Centennial history of Cincinnati and representative citizens, Vol. I, Pt. 2, Part 72

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

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T. Disney, Alexander Flash, William Greene, T. Varian, S. Wiggins, W. G. W. Gano, S. S. Smith, William Yerke, J. S. Armstrong, David Benson, John W. Ryan, George Graham, Jr., James Hall, E. Haines, C. S. Ramsey, M. D., William R. Foster, I. F. B. Wood, Joseph R. Fry and J. F. Meline ; physicians, Alban G. Smith, M. D., and V. C. Marshall, M. D .; counsellors, Robert T. Lytle and Bellamy Storer.

For the brief career of this society it is hardly probable that there was much enthusiasm dis- played by the influential members of its board. Tosso gave his best efforts to the organization and struggled hard to make its career permanent, but insufficient support brought its flickering life to an end in 1840.

In 1839 Tosso formed a partnership with a Mr. Douglass as "musical instrument makers and importers of musical instruments." Their shop stood for many years on the north side of Fourth street, between Main and Walnut streets.

From a present day consideration of Mrs. Trollope's much discussed impressions of the Cincinnati of 1830, it is best to be charitable and remember that managers of oriental bazaars base their views generally upon the amount of coin of the realm returned at the box office. That the business side of her venture was not a suc- cess is evidenced in the undercurrent of bitter sarcasm found in every line of the impressions. It is doubtless true that the Cincinnati of 1830 was not disturbed by many public amusements, but her statement to the effect that the city was a spot unknown to the followers of Pan and Orpheus does not accord with the known history of that period. Only a short time before, on the night of December 30, 1828, the city had gone wild over its first operatic star, Mrs. Knight, who made her debut in Bickerstaff's opera, "Love in a Village." From the writings of "Censor," a critic of the days, who seems to have taken himself very seriously, we gather an idea of the effect she produced even upon his hardened musical temperament :

"I did not think much of Mrs. Knight and therefore 'I went to the play on purpose to find fault with her performance, or with her looks, or manner, or voice, or something ; in fact, I did not care what it was I found fault with, pro- viding I could find fault with something con- cerning her. But I have not a word to say- that is, not a word of fault. I like her. I am delighted with her singing. She is the sweetest little 'warbler of sweet sounds' that P' have ever heard."

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Joseph Tosso, aside from his labors with the orchestra at the Cincinnati Theatre and his private teaching, was an indefatigable concert giver dur- ing this period. But the best proof of Mrs. Trollope's intentional misstatements is found in the program given on Thursday evening, the 23rd of February, 1832, for the relief of the suffer- ers from the terrible flood of that year. The choruses were "Lift up Your Heads" and "Hal- lelujah," f from Handel's "Messiah ;" "The Heavens are Telling" and "Achieved is the Glorious Work," from Haydn's "The Creation.' In addition, one of the solos was the "Rolling in Foaming Billows;" the air, also, from "The Creation." Comment. upon the elevated tone of these numbers would be as superfluous as to elaborate the fact that these choruses could not well be understood without some previous educa- tion along that line.

The year 1834 brought with it the establish- ment of the first music school that received a charter from the Ohio Legislature. Timothy B. Mason and William F. Colburn in that year formed what was called "The Eclectic Academy of Music," receiving their charter the year fol- lowing. Louis Lemaire, a German pianist and oboe player of distinction, who had much suc- cess as a teacher, joined the institution a short while after its organization. In 1840 the re- tirement of Mr. Mason made it necessary to go East for some one to fill the vacancy. After much persuasion Victor Williams, a Swede, was induced to leave the position he occupied in an Eastern city and come West to look after the interests of the academy. Mr. Williams' coming to Cincinnati at the time he did seems now to have been predestined. The conditions were just ready for a musician of such sterling qualities and he, it seems, was fully prepared to face the conditions. If one were asked to name the man whose influence for good has made the most lasting impress upon the city's early musical life, he must name Victor Williams as the man. With his unquestioned musical ability, he had the en- thusiasm, tact, aggressiveness, and tireless en- ergy required to assume the multitude of de- tails it was necessary then to burden oneself with in the management of musical organizations. Mr. Williams had not been long in the city be- fore he was asked to accept the leadership of the choir of the Ninth Street Baptist Church. With this choir as a nucleus he formed a larger body under the title of "The Sacred Music Society," which soon contained in its ranks the best vocal

talent the city could offer. Aside from Mr. Will- iams as director, the officers of 1843 were E. Henry Carter. president ; A. S. Hanks, secretary and treasurer; S. T. Carter, L. L. Hanks, and W. Richards, committee on invitations. One of their first miscellaneous programs given on the evening of December' 22, 1843, will indicate the high musical standard sought by their director :

"In the Beginning." a recitative by George Soho, and the chorus "And the Spirit of God." A recitative, "And God Saw the Light" and the air, "Now Vanish Before Thy Holy Beams," both by Samuel Johnson.

Chorus,-"Despairing, Cursing, Rage."

A solo from Handel, "But Thou Didst Not Leave His Soul in Hell," by J. W. King.

Chorus from "The Creation,"-"Achieved is the Glorious Work."

Solo from "The Creation,"-"Rolling in Foam- ing Billows," by Thomas Stafford.

Song,-"The Widow of Nain," by Miss Re- becca Cooper.

Recitative and chorus from "The Creation,"- "In Splendor Bright," by Samuel Johnson ; chorus, "The Heavens are Telling."

Duet,-"Ave Sanctissima," by , Miss Rebecca Cooper and \Miss Emma Stokes.

Recitative,-"The Eyes of All Wait Upon Thee, O Lord." by Miss Emma Stokes.

Quartet,-"Thou Openest Thy Hand;" Miss Anna S. V. Jungmann, Miss Emma Stokes, J. WV. King, and Charles G. Carter

Chorus .- "We Will Rejoice in the Lord."

Solo from "The Creation,"-"Now Heaven in Fullest Glory Shone," by Thomas Stafford.

Quartet and Chorus,-"Oh How. Lovely is Zion ;" Misses Jungmann and Stokes, Messrs. Johnson and Hanks. Chorus.

Song,-"Ruth and Naomi," by Miss Emma Stokes.

Chorus from "The Creation,"-"Achieved is the Glorious Work."

The performance of oratorio in its complete form is also due to Mr. Williams and this so- ciety. Within the Eclectic Academy, Mr. Will- iams organized the "Amateur Orchestra." the members of which with the exception of the first strings in each part were made up entirely as the name implies of his pupils. By combin- ing his orchestra and choral forces, the energetic conductor was able to produce very satisfactory performances of "The Creation," Mozart's "Twelfth Mass," Haydn's "Third Mass," por- tions of "Judas Maccabacus" and the "Messiah."

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On April 8, 1858, Neukomm's "David" was given in Smith & Nixon's Hall, Fourth street near Vine, as a complimentary benefit to Mr. Williams with the following assisting artists : L. Corradi Colliere, a noted French baritone; Henry Appy, a German violinist, then a resident of the city ; J. Q. Wetherbe, bass; Leopold Lowe- gren, pianist ; and Henry J. Smith, a prominent local organist. Unfortunately at this, their final concert, the society reaped more glory than money for their unselfish leader.

· The activities of these organizations continued until the late "fifties," when talk of war turned the attention of citizens from the pursuit of cul- ture to more serious and distracting things. The members of the Sacred Music Society gradually withdrew until the organization again became only the choir of the Ninth Street Baptist Church, to always so remain. After the war Mr. Will- iams became identified with the promotion of music in the public schools, a vocation perfectly suited to his ardent temperament. This, with his choir, and some private instruction, occupied the closing quarter century of his useful life. For 50 years, a remarkable diplomatic record in itself, he led the volunteer choir of the Ninth Street Baptist Church, always keeping the musi- cal standard of its services so high that its'fame spread far beyond the confines of local environ- ment. All honor to the memory of Victor Williams. As a musical pioneer he must be placed at the head of the honored list who so successfully shaped the artistic destinies of the Queen City of the West.

An organization, that, from its name, "Handel and Haydn Society," promised mich in a choral way was founded by Timothy B. Mason in 1844. Its 75 members held their rehearsals first in the New Jerusalem Church on Longworth street and later in Lyman Beecher's Presbyterian Church on Seventh street. As it did not in any way live up to the standard of its Eastern namesake, it vanished in 1849, leaving little if any impres- sion upon the recorded pages of local history. A Mr. Elisha Locke sought to revive the choral interest of the Handel and Haydn Society by consolidating the tew remaining members with the organization known as the "Morris Chapel Singing Society." Their rehearsals were held in the chapel on Central avenue, a building some years ago used by the flavlins as a theatre but now known as the Lyceum Theatre. During the season of 1851-52, they brought forward in Me- lodcon Hall a very successful performance of

"The Creation" with a chorus of 100 voices, orchestra of 34, and with Madame Rive and Mrs. Kitchiell, sopranas, Albert Littlefield, tenor, Miss Mollie Melntyre, contralto, and Emanuel War- wood, bass, as soloists. Like other choral bodies, this society struggled along for a few years but eventually followed the rapidly vanishing foot- steps of its predecessor.

Writing the chronology only from the English speaking side as the writer has done thus far, it is necessary to pass over the turbulent years from 1858 to 1861. When the possibility of war with its horrors was the absorbing topic that agitated the minds of all loyal citizens, there was little thought or inclination then for the uplift- ing influence of the classics of a Handel or a Haydn. Later in 1863, when the rhythmic tread of the going and returning soldiery had accus- tomed the community to look upon these scenes with less anxiety, the study of music again took on its onward march. In the interim between the passing of Mr. Locke, Morris Chapel Sing- ing Society and the organization in 1863 of its legitimate successor, the "Musical Union," after- wards "The Harmonic Society of Cincinnati," the musical field was occupied almost entirely by the German American Cecilia Society. Its or- ganization was . influenced by an enthusiastic young musician, F. L. Ritter, who came to Cin- cinati in the carly "fifties" fresh from his studies in European schools. Under his direction the Cecilia made its initial appearance September 19, 1856, in Mendelssohn's setting of the Forty- Second Psalm, a cantata of Mozart, a chorus from Spontini's "Vestale," a chorus from Haydn's "Seasons" and selected choruses from Schneider's "Last Judgment." On Monday evening, November 28, 1870, after 15 years of brilliant work this excellent body was forced through lack of financial sustenance to make the first concert of its 15th season its own swan song. Its conductors after the resignation of Mr. Rit- ter, who went East to later assume charge of the music at Vassar College, were successively 11. G. Andres, George Schneider and Andrew Nem- bach.

Again we turn back to our old road to Rome or to be more explicit to the road that leads to the giving of the first May Festival for all roads now lead to that musical Rome.

In its circular to the "Musical Public of Cin- cinati" issued in January, 1864, the Harmonic Society extended a cordial invitation to singers. both ladies and gentlemen, "who will take an in-

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terest in building up a large choral society, such as the old societies of Boston and New York, to join."

L. C. Hopkins was made its first president and Carl Barus, the director. Mr. Barus re- mained the leader until Otto Singer was brought to Cincinnati to take charge of the choruses con- nected with the May Festivals, when the con- ductorship of this organization was also given him. Its third and last president was Col. George Ward Nichols. With the purchase in 1880 by the May Musical Festival Association of its valuable library, there passed into history one of the best musical organizations the city ever had and the last lineal descendant of the pioncer singing school of December 7, 1800.

But we must now turn our attention to an element that had for many years been quietly but gradually exerting an immense influence over the musical destinies of the city. Klauprecht says: "To the Americans belongs the credit of being the first pioneers of music in Cincinnati ; but the Germans may boast of having brought about its higher development."

Herr Klauprecht's statement impresses one, particularly when studying the musical history of the city during its intermediate period, from 1850 to the organization of the May Festival in 1873. In the latter part of that period the so- cieties such as the Cecilia, whose programs were printed in both English and German, are often so closely allied that it is difficult to determine which element dominated the other. In male chorns singing the entire carly history of the city belongs to the German for from 1838, when the first German Maennerchor was formed, to 1882 when the Apollo Club was organized, the city had never had an English speaking male chorus. This first male chorus of 1838 met "Over the Rhine" in the dancing hall of the Rising Sun Tavern. Its membership was small but contained such distinguished Germans as Gen. Augustus Mohr and Frederick Gerstaecker, the famous traveler and writer, with William Schragg as its director.

Following this came the German Liedertafel, a group of singers who began their rehearsals

: in 1841 without a definitely constituted organiza- tion, but who later in June, 1843, established a permanent body that kept its individuality un- til 1857 when it was merged into the greater Maennerchor. George Valentine Schneider, George Labarre, William Runge, Franz Schoen- feld, Carl Barns and Robert T. Holterhoff were its directors during this 14 years of activity.

The Gesang-und Bildungs-Verein Deutscher Arbeiter organized in 1846 enjoyed the distinction of being the first German singing society that al- lowed female voices in its membership. Its di- rectors were first Henry Damm, then Xavier Vin- cent who brought out a complete performance of Haydn's "The Creation." This association dis- banded in 1852. In 1857 through the consolida- tion of the Liedertafel, Saengerbund, and Ger- mania, a magnificent body of singers was brought together under the name of the

Maennerchor. Shortly after, Carl Barns

was chosen director with the understand- ing that the organization should admit female members and allow the public presenta- tion of opera. In accordance with this plan the "Czar and Zimmerman" was produced on April 30, 1860, at the hall of the German In- stitute. The policy of Mr. Barus carried until 1864, when bitter dissensions arose over the ad- visability of giving these operatic performances. Mr. Barus resigned and was succeeded by And- rew Nembach. The supporters of Mr. Barus immediately withdrew from the parent body, formed a new society agreeable to the perform- ance of opera, called it the Orpheus and shortly thereafter began the historic career that con- tinned until it disbanded in 1885. In 1882 Mr. Mees succeeded Mr. Barus who in that year re- moved to Indianapolis to associate himself with the musical activities of that city. Life with the Maennerchor in these passing years had not been as tranquil as that of the younger body. From 1864 when Mr. Barus resigned to 1873 when Otto Singer, who had but recently arrived, was elected director, no less than four directors of- ficiated at its concerts,-Andrew Nembach, Henry G. Andres, Phillip Walter and W. Gro- securth of Chicago.

In 1883 the Cincinnati Musik-Verein was formed by the consolidation of the Maennerchor and the Germania with Otto Singer as director. Later Mr. Singer was succeeded by Louis Ehr- gott who at that time was directing the chorus of the May Festival Association.

To the Germans of Cincinnati must be given the credit of originating the festival idea that is now prevalent in so many different parts of the country. Away back in 1849 a small number of singing societies met together in Cincinnati for the purpose of effecting an organization similar to those already established in Bavaria and other parts of Germany, that would foster through its good fellowship the folk song of the fatherland.

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To Mr. Ratterman and Mr. Krehbiel we must turn for the history of the organization of this first Saengerbund.

"The first attempts to introduce festivals in America were, in comparison with those held in Germany, very diminutive in style. Already in 18446 endeavors were made in Philadelphia and Baltimore to organize friendly relations between the German singing societies of these cities. They, however, were restricted to mutual visits paid each other conducted with a social festivity, in which the public of these cities participated. No formal organization was attached to these visits, and therefore they cannot be classified as Saenger- fests. Festivals of this character were likewise held in Cincinnati in the summers of 1846, 1847 and 1848.

"A formal organization was effected in 1849 by a union between the singing societies of Cin- cinnati, Louisville, and Madison, Indiana. These societies held the first German Saengerfest in America in the city of Cincinnati, June Ist-3d, inclusive, 1849, and at this festival, on June 2, the German Saengerbund of North America was founded.

"With that indeed diminutive Saengerfest there was inaugurated a new era in the musical history, not only of Cincinnati, but of America, for then the foundation was laid to the great musical festivals which have given to our city the titles of 'The Paris of America' and 'The City of Festivals.'"

And in an historical number of the Daily Ga- sette we quote these interesting details on the same subject from an article of H. E. Krehbiel : "Viewed in the light of the events of the last few years, the first German festival held here in 1849 looks very modest, and yet, at the time, it meant much to the Germans. Only one concert was given; it was on June ist, and of all the. city's populace only 400 bought tickets at 50 cents each and attended. The result was a deficit which, by a subsequent concert arranged to cover it, was swelled to $171, and the singers were assessed to pay this. The chorus numbered 118, there being 28 first tenors, 32 second tenors, 20 first basses, and 29 second basses. The so- cieties participating were the Louisville Lieder- kranz (15 singers), Madison Gesang-Verein (nine singers), Cincinnati Liedertafel (32 sing- ers), Cincinnati Gesang-und Bildungs-Verein (33 singers), Cincinnati Schweizer-Verein ( 14 sing- ers), eight delegates from the Louisville Orphens, and seven singers from Cincinnati who did not

belong to any society. The concerts were given in Armory Hall, on Court street, at present used as Geyer's Assembly Rooms. The music con- sisted of part-songs by Zoellner, Mozart, Kreut- zer, Frech, Broch, Reichardt, Abt, Silcher, and Banmann.

"The second festival was held in 1850 in Louis- ville. The Cincinnati societies participated and carried off both of the prizes offered.

"In 1851, when the third festival was given, in Cincinnati, the bund had grown to include 14 societies, by additions from Columbus, Ham- ilton, Cleveland, St. Louis, Newport (Ken- tucky ). Lafayette (Indiana), and Detroit, and the chorus, which was conducted by William Klausmeyer, numbered 247 voices. Instrumen- tal numbers by the military band from the United States garrison at Newport were given a place on the program.

"Sixteen years later, and in the same city that saw this small beginning, a festival was celebrated which had nearly 2,000 singers in its chorus, and the concerts were given in a build- ing specially erected for the purpose. This was in 1867, and from this went out one of the im- pulses that called the May Festivals into life.

"While Cincinnati had received some national reputation through the success of these Saenger- fests, its international fame as the leading musical center of the West came later with the organiza- tion of the May Festivals. The generous sup- port given by the surrounding country to the German concerts and the industrial expositions led some leading citizens to speculate upon a plan that would draw the multitude but with it give the city a name that would redound to its credit in an artistic way. Hardly dreaming of the immense impetus to the study of music they were to give the whole Middle West or the beneficent effect this movement was to have upon the city itself, these gentlemen met on the 27th of September, 1872, in the office of Storer, Good- man & Storer for temporary organization."

From the exhaustive article in the historical number of the Daily Gasette'on the organization of the May Festivals we append the following :

"At this meeting an executive committee was appointed, consisting of George Ward Nichols. president ; Carl A. G. Adae, vice-president ; John Shillito, treasurer; and Bellamy Storer, Jr., secretary ; besides John Church, Jr., George W. Jones and Daniel B. Pierson. Plans were dis- cussed, the question agitated, and three days later a large finance committee, with Hon. George

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CENTENNIAL HISTORY OF CINCINNATI

H. Pendleton as chairman and George W. Jones as secretary, was appointed and authorized to raise a guarantee fund of $50,000, the under- standing being that no further steps should be taken until $30,000 had been subscribed.

"A little more than one month was required for this work, and on the 12th of November a circular was issued announcing that a musical. festival would be held in Cincinnati in May, 1873, for the purpose of elevating the standard of choral and instrumental music, and to bring about harmony of action between the musical societies of the country and especially of the West. Tel- egrams and letters were also sent broadcast, an official agent was employed to visit the various singing societies of the West and Northwest to secure their cooperation and to arouse the public mind to an interest in the affair. The response was very general; and when the chorus was or- ganized it was found to contain no less than 36 societies, aggregating 1,083 singers, of whoni 640 were Cincinnatians. Twenty-nine societies participated in the first mass rehearsal, which was conducted by Prof. Carl Barus who had been ap- pointed assistant director, but who had been superseded by Otto Singer (who has since held the position ) in March, 1873. The instrumental forces were an orchestra numbering 108 pieces, and a chorus organ of one manual, 14 stops, and 665 pipes, built for the purpose by Messrs. Koehnken & Grimm of this city.

"The festival was held on the 6th, 7th, 8th, and oth of May. The original plan, borrowing the idea from the Saengerfests, purposed to de- vote the last day to an open-air concert and pic- nic ; but rain spoiled the scheme, and an after- noon concert in the hall was substituted. Thus Providence came in to take from the festival this vestige of the German custom which had done much to degenerate the Saengerfests from festivals of song to bacchanalian carouses. The soloists were Mrs. E. R. Dexter, of Cincinnati ; Mrs. H. M. Smith, of Boston; Miss Annie Lou- ise Cary; Nelson Varley, of London; M. W. Whitney and J. F. Rudolphsen; and Arthur Mees, organist. The principal compositions per- formed were Handel's 'Dettingen Te Deum,' Beethoven's 'C Minor Symphony,' scenes from Gluck's 'Orpheus,' Schumann's 'Symphony in C' and his chorus, 'Gypsy Life,' Beethoven's 'Choral Symphony,' Mendelssohn's "The First Walpur- gis Night' and Liszt's symphonic poem 'Tasso.' "At the close of the last evening concert, Judge Stanley Matthews read a request, signed

by a large number of prominent citizens, for an- other festival. The managers determined to act on the suggestion and a second festival was an- nounced for May, 1875. Owing to the inexpe- rience of the managers, the expenses were very large, but so generous was the patronage that the deficit amounted only to $350, which the executive committee paid from their privy purses."

The second festival was held in May, 1875, and regularly from that time to the present have these biennial festivals of music. occurred.

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Centennial history of Cincinnati and representative citizens, Vol. I, Pt. 2, Part 72

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