USA > Ohio > Muskingum County > History of Muskingum County, Ohio ; with illustrations and biographical sketches of prominent men and pioneers, 1794 > Part 56
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The beginning of a new era was ushered in by the introduction of the melodeon into class train- ing, and into several choirs. Several pipe or- gans were purchased between the years of 1848 and 1852. These were at once recognized as valuable aids to teachers and leaders, in harmon- izing voices, and gave a new impulse to the cul- tivation of church and Sunday School music.
Music was taught in the Public Schools, prior to 1846, by Captain Hatch, and, January 3d, 1849, by L. P. Marsh, (afterwards Judge.) Mr. Marsh resigned in October, 1850, and Mr. Hatch became teacher again, and then Prof. Munson. At this time, there were very few well organized choirs in the city, and on all special occasions it was customary to borrow from one choir to strengthen another. While in some of the churches the most determined opposition to any choir organization was manifested, and the use of a musical instrument in public service would have driven many a good old saint from the house of God! In one instance, even the presence of a black board, on which some notes had been written, was so offensive that the good old pastor would not proceed with the service until the stumbling block had been removed. In another church, the pastor had secured the services of Professor Munson in training a choir, which the pastor, (a cultivated singer, ) intended to lead, and proposed that on a given Sabbath, the singers should sit in certain seats, and designated them for the choir. To the surprise of the pastor and the choir, on assembling, they found those seats were occupied by the opponents of this "new fangled singin'," determined to "hold the fort," in spite of all the pastors and young folks in creation ! And before the choir could get the "pitch," off started old Brother B., in the 'amen corner,' with his own tune, and the choir could only follow at a respectful distance. The full force of this difficulty will be realized, when it is remembered that at this time it was customary for men to take the leading part in singing. Ladies had not been convinced that they could carry the "air." or soprano part, and this also explains the difficulty experienced in organizing choirs. The result being that the first part was over-burdened by a class of singers who made more noise than music, and great ef- fort was required to convince the gentlemen that their assistance was not needed, and the ladies that it could be dispensed with. Another diffi- culty was experienced in many choirs, as may be inferred by what has been said, namely. the want of a certain guide in musical sounds, such as the organ affords. The chromatic changes were therefore but little thought of, or appre- hended. An amusing illustration of this occurred at the McIntire Academy. Prof. W., a prominent school teacher and leader, was endeavoring to train a class in one of Thomas Hasting's Anthems, in which that distinguished composer
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had introduced a stanza in B flat, but which the Professor was unable to render, whereupon he inquired of Professor Munson, who was present, by invitation, if it would not do just as well to dispense with the B flat, by changing from G minor to G major, throughout an entire stanza. Of course Professor Munson thought not, but re- plied that he supposed he could do as he pleased.
In 1850, H. D. Munson, in connection with Prof. O. L. Castle, (Superintendent of Public Schools) started the first music store, at number 98, Main street. This venture, however, owing to the general want of musical culture in the city and surrounding country, proved a loss, fi- nancially.
In the fall of 1857, Prof. V. C. Taylor, of New York, held a musical convention in Odd Fellows' Hall, which was very largely attended by the singers, young and old. They closed with a grand concert, having a chorus of more than a hundred voices. This event, besides increasing the interest in vocal music, brought into prom- inence many fine voices, before unknown, and marked an important epoch in the history of vo- cal music ; this was followed by important acces- sions to several choirs of the city, and soon af- ter, largely through the efforts of Charles Ross and James E. Cox, by the formation of the Har- monic Society, (about 1858) which was well sus- tained for several years, and did much to keep active the interest awakened, especially in chorus singing.
Professor Munson also taught classes in the neighboring cities and villages, Cambridge, Newark, McConnelsville, and Athens, until peace was disturbed by the war of the rebellion, when he went to the war, an account of which will be found in the history of Muskingum in the War, in this work.
MUSIC STORE-After "the cruel war was over," Col. Munson obtained the consent of the book and jewelry storekeepers, of Zanesville, who were dealing in music and musical instru- ments, to concentrate musical merchandise in one substantial effort, by relinquishing their hold on that trade, and ceasing to deal in music and musical instruments, which was easily done, for, divided as the trade was, no one felt a special temptation to keep a stock that had comparative- ly little demand. Mr. A. C. Ross, jeweler, had kept a small assortment of music and musical instruments, and sold several pianos, but also re- linquished his trade in these articles, and Prof. Munson re-embarked in a music store, notwith- standing his former unprofitable experience in this line in 1850. In 1865, he opened up with a small stock of pianos and cabinet organs, in the back part of room 91, Main street, then occupied by the late A. Fletcher, as a book store, and now by Hollingsworth & Dennis.
In 1867, Prof. Munson felt the need of more room, and removed to a small room in Maginnis' Block, Fifth street, with an increased stock of pianos, organs, sheet music, etc. January 1, 1869, he removed to 108, Main street, with a still larger stock, and now felt the tidal wave of ap-
preciation of these efforts, in his greatly increas- ed business.
In 1872, H. D. Munson, Jr., and Charles E. Munson, his sons, who had aided him for some- time, were admitted to partnership, with the firm name of H. D. Munson & Sons, and are still conducting the business, on a magnificent scale. in Opera Building.
Prof. William Lilienthal, from Baden, Ger- many, came to Zanesville, in 1851, and in 1852 began his first professional services : the class of instruction was greatly abridged, compared with the musical instruction in the old country ; his patrons seemed disposed to gallop into the per- formance of pieces, consisting of ballads and na- tional airs of simple harmony. The value placed on musical tuition was not very high. lessons being given at twenty-five cents each, and no reg- ular course taken. In illustration of the musical appreciation of the time, Prof. Lilienthal relates the following incident : A. gentleman informed him that he had heard of his reputation, and wished him to give his daughter some instruc- tion in singing, remarking that she was a good performer on the piano. He accompanied the gentleman home, and the daughter was invited to play a good piece. "Old Lang Syne." which she did, without regard to time, and in a manner that rendered it difficult of recognition. while the father was in ecstacy over it, saying it was splen- cid !
Mr. Lilienthal's first organ service was for the Universalist congregation, worshiping in City Hall, for which he received the inunificent sum of fifty dollars per annum, playing morning and evening, on Sundays ; he continued to till that position several years.
Prof. Lilienthal is of the opinion that the first great awakening in the musical world. in Zanes- ville, was produced by the renowned pianist. Thalberg, who came there under . the manage- ment of Strakosch, assisted by some distinguish- ed vocalists.
We are indebted to Prof. Lilienthal for the names of some others who came here to teach music, which are as follows :
Machhold came in 1856, and remained several years, and had considerable ability as a teacher. Francis Miller, teacher of violin and piano, did not remain long enough to get a living. Strach- auer, a fine musician, had but little success as a teacher, although pupils, desiring instruction. were numerous after the war.
Prof. Lilienthal was in the hundred days ser- vice in the rebellion, and, returning, soon found his former pupils, and others, and has continued to have as much as he can do. Many of his pu- pils have become successful teachers. The se- lection of instruction books, in Professor Lilien- thal's experience during the last fifteen years. has been advancing retrogressively towards classic music ; this is also evidenced by his ad- vanced pupils playing in concerts, compositions of the great Masters, in a very satisfactory man- ner. At his last concert. given in June. 1879. music from Beethoven. Mendelssohn. Thalberg.
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and Bach. the rendition of which always re- quires a high order of talent and skill, was per- formed very satisfactorily, both to the audience and the Professor.
Prof. Charles Meising, a native of Wisel, on the Rhine, received his musical education at Kempen, under the special training of his father, a distinguished pianist, and Oscar Rieman, "first violinist to the King of Hanover." He came to the United States of America, and first taught in the city of Pittsburgh, Pa., and came to Zanesville, Ohio, in 1875 ; his patronage has been among the best families. Mr. Meising con- fines himself almost exclusively to teaching the piano, although teaching the violin.
Prof. George Rowe, an accomplished musi- cian, came to Zanesville in 1879, remained about a year and a half, and removed to Mansfield. O.
Professor J. D. Luse, a native of Cuyahoga county. Ohio, received his musical education chiefly in Cleveland, Ohio ; taught in Norwalk and Tiffin, Ohio, in 1875 to 1878, when he came to Zanesville, to engage in teaching vocal music in the public schools, which he has continued to do to this time. He was the first to inaugurate a thorough course in the schools, and, whereas, there were but few who could read music of the simplest class, when he began teaching, now there are hundreds who read readily, and sing with good expression. The instruction is given in sixty-two schools, ranging through every grade, from the Primary A's, through the High School, and nine-tenths of the pupils read music readily. Professor Luse is a well known leader in the music clubs, and is a choir leader. He teaches the piano, and has had a valuable expe- rience in leading choruses.
Mr. W. G. Starke, the artist, has kindly furn- ished the following fragmentary outline :
CONCORDIA, the first German singing society, was organized in the spring of 1854, and contin- ued for several years.
THE MANNERCHOR was organized in 1859, and practiced until the war of the rebellion broke out.
THE FROHSINN .- This society was organized in September, 1865, and, after a struggle for two years, disbanded for want of some essential voices. In 1868, this society reorganized, and continued to practice until May, 1871.
HARMONIE .- This society was organized in November, 1872, with members from most of the old societies, but disbanded in December, 1874.
THE MANNERCHOR .- This society reorganized during the winter of 1879-80. This effort brought together some of the "old reliables," but ulti- mately failed, on account of their inability to maintain a competent leader, notwithstanding the aid derived from concerts during winter seasons.
The active members of these societies were all of German birth.
GERMAN SINGING SOCIETY .- This organiza- tion was effected, December 5th, 1879, at Adolph Horn's band room, when Colonel Fred. Geiger was called to the chair, Judge H. L. Korte was chosen Secretary, and W. G. Starke, Adolph Schneider, and Hon. Herman F. Achauer were
appointed a committee to draft a constitution and by-laws. This organization flourished until the demands of business and social cares rendered it inexpedient to continue their exercises.
THIE CHORAL ASSOCIATION .- This association was organized, January Ist, 1879, the member- ship reaching nearly two hundred ; the average attendance was one hundred. The music selected had a wide range, and some selections were from the master musicians. Professor J. D. Luse led it gratuitously. The organization, however, could not meet at private houses, for want of room. Hall rent and music cost money, and, as in all such organizations, an incentive must lead, and a support sustain, so in this, and for want of pat- ronage, notwithstanding their meritorious per- formances, the association suspended. Among the leading singers were Mrs. Stanbery, Mrs. Drone, Mrs. Bagley, and Miss Roper : Messrs. Cox, Ingalls, Waller, Edgar, and Albert Allen- talent enough to sustain any organization, under favorable auspices. This will be more apparent when the Mendelssohn Glee Club is spoken of. This is a male quartette, and, of course, lacking in the inspiration derived from the association, to say nothing of the loss of angelic power, of the cultivated female voices. This is no mere sen- timent, as every one acquainted with music will readily admit. Yet the charms of music held this quartette together, under many disparaging circumstances, during the three years that have elapsed since their organization. The club is composed of Professor J. D. Luse, leader and first tenor ; Hiram Waller, second tenor ; J. J. Ingalls, first bass, and James A. Cox, second bass. These gentlemen were also members of the Choral As- sociation. As a male quartette, they combine the rare qualification of reading difficult music readily, with the crowning triumph of the singer -sympathy. It was the good fortune of the his- torian to hear this club render some selections found in Amphion, such as "The Gay Pilgrim." "Soldier's Departure." "Naught on Earth," and "The Artillerist's Oath :" "Image of the Rose," "O, Wert Thou in the Cauld Blast," from the Arion ; pieces well calculated to test the singer's power. and, in the opinion of the writer, they tri- umphed gloriously.
CHAPTER XXIII. FINE ART.
ZANESVILLE TALENT-MISS MARY STUART DUN- LAP-"THE CLASS OF 1880," AND THEIR WORK -ADAMS-LYONS-BREWER-HOWLAND-BAR- TON-CRAIG-YOSEMITE VALLEY -- ASSUMPTION OF THE BLESSED VIRGIN-MADONNAS-MURIL- LO-BEAR RIVER-SUNRISE ON THE ALLEGHA- NIES-CUSTAR'S LAST CHARGE-CHARIOT RACE -WETTERHORN-STAUBACH-WATER COLORS -"THE FISHERMEN"-"BREEZY DAY"-SWISS SCENE - FLOWERS - CRAYONS - POTTERY -- PLAQUE.
The student of art is, of course, familiar with the works of the masters of the old, as well as the
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new, world, and also with their surroundings, which often had much to do with shaping their course, and, doubtless, kept many a genius in obscurity, and a mere mention of those celebri- ties would be trite and unwelcome. This sketch, however, is intended for the general reader, and so we indulge in a recapitulation concerning some who won their laurels in America. The first practicing artist of celebrity, in the United States. was John Watson, born in Scotland, in 1685 { he commenced painting portraits in New Jersey, in 1715. Nathaniel Smybert, of Edin- burgh, began in Boston, in 1728. Benjamin West was the first native American artist ; born in Chester county, Pennsylvania, in 1708 ; paint- ed his first portrait in Lancaster, Pennsylvania, in 1753. John Singleton Copley was born in Boston, in 1738 ; first painted in 1760 ; he was the father of Lord Lyndhurst, Lord Chancellor of Great Britain. Charles W. Peale, was born in Maryland, in 1741 ; Gilbert Charles Stuart, Rhode Island, 1754 ; John Trumbull, Connecticut. 1756 : William Dunlap, New Jersey, 1766; E. G. Mal- bone, Rhode Island, 1777 ; and were among the artists to win distinction in the United States. Dunlap was the author of an able work on "Arts of Design."
The reader need not be told that the number of artists has greatly increased since their day, for during this century, the world has taken it for granted, that a home is not to be thought of with bare walls. In art life, as in every other sphere of man, it has come to pass, that fidelity has brought excellence, and excellence has in- creased the demand, which has also so reduced the expense that every home may have these luxuries, and in many instances, the work of their own hands. The refinement consequent on developing the talent for art is too evident to admit of argument, and we proceed to speak of its manifestations in Zanesville.
May 3, 1880, the work done by Miss Dunlap and her class in drawing and painting was an- nounced for exposition. And while it is true that " home talent" is praised, as a matter of course, it is correct to say that the work exhibited was highly meritorious, and attracted special attention from home and foreign cities.
Miss Mary Stuart Dunlap is a graduate of Putman Seminary ; studied painting under James Beard, of College Hill, and Mrs. Beers, at Cooper Institute. To her was reserved the op- portunity to develop the talent of many ladies of Zanesville. Their success is certainly com- plimentary to her. The themes have been hap- pily chosen, and well rendered. The landscape predominated, and gave evidence of the inspira- tion expressed by the poet, when he said :
" There is a pleasure in the pathless woods, There is a rapture on the lonely shore, There is society where none intrudes, By the deep sea, and music in its roar ; I love not man the less, but nature more, From these our interviews."
It has been customary for her class to study
arts and artists, and it is probable that the sub- jects were pretty well mastered, for among the members of her class were :- Misses Cora Hub- bell, Lida Black,- -Hatton, S. E. Rollo, Mary Munson, Effie Munson, Lucretia Stultz, Laura Wiles, Mary Lynn, Mamie Atwell, Daisy Shryock, and Mrs. Canfield, Minnie Munson, (Dr.) Barton, Franklin Cooper and Mrs. Hirsh.
Among the specimens of work exhibited, was a landscape by Miss Laura Wiles ; a panel with landscape, Miss Mary Munson ; a fan, with blos- soms and birds, Mrs. Dr. Barton ; flowers on panel, Miss Hatton ; a deer head in crayon, Mrs. Canfield ; butters, decorated in birds and flowers, and an initial letter, Miss Rollo ; palette, with odd design, Miss Atwell ; palette, blackberries and flowers, Mrs. Hirsh ; unique design on china plates, Japanese, Miss Munson ; and many other fine specimens ; the reception was a great success, and a just source of pride to lovers of art in Zanesville.
Among the artists in Zanesville, we find Adams, Lyons, Brewer, Howland, Barton and Craig. Mr. Barton was born in Zanesville, and in early life began to exhibit his talent with pen- cil, India ink, etc., and yet was never regularly instructed ; he painted his first picture in 1842, and has since devoted his time and talent to oil painting. In the spring of 1844, he studied in the National Academy of Design, in New York, and after sixteen months, returned to his native city. In 1875, he visited Europe for the purpose of seeing the works of the great masters.
At the Exposition in December, 1880, in the Art Department, was exhibited " Yosemite Valley," by J. P. Barton ; a view taken from the summit of Mariposa Trail, showing the whole of that wonderful Valley. On the left of the picture is seen El Capitan, three thousand five hundred feet high ; on the right, Bridal Veil Falls ; in the middle distance, Half Dome; in the middle foreground, at the base of Bridal Veil Falls, Mirror Lake, than which nothing grander has yet been seen ; in the foreground, the peculiar and gigantic flora of California. By the same artist : "Assumption of the Blessed Virgin." The great painters have delighted in this theme. A high authority tells of more than five hundred different styles of Madonnas : this is a splendid copy after Murillo, purchased in Brussels by the late Mr. Aspinwall, for ten thousand dollars. There were also a number of portraits of well- known citizens, highly prized for their life-like character. Mr. Charles Craig had a "View on Bear River," "Sunrise on the Alleghanies." "Custar's last Charge," and "The Chariot Race :" the latter copied from the great paint- ing by Alexander Wagner, representing the close of an exciting race, in the presence of the Empe- ror Domitian, in the circus, Maximus, at Rome, with all the wealth and beauty of their day. Mr. Craig needs no enlogy.
"Wetterhorn" (Peak of Tempests). by Frank Stark. This is a lofty peak of the Bernese Ober- land, Switzerland, on the east side of the Grin- denwald. From the path by which it is ascend-
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ed, rises one vast precipice of Alpine limestone, seeming to threaten the traveler; the height is about thirteen thousand feet. Also, "Staubach" (Dust-Stream). This celebrated waterfall is a mile from the village of Lauterbrunnan, in the Canton of Berne, Switzerland. It has a descent of nearly nine hundred feet, and, long before it reaches the bottom, it is blown into dust of silver spray ; hence the name, from staub (dust), and bach (stream).
WATER COLORS .- Only a few of this class of pictures were shown at this Exposition, yet enough to afford a clear idea of their peculiari- ties. The most casual observer would notice that there is a sharpness of tone and purity of color which do not belong to oil paintings. This does not enhance the one or detract from the other, but is simply a characteristic. Charm- ing landscape effects are produced in water col- ors, as was seen in the pictures executed by General Granger.
Some of the most impressive street scenes, church interiors, and character presentations, have been executed in water colors; and their adaptation to marine views may be easily com- prehended by examining "The Fishermen" and "Breezy Day" (Swiss scene), scene from Rosa Bonheur, by A. C. Ross.
Morning Glories, by Miss Mary H. Bucking- ham.
Flowers, by Miss Julia W. Blandy.
Flowers, by Miss Lucretia Stultz.
CRAYONS .- Portrait of the late A. G. Brush and a child, by A. C. Fauley. Portrait of the late William C. Cassell, by T. C. Orndorff. Horses, by Miss Kate Potwin. "Psyche," also "'Poor Relations," by Miss E. B. Blandy. "Stag at Bay," by Mrs. H. T. Canfield.
POTTERY-A vase, Pilgrim jar (under-glaze), and specimen of plaque (over-glaze), by Miss M. H. Buckingham.
PLAQUE .- "Duchess of Gainsborough" and "Lady of the Eighteenth Century," the former *smear-glaze," the latter "over-glaze," but not fixed, by Miss M. S. Dunlap. Pairs of plates, cups, and saucers, by Miss M. H. Buckingham. Pair of Pilgrim vases, and plaque, by Mrs. C. E. Munson. Pair of plates, by Miss Jennie T. Ball. Pair of plates. by Miss L. H. Black. Pair of cups and saucers, by Miss L. Stultz. Pair of cups and saucers, by Miss C. M. Hub- bell. Pair of plates, by Miss Mary Linn. Fruit dish (subject of painting, "The Unexpected Guest"), Miss Ella G. Ross. Pair of cups and saucers by Mrs. Dr. Scott.
In June. 1881, the art work of Miss Dunlap and her class was even more surprising in variety and excellence. These exhibitions demonstrate a high order of talent in the several artists, and afford ample testimony that home talent is not only abundant, but can find good opportunity and efficient leadership in Zanesville.
CHAPTER XXIV. THE OPERA HOUSE.
Of the Opera, it will be remembered, that Octavio Rinuecini, of Florence, was the in- ventor of the production of musical representa- tions of Comedy and Tragedy, and other dra- matic pieces ; and that Emelio de Cavelero, dis- puted this honor with him, A.D., 1590. Among the Venetians, opera was the chief glory of their carnival. About the year 1669, the Abbot Per- rin obtained a grant from Louis XIV., to set up an opera at Paris, where, in 1672, was acted Pomona. This play was probably in keeping with Ovid's story of Pomona and Vertumnus. "This Hamadryad lived in the time of Procas, King of Alba. She was devoted to the culture of gardens, to which she confined herself, shun- ning all society with the male deities. Vertum- nus, among others, was enamored of her, and under various shapes, tried to win her hand ; sometimes he came as a reaper, sometimes as a hay-maker, sometimes as a ploughman, or vine dresser ; he was a soldier, and a fisherman, but to equally little purpose. At length, under the guise of an old woman, he won the confidence of the goddess, and, by enlarging on the evils of a single life, and the blessings of the wedded state, by launching out into the praises of Ver- tumnus, and relating a tale of the punishment of female cruelty to a lover, he sought to move the heart of Pomona ; then, resuming his real form, he obtained the hand of the no longer re- luctant nymph. [Ovid, Met. 14, 623, Seq. Knightley's Mythology, p. 539]." Sir William Davenant introduced a species of opera in Lon- don, in 1684. The first regularly performed opera was at York building, in 1692. The first in Drury Lane, was in 1705. The operas of Handel, were performed in 1735, and they be- came general in several of the theatres in a few years after. The first opera in Zanesville, that truly deserved the name, was given in this "Temple of Art," at the opening, January 20, 1880, by the Emma Abbott English Opera Com- pany, and was a grand affair ; patronized by the elite of this and neighboring cities. The eclat of this performance was heralded by the press generally, in the State and out of it. Messrs. Shultz & Hoge, the proprietors, have conferred a princely benefice on the community,in furnishing the Opera House, and the two elegant Halls, thereby rendering the city a great attraction for operatic and other musical and public perform- ances, and exhibitions ; adding, also, the block of elegant store rooms, with spacious rooms over them for offices. The building has a front- age of one hundred and twenty-five feet on Fifth street, extending from the southwest corner of Fountain alley southward, and a depth of seventy- five feet. The third story contains the "Conser- vatory of Music" Hall, which is forty by sixty feet, and "Gold Hall," which is sixty by eighty feet. These halls supply a want long felt. They are very handsomely decorated, and adapted for every public purpose, having dressing rooms,
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