Centennial history of Cincinnati and representative citizens, Vol. I, Pt. 2, Part 71

Author: Greve, Charles Theodore, b. 1863. cn
Publication date: 1904
Publisher: Chicago : Biographical Pub. Co.
Number of Pages: 1048

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Th. J. Gallagher, Jordan A. Pugh, Alphonso Taft, S. P. Chase, Wm. P. Mellen, O. M. Spen- cer, Chas. L. Telford, W. S. Groesbeck, R. King, Thomas M. Key, N. G. Pendleton, Geo. H. Pen- dleton, Charles Anderson, Larz Anderson, M. Comstock, James Riley, John Jolliffe, Henry Roedter, T. Bassford, Eben B. Reeder, J. Burnet, Jr., C. F. Dempsey, A. R. Dutton, Talbot Jones, E. S. Haines, Geo. H. Hilton, A. G. W. Carter, T. G. Mitchell, Wm. T. Forrest, C. W. Grames, W. Y. Gliolson, Edmund Pendle- ton, John W. Applegate, Joshua H. Bates, B. Storer, David Quinn, John Brough, John B. Moorman. J. Frazer, Geo. W. Allen, E. J. Henry, J. B. Fenton, R. M. Corwine, J. T. Crapsey, John G. Douglass, J. H. Clemmer, E. P. Jus- tice. Chas. D. Drake, Jas. F. Meline, Ira D. French, Edward Mills and M. H. Tilden.

In January, 1847, the committee had pur- chased books to the amount of $1,400 principally through the leading law booksellers of the time, Derby, Bradley & Company. Shortly afterwards they purchased a large bookcase which would hold several hundred volumes which was placed in the court room of the Common Pleas Court. Bernard Bradley was clected as librarian. The subscribers incorporated themselves in the spring of 1847 and in June the first meeting of the association was held. Twenty-four members were present. A. N. Riddle presided and R. B. Warden acted as secretary. The meeting elect- ed as trustees of the library: W. R. Morris, Daniel Van Matre, O. M. Spencer, Alphonso Taft, Jordan A. Pugh and R. B. Warden. Mor- ris became the first president of the association and remained so for some years. Judge Walker succeeded Jordan A. Pugh as trustee in 1848, as the latter had removed to New Orleans. Brad- ley was succeeded as librarian in November, 1848, by A. A. Pruden, who held the office until the burning of the Court House in the summer of 1849. In the fall Joseph MeDougal became librarian and held the office until John Bradley was appointed to succeed him on December 1. 1850. In 1851 A. E. Gwynne, Jacob Burnet, Jr .. Rufus King, Thomas G. Mitchell and George E. Pugh were elected trustees and Peter Zinn became clerk. Gwynne became the president, King, vice-president and Rugh, treasurer. The last named was, however, too mich engaged with his duties as Attorney General and resigned to be succeeded by Jacob Burnet, Jr., afterwards Judge Burnet. In the burning of the Court House in 1849 most of the book's of the library were saved and after the fire the library followed

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CENTENNIAL HISTORY OF CINCINNATI

the courts to the four-story brick building of James Wilson on the north side of Court street west of St. Clair alley. In this building the county offices were on the second floor and the various court rooms of the Supreme, Common Pleas, Superior and Commercial courts were on the third floor.

After the reorganization of the courts in 1852, rooms were engaged in the building east which was connected by a bridge over an alley. The library was in the third floor upon the alley. It contained at that time 1,080 volumes, of which 547 were State reports, mainly from the New England and other Eastern States, and 102 text-books. Mr. Bradley remained librarian un- til 1861 at which time M. W. Myers was ap- pointed as his successor which position he held until the time of his death in 1899, when he was succeeded by Edwin Gholson. Rufus King who became vice-president in 1851 was made presi- dent in 1855, which position he retained until the time of his death in 1891. Judson Harmon has been president since that time. Thornton M. Hinkle has been an officer since 1872.

At the time of the fire of 1884, the library contained some 14,000 volumes, all of which with the exception of three charred remains of vol- times were entirely consumed. After the fire the members responded liberally with subscrip- tions and a new library arose from the ruins, which to-day with almost 30,000 volumes is one of the very best law libraries in the country. It

is particularly rich in early, session laws. It contains practically complete reports from every English speaking country.

OTHER LIBRARIES.

The Law Library of the United States Cir- cuit Court of Appeals, located in the Govern- ment Building, is larger and more conveniently housed than that belonging to any other Federal court in the country. It contains about 15,000 volumes and is under the control of the clerk of the court, Frank O. Loveland, and a librarian, Miss Harriet Collins. There is also a law library of considerable pretensions in the Law School Building.

Another very important library is the Lloyd Library of Botany and Pharmacy. The libraries of the various departments of the University, Lane Theological Seminary, St. Xavier and St. Joseph's colleges, Ohio Mechanics' Institute, Cincinnati Hospital and of a number of churches are important.

A sketch of the Young Men's Mercantile Li- brary has been given in an earlier chapter. This historic institution is about to enter its new rooms in the Young Men's Mercantile Library Building sky-scraper and is expected to be of greater valne and interest than ever before. It is a distinctive institution of the city life, to which much of the development of the commu- nity is due.

CHAPTER XLVII.

MUSIC AND ART.

MUSIC IN CINCINNATI-THE CINCINNATI MUSIC HALL -- THE COLLEGE OF MUSIC-THE CINCINNATI SYMPHONY ORCHESTRA-THE APOLLO AND ORPHEUS CLUBS-MUSIC SCHOOLS-THE DEVELOP- MENT OF ART-THE ART MUSEUM-THE ART ACADEMY-THE ROOKWOOD POTTERY -- THE CINCINNATI ART CLUB.

MUSIC IN CINCINNATI. By Edwin W. Glover.

In this day when even the most subtle of all arts, music, is affected by the prevailing craze for bigness, when institutions of learning calcu- late their students by the thousands, when choruses must count their numbers by hundreds, and an orchestra of a hundred men is necessary for an adequate performance of a symphonic poem, it is quieting to the nerves to look at the Western Spy of over a century back, December 17, 1800, and read this modest little paragraph :

"Those gentlemen and ladies who feel them- selves disposed to organize a singing school will please to convene at the court-house to-morrow evening at candle light, as it is proposed to have singing. Those who have books will please bring then1.'

This is the record of Cincinnati's first step in musical education. Whether the desire for knowledge came from the gentlemen and ladies themselves or from the solicitations of a newly arrived singing school teacher is not as impor- tant as the fact that the need for such study was then recognized.

Up to this time the music had, aside from that connected with the school for dancing started the year before, been purely from individual sources. There had been no concerted move- ment for either vocal or instrumental culture. The occasional settler brought with him to his new house a violin, a flute, accordion, or other

instrument as his talents or ability dictated and privately gave to his little coterie of friends the benefit of his limited attainments.

One of the most noted of these carly fiddlers was Thomas Kennedy, a Scotchman by birth, who immigrated to Cincinnati in the spring of 1789 and later settled permanently in the hamlet that afterwards became Covington. The ferry that plied between his home and the Cincinnati side was always known as "Kennedy's Ferry." A distinguished Scotch traveler, John Melish, visiting here in September, 1811, called upon Kennedy and in one of his volumes relates an incident that happened in the Kentucky home while he was a guest :

"Before we had finished our breakfast, Mr. Kennedy drew a fiddle from the box, and struck up the tune of 'Rothmurchie's Rout.' He played in the true Highland style, and I could not stop to finish my breakfast, but started up and danced the Shantrews. The old man was delighted and favored us with a great many Scotch airs. When he laid down the fiddle, I took it up and com- menced in my turn, playing some new strath- speys that he had not heard before, but he knew the spirit of them full well, and he also gave 115 Shantrews, 'louping near bawk hight,' albeit he was well stricken in years. He next played a number of airs, all Scottish, on a whistle."

The Spy of September, 1801. contains two items of much more historical importance in that they first record the names of the indi-

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CENTENNIAL HISTORY OF CINCINNATI

viduals who were connected with the carly musical undertakings of the city.

A Mr. McLean, butcher, public officer and singing master advertises that he will open a singing school for all persons who wish to be- come members, at the honorarium of one dollar each for 13 nights, or two dollars per quarter, "subscribers to find their own wood and can- dles."

The second notice is that of the first operatic performance. Who the participants were or by whom the opera or operetta, was evidently of no importance to the managers, as their whole energies seem to have been bent upon the suc- cess of the subscription list. So meagre is the detailed information that there is not even a record of the name of the hall wherein the per- formance was given. The announcement in the Spy refers only to the plan and arrangement of the subscription: "Subscribers will receive their tickets of admission by applying to Mr. Kil- gore. Subscriptions not yet paid will be re- ceived by Mr. Seamans. Tickets cannot be granted to subscribers who have not paid. The managers regret that they have not had it in their power to present the subscription list as generally as they wished. Such ladies and gen- tlemen, therefore, as are desirous of subscribing are requested to send their names to Mr. Seamans."

Although it is barely possible that this oper- atic performance was given by the ladies and gentlemen who started the singing school the year before or those connected with Mr. Mc- Lean's school, there are no facts definite enough to establish more than the suggestions of such a promise. In November of this same year, at the dedication of the new Cincinnati Theatre, an original song composed for the occasion was sung during the interlude between the acts by a member of the company.

. Aside from these few entertainments and the music furnished by the band at Fort Washing- ton there is no record of anything else of im- portance occurring in the decade that followed; ending with the year 1810.

Klauprecht, in his history of the Ohio Valley, makes special comment upon the excellence of the fort band with its German and French musicians.

Life at the fort under the command of Gen- cral Wilkinson was made as gay as possible, un- less the carly chroniclers possessed the modern day journalistic idea of gross exaggeration, for we read that his superb barge with his pleasure

parties went up and down the river, "accom- panied with the harmonies of Gluck and Haydn and the reports of the champagne bottles trans- ported the guests from the wilds of the North- west Territory into the Lucullian feasts of the European aristocracy."

The real beginning of Cincinnati's musical development, the foundations of which were builded with a security that later led to pre- eminence in every department of the art, started within some period of the decade that followed, -1810 to 1820. In the light of past and present great achievements, such as our Saengerfests, May Festivals, Symphony orchestras, and institu- tions of learning, these insignificant organiza- tions of nearly a century back cast very small shadows, but small as they now seem their founders even then had the same conscientious zeal and high artistic ideals that have since been so marked a feature of the city's musical life. The departure of General Wilkinson and his soldiery to their new headquarters in New Orleans left the town in the helpless state of being without a brass band to enliven its occa- sions of festivity. Possibly from lack of com- petent performers, the army band was not re- placed by 'a home organization until the year 1814. Then, under the guise of the Harmonical Society, the first brass band started upon its career of usefulness. The musical agonies of this youthful organization must have made a deep impression upon the community for on December 15, 1815, only a few months after its rehearsals began. a local journal contained the following glowing advertisement :

MUSICAL ACADEMY

at Mrs. Hopkins', opposite Columbian Inn, Main street, Cincinnati. For teaching in a scientific and compre- hensive manner, a scholar thirteen tunes at least, in cigl:teen lessons, or no compensation will be required. en any of the following instruments, viz. :

Clarinet, Flagotto or bassoon,

Trumpet,

Serpent.

French horn,

Flagolet,

Bugle horn,

Sacbut,

Oboe, lindygurdy or beggar's

lyre,

Grand oboe or voice 1:mane,

Violin.

Trombone. Fife,

Bass drum,

German Ante,

Octave Ihmnie.

Cymbals, etc., etc., etc.

Violincello,

Military bands taught accurately and expeditionsly, on a correct scale, on any of the above instruments, with appropriate music by

JAMES II. HOFFMANN. P.

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While we must honor Mr. Hoffman for start- ing the first musical academy in Cincinnati, we must look upon his flamboyantly announced cur- riculum with suspicion. The formidable array of instruments catalogued is quite beyond the teaching capabilities of one man and there is no reason for believing that this academy possessed a larger faculty than was represented by the per- sonality of the astute Mr. Hoffman. But it is well to know even now that teaching the bass drum is an art. The lively interest shown in musical affairs reflected itself in the publication at this time of two books of tunes and anthems. Both were issued from the office of the Liberty Hall press. The first entitled "The Western Harmonist," by John McCormick, published in 1815, contains in the preface this statement : "The author, having been many years in the contem- plation of this work, flatters himself that he will be able to furnish the different societies with the most useful tunes and anthems."

The second work, styled "The Columbian Har- monist," came from the versatile pen of the well known author. Timothy Flint, and appeared in 1816. The demand for such works is mute evidence that there existed before the organiza- tion of the Haydn Society singing bodies whose requirements made the publication of these song collections necessary.

So little is known, aside from the mere fact that it existed in 1816, of the musical society re- ferred to by Herr Klauprecht in his "Chronik" as the St. Cecilia, that we will have to start the choral history of the city with the organization of the Haydn Society some three years later, in 1819. This body came into existence the year Cincinnati threw off its infant clothes and re- placed them with the garb required by a full fledged city, and gave its first concert only four years after the organization of the Handel and Haydn Society in Boston. This latter fact is of importance as showing how soon the young city manifested an interest in its artistic advance- ment as compared with older cities. The pre- liminary notice of this first concert, as gleaned from the pages of Liberty Hall and Cincinnati Gasette, is as follows :

"On Thursday evening, 25 of May, will be performed by the Haydn Society of this city, a choice selection of sacred music, taken from the Lock Hospital, Baltimore, and other celebrated collections. Parts I aud 11 will commence with an appropriate instrumental overture. The pro- ceeds of this concert are to be applied to the payment of an organ for the Episcopal Church,

Cincinnati. The name of the piece and other particulars will be published previous to per- formance. By order of the Society.

"N. M. Whittemore, Secretary."

In a subsequent issne of Liberty Hall on the day of the concert the program appeared. It is of such vital importance to the student of Cin- cinnati musical history that we print it in full. Credit must be given for the finding of this valu- able relic to Frank E. Tunison, who published in 1888 in "Presto" the only extended work on the city's musical history in existence.

PART FIRST.

Overture.

Chorus-"China" T. Clarke

Grand Chorus-"The Marvelous Work" Haydn

"Jehova Speaks" Holden

Chorus-"Strike the Cymbals" Puccitta

Anthem-"Our Lord Has Risen from the Dead,"

Arnold

PART SECOND.

Overture.

Chorus-"Jabez Prayer" . Jarman

Overture .T. Clarke

Anthem-"O Praise the Lord" Meinecke

Poland . Husband

Chorus-"New Year's Ode". T. Clarke

Chorus-"Hosanna" Gregor

Duett & Chorus-"Hail Judea" Handel

The Spy, before and after, in its comments 011 the concert says: "Public concerts of this descrip- tion. although rather a novelty here, are quite common in Eastern cities and if well performed never fail to afford great pleasure to the audience. The concert of the Haydn Society on Tuesday evening in Christ Church, we have reason to believe, has given very general satisfaction. In- deed, yielding to the delightful emotions which sacred harmony must excite even in uncultivated minds, none other could be felt by an intelligent auditory when, in addition to the excellent selec- tion, the execution would have reflected credit on our Eastern cities, and the melody in several instances was divine. This exhibition must have been highly gratifying to those who begin to feel proud of our city. It is the strongest evi- dence we can addnce of our advancement in those embellishments which refine and harmonize so- ciety and give a zest to life. We hope that another opportunity will occur for a further display of the talents of the Haydn Society. For their en- deavors to create a correct musical tact among us they deserve our thanks; but when to their efforts is added the disposition to hid the views of public charities, or the services of the church,

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their claims to the most respectful attention and applause rise to an obligation on the com- munity." Of especial interest at this concert was the performance of the chorus, "The Marvelous Work," from Haydn's "The Creation." Only seven or eight years before this "The Creation" had had its first complete performance in the United States, in the little Moravian town of Bethlehem, Pennsylvania. The copies used in Bethlehem were afterwards loaned to a church, society in Philadelphia for use in 1821. So the Haydn Society, in its first concert, complimented its namesake and in so doing not only kept abreast of the times, but undoubtedly gave the first ren- dition of the chorus west of the Alleghany Mountains. Fortunate, indeed, was the Haydn Society in its director. . Philibertus Ratel, a Frenchman, who had recently arrived from Phil- adelphia, united with his ability to teach more graceful accomplishments, such as "country dances, cotillions, hornpipes, the minuet de la coeur with the gavotte, the celebrated gavotte of Vestris, the much admired shawl dance, ballet and opera dancing, with a variety of garlands, dances, such as constitute exhibitions," that of rare musicianship. He seemed equally proficient as soloist and director. At a concert given in 1820 by Mr. Garner, the director of two previous operatic presentations, Mr. Ratel appeared in the dual capacity of orchestral director and solo- ist on the clarinet and French flageolet. His success in teaching orchestral instruments, drill- ing the orchestra and Haydn Society was proof positive that the city was fortunate in having such a learned, practical man in its formative period.

The second concert of the Haydn Society, given Thursday evening, December 19, 1822, was marked by vigorous readings of the great double chorus, "He Gave Them Hailstones for Rain" from Handel's "Israel in Egypt," and "The Saf- fron Tints of Morn Appear," Mozart, and "Halle- lujah, Amen," Handel,-choruses that demon- strate the artistic activity of both singers and di- rector.

But the choral field was not occupied by the Haydns alone. The spread of musical interest had in 1819, the year of the founding of the Haydn Society, caused the formation of the Episcopal Singing Society, with Luman Watson as president. In 1822 was formed the New Jerusalem Singing Society, which met Saturday evenings at the temple, and in 1823 the Euter- . pean Society, a concert by the latter organiza-

tion being announced for July 18, 1823, in the Cincinnati Hotel, at early candle-light.

An essay on the city's early musical life, read before the Literary' Club on November 9, 1879, by that indefatigable chronicler of Cincinnati's early history, H. A. Ratterman, throws much light upon the general musical happenings in the youthful city.

The purely professional musician in those days was a "rara avis," as there was comparatively so little for him to do that following his profession alone meant anything but a life of luxury. As a consequence most musicians and amateurs com- bined with their artistic life a trade whose fol- lowing would guarantee enough sustenance to allow art a substantial foundation to stand upon. Naturally, this resulted in a spirit of Bohemian- ism prevailing in the profession. The Apollonian Society, a body brought together some time in the early "twenties," called by Mr. Ratterman "the first musical club," deserves the name only through courtesy, for it was more a band of musical Bohemians, who met principally for the social pleasures that such meetings bring. Their musical activity was not of enough importance to leave much record of interest upon the pages of history. The leading spirit and founder of the organization was Frederick Amelung, a musician who had some years before migrated from Pittsburg, establishing his home on Syca- more street, opposite what became later the site of the National Theatre. Among the interesting personalities who became identified with the club were Martin Baum, a prominent merchant ; Mons. Menessier, a distinguished Parisian jurist, who had found it necessary to follow the life of a pastry cook; Albert von Stein, the builder of Cincinnati's first water works; Dr. Carl Ritter, a candy maker in Lower Market street; Philabert Ratel, dancing master and director of the Haydn Society : Augustus Zemmer, a Main street con- fectioner ; Edward H. Stall, druggist, and George Charters, piano-maker. The Directory of 1825 says that "this body was organized about a year since, having for its object the cultivation of vocal and instrumental music. It is now in a flourishing state, and consists of forty active and honorary members and is supported by a monthly tax on its members. The officers are a moder- ator, a standing committee of three, a treasurer and a secretary." The Apollonians first met in the saloon of George Juppenlatz, a baker on Main street, but later rendezvoused at the Ap- ollonian Garden, kept by Kothe & Ott, in the Deer creek valley.

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George Charters was for years the only piano- maker the town could boast and he and Adam Hurdus, who had in 1810 built the first church organ, were the pioneers in the march of musical industry, if in truth their small efforts can be so termed. By 1825 Hurdus had a competitor in Israel Schooley, who had recently arrived from Virginia, while Charters had no less than three rivals in Francis B. Garrish, Aaron Golden and the firm of Steele & Clark. A year later the "Sign of the Violin" on Main street, below Fourth street, told those interested that John Imhoff had sheet music and musical instruments for sale.

But we must return to April, 1825, when the city was in its brightest raiment, ready to receive the great Lafayette. The best the community could present in every branch of art and industry was placed before the distinguished Frenchman. Music was made a special feature of the morning parade and the grand ball in the evening given in the large hall of Mack's Cincinnati Hotel. Many of the musicians in the bands and orchestra were brought from other places for this occasion, among them a young man, Joseph Tosso by name, who attracted universal attention for his magnetic conducting of the orchestra. Indeed, one chronicler goes so far as to say he attracted nearly as much attention as did the illustrious Lafayette. But be that as it may, the youthful Mexican not long over from the Paris Conserva- tory, had in him a gifted nature, and with it the dash and enthusiasm of truc musical genius. Tosso is an interesting figure in local musical history. Soon after his arrival from Louisville, where he had spent a short time, he was given charge of the music of the Female Academy on Walnut street, between Third and Fourth, and in 1835 was appointed director of the Musical Fund Society Orchestra, an organization based on the philharmonic plan, similar to the orches- tras of New York and Boston. The object of the society, as stated in the constitution, was "the cultivation of musical taste by the encourage- ment and improvement of professional and ama- teur talent, and the establishment of a musical academy, by means of which pupils may be in- structed in the theory and practice of music." The officers of this institution in July, 1835, were: President, Morgan Neville; vice-presi- dents, John P. Foote and Peyton S. Symmes ; treasurer, Samuel E. Foote; secretary, Linden Ryder ; librarian, John Winter ; managers, T. D. Carneal, Herman Cope, Nicholas Longworth, William Price, M. D., Robert Buchanan, David

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Centennial history of Cincinnati and representative citizens, Vol. I, Pt. 2, Part 71

Author: Greve, Charles Theodore, b. 1863. cn Publication date: 1904 Publisher: Chicago : Biographical Pub. Co. Number of Pages: 1048

Author: Greve, Charles Theodore, b. 1863. cn
Publication date: 1904
Publisher: Chicago : Biographical Pub. Co.
Number of Pages: 1048