SKETCHES AND IMPRESSIONS MUSICAL, THEATRICAL, AND SOCIAL (1799-1885) INCLUDING A SKETCH OF T H E PHILHARMONIC SOCIETY OF N E W YORK FROM T H E AFTER-DINNER THOMAS TALK GOODWIN MUSIC LIBRARIAN R. OSGOOD MASON, A.M., M.D. NEW YORK & LONDON G. P. P U T N A M ' S SONS 1887 COPYRIGHT BY G. P. PUTNAM'S SONS Press of G. P. PUTNAM'S SONS New York PREFACE. N^J y^ * g % § T\ & g ^ H J ; Mr. Thomas Goodwin, well known to the musical profession in New York and other large cities throughout the country for the last half century, was born in London in J799, and died in this city June 28, 1886. He was specially well informed in musical and dramatic affairs, and the genial manner in which he recounted his experiences and recollections made him a most agreeable companion for a leisure hour. We were table companions for many years, and so many of the " Sketches and Impressions " which go to make up this little volume were drawn from and suggested by the pleasant talks indulged in on these *" iii iv Preface. occasions that I gladly place th to c^r ^ ^ ^ ,fl •F r ~^^^ ^ gladden thohextts.thelieaf ts of his settants t* fclnw I* **And k t aU (lb Peo.plii rejoice, 2 • 1* 'Let the trumpets blow T *J Let the trumpet* r*joiw and say V4 ,-^ & SKGCB CHOKIYJ .ilL-fiL-^,^*.^ fh-a» Har.rt.U Oreaatkn Aoihtar EmrmO M STMI«sttn«' HALU XVIII. A long voyage—First steamships to cross the Atlantic—New York and London sixty years ago—Theatre manners—A New York dinner. On the 24th of August, 1827, fiftyeight years and more ago, I landed in New York. The weather was characteristic, a genuine August " scorcher," giving us a spicy introduction to this phase of American climate. It is no wonder that Englishmen here lose their ruddy color in a few years; these summer heats and winter frosts and snows are something quite new to a Londoner^ and so for that matter are the long and beautiful autumns, which offset so pleasantly the extremes of t h e other seasons. 141 142 Sketches and Impressioiis. We were sixty-eight days on the voyage from Liverpool, for this was before the time of steamships and the ocean palaces of a later day. It had indeed been scientifically demonstrated that no vessel could cross the ocean by steam, because no vessel could carry sufficient fuel for the purpose. But the factors changed, and on the 23d of April, 1838, two steamships, the " Sirius " and the " Great Western," arrived in New York, from England, the former in nineteen and the latter in fifteen days. It was St. George's day, and the commanders of the two vessels, Lieut. Roberts and Lieut. Hoskins, both of the Royal Navy, dined with the St. George Society at the Carlton House. Gen. Sandford and the Rev. Dr. Wainwright, with other New York gentlemen, were also guests. There was a great jollification. Sixty Years Ago. 143 But this was more than ten years after my arrival. When we came it was five months from the time we left London before our friends there heard a word from u s ; this was probably an unusually long time, but certainly it serves to illustrate the great change which a little more than half a century has brought about. What changes indeed have occurred since that August morning, fifty-eight years ago ! improvements, one might say, in every thing, but changes certainly everywhere. Even the streets, which we still occasionally with reason grumble about, were fearful by comparison in 1827. Then pigs roamed the highways as well as the byways entirely unmolested ; and unsightly and unsavory as they seemed, they were almost the only scavengers. What wonder that cholera and yellow-fever were frequent visitors! 144 Sketches and Impressions, A New Yorker of to-day, or even twenty years ago, would scarcely recognize the New York of 1827. There was then no city to speak of above Fourteenth Street, and but very little above Eighth ; the Battery was the genteel promenade. Greenwich and Bleecker streets contained the residences of wealth and taste, Harlem was a country hamlet, and the broad district between there and Twenty-third Street was for the most part a wilderness. St. John's Square, now a railroad depot, was then a finely kept, exclusive park, accessible only to the residents about it ; Washington Square was a potter's field, Union Square a sandhill, Madison Square was undivided from the surrounding fields; Central Park was still undreamed of> and its present site was the mcst unlovely and unkempt portion of a seemingly useless and irreclaimable wild. Gas was Sixty Years Ago, 146 not in general use, Croton water did not come in until 1842, and even the street omnibus was still of the future. But not in young New York alone do these great changes appear. Old historic London, now passingthrough the last half of her second thousand years of existence, is wonderfully changed from the London of my childhood. Then there was no Thames Embankment, no beautiful and historic Trafalgar Square, no broad Victoria Park ; nor had early London then sent out its huge hundred arms in every direction, embracing and gradually appropriating whole townships of out-lying territory. Sixty-five or seventy years ago, early on a bright summer Sunday morning, we "lads and lasses " used to take a stroll out of the city as far as Primrose Hill. Then it was broad fields far out of town, 146 Sketches and Impressions. quiet, still, and sweet-scented with wild-flowers and new-mown hay; now it is all built over and is a part of noisy, busy London. On the way out some of us stopped at the little way-side inn and tea-garden known as " T h e Load of Hay," to order breakfast for the company. And such a breakfast! of the sweetest and purest things in their season, as may be inferred by a glance at the following announcement, painted in large letters on the side of the inn: " Homebrewed Beer, Home-made Bread and Butter, Fresh Milk and Cream, also New-laid Eggs. By me, Mary Wilkinson." We had rare sport tossing the fresh hay, a privilege we were allowed by payment in advance, and on our return we breakfasted gayly at " The Load of Hay," enjoying greatly the good things made and provided " by me, Mary Wilkinson." Temple Bar. 147 Quite recently " Temple Bar/' one of the best-known landmarks of old London, has been removed. Through it the sovereigns of England for centuries, on state occasions, have passed into the city, not without formal parley between the heralds of royalty and the representatives of the city, and final leave granted by the Lord Mayor to pass the historic portals. My father had seen the heads of criminals affixed to this ancient structure, and also the spy-glasses beneath, through which to view the ghastly spectacle, for hire to passers by at a penny a peep. A more modern and less cumbersome structure has now been reared to preserve the memory of the old "Temple Bar " of Sir Christopher Wren. But I am wandering back to old London again. Returning to New York, the 148 Sketches and Impressions. change in the appearance and general character of its people is scarcely less marked than the change in its physical aspect. Then it was essentially an American city; it had Dutch and English ancestors and antecedents, and wealth and culture were found in many New York homes. The general style of manners, however, as witnessed at hotels, public assemblies, and theatres was decidedly of its own kind, and might fairly be called American. It was this more obvious phase of society here which English travellers of that time seized and somewhat ungraciously commented upon. It is true, however, that in the theatres boots were sometimes seen reposing unrebuked upon the upholstered rail in front of the boxes of the third and even the second tier; though after Mrs. Trollope's book came out this display was often met by the Theatre Manners. 149 observant occupants of the " p i t " with the cry, " Trollope—Trollope ! boots—boots !" Boots, thus becoming conspicuous as an object of observation from all parts of the house, quietly but promptly disappeared. Tobacco-chewing, with its accompanying spitting and effluvia, bad enough even at the present day, was then a terror to the uninitiated. Norton, the trumpet-player, a very gentleman-like and particular person, used to relate his experience in a stage-coach travelling from New York to Philadelphia. H e was occupying a middle seat, near the window of the coach, when a tobaccochewer on the front seat bent forward with the evident intention of discharging the juice of the fragrant weed through the open window. Norton shrunk back to avoid what seemed to him such an imminent 150 Sketches and Impressions. danger, when the stranger, with a deprecating wave of the hand, called out as well as the overflowing condition of his mouth would permit, " Don't move, sir; don't m o v e ; I guess I ken clear y e ! " English people generally at that time entertained the strangest ideas concerning America. They imagined even the cities to be infested with Indians and wild beasts. " You are not going to America," said a young friend to me a day or two before I sailed. ''Certainly I am," said I. " B u t Tom, are n't you afraid? I would n't go for the world ; why, first you know in going around a corner you '11 meet a lion or else a horrid Indian!" For myself, I had been in communication, in a business way, with English people already here, and was disabused of such absurdities, and yet, I must say, the change from A New York Dinner. 15 r regular, steady-going London to the skurry and " go-as-you-please " style of doing things which prevailed here^ was, after all, rather startling. A day or two after my arrival, I dined with Mr. William Taylor, a wonderfully clever musician and conductor, the father of Mary Taylor, afterwards such an immense favorite with the New York public as a singer in English opera, and who, being an American girl, was familiarly and affectionately known as " Our Mary." He was living in Stanton Street,, then a pleasant part of the town, with nice houses all surrounded by beautiful gardens. The dinner was delicious, and well served ; but when the dish of boiled Indian corn, smoking hot, was placed upon the table, and people took the glistening ears in their fingers and began to eat directly from the cob, I thought it the most astonishing performance I had 152 Sketches and Impressions, ever witnessed at a dinner-table. Afterwards a water-melon—a huge affair, nearly a yard in length—made its appearance. It was cut so as to display the delicate pink pulp, garnished with rows of black shining seeds; my wonder redoubled, and my astonishment was the amusement of the company. Never had such a sight, I imagine, been seen in London. Even pine-apples, now so common since steam navigation, were in those days often sold for a guinea each. XIX. Early drama and early music in New York—St. Cecilia Society—The Euterpean—A Philharmonic—The Concordia—Sacred Music Society —American Musical Institute—The New York Harmonic Society. The great influx of foreigners of every name and degree, which, together with its abundant and swift communication with every part of the world, has now made New York a great cosmopolitan city, has all, or chiefly, taken place in the last half century. But previous to this, and notwithstanding the cropping out of some ungraceful peculiarities, many excellent institutions existed, and good music, good acting, and a variety of good, valuable, and artistic things were known and thoroughly 153 154 Sketches and Impressions. enjoyed by the people of New York. The drama had already been an institution in America for more than seventy-five years; " Richard I I I . " having been represented by a regular theatrical company in 1750, and a regular theatre was opened in New York in 1761. Between 1810 and 1825 George Frederick Cooke, Edmund Kean, and Charles Incledon, a trio of most remarkable representatives of dramatic and lyric art, had been seen and heard here and heartily appreciated. The " Garcia Opera Troupe/' one of the best that has ever appeared here, and of which the renowned Malibran was a member, occupied the old Park Theatre in 1826, drawing crowded and appreciative audiences, and in 1827 Malibran was still singing in " The Barber of Seville " and other English operas at the old Bowery at a salary of $500 a night; from all of which it Early Music in ATew York. 155 may be imagined that New York audiences of fifty or sixty years ago were at least not entire strangers to good singing and good acting. The style of music which has of late been cultivated here, would not then perhaps have been understood, and consequently not appreciated ; but the same could have been said of London and Paris, and even of Vienna and Berlin, at the same period. The change from melody and accompaniment and the simpler orchestral harmonies of the Italian school, to the broad, full, and complicated harmonies of Wagner and Liszt, had not then been inaugurated. London musicians and London audiences were as little prepared for Tannhauser when it appeared there, as were New York audiences when it was first heard here. The symphonies of Beethoven had never been fairly rendered by an orchestra 156 Sketches and Impressions, in New York; but then they troubled the Philharmonic Society of London when they first appeared there. In Germany even they were not at first appreciated, and for years it was no uncommon thing to see the stately conservatives in musical affairs scornfully leaving the auditorium whenever Beethoven was played,— and they thought it was the proper thing to do. The musical society which claims the highest antiquity of any in New York, and which is certainly amongst the earliest in the country, was the " St. Cecilia Society." It was organized in 1791. There is a vignette of the society in the possession of Mr. Samuel Johnson, one of the original Philharmonic members, a connoisseur in curiosities relating to musical affairs, and, so far as he knows, it is unique. The list of original officers is as follows: The Euterpean. 15 7 David Michellon, President, Lewis Ogden, Vice-President. James Van Vleck, Secretary. The same officers continued until 1795, when Lewis Ogden became president. The society is named in the city directory until 1797. The Euterpean, an amateur orchestra, was already an old organization half a century ago. It had been well managed, and owned a small library and several valuable instruments. Richard Pell and Dr. Quin were excellent violinists; Bocock, an excellent performer, as well as a talented musician and teacher, was principal violincellist; Pierson, the double-bass player, was a pianoforte maker of some repute, and sent specimens of his work to London to the first Crystal Palace Exhibition and World's Fair in 1851. Wiese played the oboe; there was no bassoon ; horns and trumpets were only 158 Sketches and Impressions. fair. Wm. Plain, " Neighbor Plain/' as he was familiarly called, played the trombone, and William Wood the drums. The annual concert and supper were given at the ball-room of the old " City Hotel/' near Trinity Church. A few " professionals " were engaged for the occasion, and the members with their wives and daughters and their numerous friends made up a large and appreciative audience. After the concert the meeting was transformed into a social gathering and ball. The programme of January 27,1826, has the following notice: " No gentleman will be permitted to wear his hat in the room during the evening, or dance in his boots. . . . Standing on the seats is strictly prohibited." This excellent organization did very good work in its day, and, in addition to more popular performances, overtures and other classical A Philharmonic. 159 music were done in a very creditable, if not altogether artistic, manner. New and young members were, of course, added from time to time, and with the new element came discord where harmony had so long reigned, and this worthy old society went to pieces. I have a programme of its 48th anniversary concert, given January 21, 1847, which would carry its organization back to the last century. There was also an early Philharmonic Society, which gave its first concert December 16, 1824. Its work was chiefly orchestral, and the instruments used were purchased in Europe for the special use of the society. A list of the directors for the first year is as follows : Wright Post, President. Edmund A. Laight, 1st VicePres. Joseph G. Swift, 2d VicePres. John Delafield, Treasurer. James I. Jones, Secretary. 160 Sketches and Impressions. T h e names of many New York men, prominent both in business and society sixty years ago, appear in the list of its " governors," and its concerts brought out the elite of the town. The organization, however, was not of very long duration. The Concordia, though at first simply an amateur singing society, soon added the cultivation of orchestral music, which eventually became a leading feature at its concerts. It was composed mostly of Germans, and with the professional performers who were secured for its concerts it sometimes presented as good orchestral music as was then to be heard in the city. It was in this society that Jacoby, afterwards one of the original members of the Philharmonic Society, first, in this country, played the four-stringed double-bass. I t was a great curiosity, and drew numbers of people to witness it. Sacred Music Society. 161 Another excellent institution of the same period was the " Sacred Music Society." It embraced a large membership of both sexes, and the oratorios were given in very creditable style in the old Broadway Tabernacle, in Broadway near Leonard Street, where the late Rev. Dr. Joseph P. Thompson organized the present Broadway Tabernacle Church. U. C. Hill conducted, and Mr. Wyman, now lately deceased, was for many years its president. During the later years of his life he was actively connected with the management of the Brooklyn Academy of Music. Mr. Wm. P. Disosway, an old New Yorker still living, I believe, was a prominent member and at one time its president. His stentorian voice will be remembered by all who recollect the society. Another president of the society was Mr. Henry Meiggs, since noted 162 Sketches and Impressions, as financier and contractor in California, and later as contractor for the great " Railway over the Andes," so graphically described and illustrated in the August number of Scribners Monthly», 1877, under the title "A Railroad in the Clouds." It is one of the most wonderful pieces of railroad engineering yet accomplished. When the old " Sacred Music Society " went to pieces, Meiggs, out of the remnants, together with much new material, organized the " American Musical Institute." Meiggs and George Loder were the conductors, and oratorios were then given on a scale never before attempted in New York. Meiggs left for California about 1850, and the " I n s t i t u t e " languished. It was succeeded, the following year, by the " New York Harmonic Society," which was organized and managed by Mr. Archi- Sacred Music Society. 163, bald Johnson and others with great success. Oratorios were again given with Mat. The " Messiah" was given with Jenny Lind and a chorus of four hundred voices. It was conducted by Benedict, and drew an $8,000 house. Catherine Hayes also sang for this organization with very flattering results. Later still Maria Brainerd and Mrs. Jameson were soloists, and the versatile Julien conducted. XX. The Philharmonic Society of New York. Two events of interest in the history of New York occurred in the year 1842. One was long expected, widely known, and grandly celebrated ; it was the introduction of the beautiful Croton water into the city, by which a pure and sure supply of the needful element was secured to take the place of the unwholesome and uncertain sources previously relied upon. The other was unheralded and unsung, but scarcely less important in its way; it was the organization of a society which has proved a never-failing source of wholesome influence to the musicloving public of a great city and of 164 The Philharmonic Society. i65 grateful supply to a long-felt need. Previous to that date several of the various societies already mentioned, especially the Euterpean and Concordia, together with a most excellent stringed quartette, composed of Hill, Derwort, Hegelund, and Boucher, had exerted more or less influence upon the general musical intelligence and taste. Perhaps the vocal societies should be credited with an influence fully as extensive if not as highly educating. The organization, however, which has undoubtedly exercised a greater influence than any other upon the musical culture of the people of New York is its Philharmonic Society. Like many other institutions which have flourished beyond the expectations of their founders, the record of its beginnings is meagre. A few of its founders and original members are still living, and although their 166 Sketches mid Impressions. recollections upon minor points maydiffer, the main facts are well established. In the month of June, 1839, occurred the death of Daniel Schlesinger, a well-known musician, who had been an active member and most efficient leader of the Concordia. H e was a most excellent pianist, and presented the New York public with a style of music much in advance of that to which it had been accustomed to listen. As a teacher and as a man he was highly esteemed, and certainly was one of the most talented musicians then in New York. Soon after his death it was proposed to arrange a benefit performance for the assistance of his widow, and also as a testimonial of respect to the dead musician. U. C. Hill, who was at that time president of the Sacred Music Society, Charles E. Horn, a popular singer The Philharmonic Society. 167 and composer, Scharfenberg and Timm, the pianists, and other prominent musicians, were among the promoters of the scheme, and it was desired that the members of the profession generally, as far as possible, should participate in it. There was at this time considerable musical talent in New York—German, Italian, and French, as well as American—well able to play the works of Beethoven and other classical composers, but it was for the most part in an unorganized and inharmonious condition, with but little inclination to unite or even temporarily to play together under any one leader. The proposed concert, however, was a matter of general interest among musicians, and it proved a bond of union more lasting than they knew. The performance (known as a " Musical Solemnity ") was to be given in the old 168 Sketches and Impressions. Broadway Tabernacle, the largest available place in the city, on the 25th of June, 1839. Many who would gladly have assisted were kept away by other engagements, and there could be but one rehearsal. Notwithstanding these unfavorable conditions, there was a more general gathering of the musicians of New York than had before united in any one performance. The concert commenced with an overture in manuscript by Schlesinger. Scharfenberg played a piano solo and Mme. Caradori Allan sang. But the chief event of the evening was the performance of the overture of " Der Freischiitz " by the orchestra. It was beautifully rendered for those days, though far from fulfilling the requirements of the present time, and, to the astonishment of the performers themselves, was the best appreciated and most applauded portion of the programme. The Philharmonic Society. 169 Says one who was present: " It produced a marvellous effect. A t its close there was perfect silence for a few seconds, and then the building fairly shook with the applause of the great audience, and in answer to the continued demand the piece was repeated. No such orchestra had ever before been heard in New York, and no such effect ever before produced." The performance was a success in various ways. It was listened to with pleasure by two thousand people, and resulted in a substantial benefit of more than $3,000 to the family for which the benevolent enterprise was arranged; and, what is germane to our present subject, it demonstrated the fact that classical and even difficult music could be performed by a large number of New York musicians from various organizations, without frequent re- 170 Sketches and Impressions. hearsals. This fact was then for the first time fully realized, and was the subject of mutual congratulation. Some time after this concert, several of those who had been leading performers in it, happening to meet after their evening engagements were over, walked down Broadway together, and entered a public house in Park Row, known as " The Shakespeare. " It was a famous restaurant in those days, kept by one Windust and his wife, most excellent caterers, both of whom had been with William Niblo in his wellknown " Bank Coffee-House," in Pine Street. " The Shakespeare " displayed the motto, " Nunquam non paratus," and few bons vivants in New York at that time had not tested the truth of the somewhat boastful inscription. Among the musicians present on that occasion were Hill, Horn, Scharf- The Philharmonic Society. 17 r enberg, Dodworth, Timm, Rosier, Otto, Reiff, Sr., Boucher, and doubtless others; and it was here, amidst general congratulatory conversation about the concert which had recently taken place, that the first suggestions pointing to a society like the Philharmonic were publicly made and discussed. Several" claimants " for the " original suggestion" appear, as might naturally occur where the conversation was general. The principal talkers on the occasion appear to have been Hill, Horn, Boucher, and Reiff, Sr., and, according to the best recollections of some of those present, U. C. Hill was the person who turned the attention of those present to the subject; and in view of the success which they had recently enjoyed, he then proposed the organization of a large and permanent society from the best orchestral per- 17 2 Sketches and Impressions, formers who.could be interested in the matter, and which should have for its object the study and rendering of symphonies, overtures, and other classical music, in such a manner as to cultivate a more general knowledge and a more correct public taste. The suggestion was well received by those present, and a meeting was arranged for further consultation. This meeting was held as proposed at the house of U. C. Hill. It was small in numbers, probably not more than ten persons being present, and composed mostly of those who had been present at " The Shakespeare." Hill was chosen chairman and Rosier secretary, and this, although entirely preliminary in character, was the first organized meeting—• the egg, so to speak, from which, after patient incubation and much care, the Philharmonic Society was The Philharmonic Society, 173 hatched and reared. A committee was then appointed to devise plans and secure the attendance of those likely to become members at a general meeting for permanent organization at some future time. Considerable difficulty was at first experienced in bringing the best musicians to interest themselves in the enterprise, many looking upon the whole business as chimerical and bound to come to grief; so the meeting for permanent organization was for various reasons again and again postponed. A sufficient number, however, were found for the purpose, and at length a general meeting was held at the Apollo Rooms, on the 2d of April, 1842. At this meeting A. P. Heinrich— Father Heinrich, as he was called, a most eccentric musical genius— was chosen chairman. Thirty-seven members were enrolled, and a com- 174 Sketches and Impressions. mittee was appointed to draft a constitution, which was adopted on the 23d of the same month. Officers were then chosen, and " T h e Philharmonic Society of New York " was fully organized and started upon its course. The constitution declared the object of the society to be " the advancement of instrumental music." The following was the first board of officers, chosen April 23, 1842 : U. C. Hill, President. A. Reiff, Sr., Vice-President. F. W. Rosier, Secretary. Allan Dodworth, Treasurer. Wm. Wood, Librarian. Boucher and Otto were afterward appointed assistants. The society immediately went into active rehearsal under the leadership of its president, and on the 7th of December, 1842, the first public concert was given at Apollo Hall. The Philharmonic The following gramme : Society. 175 was the pro- P A R T I. Grand Symphony in C-minor . . Beethoven. Conducted by U. C. Hill. Scena from '' Oberon " Weber. Madame Otto. Quintet in D-minor Hummel* Piano-forte, violin, viola, violoncello, and double bass. Scharfenberg, Hill, Derwort, Boucher, and Rosier. PART I I . Overture to " O b e r o n " Weber. Conducted by Mr. Etienne, Duet from the opera of " Armida" . Rossini. Madame Otto and Mr. C. E. Horn. Scena from the opera of " Fidelio," Beethoven. Mr. C. E. Horn. Aria Bravura from ' ' Belmonto Constantia" Mozart. Madame Otto. New Overture in D Kalliwoda. Conducted by Mr. Timm. The orchestra during the vocal music directed by H. C. Timm. Two more concerts were given the same season, and were conducted by 176 Sketches and Impressions. Hill, Alpers, Boucher, and Loder. Among the composers whose names appear upon the programmes of these concerts are Beethoven, Rossini, Haydn, Mendelssohn, Weber, Bellini, Romberg, Hummel, and Spohr. The success of these concerts was all that the originators of the society could have reasonably expected. Without scenic aids, without action or the interest of plot or story told in words, but simply by the fascination exerted by the well interpreted works of the old masters, they brought together the lovers of music, even those to whom the higher styles of music were new, in sufficient numbers, and aroused sufficient interest to stamp them at once as the right thing at the right time. During the second season four concerts were given and the interest The Philharmonic Society. 177 was fully maintained. Beethoven's Seventh Symphony and Mozart's overture to the " Magic Flute," together with Signora Castellan as vocal soloist, were the chief attractions of the first concert, and it was directed by the president, Mr. U. C. Hill. The others were equally attractive and were directed respectively by Mr. D. G. Etienne, Mr. Geo. Loder, and Mr, William Alpers. M. Henry Vieuxtemps was the soloist at the last concert of the season. A single programme in each of the two following seasons is as follows : F I R S T C O N C E R T — T H I R D SEASON, NOV. 16, 1844. PART 1. Symphony No. 8 in F (first time in America) Beethoven. Duetto, " Quanto Amore " del Elixir 4'Amore , . . , . Donizetti. Signora Amalia Ricci and Signor Sanquirico. 178 Sketches and Impressions. PART I I . Descriptive Overture, The Hebrides, Fingal's Cave (first time in America) Mendelssohn. Aria Buffa, "Conveniensi Teatrale." Signor Sanquirico. Cavatina Belisario Donizetti. Signora Amalia Ricci. War Jubilee Overture (first time in America) Lindpaintner. Director, Mr. Geo. Loder. T H I R D CONCERT—FOURTH MARCH 7, 1846. SEASON, PART I . Symphony No. 1 (first time in America) Aria, " A v e Maria" Miss Julia Northall. Kalliwoda, Cherubini, PART I I . Overture to Euryanthe Weber. Cavatina, Nell opera Tancred . . » Rossini. Miss Julia Northall. Andante, from Jupiter Symphony No. 6 . . Mozart. Fifth Concerto in A fiat, op. 52, flute Furstenau, Mr. J. A. Kyle. Grand Overture des Francs Juges (first time) . Berlioz. Director, Mr. A Boucher. The Philharmonic Society. 179 This may suffice to give some idea of the character of the Philharmonic concerts in its early years, and the same general character was maintained during the first decade of its existence. Before attempting to sketch the continuation of the society's work, some notice of the men who were prominently identified with its interests in those early times is only just. During its first twenty-five years the society had only four different presiding officers. U. C. Hill, the first president, continued in office five consecutive seasons, and was succeeded in 1847 by Henry C. Timm, who held the office until 1863. Hill was of American parentage, and was born in New York in 1802. If not of the first rank in musical knowledge and technical skill, he was at least a musician of excellent 180 Sketches and Impressions. powers, and was endowed with that direct and enthusiastic nature, as well as executive talent, which are so necessary to the success of any new or doubtful enterprise. He studied the violin with Spohr in Germany, was one of the most active men in the organization of the Philharmonic Society, was its first president, and frequently conducted its concerts. Financial reverses and his involuntary retirement, on account of age, from the society with which he had been so long and closely identified, brought on a despondent condition of mind, which ended in suicide in 1875. " Yankee Hill," the comedian, was his brother. They were both men of unusual talent, and contributed in no small degree to the education and amusement of New Yorkers forty years ago. The Philharmonic Society. 181 Timm was born in Hamburg in 1811, and received his musical education in Germany. He came to New York in 1835, and soon became a popular piano-forte teacher, organist, conductor of various chorus societies, and a successful leader of the German opera. He was a most talented musician, always reliable, and always equal to the emergency. When Nagle, the violinist, came to this country, some thirty years ago, he expected to find an orchestra ready to accompany him, but being disappointed, his concert was about to prove a failure, when Timm came forward, and, without previous examination of the music, played the accompaniments from the orchestral score—there being no piano-forte arrangement,—and in a manner to give great satisfaction. Mr. Timm has been heard in the concert-room within the last two years, and while 182 Sketches and Impressions, the younger portion of the audience, accustomed only to the wonderful performances which have been listened to during the last ten years, was surprised at the applause which greeted the old pianist, the elder portion was delighted to honor the talented representative musician of thirty years ago. The same kindly spirit has within the same time welcomed the singing of the late Mme. Anna Bishop, who, in the days of her triumph, along with Colson, d'Angri, La Grange, and Mme. Parepa-Rosa, brightened the Philharmonic concerts with her wonderful vocalization. Timm was one of the founders of the Philharmonic Society, its president for sixteen years, frequently its conductor, and was soloist at eleven of its concerts. He was succeeded in office by Mr. William Scharfenberg, who has been The Philharmonic Society. 183 known to the New York public for the past forty-six years. H e was born in Germany, where his musical education was received with Spohr as his personal friend and adviser. He came to New York in 1838, since which time he has been before the public as teacher and piano-forte soloist. At one time the senior member of the firm of Scharfenberg & Luis, he was a leading music publisher and importer. He was one of the original members of the Philharmonic Society, always devoted to its interests, and was its president during three and a half seasons. He was also piano-forte soloist at several of its concerts. On account of temporary absence from the city he resigned his position in December, 1866. The office of president of the society for the unexpired portion of the twenty-fifth season was filled by 184 Sketches and Impressions. the vice-president, Mr. George F. Bristow, who had also been an active member since the beginning of its second year. He is an American by birth, and is one of the very few successful composers for the orchestra which this country has produced. His compositions, vocal as well as instrumental, have been numerous and of decided merit. His works have on several occasions been rendered by the society at its regular concerts, and his opera of " Rip Van Winkle " was received with decided favor by the New York public in 1855. In 1867 the society for the first time sought a presiding officer outside the list of its own members, and elected for its fifth president Dr. R. Ogden Doremus, the eminent professor of chemistry, a gentleman well known for his hearty interest in musical affairs, being himself an The Philharmonic Society. i85 amateur of enthusiasm and a connoisseur of excellent taste. The conductorship of the society for the first twenty-five years was shared by eleven different persons. Besides the two presidents, Hill and Timm, the favorite conductors during the early years were George Loder, A. Boucher, and D. G. Etienne, the famous pianist, all of whom were musicians of unusual talent. W. Alpers and L. Wegers also occasionally wielded the baton. At one of the concerts of the fifth season, Concert Overture•, opus 3, by George F . Bristow, was performed by the society and conducted by the composer. The third concert of the seventh season—March, 1849— w a s conducted by a new man in the society, but one whose services were destined t o be of unusual value; this was Mr. Theodore Eisfeld. H e was born in 186 Sketches and Impressions. Germany in 1816, received a thorough musical education there under Karl Miiller and Reissinger, and came to New York in 1848. His unusual abilites were quickly recognized, and, having become a member of the Philharmonic Society, he was chosen the following year to conduct, one of its concerts. From that time, although for various reasons Loder, Hill, Timm, and on one occasion Max Maretzek, of operatic renown, conducted single concerts, Eisfeld came to be looked upon during the following five years as the conductor par excellence. In addition to his Philharmonic work he was conductor of the Harmonic Society, and also the organizer and leader of a most excellent series of quartet soirees. Musical people and many others also of that time will remember the interest which was excited by his escape from the burning steamer The Philharmonic Society. 187 " Austria " in 1858, being rescued exhausted and insensible, after many hours' exposure in the water in midocean, and also the rousing reception which was accorded him on his return to the conductor's desk at a " grand welcome concert" on the evening of April 9, 1859. At the last concert of the thirteenth season, April, 1855, Mr. Carl Bergmann first appeared in the society as conductor, and from this time on until the resignation of Mr. Eisfeld, in 1864, eight full seasons, the concerts of the society were under the direction of one or the other of these two able conductors —sometimes each one having the direction for a whole year, and sometimes alternating with each other at the different concerts of the same season. Bergmann was born in Germany in 1821, where he obtained a thor- 188 Sketches and Impressions. ough musical education in theory and composition, and also became proficient as a performer on the pianoforte and several instruments of the orchestra. He came to America in 1850. Here he became conductor of the famous Germania Orchestra, and his talent as a musician and skill as a conductor were generally recognized and admired. He was an enthusiastic admirer of the modern German school of music, and as early as 1853 he was conducting orchestral concerts at which the overtures to "Rienzi," " Tannhauser," and " Lohengrin " were introduced, and also selections from those operas. In 1857 the opera of " T a n n hauser," for the first time in America, was beautifully produced at the old Stadt Theatre, under his leadership. As conductor of the Philharmonic concerts, his labors in the same direction were conspicuous. The Philharmonic Society, 189 The work of the Philharmonic Society during these twenty-five years may be divided into two distinct periods—first, the period in which the works of the old composers were still new and of fresh interest to the New York public ; and second, the period in which the works of the modern composers began to be freely introduced. In order to comprehend fully the work which the society actually accomplished, it must be remembered that previous to 1842, when the Philharmonic Society was formed, there had never been in New York a full orchestra, regularly organized and kept up by regular practice. Fairly full orchestras had occasionally been heard ; they were not, however, permanent organizations, but were only collected for an occasion. They had no regular and systematic drill under efficient leaders. 190 Sketches and Impressions. and they performed without frequent rehearsals, consequently their work was always rough and imperfect. Classical music was seldom attempted ; portions of symphonies by Haydn and Mozart were occasionally played at concerts, but a complete symphony of Beethoven's had never been performed in New York. An extract from a letter written by Mr. George T. Strong, the sixth president of the society, in reply to a notification of his election in May, 1870, is in point. He says: " T o your society I owe my introduction to the greatest works of musical art and the first revelation that ever dawned upon me of the supernatural power latent in the orchestra—the orchestra of Mozart, Beethoven, and Weber ! The society's first concert in December, 1842, and the concerts which followed it in the next four The Philharmonic Society. 191 years, I shall never forget. Each was to me a great event." The initiatory work of the Philharmonic Society has been sketched. Classical music formed the staple of the earliest programmes, and the symphonies of Beethoven were frequently presented. During the first eight years his symphonies were given seventeen times, and the overture to " Egmont " once. To some extent, therefore, even at this period, his works had come to be understood and enjoyed by the patrons of the society, and, as a matter of fact, by the end of the first decade they were the most popular compositions that the society was in the habit of presenting. This simple statement indicates what the society had accomplished in the way of presenting classical music and the influence it exerted, even thus early, in elevating the standard of musical taste. 19 2 Sketches and Impressions. A no less difficult, and, as is now generally conceded, a no less important and useful work was still before it, namely, that of acquainting the musical public with the works of the modern, and especially the modern German, composers; and this was the work to which the society, under the able leadership of Eisfeld and Bergmann, now committed itself. Of what we may now term the new or modern school of music, especially of orchestral music, the chief exponents were then Berlioz, born in 1803; Schumann, in 1810; Liszt, 1811, and Wagner, 1813. After Beethoven, Berlioz was the first to perceive the great power of expression which was lying latent in the orchestra, a power not only of expressing sentiment, but of conveying definite and intelligible ideas. To develop this power and accom- The Philharmonic Society. 193 plish the new work thus placed upon the orchestra, its number was increased and new instruments were added. The brass and percussion instruments were brought into more prominent use, the stereotyped form of the symphony was less rigidly adhered to, form was made subservient to the succession of ideas to be expressed, and a much wider and more complicated range of harmonies was introduced, altogether producing effects which greatly startled and angered the conservatives and all those who, being indissolubly wedded to forms and precedents, deprecated change, despised novelty, and considered innovations upon the work of the older composers as almost sacrilegious. Berlioz was the first to indicate these innovations and in part to realize them— so much so that he has been styled the emancipator of the orchestra. 194 Sketches and Impressions. H e was a Frenchman by birth, but France, with all her radical sentiment, ignored him ; and his countrymen, though they honored his talent while a student, could see nothing desirable in him as a master, and they entirely failed to understand him. It was in Germany that he first met with any general acceptance or any kindly or appreciative criticism. At St. Petersburg also he was a welcome guest and favorite maestro. Liszt took up his work with loving recognition; Wagner was mostly concerned with the work of Richard Wagner. It is, however, but ordinary justice to credit Berlioz with the first important steps in the direction which has been so successfully travelled by Schumann, Liszt, Brahms, Rubinstein, Raff and others, and which by the genius and perseverance of Wagner and his interpreters has now The Philharmonic Society. 196 been made a beautiful highway, to be travelled with enjoyment, if not always with ease, by all true lovers of art as expressed in music and the drama. In March, 1846, the overture to " Francs-Juges," Berlioz's first attempt at dramatic composition, and of which this overture alone remains, was produced by the Philharmonic Society, and was conducted by Boucher. In November of the same year the overture to " King Lear," by the same author, was brought out and conducted by George Loder. These were the first attempts to interpret this class of music in New York, and the works then presented have been considered of sufficient interest to merit a place upon the programmes of the society many times since, and even up to the present time. In 1853 Symphony No. 1 of Schumann was given and was conducted 196 Sketches and Impressions, by Eisfeld. With the same conductor Symphony No. 2 was given the following year; in 1857 " Manfred," and in 1858 "Scherzo and Finale/' all by the same composer, and in 1859 ^ s Symphony No. 4 was given, with Carl Bergmann conducting. In 1855 Wagner's overture to " Tannhauser" was given by the Philharmonic under the direction of Carl Bergmann. It had been previously given by the same conductor and an orchestra composed chiefly of members of the Philharmonic Society at the New York Crystal Palace, and was among the first performances of this overture, if not the first, out of Germany. Overture to " F a u s t " was given in 1857, with Eisfeld conducting. Then followed " Rienzi," " F l y i n g Dutchman," Introduction to " Lohengrin " and other works, all or The Philharmonic Society. 197 nearly all conducted by Bergmann. Lizst's " Poeme Symphonique/' Les Preludes^ was given in 1859," Tasso " in i860, and other works by all those composers and others of the new school followed in rapid succession during successive seasons, so that during the years between 1850 and 1867 the works of Berlioz were given eleven times, Schumann twentythree, Liszt sixteen, and Wagner eighteen times. It was, however, only little by little, and in the face of some grumbling on the part of audiences and much ridicule by the critics, that at first tolerance and then some degree of liking for these compositions was attained. To the public it was like speaking in an unknown tongue,, and their unaccustomed ears found neither pleasure nor improvement,, and the critics were hardly in better plight. In fact, the criticisms of 198 Sketches and Impressions. musical performances in those days, as seen in the " great dailies," could hardly be considered as helps in the acquisition of musical knowledge or the cultivation of musical taste. They were generally unlearned, often unjust, and always unreliable. Many, if not a majority, of the members of the society were in musical intelligence and culture far in advance not only of their audiences generally, but of the critics also. Besides the two accomplished conductors, Eisfeld and Bergmann, there were also in the Society such men as Bristow, Reiff, Mosenthal, Noll, Matzka, Bergner, Jacoby, Ritzel, Mollenhauer, Timm, Scharfenberg, Hill, and Thomas—for in those days Theodore Thomas, since so well known as one of the foremost orchestral conductors in America, and perhaps in the world, was a performing member in the New York Philharmonic Society. A The Philharmonic Society. 199 score of other names deserve a place in the same list. These were men who could appreciate as well as interpret the composers of the new school. They saw their value, and, while perceiving the difficulties to be encountered, were willing to sacrifice some present popularity and gain, for the sake of pursuing a course which they deemed worthy, dignified, and useful. This was true in t h e main, although a few members, and especially Bristow, opposed the innovation. The society therefore went forward, notwithstanding these hindrances, and scarcely a concert passed without the work of some representative of the new school appearing on the programme. " But r Mr. Bergmann," said some one as they were selecting a programme for the coming concert, " the people don't like Wagner." " Den dey must hear him till dey do," said 200 Sketches and Impressions. Bergmann. And they did hear him, and they learned to understand and admire him. In 1864 Eisfeld resigned the conductorship, and from that time on until near the time of his death in 1876 Bergmann was sole conductor. From this hasty sketch some idea may be formed of the personnel and work of the Philharmonic Society during the first twenty-five years of its existence. In its little domestic trials and difficulties the public is scarcely interested. Its dividends were not such as to excite the cupidity of its members, nor was the glory obtained always calculated to generate enthusiasm ; still there was no thought of abandonment, and the object which was set forth in the constitution, namely, " the advancement of instrumental music," was kept well in view. The constant practice of the society was steadily The Philharmonic Society. 201 increasing its capabilities, and the standard of excellence was continually advanced. The rehearsal of Beethoven's Symphony in C-minor for the first concert in 1842 is frequently spoken of by the few original members now alive and who participated in it, as something wonderful for its roughness; and the frantic efforts of the conductor, U. C. Hill, to obtain a pianissimo, or even a tolerable piano, are mentioned with a smile.* From the imperfect work of those days to the smooth rehearsals of more difficult compositions at a later day was indeed a great " advancement " in instrumental music. This improvement in technical skill, along with the education of the public up to the point of appreciation * Of these original members six are still living, viz., Dodworth, Ensign, Helfenritter, Johnson, Scharfenberg, and Timm, to nearly all of whom the writer is indebted for favors and information. 202 Sketches and Impressions. of the best class of orchestral music, both of the old and the new schools, was the work actually performed. Since that time its labors and influence have been much more matters of general observation and favorable criticism. With the twenty-sixth season, Dr. Doremus commenced his term of office as president of the society, a position which he accepted with reluctance, his own conviction being that it should be occupied only by a person of eminence in the society and in the profession. Divisions and jealousies among the members of the society, however, rendered it desirable that some person of energy, tact, and practical knowledge outside its own membership should be its presiding officer, and, after long deliberation, Dr. Doremus consented to accept the position upon the following conditions: The Philharmonic Society, 203 First, that the orchestra should be largely increased, so that no concert should be given with less than one hundred performers; second, that only eminent artists should be engaged as soloists, and that they should invariably be paid or a proper honorarium be given ; third, that the concerts should be given in the handsomest and most commodious building that could be obtained for the purpose ; fourth, that the concerts should be properly advertised in the daily newspapers. The conditions were accepted, and thus an immense change in the business policy of the society was effected. The Academy of Music was again secured for the concerts and rehearsals ; cards of invitation to the rehearsals were prepared by the president and sent out in all directions to persons of wealth, prominence, or taste, society people, and everybody 204 Sketches and Impressions. whom it was thought desirable to interest in the society and its affairs. Bergmann was still the conductor, the orchestra was augmented to over one hundred performers, and the new-school element in the programme was not diminished. Artists like Parepa-Rosa, Ole Bull, Mills, and Miss Topp were engaged, and on one occasion Edwin Booth read Byron's " Manfred," accompanied by Schumann's music, beautifully rendered by the orchestra. The result was as anticipated. The concerts were crowded by fashionable and remunerative audiences, which never failed of being both instructed and delighted. Animated by the new influence which had come into its business affairs, and with its concerts under the excellent conductorship of Bergmann, the society continued eminently successful. Dr. Doremus The Philharmonic Society. 2o5 was chosen and served as president during three successive seasons, but in 1870, much to the regret both of the society and the public, he declined another election. Mr. George T. Strong was then chosen president for the twentyninth season, and rilled the office with great fidelity and acceptability. He was succeeded by Mr. Henry G. Stebbins, Mr. Edward Schermerhorn, Mr. Julius Hallgarten, and Mr. J. W. Drexel, all persons of influence and social position, and all chosen from outside the Society's regular membership. Mr. Drexel still fills the office in a most efficient and acceptable manner. Bergmann, though at last with declining health and energy, yet with undiminished enthusiasm for his art, and love for the newer forms and development of it which he had labored so diligently to interpret, 206 Sketches and Impressions. retained the conductorship until 1876, when he was obliged to retire and was succeeded by Dr. Damrosch, who conducted the concerts of the thirty-fifth season. The following year Mr. Theodore Thomas first appeared as conductor of the Philharmonic Society, but being absent from the city the next season, the concerts were directed by Mr. Ad. Neuendorf and Mr. Matzka. In 1879 MrThomas resumed the conductorship. To follow step by step the career of the society in its later development, would be impossible in the limits here accorded. Under the able leadership of Mr. Thomas, while the older classical music has not been neglected, the music of the later composers has received special attention, and the grand productions of Wagner particularly have received treatment of the most able and satisfactory character. The The Philharmonic Society. 207 number of the orchestra has been still further augmented, the interest of its concerts has been enhanced, its general standard of excellence elevated, its reputation has been extended, and its dividends made highly satisfactory; in short, the Philharmonic Society of New York is to-day a splendid success, and one of the most perfect organizations of its kind in the world. From being a cosmopolitan society,, however, in which many nationalities were represented, and in which the English-speaking element and influence predominated, it has come to be almost exclusively a German organization. This, at first sight,, would seem hardly necessary in an American metropolis; it may be, however, only the musical expression for the law of " the survival of the fittest." Whether art is cultivated with a more generous love or a 208 Sketches and Impressions. greater self-sacrifice, it might seem invidious to inquire and unimportant to decide, for the object of the society, not only in the advancement of instrumental music, but in the general cultivation of taste and the gratification of large and cultivated audiences, is abundantly accomplished ; only in the magnificent success of to-day it is but justice to remember the pioneers and early campaigners, whose labors, sacrifices, and varying successes have made at last so grand a success possible. The following items may possess some historical interest. T h e first concert of the society was given with fifty performers. T h e nationality of the members for the first year was as follows: American and English, 24; German, 22 ; French, 4 ; Italian, 2. The society received its act of incorporation Feb. 17, 1853. The Philharmonic Society. 209 During the first twenty-five years the concerts were given at the following places: Apollo Hall, Assembly Rooms, Apollo Saloon, Niblo's Concert Saloon, Metropolitan Hall r Broadway Tabernacle, Niblo's Garden, Academy of Music, Irving Hall, and Steinway Hall. Since the beginning of the twenty-sixth season they have been given at the Academy of Music. The number of concerts in eachseason has been increased at different times from three to six. No list of members is known to exist earlier than the commencement, of the second season. XXI. The old Park Theatre—The season of 1827-8 —Malibran—Season of 1830-1. On my arrival in New York in 1827 the old Park Theatre was under the management of Mr. Edmund Simpson. It long carried the soubriquet of " Old Drury, M having for many years been under the same management as the old London Drury Lane Theatre. It was the popular New York place of amusement in those days, where all the European celebrities visiting America made their bow, and where many sparks of native genius also gave forth their brightest scintillations. A recent writer * * The late Richard Grant White. 210 The Old Park Theatre. 211 has given some very unpleasant impressions of the house, nevertheless people managed to get a vast deal of enjoyment there, and certainly my own impressions are far from bearing the same dismal coloring as his. Of the noted actors and singers whom I had so often seen in London, Cooke, Edmund Kean, the elder Booth, the elder Wallack, Incledon, and others had visited America previous to 1827, and some of them had already made New York their home. The season of 1827-8 at the Park Theatre opened Sept. 3d with Simpson as manager, Barry as stage manager, and De Luce as leader of the orchestra. Amongst the actors were Hilson, Woodhull, the two Placides, Howard, Jones, Williams, Knight, Nixcen, and Wheatley; Mesdames Hilson, Hackett, Sharp, Wheatley, 212 Sketches and Impressions. Barry, and Moreland, and Misses Bland and Brundage. Cooper, then an old man, though still a favorite, Horn, the singer and composer, Miss Lydia Kelley, and Clara Fisher, then a juvenile, afterwards Mrs. Meader, all appeared during the season as "stars."- The opening piece was " Paul Pry," with Hilson as Paul. George Holland was at the Bowery Theatre, and Malibran, the Garcia Opera Troupe having disbanded, sang there in an English version of the " Barber of Seville.'' Forrest was also an attraction there the same season. Malibran, with whose name is associated all that is fascinating as a woman and an actress, as well as pleasing and admirable as a vocalist, was one of those rare and phenomenal beings who appear amongst us only at long intervals. Her father was the famous tenor Garcia. H e Malibran. 213 was the first to bring Italian opera in any thing like complete form to America, and thus, although failing to establish the opera as a permanent institutions here, he gave an impulse to taste in that direction which never was entirely lost. The company which he then presented, though incomplete in orchestra and chorus, has in many respects scarcely since been excelled. Under such circumstances it is no wonder that New York audiences took kindly to Italian opera without previous training. Even in this splendid company the daughter of Garcia, Maria F61icit6, then only about seventeen years of age, was the chief attraction. Her father had been her teacher, constant and unwearied as an instructor, but a taskmaster also most cruel and remorseless. H e made the talented child the world-renowned artist, but his ambition, rapacity, and brutality 214 Sketches and Impressions. led her to accept a marriage ill suited to say the least, and, according to the rumor of the time, wholly repugnant to her feelings. M. Malibran, the French merchant, supposed to be of fabulous wealth but thrice her age, became her suitor and obtained her hand. A recent number of Temple Bar informs us that for this sacrifice of his peerless daughter Garcia received the sum of $50,000, which M. Malibran paid by delivering to him a cargo of linen which he had just purchased. Garcia got off to Mexico with the goods, where he disposed of them to advantage, but was soon after robbed of the whole proceeds by brigands. It turned out that M. Malibran had never paid for the goods, but was already bankrupt, and was sent to the debtor's prison by the original owners, who lost the whole amount involved in the transaction. For- Malibran. 215 tunately for the lovers of music Malibran was thus compelled to resume her profession. She recommenced her career as soprano at old Grace Church, then below Rector Street, and, as before remarked, appeared in English opera at the Bowery in 1827. She left the country for Europe the same year, taking her farewell benefit as Princess of Navarre in " John of Paris." In Paris she afterwards obtained a divorce from her husband and married De Beriot, the great violinist. But neither by this marriage was her happiness assured ; for however great his talent as an artist, De Beriot certainly failed to appreciate the superb personal and womanly qualities of his lovely wife ; and his treatment of her was neglectful, not to say cruel and even brutal. While travelling in Italy soon after their marriage, Malibran was seized with 216 Sketches and Impressions. the fever at Rome, and De Beriot, leaving his wife to the care of an attendant, sought personal safety elsewhere. She became most alarmingly ill, and her attendants also proving faithless and cowardly, forsook her in her extremity. It remained for an American gentleman, then residing at Rome but now a citizen of New York, learning of her sad condition and finding her unattended, delirious, and in a condition of neglect such as it is impossible here to describe, to nurse her back t o life and to the career which she had already made brilliant and memorable. She died in England while engaged a t the Birmingham festivals in 1836, while yet only twenty-eight years old. She was almost worshipped wherever her voice had been heard, and her death was regretted as a public calamity. Upon her unfeel- Season of i