USA > Ohio > Hamilton County > Cincinnati > Cincinnati, the Queen City, 1788-1912, Volume II > Part 58
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In 1819 the Episcopal Singing Society was founded, Luman Watson, clock- maker, being president; F. A. Blake, vice president ; E. B. Cooke, secretary and J. M. Mason, treasurer. Arthur St. Clair, junior, made the offer of a lot and Jacob Baymiller stood ready to present a building for the housing of this or- ganization, but the singing school for some reason does not appear to have taken advantage of these proffers, for it held its sessions in Christ Episcopal church, a Baptist church leased by the Episcopalians.
In 1819 the Haydn Society was organized in Cincinnati. It was made up of several church choirs and musical societies. May 25, 1819, the Haydn Society gave a concert in the church just spoken of. The purpose was to raise a fund to buy an organ for that church. The Spy contained this notice: "Public concerts of this description, although rather a novelty here, are quite common in the eastern cities, and if well performed never fail to afford great pleasure to the audience." After the performance, the Spy stated that it had given general satisfaction and said: "In addition to the excellent selection, the ex- ecution would have reflected credit on our eastern cities, and the melody in several instances was divine. This exhibition must have been highly gratify- ing to those who have begun to feel proud of our city. It is the strongest evi- dence we can adduce of our advancement in those embellishments which refine and harmonize society and give a zest to life. We hope that another opportunity will shortly occur for a further display of the talents of the Haydn Society. For their endeavors to create a correct musical taste among us they deserve our thanks; but when to their efforts is added the disposition to aid the cause of public charities or the services of the church, their claims to the most respectful attention and applause rise to an obligation on the community."
In the autumn of 1819, the Haydn Society gave a second concert, the tickets being one dollar each. One-half of the proceeds were to be appropriated to the several Sunday schools of the city, and the other half was to be applied for the purchase of music to remain the permanent property of the Cincinnati Haydn Society.
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The committee in charge of this concert was composed of Edwin Mathews and Charles Fox. Mr. Fox and Benjamin Ely advertised a singing school that was to begin its sessions December 17th at the Second Presbyterian church.
May 29, 1819, "the Caledonian youths from Glasgow" gave, at the Cincin- nati Hotel, a concert on the Scotch harp.
July 18, 1821, Charles Fox directed a concert of sacred music, three singing organizations being united for the purpose. At this concert, "Comfort Ye My People" and Handel's Hallelujah Chorus from the Messiah were rendered for the first time in this city.
Miss Martineau, who visited Cincinnati in 1835, erred in stating that the first concert ever given here was during her visit at that time. She states: "Before eight o'clock in the evening the Cincinnati public was pouring into Mrs. Trol- lope's bazaar, to the first concert ever offered to them. This bazaar is the great deformity of the city. Happily, it is not very conspicuous, being squatted down among houses nearly as lofty as the summit of its dome. From my windows at the boarding house, however, it was only too distinctly visible. It is built of brick, and has Gothic windows, Grecian pillars, and a Turkish dome; and it was originally ornamented with Egyptian devices, which have, however, disappeared under the brush of the whitewasher.
"The concert was held in a large, plain room, where a quiet, well-mannered audience was collected. There was something extremely interesting in the spec- tacle of the first public introduction of music into this rising city. One of the best performers was an elderly man, clothed from head to foot in gray home- spun. He was absorbed in his enjoyment, so intent on his violin that one might watch the changes of his pleased countenance the whole performance through, without fear of disconcerting him. There was a young girl in a plain, white frock, with a splendid voice, a good ear, and a love of warbling which carried her through very well indeed, though her own taste had obviously been her only teacher. If I remember right, there were about five and twenty instrumental performers and six or seven vocalists, besides a long row for the closing chorus. It was a most promising beginning. The thought came across me how far we were from the musical regions of the old world, and how lately this place had been a canebrake, echoing with the bellow and growl of the wild beast; and here was the spirit of Mozart swaying and inspiring a silent crowd, as if they were assembled in the chapel at Salzburg."
In 1825 there was a musical society called the Apollonian. Of it the directory says : "It is now in a flourishing condition, and consists of forty active and hon- orary members, and is supported by a monthly tax on its members. The of- ficers are a moderator, a standing committee of three, a treasurer, and a secretary."
It is supposed that the leader of this society was William Tellow, who in 1817 arrived from Germany ; later he made a home at Dayton and afterward traveled with his family as concert musicians.
In 1825, the Apollonians were accustomed to meet in the saloon of George Juppenlatz, a baker at 26 Main street. Later they assembled at the Apollonian garden in the Deer Creek valley. This was kept by Kothe & Ott, and afterward
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.by Ruter & Ott. This place was a forerunner of the German beer gardens of this city.
Klauprecht says in regard to this garden: "On festival occasions there was no want of a German orchestra at this resort of pleasure to play to the dancing of its visitors." The clarionet player was Sebastian Rentz, while Henry Schmidt played the violin, and Jacob Schnetz, brother of the gardener of Mr. Longworth, played the piccolo."
Philibert Ratel, spoken of above as a teacher of music and dancing, came hither from Philadelphia in 1787. He gave lessons on the clarionet, flute, bassoon, flageolet, violin and piano. He also gave instruction in country dances, cotillons, allemandes, waltzes, hornpipes, the minuet de la cour with the gavote, the cele- brated Gavote of Vestris, the much admired shawl dance, ballet and opera danc- ing with a variety of garland dances. He was an expert player of the clarionet and French flageolet. At a concert given by Mr. Garner, at Mack's Cincinnati Hotel, March 16, 1820, Ratel played clarionet and flageolet and was leader of the orchestra. Ratel advertised that he could "in four or six months give his scholars a competent knowledge of music and its various tunes to perform alone or in harmony correctly." Garner was an actor and singer from the east, who produced at the theater here two light English operas, "The Devil's Bridge" and "Lionel and Clarissa."
When the great reception was given to Lafayette in 1825, there was no vocal music so far as tradition or records indicate. The parade, however, was accom- panied by a band. Musicians had been brought from the east for the ball. Joseph Tosso was the leader. Tosso was a native of Mexico and was trained in music in France and Italy. He visited America as a violinist. He came to Cincinnati, tradition states, to lead the orchestra during the visit of Lafayette, and remained to teach and practice music. In 1829 he was teaching music in the Cincinnati Female Academy on Walnut street. In 1835 he was the leader of the orchestra in the Musical Fund Society, which had been founded April 29th of that year. This society was organized for "the cultivation of musical taste by the encourage- ment and improvement of professional and amateur talent, and the establishment of a musical academy, by means of which pupils may be instructed in the theory and practice of music."
The Musical Fund Society was strong socially and financially. The New York Family Minstrel, July 15, 1835 said of it: "We hear very favorable ac- counts of this institution, which is said to be fostered both by wealth and in- fluence. Its officers are: President, Morgan Neville; vice presidents, John P. Foote, Peyton S. Symmes ; treasurer, Samuel E. Foote ; secretary, Linden Ryder ; librarian, John Winter." . In the list of managers are such names as Nicholas Longworth, W. G. W. Gano, and Bellamy Storer. The first organization, how- ever, did not last long, but in 1840 it was revived on a much smaller scale, it then consisting of an amateur orchestra with Tosso as leader. Cist in 1841 stated, "it promises much for the culture of musical taste and science in our city."
In 1839, Tosso and Douglass had a store on Fourth street where they were engaged as musical instrument makers and importers of musical instruments. According to the Boston Courier there were in 1816 "piano fortes by the dozen
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in Cincinnati." In December, 1815, Adolph Wapper advertised himself as a teacher of music and tuner and repairer of pianos.' In 1819 the directory men- tioned George Charters as a piano maker.
About 1819 the first organ was built in this city. The Rev. Adam Hurgus was the maker. He had come to this city in 1806 and combined the functions of merchant and preacher. He was the first Swedenborgian minister west of the Alleghanies. He carried on the business of organ building on Sycamore street while mininstering to the New Jerusalem church. Another maker of organs in this place was Israel Schooley who came from Virginia in 1825.
In 1825 there were three piano makers in Cincinnati, George Charters, Francis B. Garrish and Aaron Golden. In 1828 there was also here the firm of Steele and Clark.
In 1826, John Imhoff opened a store on Main street and became the first gen- eral dealer in sheet music and musical instruments.
In 1825, Edward Thomas was the only person mentioned as a professional musician. In 1829, Alexander Emmons was the only one.
in 1834, the Eclectic Academy of Music was organized. In 1835 it was in- corporated. Professors T. B. Mason and William T. Colburn were its founders. Later, Louis Lemaire, a German pianist, associated himself with them. When the society was fully established, its president was Jacob Burnet, vice president Moses Lyon, recording secretary Charles R. Folger. The charter set forth the purpose of the society as being "to promote knowledge and correct taste in music, especially such as are adapted to moral and religious purposes." This academy had in 1841 a good library of music, vocal and orchestral. There was also attached to it an amateur orchestra of twenty four instruments.
Victor Williams was the leader of this band and was indicated an "Instru- mental Professor." He was a Swede and was the originator of the "American Amateur Association," the first large musical organization of the city. Its in- ception wås in 1846. This association gave Cincinnati its first public renderings of grand oratorio music, such as Handel's Messiah, Mozart's Twelfth Mass, Haydn's Creation and Third Mass.
Of one of these renderings, Mr. Rattermann wrote: "I remember well the enthusiasm with which the first public production of the 'Creation' was received. It was performed before a large and fashionable audience in the Melodeon hall, which was then the chief concert room here."
April 8, 1853, the association gave a benefit for Williams. It rendered Neu- komm's "David" in Smith and Nixon's Concert Hall, on Fourth street. This was the last public appearance of this society.
The year 1828, when the Apollonian Society went out of existence, is con- sidered the end of the first period of the musical history of Cincinnati. 1853, with the termination of the American Amateur Association is declared to have been the end of the second period.
Rattermann wrote: "To distinguish these two periods from each other, we must view them in the light of their original intention. The first period had in object only a self-contented purpose. Its beginning was of the most primitive nature, and all along its existence it bore only rudimentary signs of being. No public exhibit of its artistic existence was even attempted. The music rendered
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was of the most modest kind possible, performed only for self-amusement. The actors of this period played behind a closed scene. But presently we see the desire visible that the curtain rise, and the efforts of the actors be com- municated to others, to participate in its enjoyment.
The leading spirit in this movement must be ascribed to the German element. "To the Americans belongs the credit," says Klauprecht, "of being the first pioneers of music in Cincinnati; but the Germans may boast of having brought about its higher development."
"In Cincinnati the Germans practiced music already in the early years of the city's existence. At first, when the number was small, they confined their chorus-singing to the church, and when the divine service was over on Sundays they would flock into the country, and there, seated or lying on the grass, be- neath the green crown of a shady tree, they would sing the songs of their native land in swelling chorus. And in the evening often would the guitar or the zither, the flute or the violin, send the melodious strains of a German ballad from the lone window of his small cottage, or even the garret of the tenement house : 'In einem kuehlen grunde;' or 'Ich weiss nicht was soll es bedeuten.'"
In 1838, the first German singing society of Cincinnati was formed. This was also the first chorus of male voices. It was the first chorus singing of four- part songs here. These young Germans met every Thursday evening "over the Rhine," at the inn of the Rising Sun. Rattermann says: "That the songs of this pioneer of our German singing societies were as yet of a primitive character we may safely infer from the fact that all beginnings are necessarily small. The singers seated themselves around a table, and alongside the music book of each stood the quart of beer, for the expenses of the illumination of the hall, which consisted of two large lard-oil lamps, had to be covered by the profit realized from the sale of beer to the members. Thus the drinking may have played a greater role in this first German singing society than the singing."
Somewhat later, the choirs of several German churches organized a singing society. These were from the German Protestant church and the German Cath- olic church of the Holy Trinity. They met on Clay street, at the home of a watchmaker, Fritz Tappe.
In 1841 a number of German musicians got together, and in June, 1843, they organized under the name of the German Liedertafel. This society existed for fourteen years, and in 1857 became a part of the Maennerchor.
In 1846 the Gesang-und Bildungs-verein deutscher Arbeiter began its ex- istence, the first German organization in this city with female voices in the choir. It disbanded in 1852.
In 1848, the Eintracht, a society of Germans, was founded, but it lasted only one year.
An organization of Swiss musicians in the city was effected about 1848. This was known as a Schweizer-verein. The first leader was Emanuel Hinnen. In 1850 this society merged into the Nordische Saengerbund. After a career of popularity, the Saengerbund became a part of the Maennerchor.
The Maennerchor of Cincinnati was organized June 27, 1857. It united in itself the Liedertafel, the Saengerbund and the Germanic Societies. In 1859. Vol. II-30
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a literary society, Lese und Bildungs-verein, joined with it, bringing with it a library and certain funds.
In 1860, the Maennercher produced an opera, "Czar und Zimmerman," the prima donna being the only female voice in the chorus. Afterward, lady mem- bers were admitted. This organization produced many operas.
When the Orpheus Society was formed April, 1868, it took away many mem- bers from the Maennerchor, and the latter became simply a choral society.
In 1849 the musical section of the Turn-verein was formed.
Rattermann wrote: "The existence of these societies brought life into the musical silence of our city. Each one of them gave a regular series of concerts annually, generally followed by a ball. Those of the Liedertafel, and after- wards of the Saengerbund, were considered the bon ton entertainments of our German citizens of those years.
"The narrow compass to which these societies, according to their nature and tendency, were limited, soon called for an extension of the boundary. This could not be accomplished in one association, as that would soon become un- wieldy for the general purpose. The Liedertafel, as societies for the object of cultivating the male voice chorus, without instrumental accompaniment, are called, and of which the first was founded in Berlin under Zelter in 1809, are, on account of their original intention, not adapted for massive choruses. Wher- ever they are found, they seldom number as many as a hundred singers, generally averaging about twenty-five members. If then, a more powerful, a massive chorus is desired, it becomes necessary to bring several of these Liedertafel together, and by their united efforts the massive chorus is obtained. For that purpose festivals, to be given at stipulated intervals in the larger cities of a country, are devised. The earlier of these festivals had their origin in Germany. The first festival of the kind was held in the city of Wuerzburgh, in Bavaria, August 4th to 6th, inclusive, 1845.
"The first attempts to introduce them in America were in comparison with these festivals in Germany, very diminutive in size. Already in 1846 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, connected 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 Saengerfests. Festivals of this character were likewise held in Cincinnati in the summers of 1846, 1847 and 1848.
A formal organization was first effected in 1849, by a union between the singing societies of Cincinnati, Louisville, and Madison, Indiana. These socie- ties held the first German Saengerfest in America in the city of Cincinnati, June Ist-3d, inclusive, 1849, and at this festival, on June 2d, the German Saenger- bund of North America was founded.
"This was the first effort of its kind in America, and the city of Cincinnati can boast, not only of being the author of them, but also of the fact that these festivals were originated here in America. With that indeed diminutive Saen- gerfest there was inaugurated a new era in the musical history, not only of Cin- . cinnati but of America; for then the foundation was laid to the great musical
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festivals which have given to our city the titles of 'The Paris of America,' and 'The City of Festivals.'"
The Saengerfest spoken of was composed of five German singing organiza- tions of Cincinnati, Louisville, and Madison, Indiana, and delegations from the Maennerchors of St. Louis and Columbus and the Deutscher Liederkranz of Mil- waukee. In the concerts of the Saengerfest one hundred and eighteen singers took part. Several thousands of people attended the open air concert at Bald Hill, near Columbia.
The Daily Gazette gave many details of this first Saengerfest, stating among other things: "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 four hundred bought tickets at fifty cents each and attended. The result was a deficit which, by a subsequent concert arranged to cover it, was swelled to one hundred and seventy-one dollars, and the singers were assessed to pay this. The chorus numbered one hundred and eighteen, there being twenty-eight first tenors, thirty-two second tenors, twenty-nine first basses, and twenty-nine second basses. The societies participating were the Louisville Liederkranz (fifteen singers), Madison Gesangverein (nine singers), Cincinnati Liedertafel (thirty-two singers), Cincinnati Gesung und Bildungs- verein (thirty-three singers), Cincinnati Schweizerverein (fourteen singers), eight delegates from the Louisville Orpheus, 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 consisted of part songs by Zoellner, Mozart, Kreutzer, Frech, Broch, Reichardt, Abt, Silcher, and Baumann.
"The second festival was held in 1850 in Louisville. The Cincinnati socie- ties 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 fourteen societies, by additions from Columbus, Hamilton, Cleveland, St. Louis, Newport, Kentucky, Lafayette, Indiana, and Detroit, and the chorus, which was conducted by Mr. William Klausmeyer, numbered two hundred and forty-seven voices. Instrumental numbers by the military band from the United States garrison at Newport were given a place in the programme.
"Sixteen years later, and in the same city that saw this small beginning, a festival was celebrated which had nearly two thousand singers in its chorus, and the concerts were given in a building specially erected for the purpose. This was in 1867, and from this went out one of the impulses that called the May festivals into life."
The first of the Saengerbunds was held in 1849. There followed those of 1851, 1853, 1856 and 1867, and so on. That of 1879 was held in Music hall.
H. E. Krehpiel, in the Gazette, wrote: "While Cincinnati had received some national reputation through the success of these Saengerfests, its international fame as the leading musical center of the west came later with the organiza- tion of the May festivals. The generous support 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
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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, Goodman and Storer for temporary organization.
"At this meeting an executive committee was appointed, consisting of George Ward Nichols, president; Carl A. G. Adae, vice president; John Shillito, treas- urer; and Bellamy Storer, Jr., secretary; besides John Church, Jr., George W. Jones and Daniel B. Pierson. Plans were discussed, the question agitated, and three days later a large finance committee, with Hon. George H. Pendleton, as chairman, and George W. Jones as secretary, was appointed and authorized to raise a guarantee fund of $50,000, the understanding 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. Telegrams and letters were also sent broadcast, an official agent was employed to visit the va- rious 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 organized it was found to contain no less than thirty-six societies, aggregating one thousand and eighty-three singers, of whom six hundred and forty were Cincinnatians. Twenty-nine societies partici- pated in the first mass rehearsal, which was conducted by Professor Carl Barus who had been appointed assistant director, but who had been superseded by Otto Singer (who has since held the position) in March, 1873. The instrumen- tal forces were an orchestra, numbering one hundred and eight pieces, and a chorus organ of one manual, fourteen stops, and six hundred and sixty-five pipes, built for the purpose by Messrs. Koehnken and Grimm of this city.
"The festival was held on the 6th, 7th, 8th and 9th of May. The original plan, borrowing the idea from the Saengerfests, purposed to devote the last day to an open air concert and picnic; but rain spoiled the scheme, and an afternoon 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 Louise Cary; Nelson Varley, of London; M. W. Whitney and J. F. Rudolphsen ; and Arthur Mees, organist. The principal compositions performed 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 Walpurgis Night,' and Liszt's symphonic poem 'Tasso.'
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