USA > Ohio > Cuyahoga County > Cleveland > A history of Cleveland, Ohio, Volume I > Part 57
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The Hippodrome finally got into the hands of a receiver and it was leased to Keith's, the lease expiring July, 1910, which was extended seven years.
Keith has been conducting it as one of the best vaudeville houses in the country, playing the cream of that class of attractions under the Daniels management with an occasional interruption of something of a higher grade. Tetrazzini packed the house recently and as late as April, 1910, there was a season of grand opera by the Metropolitan Opera Company.
THE TABERNACLE.
The Tabernacle, located on the corner of St. Clair avenue and Ontario street, seated an audience of nearly five thousand. It was on the spot where the building of the Brotherhood of Locomotive Engineers is located. The best orchestras and bands in the country played there. It was the home for local musical festivals and in the early '8os Christine Nilsson gave a series of concerts there. The Taber- nacle was destroyed upon the opening of Music Hall on Vincent avenue, which held an audience of five thousand. Adeline Patti sang in Music Hall and the foremost musical organizations, both vocal and instrumental appeared in it. Mu- sic Hall was destroyed by fire.
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MISCELLANEOUS.
The Euclid Garden Theater is used as a summer theater, located on Euclid avenue, nearly opposite East Forty-sixth street. It is the home of comic opera under the management of Max Faetkenheuer.
The Coliseum is the oldest summer theater in the city. Many years ago, it was known as Haltnorth's Garden, Woodland avenue and East Fifty-fifth street, where season after season the latest comic operas were produced. Halt- north's was in its glory during the days of "Pinafore," "Olivette," and "Mascotte." It was rebuilt several seasons ago and the name changed to the Coliseum. It is now the home of the Yiddish drama and is conducted by Manager I. R. Copperman.
The Majestic on West Twenty-fifth street was opened as a stock theater in 1906. Popular plays were produced for a season or two. Then cheap vaudeville and finally moving pictures.
The Orpheum on East Ninth street, a cheap vaudeville house, started as a mov- ing picture theater.
The first Yiddish Theater in the city was the Perry Theater located on Wood- land avenue and East Twenty-second street.
The future of Cleveland theatricals is full of more vaudeville possibilities. At this writing the Priscilla, to be used for that purpose is being built on East Ninth street and Chestnut avenue. Mitchell H. Marks will also manage a vaudeville house to be built in a block about to be constructed on Euclid avenue near East One Hundred and Fifth street.
There is also talk at present of an exclusive theater for Vaughan Glaser to be built by E. D. Shaw.
CHAPTER XLVIII.
MUSIC.
By Jane D. Orth.
In the "Herald" and "Gazette," of June 28, 1838, is an editorial on vocal music. It contends that music should be a branch of education in both public and private schools because, the mind is disciplined by music as by any other study and it is almost the only study which tends to improve and cultivate the feelings. A physician, the editor observes, advises that young ladies who are debarred by the customs of society from all healthy exercises should be taught singing as a means of preserving the health. Moreover unruly children are often easily dis- ciplined through music.
This is merely interesting to show what progress has been made in the past seventy years and also that some of the most modern ideas are really not new. The first piano was brought to Cleveland in 1832. In 1852 a Cleveland newspaper has this item: "Reed organ is the name of a new instrument for churches."
Jenny Lind first came to Cleveland on Saturday, October 25, 1851, on the steamer "Mayflower." She stayed at the Weddell House over Sunday and left
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Monday on the express train for Cincinnati. Passengers on board the boat said she could not appear on deck without being annoyed by the curious and imper- tinent. She returned to Cleveland on November II to sing in Kelley's Hall, which was completely filled with one thousand, three hundred people. The street in front of the hall was crowded with the curious, eager to catch a glimpse of her. Signor Balletti first appeared and on his clarionet played from "The Child of the Regiment." Then Signor Salvi sang, and was followed by the star of the occasion, Jenny Lind. In commenting upon her appearance, a paper says "she approached the front of the stage with an awkward step and a school girl bow. She is not handsome, nor is her countenance always prepossessing, but bewitching in her smile." While she was singing the aria, "On Mighty Pens," from the Creation, some people on the roof broke through the skylight into the dome of the hall. A panic threatened as the building had been declared unsafe but Jenny Lind went right on singing and quiet was soon restored. She sang "John Ander- son, My Joe," the "Gipsy Song," the "Echo Song," and her famous "Bird Song," which gave her the name Nightingale. Otto Goldschmidt was the pianist of this company. When he played a piano solo Jenny Lind did not think he was sufficiently appreciated so she stepped from behind the curtain in full view of her audience and applauded him. She afterward said that people did not always understand piano music and that he was young and an earnest student, so deserved encouragement. A Boston newspaper of February 5, 1852, has this notice: "Married-Otto Goldschmidt of Hamburg to Mdlle. Jenny Lind of Stockholm."
The papers lamented the rudeness of men peeping under her bonnet to get a view of her and expressed the hope that she had seen some American gentle- men while here. Incognito, Jenny Lind went out to Newburg to visit what was known in 1851 as the "Lunatic Asylum." She spent some time going among the pa- tients, comforting and cheering them while they little imagined that their charm- ing guest was so distinguished.
Catherine Hayes sang in Cleveland in 1852 and Ole Bull made his first Cleve- land appearance on November 28, 1853. He returned November 2, 1854, when the hall was entirely sold out at one dollar a ticket. He played the great favorite of the day "My Old Kentucky Home." Madame Sontag appeared in concert on January 7, 1854 and Thalberg, the pianist, gave a recital in Melodeon hall, April 27, 1857.
Adelina Patti sang in Melodeon Hall, October 11, 1855, and again on May 31, 1860. A dollar a ticket was considered a high price but the house was well filled. A paper says : "Patti in time, will probably take front rank among musical stars."
Five thousand people were badly disappointed on March 25, 1887, because Patti had a sore throat and could not sing. She appeared at other times in Cleve- land, when in her prime and on her farewell tours.
These scattered musical events have been mentioned in this haphazard way because in their time it was a real treat and a rare privilege to hear genuine artists from abroad. One must realize the difficulties in traveling from one city to another in those earlier days and then it is not hard to see that these concerts were real events long looked forward to and talked of long after.
MARIE VON ELSNER A Distinguished Cleveland Singer
Photograph courtesy of Maurice Weidenthai CHRISTINE NILSSON Who Sang Often in Cleveland
Photograph courtesy of Maurice Weidenthal ELLA RUSSELL Distinguished Cleveland Prima Donna
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Since the days of perfected railroads and steamships all cities have equal op- portunities of hearing the best musicians so further enumeration will be un- necessary.
John Ellsler started the old Academy of Music on Bank street and there many of the earlier operas were heard. He later leased the Opera House and managed it. In the early '70s, F. Puhringer became director of the orchestra and gave several operas. He composed "Anna Lisa," which was given in May, 1891. Mr. Puh- ringer also composed "Miss Manhattan," which was given with marked success in New York.
ORGANIZATIONS AND SCHOOLS.
One of the oldest singing societies in the city was the Mendelssohn Society. The following notice appeared in 1853:
"The Cleveland Mendelssohn Society .- This society was formed for the pur- pose of elevating the standard of sacred music in Cleveland. It has been in existence two years, and is composed of one hundred and twelve members. The oratorios of 'The Creation' and 'David,' have each of them been publicly per- formed by the society. The influence of the society has, thus far, been highly satisfactory in developing much of the latent musical talent in the city, and in promoting an acquaintance with music composed by the masters of the art. The society is now engaged in rehearsing 'The Seasons,' which will be brought out during the coming winter; they meet for rehearsal every Thursday evening. The officers of the society are : President, T. P. Handy ; vice president, J. L. Sever- ance ; secretary, O. P. Hanks ; treasurer, T. C. Severance ; conductor, J. P. Hol- brook; pianist, J. Long; trustees, S. W. Treat, F. Abel, J. H. Stanley." 1 The early settlers in the little village at the mouth of the Cuyahoga were New Englanders and in building the town little thought or time was given to the develop- ment of the arts. The first German immigration was from among the Revolu- tionists of 1840 and they were of the educated class who brought with them their innate love of music. It is only natural then that the Germans should have formed the first singing societies and their influence has always been strongly felt in all musical interests of Cleveland.
The first gesangverein, known as the "Frohsinn," was organized in 1848, under the leadership of Heber, but it lasted only a few years. In 1854 the Cleveland Gesangverein was organized, with Fritz Abel as director. A vocal society which had a brief existence was formed in 1858. For this society Professor R. E. Henninges, a leader among German musicians, composed a number of songs, the prettiest being, "Ruhe Sanft." In 1855 the first Saengerfest was held under the leadership of Hans Balatka from Milwaukee. During the three days' musical feast, three hundred singers contested for prizes. The second Saengerfest with four hundred singers was held in 1859 in old National Hall. On the eve- ning of June 14th this Fest was closed by singing Allesandra Stradella in the old Cleveland Theater. This was the first opera ever given in Cleveland.
From June 22 to 29, 1874, the great Saengerfest was given and was of more than ordinary importance as it was the nineteenth Saengerfest of the North Amer-
1 City Directory, 1853. This society lasted for several years.
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ican Saengerfest Society. Being a national affair it was attended by about fifty of the most prominent singing societies of the west, bringing one thousand five hundred singers. The Fest is biennial and the Cleveland societies made most elab- orate preparations to outdo former attempts in other cities. A stock company was formed and sixty thousand dollars raised by sale of stock. A large temporary building, two hundred and twenty by one hundred and fifty-two feet was erected on Euclid avenue, between Case and Sterling, at a cost of thirty-one thousand dol- lars. The seating capacity of this Saengerfest Hall was nine thousand and one thousand, five hundred additional on the stage.
The occasion of this Saengerfest aroused the greatest public interest. Half fare on all railroads attracted a large attendance. The decorations even on the exterior of the building were most elaborate and every street in the city was hung with evergreen and flags of the United States and Germany. The occasion was given special significance by the presence of Governor Allen and Lieutenant Governor Hart, who opened the Fest. Dr. G. C. E. Weber pronounced in German a eulogy on music.
The music of the opening concert was under the direction of Professor Wil- liam Heydler and the other concerts were directed by Carl Bergman. The Phil- harmonic orchestra of New York was here for the entire week. The distinguished prima donna, Madame Pauline Lucca sang at three of the concerts. Professor Nuss, a Cleveland musician, composed a stately "Saenger Gruss" for the occasion. The entire week was unique in Cleveland's history and won for her citizens a reputation for hospitality and musical appreciation.
Not for almost twenty years did the Cleveland Gesangverein attempt another Saengerfest. The last one was held July 11-14, 1893, in Saengerfest Hall, at the corner of Willson and Scovill avenues. Emil Ring was the director. The occasion was made noteworthy by the presence of Governor Wm. Mckinley at the open- ing concert.
The Cleveland Vocal Society was organized in 1873 and during the thirty years of its existence, under the able leadership of Alfred Arthur, did more than any other musical organization up to that time in raising the standard of music and cultivating the public taste. Mr. Arthur has kept intact in the Cleveland School of Music the excellent library used by the society. The best choruses, chorals, cantatas, madrigals and part songs can be found in this collection. The society gave two, and often three, concerts during the season and to Mr. Arthur and the one hundred members credit must be given for the excellent things they accomplished.
J. T. Wamelink was the enthusiastic leader of one of the earlier vocal so- cieties. Under his direction the Harmonic Club gave the "Creation," and other standard oratorios.
Aside from the musical societies mentioned, many others have been organized. Many of these lasted only a few years.
It is no longer the fashion for Cleveland, or any other American city, to sup- port a large mixed chorus. Americans want quick results and are not willing to take the necessary time and labor to bring such an organization to perfection. Only in a few musical college towns where the director has authority to demand
John Underner
Phillip Grothenrath
S. Koenigslow
William Heydler
A. Nuss
GROUP OF NOTED CLEVELAND MUSICIANS
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attendance at all rehearsals can such a society flourish. To Great Britain and to our neighbor, Canada, we must pass the laurels for perfection in chorus work.
SCHOOLS OF MUSIC.
The Cleveland Academy of Music was opened November 13, 1854, in a hall in Hoffman's block, by R. B. Wheeler and E. A. Payne. There were three classes, advanced, beginners' and children's classes.
In 1874 the Cleveland School of Music was founded by Alfred 'Arthur who is still the chief of this flourishing school, in a building of its own on Prospect avenue. Many well known musicians received their early training here.
Some sixty years ago a man came to Cleveland from Germany and although not educated as a musician he found so little music in Cleveland that his natural talent forced him to organize little clubs, to conduct singing societies, and, be- ing versatile he played most any instrument the occasion required. We will know Gottlieb Heydler better through his two sons, William and Charles. The older one, William Heydler organized the Cleveland Conservatory of Music in 1871. He was as versatile as his father but had the advantage of being a finely educated musician. We read of him playing the piccolo and flute and until 1870 the violin was his favored instrument. After further study abroad he chose to devote him- self to the piano, and was a most gifted teacher. Associated with him in the Conservatory were John Hart, violin and harmony teacher and John Underner, singing teacher. After thorough inquiry it seems quite safe to say that John Underner was one of the best vocal teachers in the country. His mother was Spanish and his father French. He was born in Albany and after years of ex- perience in New York and Europe, he spent many of his best years in Cleveland. Among his well known pupils were Marie Litta who had a wonderful voice but unfortunately died at almost the beginning of her operatic career; Hattie McLain, Birdie Hale Britton and Ella Russell, who is now better known in England than America. Other well known vocal teachers were Ricardo Banfi, who was Mrs. Seabury Ford's first teacher, and Madame Von Feilitch, to whom Evan Williams and Mrs. Foster, now of New York, owe their early training.
Upon the death of William Heydler, Frank Bassett took up the department of piano and theory in the Conservatory. He was an excellent teacher but retired about eight years ago to live in Europe. John Nuss, a most poetic and talented violinist, took the place of John Hart, and he in turn was followed by his apt pupil, Charles Heydler. A little later Mr. Heydler decided to adopt the 'cello as his fa- vored instrument and is known today as one of the ablest 'cellists in the country, a fact which perhaps not all Clevelanders realize. Many talented violinists have taught in this Conservatory, namely : William Schramm, George Layman and John Marquardt. Sol Marcosson now stands at the head of violinists in Cleveland.
Miss Patty Stair is a piano teacher in the Conservatory and an organist of merit. She received her training from Mr. Bassett.
Among other schools of music in Cleveland, the Wolfram College of Music is well known. There are also West Side and East End Schools of Music, all of which are doing creditable work.
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About 1875 the Cecilian String Quartet, composed of John Nuss, violin ; Phillip Grotenrath, second violin, and the Koeningslow brothers with viola and 'cello, was organized and was as fine as anything Cleveland has since had. This was later reorganized as the Schubert Quartet, with John Beck, violin; Julius Deiss, second violin ; John Lockhart, viola and Charles Heydler, 'cello. About twenty years ago it was again reorganized and has since been known as the Philharmonic String Quartet. Through the years the personnel of the quartet has naturally changed some and it now consists of Charles Heydler, 'cellist ; Sol Marcosson, first violin ; James D. Johnston, second violin and Charles V. Rychlik, viola. To all lovers of chamber music this quartet is a real joy and should be the pride of every Cleveland musician. The quartet gives a series of concerts each season, where the best quartet music is given scholarly interpretation.
In Edgewater Park a monument has been erected to the memory of Conrad Mizer, a man who loved music and one who felt that the people who cannot or will not pay admission to hear good music should be given that pleasure. It was then largely due to his efforts that the Sunday afternoon band concerts were given in the parks. Vast throngs of people visited the parks to hear the music. From the summer afternoon concerts a demand arose for good concerts on winter Sunday afternoons. Step by step there has grown up the Cleveland Sym- phony Orchestra, which in the season of 1910 gave ten Sunday after- noon concerts which do credit to Cleveland. The concerts were at first given to a scattered few but now the orchestra plays to the capacity of Gray's Armory. These concerts have been familiarly called "Pop" concerts but the standard of music given in the past few seasons and the excellent work of the assisting artists warrant the more dignified name of the Cleveland Symphony Concerts. To Johann Beck and Emil Ring, the directors, most sincere praise should be given. The gathering together of fifty or more men in a busy commercial city and train- ing them to give excellent programs on ten successive Sundays is a prodigious task. To these leaders, to the members of the orchestra and to the artists who have so ably assisted, the thanks of the public is due, for it is purely a labor of love. If just encouragement is given this undertaking it may develop that Cleve- land will one day have an orchestra as well-known as Cincinnati or Pittsburg. In the meantime these concerts are developing a real musical taste and the nominal charge of admission makes the doors swing wide to all who wish to hear.
BANDS.
Every small town has a band and in all public and patriotic events the band is the biggest factor. The playing of national and military music stirs one's patriot- ism and it is to be regretted that bands are becoming a memory.
The first band of note in Cleveland was Hecker's Band, organized in 1850. Leland's Band soon followed and in 1867 the Great Western Band came into exist- ence and gave many Sunday concerts in Brainard's Hall under the leadership of Carl Braetz and later of Frank Hruby. This Band continued to give excellent concerts of high order but finally disbanded as there was no incentive to continue.
In 1873, Wm. Kirk organized the Oriental Concert Band, which is now known as Kirk's Military Band. There are also Harris' Military Band, the Banda
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Rossini among the Italians and the Mudra Band of the Bohemians. Papworth's was likewise a well known band during the Civil war.
Leland's Band was known all over the country and The Gray's Band, led by Jack Leland was a famous band. Leland won much praise when he took the Grays to Washington to play at the inauguration of President Garfield. The Great West- ern, Leland's and the Germania were all bands of a high musical order.
SINGING CLUBS.
Singing clubs now in existence are the Harmonic, the Rubinstein and the Singers' Club.
The Harmonic is a large, mixed chorus of one hundred and fifty voices which is the outgrowth of a church choir. Under the direction of J. Powell Jones, this club gives some of the well known oratorios each season. Mr. Jones has the power of imparting his own enthusiasm to the singers and the concerts have real merit.
The Rubinstein Club was organized in February, 1899. It is a club for women's voices alone. To Mrs. R. B. Fry the credit is due for the upbuilding of this club. In May, 1899, the club then consisting of sixteen women made its first bow to the public in a musical at Plymouth church. The club now has eighty- five voices and gives two concerts each season to large audiences. The club is as- sisted at each concert by some artist of note. During the eleven years there have been several leaders of this chorus. Mrs. S. C. Ford is now in her third year as director and under her spirited guidance the club has rapidly developed.
The Singers' Club. In 1891, thirty young men banded themselves together to furnish music for the Sunday afternoon Y. M. C. A. meetings. Out of their en- thusiasm grew the desire to form a musical club and with C. B. Ellinwood as leader, the Singers' Club was incorporated. All organizations, like individuals, must grow or die and in looking over the record of this club which is now in its twentieth year, one is quickly assured that this club is much alive for the growth has been a steady one. That the membership has increased to one hundred and fifteen, and that it has migrated from the auditorium of the Y. M. C. A. to Gray's armory, the largest room in town in which music can be heard, is evidence enough that the club has grown in the estimation of the music loving people of Cleve- land. Following Mr. Ellinwood's seven years of leadership, came Charles E. Clemens, under whose leadership the club continued to prosper. In 1906 the baton was given to Albert Rees Davis, one of the club's popular mem- bers. Mr. Davis is not a professional musician but a natural director. When a mere boy he had a clear, high voice which was much in demand for vested choirs, and as a result he had many years of drill and practice. He has also been a church organist. So it was not without considerable musical experience that he took up the leadership of the Singers' Club. Mr. Davis has the natural Welsh love of music and a jovial manner which enables him to bring the best out of his singers.
The club regularly gives three concerts during the season and a soloist of re- nown is engaged for each concert. Each year there is marked improvement in the work of the club and naturally with greater experience it will be possible to
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select voices with a more mature judgment and thus improve the tonal quality and timbre of the club. With progress the watchword of the club, the years will be few indeed until the Singers' Club ranks with the best of such organiza- tions in the country.
Cleveland has one club of which it may well be proud. It has been the pattern for many other clubs in as many different cities. Mrs. J. H. Webster, on a winter's day in 1894, invited six ladies to her home to talk over the possi- bilities of organizing a musical club. A few days later each one of these seven had interested three others and these twenty-eight were brought together to further discuss the project. Then it was decided to send out a little circular to all those whom the twenty-eight thought would be interested in hearing good music. The circular briefly stated the object of the club and that all who wished to join might do so by paying the necessary fee. To the surprise of all, three hundred and fifty ladies joined and thus inside of a few weeks the Fortnightly Musical Club was formed. This club now belongs to the federated clubs. There were originally, as now, active and associate members. The number of associate members is limited to five hundred. The active membership is not limited but members are elected by passing examinations which maintain a high standard of excellence. A few years ago at the thoughtful suggestion of Mrs. Webster, a student membership was formed which enabled all students in good standing to become members for the current year. This student membership is likewise not limited as it naturally varies from year to year. There were one hundred student members the past year.
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