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 54
Note: The text from this book was generated using artificial intelligence so there may be some errors. The full pages can be found on Archive.org (link on the Part 1 page).
Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 9 | Part 10 | Part 11 | Part 12 | Part 13 | Part 14 | Part 15 | Part 16 | Part 17 | Part 18 | Part 19 | Part 20 | Part 21 | Part 22 | Part 23 | Part 24 | Part 25 | Part 26 | Part 27 | Part 28 | Part 29 | Part 30 | Part 31 | Part 32 | Part 33 | Part 34 | Part 35 | Part 36 | Part 37 | Part 38 | Part 39 | Part 40 | Part 41 | Part 42 | Part 43 | Part 44 | Part 45 | Part 46 | Part 47 | Part 48 | Part 49 | Part 50 | Part 51 | Part 52 | Part 53 | Part 54 | Part 55 | Part 56 | Part 57 | Part 58 | Part 59 | Part 60 | Part 61 | Part 62 | Part 63 | Part 64 | Part 65 | Part 66 | Part 67 | Part 68 | Part 69 | Part 70 | Part 71 | Part 72 | Part 73 | Part 74 | Part 75 | Part 76 | Part 77 | Part 78 | Part 79 | Part 80 | Part 81 | Part 82 | Part 83 | Part 84 | Part 85 | Part 86 | Part 87 | Part 88 | Part 89 | Part 90 | Part 91 | Part 92 | Part 93
------
1079
MUSIC AND MUSICIANS.
In April of the same year, the society voted to attend the "Peace Festival " to be held at Boston in June, 1869, and Mr. Driggs was appointed a special conductor to drill the chorus for that occasion. A public rehearsal for the festival music was held in the chapel of St. John's church, the chorus numbering forty-two voices; and on the evening of June 11, 1869, a concert was given in Birmingham, with good success, financially. The trip to Boston, and the experi- ences during the "jubilee" were very satisfactory, the society having the free use of the house of Charles Scott (see page 247) in Newtonville, just outside the city; and in acknowledgment of this kindness, due to the interest of Mr. and Mrs. George Pritchard, on July 5 the society presented a fine engraving to them. On Novem- ber 4, 1869, F. B. Hoadley was elected to the office of vice-president, and Mr. Driggs conductor, the other officers remaining in place. On June 13, 1870, the society went to New York to take part in the Beethoven Festival (so-called). The festival was not a success financially, and the managers were unable to fulfil promises as to expenses of visiting societies. On December 2, 1870, at the election of officers Mr. Smith was continued as president, and S. B. Terry, Jr., was appointed vice-president; I. H. Coe, secretary and treas- urer, and R. M. Smith conductor. Rehearsals were held during the winter of 1870-'71; and the last record which appears on the books is under date of November 2, 1871, when "there being but three present, no business was done, and the meeting adjourned."
The society existed about twenty years. To sum up its useful- ness, or to estimate its influence, is impossible; but the devotion to art for its own sake evidenced by such men as T. I. Driggs, J. H. Sandland, J. W. Smith, Nathan Cooke, A. M. Blakesley, C. N. Way- land, John Lines, Asaph Hodges and D. H. Abbott, and such women (to mention only a few among many) as Maria Brainard, Mrs. G. L. Townsend, Mrs. G. N. Granniss, Mrs. A. S. Chase and Miss Wilcox, is remarkable, and stands a unique feature in the history of musical societies.
On May 25, 1866, Messrs. Conrad Kiefer, Louis Wenzel, Louis Feld, John Pfaff, Carl Geyer, John Hugo, Ernest Kast and Daniel Kiefer organized the CONCORDIA SINGING SOCIETY, with the purpose in view of making it the nucleus of a club for the practice of German part-songs, and also to develop the social element among the Germans then resident here. The first rehearsals were held in the rooms of J. S. Thorpe, in Baldwin's block, and he assisted the new society with piano, etc., until it was able to stand alone. Carl Geyer was the first conductor, and the growth of the organization under his direction compelled its removal in 1868 to Meyer's hall
1080
HISTORY OF WATERBURY.
(now Turn hall) on Scovill street. They rehearsed there and at other places until 1887, when the society removed to the fine build- ing which it now occupies on Bank street.
On June 16, 1873, the various German singing societies of the state were invited to Waterbury, this being the day set for the presentation of a banner to the Concordia by their lady friends. Twelve societies responded, and some 2000 people took part in the festivities at Nuhn's grove. At this gathering an impulse was given toward the union of the societies in the state, which finally assumed definite shape on July 4, 1881, when the Union (Bund) was formed in New Haven.
In 1875 the society was presented with a beautiful United States flag given by young ladies interested in the organization. In 1879 the Concordia won the second prize in a singing contest in Bridge- port, but soon after, having reason to feel that a new director was necessary, J. E. Bartlett was appointed to that position in 1881. Under his leadership the work of the society has been excellent, and its success in prize contests remarkable. The membership is now over 300 and the society is on a good basis financially.
The records of the ARION CLUB, which existed from 1875 to 1878, are not to be found. A. J. Blakesley was the conductor, and the club gave several concerts (the program of a high standard), adding to its own numbers, which constituted a male chorus, vocal and instru- mental solos. The club was successful, but its members were to a great extent detained by business from rehearsals and the Amphion finally took its place. The membership was between twenty and thirty.
In the summer of 1878 four members of the defunct Arion society formed a club for the study of music for male voices, under the direction of J. E. Bartlett, and took the name of the AMPHION CLUB. The four singers in question were C. H. Hoadley, first tenor; F. D. Hotchkiss, second tenor; G. A. Stocking, first bass, and Daniel Kiefer, second bass. The club met in Baldwin's block, until November, 1882, when they removed to commodious quarters in Brown's block on East Main street. The number of the members gradually increased, and eventually a chorus of ladies' voices was added,-the entire membership being about twenty-five men and twenty-nine women, including also a banjo club of eight. Numer- ous concerts were given and also several light operas, such as Pinafore, the Pirates of Penzance, Martha, Iolanthe and the Mikado. The work of other musical organizations, religious and secular, demanded more time from the singers than could well be given in this direction and the club was disbanded in 1891.
1081
MUSIC AND MUSICIANS.
THE WATERBURY CHORAL UNION was a short-lived organization, whose work culminated in a public entertainment given at the First church on October 19, 1881, under the management of J. E. Bartlett. The main feature of the evening was Dudley Buck's Forty-sixth Psalm.
THE LYRA SOCIETY was organized in November, 1883. The offi- cers for 1895 were: President, Michael Voight; vice-president, Louis Strobel; financial secretary, Jacob Baer; corresponding secretary, Oscar Jorres; treasurer, E. Miller. They meet weekly for the prac- tice of male part-songs.
THE WATERBURY HARMONIC SOCIETY was organized October 1, 1889. A. S. Gibson and A. J. Blakesley, organists of the two Congrega- tional churches, were the first to take hold of the matter, although the call for a meeting was signed by the organists of all the Protestant churches in the city. The first rehearsals were held in the conference room of the First church, and the officers elected were as follows: President, T. I. Driggs, secretary, G. E. Boyd, treasurer, C. F. Mitchell, director, A. S. Gibson, accompanist, Albert J. Blakesley.
The membership varied from 100 to 200 singers. The first concert was given in the First church, January 21, 1890, the program including part-songs and organ and piano solos, and concluded with Mendelsshon's "Loreley" with piano and organ accompaniment by Mr. Boyd and Mr. Blakesley. Anita Mason of New York sang the solo part of the work, and also several songs in the earlier part of the concert. The second concert was given in the City hall on April 30, when the society presented Mendelsshon's oratorio, ' Elijah," after only three months of rehearsal. The orchestra was he Germania of Boston, and the soloists were Mrs. Walker, Miss Edmands, Jules Jordan and E. F. Bushnell. The hall was filled and he concert was a complete success. The third concert was given in he City hall, December 9. The program included Mozart's "E-flat" lymphony, and Cowen's cantata, "The Rose Maiden." The solo ingers were Miss Gaffney of New Haven, Mrs. R. H. Buck, Whitney Iockridge and W. W. Howland. The results were gratifying.
At a meeting on December 15, 1890, Mr. Gibson and A. J. Blakes- y resigned their positions, which were ultimately filled by the lection of J. E. Bartlett and A. M. Dickinson. On April 27, 1891, ne society gave their first "festival" with an orchestra of thirty- ight pieces from Boston, and a number of distinguished soloists. 'he afternoon concert was devoted to a miscellaneous program by oth orchestra and solo singers; and in the evening Dudley Buck's riental oratorio, "The Light of Asia," was given for the first time
1082
HISTORY OF WATERBURY.
in New England. It was a superb performance and the audience was delighted with both the rendering and the work. The financial success was most encouraging.
On December 3, at Jacques' auditorium, Henry Smart's cantata, " The Bride of Dunkerron," was presented. The orchestra was from Hartford, and the second part of the program was made up of vocal and orchestral numbers. Some fault was found with the accompaniment, but the chorus and solo work were very gratify- ing. Owing to the enforced absence from the city of President Driggs on account of ill health, the society at its meeting on March 9, 1892, elected the Rev. Joseph Anderson, D. D., vice-president. On Tuesday, May 10, occurred the second festival of the society. The orchestra, as before, was from Boston and numbered several more players. The afternoon concert was devoted, as before, to a miscellaneous program, and Mendelssohn's "St. Paul " was given in the evening, with entire success. In October following, rehear- sals were begun again, with 162 singers pledged to attend. But the attendance, notwithstanding, was not large, and the interest of the members was evidently declining. On January 31, 1893, the executive committee " having fully considered the present condi- tion and future prospects of the society," recommended that it disband. The recommendation was rejected by a large majority, but no other session was held.
The organization of THE CHORISTERS took place November 7. 1893, with eight voices and the following officers: Director, Joseph E. Bartlett; treasurer, David C. Griggs; manager, Isaac P. Kellogg. One of its members, William Stocking, has retired, owing to removal from town. There are at present twelve voices, as fol- lows: First tenors, John W. Moore, Pierson R. Cumming, George R. Merriman; second tenors, Isaac P. Kellogg, Charles F. Bronson, Clarence F. Baker; first basses, David C. Griggs, Robert F. Bar- bour, Archibald E. Rice; second basses, Edward W. Beach, J. Franklin Barbour, Milton J. Warner.
SOME OF THE LEADING MUSICIANS OF WATERBURY.
Of several of the men who have been important factors in the musical life of Waterbury, biographical sketches have already been given in the preceding pages of this volume. This is true of Elisha Steele, J. H. Sandland, J. W. Smith, T. I. Driggs, and perhaps others -although in neither of these cases has justice been done to their work as musicians. Brief biographies of others, living and dead, follow here, arranged in the order of age.
1083
MUSIC AND MUSICIANS.
WILLIAM SAMUEL ROGERS was born in London, April 6, 1823. When he was about eight years of age his father, who was an organist of considerable ability, came to this country and settled in New York city, where he followed the profession of music for many years. William early showed signs of unusual musical ability, and under the strict teaching of his father, became pro- ficient on the piano and organ. When thirteen years of age he acted as organist in the old mission church on Vandewater street, New York. He was afterward for seventeen years organist of the church of the Holy Trinity in Brooklyn. He went from there to Vermont and for many years lived in Arlington, teaching music in the adjoining towns and playing the organ in Rutland and other cities. He then came to Connecticut, and after spending two years in Watertown, accepted the position of organist in Trinity church, which he held for several years. Mr. Rogers had a fine baritone voice, and during his engagement as organist in Brooklyn sang bass in the quartette which composed the choir. He also sang in oratorio, especially in Mendelssohn's "St. Paul." His teacher was the celebrated Charles E. Horn. Mr. Rogers was the author of a number of songs, some of which have been published, as well as of many compositions in church music. He was a thorough and com- petent teacher, a fine organist and a remarkably well informed musician. In his later years he suffered much from the loss of his hearing, which cut him off entirely from work in his profession and from the enjoyment of the music in which he had always found so much delight. He died October 15, 1895.
MARIA BRAINERD was born in Watertown in 1828. She came to this city about 1849, and sang in St. John's choir under the direc- tion of L. T. Downes and T. I. Driggs. G. H. Curtis, an accom- plished musician of that period, hearing her sing, advised her to go to New York to study. She began work about 1853 with Dr. C. W. Beames, then the organist of the church of the Ascension. Miss Brainerd sang for seven years in this church and nine years at St. Bartholomew's, and during this period was constantly in demand for concert and oratorio, and unquestionably ranked as the leading American soprano. After singing for some eight or nine years at Yonkers, N. Y., and for a time at the Broadway Tabernacle church in New York city, and filling other church engagements, she be- came engaged in teaching vocal music under the auspices of the Presbyterian Board of Missions, in Asheville, N. C. She was without doubt the greatest artist whose career has originated in Waterbury, and her singing in oratorio, especially in Handel's " Messiah," has been praised in the warmest terms by leading critics.
1084
HISTORY OF WATERBURY.
CHARLES F. HENDEE was born in Mansfield, October 31, 1832. He came to Waterbury in 1854, and in addition to his business of piano-tuning, in which he excelled, he played the organ in the Second Congregational church in 1861 and 1862 and from 1866 to 1874, and in St. John's church from 1874 to 1876. Mr. Hendee was a member of Tompkins band, a violinist, and possessed a beautiful tenor voice. For several years he was associated with Mr. Driggs and others in the music business. He was possessed naturally of unusual gifts, but business and other matters deterred him from developing them. His musical influence in Waterbury was always for the best. After leaving this city he was the agent of the Men- delssohn Quintette club of Boston, and went with them to Australia, New Zealand and Tasmania. He was also manager of the famous Boston Ideal Opera company when it first went "on the road." He is now in the music business in Norwalk.
DUDLEY H. ABBOTT was born in New Haven, January 19, 1837, and came to Waterbury in 1856. Having studied singing for three seasons with the celebrated Carlo Bassini, at his summer school, he taught vocal music, having private pupils, and also in 1868 kept a singing school in the building on the corner of West Main and Leavenworth streets (page 33). Mr. Abbott was a member of Tompkins band, played the melodeon in the Second Congrega- tional church for several years, and subsequently for three or four years in the Baptist church. The operetta of "Laila " was produced in Way's hall under his direction in December, 1868. He was a member of the choir of the Second Congregational church from 1881 to 1893, and afterwards of the First church choir. Always identified with the best, Mr. Abbott has been a factor in the growth of music in the city, none the less valuable because quiet and unostentatious.
JAMES S. THORPE was born in Waterbury in 1839, removed from the town when about six months old, and returned in 1849. He has resided here since that time. He has been a most successful teacher of the piano, studying out and utilizing new and ingenious methods, and from his own intense love for the best in music, inspiring his pupils to work in the same direction. He was a member of the Tompkins band, served three years as a musician during the civil war, and was mustered out, August 18, 1864. In addition to his teaching, the orchestra noted on page 1074 was estab- lished and carried on by him; and he has also interested himself in chamber music, giving several concerts in which he played the 'cello himself. He is an expert in arranging music for orchestra and brass band, is a teacher with most original methods and a
1085
MUSIC AND MUSICIANS.
lover of the classic in music. Personally retiring and quiet, he has exercised a remarkable influence in musical circles, never sacrific- ing art to lower considerations.
ALEXANDER S. GIBSON was born in Brooklyn, N. Y., November 30, 1843. He studied piano with J. N. Pychowski of New York, and organ and composition with Christopher Weisheit of Brooklyn, N. Y. At different times, until November, 1867, he was organist and director of music in the following Brooklyn churches : St. Andrew's (Episcopal), Hanson Place (Baptist), St. Peter's (Epis- copal), St. Ann's (Episcopal), and the church of the Pilgrims (Con- gregational). From 1862 to 1866 he was in the United States naval service, and from November, 1867, to June, 1886, was at the First Congregational church in Norwalk, a notably long period. On June I, 1886, he was engaged as organist and musical director in the First church of this city, and, as already stated, held the position for nine years-producing from time to time, with the aid of the large chorus choir brought together through his exertions, elabo- rate programmes of the best music. During the autumn and winter of 1886, and afterward at longer intervals, he gave public recitals in the church, bringing forward on such occasions some well known vocalist, also. Mr. Gibson conducted for a time the Norwalk Choral union and the Bridgeport Choral union, and was the first conductor of the Waterbury Harmonic society. Several interesting songs and anthems from his pen have been published, among which are the following:
" If my Love shall prove unkind," " I will not reason," "My Thoughts are like the Little Birds," "O, my Love's like the red, red Rose," " "Tis my Mother's Step [ hear," " Peggy's Charms," also two slumber songs, "Sleep, little Baby " and ' The little Birds are gone to rest," the last of which was written to verses of his own composing.
On May 1, 1895, he accepted an invitation to become organist for the First Congregational church in Danbury.
ROBERT M. SMITH was born at Watertown, June 17, 1847, and came to Waterbury to reside in 1854. He became connected with the choir of St. John's church about 1861, and often acted as substi- ute for Mr. Driggs, as organist. He began the teaching of music is a profession in March, 1870, and continued it as long as he esided in Waterbury. From June, 1870, until November, 1873, he layed the organ in the Congregational church in Naugatuck. He hen came to the First church in this city and had charge of its rgan and the choir during the year 1874. He made his debut as rchestral and choral conductor in secular music in connection with he Musical Ring, a society which, connected at first with the order
1086
HISTORY OF WATERBURY.
of Good Templars, gradually assumed a more definite musical form and produced the cantata, "The Pilgrim Fathers." In 1871 and 1872 the cantatas, "Belshazzar's Feast," "Esther," and "The Hay- makers" were brought out under his leadership. The Waterbury Musical union was organized in 1874, and Balfe's opera, "The Bohemian Girl," was given with orchestra, piano and organ, Febru- ary I and 3, 1875, in the City hall, the chorus numbering about seventy-five voices. The principal soloists were Charles Dickinson, F. D. Hotchkiss, G. A. Stocking, Grace Perkins and Mrs. J. B. Mullings. The performance was eminently successful. Mr. Smith went to Naugatuck in 1875, to take charge of the music in the Congregational church, and aroused much interest; but in 1890 business affairs compelled his removal to Darien. His services in connection with the Mendelssohn society are referred to under that head. A faithful, industrious leader and teacher, Mr. Smith did an immense amount of work here, which was not estimated at its full worth. Discouragements were usually his assistants, and a small meed of praise was his recompense. But much has grown out of hard work done at great personal sacrifice.
JOSEPH EDGAR BARTLETT was born in 1848, graduated at Oberlin college in 1868, studied music with John P. Morgan, then in his prime as an organist, and graduated from the Leipsic conservatory in 1869, having had among his teachers Moscheles, E. F. Richter, Dr. Oscar Paul, Dr. Robert Popperitz, Theodore Coccius and Louis Plaidy. Upon his return to this country he filled engagements as organist at the First Presbyterian church, Utica, N. Y., and the First Congregational church, Lawrence, Kan., in which city he was at the head of a flourishing conservatory of music, and also directed several successful concerts, including a fine performance of the oratorio of the "Creation."
Mr. Bartlett came to Waterbury in 1877, to become organist and choir-master at the First church, where he remained until May, 1886. In 1891 he took charge of the music in the Episcopal church in Seymour, and in 1892, upon the resignation of Mr. Driggs, he was asked to become organist at St. John's, a position which he now holds. In addition to his work as organist and teacher of piano, singing and the theory of music, Mr. Bartlett has acted as director of the Amphion club, also of the Concordia society and the Choral society, and of one or two German singing clubs in adjacent towns. He resigned his position as conductor of the Concordia in July, 1895. The rare faculty of attaining the regard of cooperat- ing musicians, and a remarkable ability in extempore playing arc among his notable characteristics. Coming to Waterbury at a
1087
MUSIC AND MUSICIANS.
period when the influence of an active musician was much needed, he has accomplished valuable results in the musical life of the city.
JULIUS BAIER, was born in Waterbury in 1851. He went abroad at the age of twenty, and studied in the Leipsic conservatory with Dr. Kretschmar and Quasdorf, receiving also private instruction from Papier and Louis Plaidy. Returning to Waterbury in 1874, he took the position of teacher of the piano at St. Margaret's school, and continued there until 1892, having at the same time a large number of pupils outside of the school. He has formed many talented players, and done a tremendous amount of work in a busi- ness demanding the utmost patience, the keenest judgment and unvarying discretion. Mr. Baier was organist at the First church in 1875, but since that time he has confined his attention to teaching.
CHARLES HOWARD SMITH, son of John W. Smith, was born in Waterbury, March 15, 1852. He doubtless inherited from his father musical taste and capacity, and his training under such teachers as Henry Wilson of Hartford developed these qualities until he gave promise of a remarkable career in the field of church music. He played the organ in St. Michael's church, Naugatuck, for some time before 1873, and came to St. John's in January of that year, immedi- ately after the consecration of the present edifice. He had charge of the music until the rapid development of a disease of the lungs compelled him to go south, where he died on December 21, 1874. Dignified, yet genial ; self-possessed, but not self-assertive; patient inder his peculiar trials, he well deserved the encomium contained n the beautiful address made at his funeral, that there were "few roung men of our city as much respected as he." Of his musical esources and attainments, which were many, must be noted his ower of extemporizing, in style so delicate and full of real senti- nent as to baffle description. A most finished and sympathetic ccompanist, he made the music of St. John's church completely uccessful during his short term of service there. His untimely eath deprived Waterbury of one of the most gifted musicians ever ctively engaged within its limits .*
CHARLES EASTON PLATT, son of Dr. Gideon L. Platt, was born in Jaterbury in 1856. When he graduated at Williston seminary, in 375, the subject of his oration was Music. He studied the piano at ne New England conservatory in Boston with Joseph Hill, S. A. mery and B. J. Lang, and had private lessons on the organ from
* For further details, see the small volume entitled, " In Memoriam : Charles H. Smith. E. B. Cooke & Co., 75." For the disposal made of the organ used by him in his home, see page 523.
1088
HISTORY OF WATERBURY.
Eugene Thayer, and in harmony from Mr. Emery. In 1876 and 1877 he studied with Julius Baier, and then went abroad. At Berlin his teachers on the piano were Heinrich Ehrlich, Theodore Kullak and Oscar Raif; on the organ, August Haupt; and in "theory," Kiel, Bargiel and Franz Neumann. He had also the advantage of an acquaintance with Liszt, and of playing before him. He returned to this country in 1882, and accepted a position in the conservatory of music in Detroit. He went abroad again in 1890, and studied at Berlin with Heinrich Barth on the piano, and with Van Eyken in composition. He returned to this country in 1892, and died at Baltimore, January 4, 1894.
ALBERT JOHNSON BLAKESLEY, son of Augustus M. Blakesley, was born in Waterbury, April 30, 1858. He studied piano with J. S. Thorpe, singing with William Courtney and harmony and theory with G. F. LeJeune. He played in church for the first time when eleven years of age; played the organ in the Congregational church in Naugatuck from 1872 to 1874, and on October 1, 1874, took charge of the music in the Second Congregational church in this city, and is still in that position. Mr. Blakesley taught singing from 1886 to 1891, numbering among his pupils many leading singers of the city. He has been noted as a sympathetic accompanist and has given several organ recitals; was a director of the Arion club; was instru- mental in founding the Harmonic society, was their accompanist for a time, and acted as their organist when occasion required.
Need help finding more records? Try our genealogical records directory which has more than 1 million sources to help you more easily locate the available records.