History of Cincinnati, Ohio, with illustrations and biographical sketches, Part 69

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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French horn-A. Schrickel.

Bassoon-H. Woest.

Harp-Madame Maretzek.

SCHOOL FOR THE OPERA.

Dramatic expression-Max Maretzek.

Clarinet-Carl Schuett.

Chorus classes-Henry Carter.

Elocution

LANGUAGES.

French-Madame Fredin.

German-Madame E. Langenbeck.

Italian-C. P. Moulinier.

Lectures on music- Henry Carter, George E. Whiting, Otto Singer. Hygiene of the throat, anatomy of the ear and larynx-Dr. Bernard Tauber.

The departments of the college are organized, severally, for instrumentalists, vocalists, theory, chorus classes, lec- tures, elocution, and languages. The larger division is into the general music school and the academic depart- ment-the former for general or special instruction when the pupil enters for an indefinite period, or without a view to graduation ; the later for those who aim to become professionals or are amateurs who enter for graduation, all of whom are required to pursue a definite course of study for a period of time. The academic year is four terms, of ten weeks each. The orchestra and ensemble classes are recruited altogether from this department. A board of examiners from the faculty fix a standard of ad-

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mission to it, and conduct the examination of applicants.

In 1880 a school for operatic training was added to the facilities of the college, and placed in charge of the celebrated impressario, Max Maretzek, who also brought to the institution his invaluable services as a singing- master. Another interesting recent feature is the addi- tion of the choristers, or choir in which boys are care- fully trained in vocalization, for the purpose of church music, etc.

Neither elementary nor advanced knowledge is requi- site to admission; but the merest tyro in music is cordi- ally welcomed with the rest. Attendance upon the chorus classes, the lectures on the history of music, the students' recitals, the rehearsals of the orchestra, and the organ concerts, is free to all students. Attendance upon the chorus classes is obligatory upon all. The other privileges of the school are furnished at very low rates of tuition. A special advantage of this institution is the predominance of individual over class instruction-the former being the rule, the latter the exception, contrary to the practice of the European schools.

An interesting, and to the public peculiarly valuable, feature of the work of the college is the orchestral and chamber concerts given under its auspices and by its members. Thirty-six of these were given during its first season, that of 1878-9-twelve symphonic concerts, twelve public rehearsals, and twelve chamber concerts. Of the last-named a most interesting series of eight was announced for the academic year 1880-81, to be given by the College String Quartet, with Professor Jacobsohn as first violin, Miss Gaul, and Messrs. Doerner, Singer, and others as pianists, accompanying, from time to time, vocal performances of a high character. One paragraph from this announcement is well worth perpetuation:

The value to a musical community of the String Quartet, and the fine artistic performance of the beautiful compositions of the great masters known as "chamber music," cannot be over-estimated. The college sustains the financial responsibility of the Quartet, because it is an im- portant branch of instruction for the students and teachers in the col- lege, and because it offers rare entertainment to the general public.

Some of the choicest works of Haydn, Bach, Beetho- ven, Mendelssohn, Mozart, Rubenstein, and other masters, were announced for performance at this series of chamber concerts.

· At the symphony concerts important service is ren- dered by the college choir, which consists of three hun- dred members, students being admitted to it as they successively become qualified by their study and prac- tice in the college course. The orchestra, which also bears an important part in these concerts, is composed of about sixty musicians. During the directorship of Mr. Thomas, he introduced an innovation, in this coun- try at least, by placing some lady performers in the orchestra, whose skillful and tasteful execution is said to have justified his confidence. The members of the orchestra are guaranteed a fixed income by the college, thus securing, what is not secured in any other city in this country except New York, the permanence of supe- rior players in the troupe, as well as a number of invalua- ble professors of instrumental music for the college. A number of members of the orchestra were formerly of

Mr. Thomas's famous orchestra, and long enjoyed the benefits of his unrivalled drill and mastership. The college receives nothing from the performances of its orchestra, except at its own concerts; but deals thus gener- ously by them in order to keep the players together, enhance the reputation of the school, and confer addi- tional benefits upon the local public. There is no other instance in the world of a self-supporting school of music embracing an orchestra in its plan of organization and scheme of education, and maintaining it at great financial risk-sometimes inevitable loss.

The full programmes of the concerts have been col- lected and published in a beautiful little book, which has permanent interest and value.

Another public benefaction conferred by the college is through the organ concerts, which are given twice a week, upon the great organ in the Music hall, by the two professors in organ-music in the college, Messrs. George E. Whitney and Henry Carter. These are conducted largely at the expense of the college, the limited attend- ance at the concerts seldom returning the expense of them; but they serve to aid the institution to reputation and popularity, especially among music-loving strangers visiting Cincinnati. The price of admission to the con- certs is always cheap, in imitation of the plan pursued at the concerts given for the masses upon the great organ in St. George's hall, Liverpool, Albert hall, London, and other places in the Old World. As an educating influence among the people, slowly but surely prevailing in behalf of the higher order of music, the value of these performances can hardly be overestimated. Free con- certs are also given upon the organ, partly at the expense of the college, during the annual Expositions held in the hall.

In the fall of 1880 the management of the college pro- jected another enterprise, in the form of a grand Opera Musical Festival, to be given in the Music hall during the last week in February-seven performances, repre- senting the favorite operas Lohengrin, Faust, Mefistofele, Aida, Lucia di Lammermoor, the Magic Flute, La Son- nambula, and part of Moses in Egypt. The college of music, with the aid of the thoroughly trained troupe of Colonel J. H. Mapleson, the well-known opera man- nager, gave the festival. The musical directors em- ployed were Signor Arditi, Max Maretzek, and Otto Singer. A famous array of soloists was employed, in- cluding Madame Gerster, Miss Annie Louise Cary, Sig- nors Campanini and Ravelli, and many others. An orchestra of one hundred musicians was formed, and the organ of the Music hall was used effectively in some of the operas. The massive chorus, made up in Cincinnati, consisted of about four hundred voices. The troupe con- trolled by Colonel Mapleson, and known as Her Majesty's Opera company, was embodied in the great corps. The stage of the Music hall, the largest in the world, was fitted throughout with new and beautiful scenery, and the entire festival presented on a scale of magnifi- cence unequalled before in America or Europe. Visitors were present from far and near, including many fashion- ables from the seaboard. The aggregate receipts were not

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HISTORY OF CINCINNATI, OHIO.

far from sixty thousand dollars, a comfortable share of which went to the treasury of the college of Music.

ANOTHER COLLEGE OF MUSIC.

The original Cincinnati College of Music (the larger institution being the College of Music of Cincinnati) was founded by Miss Dora Nelson, daughter of Richard Nelson, president of Nelson's business college, but a short time before the other sprang into being. Miss Nelson had been for six years in charge of a conserva- tory of music, when, in the spring of 1878, overtures were made to her by distinguished musicians to under- take the management of a more important school, which should supersede the necessity of American students going abroad to complete their musical education. An- other proposal, from influential sources, was that she should open an extensive musical institution in the Mount Auburn female seminary, which was not at the time in operation, and whose property would be pur- chased for the new school by an association of citizens. Both projects were abandoned, for various reasons; and Miss Nelson, resolving to proceed altogether on her own account, bought out an academy of music as a nucleus for her proposed college, and issued her announcements about the first of August, 1878. On the first of Septem- ber the school went into operation with a large Faculty and a patronage which, notwithstanding the existence of the other college of music, under the auspices of Colonel Nichols and Mr. Thomas, and of other rival institutions, returned expenses the first year, and laid the foundation of a good business thereafter. During the early part of the academic year it was removed to No. 305 Race street, where it now is. Miss Nelson remains president of the college, with Professor Adolph Carpe, a musician of some distinction, as musical director, and a staff of competent instructors. A boarding apartment is attached, which is kept in the same building, and is also under the immediate supervision of Miss Nelson.

OTHER SCHOOLS OF MUSIC

are not wanting in the city. Among them are the Cin- cinnati Conservatory of Music, on Eighth street, Miss Clara Baur, directress; the Cincinnati Musical Institute, Miss Hattie E. Evans, directress; the Academy of Music, recently started by two professors from the col- lege of music of Cincinnati; and private teachers in great number. No city in the world is more abundantly provided with facilities for musical education.

THE CINCINNATI MUSIC HALL ASSOCIATION.

The success of the Musical Festivals and of the Ex- positions, and the inadequacy and temporary character of the building used for their purposes, naturally led up to the thought of a permanent structure, which should be worthy of the riches and culture of the Queen City, and should be available for all great occasions and shows, when a monster audience-room or vast spaces for dis- plays were desired. In May, 1875, the venerable and wealthy philanthropist, Mr. Reuben R. Springer, made the prompt erection of such an edifice possible by his munificent offer of a gift of one hundred and twenty-five thousand dollars for the purpose, if the people would con-

tribute an equal sum, thus raising a quarter of a million, which proved, finally, to be but about half the sum nec- essary to execute the enlarged and liberal views ulti- mately entertained of the erection of a great Music Hall and the related buildings. The work of soliciting sub- scriptions to secure Mr. Springer's gift went briskly and successfully on; and in December of the same year an organization of subscribers was had, under the name of the Cincinnati Music-Hall Association. This body, a joint stock company, is constituted of fifty shareholders, who are elected by the entire body of subscribers to the fund, and who in turn elect from their number seven trustees, in whom was vested absolute authority, as an executive board, to construct the hall, and thenceforth to conduct its affairs. Each of the gentlemen appointed to represent the subscribers as a stockholder is depositary of one share of stock, of the nominal or par value of twenty dollars. He cannot sell this share except to a purchaser approved by the trustees, nor can it be sold to one who is already a stockholder. If the holder dies, his share reverts to the association, to be placed in the custody of a newly-elected member. The original trus- tees were elected for terms, severally, of one to seven years; and a trustee is now elected annually, whose term of services is seven years. The following-named gentle- men formed the original corps of trustees: Reuben R. Springer, for one year; Robert Mitchell, for two years; William H. Harrison, for three years; Julius Dexter, for four years; T. D. Lincoln, for five years; Joseph Long- worth, for six years; and John Shillito, for seven years. Judge Longworth was made president of the board, Mr. Dexter secretary, and Mr. Shillito treasurer. Mr. Dex- ter was also chairman of the building committee, with Messrs. Longworth and A. T. Goshorn as associates; and rendered most signal and efficient service in the active operations that rapidly followed. The smaller hall in the building, used for operettas, piano recitals, chamber concerts, and the like, was given the name of Dexter Hall, in honor of his services and his gen- erous pecuniary contributions. The entire structure is often popularly called the Springer Music Hall, to perpetuate the name and fame of its founder. First and last, he gave to this monumental enterprise the aggregate sum of two hundred and thirty-five thousand dollars- nearly the entire amount to which his original benefac- tion looked. Among other gifts toward the erection of the hall and Exposition buildings, must not be forgotten that of about three thousand dollars, made by the chil- dren of the public schools, from the proceeds of four concerts given by them. The city of Cincinnati, as a municipal corporation, contributed the ground upon which the building stands, most of the large block bounded by Elm and Plum, Fourteenth and Grant streets, on the east facing the north part of Washington park.

A year or two elapsed before the means were in hand and plans consummated for the erection of the hall. It was at last determined to complete the building, if possi- ble, sufficiently for the holding therein of the May festi- val of 1878; and most of the contracts were let April 28,

Yourstruly LLSauter

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HISTORY OF CINCINNATI, OHIO.

of the previous year. Obstacles and delays were numer- ous in the construction of so great and unique an edifice, but the intelligence and energy of the building com- mittee, with a competent staff of aids, triumphed over all difficulties, and the hall stood ready for dedication by the appointed time, when a splendid ceremonial formally set it apart to its destined purposes. The Exposition an- nexes were subsequently added by the beneficence of Mr. Springer and others, and were first used for the Fair of 1879. They receive due notice and description in another part of this volume. An excellent account of the hall proper is contained in the little book descrip- tive of the organ, in which the cost of this building is placed at about three hundred and seven thousand dollars.

In this hall have been held all the great concerts and monster musical occasions in Cincinnati since its erec- tion; also the National Democratic convention and the Raikes Sunday-school centennial in June, 1880, popular Sunday afternoon services in the summer of the same year, and many other large meetings. The hall and Exposition buildings must be so rented and man- aged as to yield no profit above what is necessary to keep them in repair. No stockholder can expect a dividend upon his share, and no trustee is allowed compensation for his services. The College of Music is the lessee of the hall, but several large rooms are occupied by the col- lections and classes of the Women's Art Museum Asso- ciation. Both of these institutions, however, annually give way, during parts of September and October, to the occupation of all the buildings by the Industrial Exposi- tion.

THE MUSICAL CLUB.

This is one of the leading social and musical organi- zations of the city. It is composed of influential patrons of music and prominent local musicians, both profes- sional and amateur, and has for its objects the cultivation of classical and modern chamber music, and the promo- tion of harmony and fraternity among musical people. It was organized in 1876, and its membership, at the time of the annual meeting October 4, 1880, was eighty- six-well up to its constitutional limit of one hundred. The initiation fee is eight dollars. The club has had at times a sharp struggle for existence, but seems now fairly upon its feet, and occupies handsome rooms of its own at No. 200 West Fourth street. The last annual report of its president, Mr. Lucien Walzin, gives some facts in its history of permanent value :

At the time of the formation of the club there existed in this city no organization for the cultivation of chamber music our best musicians had but a barc acquaintance with each other, while the younger mem- bers of the profession, in spite of culture and talent, found it difficult to secure recognition. The objects of the club, "the promotion of musical culture and good-fellowship among its members," were then best served by our weekly Sunday afternoon meetings, where the music of the masters fused the acquaintance of our little band of members into active friendship, and gave to all a knowledge, respect, and affec- tion for cach other, which not only had an immediate effect, but must continue to make us cherish through life the recollections of those days.

Two years so passed had ripened the club for a larger effort, and the third year satisfied the members that a step in advance was needed as an incentive to that activity which is as necessary to the healthful life of a club as to that of an individual. Measures for the formation and

support of a string quartette of the highest order were being taken when the formation of the College of Music made further effort in that direction unnecessary, and at the same time gave us new work and new life in receiving and amalgamating, as it were, with our local, musicians, the artists who were thus brought to the clty.

The fourth year of the club, and its last at the Literary Club-rooms, gave us a number of brilliant performances, but the great number of concerts of the highest order, which we were then having in the city, naturally detracted from the intense satisfaction which the early per- formances at the club had given, for we were no longer in the hungry state of former years. The musicians themselves were wearied by the continual demands which weekly performances required, and toward the close of that year, though strong in members, the interest in the club was rather low.

It was then that the move was made to our present quarters. The result has been, in many respects most gratifying.

The report of the secretary, Mr. Chapman Johnson, adds an item or two of interest:

The musical entertainments were all highly successful. Among the larger, three were devoted to the compositions respectively of Beeth- oven, Mozart, and Chopin, celebrating the anniversaries of their births ; two were devoted to a variety of composers, and one was furnished by Mr. Parry, the Boston pianist. The reputation of these performances spread outside of the club's limits.

There were about six smaller performances, taking in quite a range of compositions. At the larger entertainments the highest grade of ensemble music was invariably performed, and a very high standard reached.

These entertainments must by a high source of congratulation to both the entertainers and entertained, and only one regret is to be ex- pressed, and that is, that those members whose playing was listened to with great pleasure in former years, were seldom, if ever, heard during the last season.

OTHER MUSICAL SOCIETIES

exist in Cincinnati in great number, including several which are organized as orchestras and bands. Among them are the St. Cecilia Maennerchor, organized in May, 1867, by the male members of the choir of St. Mary's German Catholic church; the Cincinnati Maennerchor, whose history has already been outlined; the Germania Maennerchor, formed from the latter by eight seceding members in 1872; the American Protestant Association Maennerchor, a singing club connected with the German branch of the association named; the Turner, Odd Fel- lows', Schweitzer, Herwegh (Polish), and other Maenner- chors; the Harmonic society, founded in 1869, and not long since accounted the largest organization of the kind in the city, forming the nucleus of the chorus for the May festivals; the Cincinnati Orchestra, organized in 1872, chiefly for the cultivation of classical music, and promi- nent in the orchestral concerts of the city, especially the free concerts given in the parks; Currier's band, which is much in request for public occasions; the Ladies' Mu- sical club, with twenty-five members, amateur and profes- sional, the Choral society, Alert and Oneida Singing clubs, the Orpheus, the College Choir, the Druiden Sæn- gerchor, and many others. There is also a Society for the Suppression of Music.

THE GROESBECK ENDOWMENT.

This is a fund of fifty thousand dollars, given by the Hon. William S. Groesbeck April 7, 1875, for the pleasure and musical culture of the people of Cincinnati, through free concerts given in the warm season at Burnet Woods park. The benefits of the fund were made available very soon after the gift, it having been invested in seven per cent, water bonds of the city, and yielding three thousand

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five hundred dollars annually. One hundred and eight afternoon concerts had been given under this benefac- tion with great satisfaction to large numbers of visitors, down to the last given in October, 1880. The trust is perpetual, and by the terms of the gift, "the interest thereon shall be applied yearly to furnish music for the people." Free evening concerts have also been given at intervals during recent summers in other parks, at the expense of the city, under the supervision of the park commissioners.

CHAPTER XXVII. LIBRARIES.

THE collection of books, pamphlets, newspaper files, and other material of libraries, for the uses of the public, is a very prominent feature among the literary aspects of life in Cincinnati. Great success has been attained in the aggregation of books and documents for this purpose ; and . at least one of these libraries, the Public, has become widely renowned. The Mercantile is also of high local reputation; the collection of the Historical and Philos- ophical society, while less known, perhaps, than its merits deserve, has great value, and is exceedingly useful to those engaged in prosecuting special inquiries. Certain other libraries of a semi-public character, as the Bar library, the Law library in the College building, the Uni- versity library, the Swedenborgian library at the church on Fourth street, and others, also serve very useful pur- poses. The history of the Bar library will be detailed in our chapter on the bar.

THE FIRST PUBLIC LIBRARY

established in the Northwest Territory was founded at Cincinnati in 1802, almost two years before the noted "Coonskin library" at Ames, Athens county, in this State, which has been much vaunted as the first. The meeting for preliminary steps was held at Griffin Yeat- man's tavern Saturday evening, February 13, in that year ; and after due consultation and discussion it was agreed that an attempt should be made to found a library. Messrs. Jacob Burnet, Martin Baum, and Lewis Kerr were ap- pointed a committee to solicit subscriptions of shares at ten dollars each. They drew up the following article the succeeding Monday :

We, the subscribers, being desirous of establishing a public library in the town of Cincinnati, agree to take as many shares in the stock of sucn an institution as are annexed to our names respectively, and pay for the same at the rate of ten dollars for each share.

The paper_embracing this is still preserved, and bears the autographs of General Arthur St. Clair, Peyton Short, son-in-law of Judge Symmes, Judge Burnet, Gen- eral James Findlay, Jonathan S. Findlay, Griffin Yeat- man, William Ruffin, Joel Williams, Isaac VanNuys, David E. Wade, Joseph Prince, John R. Mills, John Reily, C. Avery, Jacob White, Patrick Dickey, W. Stan- ley, P. P. Stuart, C. Killgore, Martin Baum, Jeremiah

Hunt, Lewis Kerr, James Wallace, Samuel C. Vance, and Cornelius R. Sedam. Nine of these subscribed two shares each, so that the total subscription of thirty-four shares amounted to three hundred and forty dollars, which is considered very liberal for the little settlement, in the hard times which then prevailed. Books were speedily purchased, and others given; and the library began issuing March 6, 1802, only nineteen days after the subscription was opened. Mr. Lewis Kerr was the first librarian.

ANOTHER EARLY LIBRARY.

This first library probably lasted but a few years. Again, in 1809, only seven years after the date of the first effort, we find the citizens of Cincinnati moving again for a library, and petitioning the legislature for an act of in- corporation; which, strange to say, was then refused. In the summer of 1811 Judge Turner obtained a subscrip- tion of several hundred dollars, in shares for a library. A meeting of the shareholders was held and a constitu- tion adopted, which was sent to the legislature as the basis of another appeal for a charter. Again was the application singularly denied; but at a subsequent ses- sion (in 1812) the assembly granted an act of incorpora- tion for the Circulating library of Cincinnati. There were .further delays, however, in perfecting the arrange- ments; and the licrary was not opened until April, 1814. A second and more liberal, efficient charter was procured soon after. .

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History of Cincinnati, Ohio, with illustrations and biographical sketches, Part 69

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