History of Philadelphia, 1609-1884, Part 56

Author: Scharf, J. Thomas (John Thomas), 1843-1898. cn; Westcott, Thompson, 1820-1888, joint author
Publication date: 1884
Publisher: Philadelphia, Pa. : L. H. Everts & Co.
Number of Pages: 992

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The opening of the American Academy of Music, in 1857, changed the centre of musical entertainments. The Musical Fund Hall, despite its splendid capacity and perfection as a concert-room, had been going down in popularity, chiefly in consequence of the un- favorable location of the building. Concert Hall, in Chestnut Street, had taken away a good deal of the patronage which formerly could not go anywhere else than to the old hall. Jayne's Hall, in Chestnut Street

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east of Seventh, made a determined bid to givers of amusements. It was only partially successful. The room was large, but its acoustic properties for the comfortable hearing of music were miserable. San- som Street Hall tried for a time to make up a concert custom, but failed. The Academy of Music was like a new revelation ; large, elegant, comfortable in the seating, bright and attractive, there was the addi- tional advantage that it was admirably constructed for hearing. Every auditor could enjoy the lowest notes, whether vocal or instrumental, in opera or in concert. The seat of musical art was therefore trans- ferred to the Academy of Music It was for years the only allowable temple of Ital'an opera, and it was

The Academy of Music' is an edifice of which Philadelphia is justly proud, and a brief outline of its history will not be out of place here. "The charter and prospectus" was issued in 1852, with an appeal to our wealthy citizens to subscribe to the stock of the company. This appeal met with but little response at first, but the board of directors? then formed were untiring in their efforts, and their zeal and perseverance were finally rewarded with success. In the spring of 1855 the requisite amount of stock, two hundred and fifty thousand dollars, was fully taken. Then, and only then, the building committee deemed it advisable to enter into any contract for the erection of the building. The

ACADEMY OF MUSIC, EXTERIOR VIEW.

largely employed for German, English, and French opera and concerts of the first class, as well as balls and other amusements.

The corner-stone of the Opera-House, or " Ameri- can Academy of Music," was laid on the 26th of July, 1855, at the southwest corner of Broad and Loenst Streets, in presence of a large throng of deeply-inter- ested spectators; Robert T. Conrad, then mayor of Philadelphia, making an impressive speech on the occasion. The opening took place on the 26th of January, 1857, and was celebrated by a magnifi- cent ball. On the 25th of February, following, the house was opened for its legitimate use by E. A. Marshall with Italian opera.

plans submitted in 1854 by the eminent Philadelphia architects, Messrs. N. Le Brun and G. Runge, had been accepted, and a contract was made with John D. Jones for the principal construction of the build- ing. "The architecture of the exterior is designed in the Italian Byzantine school, such as is frequently to be met with in the northern parts of Italy. Its character is massive and imposing, although exceed-

1 The facts and figures here given are taken from the " History and Description of the Opera-House, or American Academy of Music," pub- lished by G. Andre & Co., Philadelphia, 1857.

2 John B Build, president, George S. Pepper, Frederick Graff, Samue Branson, James C Hand, John P. Steiner, Charles H1. Fisher, Isaac S. Waterman, James Traquair, Lyon J. Levy, F .I. Dreer, Fairman Rogers.

MUSIC, MUSICIANS, AND MUSICAL SOCIETIES.

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ingly plain, with window-frames shaped in a manner approaching the Gothic, which is peculiarly calcu- lated to produce a pretty effect in the evenings when the interior of the building is illuminated. . . . The keystones over the five principal entrance-

Street, is a lyre ornamented with flowers, as an appro- priate symbol for the opera. The whole height of the fronts from the pavement is sixty feet. It is built of brick and brownstone. The width of the front on Broad Street is one hundred and forty

ACADEMY OF MUSIC, INTERIOR VIEW.

doors on Broad Street are ornamented with carved symbolical heads. In the centre is Poetry, represented by Apollo; over the adjoining doors on either side, Music and Dancing, and at the extremes, Tragedy and Comedy, are severally personified. In the pedi- ment, over the centre of the main cornice, on Broad

feet, the depth on Locust Street two hundred and eighty-eight feet." Five principal doors (cach nine feet wide) on Broad Street lead into the outer entrance-hall, where are located the ticket-offices at either end. This hall is seventy-three feet long, ten feet wide, and eighteen feet high. Crossing this

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we enter the grand vestibule, seventy three feet long, twenty-seven feet wide, and eighteen feet high, at ench end of which is a magnificent stairway thirteen feet wide. We are now in the interior, and can ex- amine the admirable arrangements, in which elegance, safety, and comfort have been combined ; spacious lobbies, corridors, and staircases, numerons exits, easy of access, a grand foyer or saloon, which may be em- ployed independent of the theatre, and which com- municates with the restaurant in the basement. The auditorium is remarkable for the comfort of accom- modations, spacious passages, and freedom of vision ; but it is still more so by the successful application of the laws of acousties in its construction. The archi- tects may be proud of the fact, admitted by every singer of eminence who has sung at the Philadelphia Academy of Music, that there is not a better honse for the voice either in Europe or America. Many proclaim it the best. The seating capacity is two thousand nine hundred seats, with standing room for six hundred persons more. The stage at the curtain is fifty-one feet wide by seventy-three deep. The proscenium is arranged in a rather novel manner, viz., two Corinthian columns, standing apparently free. support the proscenium architrave, behind which the curtain is suspended, and four other columns of the same order are placed in front of the prosceninm boxes on both sides, which contain balconies corre- sponding to the fronts of the adjoining tiers. The style of architecture is a florid renaissance, rich and effective, without being overloaded with ornaments. Over the entablatures of these columns are placed four colossal caryatides, representing kneeling giants, supporting the arched pediments over the proscenium boxes. Under these pediments, at the right and left of the stage opening, are sculptured the arms of the city and State in bold relief, and below them are the keystones of the lower arches, in the shape of two masks, representing Tragedy and Comedy. The first drop curtain, used on the opening night, was a rich crimson drapery ornamented with heavy golden fringes, ropes, tassels, etc., designed and executed by J. R. Martin, the scene-painter from Berlin. The entr'acte drop was a beautiful landscape, representing a view on Lake Como, painted by the talented Phila- delphia artist, Russell Sinith. The design and fresco- work of the ceiling were executed by Mr. C. Kaiser, and the panels filled with beautiful oil-paintings by Mr. C. Schmolze.

The opening opera, on the 25th of February, 1857, was "Il Trovatore,"-Leonora, Madame Gazzaniga ; Azucena, Miss Phillips; Munrico, Brignoli; Di Luna, Amodio. " Lucrezia Borgia" followed. "La Tra- viata" was brought out for the first time in the same season,- Violetta, Gazzaniga ; Germont, Brignoli; Georgio, Amodio. "Ernani" was afterward pro- duced, the character of Ernam by Bottardi; Ruy Silva, Tagliafico. Ronzani's ballet troupe followed with the ballet pantomime of "Faust." In 1858,

La Grange and D'Angri, Bignardi and Tafanelli sang, also Mademoiselle Parodi, Madame Strakosch, Si- gnors Brignoli and Amodio. Madame Colson sang in the same year. " Don Giovanni" was brought out in splendid style,-Anna, Madame de la Grange ; Elvira, Caridori ; Zerlina, D'Angri; Giovanni, Gassier ; Lep- orello, Carl Formes ; Ottavio, Labocetta ; Masetto, Rocco. "Rigoletto," "Robert le Diable," "The Barber of Seville," and " I Puritani" were performed in the same year. In 1859 one company embraced Madame Poinsot, Ghioni, aod Piccolomini. In the same year another company consisted of Adelina Patti, Signor Stigelli, Ferri, Quinto, and Muller ; another of Colson, Gazzaniga, Junker, Stigelli, and Amodio. "The Huguenots" was produced with the following cast : Marguerite, Madame Laborde; Valen- tine, Madame Poinsot ; Marcel, Carl Forines ; Raoul, Tamaro; De Nevers, Colletti. In 1860, Colson sang in " Ernani," with Striglia, Ferri, and Susini. " The Barber of Seville" was sung by Adelina Patti,- Figaro, E. Barili ; Almaviva, Brignoli; Bartolo, Col- letti; Basilio, N. Barili. In 1861, Colson sang in " Un Ballo in Maschera," with Miss Hinkley, Miss Phillips, Brignoli, and Ardavani. Kellogg appeared in the same year, with Miss Hinkley, Madame Strakosch, Brignoli, and Mancusi. In 1862, Kellogg, Brignoli, and Morentsi sang in " La Traviata," with other pieces. Miss Kellogg and Sulzer, with Mazzolini, Bellini, and Colletti, appeared in 1863. There was a continua- tion of prime-donne of the first class, who appeared at varions times, among them Signorina Medori in 1863, Zuchi and Bosisio in 1865, Carmen Poch and Miss Hauck in 1866, Parepa Rosa in 1867, Madame Anna de la Grange and Isabella Mccullough in 1868, Torriani in 1873, Albani and Anna Louise Cary in 1874, Belocca, Palmieri, and Titiens in 1876.

The opera " Faust" was brought out in 1872,-Mar- guerite, Madame Christine Nilsson; Faust, Signor Capoul. In the same year Nilsson produced " Mi- gnon." " Aïda" was first produced in 1873,-Aïda, Torriani; Amneris, Cary ; Rhadames, Campanini; Amonasro, Morrell; Ramfis, Nannetti; King, Seo- lara. A German company1 brought ont "Fidelio," during Mr. Marshall's management, with several other pieces, which were sung with great effect. In this company, besides Madame Johansen, were Madame Pappenheim, Madame Rotter, Madame Scheller, and Von Berkel, and Messrs. Habelman, tenor, Herr Formes, Herr Hermans, Herr Picka- neser, Herr Steinecke, and Herr Wachtel. The great Ronconi, one of the finest artists of Europe, appeared ns William Tell in 1858. "Hamlet," by Ambroise Thomas, was first brought out by Nilsson in 1872, and " Lohengrin," by Nilsson, in 1874.

" Notre Dame of Paris," a new American opera, by

1 This company performed at various times " Der Freischitz," " Mason and Locksmith," " M.utha," "Czar und Zimmermann," " & Night in Granada," " Der Waldschutz," "Stradella," " Tannhauser," " The Merry Wives of Windsor," " The Magic Flute," and many others.

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one of the Frys, was brought out in 1876; afterward "Rip Van Winkle," an American opera, and "The Doctor of Alcantara," an original work. Madame Parepa Rosa sang in English, and with her was Zelda Harrison, who afterward married Edward Seguin, a son of the elder Seguin. Castle was the tenor, Campbell the baritone, with occasional changes in the cast. For a time between 1860 and 1870 the French opera bouffe held the stage. The principal pieces of Offenbach, "La Grande Duchesse," " La Belle Hélène," "Barbe Bleue," "Geneviève de Brabant," " La Fille de Madame Angot," and other operas of like character, were quite popular, the prin- cipal performers being Madame Aimée, Madame Irma, Madame Tostée, with a very competent corps of male singers and actors. Since 1879 the academy was not in requisition for musical purposes as much as formerly for opera, some of the companies, dis- pleased with the regulation which gave free admis- sion to the stockholders, preferring to go to the theatres. The Chestnut Street Opera-House, which was an alteration of Fox's American (variety) Theatre, had the most of this business.

Her Majesty's Opera Company, under the manage- ment of Col. Mapleson, was the principal tenant for musical purposes in 1883. Among the instrumental performers who have given concerts at the academy are the following: Ole Bull, Vieuxtemps, Rubin- stein, Wieniawski, Von Bülow, Sauret, Moreau, Le- gendre, Gottschalk, Marie Krebs, Anna Mehlig, Teresa Careno, Madelaine Schiller, and Arabella Goddard. Dramatic companies have sometimes per- formed at the academy, but not with entire satis- faction. Charles Mathews made the first essay with a small company Oct. 26, 1857, in " Married for Money" and "Patter vs. Clatter." He found that the house was too large for his voice. Although per- fect in acoustic quality for the performance of music to the perfect hearing of the lowest note, it is not so good for speaking. Occasionally dramatic represen- tations have been given by Edwin Forrest, Charlotte Cushman, and special companies embodied for the performance of particular plays.

Many concerts were given during the period that opera became common. It was an ordinary thing for the operatic artists to alternate their performances on the stage with tastes of their quality in the concert- room. In some cases the artists did not appear at the theatre at all. This may be said to have been the common rule with violinists, pianists, trumpeters, and song and ballad singers. There were some ex- ceptions, however, even in cases where the persons were accustomed to the stage. One of the latter, notable by the exception, was that of the singer whose fame afterward filled Europe, Signorina Maria Felicia Garcia, afterward Madame Malibran, and later Malibran de Beriot. She had made an appear- ance with great success at the Italian Opera-House, London, in 1822, and came to New York in 1825, .

where she made her début at the Park Theatre as Rosina. This lady remained in the United States about two years. The New York Operatic Company did not come to Philadelphia, but Garcia gave two concerts at Musical Fund Hall in June, 1827. High prices for admission may be said to have commenced with this vocalist. Tickets were two dollars, and at the last concert there were one thousand tickets reported to have been sold.

The famous Norwegian violinist, Ole Bull, created a great excitement throughout the country. He first appeared at the Chestnut Street Theatre Dec. 4, 1843, and drew an immense house. His entertainment was afterward transferred to Musical Fund Hall, where he frequently performed.

Camille Sivori, a violinist, preceded him in 1841, and Henri Vieuxtemps, also celebrated as a violinist, came afterward, in 1845.

The Distin family, performers on the sax-horn (a sort of trumpet), performed at Musical Fund Hall in February, 1849.

Jenny Lind, "the Swedish Nightingale," shrewdly engineered by Barnum, created a great furor in 1850. She made her first appearance at the Chestnut Street Theatre on the 15th of October. She was assisted by Signor Belletti, Miss Pintard, a lady of Philadelphia, and Joseph Burke, once a juvenile Roscius, who set- tled down as a violinist, and was leader of the orches- tra. The tickets were held at tremendous prices,- seven dollars for a seat in the first tier and parquet. Besides this, Barnum had shrewdly started an auction for the privilege of choice of the first seat. The ticket for this was bought by Marcus A. Root, a daguerrean artist, for six hundred and twenty five dol- lars. It was supposed to be a good advertisement for him, but probably was not remunerative. The amount realized at the first concert was said to be twelve thousand dollars. Succeeding concerts were given at Musical Fund Hall, November 27th, 29th, 30th, and December 6th. After her tour of the United States, Miss Lind came back to Philadelphia, and opened at the National Theatre, June 9, 1851. She was greatly offended at the choice of this place. The theatre had lately been used for circus performances, and behind the scenes the smell was like that of a stable. A rup- ture with Barnum followed, and she commenced to give concerts on her own responsibility. The first of these took place at the museum building on the 4th of July. Another series of concerts was given at Musical Fund Hall, December 16th, 19th, and 22d. She left for Europe in May, 1852.

The Steyermarksche Company, a superior band of instrumental musicians, whose execution was simply perfect, were in the country about this time, and gave a series of concerts at the Musical Fund Hall, which were much enjoyed.

Alfred Jaell, a pianist of merit, gave several con- certs in 1852 and afterward.

The Sontag concerts and Alboni concerts occurred

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in October, 1852. Ole Bull's and Sontag's in 1953. Monsieur Jullien's band, a splendid set of trained musicians, offered several enjoyable entertainments in 1853 and afterward. Jullien had been fashionable in London, and he brought out several superior instru- mental performers, among them Koenig, who played the trumpet in a surpassing style. Ilis pianist, Leo- pold de Meyer, was a physical artist, who pounded on the keys as if they were drums, and sometimes, to produce a great effect, almost sprawled over the piano. Paul Julian, quite a boy, had much reputation as a violinist.

Sigismund Thalberg, reputed to be the master of the piano, gave his first concert in Philadelphia at Concert Hall, Nov. 28, 1856. Hle was assisted by Madame Cora de Wilhorst, an American lady belong- ing to an opulent family of New York, who had made an unfortunate marriage. At a later date Morris Gottschalk, a young American, born in New Orleans, achieved great reputation as a pianist. He made bis first appearance at Musical Fund flall, March 1, 1853, and in after-years gave many concerts. Adelina Patti, afterward the prima-donna par excellence, made her first appearance at Musical Fund Hall, together with Paul Julian, at a concert given in 1854. This was some time before she went upon the stage in opera.

Katherine Hayes, an Irish lady, who had a brilliant voice, gave her first concert at Musical Fund Hall on Dec. 6, 1851. She was a great favorite, but never appeared in opera in America.

The few friends of music that could be found in a city in which art was less cultivated than in any other part of the United States, would naturally become acquainted with each other, and be tempted for pleas- ure and practice to embody themselves in clubs and societies. As knowledge of church music only was diffused among the majority of people, it was natural that a society for the cultivation of this branch of the art should be earliest established. The Uranian So- ciety, for the improvement of church music, the first of these societies known to have been formed, was es- tablished in 1787, and continued its meetings until after 1800. The Uranian rooms were at the corner of Third and Market Streets. About 1802 the llarmonic Society was formed, also for the study of sacred music. A elergyman, the Rev. Andrew Law, was chiefly con- cerned in promoting the organization. The Har- monics met for some time in a building on the north side of Norris Alley, between Front and Second Streets. This association aspired to concert, and usually gave at least one in each year. The places of performance were at the Second Presbyterian Church, Third and Arch Streets, in 1802, hall of the University, Fourth Street, 1803; hall of the Urunian Society, South Fourth Street, 1805, and other places. This asso- ciation was in existence as late as 1817. The mem- bers were worried, in 1×07, by another association which called itself the Harmonic Society, and gave

two concerts in 1808, both of sacred music, assisted in each of which by one hundred and thirty performers. There was a Harmonic Society of St. John's English Lutheran Church, meeting, in 1819, at the corner of Sixth and Race Streets, William Binder being the secretary. At the same time the Independent Har- monie Society, Joseph Mclhenny, president, met at Fourth and Vine Streets. The Union Harmonic Society, of the same period, met in the old Harmonic rooms in Norris Alley; James Weir was president, George W. Tryon secretary, and Henry Wrigley treasurer. The Associate Ilarmonic Society was in existence in 1820. The Germantown Harmonic So- ciety, established in 1821, gave concerts in the churches of that village for several years. The Haydn Society in 1819 held weekly meetings at the corner of Fourth and Vine Streets. The managers were Rev. John R. Goodman, Joseph George, and George Emerick ; sec- retary, Martin Gaul. It was announced "the object of this society has been for many years to introduce and improve themselves in psalmody."

The Handelian Society, in May, 1814, gave a vocal and instrumental concert at the academy (old uni- versity in Fourth Street). The organist was Rene Taylor; leader of the band, De Luce; leader of the choir, Samuel Dyer. In March, 1815, this society gave a concert for the benefit of the poor, at the Tabernacle Church, which yielded, after the payment of all expenses, the extraordinary return for that time of $1017.95. The St. Cecelia Society, established in 1824, had its hall in South Fourth Street. The first president was John Neagle, the artist. He was suc- ceeded in that office, in 1825, by Col. (afterward Brig .- Gen.) Andrew M. Prevost. Edward R. Hansen was leader, and Thomas Carr, vocal conductor. Secular music was not as much cultivated as sacred music in the early part of the century. A Catch Club met at Hardy's Hotel in 1800, and devoted itself to the unmusical performance of dining. The stewards o1 this club who directed the feast were William Fran- cis, William MI. Biddle, broker, Thomas Hale, Rich- ard C. Jones, Morris Rogers, and Robert S. Stevens. The Sons of Apollo, a club which met at the Shake- speare Hotel in 1807, was composed of amateurs and professionals. Among the latter were people from the theatre. Woodham was director; Webster, a popular singer; Bray and Robbins, Gillingham, and Reinagle, of the theatre orchestra, were also mem- bers. "The Amateur Concerts" were given by sub- scription, between 1810 and 1817, usually at Masonic Hall or other fashionable rooms. Nine or ten of these concerts were given several years. In 1815, in an announcement of a charity concert, the managers named were Charles N. Buck, William Schlatter, Thomas Kittera, Silas E. Weir, P. Lechleitner, and John Bohlen. These were men of great respect- ability. Kittera was a lawyer; the others merchants in good business.

The Musical Fund Society was established in 1820,

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the object being much more broad and compre- hensive than had been attempted by any association previously formed. The members aimed at the highest development of the art of music, and the performance of the compositions of the great masters, whether they were sacred or secular was of no im- portance. The charter stated that the object of the society was " the relief of the distressed musicians and their families, and the cultivation of taste and the proficiency of the musical art." The first object was to be attained by a pecuniary provision from the soci- ety funds for musicians, members of the association, who from age and infirmity were unable to support themselves and their families. Musical cultivation was secured by concerts given to and by the members every fortnight during the winter season, two or three of which might be open to the public. There were two classes of members, composed of professors of music and of amateurs. Some of the latter were musi- cians of unusual proficiency. At times the orchestra at public performances consisted of eighty, one hun- dred, and one hundred and twenty members.1

It will be noticed that two ladies were among the professional members. There might be twelve per- formers of that sex elected. Beside the professional membership, there was an organization to conduct the financial and business affairs of the society. This could be composed of members of either class. In 1825 the fund was managed by Dr. William P. Dewees, president; Francis Gurney Smith, treas- urer; and W. McIlhenny, secretary. The Musical Fund Society was first established in Carpenters' Hall. The first concert was given at Washington Hall, April 24, 1821. There were one hundred per- formers, instrumental and vocal, and they had in use an organ. The first great work brought out by the society was Haydn's oratorio of "The Creation," April 20, 1822. The society was prosperous, and in 1824 was rich enough to purchase ground and erect a hall of its own. A lot and building on the south side of Locust Street, west of Eighth, which latter had been constructed for the use of a Presbyterian congregation of Rev. Mr. Burch, was purchased for seven thousand five hundred dollars. The corner- stone of the new building for musical purposes was

laid on the 25th of May, 1824, and the hall was finished and opened on the 24th of December of the same year. The actual cost of lot, building, and fur- niture was $23,547.08. The music-room, in the second story, by lucky fortune, was constructed of the proper proportions. Its acoustic qualities were simply perfect. Long and large, it was the best hall for hearing ever constructed in the city, and for these qualities it was often asserted it had no superior in the world. For many years it was the only place at which a concert of music could be acceptably given. Here the finest European artists sang by necessity. Its records could show the leading names in musical art in two hemis- pheres ; among them Garcia (Malibran), Mrs. Wood, Braham, Catharine Hayes, Alboni, Grisi, Mario, Jenny Lind, Mr. and Mrs. Seguin, and generally the best performers in opera, with eminent violinists, pianists, and performers on other instruments. Placed in a neighborhood which was always unpleasant and unpopular, Musical Fund Hall held its own against all rival places until the erection of the Academy of Music turned the tide of fashion to the west.

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History of Philadelphia, 1609-1884, Part 56

Author: Scharf, J. Thomas (John Thomas), 1843-1898. cn; Westcott, Thompson, 1820-1888, joint author Publication date: 1884 Publisher: Philadelphia, Pa. : L. H. Everts & Co. Number of Pages: 992

Author: Scharf, J. Thomas (John Thomas), 1843-1898. cn; Westcott, Thompson, 1820-1888, joint author
Publication date: 1884
Publisher: Philadelphia, Pa. : L. H. Everts & Co.
Number of Pages: 992