History of Cincinnati, Ohio, with illustrations and biographical sketches, Part 68

Author: Ford, Henry A., comp; Ford, Kate B., joint comp
Publication date: 1881
Publisher: Cleveland, O., L.A. Williams & co.
Number of Pages: 666

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"To avoid a tumult-for the many thousand Germans would have been in any emergency the stronger-the several flags and banners, the capturing of which it was known was contemplated by the gang of rowdies assembled on the outside of the garden, were carried on a cir- cuitous road, via Linwood, to the banks of the Ohio river, by Ex-Coun- ty Auditor Siebern, and from there taken on board of the Pittsburg steamer back to the city.

One of the musical historians in the historical number of the Daily Gazette, from which we have quoted, sup- plies some interesting details of this first regularly organ- ized Sængerfest. He says:

Viewed in the light of the events of the last few years, the hrst Ger- man festival hell 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 cach 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 twen- ty-nine second basses. The societies participating were the Louisville Liederkranz (fifteen singers), Madison Gesangverein (nine singers), Cin- cinnati Liedertafel (thirty-two singers). Cincinnati Gesung und Bildungs- verein (thirty-three singers), Cincinnati Schweizerverein (fourteen sing- ers), 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 As- sembly Rooms. The music consisted of part-songs by Zoellner, Mo- zart, Kreutzer, Frech, Broch, Reichardt, Abt, Silcher, and Baumann.

The second festival was held in 1850 in Louisville. 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 fourteen societies, by additions from Columbus, Hamilton, Cleveland, St. Louis, Newport, Kentucky, Lafayette, Indi- ana, and Detroit, and the chorus, which was conducted by Mr. William Klausmeyer, numbered two hundred and forty-seven voices. Instru- mental 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 sınall begin- ning, 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 festivals of the Sængerbund which were held here were the first, in 1849; those of 1851, 1853, 1856, 1867, and the twenty-first, in 1879, in the Music hall.

THE MAY FESTIVALS.

The relation of the Sangerfests to the May festivals, as preparers of the way, has already been suggested. By the beginning of 1872 the conditions were eminently favorable to the inauguration of the festivals. The city had become accustomed to the monster concerts of the Germans, and would welcome similar entertainments with elements from other nationalities in them; a great build- ing, whose accoustic properties had proved very excellent for musical purposes, had been erected for the Industrial Expositions, and was suffered to stand from year to year, and was available for annual concerts; and, in another's words, "the Expositions, too, had demonstrated the fact that the citizens of Cincinnati were generous in their sup- port of big things which made the city attractive, while the inhabitants of the surrounding country rejoiced in the opportunity of coming to town to spend their money." The historical Gazette thus continues the narrative:

The first public step taken to carry out the plan was a meeting of prominent gentlemen, which was held in the law office of Storer, Good- man & Storer, on the twenty-seventh of September, 1872, at which a temporary organization was effected by the appointment of an exccutive committee composed of George Ward Nichols, President; Carl A. G. Adae, vice-president; John Shillito, treasurer; and Bellamy Storer, jr., for secretary; besides John Church, jr., Ceorge W. Jones, and Daniel B. Pierson. l'lans were discussed, the question agitated, and three days later a large finance committee, with Hon. George H. Pendleton as chairman and George W. Joncs as secretary, was appointed and au- thorized to raise a guarantee fund of fifty thousand dollars, the under- standing being that no further steps should be taken until thirty thou- sand dollars had been subscribed.

A little more than one month was required for this work, and on the twelfth 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 broad- cast, an official agent was employed to visit the various singing socie- ties of the west and northwest to secure their co-operation 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 con-

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tain no less than thirty-six societies, agregating one thousand and eighty- three singers, of whom six hundred and forty were Cincinnatians. Twenty-nine societies participated in the first mass rehearsal, which was conducted by Professor Carl Barus, who had been appointed assistant director, but who had been superseded by Mr. Otto Singer, who has since held the position, in March, 1873. The instrumental forces were an orchestra numbering one hundred and eight pieces, and a chorus or- gan of one manual, fourteen stops, and six hundred and sixty-five pipes, built for the purpose by Messrs. Koehnken & Grimmn of this city.

The festival was held on the sixth, seventh, eighth, and ninth of May. The original plan, borrowing the idea from the Sængerfests, 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 Sængerfests from festi- vals of song to bacchanalian carouses. The soloists were Mrs. E. R. Dexter, of Cincinnati; Mrs. H. M. Smith, of Boston; Miss Annie Louise Cary; Mr. Nelson Varley, of London; Mr. M. W. Whitney and Mr. J. F. Rudolphsen; and Mr. Arthur Mees, organist. The prin- cipal compositions performed were Handel's "Dettingen Te Deum," Beethoven's C minor symphony, scenes from Gluck's "Orpheus, " Schu- mann's symphony in C (op. 61), and his chorus, "Gipsy Life;" Beetho- ven's choral symphony, Mendelssohn's "The First Walpurgis 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 another festival. The managers determined to act on the suggestion and a sec- ond festival was announced for May, 1875. Owing to the inexperience of the managers the expenses were very large, but so generous was the patronage that the deficit amounted only to three hundred and fifty dollars, which the executive committee paid from their privy purses.

The second Festival was given in May, 1875, the Biennial Musical Festival Association having meanwhile been incorporated for the pur- pose. As before, Mr. Thomas was director, and Mr. Singer his assist- ant. The soloists were Mrs. H. M. Smith, Miss Abbie Whinnery, Miss Cary, Miss Cranch, Mr. William J. Winch, Mr. H. Alexander Bischoff, Mr. Whitney, Mr. Franz Remmertz; Mr. Dudley Buck, organist. The chorus numbered six hundred and fifty, and the orchestra one hundred and seven. The principal works performed were the Triumphal Hymn, by Johannes Brahms, Beethoven's A major Symphony, Scenes from Wagner's Lohengrin, Mendelssohn's Elijah, Bach's Magnificat, the Choral Symphony, Schubert's Symphony in C, and Liszt's Prome- theus. The Festival was a complete financial success, and though its expenses exceeded forty thousand dollars, there was a balance of one thousand five hundred dollars in the treasury when the accounts were closed.

The future of the festivals now seemed assured, and the movement inaugurated by Mr. Reuben R. Springer, which gave to the city the Music Hall and the great organ, created an enthusiasm here which, supplemented by the curiosity abroad to see the new structure and hear the new instrument, made the third Festival, given in 1878, an unprece- dented success. It was given on the fourteenth, fifteenth, sixteenth, and seventeenth of May, and on the first evening the dedicatory cere- monies of the new hall took place. The soloists were Mnie. Eugene Pappenheim, Mrs. E. Aline Osgood, Miss Cary, Miss Cranch, Mr. Charles Adams, Mr. Christian Fritsch, Mr. Whitney, Mr. Remmertz, Signor Tagliapietra, and Mr. George E. Whiting, organist. The cho- rus numbered seven hundred, and embraced, besides the local societies, the Dayton Philharmonic society, the Hamilton Choral society, and the Urbana Choral society. The principal numbers in the scheme were scenes from Alceste, by Gluck, the Festival Ode, composed by Otto Singer, Beethoven's Eroica Symphony, Handel's Messiah, selections (finale of Act III) from Wagner's Goetterdaemmerung, the Choral Symphony, Liszt's Missa Solennis, and Berlioz's Romeo and Juliet Symphony. The orchestra numbered onc hundred and six men, all from New York city. The financial success was enormous, the receipts running up to eighty thousand dollars, and thirty-two thousand dollars being left in the treasury after settlement.

The fourth festival was held during the third week in May, 1880, and was also a financial success, though not so great as the third. The receipts amounted to fifty-five thousand and eighty-five dollars and twenty-eight cents; expenses, forty-six thousand and eleven dollars and thirty- six cents; balance, nine thousand and seventy-three dol- lars and ninety-two cents. The board of directors of

the festival association resolved January 14, 1879, to offer a prize of one thousand dollars for the best musical composition by a native American, which was to be per- formed at the festival of 1880. The musical world received the proposal very favorably, and a wide interest in the festival and this particular item of preparation for it was awakened. Twenty-five more or less elaborate works were offered for competition, and a board of judges, of which Mr. Theodore Thomas was chairman, concurred in awarding the prize to the author of the composition entitled Scenes from Longfellow's Golden Legend, who was found by opening the letter of trans- mittal with it, on the day of its performance, May 20th, to be Mr. Dudley Buck, of Boston. A similar prize will be offered for the next festival, with some changes sug- gested by experience. The festival chorus has been made a permanent institution, with Mr. Michael Brand, of Cin- cinnati, as chorus director; and, in addition to its work at the May festivals, will annually render on Christmas night, as it did in 1880 with triumphant success, Handel's magnificent oratorio of the Messiah.

GEORGE WARD NICHOLS.

Colonel Nichols held the office of president of the board of directors of the Musical Festival association from the period of its creation until March 10, 1880, when he resigned the post, and also his place as a director. As he remains president of the College of Music, and has been most conspicuously identified with musical matters in Cincinnati since his residence here began, in 1868, we make some special mention of his life and public services.

Colonel George Ward Nichols was a Boston boy, and spent his earlier school-days in that city. His family on both sides reaches far back into New England history, and he inherits patriotic and cultured instincts. Although very young when the Kansas troubles broke out, he was old enough to take some part in them in behalf of free- dom. He afterwards studied the fine arts, especially painting, in New York city, and was for several years attached to the New York Evening Post, as its art critic. He painted for a time in the studio of the great Couture, in Paris. When the war of the Rebellion broke out, he was early in the field, served as aid-de-camp on the gen- eral staff with Generals Fremont and Sherman, and closed his military career with honor. After the war he finished the preparation of the Story of the Great March, narra- ting Sherman's wonderful campaigns through Georgia and the Carolinas. It was published by the Harpers, and sold rapidly and largely. His literary efforts have since been otherwise directed, and have performed emi- nently useful service in presenting the world with his books on Art Education Applied to Industry, and Pot- tery: How it is Made and Decorated. He has also written much on congenial topics for the magazines and newspapers, and was for some time an approved and popular lecturer in the field. About 1868 he married Miss Maria Longworth, daughter of Judge Joseph Long- worth, of Cincinnati, and grand-daughter of the million- aire Nicholas Longworth, and removed to the Queen

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City, where he soon began to interest himself in the pro- motion of music and fine art. To him, more than to any other one man, the annual musical festivals and the College of Music owe their origin and successful mainte- nance. Mrs. Nichols devotes her attention mainly to decorative art, and has established a pottery of her own, in and for which she labors faithfully and toilsomely.

THE COLLEGE OF MUSIC.

This noble institution had its origin, in part, in the felt want of an American School of Music that could enter boldly into competition with the great conservatories of the continent, to which our students, ambitious to enter the higher ranges of the art, had been compelled to re- sort. The need was clearly seen, in all parts of the land, of broad, thorough, practical instruction, which should do for the young musician what our best colleges are doing for the scientific or literary student, under masters of equal repute in their special profession. The disap- pointment, too, which many American students had ex- perienced in the foreign conservatories, was an element in the feeling which seemed to demand a new and greater institution on this side the water. The musical schools of Europe are mostly under the control of Governments, and arc, as another has expressed it, "loaded down with administration." They are clogged and hampered to such an extent that progress in their courses is seriously embarrassed. The teachers, though they may be men of great celebrity, are commonly poorly paid, and have con- stantly present the temptation to neglect their public duties and compel the pupil to take private lessons of them at a high rate-five dollars for a half-hour lesson is a known example. The pupils are often grouped in classes, and so miss that individual instruction which is indispensable to progress, unless they resort to private lessons. An American student at one of the conserva- tories writes: "There are six of us in a piano class of one hour-ten minutes for each. While I had my turn, Professor - - was violently discussing, with a friend of his who without ceremony had entered the room, Bis- marck's last coup. This and other occurrences, with an utter lack of interest on the part of the teacher, have dis- couraged me." Similar testimonies abound in the letters of our musical students abroad. The methods of in- struction in fundamental principles are also often faulty in the European schools. The performances of our vocal- ists, as well as instrumentalists, on their return from a course in the famous institutions of the Old World, is thus made singularly disappointing. Such experiences of foreign study and their results had long produced, in the minds of thoughtful lovers of the art, a conviction that a great American school was necessary for the best ambi- tions of American students. ` The completion of the Music Hall and the building of the great organ seemed to furnish the desirable auspices for the beginnings of such a school.

Primarily, however, the college grew out of the musi- cal festivals which had given this city such wide reputa- tion. The experience of Colonel Nichols for several years as president of the Festival association, and as author of

the plan of the festivals, led him to believe that Cincinnati might well become the seat of a great college of music. From long association with Mr. Theodore Thomas, it seemed to him also that the renowned orchestra leader was the best man to be placed at the head of such an institution ; and so, early in the spring of 1878, he ascer- tained, by private correspondence, that Mr. Thomas would accept the position. A meeting of some scores of prominent gentlemen was held, the scheme of Colo- nel Nichols adopted, and a corporation formed with a capital of four hundred and fifty thousand dollars, and the following officers and directors: George Ward Nichols, president. Peter Rudolph Neff, treasurer. J. Burnet, secretary. Remaining members of the board-R. R. Springer, John Shillito.

Upon the death of Mr. Shillito, General A. T. Gos- horn was elected to his place. The number of directors was increased to seven, when the Hon. Jacob D. Cox and Mr. William Worthington were also elected.

Within two months of the incorporation of the college, on the fourteenth of October, 1878, it opened its doors for the reception of students, with a faculty of eminent teachers representing every important branch of musical education. Probably no collegiate institution, so fully formed, sprang so quickly into existence. On the part of the management it required courage, judgment and a long purse. They were rewarded by an attendance of some five hundred pupils in the first year. This year was one of great activity. Besides the regular course of instruction, the college gave twelve orchestra concerts and twelve public rehearsals, with twelve chamber con- certs, and organ concerts on the great Music Hall organ twice a week throughout the year.

The second year the college witnessed a similar activity. More than five hundred students were in attendance, and the orchestra, chamber, and organ concerts were steadily maintained. In the last months of this year (1879) Mr. Thomas retired from the musical directorship. Upon his retirement the faculty of the college, which until then had exercised no functions other than as teachers, were for the first time called together and consulted in the manage- ment of its affairs. Subsequently a board of examiners, representing the heads of important departments, was appointed. This board, in consultation with the board of directors of the college, performs now the duties of musical direction. The result of this new government is a thorough reorganization of the college upon a wise and systematic plan.

The Cincinnati College of Music is incorporated under the laws of the State, with the following objects: "To cultivate a taste for music, and for that purpose to organ- ize a school of instruction and practice in all branches of musical education; the establishment of an orchestra; the giving of concerts; the production and publication of musical works; and such other musical enterprises as shall be conducive to the ends above mentioned." Its capital stock is only fifty thousand dollars, held in shares of fifty dollars cach. The stockholders are principally wealthy, influential citizens, who have invested in the en- terprise, not so much from the hope of pecuniary returns,

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as from a love of art and a fine sense of public good. Seven directors manage the business affairs of the college and are elected annually by the stockholders. This board chooses its own officers -- a president, a treasurer, and a secretary. It also appointed, formerly, the musical director, who shouldered the entire responsibility of the instruction, while the business details were managed by the officers and remaining members of the board of di- rectors. He nominated the professors, fixed the courses of study, and regulated the discipline of the institution. In these matters the board was advisory, but did not con- trol except when financial considerations were involved. Since the retirement of Mr. Thomas, the office of musical director has been practically abolished, the officers of the college and its faculty satisfactorily performing all the duties formerly committed to the famous conductor. The officers of the board give all necessary time to the man- agement of the college-some of them, as Colonels Nich- ols and Neff, their entire business hours; yet all serve without salaries. The officers at the time this sketch is made up (March 16, 1881) are: Colonel George Ward Nichols, president ; General A. T. Goshorn, vice-presi- dent; Colonel Peter Rudolph Neff, treasurer; William Worthington, secretary; remaining directors, ex-Gover- nor Jacob D. Cox and R. R. Springer, the latter the well- known benefactor of the Music hall and other philan- thropic enterprises.

Colonel Nichols has been president of the college from the beginning. Mr. Neff is a retired merchant, of large means, liberal taste, and cordial appreciation of high art. Judge Burnet, descendant of one of the most distinguish- ed pioneers of Cincinnati, the Hon. Jacob Burnet, was secretary for some years and until very lately, is a prac- tical musician and a gentleman of large culture and in- fluence. General Goshorn is widely renowned as the able director-general of the late Centennial Exposition at Philadelphia. Mr. John Shillito, another wealthy and eminent citizen of Cincinnati, was a director of the college until his recent death.

The college has no endowment as yet, except a gift of five thousand dollars from Mr. Springer, the interest of which is expended annually in the procurement of prizes -ten gold medals-which are awarded to the students who manifest superior musical ability, have been in the college at least one year, and have complied with the rules, attended all obligatory classes, been diligent and punctual, and have maintained good character. Other endowments, however, from the generous benefactors of Cincinnati, can hardly fail to fall to this most meritorious institution in the lapse of time.

The college is in no sense a money-making affair or business venture; it pays no cash dividends. The rea- sonable wish of its founders is simply that it may meet its own expenses, upon the most liberal terms that can be safely granted to its pupils. This modest ambition has pretty nearly been gratified, although assessments on the stockholders have at least once proved necessary, and the probability is that if it continues to be judicious- ly managed as now, its stockholders and officers will soon have to pay nothing, except in time, care, and mental

energy, for the privilege of its maintenance and manage- ment.

The attendance at the college, for the academic year 1880-1, aggregated over five hundred. The permanent success of the institution seems confidently assured, and it is no exaggeration to say that it is the largest and best appointed school of music in the world.

The several branches taught in the college, according to the announcements of 1879-80, are the piano, organ, violin, violoncello, bass viol, flute, French horn, cornet, bassoon, clarinet, vocal music, with individual instruction and chorus classes, elocution, the French, German, and Italian languages, history of music, theory, and the hygiene of the throat, including anatomy of the ear and larynx. It is pleasant to record in perpeto the names of the faculty in charge of the several branches of instruc- tion. They include some of the most famous musicians in the country, in their respective walks of art :

FACULTY,

Piano-Henry Carter, Charles A. Graninger, Armin W. Doerner, Adolph Hartdegen, Miss Jennie Elsner, Miss Helen Sparmann, Miss Cecilia Gaul, Otto Singer.

Voice-Max Maretzek, Madame Maretzek, James E. Perring, J. F. Rudolphsen.

[Miss Emma Cranch, the celebrated contralto, and Miss Louise Rollwagen, withdrew from this department in the spring of 1881, and we have not yet the names of their successors].

Organ-Henry Carter, George E. Whiting.

Theory-Charles Baetens, Adolph Hartdegen, Henry Carter, Otto Singer, George E. Whiting.

Violin-Charles Baetens, Miss Kate Funck, Jacob Bloom, S. E. Jacobsohn.

Violoncello-Adolph Hartdegen.

Bass Viol-Frederick Storch.

Flute-Hugo Wittgenstein.

Cornet-M. Heidel.

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History of Cincinnati, Ohio, with illustrations and biographical sketches, Part 68

Author: Ford, Henry A., comp; Ford, Kate B., joint comp Publication date: 1881 Publisher: Cleveland, O., L.A. Williams & co. Number of Pages: 666

Author: Ford, Henry A., comp; Ford, Kate B., joint comp
Publication date: 1881
Publisher: Cleveland, O., L.A. Williams & co.
Number of Pages: 666