Standard history of Pittsburg, Pennsylvania, Part 104

Author: Wilson, Erasmus, 1842-1922; Goodspeed, Weston Arthur, 1852-1926. cn
Publication date: 1898
Publisher: Chicago : H.R. Cornell & Co.
Number of Pages: 1192

USA > Pennsylvania > Allegheny County > Pittsburgh > Standard history of Pittsburg, Pennsylvania > Part 104

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During the forties colored minstrelsy flourished here to an extraordinary degree. The Sable Harmonists became favorites of the theater-going public. Mr. Fleeson objected to the caricaturing of colored character, but Mr. Riddle

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declared he preferred such songs as "Lucy Neal," "Cynthia Sue" and "Buffalo Gals" to the music of Ole Bull. Public taste concerning music was undergoing an important development. There was a distinct departure from the love of classical music to a taste for the simple melodies of the colored people. This change was recognized and early taken advantage of by Stephen C. Foster. In fact the fame of Foster rests largely upon his remarkable interpretation of the basic melody of the African race. During the forties, therefore, colored minstrelsy was caricatured throughout the United States, and a new order of music was established. Stephen C. Foster contributed not a little to this important innovation.

An important musical organization established about 1840 was called "The Odeon Society," of which Mr. J. I. Younglove was secretary. Another organization about this time was the Allegheny Sacred Music Society, and another was the Pittsburg Sacred Music Society. These various organizations did not hesitate to attempt the rendition of the most difficult choruses and oratorios, and usually succeeded to an unexpected degree-"The Creation," "The Promised Land," "Glory be to God on High," "Double Chorus," etc. The various halls and saloons presented a great variety of music at this time. Instrumental music was not so generally diffused then as now. Ballads, solos, duets, glees, etc. were extremely popular, and good voices were invariably recognized and their possessors received excellent patronage. A Mr. Dempster, in 1846, rendered a musical programme of Scotch and other songs at Philo Hall, among which were the well-known airs of "Auld Robin Gray," "Mary's Dream," "Jock o' Hazeldean," "John Anderson My Jo," "Lament of the Irish Emigrant," "Bird of the Wilderness," and "Oh, Why Does the White Man Follow My Path?" all of which are familiar to this day. The new Odeon Hall was opened in May, 1846, in Breed's Building, on Fourth Avenue. Another negro minstrel troop which received the enthusiastic praise of Pittsburgers was the "Ethopian Melodists," which contained several residents of this city among its members. Pittsburgers were also numbered among the Sable Harmonists. Both of these companies eagerly sought for the productions of Mr. Foster after his publication of "Oh, Susanna," "Old Uncle Ned" and "Louisiana Belle." A correspondent of the Journal wrote in January, 1848, as follows: "To one acquainted with the past it is perfectly astonishing what we can do in Pittsburg. It is only a few years since we could have any good singing of our own, but entirely depended upon accidental talent from abroad. Now the case is quite different; almost every evening we may listen to the warblings of taste and talent in some part of the city, and our church choirs would of themselves attract even the most thoughtless to the sacred temple; while in instrumental inusic we may favorably compare with any city East or West. Through the attention of the gentlemanly conductor of White's Band I had the pleasure of listening to that class a few evenings since at a rehearsal in anticipation of their soirée, which is soon to come off, and I must say that I never heard such excel- lent music. Their arrangement and performance of the celebrated 'Fireman's Cotillion' was a perfect novelty, and I am sure will take their company by sur- prise."

Nelson Kneass, late in the decade of the forties, was the pianist and musical director of the famous Eagle Saloon Concerts, which scored such an immense success. It was here that the earliest songs of Mr. Foster were often first ren- dered. During the season an entire change of programme was advertised every night. Mr. Kneass was the author of many songs and instrumental pieces. One of his famous productions was the burlesque opera of "Virginia Gal," first pre- sented to the Pittsburg public in the Lafayette assembly ballrooms over the Eagle saloon. The Commercial Journal said: "It is one of the most ludicrous

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performances we have ever witnessed, but it is arranged with all the exquisite taste and genius for the comic for which Mr. Kneass is so famous. We would 11ot miss it for the price of one dozen tickets." It was about this date that Mr. Kneass sang at his concerts for the first time his famous song of "Ben Bolt" to immense crowds. He was himself the composer of the music of that song, which fact alone was sufficient to establish his genius for music and his repu- tation as a composer. The programme at one of. these concerts in May, 1848, was as follows: "Part I, Overture-Pianoforte and violin; Marseilles Hymn, Company; Song-Ben Bolt, Kneass; Quintette Tyrolean-We Come from the Hills; Tyrolean Solo-Galsiano; Ethiopian-Susannah, Don't You Cry (first time), Company; Ethiopian-Carry Me Back to Ole Virginny, Company. Part II. Favorite Set Waltz-Piano and Violin; Song-She Wore a Neat Silk Josey, Kneass; Quartette Tyrolean-Tyrolese Bride, Tyroleans; Ethiopian -- Stop Dat Knockin', Company; Ethiopian Refrain, and Banjo Solo, Keenan; Quintette-Jane O'Malley, Company; Finale-Silence, Make No Noise, or Wake up Aunt Sally, Company."

During the forties several brass bands and numerous string bands were organized here, and on all public occasions their services were required to fur- nish music. The Pittsburg Academy of Music was established during the forties and met regularly in Apollo Hall. S. L. Bingham was principal of the Acad- emy. He gave instructions to children as well as to adults, charging from one to three dollars per quarter. Henry Kleber was prominent in musical circles at this time. He composed many meritorious pieces, mostly confining his labors to schottisches, waltzes and other instrumental pieces. On one occasion he was severely criticised by John C. Schaad, then reporter for the Staats Zeitung, which criticism he resented by publicly whipping the writer. Mr. Schaad was a Presbyterian clergyman, but seems to have carried his criti- cisms beyond the bounds of prudence and moderation. About this time Mr. Templeton presented a musical entertainment at Philo Hall. A writer in the Gazette of December 6, 1849, said: "It has lately become customary for young ladies to take part in amateur societies and to sing in public, if they possess talent and culture. The effect has been magical. Now that it is easy to get up a company to render concerts in aid of charity, why should not such a society be organized in Pittsburg?" About this time Henry Rohbock and Nelson Gilbert gave instruction in vocal and instrumental music. In 1851 Lowell Mason, of the Boston Conservatory of Music, delivered a course of lectures on music, and particularly invited teachers and other educators to be present, as he designed to present to their attention a system of musical instruc- tion for common schools. It was said at the time that he was the first person in the United States to introduce musical instruction in the public schools, which he did in Boston about 1834. His lectures resulted in the formation of a county musical organization, which later held a convention in Lafayette Hall under the management of Mr. Mason. His efforts resulted in a new impulse of great importance and magnitude in musical taste in this vicinity, and may be said to have established an historic era in the development of sacred music. Commencing from the date of his visit here great improvements were made in the music of local church choirs. This in turn gave a stimulus to all other branches of music and did incalculable good to the musical education of this community.

In 1851 P. B. Templeton issued a handbook for the piano from the pub- lishing house of W. S. Havens. At this time Henry Kleber was associated with John H. Mellor in the sale of musical publications and instruments. In November, 1851, Anna Bishop, a noted singer, visited Pittsburg and gave public entertainments, embracing selections from Haydn, Handel and other

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masters. Her voice was peculiarly fitted for concertos, fantasias and oratorios. In March, 1852, the celebrated Hutchinson family gave one of their splendid entertainments to the music lovers of Pittsburg. At this time the "Germania Musical Society" had a large membership, and contained several musicians who afterward made their mark in the musical world. On November 11, 1851, Jenny Lind arrived in Pittsburg over the Ohio and Mississippi Railway. She was traveling under the management of P. T. Barnum. Masonic Hall, having a seating capacity of 1,120, was secured, and tickets aggregating in value over $8,000 were sold at auction. The average premium on the tickets was about $2.50, the price of tickets being $5 each. Eight hundred persons paid ten cents each to get into the auction room. In order to avoid the crush Mr. Barnum alighted at the Federal Street station, accompanied by a lady whom everybody supposed to be Jenny Lind, and thence drove to the Monongahela House, followed by a large crowd. A little later Jenny Lind herself alighted from the train and proceeded without inconvenience or interruption to the same hotel. She gave three entertainments, which were a disappointment to the music- lovers of Pittsburg. They had expected too much. So great had been the praise of the quality and power of her voice that people unconsciously expected a superhuman performance, and were accordingly disappointed, notwithstand- ing the fact that she appeared at her best. So great was the dissatisfaction that a number of rude boys pelted her windows at the hotel with stones after the

first night's performance. The newspapers the following day denounced this act in the severest terms. The Commercial Journal said: "We have been some- what amused at the various comments made by our exchanges on the recent 'Jenny Lind affair.' Pittsburg is a doomed city. The election of Barker to the mayoralty was disgraceful enough, but the ungallant behavior of the b(h)oys toward the enchanting songstress of the Baltic is enough to sink us to perdition. Far and near comes the anathema maranatha. From the remote city of New York to the more 'neighborly' settlenients at the 'head of navigation' (Wheel- ing) do we receive unqualified deprecation. Even 'little Washington' greets us with the declaration that our city 'can produce as many unwashed black- guards as any city of its size in the world.' So says Mr. Bausman, an old resi- dent of Pittsburg, now editor of the Reporter, who ought to know all about us; but the pure and unspotted Bennett, of the New York Herald, declares in his columns, telegraphically, that 'nothing less than the insulting of the most ami- able Queen of Song could have been expected from the children of those who were silly enough to elect such a crazy person as Joe Barker to the mayoralty.' This is 'visiting the sins of the parents even unto the children of the third and fourth generation' with a vengeance."

Early in the fifties Anton and Shryock conducted the Pittsburg Musical Academy and at that time gave instruction to about 100 pupils. At this time the Philharmonic Society and the Pittsburg Orchestral Society were strong musical organizations. They united and gave a magnificent concert in March, 1854, under the direction of Professor G. Anton, of the Academy. Mr. Anton excelled as a performer on the piano, and gave instruction on that instrument. Mr. Shryock made a specialty of voice culture, and was employed by the Board of Education to give musical instruction in the public schools. Connected with the Pittsburg Academy was a choir for the rehearsal of sacred music under the direction of Professor Lincoln, assisted by Professor White. At this time the music stores were conducted by F. Blume, W. D. Smith and J. H. Mellor. Victor De Ham composed considerable music, beginning in 1854; one of his best songs was entitled "Lenore." Ole Bull, who had visited Pittsburg in the forties, came again in February, 1856, and was welcomed by a large and enthusi- astic audience. In 1856 the best musical talent of the city united in a grand

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vocal and instrumental concert in Masonic Hall, for the benefit of Passavant Infirmary and other charitable institutions and purposes. In 1856 Adelina Patti rendered a select programme of music in Masonic Hall, and was assisted by Paul Julien. The Commercial Journal said that "Patti in her finish, delivery and strength of upper notes is equal if not superior to Jenny Lind."

Stephen Collins Foster was born in 1826 and died in 1864, at a compara- tively early age. While yet a boy he exhibited his musical precocity, and in 1840 produced the "Tioga Waltz," the first of his compositions to receive publication. His last song, entitled "Beautiful Dreamer," was written a short time before his death. In 1842 he issued "Open Thy Lattice, Love," and a year or two later his Ethiopian melody "Louisiana Belle," and a week later "Old Uncle Ned," which two latter compositions rendered his name familiar throughout the United States and Europe. Those songs were taken up eagerly by all the negro minstrel troops and sung in every city of considerable size in the country, and were reproduced abroad. After that date the public, par- ticularly the Ethiopian companies, watched eagerly for every composition from his pen. Soon after having written "Old Uncle Ned" he wrote "Oh, Susanna." Mr. Peters, under whose management "Old Uncle Ned" and "Oh, Susanna" were issued, is said to have cleared out of them in a comparatively short time $10,000. In 1847 appeared his "'Way Down South Where the Corn Grows." Among his best known compositions are "Suwanee River," "Old Kentucky Home," "Massa's in the Cold Ground," "Hard Times Come Again No More," "Uncle Ned," "Oh, Susanna," "Old Black Joe," "Gentle Annie," "Old Dog Tray," "Come Where My Love Lies Dreaming," "Nellie Was a Lady," "Nellie Bly," "Laura Lee," "Ellen Bayne," etc. He not only composed the music, but wrote the words for nearly all of his songs. He issued altogether 160 songs, which have been recently published in one volume by his brother Morrison Foster. "Old Folks at Home," or as it is more popularly called "Suwanee River," was written in 1851. "Willie, We Have Missed You" appeared in 1854. In 1855 Sangford's opera troop rendered here the new song, "Hard Times Come Again No More," and scored such an immense success that Kleber's Music Store, where it was afterward kept for sale, was literally besieged for copies. Unquestionably, Mr. Foster was the greatest musical composer Pittsburg has yet produced. His genius was sufficiently great to avoid complex- ity and to seek simplicity in his compositions. Accordingly, nearly all of his productions possess wonderful rythmical modulation, based upon the truest principles of music. He struck a chord in the popular heart which no other composer of this country has succeeded in rivaling, much less in surpassing. For all time his songs will stand as the correct interpretation of the melody existing in the negro character. His sentimental songs were equally as simple and true to the laws of harmony as were his Ethiopian melodies.

The organization of the Pittsburg Academy of Music in March, 1865, in the Board of Trade rooms, was the first notable advance in art after the regen- erating influences of the Rebellion. C. D. Brigham was chairman of the meeting and R. B. Townsend secretary. After the act of incorporation, which had been recently passed, was read by G. H. Holtzman, a committee was appointed to solicit subscriptions to aid the academy. Among those present at the meeting, who were interested in its success, were P. R. Mertz, Dr. Fleming, G. H. Thurs- ton, C. W. Batchelor, W. P. Weyman and H. M. Murray.

In 1865 it was estimated by the newspapers that there were in use in Pittsburg, Allegheny and vicinity nearly 10,000 pianos, and while this was no doubt an overestimate, the number was sufficiently great to permit 'exaggera- tion without danger of discovery.

The growth of music in Pittsburg has been slow but steady. One of the

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pioneers through the musical wilderness is J. P. McCollum, the leader of the Mozart Club. This choral organization long ago attained a proud reputation, and it has done much to cultivate public taste and maintain a high musical standard. The work of the society gave rise in a large measure to the necessity of the Pittsburg orchestra, which is a striking indication of the progress that has been made. It was the intention of the Mozart Club to form an orchestra in a few years, when the idea was put into execution by others. Harmony exists between the orchestra and the club, and with the two organizations in accord the improvements in public taste should be marked in the future.

From a small beginning the Mozart Club has reached its present condition of excellence. It was started about 1878. From a membership of twenty voices the Mozart Club has grown to a limit of about two hundred, and has brought together an orchestra of local musicians of symphonic proportions which has demonstrated that with reasonable fostering Pittsburg will soon be able to refer with pride to an instrumental organization equal to the best in the country.

The dream of an orchestra for Pittsburg was realized sooner than the Mozart people thought it would. It may not yet be equal to the best in the country, but under the direction of Archer it should develop into a first-class combination.

In speaking of the Mozart Club and its work, Professor McCollum said: "The object of the club is the development of all our musical resources along legitimate art lines and the cultivation of the public taste for the noblest forms of musical composition. Steady advancement in point of excellence has marked each year of its history, until to-day it is conceded by visiting and local critics to be on a level artistically with the best musical societies in the country. The amount of work done by the club is represented in its fourteen oratorio perform- ances of eight oratorios, five of which had never had a hearing here, eighteen large cantatas, all new, besides smaller works in large number and variety.'

The two cities and their suburbs now have scores of musical clubs, orches- tras, bands, organ recitals, musical conservatories-all showing the interest and enjoyment taken in this branch of art. The organ recitals conducted by Frederic Archer in the Carnegie Music Halls have already advanced the citi- zens unconsciously far along the melodious path leading to the Temple of Harmony. The crowds which gather to hear these recitals cannot be accom- modated. Musical instruction is abundant and excellent at home.

The early inhabitants of Pittsburg made no pretensions to architectural excellence, and only such features were introduced as the carpenters them- selves were capable of designing. No doubt the early frame structures had ornamental window and door caps, and the doors were paneled and the cornices embellished with rounds and other carvings. The first academy and the first courthouse had a few simple elements of architectural excellence. The earliest churches built of brick not infrequently were ornamented in a similar manner. The style of buildings first employed was Colonial, and even in subsequent years that style has predominated in the structures of Pittsburg. Perhaps a majority of the buildings standing at the present day, though erected from thirty to fifty years ago, are of the Colonial style. A writer of 1819, in speaking of the Courthouse, said that the interior possessed much incongruous architectural display, but that the exterior was plain and heavy, except the front door, which was absurdly ornamented. The churches built during the twenties and thirties were the first noticeable and commendatory advancements in architecture. Previous to that time the few church structures or other public buildings which had been erected were without noticeable features, except perhaps a tower and spire, or a porch with columns, or a colonnade in front, designed, as well

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as the carpenters were capable, after the Doric, Ionic, or other orders. Per- haps also the interiors were decorated, particularly the chancels of the churches, though this is by no means certain. At all events the ornamentation and dress corresponded in rudeness with the architectural features designed by the car- penters.

The Trinity church, built in 1825 through the efforts of Rev. Mr. Hopkins, was a Gothic structure, said to have been the first of that style erected in the West. Whatever interior decorations this building may have had cannot now be stated with particularity, but they no doubt corresponded with the general excellence of the structure. The University building, completed about that time, was fashioned after the Classic style, and had an Italian dress. The Theological Seminary, built in Allegheny, made some pretensions to architec- tural excellence, but was criticised because the proposed cupola, the only important feature in the design, had been left off.

One of the first architects, perhaps the first, to locate here was Mr. John Behan, whose card appears in the Mercury of March, 1828. He announced himself as a civil engineer and architect, and no doubt many of the early build- ings which embodied superior architectural features were designed by him. It is probable that the architects who designed Trinity church of 1825, the University building, the Theological Seminary, and perhaps the Courthouse, resided in Philadelphia. The penitentiary may be said to have been the first Gothic structure with battlemented features erected in Pittsburg. Its heavy wall and corner bastions and occasional embrasures placed it among the fort- like and unique structures of the West. Mr. Haviland, of Philadelphia, an architect of some prominence, was secured by the commissioners to design the penitentiary and superintend its construction. He may have designed also one or more of the buildings mentioned above. In 1829 Mr. Behan, who must have understood his business, was engaged to lecture on that subject before the Philosophical Society. From this circumstance it is concluded that he was at least the leading architect here, if not the only one. In 1833 B. McDougall was employed by Thomas Will to give lessons in architectural draw- ing in the Pittsburg Classical Academy. At a later date the Third Presbyterian church, the new Episcopal church, the Merchants' and Manufacturers' Bank, the Pittsburg Bank and the Courthouse of 1841 were given some interesting architectural features. In front of the Third Presbyterian church was a fluted colonnade, and in front of the Episcopal church were columns of the Doric order. It was said that the Merchants' and Manufacturers' Bank was constructed after the Saracenic or Moorish order of architecture. In 1833 John Chislett opened an architectural office in Pittsburg. The Courthouse of 1840-I was of the Grecian-Doric order. It was said that "the main front is divided into a hexa- style portico, and two pseudo peripteral wings." The rotunda was surmounted with a dome, which was supported by eight Corinthian columns, the dome being thirty-seven feet in diameter. It was said of the ceiling of the dome that it was "exceedingly beautiful," it being executed in stucco work with enriched paneling. The windows at the base of the dome were arched. Altogether this was perhaps the finest architectural structure, aside from the churches, west of the Alleghany Mountains.

The construction of Saint Paul's cathedral early in the fifties was an architectural event of importance. The style of architecture adopted was the same as that of the cathedral at Cologne-German Gothic. The dome which · surmounted the intersection of the nave and transept was well proportioned and rich in dress. The architect who designed this structure was John Walsh, of New York; the supervising architect was Charles Bartberger. It was through

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the persevering efforts of Bishop O'Connor that this finest of all architectural structures in Pittsburg was erected. Saint Peter's church, erected in 1850, was also a Gothic structure, and possessed many points of excellence not found in the other churches. The Courthouse did not withstand the ravages of time. The stone peeled off and crumbled away, even while the building was yet new. The freestone of which it was built was obtained from the adjoining hills and did not possess sufficient durability to withstand this climate. In the early fifties the Pittsburg Female College building was built, half Gothic and half Classical. Several Colonial features were likewise embodied in the structure. It had mullion windows, over which were hood moldings. The Saint James Church building in 1855 was given the Early English style of the thirteenth century. The Ninth Ward Methodist Episcopal church was a Gothic structure, having two towers surmounted with two spires and octagonal turrets on the corners. Vestibules were at each door.

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Standard history of Pittsburg, Pennsylvania, Part 104

Author: Wilson, Erasmus, 1842-1922; Goodspeed, Weston Arthur, 1852-1926. cn Publication date: 1898 Publisher: Chicago : H.R. Cornell & Co. Number of Pages: 1192

Author: Wilson, Erasmus, 1842-1922; Goodspeed, Weston Arthur, 1852-1926. cn
Publication date: 1898
Publisher: Chicago : H.R. Cornell & Co.
Number of Pages: 1192