USA > Connecticut > New Haven County > Waterbury > The town and city of Waterbury, Connecticut, from the aboriginal period to the year eighteen hundred and ninety-five. Volume III > Part 52
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The design, which is in very bold relief, is wholly allegorical in treatment, no conventional emblems being employed, and is unique in having the name of the
PLY'S
CHRISTOPHER COLVAIBV'S DOCT XIL MEGCCXGLI
recipient actually coined on the tablet, thus necessitating the making of an "in- sert " or name-die for each of the 23,757 pieces. These inserts were made by the manufacturers, but the dies used in striking up the design on the medals were en- graved at the United States mint in Philadelphia.
The obverse, designed by Augustus St. Gaudens, represents the Landing of Columbus. He is shown in the act of stepping from a boat, his attitude expressing thanks to God for safe conduct over unknown seas. He is attended by his fol- lowers, and the flag of Spain floating around him, forming a back-ground, with the inscription, CHRISTOPHER COLUMBUS, OCT. XII, MCCCCXCII, and above it the pillars of Hercules, caravels and the motto, PLUS ULTRA.
The reverse, designed by Charles E. Barber, engraver for the United States mint, contains a shield with the following inscription: WORLD'S COLUMBIAN EXPOSI- TION IN COMMEMORATION OF THE FOUR HUNDREDTH ANNIVERSARY OF THE LANDING
PAINTERS, SCULPTORS AND ARCHITECTS.
106I
OF COLUMBUS, MDCCCXCII-MDCCCXCIII, and a place for the insert of the name of the recipient of the medal. The shield is surmounted by a globe, on either side of which are female figures representing Fame. One of them, with a trumpet in one hand, is proclaiming the award, while she holds in the other hand wreaths ready to present. The other has a tablet in the left hand, and in the right holds a stylus ready to inscribe the award as proclaimed. On either side of the shield are flaming torches representing light or knowledge. Beneath it, and partially hidden by it, is the caravel of Columbus, which is introduced to secure unity of idea between the two sides of the medal.
The very high relief of the medal necessitated the striking of each one five times, with a pressure of 450 tons, the planchet being an- nealed, and cleaned in acid after each impression. The hydrostatic
WORLD'S COLUMBIAN EXPOSITION
N IMEMORATION OF THE
RED HANNIVERSARY
ANDING OF COLUMBUS
MDCCCXGIL - MOGGGXGIF
C. BARBER FECH
ress used in the work was built expressly for it by the Waterbury arrel Foundry and Machine company, and has an ultimate capacity f a thousand tons. The operation of bronzing was beyond the skill f any artizans obtainable, and workmen had to be specially trained or this part of the work. The cases are of embossed aluminum and re so constructed that both sides of the medal can be readily seen, being held in a velvet-covered mat which fits it closely. The mat secured to the metal work of the case by an invisible hinge.
CHAPTER XLIX.
LINES OF MUSICAL DEVELOPMENT-"CHORISTERS" AND STRINGED INSTRU- MENTS IN THE OLD FIRST CHURCH-SINGERS SINCE 1800-ORGANS, ORGANISTS, CHOIRS-THE FIRST WATERBURY ORGAN, AT ST. JOHN'S -ITS SUCCESSORS-PLAYERS AND SINGERS- MUSICAL RECORD OF THE SEVERAL CHURCHES-REMINISCENCES - BRASS BANDS AND ORCHESTRAS-THE MENDELSSOHN SOCIETY - WORK OF TWENTY YEARS-THE CONCORDIA-THE ARION AND AMPHION CLUBS-THE HARMONIC-LEADING MUSICIANS-ARTISTS WHO HAVE APPEARED IN WATERBURY-ST. JOHN'S CHIMES-VIOLINS.
T HE most important factors in the growth of music in this community have been the church choir (and its natural out- come, the secular singing society), the brass band, and the gradual introduction of musical instruments into the homes of the people.
In the early days of the New England colonies the violin, violon- cello, bass viol and flute were for the most part the instruments in use, both in religious and secular circles. In the Waterbury American of December 5, 1856, mention is made of the first piano brought to Waterbury: "Mr. James Harrison, the original wooden clock maker in Connecticut, introduced it in 1804." A more complete and inter- esting record says that the first piano (but it seems to have been the second) was brought to Waterbury in 1820, and was thought to be a great curiosity.
A niece of Daniel Botsford, who lived in Lamson Scovill's house [page 281] came to visit her uncle's family and brought the instrument with her. Each night during her stay the doorway was filled with the leading people of the town, intently listen- ing to the playing and singing of the young lady. Daniel Hayden is quoted as saying that the music was heavenly. The piano was taken away when the visitor left town, and no other instrument of a like sort was brought to Waterbury for many years.
There is still another record of this musical event, from which it appears that Mr. Botsford's niece was a Miss Maria Perry. Her sing- ing and playing and the impression it produced are thus described:
The instrument, and the wonderful facility with which the fair lady ran her fingers over the keys as she accompanied herself in song, were the delight of every boy and girl who came within the sphere of its vibration. Although, as I now recall its quality, it was decidedly of the tin-kettle order, its novelty gave to us then more delight than a grand Steinway played by a master hand would now. The
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piano stood in the hall, and in summer, when the windows were open, we often stopped to listen to " Bonnie Doon," " Sandy and Jenny," and other old songs of that stamp. Miss Perry had a pleasant voice, well cultivated for the times, and may be considered a pioneer of the piano forte and its accompaniments in Waterbury. The family resided in this place only a few years.
CHURCH CHOIRS.
The account of church choirs begins naturally with the First church. Records are too incomplete and space is too limited to permit a full catalogue of those who "pitched the tune " from 1689 onward. Doubtless their trials were many, and the care and over- sight of the occupants of the " singers' seats" was a foretaste of the experience of the organist of our day .*
In the first quarter of the present century Captain Anson Sperry was among those who led the singing. Lewis Stebbins of Long- meadow, Mass., had charge of the choir for a time, and also taught a singing school. Deacons Daniel Upson and James Brown, Philo Brown and Solomon B. Minor, Susan Cooke and Maria Harrison are remembered as in the choir at that time. In 1820 Elisha Steele joined it, and was appointed chorister the next year. He held the position for thirty years, and with his control of the music a new era in the choir's history began. The instrumental accompaniment was for a long time furnished by orchestral instruments played by members of the congregation. It is of interest to note that, among the many, Nathan Cooke, Abram Ives, Newton Hine, W. A. Morris, G. W. Cooke, G. W. Benedict, Daniel Hitchcock, George Tompkins and F. J. Kingsbury did good service in this direction. D. F. Maltby and Charles Dickinson were at different times in charge of the music.
The first organ bought by the church was built by R. M. Ferris & Co. of New York, under the supervision of Dr. James G. Barnett, for Mr. Cady, of the celebrated music house of Root & Cady, Chicago. This gentleman bought the instrument for his son, J. C. Cady, then residing in Hartford, now a widely known New York architect, and upon his removal from that city, sold it to the First society, early in 1862. It was an instrument of very sweet tone, having about
* See p. 583 and note .- The earliest reference to " the singing" in the records of the First church and society is under date of December 29, 1797, at which time " Messrs. Sylvester Higby and Elijah Nettleton were chosen [by the church] choristers or leaders in church music." Other references are cited on the page above mentioned and in Chapter XL of the first volume.
+ It was preceded in the church by a melodeon, as appears from the following minute in the society records for May 5, 1856 : " Voted that we allow a melodeon to be put in the church, and authorize the society's committee to circulate subscriptions for the same."
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twenty speaking stops, and for the audience-room was amply power- ful. Upon the completion of the present church, it was sold to the Main street Baptist church in Meriden. The organ now in use was built by Steer & Turner in 1875, and, originally located in an alcove in the northwest corner of the building, was removed to its present position in 1879. It is a fine three-manual instrument with thirty- two speaking stops, and many unique mechanical arrangements, the latter largely the product of the ingenuity of A. S. Gibson, who was organist for almost nine years. Among the players of the first organ were J. C. Briggs, Eli S. Hoadley (who with William Mason edited the fine instruction book for the piano, familiarly called " The Mason & Hoadley Method "), Charles F. Hendee, Charles F. Daniels, Gertrude S. Wheeler (who was teacher of piano at the Young Ladies' Collegiate institute, page 522), Jerome W. Walker, Silas B. Terry, Jr., Harriet M. Burritt, Robert M. Smith, James S. Thorpe, and upon the present organ Julius Baier, Charles S. Platt, Joseph E. Bartlett, Alexander S. Gibson and B. E. Hallett.
Among the more prominent singers in the choir, from time to time, have been Mr. and Mrs. S. E. Harrison, Mr. and Mrs. D. F. Maltby, Milo Hine, J. M. Stocking, Mr. and Mrs. W. H. Brown, O. H. Stevens, Mr. and Mrs. H. W. Steele, G. W. Beach, Addie Barrows (Mrs. George L. Streeter), Mrs. John Kendrick, Mrs. John Lines, Celestia Ives, Mrs. H. H. Scribner, G. S. Parsons, J. S. Castle, Jennie Mintie (Mrs. Z. W. Waldron), Annie E. Finch (Mrs. Jared R. Cook), Mrs. C. W. Gillette, Ellen C. Munson, C. H. Hoadley, S. B. Terry, W. H. White, Harriet S. White (Mrs. Lynde Harrison), Julia M. Bron- son, Mrs. J. E. Bartlett, Mrs. J. B. Mullings, Mrs. F. A. Mason, Mattie Shelton (Mrs. E. S. Bartram), John H. Weeden, Jacob Fischer, Mrs. Ralph N. Blakeslee, Mrs. Charles S. Rodman, T. J. Eyman, E. J. Sandland, Charles P. Bronson, Mrs. Roswell H. Buck, Luella Wagner. Milton J. Warner and Isaac P. Kellogg.
The first pipe organ in Waterbury was used about 1836 in St. John's Episcopal church (see page 611). It was a small instrument, and when the stone church was consecrated in 1848, was sold to the Episcopal parish in Naugatuck. St. John Rowley, an Englishman employed in Beecher's woollen mill, was the first organist, and Almira Hoadley (Mrs. Nathan Merrill), J. C. Briggs and Lewis T. Downes were his successors. The organ used in the stone church was built by E. & G. G. Hook. It had two manuals and pedals, twenty-five speaking stops and more than the usual amount of mechanical arrangements common at that time. It was what is known as a "G" organ, having in the great organ fifty-nine notes G G to F in alt .; in the swell forty-two notes from C in bass to F
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in alt., and in the pedal eighteen notes, G G, G to C. J. H. Willcox played for a short time before T. I. Driggs began his remarkably long term of service as organist, October 1, 1848. The destruction of the church by fire was the cause of an almost irreparable loss, both to organist and choir, the valuable musical library (the collec- tion of twenty years) being totally destroyed. For several years the parish used for worship a wooden chapel at the corner of State and West Main streets. In this building Hook & Hastings placed a small two-manual organ with eleven speaking stops. It was an unusually effective and powerful instrument, and was a source of great satisfaction to choir and congregation during their forced stay in that building. After the completion of the present edifice the organ was sold to the Methodist church at Brewsters, N. Y.
Abram Ives, a member of St. John's parish, a short time before his death, gave $10,000 for the purchase of an organ for the new church. This instrument was built by Hook & Hastings, and gives the utmost satisfaction. It has three manuals, with the great organ keyboard controlled by pneumatic action; there are thirty- seven speaking stops, and the mechanical accessories are abundant. Mr. Driggs played at the consecration service in June, 1873, and was succeeded by Charles H. Smith, who, compelled by ill health to resign in September, 1874, gave place for a year or two to C. F. Hendee, after which Mr. Driggs again took charge of the music. He continued in that position until 1892, when he was succeeded oy J. E. Bartlett.
To mention more than a few of those whose voices have been heard in St. John's is impossible. J. H. Sandland sang tenor for orty-two years; J. W. Smith sang bass for more than twenty-five rears (see page 626). The names of Mrs. G. L. Townsend, Maria Brainerd, Mrs. J. H. Sandland, Ellen Jones, Ellen C. Munson, Mrs. }. N. Granniss, Nellie Dickinson (now Mrs. E. L. Frisbie, Jr.), Grace Perkins, Charles Dickinson, D. K. Lynde, Nathan Merrill, G. N. Granniss, F. D. Hotchkiss, Mrs. Charles A. Hamilton and Mrs. R. I. Buck, are recorded as representing for the most part the past areer of the choir. In 1893 a vested choir, of young men and boys, ras substituted for the choir of mixed voices which had hitherto ed the singing.
The music of the church of the Immaculate Conception was led y a melodeon, played at one time by G. N. Granniss, and again by [rs. North, sister of the celebrated scientist, Dr. J. W. Draper of ew York, during their occupancy of the wooden building which ood opposite the present church. A memorandum exists on the cords of the parish of a payment to "Mr. Crobel" of $10 for
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playing. The organ in the present church was built by Erben of New York in 1864, and was exhibited, when completed, by a Mr. King. A little later Antonio Jantz took the position of organist, with the assistance of a chorus from New York, and remained for more than two years. He is remembered as a fine player and an interesting musician. Henrietta Slater had charge of the choir (also playing the organ) until 1870. Mr. Huber came next, and remained until 1873. Mr. Keegan was his successor and played about two years, when Mr. Odell took the place and occupied it until 1876. H. Heringer was then appointed, and J. L. Bonn, the present efficient director, came from New York as his successor in 1889. The quartette which sang in this church from about 1867 to 1870 is remembered as unusually fine. It consisted of Annie Slater, Miss Donohue (now Mrs. Moritz Grelle), Mr. Bachmann and Jacob Fischer.
The music of the Second Congregational church was under the charge of A. M. Blakesley, from the organization of the church until 1874, when his son, A. J. Blakesley, took the direction of the choir. A. M. Blakesley is still in the choir, having rendered therein a con- tinuous service of over forty years. The accompaniment for the singing was furnished at first by a melodeon, and later by a small cabinet organ. C. F. Hendee, W. S. Kelly and D. H. Abbott were the most prominent players. In 1872 the ladies of the church raised funds for the purchase of a pipe organ. It was built by Hook & Hastings, has twenty-seven speaking stops and is noted for exceptional sweetness of tone. Mr. Hendee played it for two years, and was succeeded by A. J. Blakesley, the present organist. Among the singers connected with the choir should be mentioned Carrie Wilcox, Mrs. Francis, Mr. and Mrs. D. F. Maltby, Milo Hine, Minnie Lum (now Mrs. Bennett), J. W. White, Mrs. John Lines, John Wood- ward, Edith Bliss, Mrs. E. L. Frisbie, Jr., Jennie Granniss, Jennie E. Bidwell, A. S. Upson, T. R. Hyde, Jr., D. H. Abbott.
In the early days of the First Baptist church, and while its services were held in the so-called "lower meeting-house," near Union City, the choristers were Loveland Judd, Abner Terrill and Ransom Russell. In the meeting-house near Mill Plain, and for some time after the church worshipped at the centre, E. W. Frost, Johnson Bronson, Henry Chatfield and Joseph Jeffry had charge of the singing. Then the duty at different times was in the care of Norman Steele and Joseph Merriman, and from about 1865 to 1870 W. L. Elton was the leader. In 1875 and 1876 J. H. Sandland was chorister, and the cabinet organ was played by C. H. Sawn. W. J. Stanley was appointed in 1877, and between 1881 and 1883 Mr. Sawn
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and H. R. Day officiated. When the new church on Grand street was built a fine new manual organ was erected by Hook & Hastings. Mr. Stanley, having played at the Congregational church in Thomaston for two years, again took the position of organist and director, and with the exception of a period from 1886 to 1888, when he had charge of the music in the Congregational church in Water- town (the vacancy here being filled by Anna Hopkins), has had the care of organ and choir to the present time.
The music of the First Methodist church, during the period of the occupancy of the building on East Main street, was led by a cabinet organ and a small choir. Kate Gilbert (now Mrs. J. B. Mul- lings), Minnie Donaldson (now Mrs. R. H. Buck), George Thomas and Edward Abbott were for a long time leading singers. For the present church Hook & Hastings built a two-manual organ with twenty speaking stops. M. C. Baker, E. W. Witherspoon and F. B. Grannis have been conspicuous in their services as organists. Aside from singers at present engaged, Jessie Wadhams (now Mrs. R. N. Blakeslee), Mattie Shelton (Mrs. Bartram), Mrs. E. W. Witherspoon, J. H. Yerkes, Frank Tripp and F. D. Hotchkiss should be noted.
When in May, 1877, the people of Trinity parish commenced holding services in the chapel on Grand street (page 629), the singing was led by Lucy H. Townsend (now Mrs. C. S. Treadway of Bristol), who played a cabinet organ. After a short time a small pipe organ was procured at second-hand, and played by Ellen R. Townsend, W. S. Rogers, F. D. Hotchkiss and occasionally for short periods by others. The first service in the present church was on May 18, 1884. At the consecration service, which was held in May, 1886, George E. Boyd succeeded Mr. Hotchkiss as organist and director. A fine two-manual organ, the gift of G. W. Burnham (see page 631) occupies the gallery on the south side of the transept. Mrs. G. L. Townsend and her three daughters, also Mrs. F. E. Castle, Mrs. O. W. Noble, W. H. Davis, Jr., W. W. Shepard, John Castle and J. W. Smith have been notable helpers in the choir. The last named gentleman has been conspicuous since the organization of the parish for his hearty interest in musical matters and the sub- stantial aid he has rendered.
In St. Patrick's church, a small one-manual Roosevelt organ suffices for accompaniment. Maggie Farrell organized the choir. The Misses Dunn, James Strong, Cornelius Maloney, M. J. Maloney und M. J. Daly have been prominent in it, and Hector Martell has lone good service as organist as occasion required. The choir of St. Anne's church was organized by Hector Martell, and the pres- ent organist is Miss Lanouette. A specialty is made of the "plain
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chant" at St. Anne's. The music of the church of the Sacred Heart has been altogether under the care of Mrs. Lucien Wolff. Mrs. Bergin, Miss Farrell, Mr. McEvoy, James Strong and M. J. Daly have been prominent in the choir. The church has an organ with three manuals and thirty speaking stops, built by Johnson of Westfield.
REMINISCENCES OF THE SINGING-SCHOOL PERIOD.
In the Valley Index, in February and March, 1878, there appeared several communications entitled "Early Recollections " and signed "O. R.," which related almost entirely to the old-time singing in Waterbury. The picture they present is so quaint and so evidently accurate, that we reproduce them, considerably condensed:
It may be refreshing to some of your readers to be carried back to the early part of the present century, to glean here and there personal recollections of local char- acters and events with which few among us are now familiar.
The thing that comes first to mind, and perhaps as vividly as anything, is the music of the olden time; and in connection therewith Lewis Stebbins rises before the view .* He had a fine commanding voice, of the tenor range, and was quite a popular teacher in his prime, which was near the beginning of the present century. The writer knew him only after he had become broken down by hard drinking and had retired mainly from the musical field, His last attempt to teach a singing school was made in the West Centre school-house just previous to the introduction of the " new style " under Elam Ives. "Steb," as he was familiarly called, started this school under very good auspices, got a new suit of clothes to begin with, kept decently sober and had a large class. Things went on very well for a time, the "gamut" was mastered, most of the scholars could find the mi, could " raise and fall " the eight notes and were beginning to " put the parts together," when an unfortunate incident occurred. On a certain evening several roughs came in, intent on mischief. The school opened and singing began, but was interrupted by loud talking and laughing. The master stood on his dignity-which was probably sus- tained at its full height by a liberal potion of aqua vitae-and an altercation ensued which ended in a " clinch " and an ignominious rolling of the parties on the floor. At this point the school was in commotion, and there was a general stampede. The only remark now remembered was made by Miss Mary Scovill, afterward the wife of the Rev. Dr. Clark. She arose immediately on the commencement of the diffi- culty, and saying " Good-by, Mr. Stebbins," left for home. This row broke up the school and pretty effectually closed the musical career of a man who but for his intemperate habits might have won distinction in a very honorable and useful calling.
Mr. Stebbins represented a kind of singing which had been popular for many years, but was destined soon to be superseded by a style different in almost every particular. There were in those days no accompanying instruments, and the key note was given by the "pitch pipe." The leader or chorister in a loud voice named the tune to be sung, and with dignified mein drew the slide of his pipe to the proper letter and gave a somewhat prolonged whistle. All followed the leader in the " fa- sol-la-fa," each part backing to its own proper chord, and the choir arose and the
* See Vol. I, Ap. p. 131.
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music began. The chorister threw his soul into the performance, and the way he beat time was simply majestic. Four-four time especially gave opportunity for the "tallest " kind of arm work; the two-down brought the hand upon the "breast- work," and the two-up culminated above the head. There was very little of what is now termed accent, but a steady dragging movement, one measure rolling, as it were, into the next, and so on to the end of the tune. But after all, there was good music in those days, and if some of those old choirs could be recalled, with Steb- bins in his prime to lead, the quartette of the present day with all its fine culture would be thrown into the shade in presence of the majestic rendering of "Maj- esty," "Thanksgiving Anthem," Bull's "Alleluia," "Judgment Anthem," "Den- mark," and other popular pieces of the period. Some years since, Father Kemp's company gave what they called " old folks' concerts," but the music they sang and the style of performance were of a later date than that of which I now speak, and belonged to an intermediate school.
There are a few now living among us [1878] who were active members of the old choirs. Sherman Bronson was in his day a very good singer and a great admirer of Stebbins as a musician. I presume he could even now give a good example of his style, modulation of voice, beating of time and all. Mr. Bronson never fell in with the new style, so-called, but was very generous in his ridicule of it. Philo Brown, I remember as one who occupied the "fore seat" on the bass side. (The old choirs did not sit as now, compact, but were spread out in the form of a parallelogram; hence, the necessity of the conspicuous position of the leader in the centre, and hence the reverberating or rolling movement of the music.) Besides those named, I now recall none living who date so far back. Of those who have died may be named Samuel Cooke, for many years a faithful member and leader of St. John's choir, Captain Anson Sperry, a good bass singer, and a mem- ber of the old Congregational choir in his early manhood, Aaron Benedict, always at his post for many years, and David Hayden, an excellent tenor. Mr. Hayden was a man of genial disposition, large and good looking. He was very fond of music and his voice rang out as clear as a bell. He had a large family, four daughters and two sons, several of whom sang in the Congregational church. The family removed from Waterbury many years since, and so far as the writer knows, not a remnant of it is left with us.
About 1824 or 1825 Elam Ives of New Haven came to Waterbury, and having given out a general invitation to all singers interested to meet him for an evening's practice at the West Centre school-house, a goodly number assembled in response, -some to take part in the exercises, and some to criticise. I was present as be- onging to the " Young America " of that period, and with others of my age was highly entertained by the earnest and energetic manner of Mr. Ives and his style of conducting and criticising during rehearsal. (That word " rehearsal " was intro- luced here by Mr. Ives. We no longer went to "singing school," but under the lew dispensation, we went to " rehearsal.") The evening's exhibition of Mr. Ives's tyle and method of teaching resulted in an engagement of his services for a season y the Congregational society, though there were some of the old Stebbins school vho turned their backs on the new-fangled notions. These solaced themselves by ccasional meetings at private houses where the good old tunes could be sung and teld in honorable remembrance.
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