Law. Programme committee, Calixa Lavallee, W. W. Gilchrist and J. H. Hahn. The membership up to the close of the meeting was about 600. The working-day sessions, which were reduced to three, were held in the Academy of Music. ' Three evening concerts were given, one organ and two orchestral and choral, conducted by members of the association. Several excellent chamber concerts were given at the Acad- emy. The following American resident composers were represented in the programmes: Wilson G. Smith, G. W. Chadwick, Ad. M. Foerster, Gustav Hille, W. W. Gilchrist, F. Hahr, Herman Mohr, Richard Bur- meister, Bruno Oscar Klein, Johan H. Beck, E. C. Phelps, F. Brandeis, H. S. Cutler and Henry Holden Huss. At this meeting the association Jyi-^/^^'t^'-t^'^ was honored by the presence of Mr. Kdward Chadfield, of Derby, Eng. , honorable secretary of the Society of Professional Musicians of England, as officical delegate; also Mr. John Towers, of Manchester, Eng., both of whom read papers and participated in the discussions. A very pleasant feature of this meeting was the banquet, held the evening of the first day. An important step was taken, recommended by President Heath, to raise an orchestral and choral concert endowment fund with which to more effectively perform the works of American composers and to advance the interests of the Music Teachers' National Association. A. R. Parsons was elected president and H. S. Perkins and W. H. Dana re-elected secretary and treasurer, respectively. Detroit was selected as the place of meeting the first week in July, 1890. The progress of the Music Teach- ers' National Association since its humble beginning has not been sur- passed by any similar organization. Henry Southwick Perkins. This active and prominent musician was born in Stockbridge, Vt., March 20, 1883. His first musical instruction was received from his father, who for forty years was one of the most prominent singing teachers of the State. He obtained his regular course of musical instruc- tion in Boston. For several years he taught singing in public schools and conducted local choral societies. His specialties are voice culture and singing, theory, normal instruction to teachers and methods of sight- singing and conducting. In 1867-69, he was professor of music in the University of Iowa, and was principal of the Iowa Academy of Music at Iowa City for five consecutive years, also the Kansas Normal Music School for five consecutive summers. For the past twenty-five years about one-half of his time has been devoted to conducting musical con- ventions, festivals and normal music schools, including all the states and territories. He has edited thirty-one singing books, ranging from a set of graded music readers to choir anthem books and festival chorus books, some qf which have been exceedingly popular. His (copyright) chart and blackboard, or method for an elementary sight singing and reading course is highly recommended by many of the best vocal and instru- mental teachers. In 1875 he visited Europe for study and observation, traveling into the land of the Pharaohs. During this tour he studied voice in Paris under Wartel and in Florence under Vannuccini. He was one of the organizers of the Music Teachers' National Association, and read a paper on The Object of Musical Associations and Conventions. He has held every oifice in the association excepting that of president, and is believed by many to have saved it from death in 1882, when it met ,yf.-^iy6-K..AJh ^/OCM^ L)al>--«^vv^ for the first time in Chicago. The other two members of the executive committee having deserted it, he was responsible for the entire expense, as well as for getting up the programme. He inaugurated at this mtet- ing the principle that no artist should be payed for playing or singing at the annual meetings, which policy has been adhered to since, excepting, of course, orchestra players. In 1886 he organized the Illinois Music Teachers' Association, was chosen president and re-elected for 1^88, and again for 1889-90, at the meeting held in Peoria. He has done consider- able literary work, especially as correspondent of musical journals and magazines, and as musical critic. Socially and musically Dr. Perkins stands among the first in the profession, a man of energy, talent and efBciency. Albert Ross Parsons. This accomplished teacher, writer and lecturer was born at San- dusky, O. , Sept ' 1847, of early New England ancestry. His first lessons were tai in 1854, from R. Denton. Two years later he played for the first time 1^ public, standing at the instrument because he could not reach the p' 1 when seated. His parents removed, in 1857, to Indianapolis, and'-,, .^re, for several years, he officiated as organist in one of the churches of that city. At last, in 1863, it was decided that he should leave home and prepare in earnest for the practice of his profes- sion. On coming to New York, he studied piano, harmony and counter- point under Dr. Frederic Louis Ritter. His subsequent career may be summed up as follows: In 1867 he went to Leipzig, where he studied at the conservatory until 1869, under Moscheles, Reinecke, Papperitz, Wenzel, Oscar Paul, K. F. Richter and Ferdinand David. In 1870 he was studying at the Pianists' High School, Berlin, having Tausig, Ehlert and Weitzmann as teachers, and, in 1871, at the New Academy of Music, under Kullak. He received much stimulus and inspiration from personal contact with Wagner, Liszt, Rubinstein and Von Biilow. Since' 1872 he has been located in New York city, as pianist, organist, teacher, com- poser and writer. He is the translator of Wagner's Beetkoven- and the editor of the American edition of Kullak's Chopin. He has lectured on . musical topics in various cities and written many articles for the musical press. Mr. Parsons has published the Science of Pianoforte Practice, a trans- lation of Hollander's edition of Schumann's piano works, and has lectured on The Finding of Christ through Art; or, Richard Wagner as a Theolo- gian; on The Principles of Expression Applied to the Pianoforte, read at a late meeting of the New York State Teachers' Association, at Hudson; and on Teaching Reforms, at a recent meeting of the M. T. N. A., at 556 Philadelphia. Among his compositions are, iVz^^^//'a.r« Thousand Eyes, Break, Break, TV Deunt and numerous other songs, etc. He is highly- esteemed as a teacher, and is an active worker in the M. T. N. A., and one of the incorporators of the American College of Musicians; he is also director and examiner of the pianoforte department of the Metropolitan Conservatory of Music. J. C. FlLI^^z-C^ 7 '^'^2-^1^42^ 633 Mr. James M. Tracy. A diligent and enthusiastic worker for the cause of music in America is Mr. James M. Tracy, who at the present time is actively engaged as a teacher in Boston. Mr. Tracy is a native of the good old New England town of Bath, N. H. , but his parents removed to Concord when he was very young, and it was in the city schools of the latter place that he received his early education and imbibed a love for the art to which he has devoted his career. He was born in 1839, and at an early age he began the study of music, under the guidance of John Jackman, a teacher of considerable repute locally. Outgrowing the capabilities of his instructor, he made his way to Boston, where he pursued his studies for two years with L. H-. Southard and Carl Hause. He gave such striking evidence of the pos- session of unusual talents that he was encouraged to go abroad to com- plete his education. This he did, and selected for the purpose that alma mater of artists and teachers, the I,eipzig Conservatory. For two years he remained at this unsurpassed school, and then continued with private lessons under such teachers as I^ouis Plaidy, Dr. Julius Knorr and E. F. Richter. Mr. Tracy afterward went to Weimar, where he remained for nearly a year. Here he studied the organ and harmony with Prof J. G. Toepfer, while Franz Bendel and the Abbe I^iszt gave him his finishing touches in piano virtuosity. Returning to this country, Mr. Tracy first located at Rochester, N. Y. , and he remained in that city for a period of five years, acting as instructor for three young ladies' seminaries, and winning golden opinions as an organist by his admirable work at Grace Episcopal church. In 1871 Mr. Tracy entered the Boston Conservatory as teacher of piano, organ and theory, and he remained in that institution for eleven years, his well considered work being a feature of the conserva- tory's success during that period. Since severing his connection with the conservatory, Mr. Tracy has devoted himself to private teaching in Boston, giving a portion of his time each week to classes at Dean Acad- emy, at Franklin, Mass. , where he is at the head of the musical depart- ment. An idea of the amount of work that Mr. Tracy has accomplished may be gleaned from the statement that he gives every year a series of cl3,ssical concerts in Boston, and for these he has just announced the eighteenth season. Mr. Tracy has found time and inclination to write extensively and ably upon all subjects cognate to musical art. As a critic his acumen and his justice are alike acknowledged, and many of his compositions have met with marked favor. Most of these works consist of thorough and practical books, relating to the theory of music, which are valued wherever they have been introduced. Mr. Tracy is a hard- working student, and he has been a highly successful teacher. 634 . John Jeffers. Born on a farm near Massillon, O., in i860, and brought up to a farmer's life, John Jeffers hsd no great opportunities for musical education. Still he loved music and love soon found out a way to study in some fashion, however imperfect. At the age of twenty he began to teach school and attend college, still continuing his musical studies, and gaining whatever additional knowledge he could whenever chance brought him in contact with musicians. The release from manual labor was a glad one for the young man, and he made rapid progress. For a while he attended medical lectures at the Western Reserve Medical College, Cleveland, O. , but the musical instinct in him was too strong to be smothered. He went back to his art and began teaching, not without success. In the spring of 1886 he removed to Chicago, completed his studies and won reputation as a teacher, in which work he is still engaged. Mr. Jeffers is also the composer of several pieces for the piano, principally of the lighter kind, and of a book adapted for self instruction on the piano. Mr. Jeffers has decided literary ambitions, and is already known creditably from his work as co-editor of The Musical Manual. George Schneider. This well known pianist and teacher was bom in Marburg (Hessen- Cassel) in 1844. He was a pupil of Moscheles, Plaidy and Richter at Leipzig, in 1862 and 1863. He seems to have made excellent use of his opportunities, for, after leaving Leipzig, he commenced to teach music with great success in Hungary. He lived there for three years, continu- ing his studies all the time, and in 1866 came to Cincinnati, where he has ever since resided, and where his artistic work has placed him in the front rank of pianists and teachers. S35 CHAPTER XX. Composers of Salon Pieces and Chamber Music. i^ONSIDERING all the circumstances, the results of the first hun- dred years of American musical life are surprisingly rich. In ^p^ the nature of the case, it is still too soon to expect a school of national music, in any important particular different from that of S^ Europe. Our young musicians study in Europe, they speak and I think, about music in foreign tongues, and foreign models are the subjects of imitation by them, not only in their school days, but later, when they would appeal to the public upon their own amount as tone- poets. Music has been created in America within the period covered by the present work. An experienced musician, educated at Leipzig, Mr. John F. Petri, speaks of the condition of popular taste in Balti- more when he landed there in 1831. He says: " When I arrived in Baltimore in 1831 music was yet in its infancy or cradle. Even in good society and among well educated people nothing was appreciated beyond waltzes, marches and variations on some familiar theme, or simple airs from some of Rossini's operas. The Battle of Prague, by Kotzwara, the over- ture to The Caliph of Bagdad, Beethoven's grand waltz, Von Weber's last waltz and Steibelt's Storm Rondo were fashionable music. There were a few educated musicians or ' professors of music ' as they were called, among them were H. Giles, C. Meinecke, John Nenninger, Henry Diet- mann and your humble servant who worked hard for better music." The condition of affairs thus simply characterized by Mr. Petri was general throughout the country. In New York musical taste was farther advanced at that time, but even in Europe the taste was then, and con- tinued to be for some years later, for much the same kind of music as this described by him. It will be remembered that in 1831 only the earlier parts of the Beethoven music had become known to the musical world outside the circle of most advanced musicians in Vienna and a few other cities of Germany. Schubert was entirely unknown, and Schumann, Mendelssohn and Chopin were only new composers, as yet unproved. In 636 spite of the novelty of the modern art in general, and the newness of America in it, in particular, our composers have already made an extremely creditable showing. At a single stride, as we might say, they have placed themselves abreast of composers in similar provinces abroad, especially in the province of the pianoforte, where the American student is on a par with the European, in opportunities for familiarizing his ear with the peculiarities of the instrument, and its possibilities. Louis Moreatj Gottschalk. This gifted artist and composer was, in his day, by far the most prominent representative of the musical life of America, and enjoyed a fame which has not been attained by any succeeding pianist, though there are some to-day who have reached a higher musical plane of excel- lence, at least, in the art of composition. He was a native of New Orleans, I,a., where he was born May 8, 1829. His father came to Louisiana from England, and his mother was Aimee Marie de Brasle. His remarkable musical talent made its appearance at the early age of four, and he was placed under charge of Mr. Litellier, a New Orleans musician, under whom he made such progress that at the age of six he was on one occasion permitted to play the organ in church. He at the same time began the study of the violin under Mr. Ely, and at the age of eight appeared in public at a benefit concert of M. Miolan, a violinist connected with the French opera. At the age of thirteen he was sent to Paris, where he took lessons under Charles Halle, and shortly afterward under Camille Stamaty, studying harmony with M. Maledan. In 1844 he made his debut as a composer with two ballades, Ossian and Dansedes Ombres. In 1846 he made a tour through the Vosges, and in the season of 1846-47 gave a series of concerts, associated with the renowned Hector Berlioz, at the Italian opera. The following summer he visited Switzerland, and returning to Paris, gave a series of concerts, in which he met with flatter- ing success. In 1849 he made a tour through France and Spain, remain- ing two years in the latter country, and on his return to Paris in 1852 created a genuine furore by his unexampled performances on the piano, both in his own compositions and those of the great masters. On his leaving for New York early in 1853, Berlioz wrote of him, Feb. 4 of that year: Gottschalk is one of the very small number who possess all the different ele- ments of a consummate pianist — all the faculties which surround him with an irresistible prestige, and give him a sovereign power. He is an accomplished musi- cian — he knows just how far fancy may be indulged in expression. He knows the limits beyond which any liberties taken with the rhythm produce only confusion and discord, and upon these limits he never encroaches. There is an exquisite grace in his manner of phrasing sweet melodies and throwing off light touches from the higher keys. The boldness and brilliancy and originality of his play at once 41 637 dazzle and astonish, and the infantile naivety of his smiling caprices, the charm- ing sirnplicity with which he renders simple things, seem to belong to another indi- viduality distinct from that which marks his thundering energy — thus the success of M. Gottschalk before an audience of musical cultivation is immense. He gave his first American concert at Niblo's on Feb. ii, 1853, and met with a flattering reception. In October of that year he gave a con- cert in the music hall, Boston, but was coldly received, and met with unfair treatment from the critics, who at that time could see nothing of merit that was not of German origin. During the winter and succeeding summer he gave concerts throughout the middle states, going to New Or- leans, returning to New York in September and appearing in Philadelphia in November. He then went to the West Indies, where he remained six years, returning to New York in February, 1862, and appearing in April of that year in Chicago with Carlotte Patti, George Simpson Morcue and Carl Bergmann. In 1865 he sailed for San Francisco, thence to Chili, subsequently touring through the South American states. In May, 1869, he went to Rio Janeiro, Brazil, where he organized a grand musical festival which was given at the opera house Nov. 26. During the per- formance he was seized with illness. He was removed to Tijuca in the hope that the air of a higher level would relieve him, but died there on Dec. 18, 1869. As a pianist Gottschalk possessed brilliant powers of tech- nique and expression. Art was to him a religion. While he was playing he became utterly absorbed in the music, and, watching his face, it seemed as though he was looking far beyond the present scene, and translating on his instrument the poem which was being sung in his soul. The French said of him : // est mieux que bien, and a French writer, speaking of his playing, says: ' ' His talent united power and grace, precision and originality, wonderful playfulness with the utmost severity of style ; he was at the same time tender and elegant, nervous and pathetic, full of finish and expression, not forgetting poetry ; in short, he charmed, seduced, compelled, sub- jugated." As pianist and composer perhaps the adjective that best describes his work is ' ' finished. ' ' He played music as he wrote it — lov- ingly, throwing into its expression all his strongly marked individuality. Among his works are Mancenillier, Chasse dejeune Henri, Songe d' une Nuit d'Ete and Moisonneuse Mazurka, 1847 ! Carnaval de Venice, Jerusalem, Chant du Soldat, Ricordati and Valse PoHique, 1857! March Solennelle, Minuit ci Siville and Refilits du Passe, 1858 ; Manchega (etude). Souvenir de la Havane, Ardennes, Jeunesse Muzurka, La Chute des Feuilles, i860; Polonia, 1861 ; Caprice, O Ma Charmante, Caprice Suis Moi and Berceuse, 1861 ; several songs, 1863 ; La Colombe, Ojos Criollos, Misere du Trovatore, RSponds Moi (duo) overture to William Tell and songs, '1864, and a song and duo. La Galina. 638 William Mason, Mus. Doc. It is a pleasure to be able to open the biographical department of this work, devoted to the more important figures in American musical life, with the name of Dr. William Mason. For several reasons: Because he is a thoroughly representative American artist; because of his distin- guished eminence in the profession of music; because of his high popu- larity with musicians everywhere, who have ever been brought into contact with him, or who have knowledge of him; and lastly, because he is the son of Dr. Ifar (baritone); Ask Me No More, and Come, Live with Me (duet). Chamber music: Three pieces for 'cello and pianoforte; trio in C major (Op. 5), for violin, 'cello and pianoforte; string quartette in G minor (Op. 4) ; three characteristic pieces for violin and pianoforte, Morn- ing Song, Menuetto Serioso and Romance; for chorus; Te Deum in B flat minor; Te Deum in E) flat, and Jubilate in E flat; If Doughty Deeds My Lady Please \ior male voices); The Farewell of Hiawatha (for male chorus, baritone solo and orchestra); Into the Silent Land (for male or female voices). Orchestral music: The Wreck of the Hesperus (for mixed chorus, soli and orchestra; Suite for string orchestra in E major (Op. 12), and overture. In the Mountains (Op. 14). This last-named overture has been played at the Boston symphony- concerts; the Ivondon symphony concerts, under Mr. Henschel's direction; at the meeting of the Music Teachers' National Association at Chicago, 1888; by Mr. Thomas in New York and Chicago; at the Worcester festival, 1888; and also at Van der Stucken's concert at Paris in July, 1888. Of the other pieces the trio in C major (Op. 5) has been played at Cincinnati, Detroit, Buffalo, Chicago, the Saturday popular concerts in lyondon, at the Music Teachers' National Association meeting at Boston, besides about a dozen times in Boston and other towns in New England. The string quartette (Op. 4) has been played at the Euterpe concerts at Boston and at Detroit, San Francisco, etc. If Doughty Deeds My Lady Please, and The Farewell of Hiawatha were written for the Apollo Club, Boston, and the latter has also been performed at Brooklyn and San Francisco. Into the Silent Land was written for the 250th anniversary of Harvard College, while The Wreck of the Hesperus was written for the Cecilia Club, of Boston. The quality of the pieces already issued, and the comparative youth of the composer, give promise of many more and probably still better works to follow. His music is poetic in style, smoothly written and pleasing. WAI.TER PETZET. Mr. Petzet was born at Breslau, Germany, Oct. 10, 1866. In 1876 his parents removed to Augsburg, where he began his musical studies, studying harmony with Arnokleffel, counterpoint with Rhein- berger and score reading with Prof. Abel. He also studied at the Royal Music School, of Munich, graduating with honor in 1886. Subsequently he went to Frankfort-on-the-Main, in order to place himself under the piano instruction of Hans Von Bulow. In 1887 he came to America, accepting a position as teacher of piano, composition and theory at the Northwestern Conservatory of Music, Minneapolis, Minn. , where he has remained ever since. He began his career as a composer at the age of fourteen, and has since that time produced numerous works, published in Germany and in this country. Among them are: Op. i, seven songs; Op. 2, four piano pieces; Op. 3, six songs, one symphony, one trio, two overtures, two rhapsodies, and also choruses, songs, etc. His first com-, position, seven songs, were published at Vienna, and were sung by Frk. Herzog, royal court singer, at Berlin. He has also composed a trio, which was played at the meeting of the N. M. T. A., in Chicago in 1888, and met: with great success. As a performer he has appeared before highly appreciative audiences in New York, Boston, Pittsburgh and Chicago, and has in each instance sustained his reputation as an artist of merit and ability. His career at the Minneapolis conservatory proves him to be a musician and teacher from whom much may be expected in the future. Frederick Brandeis Was born in Vienna, July 5, 1835, and studied the piano with Ehrlich. Fischof and Czerny. The latter was wall satisfied with the work of his young pupil, but one day in 1848, when Brandeis appeared before him arrayed in all the glory of the re\rolutionary uniform, the old man, who was a stanch adherent of the imperial house, turned him out of his house with all speed. That revolution cost Mr, Brandeis' father his for- tune, so he had to give up his studies on the piano with Pynkhert, and in composition with Rufinatscha, and come to America with the family, In July, 1848, they landed in New York, where young Brandeis made his appearance as solo pianist and accompanist. After roaming through the country with various concert companies (among others, Wm. Vincent Wallace's), and living for a year and a half in the west, he settled in New York and devoted himself to composition and tuition. He is still engaged in the same work, and is much esteemed in both capacities. He is also the organist of Sts. Peter and Paul's Roman Catholic church, Brooklyn, and of the Forty-fourth Street synagogue. New York. Mr. Brandeis has written a considerable number of piano compo- sitions and songs. Among his principal works are the following: Instrumental — Waltz, poem dedicated to and played by S. B. Mills; polonaise in C, dedicated to Joachim Raff, and acknowledged by him in a very complimentary letter; Toccata in C; gavotte in A minor, much played by Mme. Rive-King, and also played by Thomas' orchestra under 652 42 fred'k brandeis. 653 S. ARRILLAGA. the name of Danse Hiroique ; Andante Elegiaco ; Tarantelle Caprice, and transcription of Toreador Song. Vocal — My Love is Like the Red, Red Rose, quartette; anacreontic drinking song, Observe When Mother Earth, for bass ; madrigal, Echoes; ballades, The Ring and The Sunken Cloister, for soli, chorus and orchestra; and a festival Tantum Ergo, for soli, chorus and organ. Mr. Brandeis has also several works in preparation. Edgar S. Kei7^ T;2$^,2,-«2^**»<:^ 699 mitting zeal and industry. On completing his studies he returned to his family home at Hartford, where he became organist in one of the churches, and later of a church at New Britain, Conn. He also engaged successfully in teaching, and at the same time was active, as he has ever since been, and continues to be, in his favorite field of composition, about that time completing his opera, Otho Visconti, a three-act grand romantic opera, selections from which have been published by W. A. Pond & Co., of New York. In 1876 he removed to Chicago, where he has since been active in musical life, as teacher, composer and critic, having for a number of years ably filled the position of musical editor on the Daily Tribune. Mr. Gleason's works, in addition to numerous small pieces, pub- lished and unpublished, but having no opus number, are in order as follows: I. Songs for soprano voice; 2. Organ sonata (C sharp minor); 3. Barcarola, for piano; 4. Episcopal church music; 5. Songs for alto voice; 6. Episcopal church music; 7. Otho Visconti, grand romantic opera, music and libretto; 8. PF. pieces; 9. Trio No. i in C minor for piano, violin and violoncello; 10. Quartettes for female voices; 11. Overture Triumphale, organ; 11. God, Our Deliverer, cantata, solos, chorus and orchestra; 13. Trio No. 2 in A major, piano, violin and violoncello; 14. Culprit Fay, cantata (words by Jos. Rodman Drake), solos, chorus and orchestra; 15. Trio No. 3 in D minor, for piano, violin and violoncello; 16. Montezuma, grand romantic opera in three acts, plot, text and music; 17. Praise Song to Harmony, symphonic cantata solos, male chorus and orchestra; 18. Concerto in G minor, piano and orchestra; 19. Three sketches, orchestra; 20. Auditorium Festival Ode,- a symphonic cantata, solo, chorus and orchestra, composed for the dedication of the Audito- rium, Chicago. Prof. James C. D. Parker. This eminent teacher, composer and executant was bom in Boston m 1828, and graduated from Harvard College in 1848. He entered upon the study of the law, and gave promise of a successful career, but nature had enflowed him with a genius which, happily for American musical life, was to control and guide his future career. Yielding to its direction, he went to Europe, and for three years had the benefit of the advice and instruction of such masters as Moscheles, Hauptmann, Richter, Rietz, Plaidy and Becker. After graduating from the I^eipzig Conservatory, he returned to Boston in 1854, and entered upon a career of success and use- fulness as teacher. Among those whom he equipped for musical life may be mentioned such prominent teachers and artists as A. D. Turner, F. H. I^ewis, J. A. Preston, M. H. Dunham, A. W. Swan, Charles H. Whittier, J. H. Howe, F. F. I^incoln and Charles H. Morse. Outside this im- portant sphere of musical usefulness, he holds high rank as composer, instrumentalist and leader. * He organized and conducted the Parker Club of Boston, a chorus of fifty voices, whose concerts, for some ten years, held high rank in the esteem of the cultured and critical circles of Boston, as well as in public popularity. As an executant, Mr. Parker possesses a rare skill. He has been organist of Trinity Episcopal church, Boston, for over twenty years, and has elicited warm praise in many important Har- vard Symphony Concerts, by his admirable manipulation of the capabilities of the piano, as well as artistic interpretation of the highest classical com- positions. As composer, he has written many piano pieces, part songs and orchestral works, and also church compositions — the latter chiefly for the Episcopal church. His Redemption Hymn, first rendered by the Boston Handel and Haydn Society, in 1877, with Anne Louise Cary as soloist, has become a national property, and is held in universal favor. Mr. Parker has long been connected with the New England Conservatory of Music, in which he is one of the most valued instructors, and his admirable skill and ability as a teacher have thus, transmitted through his pupils, left a broad impress upon the upward course of musical culti- vation throughout the entire country. In addition to achievements in these diversified fields of labor, he is also a ripe scholar and a sound musical theorist. His Manual of Harmony has been ' ' pronounced by competent critics, ' ' says the Musical Herald, ' ' the most concise and valuable text book for that study published." His translation of Rich- ter's Harmony is also a scholarly and finished work. During the many years in which he has been engaged in these various departments of musical interest and activity, Mr. Parker's labors and industry have been unremitting, and in their cumulative results, so far as appreciation in the most refined and cultured circles of the art is concerned, he is cheerfully awarded a reputation which is to him the best and highest reward of the work to which his life has been devoted. Supplementary Dictionary of American Musicians. NOTE. — In order to economize space, the follovring abbreviations are used : 6. porn; «., educated; c, composer; ?•., resides; o, organ, or organist; p., pianist; ifi,e. til 6 or V- Aaeup, Miss Ceia Augusta Juuette, b. Co- penhagen, Denmark. Aug. 27, I8t>4; teacher of Pianoforte in Metropolitan Conservatory, New ork; e. in Copenhagen and Paris. Aiken, Heney ni.. Boston; bass singer, for- merly diatingnished in oratorio, having sung with John Braham in J 842, Sontag and for fourteen years the solo parts with the Handel and Haydn Society; bass in Trinity church since 1844, except two years' absence in Europe; 6. about 1834. AmEN, Charles, 6. Goffstown, N. H., March 13, 1818; e. Darmoath; settled in Cincinnati, O., in 18:i9, as teacher of Music in public school, a posi- tion held fov manyyears; c. school singing books, etc.;d.Oct. 4, 1882. AiEHART. Daniel B., 6, Tennessee, Sept. 10. 1849; e. under Showalter, Deunington, etc.; c. singing school music, The Song Gem, r. McDale, Texas. Allen, Heney Ambeose; b. Hull, Yorkshire, Engl_and, Dec. 1.6. 181t>, r. Baltimore, Md. Prof. ■ of violin, piano, organ and harmony at J. Peabodyls Conservatory ofMusic, studied-with B. Cramer, Mpscheles, De Henot.ete. ;c. musiirfor thirtpentnelodrainae: was leader of orchestra at Walnut St', llrfeatre, Philadelphia. Allsn, Benjamin Dwight, "6. Sturnbridge, Mass., Keb. l(j, 1H31; p, under R. S. Stanbridge, H. C. Timm, Otto Dresel, Gustav Battero;r. Worcester, Mass.; or Union church thirty-four years; o. and p. Worcester festivals thirty years; teacher of p. o. and fhso, sacred contata for solo and chorus, pianoforte compositions, etc.; one of the most usefal masicians in New England. Ambeose, John L., b. Sandwich, N. H„ 1844, basso prof undo; studied the violin at the age of; seven; organist at the Baptist church in Sand- wich from the age of eleven to twenty-one; organ- ist in East Cambridge from 1865 to 1871; having a rotund basso voice, after studying with J, F. Bndolphsen, became connected with various quartette choirs in Boston, being engaged at Tremont Temple, Warren av. Baptist church. Buggies St. Baptist church, and in 1889 is the leading basso in the choir of Harvard Baptist church. He has comnosed church music and has prepared a book of Male Quartettes for the work of the masonic lodge. Ambrose, Maey, b. Polo, HI., June 6, 1865. teacher of organ and piano; r. Nevada, la. Andbus. Agnes, b. Washington^ Mich., e. J. H. Hahn; teacher of piano in .Detroit Conserva- tory of music. Arnold, John C, b. Dec. 23, 1852, in Munich, Germany, graduate of JEtoyal Conservatory, 1871; came to America same year; since 1868 r. Wash- ington, Pa.; teacher of music in public schools, violin, harmony, etc.; thorough musician and nsefnl teacher; composes for orchestra, military bands, etc. Aemsteong, William D., 6. Alton, HI., Feb. U, I8d8; r. Alton; f. piano-forte; fluent writer of piano-forte music; e. under E. R. Kroeger, of St. Louis. Arkell^ Lillian, 6. Brookl^m, N. Y., 1864; r. Cincinnati; e. College of Music; organist and teacher of organ; concert organist. Bach, J. Maurice, 6. Saunen, Switzerland, May 7, 1856; e. at Stern's conservatory, Berlin, studying under Vogt and Ehrlich, and Reidel ; r. Henderson, Ky., where he is active as teacher of piano, organ and theory; is a good p ^rformer and has composed much music, including four operas, Laredo, Margueritd, Alhamer and The Politicians. Baoh, Henrietta Stolz, wife of preceding; e. Chicago Musical College; dramatic reader and soprano singer. Baohman, a., b. Germany, Jan. 2, 1836 ;e. under Srivate instructprs; has been resident in Phila- elphia for many years, where he occupies a use- ful and honorable position as organist, t ^acher of piano and musical theory, etc.; is author of considerable church music; among his pupils are hundreds who now occupy or have occupied positions as teachers and organists. Bair. Mrs. Ella G. Winneck, h. Lowell, Mass., Oct, 29, 1855. e.under Mme. Emma Se-iler, of Piiiladelphia. Teacher of vocal, r. in Marion, Ohio. Ball, A. H., b. Aug. 14, 1850; e. Oxford Uni^ versity; music dealer at Meridian, Miss. Ball, Mes. Ida W., b. Dallas Co., Ala., 1851; €. at Judson Female institute, Marion, Ala.; also studied vri-thnaany other teachers; has composed many things, both vocal and instrumental; is also a pianist, and ranks among the first in the South. Baldwin, Edwin Thomas, b. New Ipswich, N. H.. July 19, 1852: e. Boston, with Geo. Jas. Webb; r. Manchester, N. H.; composer of band music. and sacred quartettes; t. piano and organ; presi- dent of State Association. Ballenberg, Loxns M., b. Frankfort^on-the- Main, July ^, 1840; e. with Euler, the celebrated flute maker, and Koppito. of Boston. Soon after coming to America Mr. Ballenberg traveled as an orchestral player with various organizations, and in 1872, in connection with Mr. Geo. Brand, organized the Cincinnati grand orchestra. Mr. Geo. Brand returned to Boston, £m.d his brother, Michael Brand, took his ^)lace as conductor, which he has retained ever since. The orchestra has continued to do a successful business of symphony concerts and popular orchestra mati- nees ever since. Its Sunday concerts in Music Hall are well patronized, and a high class of music is presented. Mr. Ballenberg has retained the business management, and to his care and 703 good judgment in this department much of its success is to be accredited. Bartlett, Homer Newton, 6. Olive, N. Y., Dec. SW, 18J6; e. in New York city, where he re- sides, principally occui)ied as composer of a great variety of works for voice, chamber instruments, grand orchestra, and a comic opera. La Valliera. Barnard, Rev John, 6. Bristol, Mass., 16S1; d. 1770; pastor at Marblehead; wrote fine versifi- cation of Psalms. Batohelder, John C, b. Topsham, Vt., in 1852: e. Berlin; teacher of piano and organ; r. Detroit, Mich, Batley, Daniel, 6. Rowley, Mass., 1730 Taught music in Newburyport, Mass., and in 1764 began music publication, giving his first im- Bortaut works to American students of art. tied 1792. Beach, Miss Helen L., 6. Toledo, Ohio. e. College of Music of Cincinnati. Teacher of organ. Beokee, Rev. Chab. 6. at Boele, in Westphalia, Aug. B, 1851; e. in theology and music; r. at St, Francis, Wis., where he is director of the choir of the theological seminary. Father Becker is a prominent member of the American Society of St. Caecilia, and a frequent contributor to its pe- riodical literature. Beethoven Conservatory of Music,St. LouiB,Mo. August Waldauer and Marcus 1, Epstein, Direct- ors. The leading Music College at St. Louis, the now celebrated Beethoven Conservatory, was es- tablished in l87l. Many of the graduates from this School are members of Church Choirs, oth- ers belong to, or are leaders of Orchestras; some are recognized as Artists both Amateur and Pro- fessional. Iflany others have won renown on the operatic stage, and as soloists, whileall its pupils snow the great possible advance, unHer the guid- ance of teachers of superior qualifications as educators, some of whom have acquired a na- tional reputation. See also August Waldauer. Bethune, Thomas Green, (BliDd Tom), b. May 25. 1S49, near Columbus, Ga. Blind from birth. Was born a slave. At the age of five was familiar with the piano. He made his first pub- lic appearance in 1858, Has made successful tours of United States and Europe. Beuter, Albert, b. in Tuscarawas C, O., Jan. 6, 1844; married in 1868; studied with Wm. Mason, ' and singing with Geo. J. Webb; t. piano, organ and singing; r. Bloomington, 111., where he oc- cupies a prominent position; is author of a num- ber of piano pieces, BisLAND Margaret Cyrilla. b. Brooklyn, N. Y.. Sept. 30, 1839; e. under Pychowski, pupil of Chopin: pianist and composer of ^iano music: r. at New Orleans, where she is instructor or music in the public schools, Sec. of Musicians' Guild, and a literary contributor of stories and graceful miscellany to the Times and other jour- nals. Blachb, Madame Pauline, 6. Marseilles, France; r. New Orleans. Is of an old French family, numbering among her friends many of the literary and musical people in France, inclu- ding Alexander Dumas, e. by her aunt, the Baron- ess Chonrand, as pianist. After becoming a fine player, she was discovered to have a superiSr voice, which was trained by Madame Cambier, She married a wealthy Louisiana gentleman named Gustave Blache. Madame Blache was beset upon every side to go upon the stage, but steadfastly declined. After the death of her hus- band, she devoted herself to teaching vocal mu- sic, in which work she has been extremely suc- cessful. She has a beautiful voice and an artistic disposition, and her pupils are among the moat accomplished of the South. Blanpied, D. S., b. Galena, Ohio, Oct. 1st, 1852; e. at New Enffland Conservatory and Boston University of Music; t. vocal and instrumental; r. Montpelier, Tt, Bloom, Jacob, b. May 6th, 1844, in Kindenheim, Germany; r. Cincinnati, O. ; e, at Stuttgart Con- versatory from which he graduated in l8t)6. For several years has been teacher of the violin at Miss Baur's Conservatory. He hag instructed many talented pupils who have become, in their turn, superior artists. He is a solo violinist and an earnest teacher. Has also distinguished him- self as a quartette player and in orchestral work. Blye, Miss Birdie, 6. about 1S67; r, Kentland Indiana; e. in London, Paris and New York, as pianist. A brilliant player, of sympathetic touch and style, and a large repertoire. BoEST, Albert Wm., 6. Liverpool, Eug., July 22, 1841; e. Baumgarten and Farmer; graduated in Zurich, Switzerland; composer of pianoforte and church music, and an ojierata, Mrs. Speaker; was organist in Liverpool in 1866; came to Phil- adelphia in 1886, where he now lives. BoswORTH, Mrs. Elizabeth, b. CincinnaflS. O.. April 19, 1847; daughter of the distinguished teacher, Mr. Charles Aiken; e. in Cincinnati; married in 1871; ?*. at Great Bend, Kansas; t, of piano. BoURioius, Marinus Bodinus Lotus, ft. in the Netherlands, Aug. 35, I860; e. at Academie of Mu- sic Den Helder, under F. de Boer; teacher of piano, harmony and theory;, came to this coun- try in 1885, and has resided in Council Bluffs ever since. Bristow, Frank L., b. Jacksonville, 111., April 25, 1844; e. there under Strachauer and Wimmer- stedt; r. Covington, Kv., where he is superin- tendent of music in public schools: Mr. Bristow has been secretary of the State Teachers* Associa- tion and president of the same; has taught in- strumental and vocal music in most of the south- ern states; has resided in Covington for twenty years; is author of several collections of sinmng books for classes, and two cantatas for ladies^ voices. Rainbow and Pleiads^ as well as other compositions for chorus. Bromstbld, Edward, Jr„ b. Boston, 1723; d. 1806: graduate Harvard College, 1742; constructed the first organ ever built in America- Bryant, Gilmore, W., 6. Bethel, Vt., Aug. 8, 1859; e. with Petersilea in Boston; r. Staunton, Va., where he conducts the music department in the Wesleyan Female Institute: is author of many com:po8itions for piano, including forty-three- studies. Bryant, Mh8..G. W., wife of preceding, 6, Bethel, Vt., April 7, 1861 ; e. at Springfield, Mass. under Prof. Zuchtmann; t. of voice, and is a church and concert singer; r. Staunton. Va.,where- she conducts the musical department in the fe- male college. Burmeister, Richard, b. December 7th, 1860. in Hamburg, Germany; r. Baltimore, Md. Mr, Burmeister after a thorough education in music at some of the best Conservatories in Germany, spent three years with Liszt at Weimar, devoting himself to piano-forte and composition. He is the author of a Concerto in D Minor, for the piano with orchestra, and of many smaller pieces. Is now teacher of the piano in the Peabody Insti- tute. His Concerto has been played in Berlin, Leipsic, Dresden and other European cities, and he made a good record as a concert player in. Germany. 704 BrRH, WiLLARD, Jb., 6. Ravenna, Ohio, Jan, Yta, lb5>; e. Berlin with Haupt; r. Boston, Mass. Composer of much chamber masic, numerous piano pieces, etc. Was influential in establish- ing the concerts of American composers in the M. T. N. A. BuKRiTT, William Nelson, b. Nov. 18th, 1853, in, Albion, Mich • r. St. Paul, Minn.; t. of voice culture; e. under Vannucclai, Vannini and Geo. Henschel. Mr. Bnrritt makes a specialty of the old Italian method of singing, believing that a system of education vrhich nas produced such re- markable results in the past, must still be the best that can be used. Cart, Mrs. Cecelia, S. P.; e. under private inBtructors; ?*. Rochester, N. Y.;teacher of piano and singing. Mrs. Gary has been "highly success- ful in a wide range of work. For some years she had charge of the Music Department of the University at Le Roy as a teacher of piano. She is an accomplished pianist and has in connection with her school, many recitals by great artists. Mrs. Gary is one of the most prominent musical educators of Western New York. Carter, Charles Davis, 6. Brooklyn, N. Y., April 25th, 1857; e. Leipsic and Munich; ?-. Pitta- burg, Penn. ; hsis composed some songs for chorus and solo; director of Pittsburg Female College. Carpb, Adolph. 6. Prussia, 1847; e, Leipsic; pianist; r. Cincinnati. Campbell, John B., b, Bloomington, Ind., March Uth, 1856; e. Boston, New England Con- servatory; c^plposed many songs and choruses. Change, Jacob Melvillb, 6. Salem, 111., March 9th, 1858; e. • New England Conservatory of Music: teacher of piano and organ; is at the head of a school in Sedalia, Mo. Chanbleb, Kate H., 6. Boston, 1830; g. Phila- delphia; was for years a concert and church singer but now has a school for music in Philadelphia. Chase, Mrs. 8, P., 6. Randolph,_Tt.r 3843r e. at Music Vale Seminary and in Boston; plays piano, violin, guitar, mandoline, banjo, and ^ is also teacher of voice and harmony; r. Emporia, Kan. Mrs. Chase is a natural musician who has dili- gently cultivated her tnlents. Chase, Meltille Warren, b. Minot, Me., Feb. 18th, 1842: e. under Schultz and others; r. Hillsdale, Mich. Chenez, Abby Perkins, b. Milwaukee, Wis. ; e. Stuttgait and Leipsic; teacher of piano at San Francisco. Church, Lilly Regina, 6. Tarrytown, N. Y„ Oct. 27th, 18ti3; e. at the College of Music at Cin- cinnati; teacher of piano and theory; r. Parkers- burg, West Ta. Clark, Anna Steiniger, b, Magdeburg, Prussia. This accomplished pianist is a pupil of Deppe, and a classmate of Mies Amy -Fay. In 1883 she married Frederic Clark of Boston, an accomp- lished musician and teacher and the discoverer of many important educational principles. The two together carry on a music school at Cambridge, Mass. Mrs. Steiniger-Glark has played in con- certs extensively throughout this Country and in Europe, and being still young is likely to be heard much more in the future. Their public work at the present time, consists mainly of educational recitals in literary Institutions, and private reci- tals before audiences of from one to four persons, for educational purposes. Mr. Clark is a very graceful, intelligent and artistic piamst. His work has been highly praised by the most careful critics in Boston and in other parts of the World. Clarke, Edwin G., son of Wm. Horatio Clarke; 6. Wobum, Mass., 1863; violinist and orchestral conductor: director of music at Jacjb'a Theativ Hoboken, N. J. Clarke, Ernest H., son of William Horatio Clarke; 6. Boston, Mass., lt)65: trombone soloist; traveled with P. S Gilmore m iSsT: atpresent connected with the orchestra of Jacoo's Theatre, Hoboken, N. J. Clarke, Herbert L., son of Wm. Horatio Clarke, b. Woburn, Mass., 1867; cornet soloist, and teacher in the Toronto Conservatory of Music, Toronto, Canada. Clark, Horace, b. Independence, Texas, 1861; e. at New England Conservatory; teacher of piano also piano soloist; r. Corpus Christi, Texas. Clouse, Rose, b. Mound City, lU., Jaly 18th, 1865; e. Leipsic; teacher of piano; r. Toledo, Ohio. Cook. May A., 6. Michigan, 1870; e. Cook's Musical Institute, Portland, Oregon; concert pianist; r. Portland, Oregon. Cook, Miss Nellie, 6. Sturgis, Mich.^e. Leip- sic, Frankfort and Vienna; teacher of piano and vocal culture; r. Toledo, Ohio. Cooke, Mrs. Clemmie, b. Iowa, Sept. 19th: e. Springfield, Mo. ; teacher of piano, organ and guitar, CoOLBY, Miss Peroib A., b. Athens, Ohio, June Uth, 1839; e. at the New England Conserva- tory in Boston; teacher of piano and organ ; ?■. West Liberty, Iowa. Coleman, Charles J., 6. Cincinnati, Sept. 15th, 1811; fi. Harvard College, and during that time was director of the Glee Club and orchestra. At present resides in Cincinnati and is director of the Cincinnati Opera Club. Collman, Henry D., b. Augusta, Ga.; e. under J. C. D. Parker and Geo. E. Whiting. GoLSON, William B., 6. Rochester. N. Y., June 27th, 1846; teacher of piano and organ at Cleve- land, Ohio. GoMSTOOK, OsoAR Franklin, 6. Brooklyn, N, Y., April 15tn. 186o;e. under Geo. F. Bristow, and later at Leipsic aad Rome, having taken di- plomas from the former and from the society of St. Caecilia in the latter, is now teacher in Cleve- land, Ohio. "\ Combs, Gilbert R., r. in Philadelphia, where j he is principal of the Broad Street Conservatory I of Music. Mr. Combs makes a specialty of em- / ploying male teachers only, believing that they / are more stimulative to the students than the / l ady teachers. _ -^ CoRLETTE,^0SEPH Wm., &, Douglas, Isle of Man, Sept. 26th. 1866; e. at Council Bluffs; teacher of violin; r. Glenwood, Iowa. Cowen, Fk. Hn., b Kingston, Jamaica, 1852; studied under Sir Jules Benedict and Sir John Goss at London, studied also at Leipsic and Berlin: composed operetta Garibaldi, canta- tas Rose Maden and the Corsair, opera of Pauline; came to America in 1883. Cramer, Theo,, b. Christiania. Norway, 1848; e. Edmund Neupert and Ursin; a successful teacher of the piano at Davenport, la. Grauch, Emma, b. Cincinnati, May 9th, 1844; e. abroad and in New York; concert singer and vocal teacher, in Cincinnati. Crutohfield, Eugene L., b. Petersburg, Va., July 14, 1862; e. Baltimore, Md., where he still resides. For several years he served as organist and teacher of the piano, but afterward graduated in medicine, in which profession he is now mainly active, excepting his continued services as organist at leading Baltimore churches. 70S David, Virgil Edwin, b. August 5th, 1838, West Troy, N. Y.; r. Washington, Iowa; e. under private instructors^ founder of a music school at Washington, Iowa, in November, 1887, This school has been highly successf al and a new building is being erected for it. Mr. David served with honor through the late war, and is composer of many compositions for the piano-forte, voice, orchestra and military band. Daties, David, 6. Talsarn, South Wales, May 3, 1855. At the age of thirteen he came to C-ncinuati, where he was the main support of his wiuowed mother. His voice being recognized as exceptionally good, he returned to his native land and was educated in music under Dr. John Parry, at Aberystwith. He appeared in public in Lon- don as an oratorio singer with success, and traveled in this country with a concert company in 1880. At the close of this engagement Mr, Davies established himself as teacher of singing in Cincinnati, Dausz, Mmb. Makte, b. Dresden, Saxony, April 1, 1845; educated under private instructors in singing and theory. For eleven years, includ- ing 1889, she has been teaching voice cultivation in^ew York City, where she has a largd clai-s. DETHERiDaE, IsAAO, 6. in England in 1833, educated in vocal and military music, both of which he has taught since coming to this country; r. Fame, Kan. Dodge, Imoge, Roselie, Zelly, Cboilk Busk, &. in Baltimore, Md.; e. by eminent teachers in Paris and Leipsic. Upon her return to America, this charming singer enter upon a brilliant career in concerts, opera, and in connection with the Thomas Concerts. Her voice is a pure soprano, very high and clear. Is now engaged in teaching singing in Chicago, Doty, Alice L., b. Piano, 111., Jan. 10, 1862: studied under Frederick Grant Gleason, and gassed the associate examination of the American ollege of Musicians, in 1888; r. Aurora, 111., where she is organist, teacher of piano, and har- mony, and concert pianist. Miss Doty is one of the most thoroughly qualified teachers of her age in the country. DuQAN, J. M,. 6. Dec. 31, 1851. at Franklin, Ind.; studied with Robt. Goldbeck and Otto Singer; is teacher of music in Franklin College, and author of several instruction books for piano and organ. EoKEB, Jno. EMUi, b. April Uth, 1853, in Upper Linz, Austria. Mr. Ecker was educated at the Conservatory, Leipsic, Germany, from which he graduated in 1886. He came to this Country in 1857, and has been engaged since in teaching piano, theory and composition. Is t^e author of a concert overture for a full orchestra, a Sonata in A flat; Sonata in C Minor and several String Quartettes; r, in Toledo, Ohio. EoEEB, Aug. Hebmann, 6. March 17, 1859, i^ Warsaw, 111. ;r. Toledo. Ohio, since 1873; e. by hi^ father, and is now engaged as a teacher of piano. EoKEB, Theo., b. Sept. 30, 1855, in Upper Linz, Austria, came to this Country in 1857; r. in Toledo. Ohio, since 1872; e. by his father; teacher of piano. Emebson, Ibting, 6. Nov. 4th. 1842, in Brigh- ton, Maine; r. Hartford, Conn., Chorus Director and Supervisor of Music in Public Schools: author of a number of anthems, a few songs and piano pieces, and several singing books for public schools. Epbtein, Heeman I., b. April Uth, 1868, in Mobile, Ala. This brilliant pianist whose _ two older brothers are so celebrated, was a pupil of Oscar Eaif and Taubert in Berlin, and is now engaged in teaching piano and composition at St. Louis. He is the author of a considerable nuoiber of quartettes, songs and miscellaneous pieces. His concert playing was much praisedin Germany, as well as in this country. EsTABEOOK, Geo. P., b. June 21st, 1868, in Concord^N. H, This young teacher was educated under private Teachers at home and in Chicago, and is now engaged in teaching piano, organ and harmony, in Ottawa, lU. Evans, Fbd'o Shaillbs, b. August 7, 1863, in Haddain, Conn.; r. Cincinnati, Ohio; e. Leipsic Conservators;, from which he graduated in May, 1886. Occupied as concert pianist and teacher of piaro. Was pupil of Carl Beinecke and Jadas- sohn. Faube, Miss Jeanne, 6. March 3rd, 1865, New Orleans: r. New Orleans, La., Miss Faure was educated at the Dresden Conservatory, from which Institution she holds a dii)loma, dated March iiS, 1887, with honors. Her voice is a very beautiful one, large, full and fine of Quality. She sings with intelligence and warmth and with much dramatic talent. The French writers in the New Orleans papers can scarcely say enough in her praise. PoOTE, Anna C, b, Milwaukee* Wis., r, St. Louis, Mo-, e. under Professor J, de Ricqles and Mr. Henry G. Hanchett, at Beethoven ConservEU tory of St, Louis. Teacher of piano, Flinn, Fbancis Mabt Hqf'Kins, 6.1834, Can- ton, Ohio, r, Hannibal, Mo. An organist, private teacher of piano and voice. Fbaoeeb, Coba Robins, b. Aug, 11th, 1849, Iowa City, Iowa, r. Iowa. City, Iowa. Twenty-five years experience as a teacher, the guitar being her principal instrument, for which she has composed Much mi^ic, also a considerable number of pieces for the piano. Mrs. Fracker is a natural musician of unusual talent. Fbbdebiok, Miss Lely, b. 1867, Pittsburgh, Pa., e. at Pittsburgh Female College, and after Jsrradu- ation, became a member of the faculty. In 1889, organized a School of Music at Greensburg, Pa., at which aU of the principal branches of mtudo are taught. Feeligh, Louis Henbt, 6. July 1st, 1838, Me- chanicsville, N Y., r. St. Louis, Mo. This highly successful teacher of piano was largely self-edu' cated, his inspiring methods being the result of his own studies and reflections, and their value confirmed b^ the results attained under them. Mr. Freligh is the author of about 50 pleasing pi^io pieces and songs, and among his pupils are many who have distinguished themselves. Fboehlioh, Henby C b. Aug. 6th, 1857, Cin- cinnati, Ohio. r. Cincinnati, Ohio; e. uuderPri- yate Teachers. Solo Yiolinistand teacher iff Col- lege of Music. Concertmeister of the Cincinnati Orchestra. First Violinist of the Philharmonic String Quartette. One of tiie most useful musi- cians in Cincinnati. Fludb, Wm. a., b. 1818, Lutterworth, England, e. under private teachers. • Director and teacher of ofgaiL/pianQ, violin and harmony in Lennox College, Hopkinton, Iowa, for the past twe:n^-six yepj:s., GaebIjKB, Sophie Chablotte, b. Nov. 18, 1862, Watertown. Wis. r. Milwaukee, Wis. e, at the Orchestral School in Weimar, Germany, and af- terwards with Liszt. Teacher of piano and sing- ing. Gebbbt, Fbank, b. October 3, 1864, Madison, Ind-; r. Zanpsville, Ohio. Active and successful teacher of piano and organ. Geeold, Herman, b. August 17, 1837, Gera, Germany; r. Cincinnati since 1858; e. under pri- 70^ vate teachers. Teacher of piano, organ and voice. . Organist at St. Matthews Chnrch, also at Jewish Temple. Leader of varioas singing so- cietiee. Connected with St. Xavier College. Mr. Gerold is author of several masses and two operas, Lav. Venitia and Princess Arabella. Gilbert, Nathan Stron, 6. Jan. 28, 1852, Iowa; r. Leavenworth, Kas.; e. under private teachers. Organist and teacher of piano. Com- poser of Serenade (for voices) Pol^a Caprice and a number of anthems and hymns. GiOKZA, SiGNOB Paolo, b. Nov. 11, 1837, in Milan, Italy. This distinguished artist entered the JRoyal Conservatory of Music at Milan at the age of eleven, from which he graduated in due course at the age of seventeen. He was the son of a painter, Lni^ Giorza; for eight years was assistant Musical Director of the Royal 'Theater of La Scala; he composed music for fifty grand ballets; is the author of a large number of great compositions for solo, duetts, trios, etc. ; is now teaching at the Metropolitan Conservatory of New York. Gloteb, Edwin W., 6. April 3, 1862, Coshocton, Ohio; r. Cincinnati, Ohio; e. College of Music; graduated in 1883. Mr. Glover took the Springer gold medal in 1883, and the following year he ecame a member of the faculty of the College of Music, where he has remained ever since; he is organist and director of the choir of the First Presbyterian Church ; studied with Doerner and Whiting, GooDELL, Hattie S., 6. Oct. 12, 18^2, Mazeppa, Minn.; r. Spencer, Iowa; e. New England Con- eervatory. Teacher of voice, piano, piano tun- ing; head of music department of Spencer Pre- paratory Institute. . Gramngeb. Chas, a., 6. Jan. 2, 1861, Cincin- nati, Ohio; r. Cincinnati, Ohio; e. College of Music of Cincinnati; graduated in 1881. Teacher of piano, Conductor of the Choral Societies in Glendale, Ohio; organist of St. Paul's M. B. Church; teacher in the College of Music. Gbimwood, Emma, 6. 1856, Kossville, Iowa; r. Independence, Iowa; e. Dubuque Conservatory and Bnrliagtoii Music School. An active worker in the Iowa H usic Teachers' Association ; teacher of musical theory and history, piano, and music in the public schools. Geundt, Claba Louise, b. Plainfield, Mill Co., N. Y., Oct. :«, 1868 ; was a pupil of Professor Shafer, of the Boscovitz School for some four yeskTB; now engaged in teaching voice, organ and piano. Hahn, Emil, 6. Sept, 1854, at St. Joseph, Mo. Studied under Otto Behr of that city. Later resumed studies at Leipsic Conservatory. Held gosition as organist at the German Catholic hurch in his native place from his fourteenth to his sixteenth year. He has written an operetta and quite a number of good songe. also msteu- mental compositions for piano, one of which (The Forest Flower Waltzes) he dedicated by permission, to Mrs. Grover Cleveland. At present resides in Burlington, Iowa. Hameb Geobge Fredbbick, b 1862, in Law- rence. Maes. Graduate of Koyal Academy of Music, at Munich. Germany. Is now engaged in teaching piano, organ and composition at Law- rence- Organist of Trinity Church. Author of several songs, church services, piano pieces; an overture in C. Minor for small orchestra and an overture in E. Minor for large orchestra. Hammond, Ben Taboe, b. Jan. 18, 1846, Worces- ter. Mass-, r. Worcester, Mass Bass singer and teacher of singing, educated under Lyman Whee- ler, San Giovanni and others. Mr. Hammond has been member of various concert companies, and was solo bass at the Worcester Festival for several, years. Since 1886 has devoted himself almost, exclusively to teaching, for which his wide expe- rience unusually well qualifies him. Hanchett, Henby G., 6. August 29, 1853, e. un- der various private teachers, and afterwards in medicine, which profession he finally pursued. As a pianist aad teacher of piano, he was active from about 1876 to 1884. During that time he attained a large reputation as concert pianist, and as director of various musical societies in the vicinity of New York. Dr. Hanchett is one of the most intelligent musicians in this country, and has written many brilliant essays upon musical subjects. Hanohett, M. W. Inventor of the "Sostenuto" or " Tone-Sustaining Pedal " for the piano-forte, the first successful and complete appliance for the purpose ever produced, and now used with ^eat satisfaction by piano artists. He was born m Hartford Co , Conn., and resident of the city of Syracuse, N. Y., where for many years he was conductor of music and organist. He is father of Dr. H. G. Hanchett of New York; well known among leading musical artisis and at whose sug- gestion the " Sostenuto Pedal " was produced. Hannum, Lewis, In 1876, Mr. Hannum became interested in violin making, in consequence of a visit to his brother in Hartford, Conn,, who was engaged in this work. From that time, he occu- pied himself with making violins, and within the last eight or ten years of his life, made a few of a high order, one of which was played for many years by Prof. Schultz of the Mendelssohn Quintette Club; d. about 1884. Haekins, Thomas E.. 6. Feb. 28, 1887, in Philadelphia. Pa.; r. Philadelphia until 1883, • since which time he has lived in New York. Mr. Harkins was educated as a Catholic singer and director of church music. Has also distinguished himself as the manager of mammoth concerts at , the Academy of Music. For seven years he was president of the MusicaHJnion,ana in 1872 was g resident of the National Musical Union. He as been director of several important choirs. Mr. Harkins has distinguished himself by his efforts for the elevation of the musical profession Hartmann, Hebman H., b. March 22nd, 1859 Beautimore, Wis.; r. Boston, Mass.; e, at New England Conservatory, from which he graduated in 1879, afterwards being teacher of the violin in, the Conservatory for eight years, and for three seasons a member of the Boston Symphony or- chestra. Habeis J. Floyd, h. July 5th, 1866, Almant, Mich.; r. Almant, Mich.; e. in Detroit. Success- ful teacher of the piano at Port Huron, Mich. Havens, Chas. Abthtib, b. June 23rd, 1842, Es- sex, N. Y.; r. Chicago, 111. This distinguished con- cert organist, teacher, choir director and musical composer, has resided for twenty-five years in Chicago, during all of which time he has occu- pied prominent and honorable positions. At the present time is organist of the Second Presby- terian chnrch. Among his compositions are up- wards of forty musical services which have been published in fine style by the best publishers. These works are gracefully and fluently vn-itten, and have been snn^ with high appreciation by many of the best choirs in the country. As con- cert organist, Mr. Havens is well known through- out the west, his technique being extremely smooth and thorough. He has a well appointed two Manual Organ in a small music hall con- nected with his house on Vernon ave. Here is his studio where he receives his pupils and gives recitals. His choirs at the Second Presbyterian church, where he has been director for eight years, is one of the best in the city. 707 Haveskeeke von, Andrew, 6. Aug. 31, 1854, New York; r. Pella, Iowa; e. at the Conservatory at Antwerp, under the direction of the distinguished musician, Benoit. Is now the musical director of Cox Light Infantry Band; a company of twenty- four musicians mostly from Hollandj one of the best bauds in Iowa. Teacher of violin, harmony and composition. Is the author of a large num- ber of compositionB for military band, written originally for his own use. Mr. Haveekerke is one of the few fully qualified representatives of the celebrated Flemish School of Musicians in this country, the same that has produced Deberiot and Vieuxtemps. Owing to his labors, the standard of band music has entirely changed in that part of Iowa, where he lives, and it is pleasant to know that his distinguished services are highly appreciated by intelligent musicians, as well as the public generally. Haywood, Alfred Joseph, b. Oct. ist. 1860 at Dayton, Ohio; r. Cleveland, Ohio. Successful teacher of piano, organ and singing. Henninges, Eeinhold E., b. 1836, at Halle, Prussia. Came to this country thirty years ago, and has been actively engaged since then as teacher, composer and director of choral So- cieties. For thelast twenty years of the time at Cleveland, Ohio. Among his compositions, which reach the Opus No. lOO, are one comic opera, Larks^ or the Haunted Nook. Cantata Spring. Many etudes, and miscellaneous pieces for piano- forte, also songs and 9. practical guide for teach- ers and pupils of the piano. Mr. Henninges is one of the most talented composers in this coun- try, his work being melodious and pleasing to a degree. As a teacher he is very distinguished. Two of Mr. Henninges' children have distiu- guished themselves, Dora and William. Henninges, Miss DoRA^fo. 1860, at Mansfield. Ohio. Daughter of R. E. Henninges. Moved to Cleveland when eight years old , receiving her early training at home. She later studied at Cincinnati College of Music, of which institution she is a graduate. After filling many engagements in all parts of the United States in concert and oratorio, and having eung in the principal cities Beetho- ven's "Fidelio" under Mapleson, she went to Paris 'for a course of study under Madam La Grange. _ After returning from Europe, she has been actively engaged as an operatic, concert and church singer, as well as teacher. Miss Hennin- ges has a very large dramatic soprano voice, and as a festival singer has unusual claims for atten- tion. Henninges, William, 6. 1866, Mansfield, Ohio; came with his parents to Cleveland when one year old; after graduating in the high school went to Leipsic and Dresden Boyal Conserv£u tory; after three years' study, returned to this country and is now filling the position of Direct- or of Music at Whitwortn CoUege, Brookhaven, Miss.; he is well known as one of the best inter- preters of a high class of Grerman Lieder and also a good pianist Mr. Henninges is a son of K. E. Henninges. Henning, Rudolph. 6. Oct. 20, 1845; r. Phila- delphia, Pa.; e, at Leipsic Conservatory, from which he graduated in lt$64, his specialties being piano and vioiincello; from 1873 to 1879. he was the solo 'cello in the Thomas Orchestra; has been a member of the Mendelssohn Quintette Club, of Boston, and is well known throughout the country as one of the finest performers on this beautiful instrument; at the present time is connected with the Philadelphia Musical Acad- emy, of which he was one of the founders in con- nection with Mr. John Himmelsbach. Heeset. Lynn E., 6. July 29, 1863, at Brighton, Ohio; r. Bloomington, 111.; e. at Royal Conserv- atory, Leipsic, Germany; teacher of violin, viola and ensemble playing in the Bloomington Con- servatory of M^sic; formerly had charge of the violin department of the School of Music at Eureka, 111., and also of the Wesleyan College of music at Bloomington, 111. Hetlioh, Elizabeth, 6. in Cincinnati, Ohio; r. Cincinnati; concert soprano and oratorio singer and teacher of the voice; Miss Hetlich, after studying with the best teachers of Cincin- nati, ..went to Germany for lessons of Frau Schultzen Von Asten and Professor Julius Stock- hausen. She has sung at two of the Cincinnati May Festivals and at many important concerts and festivals in other parts of the country; is now teacher of the voice in Cincinnati and at Oxfordi'Ohio. - Hoffmann, Richard, & May 24th, 1831, in Man- chester. England. Came to the United States in 1847. This distinguished pianist, teacher and composer has occupied a high place in New York and American music generally, for more than forty years. His professional clientele has been of an exceptionally fine order, and for many years he was the only pianist of a high class in New Tork. Although he has been heard in public not frequently of late years, Mr. Hoffmann is still an elegant and finished player. He is the author of more than 100 compositions, consisting of piano pieces, many of which have beep extremely popular, songs and church music. His style of writing is clear and ele- gant. Hoffmann, Aug.Wm., &. July 26 1866, Karlsruhe, Baden, Germany: r. St. Loois, Mo.;e. atRo^al Conservatory of Music at Stuttgart, from which he graduated in 1882, having been private pupil ofV. Lachner and W. KaUiwoda. His main in- strument is the piano, but is also teacher of bar. mony and composition in the Beethoven Conser- vatory of Music. Is the author of a considerable number of dances played by Gilmore's band and other orchestras, also of piano pieces, etc. Hoffmann, Phil'p, b. July 9, 1823, Hassloch. Germany; r. Cincinnati, Ohio; e. for teacher and fro twelve years was engaged in teaching in Ger- many. Dpon comingto Americain 1853 hebecame ■piano teacher at various Female (jolle^es. Locate.d at Cincinn^ati in 1864, sinGe_wHch time has been exclusively~~engaged as teacher of piano. ~""' Howard Fbank, b. Nov. 12th, 1823, England; r. Boston, Mass.; e. at Bristol, England, under James Montrie, organ and piano and voice under John Lockey, of St. Pauls, London. Was organ- ist at King's Chapel, Boston, from 1849 to 1865. is author of numerous compositions for the church, also songs and piano pieces. In 1880 he retired from musical life, and is now living, at his country home at Duxbury. Mass, Mr. Howard occupied an important and honorable position in music for many years. Hunt, G. W., b. Jan. 4th, 1854, near Ionia, Mich.; e. in Chicago, and at Painesville, Ohio, and later with Mason and Sternberg. Teacher of piano, organ and theory. Since lS8si, resided at Erie, Pa., where he has performed a very important work as teacher and exponent of the highest class of music. Is the author of a number of songs and piano pieces which have been highly praised. Hull, Mrs. Julia C, &. in Attica. N. Y.. about 1840. She came of a musical family, and at an early age possessed a remarkable large and fully developed soprano voice. She was put upon the concert stage when scarcelyi more than eleven years old. At the age of thirteen she had the ap- pearance of a woman of twenty, and having an extremely large dramatic soprano voice, which under proper cultivation would have made her 70S one of the great artists of the world. After sev- eral years of this kind of work, during which she was the principal support of a large family, she found means to go to New York to study with George J. Webb. She afterward became a mag- nificent oratorio and church singer. JFor several years held extremely honorable positions in New York City. Is now principal of the Musical Con- servatory at Meadville, Pa. In many respects Mrs. Hull's voice resembled that of the great Pareppa^Rosa,^ being full, rich, musical and highly expressive. Jeevis, PERiiEE v., &. March 19th, 1858, in Brooklyn, N. Y. r. Brooklyn, N. Y. e, under Dr. Wm. Mason, Mrs. Agnes Morgan, of New York, and Theory with Mr. Dudley Buck. Gom- m.enced teaching the piano and theory in ]883. Teacher of the piano and also a concert pianist. Johnson, Gustavus, 6. Nov. 2d, 1856, in Hull. England, r, Minneapolis, Minn, c, in Stock- holm, Sweden, under Lindstrom, Wmge, Nord- quist and Mankell. Author of numerous pieces for the piano, anthems and chamber music. JuNEERMANN, GuST. P., 6. Dec. 8th, 1830, in Bielefeld, Germany, e. under private teach- ers, among whom was Lortzing, the' celebrated composer. He played in an oi^chestra at the age twelve years. Came to America while still young, and for many years resided in Cincinnati, where he is teacher of instrumental and vocal music. For several years was superintendent of music in the public schools, and is the author of a number of text books for school use. In addition to his musical activity as an orcnestral musician and as teacher of music, Mr. Jnnkermann is also a regu- lar teacher of literary branches and of languages, and principal of public schools in Cincinnati. Kaisee, Maek, 6, Feb. 22nd, 1855, in New Or- leans, e. at the Paris Conservatory. Foreign teacher being Charles Dancla. He was sent to Paris when he was young, and through the patron- age of Mr. John Slidell, was introduced to Pa- risian audiences as a solo player. His talent was highly spoken of by his teachers. Upon his return to America, he was offered an engagement at Cincinnati, bat returned to the cityof his birth, where he holds an honorable position as teacher and concert violinist. Kennett, Wilijam Warken, b. Oct. 28th, 1863, in La. Crosse, Wis. e. College of Music, Cincin- nati, gaining the Springer metal in l881, and graduating. Since occupied as teacher ^ in the college. Is a very fine chorus accompanist and organist. KiNSET, J. F., 6. Fort Wayne, Ind., March22nd, 1852. This highly vigorous and energetic business man's education was received at country singing schools, and afterwards from Geo. F. Koot, Carl Zerrahn, P. P, Bliss and others. After holding a number of petitions as principal of the Music department in large seminaries, Mr. Kinsey located at LaFayette, Ind., and commenced the publication of the "Echo," a musical journal, and has built a very large music publishing busi- ness there. He has a complete printing oflSce and bindery, and some of his singing books sell by the hundreds and thousands. He is one of the most remarkable successors as a popular musical editor, composer and publisher of the present time. KuNCK, Mel, 6. Sept. 25th, 1866, in Princeville, 111., r. Conway Springs, Kansas; e. under private teachers. Cornet soloist and bandmaster. Mr. Klinck's specialty is solo playing. Knight, Howabd W., 6. August 31at, 1858, in Saco Me.; iano, organ, and harmony. Since 1879, resides in Washington, D. C. where she is prominently engaged as a concert singer, teacher and organist. Kboegier, Ebnest BiOHABD. &. August 10,1862, in St. Louis, Mo.; e. with Froehlich, Malmene. Spiering, Charles Kunkel, and W. Goldner of Paris. Author of a large number of pleasing and brilliant piano pieces, songs, chamber music and orchestral work. A very clever and pleasing writer. Leonard, Hattie J., 6. Jan. SO, 1858, in De- troit, Mich. e. under Silas G. Pratt at Chicago, Karl Elindworth of Berlin, Otto Fierch, Berlin. From 1878 to 1881, was teacher of piano in Chi- cago. From '81 to '85 had charge of piano depart- ment Cornell Conservatory. Spent two years in Germany, and located in New York in 1887, where she is prominently engaged as piano teacher and concert pianist. Leonhabd, HuQO. A piuiist, graduate from the Leipsic Conservatoi^, who came to Boston 1856. Did much to inspire iuterest in the works of Schumann and Beethoven. Became mentally deranged and died while a young man in 1879. Levy, Jul^s. b. about 1840, First appeared as soloist in 1860, at Convent Garden, London, since when he has become known all over the world. Was for many years a resident of New York. His i)laying is famous for speed, facility, ease and purity of tone. Is the author of a con- siderable number of arrangements for the comet. Lewis, Miss Alt.ib May, 6. M. 28, 1859, in Des Moines, Iowa; r. Washington, Iowa; e. under pri- vate teachers. Teacher of piano, organ, harmony and guitar. Logan, Virginia Knight, e. Chicago Musical College and in various other institutions. Teacher of singing and concert soprano. Miss Lo^n was connected with the National Opera during its career under Theodore Thomas. Her voice is very high and well cultivated. LuDDEN, Wm., 6. May 19, 1823, in Williams- burg, Mass. Graduated from Yale College apd also from medical department in 1850. Studied music in Boston with Lowell Mason and Geo. J. Webb, afterward in Paris, Prance, with some of the most distinguished teachers of the voice, He is the author of a work of voice culture, several books and anthems, Sunday-school Collections, one of the best dictionaries of musical terms ever published, and school for the organ, etc. For m^iy years teacher of sinmng at New Haven, and afterward in Chicago. In 1869 he re- moved to Savannah, Ga., where he founded a Musical Publishing House, which was very suc- cessful, and is now doing business as the Ludden & Bates Southern Music House. Mr. Ludden resides at present in Brooklyn, N. Y., he having retired from the active control of the business. LuTKiN, Peteb C, 6. March 27, 18o8, in Racine, Wis. Began his musical education as choir bpy under Canon Knowles, and at the age of twelve became organist. Was educated in Berlin, Vien- na and Paris, r. in Chicago, as organist, choir master and teacher of piano, organ theory and composition. Is the author of a considerable number of songs, church compositions, concerted music, etc. 1ft. Lutikin has been connected with vested choirs from their incipiency in the West. MaoDonald, William, b. at Providence, R. I. r. Lawrence, Kan. e. New England Conservatory from which he graduated in 1884; Dean of De- Sartment of Music, University of Kansas. Mr. iacdonald was efficient in promoting the organi- zation in Kansas State Teachers' Association, of which he has been three times elected president; 6. about 1864. Magrath, George, 6. Oct. 15 1857, in New York; r. Cincinnati, Ohio; e, Stuttgart Con- servatory, from which he graduated in 18T7; since 1883 principal of piano department in Miss Baur's Conservatory; concert pianist and teacher of piano. Malmquist, EnaLE, b. Aug. 10, 1857, in Stock- holm, Sweden; r. New Orleans, La.; e. Conserv- atory of Sweden, from which he graduated in 1872; teacher of piano and organ: organist and choirmaster of Grace Church, New Orleans; stadied later under Prof. Mankell and Kaj)pl- meister L. Norman. Manchester, Arthur L., 6. in New Jei^sey, Feb. 9, 1862; r. Clarion, Pa. e. , under F. J. Buss- man, of Milan; teacher of piano, organ, voice trzuning and theory. Mr. Manchester is one of the most successful teachers in that part of the country. In 1883 was married to Miss Alice Oneal, of Beaver, Fa. Mrs. Manchester has a highly cultivated sopiano voice, of pure CLUality, ana has been very successful as a concert singer. Marstelles, G. Herman, b. Feb. 16, 1865, in Schmalken, Germany; )-. Dayton, Ohio. Teacher of violin and concertmaetiBr at concerts; was educated at the Royal High School of Berlin, from which he graduated in 1881. Marston, Geo. W., 6. May 23, 1840, in Sand- wich, Mass.: 7'. Portland, Me. e. in Munich. Florence and London. Teacher of piano and harmony; has publised album of German eongs. Anthems, Te Deum and piano pieces. Martin, Carl E., b. about 1847. Eminent basso of Oratorio and Concerts. Mr. Martin a resident of Chicago, where he made many appearances with the Beethoven Society. Now resident in New York, where he has a large business and a remunerative position in Church. Martin, S. Wesley, b. Jan. 20th, 1839, in Plain- field, 111.; r. San Jose, Cal. Teacher of voice cul- ture^ and' singing, harmony, counterpoint and musical composition; chorus conducting. Author of nearly 100 sheet music songs and quartettes. Is also author of music books. The Festival Chimes, 1863; The Cluster, 1873: The Welcome Hour, 1877 and many compositions contributed to works of other authors. His first musical com- position appeared in New York when he was fif- teen, years of age. Was for many years employed in conducting mnsical conventions, mostly in Illinois and the adjoining States. Was associate principal of Martin Stillman and Towne's Nor- mal Music School for some years. Mathias, LoOTS,6.Auga8t28nd, 1«26, inTiefen- . bach, Germany. Has taught in Toledo, Ohio, thirty-seven years. Has also manufactured a number of violins in his leisure time. Mattioli. Lino, 6. August 21at, 1853, in Parma. e. at the Farm i Boyal Music Soho' d, from which he graduated in 1869 in 'cello and voice. Among • his compositions are "Habanera," for 'cello; • "Barcarolle" for piano and "Gavotte" for string quartette; r. Cincinnati, Ohio, as a teacher in the College of Music. Maxoon, Fbbdeeiok, 6. June 13th, 1?62, in Beverly, N- J.; e. under D. D. Wood. Admitted as associate of the A. C. M. 1889. Teacher of piano, organ and harmony. Author of a considerable number of church services. Organist of Central Congregational Church of Philadelphia since 1884. Mai, Wm. Aug., 6. Dec. 9th, 1850, in Lacka- waxen. Pa.; r. Montclair, ^f. J. e, under various privateteachera. Teacher of singing and director of choirs and classes. Is the author of a considerable number of songs and hymns. MoDowELi,, B. M., b. May 36, 1841, in Pittsburg, Pa. e. under vocal teachprs and afterwards with Dr. Eugene Thayer of New York. Located in Bames- ville, Ohio, in 1872 from whence he removed in 1884 to Cambridge, Ohio, whose he now lives, and where he carries on a very successful business as teacher of piano and theory. Is the author of various popular pieces. _ Medobn, WiLHBLM H. O., 6. June 5. 1833, in Ber- lin, ^Germany; r, Pelhamville, N. Y. e. Church Music Institution, Berlin, from which he grad- uated after live years' study in 187?. Teacher of piano, organ and composition. Among his compositions are preludes and fugues for the or- fan, and for piano and nrgan, also quite a num- er of brilliant piano pieces. HfiiERiAM, F. W„ 6. August 20, 1843, at Prince- ton, Mass. e. in this country and at Leipsic. He was a pupil of Louis Plaidy. Teacher of the piano, and good pianist. Principal of music department of Hamline University. Mr. Merriam is one of the best qualified and most competent musical educators in the Northwest. Mettke, Hans, 6. July 24, 1856, in'Betsohe, Posen, e. under superior private teach^^rs in Germany and America. Located in Ohio in 1882. In 1884 removed to Minneapolis, Minn., where for two years he was actively engaged as teacher and or- chestral player. In l-8ti removed to New Jersey, where he has been very successful in forming or- chestras, training choruses, etc. Composer of numerous cempositions for voice, piano and or- chestra. Has written letters on musical history and articles for musical i lurnals. In. every res- pect has shown himself an active and true musi- cian. Mir.LEB, Hettie L., 6. Dec. 2d, 1865, in Phila- delphia, Pa. )• Aurora, 111. e. under private teachers. Graduated in 1883 from the Ro:{al Academy of Music, London, England. Pianist and teacher of piano. MisOHKA, Joseph, b. May 8th. 1846, in Herman- mi estetz, Bohemia, e. under private teachers at Buffalo, where ho has established himself in an honorable position. Is oreanist of Delaware ave. M. E. Churcli, Temple Beth Zion: director of Buffalo Vocal Society. Buffalo Liedertafel, and teacher of music in Buffalo State Normal School. Has befn assistant director with Theodore Thomas in the Buifalo Musical Festivals. The Liedertafel has taken prizes at the Saengerfeet for best sing- ing under Mr. Mischka's direction. « MoHB, Hermann, b. October 9th. 1830, in Nien- ptadt Germany, e. Royal Church Music Institute, Berlin from which he graduated in 1855. Engaged in Piano, organ, composition and chorus singing. Was formerly director of the Mohn Conservatory m Berlin. Mr. Mohr is the author of composi- tions for piano and string instrumenis, piano alone, Saengerchor, Saengerchor with orchestra and solo, compositions for mixed chorus, for female voices and songs for solo voices. Is also the author of an opera " Der Orakelspruch." Mr. Mohr is one of the most versatile and accom- plished composers resident in America. MooEE, Edwin, b. Sept 25. 1837, at Haoken- saok, N. J. r. Yonkers, N. Y. e. mainly under private teachers, also with Lowell Mason and George F. Root. In 1859 was pupil of Bassini in singing.- Author of singing-school music, tem- perance songs, ete. MooEE, Jtjdson L., b. Sept. 12, 18,57, in Bethle- hem, Ga. e. Hs a singing teacher, and in 1887 be- gan as a^ teacher of voice; was self-pducated in theory; is the author of a considerable amount of Simday-school and singing class music. MOBSE, Feaxk Eno., b. Bradford, Mass., Nov. 10, 1856; r. at Auburndale, Mass^ where m- gaged as teacher of vocal music in Conservatory and Wellesly College, School of Music. Com- piler and publisher of the Musicians' Calendar for 18b8-1889 and 1890. Mount AuBUKN Institute, 6, Cincinnati, Ohio, H. Thane Miller. President. This institution for the higher education of youna: ladies has always maintained a large musica! department in charge of teachers of exceptional ability. Many artistic recitals are given. Mdndt, Mes. Fannie Coltin, 6. in Rochester, N. Y. e. with Benjamin Hill, Herve D. Wilkins and S. N. Peniield. Teacher of piano, voice and guitar. Mrs. Munday has been very succ ssful in raising the standard of musical appreciation and taste at the institutions with whicn she has been connected. She is a very earnest musical educa- tor. MuRCH, Hammond, 6. 1865, in Williamsport, Pa; r. Burlington, Iowa: e. College of Music of Cincinnati, Ohio. Teacher of violin and piano. Mteb, Edmund J., b. Jan. '.il, York Springs, Pa. r. New York, N. Y. Teacher of voice culture and singing; author of various works on the principal use of the voice. Nelson, Mes. Clara Toupjee, 6. July 7th, 1863. in East Greenwhich, R. I.; r. Boston, Mass. e. New England Conservatory, from which, she graduated in 1884. Teacher ,of voice at the New England Conservatory, and concert and church soprano soloist. Nembach, Andrew, 6. June 29. 1839, in Bavaria Germany, e. under Gnstav Schilling. Teacher of piano, organ and theory. Author of various con- cert overtures for orchestra, concert overture Spring, etc.; r. Cincinnati, wh^re for twenty- seven years he has occupied prominent and hon- orable positions as organist of various cliurches, synagogues and masonic organizations. Is direc-' tor ot the Westwood Choral Society, and the Cin- cinnati Double Quartette, NoROEOSS, Webster, b. April 9th, 1856, in Bos- ton, Mass. Now resides in P;nglani1, as the lead- ing basso profundo of the Carl Rosa England Opera Company, e. at Worcester, Mass., and Stockhausen, Germany. Oboybki Floeian, b. Warsaw, Poland, April 20, 1840. Is teacher of piano and conductor of musical societies. Came to America in 1872. Has organiz- ed several singing soiaeties; r. Paterson. N. J. and director of Paterson Philharmonic, and from 1884 to 1887 director ot Paterson Musical Union. From 1888 in faculty of the New York Musical College. Ogpen W. A-UGUSTINB, b. 1841, Franklin County, Ohio; e. under private teachers. Teacher of voice culture, and music in the public schools. He was a pupil of Br. Lowell MasoD. Br. Thomas Hastings andProf. Benjamin !F. Baker. Author of a considerable number of Sunday School Singing Books and works for classes and musi- cal conventions. Mr. Ogden belongs to the younger class of musical convention directuis. Oldham, Herbert, &. March lat, 1853, in Dublin, Ireland; e. Trinity College, Dublin, and the Royal Academy of Music at London. Was also pupil of Joachim Raff, Teacher of piano, organ, voice and harmony. Author of sRveral composi- tions for the voice, pianoforte and organ. Olin, Nora L.. b. Jan. 18th, 1859, in Waukesha, Wis.; e: Chicago Musical College and under private teachers. Teacher of music in public schools in Waukesha, Wis. Ourtts, Mrs. L. S., h. Nov. 25th, 1856, Monticello, Ind.; **. Wesleyan Female College, Cincinnati, under Arthur Mees and George Magrath. After teaching in Tennessee for two years, removed to Monticello, Ind., where she now resides. Paokaed, Adelaide LuELiiA, b. La Porte, Ind.; e. Oberlin, Hillsdale, Mich, and Washington 1). G. Was Edsoa pupil of Emil Liebllng, Prin. cipal of the piano department of the Musical Conservatory, Be Pauw College. . Formerly resi- dent of Chicago for six years. Paltbnghi, p. Edward, 6. June 25th, 186S, in New York City. Since 188B, ha^ been engaged, as toacher of piano in New York City. Payne, Levi Wat-ter, b. Nov. 18th, 1858, in Coldwater, Ohio; r. Fort Scott, Kan.;, e. Dana Mn«ical Institute, Warren, Ohio. Band and vocal teacher. Perkins, Edwin Hazen, b. Stoekbridge, Vt., Sept. 2S, 1840. Suc<"essful teacher of singing. Taught in Vermont^ and Massachusetts. Author of several compositions. Perkins. Jules E., 6. Stoekbridge, Vt., March 19, 1S45. Married Marie Roze in 1874 in London; d. in Manchester, England, Feb. 5th, 1875. In i'567 lie studied under M- Delle Sadie. After that studied under the best Italian masters for five years- Made hie debut in 18(J9 with great success. Mr. Perkins' repertoire was extensive, including many great operas. His voice was a bass of great capacity, of fine quality and excellently cultivated Perkins, Colonel Orson, 6. Harfcland, Vt., Dec. 17,-.l«Cra; was a successful singing class t^li^er for forty years, and a conspicuous choris- ter: also a composeiyof church musicr rf. Tafts- vill^, Vt., April 17, 1882. Perkins, Wiltliam Osoah, b. Stoekbridge, Vt.. May 23, 1831, Studied music in Boston, and taught voice and harmony for many years ; author of a large number of singing books. Now a resi- , dent of New York City. Peters. B. F., b. Sept. 4. 184B, in Corydon, Ind. e. Boston Music School,, under the direc- tion of B. F. Baker ; for last nine years has been prominently eny:aged as a director of musical societies in Dubuque, Iowa. Pierce, Edwin Hall b. Dec 25, 18fi8, in An- bnrn, N. Y.: r. Ripon. Wis.; pupil of Prof. I. V. i'lagler and Henri Appi ; teacher of piano-forte, organ and theory; is director of the School of Music at Ripon College; author of numerous compositions for the piano, Platt, Chables S., &, 184fi, in Newtown, Conn. ; e. Leipsic Conservatory. Teacher of piano-forte and harmony; author of a number of pieces for the piano. Page, Nathaniel Clifjtoed, 6. Oct. Sfi, I86fi, in San Francisco, Cal.; e. under private teachers. Especially distinguished in orchestration and composition. Author of serio-comic opera ""The First Lieutenant," which ran for a season at the Tivoli Opera House during iMay, 1889. Also author of about twenty songs and several or- chestral pieces. Page, Isaac Thos., b. Aug. 20, 1843, in Defiance county, Ohio; e. Boston. Teacher of class singing and conductor of musical conventions. Author of a number of songs and anthems and pieces for church music Parker. Geo. Albert, b. Sept. 21st, 1856, in Kewanee, 111.; e. under Clarence Eddy and Fred- eric Grant Gleason of Chicago, and at the Royal Conservatory at Stuttgart. Returning to America in 1882, became instructor of music at Syracuse University, and in 1883 was made Professor of piano and organ, where he still is one of the most active and able of American musical educa- tors. Pfeft-erkorn, Otto, b. 1863 in Germany; r. Den- ver, Colorado, e. Boston University and New Eng- land Conservatory, from which he graduated in 1885. Pianist; is the author of a number of com- positions of chamber music, piano pieces, etc. Director of music in the University of Denver. Plowe, Eugene H.. 6. May 17, 1851, in Wads. worth, Ohio. e. nnder A. B. Parsons, piano, and Carlo Bassini, voice. Teacher. of piano, voicf^ culture and theory. Conductor of choruses and orchestras. The director of the Peoria chorus which has given many oratorio works. Pratt, Waldo Selden, b. l^ov. io, 1857at Phila- delphia, Pa.; r. Hartford, Conn.; e. Williams College, 1878. Johns Hopkins University, Fellow one year. Prof, of Sacred Sluslc and Hymno- logy in Hartford Theological Seminary since 1882. Voice, organ, theory and history. Has held many positions of honor and prominence. He is one of the clearest vmters upon the subject of music, that We have in America. Is chairman of the Church Music Committee of the M. T. N. A. He lias also presented some very important re- ports. Qdimby, Helen Sherwood, &.,Dec. 26; 187^n Rochester, N.; e. Nansemond Seminary from which she graduated in 1888- Teacher of violin and piano; r. Suffolk, Va. Rankin, Frank L., &. June 23nd, 1863, in Hiram, Me.; r. Portland, Me.; e. under Stahaty and Sau- cier, Paris. , Teacher of piano. Church organist. Author of two anthems, and some church music. Reinbeck, E., b. 1850, in Hamburg, Germany; e. Stuttgart Conservatory, afterwards with Wil- liam Mason. Engaged as teacher in New York for the past fifteen years, nine years at the New York Conservatory, four years at the New York College of Music, Reinbeck, Mrs. E., b. 1863, in Lille, France; e. A. Jaell, Paris and Auguste Dupant, Bruxelles; r. New York, as pianist. Ring, Emil, b. Nov. 21st, 1863, in Fetchen. Aus- tria; r. Cleveland, Ohio; e. Conservatory in Prague from which he graduated in 1883. Conductor of the Philharmonic Orchestra of Cleveland also of the Cleveland Gesangverein. Pianist and teacher at the Conservatory of Music. Roach, J. Henry, b. Feb. 11, 1868, in Catoosa Co., Ga.;e. under Prof. S. M Roach. Teacher of -.singing. Very active in Northern Georgia, having large singing classes over quite a large region of country adjacent to his residence, Ring- gold, Ga, 7ia BoBERTS, J. Henbi, b. Aug. 5th 1856, in Pitts. ton, Pa.; r. Cleveland, Ohio; e. Beaver College and Musical Institute in Beaver, Pa. Concert pianist and instructor in vocal music, piano and organ. poGEKS, J. H., e. in Berlin and Paris under Liesohhorn, Haupt, Gnilmant and Widor. For past nine years, teacher of music at Cleveland, Ohio. Author of a number of songs and compo- sitions. RosBNFELD, Mackice, Bebnakd, i.Vienna, Aus- tria,.Dpc. -Slst, 1SB5. Pianist. Teacher in Chicago Musical College. Commenced to study piano at the age of nine -with a pupil of Wollenhaupt. Also studied with Aagast HyUested, Louis Palk and Adolph Knelling. Graduated in 188S, gaining first prize. W. W. Kimball, Gold Medal and first prize in 1889, N. K. Pairbauk, Gold Medal for Dest pianist. Composer of numerous pieoesfor piano, violin and string instruments. R^SEWALD, J. H., b. 1873, in Baltimore, Md.; e. with Edmund Singer, Royal Concertmeister at Stuttgart, in violin. Returned to Baltimore and served as conce! t master at the Peabody Institute. Traveled three seasons with Gerster, Marie Hoze and Madam Maternaas solo violinist. Was con- ductor of Emma Abbott Eaglish Opera Company. Located in San Francisco since 1881 as solo vio- linist and orchestral conductor. Rowley, Caeoline D., 6. 1860, in Waukeean, 111.; r. Cedar Rapids, Iowa; e. New England Con- servatory from which she graduated in 18S5. Teacher of piano, harmony and pipe organ. RnooLEs, Joseph Westlev, b. Dec. 2nd, 1837, in Milan, Ohio; r. Fayette, Iowa; e. National Normal Institute, Jaynesville, Wis., from which he grad- uated in 1870. Teacher of piano, voice and har- mony. Director of Conservatory School of Music at the Upper Iowa University. Is the author of a number of Anthems, cantatas and Sunday School songs. An active and prominent musical educator. Rupp, Bbknhaed H., 6. Jan. 13th. 1847, in St. Leon, Germany; e. Stuttgart Conservatory, from which he graduated in 1873. Teacher of piano, organ and musical composition. Has been prin- cipal of the music department in several promi- nent colleges and in 1888 received the degree of Doctor of Music from Adrian College^ and is director of the "Concordia" Singing Society. Russell, L. A., ft. 18"i4, in Newark. N. J. Pianist and organist. Musical Director of the Newark College of Music. Teacher of voice, piano and theory. Conductor of the Easton Pa. Choral So- ciety and Cecil ian Chorus, also conductor of the Schnbert Vocal Society since 1879. Composer of a cantata, and several pieces for piano-forte, voice, orchestra and chorus. Author of ''How to Read Music" etc. Eydee, Geo. H., head of a distinguished firm of enterprising and progressive organ build- ers, George H. Ryder & Co., Boston, Mass. Sawteb, Feedeeiok a., b. July 15, 1838, in Port- land, Me. e. under a large number of private teachers. Teacher of piano, voice culture and composition. Composer of numerous pieces for special occasions, but in manuscript. An active teacher. Sawteh, Willaed, S.; 6. Sept. 4th, 1860, in New York City. e. New York College of Music. Teacher of piano and violin, in Brooklyn, N. Y. Author of "Sawyer's Piano Students Practice Records". Salt, Enoch J., 6. April 9, 1857, in Covington, Ky.; r. Portsmouth, Ohio. Organist and com- poser of several son^s. church music aad a sonata for piano. Mr. Salt was organist at the Centen- nial Exhibition in 1876, where his efforts were highly appreciated. Saltee, Sdmneb. 6. June 24th, 1856, in Burling- ton, Iowa; e. A. C. Amherst College, and under prominent teachers in Boston. Author of songs, church music, etc. Organist and director of much experience. . Saltee, Mes. Maet TnBNEB, 6. March 15, 1856, in Peoria, lU. Wife of preceding, A dramatic so- prano and teacher of singing. PqpU of Mme. Rndersdorff. Has held many prominent chnrch positions in New York and Boston. SoHEHLmANN, LOTUS, 6. Oct. 22nd, 1854, near Spires on the Rhine. Came to this Country in 1872. Teacher of music and conductor of Choral Clubs in Cleveland, Ohio, from 1872 to 1883. Since 18a3 is conductor of Mozart Association and Concordia Glee Club in Lynchburg, Va. Mr. Schehlmann is the composer of a large number of choruses, songs and piano pieces, many of which have been very successful, also a suite of studies for piano. Schmidt, Clipeoed Alfbed, 6. Oct. 11, 1862, in San Francisco, Cal.; r. New York, N. Y. e. Royal Conservatory of Leipsio. Royal High School of Berlin. Senior concertmaster of the Metropoli- tan Opera House and Anton Seidl Orchestra. Violinist of high rank. Mr. Schmidt was also a pupil of Massart, Paris, and of Joseph Joachim, Berlin. Schneider, Catheeine and Augusta, 6. May- ence, Germany; r. Chicago for several years. Con- cert pitinists and teachers of the piano. Sohubeet. Cheistian John. b. July 3rd, 1870, in Chicago, 111. e. Royal Conservatory in Munich, from which he graduated in 1889 after a term of four years. Pianist. Teacher of the piano at Western Musical Academy; r. Hyde Park, 111. Seeeeet, Mrs. M. J., b. July 2nd, 1866, in Water- town, Wis. An accomplished performer upon the Zither. Directress of the Zither Department of the Western Musical Academy of Chicago. Segpried, Miss von, 6. Brazil, S. A. e. as a singer under good teachers in Npw York and Ca-rlsruhe, Germany, under Haslacher,Kalliwoda, Lachner and others. Made debut in Carlsrahe in 1882, but returned to America and is now teaching at Hellmulh College. Shelley, Haeey Rowe, b. June 8, 1858, in New Haven, Conn. Mr. Shellv is one of the most ac- comiiUshed and fluent composers of church music in this country. He is a fine organist and writes remarkably well for the instrument. Is the author of many pieces for church use, and several important works for female chorus, one of which gained the prize at the Apollo Club in 1886. Pupil of Dudley Buck. Sherwood, Rev. M. A., 6. about 1830. Founded the Lyons,, Musical Academy, in 1854,,. _The au- thor of many valuable educational ideas, illus- trated in the success of several of his children as musicians, the great pianist, Mr. Wm, H. Sherwood, being his son. Schonert, Edwin M., b. May 9th, in Bucyrus, Ohio; r. New York, N. X- e. under Joha Underner. Graduated in 1885. Pianist. For several years, Mr. Bhonert has traveled as pianist and musical conductor in different concert companies. Was engaged with Mme. Abbie Carrington, Ovide Musin, and with Jules Levy. Skklton, Mbs. Nellie Bangs, 5. Aug. 15th, 1859, in Lacon, 111. Popular pianist, e. under Mme- de Roode-RicR. Author of a number of pleasing piano pieces; r. Chicago, 111. Skinnee, Oliver E., b. Feb. 7, 1864 in Lake Zu- rich, 111.; r. Bloomington, lU. e. Kullak Conser- vatory, Berlin, and graduated in 1887. Director Bloomington Conservatory of Music. Teacher of piano and theory. Is an able and active musician. 713 Smith, Rev. S. F., 6. Boeton: pminent Baptist divine. Composed the national hymn "America," 1832, firstprodoced in July o£ that year by Lowell Mason at Park Street Church. Smith, Miss Lelia 1., 6. Sidney Plams, N.Y. r. Hillsdale, Mich. e. Hillsdale College from which she graduated in Jane, 1893. Teacher of voice culture. Smith, Anita L., 6. 1866 in Philadelphia, Pa. «. Philadelphia Musical Academy from which she graduated in 1884. Pianist and teacher in Phila- delphia, Pa, SowBB, Sabah C, b. PhUadelphia, Pa.; «. New England Conservatory and Philadelphia Musi- cal Academy. Teacher of pianoi organ and theory. Spenoeb, Allen H„ b. Oct. 30th, 1870, in Fair Haven, Vt. Pupil of Wm. H. Sherwood, and Edgar Sherwood. Teacher of piano in Toledo, Ohio, Spenqleb, Abb., b. Dec. Slst, 1847, in Northamp- ton county, Pa.; r. Cleveland, Ohio. «. Leipsic Conservatory from which he graduated in 1870. Teacher of piano, organ and theory. Author of "Spengler's System of Teohnio." Stanley, A. A., 6. May 25th, 1851, in Manville, E. I.; e. Providence, E. I., and later at Leipsic, his principal instrument^ the organ. Eetuming to America he taught in the Ohio Wesleyan Female College, and then at Providence, E.^ I., ■where he remained for thirteen years, occupying very prominent positions. In 1888 he was made instructor of music in the Michigan University at Ann Arbor, where he now resides. Mr. Stanley has held many important positions in connection with the M. T. N. A. and A. C. M.,beingoneof the five incorporators of the latter. Is concert organist of unusual ability, and a musical educa- tor of high reputation. Staats, Heney T., Je., 6. May 22n4 1863, in Orange, Conn. e. Royal Conservatory at Leipsic from which he graduated in 1885. Pupil of Br. Maas, Edmund Neupert and A. E. Parsons. Teacher of piano and theory. Author of several piano pieces and songs. Btaynee, Coknelia T., 6. Nov. 25th, 1858, in Brooklyn, N. Y. e. Milwaukee School of Music, under J. C. Filmore. Graduated in 1858, and ad- mitted to A. C- M. same year. Teacher of piano- forte and theory. Stbioeb, Emtt., 5. Deo.23nd, 1860, in New York; ■?'. New York city, N. Y.; fi. Grand Conservatory of Music, N. Y., from which he graduated in 1882. Teacher of piano, harmony and conduc- tor. SiEi'jEEEOHEE, Feedeeio W., 6. Jan. 19, 1818, in Berj n Germany. Pupil of Chopin from 1843 to 1844, a.jd taught in Paris until 1848, when he came to Cincinnati, where he is still living. Probably the only living pupil of Chopin in this country. Author of "Tarantelle Valse Mazurka," "Set of eight variations", concert polonaise for cornet, arranged for orchestra and a number of waltzes and mazurkas. Steeling, Wintheop S., b. Nov. 28th, 1859, in Cincinnati, Ohio. e. Leipsic Conservatory from wh'ch he graduated in 1886, and in London with E. H. Turpin. Teacher in the College of Music since 1886. Stookeb, Mes. STELtA Pbinoe; b. Jackson- ville, 111., 18-18. Graduated from Illinois Conser- vatory of Music in 1876, and from Michigan University in 1880. Has also studied in Dresden, Germany. Teacher of piano in Jacksonville, 111. and in Duluth, Minn. Steaub, S. W.; 6. Deo. 2nd, 1842, in America. «. under Robert Goldbeck, Wm. Mason, Carlo Bas- sini and Carl Zerrahn. Musical author and pub- lisher and conductor of musical conventions. Teacher of Normal ISohool. Mr. Straub by his own energy has made himself a leader for a large circle of singers and musical students throughout the Middle Western states. Editor of the ''Song Friend". Steaub, Andebw Mabods, b. June 19, 1855. e. St. Francis Musical College, from which he graduated in 1874, in piano and violin. Composer of several overtures, and leader of the Grand' Opera House Orchestra. Mr. Straub holds several other prominent positions at Portsmouth, Ohio, Steono, Nellie C, 6. Eockford, 111. e.^Bee- thoven Conservatory, St. Louis. Studied with Goldbeck, Weidenbach, Lapperitz, Eeineoke and Liszt, in Germany. Graduated from Leipsic Con- servatory in 1881, gaining a, prize. Taught piano for seven years at the Beethoven Conservatory, and has now private music rooms, where she gives frequent recitals tad lectures. A very sncoesstnl teacher. Sueton, E. M., 6. Oct. 9, 1859, in Mount Auburn, Iowa: e. New England Conservatory, and under Messrs. Sherwood, Maas and Thayer. Painstaking teacher of piano and theory at Cedar Rapids, Iowa. Sullivan, T. J., b, Nov. 30th, 1846; in London, England; r. Cincinnati. Ohio; e. with Signer Al- flsi, Prof. Eivide and Carlberg of New York. Vocalist and teacher of voice culture in Cincin. nati' since 1878. Suteo, Mbs. Flobenoe C, 6. May 1st, 1865, in London, England. Pupil of Dr. Wm. Mason and Dudley Buck. Graduated from Con- servatory of Music of New York, in 1888. Concert pianist. Composer of several songs and pieces; r. New York, N. Y. Swan, Allen Webster, b. June 20th, 1852, in Dorchester, Boston, e. New England Couserva- tory, from which he graduated in 187B, also Bos- ton University. Teacher of organ, piano-forte and harmony. Concert organist and chorus con- ductor. Tuppee, Thob. Jb., b. Canton, Mass. A writer, pianist and composer and_ teacher of giano, theory and musical composition. Among is works are various pieces for piano, a suite in E. major ,' a Tocatta in F.; aFairy Dance for wood, wind and horn, and a Transcrip- tion for full Orchestra of Schumann's "Etudes Symphoniques " Also a Translation of Camille Stamaty's text book, (Le Ehymthme des doigts) ; and two Translations from the Danish. He is the author of a volume of essays '"Chats with Music Students," and examiner in the Amer- ican College of Musicians. Taylor, VisaiL Coeyden, 6. April 2nd, 1817, ' in Parkhamsted, Conn.; r. Des Moines, Iowa. Composer, director and voice training. Author of sixteen music works. Held musical conven- tions from 1850 to 1877, throughout the Country. Tbenkle, Joseph. A young pianist who came from Germany about 1859. Active in promoting musical interest in Boston and afterward in tian Francisco, where he died Nov. 10, 1878. Tam, Alice Milleb. 6. 1847. in Bellefontaine, Ohio. e. under private teache-s. Commenced teaching at the age of fourteen, and has been active ever since. Is also a writer of prose and poetry. Tetedoux Clement, b. Ifi-il. in Paris, France. Studied with Luigi Piccioli for three years, and with Revial, Paris for two years. Founded the Gounod Club "in Pittsburen and produced the master pieces of Handel, Hayderi, Mendelssohn, etc. etc. Also many leading operas in 1874 and 1878. Mr. Tetedonx has a vride-spread reputation 7>4 as a conductor of vocal works. Has studied witli Bome of the ereatest masters of Euiope and is now a vocal teacher, Thomas, John E., 6. 1850, in Newport, South Wales. Came to the United Statss at an early age. Was connected with the Sequin Enelish Opera Company. Finally settled in New York where he still is. Mr. Thomas is chiefly noted for his songs, which are very numerous and popular. He is a clear and fluent writer. Thomas, Claba E., 6. St. Paul, Minn.. Feb. 7, 1862. Studied piano from her fourth year. Kn- tered the Beethoven Conservatory under the tui- tion of Schilling. Later on she went to Europe to finish her stadias in piano and voice. Sang in many operas, taking the leading parts and met with srreat success, all over Europe. She has a be lUtiful soprano voice noted for its pure intona- tion and brilliant upper notes. Mrs. Thome is also a brilliant pianist, her playing being highly appreciated wherever she appears. • TOEEENS, L. A., 6. April 10th, 1848, inBangor, Me. Conductor and teacher of voice culture in Toledo, Ohio. Is also director of Toledo Conser- vatory of Music, also of Festivals and Choruses. Teact, Mes. Jas. M., ft. May, 1863, in Frank- lin, Mass.^ e. Dean Academy, from: which she graduated in 1885. Is a very successful teacher and concert player in Boston, Teemain, Anna, 6. Oct. 15th, 1857, in Bncyrus, Ohio; r. Newton, Iowa; e. under private teachers and at Conservatory at G-rinnell, Iowa. Success- ful teacher of piano. Tebtbar, Chaeles F., 6. Feb. 13th, 1832, in Brunswick, Germany, where his father, the clari- onet virtuoso was attached to the Ducal Orches- tra. At an early age, he evinced musical talent which was carefully cultivated up to his four- teenth year^ when in consequence of an accident to one of his hands, he entered upon a mercantile career. From 1846 to l&'ri, he resided in Leipsic, At the end of the latter year he preferred to emi- grate to America rather than be drafted into the army. Since January ISBi. Mr. Tretbar has been connected with Steinway & Sons, of New York. Teetbae. Helen D., ft. in BofEalo, N. Y. Is a fraduate of the Female Academy of that city. 'or years has been contributor to several of the leading musical Journals of the Country and is also the translator of Louis Ehlert'e Essays enti- tled "From the Tone World" and of the librettas of Nessler's "Trumpeter of Lakkingen"; Weber's "Sylvana"; Kiel's "Christus" and innumerable songs from the German, French and Italian. Eeussenzkhn, WlUilAM, 6. June bth, 1858, in Dayton, Ohio; e. College of Music, Cincinnati, from which he graduated in 1888. Engaged in violin, organ, piano and composition.^ Author of a concert overture, "Symphony Kociusko" and several piano compositions. Organist at St. Pe- ter's Cathedral; r. Cincinnati, Ohio. ■ Van Ness. Mes. Reoina B., 6. Sept. 34, 1858, in Waukesha, Wis.; e. Upper Iowa University. So- prano singer. Well known as a concert singer in Iowa and Minnesota; r. Maquoketa, Iowa. Vermii.tb, Josephine E, Wake, ft. June 1st,, 186;;!, in Boston, Mass.: e. under Payne, Sherwood, Liszt, J. H. Wheeler and S. B. Whitney. Concert pianist and teacher of piano. Is very successful. "ViNiNO, Helen Shebwood, 6. July 4th, 1855, in Brooklyn. N. Y. e. under private teachers. Author of a Piano Primer and several works of instruction. , t. . Von dee Heide, John Febdeeick, o. Feb. 1855, in Cincinnati, Ohio. e. Knllak Academy, in Berlin. Graduated in 1883. Teacher of voice training and piano playing at the New iork Con- servatory of Music. Author of songs and sketches for piano. WAiiDNER, AtJGUST, ft. Jan. 6th, 1826,in Landau, Germany. Pupil of Molique at Stuttgart. Arrived in America in 1844 where for a number of years traveled as solo violinist. Director of Beethoven Conservatory -of Music, St. Louis. One-ot the best known 'muMoal eduoators-inJiie-Wesfr. Waeben, Heney C, 6. Nov. 26th, 1855, Killing- ly. Conn. r. Danielsonville, Conn. Teacher of piano, organ and theory for sixteen years. Webbm, Adam. 6. Ang. 19th 1854, in Cincinnati, Ohio. e. private teachers. Conductor of orchestra at Heuok's Opera House. Manager of Weber's Military Band, etc, John C, Webeb, 6, Sept, 23, 1868, in Cincinnati, Ohio. Clarionet soloist, and musical director. ■ Has occupied many prominent positions, r. Cin- cinnati. WEiaAND, Louis A., ft. Oct. 23rd, 18"'6, in Cin- cinnati, Ohio. e. private teachers. Violin in- structor for eight years. First violin in orchestra, Henck's Opera House, Cincinnati. Webthnee, Philip, 6. May 27th, 1858, in Bara- boo. Wis. e. under Soharwenka, of Berlin. Grad- uated in 1886. Piano teacher in Cincinnati. Westendobf, Thomas P., 6. Feb. 23rd, 1848, in Bowling Green, V. e, in Chicago, under private teachers. Teacher of singing and brass bands. Composer of about four hundred vocal and in- strumental pieces; r. Pontiac, lU. WiLBTJE, Newell L., T). Aug. 2nd, 1851, in Providence, E. I. e. Greenwich, and Providence, E I. Graduated in 1870. Church organist. Also teacher of piano, theory and organ in Providence. WiLKiNS. Maev E., 6. Dec. 27, 1868, in Milton, Pa e. Rookford Seminary, from which she grad- uated in 1888. Church and concert organist; r. Eooktord, lU. Williams, Victor, ft. August 13th, 1816, in Stockholm, Sweden. One of the most eminent teachers in Cincinnati, where he has resided for fiftv years, and haaled the same choir daring that entire time- For twenty-two years tau«ht music in the Public Schools, Has been conductor of various societies. Wilson, }Xa. H„ ft, Feb. f24th, 1843, in Newport, K. I. e. Leipsic Conservatory, from which be graduated in 1868. Pianist and teacher of singing. Author of numerous pieces for piano; r. Newport, B. I. Wood Albert Demain, 6. August 18, I860, in Denmark, Iowa. r. Oskaloosa. Iowa., «. Wood Conservatory. Teacher of piano, violin, guitar and harmony. WoODHBAD, Maey Skelton, ft. .Burlinston, Iowa Oct. 15th, 1867. e. Chicago Musical College. Is professional ballad singer and makes a specialty of Scotch baUads. WoOLETT, WiLFEBD. 6. 1872. in JanesvUle, Wis. e under prominont teachers.. Teacher of violm in the Woolet School of Musie, Chicaco, 111. WoLFI'S A. 6. Feb. 8th, 1861,nearAbbotttown, Pa e under private teachers. Since 1^6 Musical director of Gaston College, at Dallas, N. C. YOUNO Edwakd M., 6. May 21st, 1857, in San Francisco, Cal. e. Eoyal Conservatory at Leipsic, nnder Eheinecke and Jadassohn, from which he graduated in 1879. Teacher of pimo, harmony. Sounterpoint and compositipn. Author of a nam- ber of pieces for piano. Vice president of the California Music Teachers' Association. 715