History of Salt Lake City, Part 101

Author: Tullidge, Edward Wheelock
Publication date: 1886
Publisher: Salt Lake City, Star printing company
Number of Pages: 1194

USA > Utah > Salt Lake County > Salt Lake > History of Salt Lake City > Part 101

Note: The text from this book was generated using artificial intelligence so there may be some errors. The full pages can be found on Archive.org (link on the Part 1 page).

775

HISTORY OF SALT LAKE CITY.

, great praise for their admirable singing of music which must be doubly trying to them to sing in English. The gems among the solos were " Oh thou that tellest." (by Mrs. Haydon) ; "Rejoice greatly," (by Miss Haydon) ; " He was de- spised," (by Mrs. Haydon); " But thou didst not leave," (by Mrs. Careless) : " Why do the nations," (by Mr. Black) ; "Thou shalt break them," (by Mr. Podlech) ; but if we must give the palm of excellence to any it must be in all justice to Mrs. Careless for her beautiful rendition of " I know that my Redeemer liveth. " Her singing was simply perfection. We have already called attention to the disadvantages under which the solo singers labor, but with all these Mrs. Careless' young, fresh voice seemed to defy all difficulties, coming forth with its rich " tombre timbre " bell like and sympathetic. If angels had human voices, surely hers would suggest heavenly music indeed. Fine, however, as the solo sing- ing was, we must confess that the choruses were the great achievement of the whole entertainment, and taking into consideration the fact that very few of the singers concerned either sing at sight or are entirely familiar with music, Mr. Careless deserves unqualified praise for the masterly way in which they have been trained. Of the choruses the finest were, "For unto us a Child is Born," "All we like Sheep," the " Hallelujah " chorus, and " Worthy is the Lamb."

It is a great thing to be able to say (as the writer can truthfully) that, taken as a whole, the " Messiah," as performed last night, was far superior-both as re- gards the solos, choruses and orchestra-than the oratorio given in San Francisco some eight months ago, with Madame Anna Bishop, Mrs. Morrison, and several other vocal celebrities. On that occasion the trumpet obligato was played so badly as to nearly compel Madame Anna Bishop to stop singing. Compare with this the excellence of the cornet obligato in Mr. Black's solo, "The Trumpet shall Sound," by Mr. Croxall, and here is proof of it.

To musical adepts who understand what a worthy execution of a complete oratorical composition means this performance of the "Messiah " in Salt Lake City may fitly be considered as one of the capital events in the musical history of America. There are only a few cities either in England or America, where the " Messiah " can be executed by their local philharmonic societies ; and even when given in London itself, the principal vocalists and instrumentalists of all England are sometimes combined to render the oratorio in its full capacity, and that too with a profound realization among the artists that the composition will call into play all the human powers of voice, of soul, of intellect and instrunien-

tal execution. And even with such a combination of performers it requires the highest class audience to fully appreciate such music ; so that if we can say that Salt Lake City is up to the standard of the "Messiah," (which is too much to affirm in the supreme sense at present) we substantially affirm that Salt Lake City is one of the greatest musical cities in the world. In this view the performance of the " Messiah " in our city in the summer of 1875, by a local philharmonic society under the conductorship of Professor Careless was a prophecy of such a culmina- tion even in his own generation.

In Handel's day London itself was not up to the standard of the " Messiah." London rejected it. Dublin, in the month of April, 1742, had the honor of giv- ing to this immortal work its acceptance.

776

HISTORY OF SALT LAKE CITY.

The " Messiah " is an epic in music. It is the most complete in construc tion and voluminous in subject of all the oratorios. The reviewer of the Herald defined the oratorio " as a kind of a sacred composition either purely dramatic or partaking both of the drama and the epic, in which the text is illustrative of some religious subject." In this definition the critic has confounded the oratorio with dramatic compositions of the class of the Shakspearian plays, which though very high as comparison is not theoretically correct. The oratorio is always an epic, never a drama in that sense, though true the epic does compound dramatic ele- ments. The oratorio has the subject and harmonies of the two worlds combined as the two halves of one whole ; just as the epic poem has the subject and action of the two worlds combined. Take examples. In the " Creation," by Haydn, the Recitativos and Arias are delivered by the Archangels-Gabriel, Uriel and Raphael. This combination in the epic poem is denominated the celestial ma- chinery. The principal leading subject of Uriel (the tenor) is

"And God created man in His own image ; in the image of God created he him, male and female created he them. And he breathed into his nostrils the breath of life and man became a living soul."

And from this grand announcement the Archangel develops his beautiful theme in an aria-" Native worth :"

" In native worth and honor clad, with beauty, courage, strength, adorn'd, erect with front serene he stands, a man, a king of nature all,"

In Man the mortal half of creation is now brought into the subject, and into its compound harmonies, and in Man the whole mortal world is in conception. The Recitativo :

"And God saw ev'rything that He had made, and behold it was very good ; and the heavenly choir in song divine, thus closed the sixth day :

"Achieved is the glorious work, etc."

This brings the two worlds-the immortal and the mortal into combination in chorus. Such is the nature of this oratorio -the " Creation."

This is not " text illustrative of some religious subject," any more than it is of " some " profane subject. It is the subject of all mankind and all Deity ;- all the Heavens and all the Earth, and if you please, all the hells :

Affrighted fled hell's spirits black in throngs, Down they sink in deep abyss, to endless night. Despairing, cursing rage attend their rapid fall.

The " Messiah " is the theme of " Creation " continued in the still grander evolution of the two worlds in combined action ; which examples show that the oratorio is not a musical drama, as the opera is, but a musical epic. " Comfort ye, comfort ye, my people, saith your God ; speak ye comfortably to Jerusalem," is Jehovah's recitativo (now above the archangels ), and " Every valley shall be exalted," is Jehovah's aria. In the " Hallelujah Chorus " we have the heavens and earth combined in exultant theme. "For the Lord God Omnipotent reigneth; King of Kings and Lord of Lords." "Hallelujah." The chorus of the universe swells the theme.

The " Messiah " properly is an Hebraic subject, but it not having reached its proper resolution in Handel's day, and in Handel's Christian conception, he mixed it with the Christian subject. " Messiah " is transposed to Jesus, and

777

HISTORY OF SALT LAKE CITY.

Handel's critics, being Christians and not Hebrews, accept his resolution. When the pure Hebrew genius comes, however,-the Isaiah of musicians-he will give " Messiah " a new rendering, but some of his themes in strict accord with Han- del's settings of the poet Isaiah, yet even in these with some new musical work- ings. "Comfort ye My People " will be retained in substance as the opening of the theme ; so will the " Hallelujah Chorus ;" while the Christian mixing will be expunged. The "Trumpet shall sound and the dead shall be raised," etc., is Paul, not " Messiah." Ezekiel in his vision of the " dry bones" of the whole house of Israel has the subject : " Come from the four winds O breath, and breathe upon these slain that they may live ; " and " My servant David shall be prince over them, and Messiah King of Kings." "Worthy the Lamb" is Christian, not of Hebrew genius. But Daniel's vision of Messiah's Kingdom is, and then the " Hallelujah Chorus :" "For the Lord God Omnipetent reigneth : King of Kings and Lord of Lords."

Now the great and relative significance of the performance of the oratorio of the " Messiah " in Salt Lake City is, that it marks the beginning of the musical culture in their supreme line of a people with the genius and subject of the " Messiah" actually embodied in their whole history, running now through a fifty-six years' period. The Mormon Temple, if it survive, will as certainly bring the oratorio into its service as that its dispensation has brought in the " gather- ing " of a modern " Israel from all nations." The work of a George Careless and others like him, then, has only just begun. The very prophecies, in the his- tory of the past of this peculiar community, proclaim with trumpet tongue that Salt Lake City in the coming time will be the city of America pre-eminent in the oratorio performances. The gentile artists as well as well as the " musicians of Israel " will help to accomplish this grand musical result, for art is not sectarian, but universalian.

Apropos of this latter remark may be noted particularly the fact that Pro- fessor Careless succeeded in combining the principal singers and instrumentalists in a " Handel and Haydn Society," for the performance of the " Messiah," with- out the thought even occurring to the artists whether their fellows were Mormons or Gentiles. This of itself was a great musical triumph; and the fact that the " Messiah " was performed in Salt Lake City in 1875, in a style as it never was in any city west of Chicago, is most worthy of a page in our local history ; and, as we pass on to the biography of Salt Lake musicians, the historian may be al- lowed the personal expression of a hope that Salt Lake City may witness many repetitions of the example and many such triumphs in musical art.

Of Professor Careless' engagements as a conductor, it may be noted that he conducted the celebrated Parepa Rosa concerts, in November, 1868; also the Madame Anna Bishop concert in the large Tabernacle, and the grand Wilhemj concert in the Theatre, March 6th, 1880. Our talented citizen received the highest praise from the great virtuoso and many marks of his esteem. Since his presentation of the " Messiah," in 1875, he has given the 46th psalm ; beautiful cantata " Daughter of Jairus ; " made a brilliant success in April, 1879, with Sir Arthur Sullivan's opera, " Pinafore " and in November, 1885, Gilbert and Sulli-

778

HISTORY OF SALT LAKE CITY.

van's latest and most difficult opera, the " Mikado ; " these compositions were rendered by home talent.

In March, 1879, he organized the " Careless Orchestra, which gave a num- ber of a orchestral concerts ; and in 1885, he succeeded in organizing the largest local orchestra ever brought together in this city, consisting of forty-five members.

Of the musical business, of which he and D. O, Calder were the pioneers, it may be noted that these two gentlemen formed a co-partnership about 1873, which continued seven years, during which period the firm published the Salt Lake Musical Times, the first musical publication in the Rocky Mountains, though 10 the Utah Magazine belongs the honor of importing the first musical type, and publishing the first musical sheets under the editorship of Professor John Tullidge. In fine in Professor Careless' career in Salt Lake City may be traced the principal germinations of the musical development of our city, which is said without de- traction from the diligent art labors and excellent public performances of musi- cians of a later date.

To Lavinia Careless, the lamented wife of Professor George Careless, belongs, by the sacred claims of her rare genius, a high niche of fame among our musi- cal stars. Indeed, she is worthy of more than local fame. She possessed one of the best English voices of her generation ; and had she traveled as a star she would undoubtedly have won a world-wide name, for not only was her voice of the purest quality, but her singing was burdened with soul and her exquisite de- livery intense with feeling, which, in oratorio, rose to the exalted pitch of epic song. She died in Salt Lake City July 16th, 1885. The following brief, but well told story of her life and genius we clip from the Salt Lake Herald of Au- gust 2d, 1885 :

" It is curious to reflect that the songstress whose death has occasioned so profound an impression in our musical circles might have gone to her grave lamented as Tietjens or Parepa was lamented, and with all the honors and tributes which an admiring world paid to those artists, but for the one circumstance that she preferred a domestic career to an artistic one, and chose rather to exercise her genius for the delight of her friends than to shine as a prima donna in the world's great coterie of lyric stars. It did not need the assurance of Carl Rosa, of Mad. ame Bishop, or of the many other distinguished singers, musicians and impres- sarii who heard Mrs. Careless' voice, to acquaint her with the fact that a brilliant carcer lay open before her, if she but chose to enter upon it. All who ever listened to the noble melody of her voice knew that she had received from nature one of those gifts which are conferred but a few times throughout the course of centuries ; when a girl she sang her first simple melody in a small English choir, her voice was already such as many an artist who had spent years with singing masters might vainly envy ; what it might have been with the care bestowed upon that of a Pa- repa or a Patti, we can only conjecture-it would be hard to realize.

" Mrs. Careless would have been thirty-nine years of age next December ; her father, George Triplett, was always musically inclined, and his daughter com- menced singing in London when she was eleven years old ; at fifteen, her voice had developed into a full, resonant soprano, and she sang for a long time in the London Conference choir as leader of the trebles ; Professor Careless was then

779

HISTORY OF SALT LAKE CITY.

director of that body, and he often instructed her in particular pieces, little think- ing by what an near tie they would one day be united. They met in Utah some years later, and were married in 1865. Mrs. Careless' improvement from that time was marked and rapid, and under the excellent instruction of her husband, she acquired a further knowledge of music and kept up a systematic course of practice which greatly benefitted her. The fourteen years which she led the treble in the Tabernacle Choir, while her husband was leader, is a period in the history of local music of which the lovers of the art will not need to be reminded. Hers was one of the few voices which did not appear lost in the vast echoes of that building. Of all her sacred selections, perhaps the solo in Tullidge's beautiful anthem, ' How Beautiful Upon the Mountains,' will live longest in the memory of her admirers; of the great variety of songs we have heard her render in con- cert, we think that she gave none more exquisitely than the glorious composition, ' O, Loving Heart, Trust On.' Her voice was very much of the same quality as that of Parepa, and her upper limit was E flat, the same as that distinguished singer. Her higher notes were her best, but her voice was of extreme purity throughout the whole register.

" Mrs. Careless will long be remembered and mourned as distinctly the first and foremost of all Utah's singers. She leaves a daughter of twelve, of whom it is not too early to say that she bears promise of possessing to a marked extent the musical gifts of both her parents. Mr. Careless, who occupies to orchestral music in Utah the same position which his wife held to vocal, sustains his bereavement with becoming philosophy and fortitude. In the education and care of his daughter he will find ample means for occupying his thoughts, and his friends all trust that the great healer Time, with the tender hand of Him ' who wipes the tear from every eye,' may yet bring to him peace of soul and resignation of mind."

She was singing twenty-five years ; was first taught in London by Mr. Care- less when she was a child eleven years of age. Her voice was as fresh when she died as ever.

Professor Careless having resigned the conductorship of the Salt Lake Phil- harmonic Society, letters were written by Mrs. Dr. Hamilton, in behalf of the so- ciety, to Mr. Tourjee of the New England Conservatory, at Boston, for him to select a competent conductor; on this application to the Conservatory, Professor T. Radcliffe came to Salt Lake City and took the vacant position ; and a year later after much practice, the society, under his directorship, gave the oratorio of the " Creation," in the Salt Lake Theatre. The concert was a musical success but not a financial one. Professor Radcliffe soon resigned the conductorship of the society to devote himself to teaching the piano, since which his courses of teach- ing have produced some very efficient pupils from the best families in Utah. This gentleman is acknowledged to be a great organist and he has recently attracted much interest to himself by private recitals on the 'Tabernacle organ. In a late issue the Deseret News said :

" A number of persons had the pleasure of listening to Mr. Radcliffe-one. of the best organists in the country-perform on the Tabernacle organ last even- ing, and all were enthusiastic in their praise of both the organ and performer."

780

HISTORY OF SALT LAKE CITY.

Mr. Radcliffe graduated among the great English organists, as the following testimonials will show, the first being from the celebrated W. T. Best :

" I consider Mr. T. Radcliffe a very able organist and perfectly qualified to undertake the duties of any church appointment.

"W. T. BEST "St. George's Hall, Liverpool, December 27th, 1866 "

" I have much pleasure in bearing my testimony to the merits of Mr. T. Rad- cliffe as a solo organist and accompanist. The organs at this institution have been performed upon by the first organists in this Kingdom, including Messrs. Hop- kins, Chipp, Adams, H. Smart, Best and Dr. Wesley, but without depreciating their abilities, I am bound to say, from the opportunities I have had of listening to Mr. Radcliffe's accompaniments to the oratorios of the 'Messiah' and the ' Creation' that I have not heard accompaniments to sacred music, for solo or chorus, more effectively given than by him, and I have also reason to know that this is also the opinion of that eminent vocalist, Mrs. Sunderland. As a solo per- former Mr. Radcliffe is one of the most rising men of the day, and if he con- tinues to devote to his noble instrument the same untiring energy which he has displayed, he cannot fail to place himself in the most distinguished position in his profession. I have the honor to be, gentlemen,

" Yours very respectfully, "S. GREGORY JONES, " Secretary of the Liverpool College. " December 27th, 1866."

The work on construction of the Tabernacle organ was commenced in 1866, by Mr. Joseph Ridges, to whose skill and design the outward case and much of the interior work is accredited.

The musical and mechanical work was left by him in an unfinished state seven years ago, and the instrument was subsequently injured by incompetent tuners be- ing employed. The work of completing the instrument was assigned to Mr. N. Johnson about two years since, who has, up to the present, devoted most of his time to the work.

Organ-building has made immense progress during the last few years, and Mr. Johnson has introduced many of the best modern improvements.

The interior of the organ is so arranged that all parts of the mechanism are easy of access.

The pneumatic lever is applied to the great organ and its couplers rendering the touch-even with all the couplers on-as light as that of a piano.

Another improvement is the putting in of a solo organ with six stops. This, together with the addition of other stops to the great, swell, choir, and pedal or- gans makes an addition of about 1,300 new pipes.

The organ has now four manuels and a pedal, the number of stops being 57. The total number of pipes is 2,648.

'The wind is supplied to the organ by three large bellows, which are operated by two hydraulic motors.

The instrument has been almost entirely reconstructed in its interior parts ;

781

HISTORY OF SALT LAKE CITY.

and in its now completed form, it is justly an object of pride to our city, and is one of the chief objects of the visiting tourist.

Mr. Joseph J. Daynes is the organist of the Tabernacle. His father was an amateur musician and a bass singer in an English glee club, whose rehearsals at his house were partly the means of developing the musical talent of his gifted son, who was esteemed as a prodigy by the musical friends of the elder Daynes.

Soon after arriving in Utah, in 1862, the lad and his father were invited to the residence of President Young. After hearing him play, the President advised Mr. Daynes to put him under the tuition of Professor Raymond. The father took his prodigy to the professor, who asked to be shown some of the music the lad had been playing, that he might be able to tell where to begin the lesson ; on seeing which, Professor Raymond remarked that he had better take lessons of the lad instead.

In the spring of 1867, when only just fifteen years of age, Mr. Daynes wai appointed the organist of the Tabernacle, which position he has held ever since. In the fall of 1879 he went to New York to study the church organ and piano ; and, before leaving for home, he played on the church organ at Chickering Hall, at a very fashionable concert of Mr. G. W. Morgan, was applauded and encored, and was afterwards noticed in the Art Journal.

We have no doubt that, had Mr. Joseph J. Daynes lived in New York or Bos- ton, with the opportunity of appearing often before large musical audiences, win- ning frequent applause, so necessary to stimulate the artist's nature and ambition, he would be widely known as one of the great organists of the day.

Orson Pratt, Jr., ranks, in the estimation of all the musicians of the city, as an excellent teacher of the piano and organ. In painstaking with his pupils he has no equal among the Salt Lake profession. As a theorist, he is one of the best on the Pacific Coast. He is as familiar with the great works of Albrechtsberger, Cheru- bini, and Dr. Marx as a scholar with his alphabet. Indeed, as a teacher of har- mony and counterpoint there will be found in all America but few so able and effi- cient as Orson Pratt.

Professor H. S. Krouse was born in the city of New York, March 22d, 1853. He began the study of music at the age of nine, and received instructions from Herr Von Arx in theory and piano. After several years' study he changed to S. B. Mills and played piano for the Italian opera chorus under Carl Auschutz. In 1867 he went to the Leipsic school of music, where he studied with Moschelles, Reinecke, and Wenzel. After a course of several years' study he went to Paris and studied piano with Mathias. He received a diploma after one year's study there and returned to New York and joined the Clara Louise Kellogg company, traveling through all the principal cities of the United States, and then joined the Adelaide Phillips Concert Company, making the same circuit, including the principal places of South America and Central America. He returned to New York and then accepted an engagement in San Francisco with Ilma de Murska and Camillo Urso, and also taught at Madam Sitkas, and gave private instruction on piano. A few years afterward he accepted the position as chorus master with Chas. E. Locke, of Melville Opera Company and was afterwards conductor.

-82

HISTORY OF SALT LAKE CITY.

Mr. Krouse came to Salt Lake City in March, 1881, and was warmly wel- comed to the professional musical corps by the late David O. Calder, who con- stantly spoke of him as a very efficient and thorough musician, whose musical ser- vice in our city was greatly needed. Though a foreign artist, his talents and ef- forts coupled with a five years' residence entitles him to be considered among our principal local professors of music. He is a musical enthusiast, which type of nature is so eminently required in a matter of this most exquisite art whose cul- ture is above all other branches of art ; for while in poetry and general literature a man may bound at once into fame as an author, in music it takes years of train. ing to make a fine executant, whether of the voice or the instrument, and three times seven years apprenticeship to perfect a master of theory.

Mr. Krouse has worked hard to cultivate the musical taste of our city, and the courses of his training are mentioned as an example of his fitness. He is at present engaged in teaching piano, thorough bass and harmony, and has many proficient pupils.

He recently produced with local talent, Sir Arthur Sullivan's very popular and highly artistic opera " Iolanthe," adding much to the fame of himself as a ' musical conductor and manager thereby.

Mr. B. B. Young, professor of singing, was born in Salt Lake City, April 23, IS56. He is the youngest son of President Joseph Young and Jane Bicknell. His talent for music is inherited both from his father's and mother's families.

Need help finding more records? Try our genealogical records directory which has more than 1 million sources to help you more easily locate the available records.

History of Salt Lake City, Part 101

Author: Tullidge, Edward Wheelock Publication date: 1886 Publisher: Salt Lake City, Star printing company Number of Pages: 1194

Author: Tullidge, Edward Wheelock
Publication date: 1886
Publisher: Salt Lake City, Star printing company
Number of Pages: 1194