Sixty Years of California Song Part 11

Other entertainments of this nature were given. H.M. Bosworth's operetta, "Mother Goose Reception," had a tremendous run. It became so popular that it was played in every city and town of any size from San Bernardino to Sacramento and Stockton and as far north as Oregon.

There was a rivalry between it and the Milkmaid's Convention which received its full merit throughout the state. Mrs. Hodgkins and Miss Lucy Grove were the bright originators of this cantata, which proved one of the most interesting debates upon the milk question and microbes ever propounded in any community with musical setting and was a genuine side-splitting entertainment.

One of the special engagements that occurred yearly were the commencement exercises of the Benicia Female seminary, a meeting of alumnae and pupils. From 1862, on my return to California from Boston, until the death of our instructor, Mary Atkins-Lynch, I was the honored guest as vocalist at these gatherings, and I count these epochs in my career some of the special occurrences. I was among the first pupils of the school and added my talent on all occasions of note during the continuance of the seminary. It was in Benicia where Mrs. Lynch first began her work as princ.i.p.al of the seminary. Her pupils are now scattered over every quarter of the globe. A thousand invitations were sent out and 250 accepted and others sent their regrets from the different cities in which they resided. These were put in a list and read with interest by those who gathered in 1878--the last and most notable reunion of the school. There were at this time Messrs. Gray, Jones, Woodbridge and Hastings, trustees of the seminary when it was founded. They had not met for years, and the pleasure they felt at this accidental meeting can be imagined. It was like one large family reunion, for these men were our friends as well, and through their efforts the seminary was placed upon a high standard. We were visited yearly by the notable men of the state legislature, army and navy, professional men and women of culture and talent. It would not be amiss to let the younger generation be familiar with the names of early Californians who stood high in the nation and honored men of the state: Capt. and Mrs. Matthew Turner; Dr. Cole and wife of San Francisco; Professor Trenkle, pianist, San Francisco; Dr. S. Woodbridge; Judge D.N. Hastings and wife; Hon. L.B.

Mizner and wife; Bishop Wingfield; Major Hackert; Professor Roger of St. Augustine College; Capt. E.H. von Pfister; General Kautz; Major Wells; Major Wilhelm; Captain Rixford; Lieutenant Scriven, U.S.A; Lieutenant Weresch, U.S.N.; C.B. Houghton; Rev. Mr. Easton; Professor Corbaz; Mrs. Brackett, cla.s.s '59; Harriett Riddell, Cla.s.s 72; Major Townsend; Dr. Peabody; Samuel D. Gray and wife; John Denning; Judge Lynch; Professor Trenkle, one of the pioneer musicians of the state and seminary; Mrs. Mary Loughlin Kincaid, of San Francisco high school fame, president of the alumnae; Mrs. Mary Hook-Hatch, vice president; Mrs. Agnes Bell Hill, treasurer; Miss Kittie Stone, secretary; Mrs.

M.R. Blake, the first vocalist of the seminary to distinguish herself in the world of music and song.

Dr. Woodbridge in his address alluded to old memories connected with this young ladies' seminary, the trials and vicissitudes of one of its first princ.i.p.als; how she had taken the school in early days with six or eight pupils and in a few short months had 140 scholars beneath the roof. The doctor paid a fitting tribute to the ability and worth of Mrs. Lynch and the grandeur of her position in the cause of education.

Her life was a glorious victory and one that should be handed down to posterity.

CHAPTER THIRTEEN

ROMAN CATHOLIC, EPISCOPAL, AND JEWISH MUSIC. J.H. DOHRMANN. THE BIANCHI'S

During my ten years' engagement at St. Patrick's Church, on Mission street, San Francisco, we gave many ma.s.ses and also arranged concerts which would prove of great value to the singers of today who have aspirations for better music than the frivolous songs and bad style of singing which is in vogue. The ma.s.ses that we sang were written by the best masters. Our organist and director was educated in Europe and received the best musical education and understood the standard which should be upheld. We were familiar with all of Mozart's ma.s.ses, requiems and vespers. The Twelfth was the most frequently sung if grand, joyful music was required. The Requiem Brevis, a gem of church music, was given on the most solemn service. All Saints' Day generally claimed that number. The Fifth Ma.s.s was the one chosen when we dedicated the magnificent $10,000 organ, June 20, 1869, which was bought with the money received from the grand concerts which were given from time to time by the regular choir and chorus of thirty voices with orchestra and visiting soloists of high repute, if they happened to be in the city at the time of giving.

I am more than grateful that I can place within these pages a fine photograph of this magnificent organ, a reminder of the once beautiful and grand instrument which was destroyed and burned until there was not a souvenir left to tell the story of the great and grand music that it pealed forth so many years, and of the work of the beautiful voices that once sang the praises and the power of the grandest music ever written by a galaxy of writers who are no longer with us. Of Haydn's sixteen ma.s.ses we usually sang from one to eight, these being the most used, and No. 16 B Flat ma.s.s was often chosen. His Vespers No. 1 was sung many times. We generally used Weber's ma.s.ses--one written in E flat and one in the key of G. They were the most familiar of his ma.s.ses. One of the most difficult ma.s.ses we sang was written by I.J. Paine of Boston. It was the first ma.s.s and required artists to give the proper importance to this magnificent ma.s.s. Rossini's Solenelle was given on the solemn occasion of the death of Pius IX. It was rendered for the first time in California October 31st, by sixteen solo voices, thirty-five in the chorus and the regular choir, full orchestra and organ. The following was the programme for the requiem ma.s.s Solenelle sung by the soloists and a.s.sisted by the chorus and orchestra and organ; Introit, Dies Irae, Lacrimosa, Benedictus, Agnus Dei, Lux Aeterna were all from Cherubini's compositions; offertory, Dominus from Verdi, Libera from Palestrina:

Mrs. Brandel, _soprano_ Signora Bianchi, _mezzo-soprano_ Mrs. M.R. Blake, _mezzo-contralto_ Signor Bianchi, _tenor_ Signor Meize, _tenor_ Mr. Stockmyer, _ba.s.s_ Mr. Yarndley, _ba.s.s_ J.H. Dohrmann, _organist_

Orchestra 30 pieces.

[Ill.u.s.tration: J.H. DOHRMANN, ORGANIST AND DIRECTOR

ORGAN OF ST. PATRICK'S CHURCH, SAN FRANCISCO

Made in Germany in 1874]

With a crowded church and the altars draped in black, with the rest of the gifted singers on that occasion, will candelabras that were all burning, with many priests upon the altar, and the other accessories, the scene was notable. Time never can erase the picture as it comes back in memory. The wonderful music, in which I took part, with the rest of the gifted singers on that occasion, will never be forgotten.

Later, as years rolled on and the old singers retired, we had other artists who were the singers in this choir:

Mrs. Urig, _soprano_ Mrs. Young, _soprano_ Mrs. Taylor, _soprano_ Signora Bianchi, _mezzo-soprano_ Mrs. Herman, _mezzo-soprano_ Mrs. M.R. Blake, _contralto_ Miss Ella Steele, _contralto_ Mr. Buch, _ba.s.s_ Mr. Schnable, _ba.s.s_

We had also the ma.s.ses of Lambillotte, the one in D being the most familiar. There was Peter's Ma.s.s in E flat. His smaller ma.s.ses were complete. Mercadanti, four-voice ma.s.s, also one for three voices; W.A.

Leonard's ma.s.s in B flat, four voices; Millard's ma.s.ses complete; Farmer's ma.s.ses, one in G, one in B flat; Schubert's five ma.s.ses and vespers, 2d, 3d and 4th; Beethoven's two ma.s.ses, the one in C being the most difficult. There was another written in D. Schubert's 2d, 3d and 4th ma.s.ses were sung frequently. The grand ma.s.s of John Sebastian Bach, written in B minor, was sung by our choir for the first time in San Francisco, April 17, 1869. No one who is a singer can be blamed for being justly proud in rendering this music with the following artists:

Miss Brandel, _soprano_ Signora Bianchi, _mezzo-soprano_ Mrs. M.R. Blake, _contralto_ Signor Bianchi, _tenor_ F. Shoenstein, _ba.s.s_

Only the solemnity of the sanctuary refrained the people from giving the proper appreciation in applause when we sang this grand ma.s.s which was rendered by this splendid choir and directed by our beloved organist, the dean of that magnificent instrument (of which we were so proud) for we were the princ.i.p.al workers in the cause for obtaining the money for it. We then had the happiness to sing each week and listen to its beautiful notes. Our happiness was complete.

In 1874, July 5th, we sang for the first time Roeder's heavy ma.s.s. We often sang Concone's three-voice ma.s.s, Verdi's ma.s.s and Dominus, Palestrina's Libera, Paolo Giorza, and Regina Coeli. The choir library was complete with all kinds of ma.s.ses, small and large. Many of them we sang. Some of them were very old and written in ma.n.u.script. I remember the professor gave me at rehearsal a celebrated old heavy German ma.s.s (No. H Messe von Rader) in ma.n.u.script and my part was the counter-tenor. Imagine my consternation when he placed it in my hand.

I could always make an alto to any tune, so I just looked at it blindly and made my harmony as it fitted and did not disturb the harmony of the music. After rehearsal he came to me and said, "You did very well at faking, but if you will go up two notes and fall an octave you will get your part." That was enough for me. On my way home I bought some music paper and immediately set to work to get the ma.s.s ready for Sunday. This was Tuesday. By Friday the task was complete and I gave my work to my son George and asked him to look it over and see if I was all right. There was not a correction to be made, and I went to ma.s.s as proud as could be and sang the service through. After the service the professor came to my music stand and quietly took my fine copy and put in into the bookcase and that was the last I ever saw of my week's work. He said it was very nice of me to make such a good copy; it would be ready for the next singer who could not sing the ma.n.u.script. While I was disappointed, he was pleased that I had been clever enough to get out of the trap he had set for me, for he well knew I had never seen that music before.

Besides a splendid supply of ma.s.ses, there were vesper services, Gregorian chants, Ave Marias, Veni Creator, solos, Mozart's Ave Vernum, requiems from various writers, Stabat Mater by Rossini; Franz Liszt's O Salutaris; Bach's Tantum Ergo; Salutaris, Carlo Ba.s.sini; contralto solos from Rossini's Solenelle; O Salutaris, Agnus Dei, Quae Te Christi by Millett; duet soprano and mezzo, Agnus Dei, Geo. Bizet; Lascia ch'io pianga, Handel; Raff's Cavatina for contralto; Millard's Ave Marias numbering 7 and No. 1, Salutaris; Mozart's 16th ma.s.s.

All these beautiful ma.s.ses and songs, duets and solos were familiar to me, and I had opportunity to sing them with the grandest singers of the day. I also sang many times at St. Mary's Cathedral, California and Dupont streets, (Bishop Alemany); St. Ignatius, when the college and church was on Market street, where the Emporium now stands; Vallejo Street Catholic Church, Mission Dolores, Notre Dame French Church, Alois Lejeal, organist, Bush street. One special Candlemas Day the St. Ignatius Church was so crowded I had to be carried by two strong men who pushed their way through the jam of wors.h.i.+pers. We sang Mozart's Twelfth Ma.s.s that day. The organist was one of the brothers of the college. I think I sang requiems in every Catholic church in San Francisco at that time. It seemed to be my share in life to sing for the dead of all creeds and kinds. If I attempted to give an account of requiems alone I could publish a book of good size. I have also taken part in the musical service at the funerals of the great men of California, like Ralston, Hopkins, Captain Metzger, Thos.

Breeze, J.B. Painter, Colonel Larkin.

In 1874 I lived on Post and Powell streets. Trinity Church was at that corner and many people who were strangers were taken to the mortuary chapel. One sad funeral occurred there on June 18, 1887, of Abner Lincoln Blake, a grandson of Major-General Lincoln of revolutionary fame. He was ex-deputy of the custom house in Port Townsend and was on his way to Was.h.i.+ngton, with papers of importance, to give evidence against certain men who were in government service. He was followed by some of their hirelings all the way on his journey and, arriving at Chicago, he was sand-bagged, but the villains were not quick enough to get his valise. They were frightened by the appearance of some one coming, and the victim was taken to the hospital. When the chief of police discovered who he was he did all he could to save the valuable evidence and notified the authorities at Was.h.i.+ngton. Everything was done to save his life, but he lapsed into unconsciousness for a week and died. He was brought to San Francisco, where a large family awaited his coming. It was one of the saddest funerals I ever witnessed or attempted to sing for. He had been cut down in the prime of life doing his duty for his country.

After leaving San Francisco in 1886 I sang in the Episcopal church in San Bernardino, and after eight months of service was engaged the remainder of the time in the Catholic church, Father Stockman. While there, I had a full repertoire of ma.s.ses, old and some new to me. No matter where one goes, the church must have the best singing, and to my surprise I found the musical library was filled with ma.s.ses, many of which we had in St. Patrick's:

Mozart's 12th, Haydn's 6th in B flat, Mercadanti's three-voice ma.s.s, Haydn's 3d in D, Haydn's 8th ma.s.s, Haydn's 16th in B flat, Mozart's ma.s.s in C No. 1, Haydn's in C No 2, Farmer's Ma.s.s in G, Mozart's No.

7, Peter's Ma.s.s in E flat, Mozart's Vespers in C Dur.

The requiem for Good Friday, April 25th, was sung from the quartette books used in the choir. We sang Buchler's vespers (the Memoria) and ma.s.ses, Borduse ma.s.s, Werner's ma.s.s, Concone's ma.s.s and Gregorian chants. Before leaving San Bernardino choir for the closing ma.s.ses, November 20th, requiem was sung, Father Koenig and Father Stockman officiating. On December 8th the Second requiem was sung from the quartette books. On December 22, 1888, we sang Borduse ma.s.s for the last time before returning to San Francisco.

I cannot give any information upon the music of the synagogue, although I sang six years there. The music is all ma.n.u.script and the cantors of the different schules all have their own services and nothing else is used, but they are very chary of their services, as they call them. I believe during my time we had six different ones, with their accompanying hymns, responses and chants, all in the Hebrew language. We had high days and holidays, which were very impressive and solemn, and the music was very beautiful and delightful to sing, even if we could not understand the meaning of the Hebrew. When the words of one service had been conquered, the others were easy to sing--like the Latin in the ma.s.ses. The Episcopal service, which is as familiar as all the others to me, has the same Te Deums, hymns and chants, choruses and quartette, litany and vespers, services, glorias and sacred cantatas. There is extra music for Christmas festivals and appropriate music for Lenten seasons and joyful songs for Easter, processional and recessional hymns written for this service by well-known men. The orthodox services are not so elaborate--an opening anthem, hymns, offertories selected from the many available churchly compositions written by Dudley Buck, Adam, Mason, Ambrose and other English and American writers of our time and before our time. I have a wonderfully fine collection of such songs that I have used all these years and have successfully sung. My sixteen years' service in Calvary gave me opportunity to collect the best songs to use for the church.

We used the church and home collection, Mosenthal's collection, Mendelssohn's Hymn of Praise, cantata of O for the Wings of a Dove, Te Deums by the best composers of sacred songs and anthems, oratorios, Moses in Egypt, David, Samson, Creation, Elijah, St. Paul, Messiah (by Handel), Stabat Mater (by Rossini), Daughter of Jarius, G.o.d, Thou Art Great (by L. Spohr), Baumbach collection of sacred music, Easter and Christmas music written by the well-known writers of the times.

Leaving the sacred work, I have also a grand collection of other works that I have sung in my musical life--Racine's Athalie, The Erl King's Daughter (by Miles W. Gade), First Walpurgis Night. Esther formed one of the epochs of my time, given in Platt's hall, on Montgomery street, by Mr. William Badger, for the benefit of the Episcopal Sabbath schools of the city in 1874; Queen, Madam Anna Bishop, soprano; King, Walter Campbell; Haman, Vernon Lincoln; Haman's wife, Mrs. M.R. Blake, contralto. The chorus was composed of members of the Handel and Haydn Society. The old hall was filled to overflowing and the singers at their best, and certainly success crowned every number. The enthusiasm of the audience knew no bounds and we were crowned with honors from the beginning to the end. If ever there was a happy man, it was William Badger, the piano dealer and Sunday school children's friend.

We were all paid the highest salaries and still the benefit was a grand financial success for the Sunday schools. Should I attempt to give all the different amus.e.m.e.nts and entertainments of every kind during my life of song, it would require a book of many hundred pages.

It is my intention to speak of the most important musical and dramatic performances and epochs of my life, as I have had a part in all these demonstrations and met all kinds of artists. It will in a measure, I hope, be an incentive for those who are musically inclined to pursue with energy, enthusiasm and faithful work the delightful task which music brings to us like other lines of education. You will find there is no "royal road to learning." The highest attainments can only be gained by careful, conscientious and intelligent study in the different departments undertaken. Students must remember, "those who go slowly go safely, and those who go safely go far."

[Ill.u.s.tration:

Rev. Dr. A.M. Anderson Stockton, 1852

Rev. Dr. Scudder San Francisco

Rev. Dr. Eells San Francisco and Oakland

Rev. Dr. A.L. Stone San Francisco

The Right Rev. Ingraham Kip Stockton, Benicia, Santa Cruz and San Francisco

Rev. John Hemphill San Francisco

Rev. H.D. Lathrop San Francisco and Oakland

Rev. Dr. Bellows San Francisco

EMINENT DIVINES FOR WHOM MRS. BLAKE-ALVERSON HAS SUNG]

CHAPTER FOURTEEN

GREAT MUSICAL FESTIVAL IN AID OF THE MERCANTILE LIBRARY, 1878. AT GILROY SPRINGS.

The grand musical festival given in the Mechanics pavilion, San Francisco, May 28, 29 and 30, 1878, was the second largest undertaking since the one given in 1873 under the supervision of the Mechanics'

Library a.s.sociation with Camilla Urso, virtuoso, and R.H. Herold, conductor, with 12,000 voices.