THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES MY MUSICAL RECOLLECTIONS MY BY WILHELM KUHE LONDON RICHARD BENTLEY AND SON publishers in Oritnarji) to 1896 [All rights reserved] Music Library PREFACE. SOME years ago, at a banquet of musicians, at which the wine was excellent and the music (with the exception of that which I contributed myself) execrable, I was called upon to make a speech. Having on several previous occasions intensified the melancholy of an after - dinner company in this fashion, I could not very well plead that I was ' unaccustomed to public speak- ing,' but I sought to be excused on the ground that, as I had enhanced the enjoyment of the assembly by playing one of my own composi- tions on the piano, it would be a pity to spoil the good impression thus created by taking also a share in the post-prandial oratory. But the chairman would listen to no such beautiful reason- ing, and the next minute found me on my legs, delivering, with matchless grace, a speech in VI PREFACE which I recalled a number of experiences that had befallen me in the course of my musical career. Odd as it may seem, this volume of remi- niscences would never have appeared had it not been for that dinner and my contribution to its toast-list. Briefly, what happened was this. A very distinguished confrere, whose name lest my readers should bear him a grudge for ever- more I will not divulge, and who was among the convivial party, said to me that night : ' Have you ever thought of writing your musical recol- lections ?' I replied that happily the idea had never occurred to me. Upon this my friend, who no doubt meant kindly, remarked that such a book as he had suggested would furnish very interesting reading, and he justified this seeming reflection on the intelligence of an enlightened public by declaring that most autobiographies commenced and ended with the pronoun personal, and that a volume written by a musician of other musicians with whom experience had brought him into contact would be something of a novelty. ' Think it over,' he added ; ' I'm sure you are the man to do it.' PREFACE vii Well, I did think it over, and having got the suggestion in my head, it became an id. x^ L 2 s CHAPTER XXXI. EMMA ALBAN2. Paris and the war of 1870 Marimon Marie Roze Cam- panini Two notable exponents of Bizet The musical event of 1872 A new Amina Albani's debut A golden night at Covent Garden A conscientious student Catholicity of taste The diva's Desdemona Success in oratorio The Golden Legend A great festival singer Alarming incident at a benefit performance The prima donna injured 'All's well.' THE earlier portion of the decade which opened with the year 1870 was to a great extent over- shadowed by signs and portents of the Franco- Prussian War, its tragic close and the dire sequel which attended it in the siege and partial destruc- tion of the world's fairest city, the home of art and of artists. Few in the world of music were the souls untinged with sadness at this untoward event ; for who can ever forget that Paris has sheltered and fostered foreign artists by the score, that her glorious Conservatoire has sent mis- 206 EMMA ALB AN I sionaries of music to the uttermost parts ? Certainly not we in England, who, in domains both classic and ' popular/ owe so much to the genius of Gounod, Auber, Massenet, Bizet, Saint- Sae'ns, and a host of others, whose strains have become as familiar to us as to the people of the beautiful capital on whose ears they first fell. Nor were years so pregnant with political changes wholly uneventful in the world of music. Of Signer Nicolini's first appearance in 1871, I have already spoken. In the same year Made- moiselle Marie Marimon also made the acquaint- ance of the English public. The succeeding season was prolific in 'stars.' Marie Roze arrived in 1872, and was destined to become as great a favourite here as she had been for years in Paris, where her beauty and talents as actress and singer had secured for her gratifying- success. She long retained her place in the esteem of amateurs, by whom her Carmen, in particular, was rightly regarded as an impersonation at least comparable to that of Minnie Hauk. About the same time Signor Campanini appeared on the English stage, fully confirming the good opinion formed of him in Bologna as Lohengrin. For his London debut, he elected to appear as Gennaro in Lucrezia Borgia. His was a genuine A NOTABLE 'FIRST NIGHT' 207 tenor voice, which he used in a thoroughly well- trained manner. Of all the characters he under- took I preferred his Don Jose in Carmen, and I doubt even now whether it has ever been more finely played. After several seasons, he crossed the Atlantic, his success with our American cousins being so great that he was induced to take up his residence among them. Some time ago he returned to England, but not to the operatic stage. He contents himself at present, I believe, with concert appearances. The great musical event of 1872 has still to be recorded. I allude to the first appearance in England of one of our most gifted and popular vocalists, Emma Albani, who, like Patti and many others before her, selected the part of Amina in La SoHiiambula, in which to make her initial bow to a very brilliant audience. The night of her welcome was a golden one in the annals of Covent Garden. The great house was filled with earnest and observant listeners, gathered there to behold the rising of a new luminary in the operatic firmament ; and none could for a moment doubt that the advent of Albani was that of no mere brilliant albeit ephemeral star, but of a planet come to stay. And time has confirmed that opinion. Albani 208 EMMA A LEAN I has been with us for nearly a quarter of a century, and is now more firmly established than ever in the affections of the public. For, like a true artist, she has never allowed herself to rest in achievements with which her admirers were perfectly content, but has continued her studies, conquering difficulties, and acquiring fresh per- fections, until she has reached a standard of supreme excellence. Another characteristic of Albani's, shared with a comparatively limited number of vocalists, is her devotion to every branch of music. She finds as great a pleasure in instrumental per- formances as she does in vocal displays. Combining with rare intelligence unusual capa- bilities for assimilation, she is easily influenced by all she hears, and it is consequently evident to observant amateurs who listen to her that she is no mere singing-bird, but a mistress of her art. Another distinguishing feature in Albani is the catholicity of her taste. She delights as much in the classic and severe manner of the older masters as she does in the advanced style of writers of the ultra-modern school. She is as appreciative of the works of Bach, Handel, Haydn, Mozart, and Beethoven, as she is susceptible to the melodic influence of the Italian school as HER CATHOLICITY OF TASTE 209 represented by Bellini, Donizetti, and Verdi. Nor has she neglected the ' music-drama,' her studies of Gounod and Meyerbeer being supple- mented by a close acquaintance with the scores of the Bayreuth master. In a word, she has kept pace with the times, well abreast of musical development in every legitimate sphere. It would be difficult in a repertoire so compre- hensive as that of Madame Albani to point to her most notable triumphs, but those who, like myself, have watched her career with unabating interest, would perhaps single out her Desdemona as a performance instinct with poetry and legitimate dramatic feeling ; while her magnificent rendering of the Liebestod scene from Wagner's most advanced opera has caused regret that no oppor- tunity has as yet occurred for her appearance in Tristan und Isolde. In oratorios and cantatas, Albani shines with equal lustre, her intuitive devotional fervour, doubtless, contributing much to her success in this branch of art. Nothing can surpass her singing in the Messiah, Elijah, the Creation, and the Hymn of Praise ; and I feel certain that the composer of the Golden Legend (a work which even at this date may almost be called immortal) will readily bear me out if I say that her render- 210 EMMA ALBANI ing of the soprano part has not so far been rivalled. No provincial ' festival,' assuredly, is complete without her presence, for not only is she peerless in the interpretation of sacred works, but she takes the greatest possible interest in the new compositions which it is customary on these occa- sions to launch on the stormy sea of public opinion. With Albani the study of the works of native writers is a labour of love. Small wonder, then, if they are anxious at all times that their melodies should first fall from the lips of so distinguished an ornament of musical art. I give here a letter which Madame Albani wrote to my daughter. The incident referred to happened at Covent Garden Theatre on the occa- sion of a benefit performance given to the diva, when one of her admirers threw upon the stage a square box containing a diamond pendant. The singer was in the act of collecting her floral trophies, which were strewn over the stage, when the case, which was clumsily thrown, struck her forehead. At the moment it was thought that the heroine of the evening had been the victim of a malignant attempt, but happily this proved to be an erro- neous impression. ^i^^t-^^*^* ^*-5 ^o--^^- f^n^ t**4: &^ ^ ^-^ '. ^^*-- ^ /^c --*-* ^ ^*^ ^^ / ^ y &nsr-i*cs S+T^I*^** c*,*^/ -?^+ 4**4 S ' *> J* ,/ >^ / ^^ /*^ 5 * *'/ >* ^ ^/ ^^' 3* To face p. 234. BREAKDOWN OF A PRODIGY 235 he invited the late Dr. Hueffer, Mr. Isidore de Lara, Mr. Wilhelm Ganz, and myself. When, later in the evening, he sat down to the piano and delighted us with an extemporization in the style of Handel, it was easy to imagine that we were listening to one of the finest compositions of that immortal genius, instead of an impromptu imita- tion. But I have said enough faintly to indicate the remarkable gifts of this renowned artist. By way of contrast, let me now notice one who hardly yet enjoys the fulness of fame which undoubtedly awaits him in the future. In the course of the musical season of 1887 a little Polish boy came to England, and raised storms of applause and controversy wheresoever he went. Josef Hofmann, the prodigy of nine years old, for a long time twisted us all round his little fingers. What astounded professors even more than his facility at the pianoforte truly magical as it was in one of his tender years was the extraordinarily musical temperament of the boy. At the same time, the child was so simple, natural, boyish, and engaging, that he enraptured audiences and endeared himself to everyone who knew him in private. His nerves, however, strung to the highest tension, gave way under the torrent of excitement evoked by his 236 PIANISTS arrival in America, whither he went from England. The youngster completely broke down at one of his recitals, and I heard from eye-witnesses of the touching scene which took place when, in the middle of the performance, he began to weep bitterly, exclaiming : ' But I am only a little boy!' His parents very wisely withdrew him at once from the public gaze, and complete rest and care gradually restored him to health. Rubinstein, on hearing him play, without hesita- tion undertook his musical training, prophesying a great career for his gifted pupil. Josef Hofmann has already begun to justify his master's predic- tion, for his success as a matured artist at the age of seventeen has been such, both in Germany and in England, as to leave no doubt that he is a pianist of the first calibre. Apropos of Josef Hofmann, he stayed with my family in Brighton when he first visited England, and we were all immensely struck by the little man's intelligence, the keen interest he displayed in things apart from music, and, above all, by the precocious talent he manifested for drawing. In fact, his ' drawing ' powers were, in more senses than one, surprising. He confided to my daughter that he would like to be a draughts- PICTURES VERSUS PIANO 237 man, and, from the specimens he gave us of his capacity in that direction, I may say that young Hofmann would probably have made a name with his pencil. Personally, I have so little sympathy with the practice that has obtained in recent years of bringing to public notice the wonderful gifts of juvenile performers, that I do not in the least mind recounting a little incident which clearly shows that here was one, at any rate, of the number who derived sensations other than plea- surable from appearing in public. The little fellow was, on one occasion of his visit to us, deeply engrossed in a volume of Cassettes Illus- trated History of England, in the pictures of which he betrayed the utmost interest. But the time came when duty called him to another room, where he was to rehearse the pieces, in the interpretation of which he was anon to delight an astonished audience. My daughter asked him, more in fun than in earnest, which he would prefer to spend the afternoon in contemplation of Cassell's pictures, or with his fingers on the keyboard. This was his reply, couched in a minor tone : ' Ach, sehen sie, ich spiele so viel !' (Ah, you see, I play so much.) 238 PIANISTS What could have been more eloquent or more pathetic ?* I might speak of many other pianists, but as their name is now legion, I must necessarily restrict myself to the briefest possible mention of only one or two of the most prominent. Stavenhagen, a young Scandinavian and favourite pupil of Liszt's, accompanied his master on the occasion of his last visit to London, and was by him introduced to the British public. During the season of 1895 three other aspirants to public favour have paid us prolonged visits Emil Sauer, Moritz Rosenthal, and Alfred Reisenauer for all of whom lasting success can safely be foretold. The first-named immediately made his mark in classical music both old and modern. Rosenthal's powers of execution are phenomenal, although I believe some hold that he has yet to be judged as an interpreter of classical works. That the result will be perfectly satisfactory I do not for a moment doubt. As for Reisenauer, he has won for himself a host of admirers. * Another young pianist who has survived the ill-effects of a premature introduction to the public is Max Hambourg. He will undoubtedly be a lasting celebrity. [ 2 39 ] CHAPTER XXXV. SOME VIOLINISTS OF CELEBRITY. Prume La Melancolia A one-horse composer Violinists in London, 1845 'The mighty Vieuxtemps' Admiration for ?>^Q\irJessonda and The Power of Sound A Nor- wegian fiddler Ole Bull in Germany Player and philanthropist Mr. Henry Jarrett Carl Formes New reading of the Kreutzer Sonata I hear Ernst in 1839 His subsequent visit to England The violinist befriended by Lord Lytton Paganini's pupil, Sivori ' No impostor ' A non-classical executant His economic propensities Too late for the train Walking a luxury Molique at Stutt- gart His pupil, J. T. Carrodus Prosper Sainton and his gifted wife Mendelssohn impressed Royal Academy of Music The principal's choice of a successor Emil Sauret. IN my time I have known and heard, I may say, all the violinists of distinction from the period when I was taken to the Paganini concert (pre- viously referred to) down to the present, and I now propose to write of some of them. Among my early experiences I recall Prume, who gave many concerts in Germany, and also composed a good deal. One of his pieces, La Melancolia, was an immense favourite, and 24 o SOME VIOLINISTS OF CELEBRITY whenever he played this air and variations, the room was crowded. The opening bars were : f_Ji~ ~*f :'_ :-'p p ; 1~ Prume was not a classical player, nor by any stretch of courtesy could he be called a great virtuoso, but he was only one of many artists I shall have occasion to mention who achieved a reputation on the strength of a single work. Curiously enough, he came to London in 1845 (my first season in the English capital), but the mighty Vieuxtemps, who was here at the same time, completely overshadowed him. In every direction he was sought after, while poor Prume hardly had an opportunity of being heard. In the same year, Spohr was in London. I had an enormous admiration alike for his playing and his works ever since I can remember. In particular, his opera Jessonda, and his symphony, The Power of Sound, exercised over me an extraordinary fascination. At the time of which I am speaking, Spohr was no longer in the prime of life ; but his tone was still wonderful, and his execution exceedingly fine. Of the present-day violinists, Dr. Joachim reminds me more of Spohr than any other I have heard since his time. THE KREUTZER SONATA 241 I will here mention other names as they occur to me. The Norwegian artist Ole Bull created an enormous sensation everywhere. He built up an immense fortune, was a great philanthropist (differing in this respect from Paganini), and spent his earnings in founding a colony in America for his poor compatriots, to whom he allotted land. He ultimately, I believe, settled in the colony. Some years ago Mr. Henry Jarrett persuaded Ole Bull to return to Europe for a short while and join Carl Formes, the German basso (then quite pass<*}, in a concert tour. The party came to Brighton, and were associated in a concert under my auspices. On this occasion I played with Ole Bull the Kreutzer Sonata. The violinist gave such an extraordinary and novel reading of the familiar work that any musician might have been excused who failed to recognize it. I should here allude to Ernst. I first heard him in Prague in 1839. His playing struck me as being singularly poetical, but he often per- formed under great disadvantages, by reason of his indifferent health. Often when ill he would attempt overpowering difficulties, and conse- quently fail. When, in later years, Ernst visited England, we became intimate friends. In 1849 ten years after my first introduction to him he 16 242 SOME VIOLINISTS OF CELEBRITY organized a tour of the leading provincial cities, and engaged me as pianist. With Ernst, too, I used to play the Kreutzer Sonata, but his was a very different version to that given by Ole Bull. Sims Reeves, and the lady who after- wards became his wife (Miss Emma Lucombe), were of that party. In after-years I saw Ernst in Germany. Poor fellow ! he was then in the worst stage of paralysis, and had to be carried about. He died universally beloved and respected. But before concluding my recollections of this great and highly-esteemed artist, I should like to mention an anecdote, showing in what warm regard he was held by his friend Lord Lytton. The famous novelist became acquainted with Ernst in Italy. The artist, then in failing health, was anxious to leave that country, but was too proud to confess his in- ability to defray the expenses of a long journey. Lord Lytton knew of Ernst's poverty, but did not wish to wound his sensitive feelings, so he begged him ' as a favour ' to accompany him to Paris and England as his gruest, on the ground that he de- tested travelling with strangers, and consequently always secured a carriage for himself. This kindly offer enabled the great virtuoso to make the journey free of cost. SIVORI AND HIS MASTER 243 In this brief record of violinists I have known, I must not forget Sivori, whom I heard in my native city in 1840.""' He did honour to his illus- trious predecessor Paganini, whose pupil he really was. I mention this because so many violinists of this period proclaimed themselves as pupils of the greatest of all fiddlers, just as in later years so many pianists claimed to have studied under Liszt. But Sivori was no impostor in this connection, and he was, indeed, one of his master's most favourite pupils. When I heard him I was greatly impressed by his wonderful technique, the richness of his tone, and, above all, by his ' fire ' and indescribable entrain. Sivori was good enough to evince some little interest in me, and took me on a concert tour, visiting Carlsbad, Marienbad, Franzensbad, and other Bohemian health resorts. Some years later (I think in 1848) he came with Piatti, then quite a young man, to Brighton, to play with me at one of the first concerts I gave in that town. Sivori never professed a fervent love for classical music, nor did he play very much in that school. I once, though, heard him perform Mendelssohn's Concerto. The execution was perfect, but it gave * It was early in the forties that two young girls, Teresa and Maria Milanollo, created in Germany an immense sensation. 244 SOME VIOLINISTS OF CELEBRITY me the impression as of one who moves in some strange palace, unaccustomed to aught but his own homely surroundings. Whether it was through contact with his illus- trious master I know not ; but certain it is that Sivori was imbued with a strong sense of economy. My friend, the late Willert Beale, once told me a good story in illustration of this trait in the artist's character. Mr. Beale had engaged Sivori for one of his touring -parties. When at some town in Ireland, the accomplished violinist could not be induced to share a fly with some of the other artists to the station. No, he said, he would rather walk, notwithstanding that time was short. The result was that, in order to catch the train, he had to run the whole way. Reaching the terminus in a state of utter exhaustion, he found to his unmitigated disgust that his train had a minute or so previously steamed out, and it then became incumbent upon him, in order to avoid a breach of contract, to engage a ' special ' to convey him to the town at which he was to play the same evening. So for once the prudent man had inadvertently broken loose from the fetters of rigid economy. In 1845, at Stuttgart, I made the acquaintance of Molique, in whose hospitable house I soon became a persona grata. The then famous violinist was MOL1QUE AND HIS PUPILS 245 also a composer of considerable distinction, and an all-round musician. Curiously enough, although he wrote in nearly every branch of music, his works, fine as they were, are seldom heard at the present day. A few years after I first knew him, Molique came and settled in England, where he had in- numerable friends, admirers, and pupils, among the latter my old friend, now no more, Mr. J. T. Carrodus, a special favourite of his master's. Another violinist with whom I have had plea- sant association was Prosper Sainton an excellent performer and a first-rate teacher. I was fortu- nate, too, in numbering amongst my friends his charming and gifted wife, Charlotte Dolby, in her time England's greatest contralto. It is interest- ing to recall that, when quite young, she very favourably impressed Mendelssohn, who heard her sing in Leipzig, and expressed the utmost admiration for her talent. To revert to her husband, he was exceedingly popular at the Royal Academy of Music, from which he pro- duced a number of very capable pupils. On his death, a bold but wise step was taken by Sir Alexander Mackenzie, who persuaded Monsieur Emil Sauret, one of the first violinists of the day, to come to England and assume the position left vacant at the national institution over which he presides. CHAPTER XXXVI. ARTHUR SULLIVAN. An appreciation The gaiety of the nation The Mikado in Germany How it impressed my young friend. To praise the most versatile and prolific musician England has ever known would be an act of utter supererogation. One of these days the task will devolve upon some historian (who will have to wield an eloquent pen indeed) of giving to the world faithfully and appreciatively the life and brilliant career of Arthur Seymour Sullivan. That task is not for me. To seek to underrate his transcendent gifts could only be the act of one inspired by jealousy of a talent so prodigious. But Arthur Sullivan has no enemies. I, for one, have never heard a word uttered in depreciation of his musical genius or in condemnation of his private life. And I shall but echo the sentiments of every man and THE SAVOY OPERAS 247 woman with whom he has ever been brought into personal contact, when I affirm that a kinder and less selfish fellow never lived than Sir Arthur Sullivan. A disposition more genial I, personally, have never found in any man ; while in the ranks of musicians no one, probably, is more ready to appreciate and extol the talent and over- look the failings of brother professionals than he. In these circumstances, I ask, who could be found, even in a world of petty jealousies and animus and strife, to speak disparagingly of the composer who gave to this country, in the Golden Legend, a work that will live for all ages ; in Ivanhoe, an opera every page of which bears the imprint of his genius; and (with William Schwenk Gilbert) in the un- broken series of Savoy successes, masterpieces I use the word advisedly in the way of light lyrical composition, which have done more to increase the gaiety of this nation than any artistic creations that I can call to mind ? The art of writing the most lilting and exhilarating of music in such a fashion as to delight the uninitiated and the scholarly alike was invented by Arthur Sullivan. He has found many imitators, but no compeers. He can never be surpassed. The following little story may perhaps interest his many admirers. A few years ago I was 248 ARTHUR SULLIVAN staying with some friends in a small German country town. The son of my host had come of age, and, by way of giving him a treat, his father furnished him with the wherewithal to spend a week in Berlin and see the sights of that interest- ing city. He was to go to the opera, ' do ' the theatres, and, in short, amuse himself to his heart's content. In the way of entertainments, I need hardly say, there is enough and to spare in the German capital, and naturally, on the return of the young wanderer, his parents were anxious to learn in what manner he had enjoyed himself. What did he think of the Opera House ? What were his impressions of the singers ? Which plays did he prefer at the theatres ? and so forth. ' Well,' he replied, ' I have had a very good time. I went to see the Mikado.' (It was then the rage in Berlin.) ' Oh !' remarked the lad's father ; ' and what besides ?' ' Nothing else,' was the reply. Somewhat astonished, my friend asked the boy what he did on the remaining five evenings in the week. Then came the explanation. On the night of his arrival he was taken by a friend to see the Gilbert-Sullivan opera. Nothing had THE < MIKADO' IN GERMANY 249 ever given him so much pleasure, and he could not resist the temptation of seeing the piece again on the following evening. This second visit only served to increase his appetite, and judge of his father's surprise on learning that he went a third, a fourth, a fifth, and a sixth time to see that inimitable and fascinating work. There were plays and operas to witness galore, but he could not tear himself away from the theatre to which the Japanese opera was attracting all Berlin. But my friend had never seen the Mikado, and was at a loss to understand the seemingly extra- ordinary fascination it had exercised on his son. Of the latter's immeasurable capacity for enjoying the same piece night after night he had, truth to tell, some little doubt. On this score, however, he said nothing to me ; but a few weeks later, happening to find himself in Frankfort in my company, what time the great Savoy success was being played there, he not unnaturally expressed a desire to see the piece. Quite willingly I accompanied him. Well, my friend's delight and enthusiasm as the various droll situations succeeded one another, and the graceful and enchanting strains fell upon his ears, was wonderful to behold ; and when, at curtain- fall he confided to me that until that moment he had hardly credited his son's Berlin experience, 2 5 o ARTHUR SULLIVAN but that now he believed every word of the account he had given of his week's sojourn, I confess that I was immensely amused. ' Did you believe him ?' he asked me sub- sequently. ' Of course I did,' was my answer. I had seen the Mikado in London. CHAPTER XXXVII. COMPOSERS AND ORCHESTRAL CONDUCTORS. The importunate interviewer' Story, sir, I have none to tell ' Fantastic farrago Julius Benedict at the desk Mendels- sohn at the Philharmonic concerts in 1847 The Hymn of Praise Michael Costa and some of his successors Balfe Sterndale Bennett William Cusins Master of the Queen's Music F. H. Cowen As a boy composer Bright promise fulfilled The Scandinavian Symphony A composer with lofty aims Cowen in the Antipodes Sir Alexander Mackenzie Richard Wagner and the Philharmonic concerts Sir A. Sullivan as conductor Edvard Grieg A meeting with Dvorak The Spectre's Bride. SOME years ago an interviewer one of those wonderful creatures who make you say in print all sorts of strange things which, to put it mildly, you never intended to convey called upon me, and, in course of conversation (the interviewer, by the way, did all the talking), asked me whether I had any ' good stories ' to tell concerning conductors. I assured him that I hadn't. 252 COMPOSERS AND CONDUCTORS ' Not one ?' he asked, almost pathetically ; for I had furnished him with very little ' copy.' 'No,' I replied; ' I can't think of anything to tell you on that score.' But the journalist, after his kind, was not to be done, and in the paper it was a magazine, the name of which I forget in which the interview subsequently appeared, I was credited with the statement that Sir Michael Costa was once present at a performance I conducted of Eli, and that when it was over the illustrious composer came round to the artists' room, and, grasping me by the hand, exclaimed : ' Never have I seen a conductor hold his orchestra under such masterly control ! The per- formance under your baton has opened my eyes to the fact that I have written a great work.' And, if I recollect aright, the perpetrator of this fantastic and ingenious story added, by way of being daringly original, that Mr. Kuhe was delighted at receiving ' praise from Sir Hubert.' Probably I should have been ; and this final touch, therefore, constituted the only true statement in the amazing narrative. I recall the incident because I propose to devote a few lines to the subject of the chefs cCorchestre I have known ; but I must warn my readers that I MENDELSSOHN AS CONDUCTOR 253 cannot entertain them with any anecdotes relative to these conductors. In fact, what I said to the imaginative scribe holds good now stones con- cerning them I have none to tell. Sir Julius Benedict was far from being an ideal orchestral conductor. His beat was too uncertain, with the result that the players sometimes had the greatest difficulty in following him. As an ac- companist, however, he has probably never been surpassed. In one of the foregoing chapters I have alluded to a concert of the Philharmonic Society at which I was present in 1847, and which was conducted by Mendelssohn. That was the only occasion upon which I ever saw the composer of the Hymn of Praise at the conductor's desk, and I was immensely impressed by his mastery of the art. At conducting, as in everything else, the great man excelled. The occasion in question was the only one, I believe, upon which Men- delssohn performed a like office for the Philhar- monic Society, whose concerts at that time were conducted by Sir Michael Costa, who had suc- ceeded Moscheles. Costa, by the way, had up to then been associated with Her Majesty's Theatre, where his place, on leaving, was filled by Michael Balfe, the popular composer. Fortunately for the 254 COMPOSERS AND CONDUCTORS management to say nothing of the audience the old operas then in vogue did not require such able conductors as more modern works, and Balfe answered Mr. Lumley's purpose well enough ; but even his warmest admirers could hardly have considered him a leader of exceptional merit. The Philharmonic Concerts had several con- ductors within my recollection. Sterndale Bennett, in his time Principal of the Royal Academy of Music, held the post for a number of years with credit to himself and the forces under his command. English musicians were rightly proud of this com- poser and conductor. Most versatile was his talent, for not only may he be said to have been a truly classical writer, but he was a most gifted pianist, while as a teacher he enjoyed a deservedly high reputation. Many of his compositions will surely live. 1 need only recall a few those beautiful cantatas, the May Queen and the Woman of Samaria, his overtures Naiades and the Wood Nymphs, and his Pianoforte Concerto in F. His works always reminded me (not in the sense that he was in any way a plagiarist) of those of Men- delssohn, whose intimate friend and fervent admirer he was.* * Sterndale Bennett received the honour of knighthood in 1871, at the same time as Sir Julius Benedict and Sir George Elvey. F. H. CO WEN 255 Sir (then Mr.) William Cusins succeeded Stern- dale Bennett as conductor of the Philharmonic Concerts. As chef cCorchestre he had considerable experience, and he was for many years Master of the Queen's Music, besides being the conductor of all the Sarasate and other concerts. Sir William's premature death was deplored by all musicians. One of the most popular and able of the Philhar- monic conductors was F. H. Cowen, concerning whom it would be easy to write a long biographical notice. This, however, I do not purpose doing. Suffice it that the musical historian of the future (by which I do not mean the chronicler of the ' music of the future ') will find it an agreeable task to make note of the fact that as a small boy Cowen astonished his friends with compositions written in classical form ; and that the bright promise held forth in those early years has more than borne fruit. It must be left to such a biographer to record the many different spheres of art in which the varied attainments of this facile composer have asserted themselves. To enumerate even a tithe of the oratorios and other sacred works, operas, symphonies, and drawing-room pieces with which Frederic Cowen has enriched the world would be a formidable task indeed. No reference to the distinguished com- 256 COMPOSERS AND CONDUCTORS poser, no matter how brief, should, however, omit mention of that beautiful, descriptive, richly- coloured, and pre-eminently scholarly work, the Scandinavian Symphony, a composition which, not only in this country, but in every part of the Continent, is rightly regarded as a chef d'ceuvre. Above all will Cowen's name be handed down to future generations as that of a composer who has never pandered to the ' Philistines ' in music, or written ' down ' to the level of those whose appre- ciation of the divine art is limited by their meagre knowledge of its beauties. And finally will it have to be recorded that one of his achievements has been the spreading of a taste for high-class music in Australia, where he conducted a series of orchestral concerts a task which no one, assuredly, was better able to perform. No need is there to speak of the present con- ductor of the Philharmonic concerts. In that capacity no musician will gainsay that Sir Alexander Mackenzie is ' the right man in the right place,' while as a composer he is almost as well known and as much esteemed in Germany as he is in this country. By the way, in speaking of Costa, I should have mentioned that when he retired from the conductorship of the Philharmonic Concerts, the GREIG AND DVORAK 257 directors of the Society invited Richard Wagner to come over to this country and take his place. He did so, but for one season only. His readings of familiar classical works, as many amateurs doubtless remember, were totally different from those to which they were accustomed. At that time his own works had not even begun to be understood, and there existed, moreover, some feeling- of jealousy that a foreigner should have been selected for the important post of conductor of those concerts. At any rate, the engagement was not a success, and was not renewed. I omitted to record that in the season of 1887 the Philharmonic Concerts enjoyed the immense advantage of the presence at the conductor's desk of Arthur Sullivan. With the addition of his name to the foregoing, it will be observed that the Philharmonic Society's ' roll of honour ' is a very distinguished one. Let me not conclude this chapter without some brief mention of two names illustrious among the composers of the present day Edvard Grieg and Anton Dvorak, both of whom, by the way, have been, as all amateurs are aware, identified with the Philharmonic. The acquaintance of the latter I made at Birmingham, on the occasion of the pro- duction of his magnificent work the Spectre s Bride. 258 COMPOSERS AND CONDUCTORS Being a compatriot of his, I then addressed him in the Bohemian tongue, a language of which I had made no use for over forty years. It happened, therefore, that in speaking to my countryman I was guilty of a slight grammatical error a slip which the composer was quick to detect and rectify. It may interest his many admirers to learn that this gifted writer, who can now com- mand any sum for composing or conducting, was at one time organist at a church in my native city of Prague, in which capacity he received emolu- ments amounting to 12 a year. 259 CHAPTER XXXVIII. OTHER ENGLISH COMPOSERS. Arthur Goring Thomas A favourite song of Lloyd's C. H. Hubert Parry The ' English Bach ' C. Villiers Stanford J. F. Bridge His Purcell researches A. C. Mackenzie A Liszt 'subject' F. H. Corder Translations of Wagner Edward German English music in the Father- land. I HAVE touched elsewhere upon the gifts of Arthur Sullivan and Frederic Cowen, and it only remains for me now to advert briefly to the part played by one or two other notable Englishmen in the development of their art in this country. Of that facile, refined, and musicianly writer, Arthur Goring Thomas, whose lamented death in the prime of life robbed amateurs of a richly- endowed melodist, I will simply recall the fact that his charming opera, Esmeralda, both on its production in English by the Carl Rosa Company, and subsequently in Italian by Sir Augustus Harris at Covent Garden, with Madame Melba 260 OTHER ENGLISH COMPOSERS and Jean de Reszke in the cast, won a success fully commensurate to its merits. To this day the song, Ok Vision Entrancing, from that opera, is one of the most favourite in Edward Lloyd's repertoire. Of Hubert Parry it may with truth be said that he is one of the most learned musicians England has ever known, and he is held in the highest esteem by the whole body of amateurs. Dr. Parry has frequently been styled the ' English Bach,' but his writings always remind me, by reason of their vigour, power, and manliness, more of Handel. No musical festival is now con- sidered complete which does not bring forward a work from his scholarly and brilliant pen. Another writer whose name should be linked with the foremost of our modern composers is Dr. Villiers Stanford. No department of com- position is there in which the gifted and rightly distinguished professor has not furnished proofs of his legitimate claim to the high position which he holds in the ranks of English musicians. Alike in operatic, choral, and chamber music has he done much to advance the cause of the art in this country. A word for that enthusiastic musician, genial friend, and witty soul, Dr. J. F. Bridge, dubbed F. H. CORDER 261 by some of his facetious admirers ' Westminster Bridge,' by reason of his long and honourable connection with the Abbey. Not only as organist and composer, but as Gresham Professor, in which capacity he has delivered countless lectures, on which his immense musical erudition has been brought to bear with interesting results, has he established for himself an enviable reputation. Dr. Bridge's researches into the life of Henry Purcell, by the way, were of enormous value to the commemoration of that composer's bi- centenary, and greatly enhanced the interest attaching to that celebration. In the ranks of English composers who have striven always with a high aim in view, and to whom the discriminating applause of the educated minority brings more reward than the untutored enthusiasm of the multitude, a prominent place should be assigned to F. H. Corder. A more sound and scholarly musician it would be difficult to point to. But he has done more than show himself a master of orchestral effects, and a staunch upholder of purity, restraint, and dignity, in the writing of ambitious scores. He has proved himself to be possessed of a strong and ever-present vein of originality, and it is this individuality and freshness of thought and feeling 2 62 OTHER ENGLISH COMPOSERS which as much, perhaps, as the Intrinsic beauty of his orchestral writing, has earned him the esteem and admiration of all earnest amateurs. Mr. Corder, too, stands entitled to immense credit for his able and poetical translation of Wagner's operas. They appear in all the books of the master's works, and even in German theatres the English versions that are distributed bear the name of this pre-eminently learned and art-loving musician. Elsewhere I have made reference to a com- poser who, although his name is already pleasantly associated with some of the most charming and dainty music of modern times, will, in my opinion, attain to even greater things in the future. I allude to Edward German. But few writers of his years have found so warm a corner in the hearts of amateurs as the young composer, who, espying his opportunity in the commission given him by the Lyceum manager to furnish the incidental music to Henry VIII., put his shoulder to the wheel, and produced a score so graceful, characteristic, refined, and musicianly, that its popularity led to some of its numbers being played far and wide in orchestral and piano form. Edward German's talent is recognized not only EDWARD GERMAN 263 in the country which gave him birth, but in music-loving Germany. On my last visit to the Fatherland, go where I would I heard the tuneful and piquant dances which he wrote for Mr. Irving. And it mattered not whether it was in Frankfort, in Wiesbaden, or in Homburg, they at once caught the fancy of all those upon whose ears fell their elegant strains. In every work, moreover, that he has since written of a more ambitious nature has this com- poser justified the hopes formed of him. Of Sir Alexander Mackenzie I have already spoken. Further mention of his name and of his conspicuous services to English musical art must, however, be made in a list which includes the honoured names recorded above ; for the Rose of Sharon, only to speak of one of his works, will live so long as music remains a power and a bright influence for good in this land.* * I believe it is not generally known that one of the last, if not the last, subjects selected by Liszt for elaboration and treat- ment as a piano piece was a melody in one of Sir A. Mackenzie's operas I believe the Troubadours. The Abbe had begun to write the piece, and fragments of it were found amongst his papers after his death. 264 CHAPTER XXXIX. AUGUST MANNS. Music at the Crystal Palace A peep into the past Oppor- tunities formerly enjoyed by amateurs What the Palace conductor did for them Few orchestral concerts in London Pilgrims to Sydenham The musicians' Mecca Old masters and young men The Sydenham institution as a stepping-stone Mr. Manns and rising artists Scotch music Learmont Drysdale Mr. Manns and the Scottish Orchestra The conductor's seventieth birthday A notable gathering Honours refused Another pillar of the Palace Sir George Grove A friend in need Two musicians in Vienna Interesting researches Musical treasure-trove The Dictionary of Music. No one, I hope, will accuse me of a mild form of vandalism if I proclaim a deep-rooted conviction that the fame of the wonderful glass-house on Sydenham's heights is due as much almost to August Manns as to the renowned Sir Joseph Paxton himself. I can never resist the impression that its ' undying attractions,' of which one reads so much, all revolve, so to speak, around the magic THE CRYSTAL PALACE 265 name of Manns, and that they would stand a very fair chance of extinction if aught happened to deprive the Palace of his presence. Despite its multifarious attractions and the pic- turesque beauty of its surroundings, I hold that the Crystal Palace would never have attained its present world-wide repute had it not been for the magnificent work which has been done there by August Manns. And apart from his share in the advancement of the interests of the institution, his services to the cause of music generally in England are such as could not be estimated save by those who have closely watched the progress of the art in this country during the last half-century. Since Mr. Manns first undertook the musical arrangements at the resort with which he is so closely and honourably identified, many things have happened. Among others, the hackneyed reproach that the English are not a musical nation has come to be regarded as an insult and a libel. But in this connection it may not be uninteresting to take a peep into the past and see what oppor- tunities lovers of music enjoyed of gratifying their tastes at the period when the Crystal Palace con- ductor came upon the scene. Unless I am greatly mistaken, orchestral concerts in London were few and far between. The concerts of the Philhar- 266 AUGUST MANNS monic Society were limited in number, and, more- over, they did not afford opportunities to audiences to become acquainted with modern works, their tendency being so conservative that the pro- grammes put forward by the directors hardly ever contained any but strictly standard works. When Mr. Manns took over the direction of musical affairs at Sydenham and became the con- ductor of a permanent orchestra, he not only gave concerts daily, but organized weekly per- formances on Saturdays, for which his forces were strengthened by some of the best orchestral players from London. Moreover, for these Saturday programmes the best instrumental soloists and vocalists were engaged, and the room being very spacious, the prices of admission unlike those at the Philharmonic Concerts were so low as to enable all lovers of music to attend, with the grati- fying result that, as the high quality of these per- formances became recognized, the audiences in- creased in numbers, and soon the pleasing sight was witnessed of a pilgrimage of amateurs from London to Sydenham to hear that which could not be heard in the Metropolis itself. In a word, the enthusiastic conductor of suburban concerts raised his wand and a public which was supposed to care nothing for orchestral music flocked to a NATIVE TALENT 267 place difficult of access to show their appreciation of that for which they were believed to have no liking, and, having come once, returned again and again. Now, here was the conductor's opportunity to do something for English music and for native musical talent. Audiences with severe tastes knew the old masters by heart, and could play them backwards. None the less were they de- lighted at all times to renew acquaintance with them, particularly when interpreted by such an orchestra as Mr. Manns had at his command. 'But why not,' argued the director, 'give the young composers a chance ? There must be plenty of clever and promising young men of whom the public knows absolutely nothing, and who need only be heard to become known and popular.' And he was as good as his word. So it happened, as time went on, that from the Crystal Palace the fame of well-nigh all the English com- posers who have since attained to distinction spread, and works of rare promise, and in many cases of rich achievement, were produced amid conditions which revealed all their highest quali- ties, and gave delight to those who listened to them. To have a work performed at one of those 268 AUGUST MANNS famous concerts, or to have played or sung thereat, was a passport to composers and artists in other important directions. But while opportunities were thus frequent of hearing excerpts of the modern school, as represented by Wagner, Raff, and Brahms, and entirely new compositions by English writers, the claims of the old school were not forgotten, and interpreted as these were with rare finish, they became more and more understood and better appreciated. For one of my Brighton festival concerts, in 1879, my old friend, Mr. W. Shakespeare, wrote a concerto for pianoforte and orchestra. My daughter played the solo part and Mr. Manns was the conductor. He expressed himself very pleased with my daughter's performance, and a few months later he engaged her to play the same concerto at one of the Crystal Palace Saturday concerts. But this is only one of many instances in which he has proved himself kind to beginners, and in the same way, as I have said before, he has lent a helping hand to many young composers. Thoroughly eclectic in the distribution of his favours, it matters not to him what is the nation- ality of those whom he befriends in this manner. I well remember a ' good turn ' he rendered some LEARMONT DRY SD ALE 269 years ago to a young Scotch friend of mine, Mr. Learmont Drysdale. That talented composer, then a student at the Royal Academy of Music, had written an overture called Tarn C? Shanter. He took it to Mr. Manns, who went through it very carefully, and having done so, promised to produce it whenever he had an opportunity. True to his word, he did so not long afterwards, and it so happened that the piece was most enthusias- tically received and flatteringly reviewed. I only mention this as a solitary instance where Mr. Manns' readiness to help forward young composers has been a stepping-stone to their advancement. By way of emphasizing Mr. Manns' extraor- dinary discernment and his ready desire to extend a helping hand to young and untried musicians, I cannot do better than enumerate a few composers, unknown at the time he produced works of theirs, whose advancement dates from the day their names first appeared in the Crystal Palace pro- grammes. First and foremost in this list I should mention Sir Arthur Sullivan, of whose works the following, among others, saw the light in manu- script under the conductorship of August Manns : No. i Symphony in C (1866) ; Sapphire Neck- lace, overture (1866); In Memorial?!, overture (1867) ; Marmion, overture (1867) ; and the 2 70 AUGUST MANNS Tempest, produced as far back as in 1862. Like- wise to Frederic Cowen did the Crystal Palace platform furnish a stepping-stone to richly-merited fame, his symphonies in C minor and F, and his overtures and entr'actes to Schiller's Maid of Orleans, being produced there in 1870 and 1871 respectively. Turning to other composers now holding high positions who first obtained recogni- tion and encouragement at Sydenham, there are C. H. H. Parry, Sir Alexander Mackenzie, and C. Villiers Stanford, all of whom, I believe, had works presented there in 1879 ; Walter Macfarren (pas- toral overture, 1878), Hamish MacCunn, Frederick Corder, and Edward German, from whose pen a symphony was produced two years before his charming and graceful incidental music to Henry VIII. was heard at the Lyceum. It w T ould be impossible, in a work which is far from claiming to be a dictionary of music, to give anything like a complete list, but to the names already enumerated should assuredly be added those of Sir William Cusins, J. F. Barnett, F. Cliffe, Henry Holmes, F. Lamond, Henry Leslie, Ebenezer Prout, W. Wallace, Henry Gadsby, Thomas Wingham, and R. H. Walthew. I need not here recall the history of the Handel Festivals at the Palace, which is matter of com- HIS SEVENTIETH BIRTHDAY 271 mon knowledge. Many tempting offers have fallen to August Manns, but he refused them all, until the directors of the Scottish Orchestra suc- ceeded in placing the control of that famous body of instrumentalists in his hands. An arrangement with the Crystal Palace authorities, enabled him to do this without severing his connection with their institution, and for a considerable period he divided his time between Scotland and Sydenham. It is interesting to note that, whereas up to this time the Scottish concerts had been carried on at a loss, they so gained in popularity under his sway that a large deficit which had to be faced when he assumed the conductorship was ultimately con- verted into a surplus, and when he relinquished the post matters were in a very flourishing condi- tion. I believe that after his resignation the con- certs again resulted in a loss. The completion of Mr. Manns' seventieth year, in March, 1895, is an event still fresh in the memory of musicians and music-lovers, seeing that it was made the occasion of proving the high esteem in which he is held by them. It was my pleasure to be present at the reception then given in his honour at the Grafton Galleries, when one of the most distinguished and notable gatherings ever brought together assembled to congratulate the 2?2 AUGUST MANNS veteran maestro, who was also the recipient of a well-earned mark of honour bestowed by H.R. H. the Duke of Saxe-Coburg-Gotha. Wonder has often been expressed that a knighthood has not long since been conferred upon this remarkable man. As a matter of fact, such a token of royal favour has more than once been offered him, but with characteristic modesty he, on each occasion, refused it. If I have not said so already, let me do so now : August Manns, best of friends and most brilliant of conductors, is one of the most modest and unassuming men I have ever met in any profession. And thus I will close this inade- quate tribute to his splendid services to musical art in this country. In justice to one who has rendered incalculable benefit to music, I cannot conclude this chapter without making mention of the immense assistance in the development of the movement carried out by August Manns which was given by Sir George Grove. As one of the directors of the Crystal Palace, Sir George lent a willing and earnest ear to the proposals made by him in years past pro- posals to which the most strenuous opposition was offered by directors less far-seeing and artistically minded. Of Sir George Grove I should further say that he is one of the most ardent music-lovers ' SIR GEORGE GROVE 273 England has ever had in her midst. His idols are Beethoven, Schumann, and Schubert, and his veneration for the last-named master carried him so far that he proceeded, in company with his friend Arthur Sullivan, to Vienna, and there made such researches that he succeeded in unearthing a great many most important works from the pen of his beloved composer which might perhaps otherwise have remained for ever unknown. To Sir George Grove's services, when he was director of that institution, the Royal College of Music undoubtedly owes its present high position among our musical academies ; while, lastly, be it recorded of this learned and amiable musician that the Dictionary of Music, to the completion of which he devoted so many years of his well-spent life, will serve for all ages as a comprehensive text- book and work of reference, the value of which to students of musical history cannot possibly be over-estimated. 18 [ 2 74 ] CHAPTER XL. A BATCH OF CONDUCTORS. Otto Goldschmidt and the Bach Choir Jenny Lind and the chorus Mr. Henschel's Symphony Concerts Sir Joseph Barnby The Royal Choral Society An eclectic musician Expert opinion on music-hall ditties Guildhall School of Music Dr. Henry Wylde The ' Ne\v ' Philharmonic Society in 1852 Wilhelm Ganz Hector Berlioz His Romeo and Juliet symphony Lindpainter and Spohr Hans Richter Other German conductors Wagner's music in England Concerts without ' star ' singers The conductor's apotheosis Richter's memory Score of Die Meistersinger The doctor at rehearsals. I HAVE not yet exhausted my list of conductors. In this continuation series the first name that occurs to me is that of a very old friend, Otto Goldschmidt. Many men there are who have become known through marrying a celebrity ; but not so Otto Goldschmidt, who would have attained a position for himself even if he had never met Jenny Lind. Excellent pianist, capable composer, and all-round musician, he is JENNY LIND IN THE CHORUS 275 a thorough artist if ever there was one. As conductor he will be chiefly remembered through having organized and directed the Bach Choir.* And let me here record a fact which is not generally known. Jenny Lind, who entered with the enthusiasm natural to a true artist into every work her husband undertook, frequently lent him invaluable aid by singing in the chorus. What other ' star ' of the first magnitude would have deigned to carry her love of art to such a pitch ? Amongst Otto Goldschmidt's compositions the best known was his oratorio, Ruth, in perform- ances of which his accomplished wife frequently took part. Coming to present-day conductors of high standing, a good deal might be written con- cerning Mr. George Henschel, but no purpose could be served by recapitulating facts familiar to all lovers of music. There is nothing to add to them ; but, in passing, let me pay my humble tribute to what this distinguished conductor and gifted musician has accomplished in the cause of his art in connection with the Symphony Concerts. In London, where, compared with large Continental towns, we hear so little high- * Professor Villiers Stanford succeeded Otto Goldschmidt as conductor of the Bach Choir. 276 A BATCH OF CONDUCTORS class orchestral music, the impetus given to this class of performance by George Henschel has been of incalculable advantage to the great music- loving and music-understanding public. Few musicians of the present age enjoy a greater reputation than that highly -esteemed composer and conductor, Sir Joseph Barnby. To over-estimate what he has done for choral singing would be impossible. It is at his per- formances of oratorios and other sacred works in the Albert Hall that the finest choral singing in London is to be heard ; for the interpretation of standard and solemn works by the forces which he directs is, in my opinion, unrivalled. But in years long past, when he conducted oratorios in Exeter Hall that pious spot now dedicated to meetings which ' come with the merry May '- he displayed conspicuous aptitude for Church music. A musician of more eclectic and catholic tastes I have never met. I believe that, as an erudite and tolerant musician, he has no sympathy with those superior and cantankerous persons who turn up their noses at everything and anything not made in modern Germany, and affect a cold indifference to all composers who are old-fashioned enough to believe that there still exists a public MUSIC-HALL LYRICS 277 willing to be charmed by melody, pure and simple. I remember hearing him deliver a speech or it may have been a lecture in which he forcibly enunciated his views on this score, and frankly proclaimed his capacity for appreciating a music- hall song, provided it be a good music-hall song, and remarked that he had derived intense plea- sure from listening to the graceful and piquant strains of light lyrical works, and poor, despised comic operas. And I quite agree with him. Sir Joseph, as all the musical world knows, is now the Principal of that important and useful institution, the Guildhall School of Music, and I cannot close this brief reference to him without bearing testimony to the splendid work he has done in the interests of the civic college.* Before concluding my somewhat portentous list of conductors, I should repair an omission of which I was guilty in one of the preceding chapters, and that was in failing to put on record the establishment by the late Dr. Henry Wylde, in 1852, of the ' New' Philharmonic Society. In the management of these concerts he was two years later joined by Mr. Wilhelm Ganz, who, on * The above passages relating to Sir Joseph Barnby were written before the lamented death of the distinguished musician. 278 A BATCH OF CONDUCTORS Dr. Wylde's retirement, afterwards became the sole director and conductor. Under Mr. Ganz's able and spirited control, these concerts gave promise of enjoying lasting prosperity, and it is to be regretted that after five years circumstances necessitated their permanent abandonment. Not only were many classical works performed under the new regime, but not a few of the greatest artists of the day took part in them, such as Rubinstein, Hans von Billow, Saint-Saens, Pachmann, Madame Essipoff, and Sophie Menter. By the way, one of the first (if not the first) of the ' New ' Philharmonic conductors was that illus- trious composer, Hector Berlioz, who conducted his Romeo and Juliet symphony at one of the concerts, while in 1854 one of Germany's most famous conductors, Lindpeintner, much esteemed as a composer in Carl Maria von Weber's style, occupied the responsible post. It was also filled by Spohr. The illustrious name of Charles Halle should, of course, figure in this chapter, but as I have dealt with that distinguished conductor and com- poser elsewhere, I have nothing to add. I cannot conclude my record of musicians famous for their mastery of the baton without HANS RICHTER 279 some allusion to Dr. Hans Richter and his com- peers, such as Mottl, Hermann Levi, and Nikish, all worthy followers of Richter as exponents of Wagner. But enough is it for me to lay emphasis on the wondrous change wrought in England of recent years in this connection, thanks to such men as Hans Richter. For whereas in former years no sort of concert in London attracted a large gathering unless it brought to the platform a vocal or instrumental ' star ' distinguished in the musical firmament, we now behold the spectacle of an audience, crowded, alert, and expectant, drawn only by the magic name of a Richter or a Mottl. In the old days the poor conductor, who had to work so hard before he got his forces to a sufficiently high level of excellence to ensure a finished performance, was a mere harmless and necessary figure in a scheme of attractions in which his ' drawing ' capacity was not reckoned. Now he is a veritable power in the land of music, and his name is printed in the type formerly accorded to none save a Patti, a Jenny Lind, a Liszt, or a Rubinstein. There are one or two points in connection with Hans Richter's extraordinary genius, as to which I ought to add a line. His close familiarity with 280 A BATCH OF CONDUCTORS the works of the masters of Bayreuth as, indeed, with all the works he conducts is such that he can write out from memory the full score of any one of them. It is well known, I believe, that the first complete score of Die Meistersinger was copied out by Richter, who stayed with the composer for that purpose. But few people can be aware of the extraordinary personal knowledge of every instrument that he brings to bear on the training at rehearsals of his orchestra. In order to indicate how he wishes any particular passage interpreted, he frequently takes an instrument- be it string, wood, wind, or brass and plays the phrase himself. CHAPTER XLI. THREE ENTERTAINERS. John Wilson A thorough artist Two boon companions Corney Grain as a law student The Old Bailey re- nounced Theatrical wig and gown The author in Corney Grain's robes My visit to a lunatic asylum A strange ' partner 'Astonishing recognition The enter- tainer's manner and methods The idol of the ' unco guid ' A peep at Tunbridge Wells 'Abandon hope . . .' Pink Dominoes whitewashed Good-natured chaff George Grossmith A modern Theodore Hook A cause ceftbre The season ' crush ' How Gee-Gee spoofed the guests A welcome cable A letter from Corney Grain. Ix giving some account, earlier in this book, of certain public entertainers who, to attract audiences, partly relied on sources other than musical, I had occasion to speak of John Parry, Henry Russell, and Albert Smith. It is now time to mention two of their successors, who for years past have afforded infinite pleasure to the young and old of this present generation. But 282 THREE ENTERTAINERS before writing of our modern humourists of the platform, I must be allowed to devote a line or two to John Wilson, who, when first I came to England, was among entertainers a great public favourite. He was, in reality, an excellently trained singer ; but I mention him in this place because he never assisted at regular concerts, contenting himself with recitals which used to last about two hours, and in which he received no help from any other artist. His entertainment was limited also in another particular, in that it consisted solely of Scotch songs. These, how- ever, were so wisely chosen and so ingeniously varied, and sung withal in a manner so perfect and with phrasing so refined, that monotony was effectually kept at bay. There was, indeed, such a charm about the performance that, despite my utter ignorance of Scotch dialect, I experienced the greatest delight in listening to it. Coming to later days, who shall say how much gloom and melancholy have been dispelled, how many troubles and vexations have been forgotten, under the genial influence of the sparkling witticisms of Corney Grain and George Gros- smith, inseparable friends, who chaffed everybody even one another but always good-naturedly. What a capital sketch it was, by the way, which CORNEY GRAIN'S WIG AND GOWN 283 appeared one week in Vanity Fair of these two outwardly dissimilar popular characters walking arm in arm. No contrast could have been greater or more amusing. Corney Grain had studied for the bar, as did many other members of his family, but the precincts of our civil and criminal courts suited him not, and there came a time when his wig and gown were no longer donned in the interest of litigants, co-respondents, and malefactors, and only found their way to the head and shoulders of individuals who had not ' eaten their way ' to the Bar. I myself was among the number. The occasion was a fancy-dress ball given by Mrs. Douglas Murray, in Portland Place, for which my friend was good enough to lend me his discarded articles of legal attire. Need I say that these were the slender days of Corney Grain, when his clothes would not have hung like a sack on any other frame but his, and that had I pre- sented myself in after years, even in a fancy-dress ball-room, attired in any apparel of his, my ap- pearance might have given rise to a belief that I was trying to figure as an inmate of Earlswood or Bedlam ? By the way, if my readers will pardon the digression, I should like here to narrate a strange 284 THREE ENTERTAINERS experience, of which I am reminded by the incident above recorded. Some years ago I was staying with some friends in the county of . One afternoon my host suggested that I might like to accompany his other guests to a ball which was to be given that evening by some ' near neighbours,' and which promised, he said, to be unusually interesting. I readily assented, albeit my dancing days were long since past, and then it was that my genial host, whom I reminded of this fact, imparted to me the intelligence, for which I was hardly pre- pared, that the dance in question was to take place at the Criminal Lunatic Asylum in the county. Thereupon I confessed to having no feverish desire to become acquainted with any of the inmates of such an institution ; but on being assured that they were not ' dangerous ' some of them, indeed, possessed, I was told, most engaging traits I consented to join the party. I did so, and later in the evening I accordingly found myself on a ' floor ' which, had I been younger, would, I feel sure, have induced me at once to foot it nimbly. But, as I have said, my ball-room days were over, and so, holding aloof from the dancers, I contented myself with watch- ing the demeanour and bearing of the strange MY MYSTERIOUS 'PARTNER' 285 and incongruous throng in whose midst I found myself. While I was thus engaged the friend who had brought rne thither came up to me, in company with one of the medical men attached to the asylum, and the latter, after being introduced to me, asked whether I would entertain any objection to dancing with one of his charges, adding that some of them were extremely sensitive and might take offence at my remaining in the background. Truth to tell, the invitation tempted me but little ; nevertheless, I allowed myself to be persuaded into taking a partner for the set of quadrilles just about to commence. Thereupon I was formally presented to a lady whose appearance was not calculated to revive in me that love for dancing which the prospect of tripping it with a fascinating partner might have inspired in one even of my years. This particular inmate, who, on being introduced to me was, unlike Niobe, ' all smiles,' was dressed ' up to the eyes,' as the saying goes, while such is the license apparently granted to dames and damsels 'detained during Her Majesty's pleasure,' that she had applied with no sparing hand the rouge pot and powder-puff to her face, while her chevelure was, if her own, of a hue which I 286 THREE ENTERTAINERS for one had never seen before, even in a ball- room. But the surprise I experienced at the appearance of this singular creature was as nothing compared to^my astonishment on hearing the exclamation that fell from her enamelled lips after the medical attendant had performed the ceremony of intro- duction. ' Wonders never cease !' she said. ' Who would ever have thought of meeting you here, Mr. Kuhe ?' Utterly bewildered, I muttered something about my pleasure at finding myself in such agreeable company. ' Why,' she continued, interrupting my banalities, ' I used to go to all your concerts in Brighton.' Here was an interesting 'case' indeed, and the mystery thickened when my partner, whose delight at meeting me was somewhat disconcert- ing, proceeded to inquire, with undisguised in- terest, after various people known to me personally or by name, with whom she said she was acquainted. The quadrille over, I lost no time, needless to say, in ascertaining the identity of the lady who was formerly such a constant patron of my concerts. My inquiries led to the discovery that THE 'SINFULNESS' OF THEATRES 287 she bore a name notorious in the annals of latter- day crime, the scene of which was laid in Brighton, and the victims of which were a number of children to whom she had sent poisoned sweet- meats. An attempt had been made by this unhappy creature to fasten the guilt on others, jealousy being the alleged cause of her murderous designs ; but a plea of insanity was set up and successfully established, with the result that she found herself comfortably housed in the asylum within the walls of which I met her. No description of the manner and methods of the brilliant entertainer, my recollections of whom I must now resume, is here necessary. They are in everybody's memory, for the pleasant hours spent in St. George's Hall and it is wonderful that so lugubrious a building should be identified with any form of pleasure are recollections almost of yesterday. He not only contrived at all times to amuse hardened playgoers and blast? pleasure-seekers, but materially assisted in the development of a form of mild and innocuous dissipation for a large body of people peculiar to this soil who have a deep-rooted conviction that over the portals of every theatre are emblazoned the words, ' Abandon hope, all ye who enter here.' 288 THREE ENTERTAINERS Why, not many years ago, when staying in Tunbridge Wells a town noted for the dissenting proclivities of its inhabitants I was talking on this very subject with the manager of the hall, which in that picturesque resort serves as a theatre and concert-room combined, and he in- formed me that again and again had the sugges- tion been made to him that a temple of the drama would supply a long-felt want in that quaint old town, but that the feeling against anything called a theatre was so strong that all hope of making such a scheme pay had to be renounced. Never- theless, the entertainments musical and dramatic given periodically in the ' great hall ' were highly successful ; and people who would regard themselves as ' lost ' if they witnessed a perform- ance of Hamlet given in a theatre, flocked, to my knowledge, to the aforesaid building to enjoy the risky fun of that Anglicized French farce, the Pi'rtk Dominoes. Corney Grain possessed the rare gift of being able to evoke laughter and applause from the very people against whom his satire was levelled. But, then, his sarcasm was always good-natured and innocent of offence, besides which, as a keen observer and a man of discernment, he counted on the inability of nine out of every ten members GOOD-NATURED CHAFF 289 of his audience to recognize in themselves the butts of his humour. ' Chaff them,' he always used to say, ' as much as ever you like. They are sure to think you are alluding- to their neighbour in the stalls, and will enjoy the fun all the more on that account.' As everybody knows, George Grossmith, wittiest of humourists and most genial of men, has of late years followed in the footsteps of his lamented friend, meeting both here and in America with enormous and well-deserved success. But, unlike many performers whose mission it is to amuse the public, ' Gee Gee,' as he is familiarly called, is every bit as witty and entertaining off as he is on the platform. And I hope he won't object to my adding that, like the immortal Theodore Hook, he loves a good practical joke. Possibly for that reason was he selected for the part of the Governor of Elsinore in Messrs. Gilbert and Carr's His Excellency, though, unlike that amusing but unprincipled official, his practical jokes, in common with his sallies, are never unkind. Some two or three years ago, at the time when a cause celebre which created an extraordinary sensation in social circles, and in which a well- known baronet was involved was in course of 19 290 THREE ENTERTAINERS hearing, I was present at a season ' crush ' at which Mr. Grossmith, among other artistic celebrities, had been entertaining the guests. The latter were waiting in the flower-bedecked hall for their carriages the usual difficulties and delays in this connection being encountered when, in a moment of silence, my irrepressible friend, assuming a voice foreign to his own, shouted in stentorian tones : ' Sir 's carriage stops the way.' The name he had proclaimed was that of the aforesaid baronet, of whom everyone in society was talking at the period, and, needless to say, a moment of intense excitement followed, consequent upon the eagerness of all to behold the gentleman of whose supposed presence they had been unaware. Grossmith's kindness and generosity are proverbial. Let me recall, as an instance of his unfailing good-nature, how, on hearing, whilst in America entertaining Cousin Jonathan, that a concert was being organized in London in celebration of the jubilee (1894) f mv arrival in this country, he at once cabled from the States to his friend (Mr. Vert) that it would give him great pleasure to be numbered among the artists who were to rally round me on that occasion ; and, as luck and his good-nature ordained, his welcome wi^L+ts ^ ~zfec/~^7 K *-v. To face p. 291. GEORGE GROS SMITH 291 appearance at that concert signalized his rentre in London after his transatlantic triumphs. By such kindly and spontaneous actions as this does George Grossmith endear himself to all and sundry, and win the friendship of everyone with whom he is brought into contact. I give here a letter of Corney Grain's, written to my daughter when she was a very young girl, full of genial chaff, and therefore characteristic of the writer. CHAPTER XLII. MR . J. M. LE VY. My early struggles The friend of young artists The Sunday Times An artistic symposium The Daily Telegraph Predictions falsified The first penny daily paper Florence Cottage An art connoisseur Musical and theatrical celebrities The actors' counsellor Hints to managers Social entertainments in Grosvenor Street A memorable duologue Return of the wanderer The great actor's first call A dinner to Henry Irving Sir Julius Benedict Reminiscences lost to the world Mr. Lionel Lawson The Queen's, in Long Acre The Gaiety Sir Edward Lawson Criticisms in the Daily Telegraph Some contributors thereto. PROBABLY to no one prominently connected with art, literature, music, and the drama, will mention of the name of the late Mr. J. M. Levy fail to recall cherished memories. Few men of his time did more for art, or took a keener and more in- telligent interest in all that appertained to it, than the open-hearted gentleman who became, subse- quent to my first knowing him, the proprietor of THE 'DAILY TELEGRAPH' 293 a journal which he made a veritable power in the land. Looking back now over a number of years recalling early days of struggle and disappoint- ment, and a later period in which I enjoyed such success as I may have attained in the profession I adopted one figure stands out prominently, and brings back to my mind recollections which I value more than any in my long career that of one of the staunchest friends I ever had in this country or that of my birth Mr. J. M. Levy. From the time of my first introduction to him in 1846, to the day of his death in 1889, he remained to me the most loyal and valued of friends, ever ready to give me wise counsel, sympathize with me in times of trouble and stress, and rejoice with me when fortune smiled. When I first became acquainted with Mr. Levy, then the proprietor of the Sunday Times, he had a house in Doughty Street, where he was wont to entertain, with a hospitality which ever remained one of his most distinguishing traits, men of cul- ture, of literary ability, and artistic promise. It was while he was living here, in the early years of our acquaintance, that he became the proprietor of the then recently-established Daily Telegraph, and the virtual founder of the first London daily penny journal. What obstacles had to be en- 294 MR J.M. LEVY countered in this enterprise, what prophecies of failure and disaster were uttered by the conser- vative wiseacres of the time, with what persistent energy, extraordinary tact and sound judgment the undertaking was ultimately carried to success, are matters with which it is not my province here to deal. The friendship so happily formed at that early period ripened with time, many events happening to foster and preserve it when, in after years, I was a constant visitor at the house of Mr. Levy in Grosvenor Street. I may here recall that shortly after his mar- riage, at the age of nineteen, Mr. Levy took a pretty and healthily-situated bijou residence, which he subsequently christened Florence Cottage (after his youngest daughter), in Ramsgate, a town of which he was always very fond, and which he yearly visited in the summer months, as he did Brighton in the autumn and winter, when the season at the Queen of the South was in full swing. The transformation which, as time went on, he wrought at his dearly - loved Florence Cottage, revealed the hand of the artist and the lover of the beautiful in all that concerns environ- ment. Acquiring many acres of surrounding pro- perty in the way of land and gardens, he so AN ARTISTIC SYMPOSIUM 295 enlarged his picturesque and cosy country retreat that the simple and unpretending word ' cottage ' fell strangely on the ears of those finding them- selves within its hospitable precincts. It was here that the owner spent some of the happiest days in his long, active, and honourable career ; it was here, surrounded by his relatives and friends, and mourned by all who were ever privileged to know him, that he passed away after a lingering illness. As a private gentleman and personal friend rather than as the proprietor of the remarkable journal which he owned, will I speak of this versatile and gifted man. When I first knew him I was a frequent visitor at his house, and in later years, when, having more time and leisure to devote to entertaining, his residence was a centre of artistic and social life, he would never allow a day to pass without my seeing him, so united were we by ties of friendship. Even when he went on the Continent he was good enough to invite me to accompany him, and he never neg- lected an opportunity of introducing me to people whom he considered it to my interest, as an artist, to know. Kind and affable to all who visited at his house, to no one was he more so than to actors, singers, literary folk, and artists generally. More especially did he take a lively interest in every- 296 MR. J. M. LEVY thing and everybody connected with the stage and with the musical world. His experience and widespread knowledge were sufficient to inspire in all who thus approached him the utmost con- fidence. How many interesting personalities I met, and how many valuable connections I was able to form through Mr. Levy, will at once become apparent when I enumerate a few of those who frequently enjoyed his hospitality. I can only mention a tithe, of course, and will do so in the order that their names occur to me. Confining myself wholly to representatives of the artistic world who were constantly to be found at his house, I can call to mind Mr. and Mrs. Charles Kean, Mr. and Mrs. Keeley, Charles Mathews, Sothern (the original ' Dundreary '), Benjamin Webster, Morris Barnett, John Oxenford, Edward Dicey, Montagu Williams, John Hollingshead, the Alfred Wigans, the Bancrofts, the Kendals, Arthur Cecil, the Marquis de Caux and his wife, Adelina Patti, Christine Nilsson, Titiens, Ethelka Gerster, Pauline Lucca, Sembrich, Sims Reeves, Thalberg, Rubinstein, Ernst, Piatti, Sir Michael Costa, Sir Julius Benedict, Mapleson, Sir Augustus Harris, Corney Grain, ' Johnny ' Toole, Mary Anderson, John Hare, Edmund Yates, H. J. Byron, Sir AS A PATRON OF THE DRAMA 297 Arthur Sullivan, F. H. Cowen, and last, though assuredly not least, Henry Irving, who, with his friend and aide-de-camp, Bram Stoker, was a frequent visitor, and among Mr. Levy's most intimate friends. Indeed, our host, keenly artistic as I have said, and the first to recognize true genius in any branch of art, had a fervent admiration for the Lyceum manager, and never tired of singing his praises, while he sought his society more, perhaps, than that of any other man. Many artists who now enjoy a high and enviable position in their respective spheres, but who were at that time still ascending the ladder of fame, could bear witness with me to the unfailing kind- ness and courtesy of the counsellor and friend whose death was an inestimable loss to the dramatic and musical professions, whose best interests he had so much at heart. Of Mr. Levy's experience and shrewdness many theatrical managers of note would often take advantage, and it was quite a common thing for a manager, before producing a new play, re- viving an old one, making an engagement, or investing money, to consult ' Papa ' Levy, as he was invariably called by his more intimate friends; and I have known of cases where his advice in such matters proved of the greatest value, and 298 MR. J. M. LEVY revealed him in the light of that rara avis, a pro- phet in his own country. I was only one of many friends and proteges whose career he was the means of starting, and whom, in subsequent years, he never forgot or neglected. As for the intellectual and artistic treats his friends enjoyed within his hospitable walls, they were without number brilliant talk from such men as Charles Kean and Sir Edwin Arnold, singing by Patti and Nilsson, the playing of Thalberg or Rubinstein, comic sketches by Corney Grain or George Grossmith, recitations by Irving or Toole. I shall never forget a comic duologue I once heard there (now many years ago) by Mrs. Bancroft (then Marie Wilton) and Arthur Cecil. Nor would I efface from my recollection another occasion, which was brought about in this way : When Henry Irving returned to London, after his first tour in America, he called almost imme- diately on Mr. Levy, in Grosvenor Street. I happened to be visiting at the house that after- noon, and vividly recall my friend's surprise and delight when the distinguished actor walked into the room. Before there had been much conversa- tion Mr. Levy said, ' Henry, unless you have made any other engagement, you must have your THE ACTOR'S RETURN 299 first dinner here with me, quite informally, of course, as it is too late to arrange much more than a family gathering.' Irving at once assented, whereupon Mr. Levy said that I must come too. He also despatched a like invitation to Sir Julius Benedict, who was a persona grata in Grosvenor Street, and another to his old friend, the late Mr. Whitehurst. These, together with Miss Matilda Levy, constituted the ' party,' and a more delightful, homely and entertaining evening could not be imagined. The honoured guest's American impressions would fill a small volume, could I remember them, while the distinguished and amiable composer of the Lily of Killarney was in great form. A brilliant and humorous conversationalist at all limes, he excelled him- self on this occasion, recounting innumerable recollections of notable events in his varied career, and narrating, with indescribable esprit, anecdotes concerning artists past and present. I cannot help deploring that so gifted and witty a man as Julius Benedict should have died without giving to the world a volume of his re- miniscences. Had he done so, a rich store of interesting events, many of them unrecorded, o would have been given to a public always eager to learn more of artistic celebrities and the world in which they lived. 3 oo MR. J. M. LEVY I cannot close this chapter without making brief reference to some of the members of Mr. Levy's charming and accomplished family, and to one or two of his relatives. His half-brother, Mr. Lionel Lawson, was a well-known figure both in London and in Paris. In the management of the Daily Telegraph, of which he was part pro- prietor, he took no active share, but, in common with Mr. Levy, he evinced a warm interest in everything connected with the stage and those associated with it. He built two theatres, the Queen's, in Long Acre, and the Gaiety. He was liked by everyone for his kindness, bonhomie, and genial wit, and was, in short, a great favourite with all sorts and conditions of men. A great portion of the immense fortune which he left was inherited by his nephew, Edward Lawson, who had many years previously adopted his uncle's name. No need is there for me to say anything of the popularity of Mr. Levy's eldest son, than whom a more affable and kind-hearted fellow never breathed. Years ago, when his father's health was beginning to fail, he worked like a Trojan in the interests of the paper which he now controls with such indefatigable spirit (and of which, by the way, my old friend, Mr. J. M. Le Sage, is the managing editor). All who know Edward Lawson MUSICAL AND DRAMATIC CRITICISMS 301 rejoiced when, three years ago, the honour of a Baronetcy was conferred upon him. Sir Edward, I may add, is as loyal a patron of the drama and as fond of the society of its exponents as was his father before him.* By the way, I should have mentioned that in the later years of his long and active life Mr. Levy devoted himself solely to that portion of the Daily Telegraph which deals with matters theatrical and musical. In this connection pro- bably few persons living know to what extent he helped to stimulate a healthy and artistic public interest in music and the drama. This he did by devoting far greater space to theatrical produc- tions and musical events than was accorded them in any other daily journal a tradition adhered to up to the present day, although, of course, far more prominence is now assigned to music and the stage in all newspapers than was the case for- merly. But Mr. Levy was the first to lead the way in this direction, and he showed his keen insight and sound judgment by securing for the purpose such critics, for example, as Mr. Joseph Bennett, Mr. Clement Scott, and Mr. Beatty Kingston. * Lady Lawson is the daughter of the late Benjamin Webster, who left behind him as great a name as any English actor of his time. [ 302 ] CHAPTER XLIII. MUSICAL ASPIRANTS. An incurable malady Young talent Importunate friends of beginners ' So and So's ' Trials and tribulations of impresarii My opinion sought under curious circum- stances Thestrange gentleman An extraordinary request A comic version of the Erl King Common form of insanity The other side of the picture Two successful debutantes Miss Margaret Macintyre. IT was once suggested to me that some account of my experience of musical beginners, by which I mean would-be singers, pianists, violinists, and the like, might prove rather entertaining reading. And so I think it would. But it would be difficult to do justice to the subject without giving grave offence to many victims of the ' public- performing fever ' who, at different times, have besought my aid. Still, I may give one or two examples of how people who, like myself, occa- sionally organize concerts are expected to encourage young ' talent/ and how their time is often taken up, to the benefit of no one, in A CURIOUS LETTER 303 hearing ' so and so, who has a lovely voice, and is bound to get on,' sing in private. How many ' so and so's ' I have had to listen to in my time I could not say. And the worst of it is that, save on the rarest occasions, I have been able to do nothing for them. It is not because one is unwilling to help on beginners, but simply because the opportunities for so doing are few, while in many cases, alas ! the young musical beginners are not musical at all, but hopelessly incompetent. And where the artist in whose behalf assistance is sought happens to be the protege of an old or intimate friend, the task of refusing aid becomes a very delicate one, and a little diplomacy has to be called into play. Here is a curious letter in which my advice was sought twenty-three years ago : ' DEAR SIR, ' Would you kindly favour me with your opinion of my children's musical abilities ? Could they attain a position say, such as Madame Arabella Goddard's, or are they only average players ? Your answer will greatly oblige, ' Yours, etc., 304 MUSICAL ASPIRANTS Not in the expectation of hearing embryo Arabella Goddards, but solely to oblige their inquiring father, I heard the infant prodigies play. Having done so, I could not honestly predict for them a brilliant future, nor could I bring myself conscientiously to pronounce them ' average players.' They were about the worst even I had ever heard. I shall never forget a visit paid me in Brighton by a stranger, who, bringing no letter of intro- duction, made me a most extraordinary offer. This gentleman's manners were charming, and I afterwards learnt that he belonged to a good family ; but the suggestion he made was so pre- posterous that for the time I really believed that he had escaped from a lunatic asylum. He had studied music seriously, but had discovered that his forte lay in a comic vein. In fact, he pos- sessed (this on his authority only) a real genius for singing comic songs negro ones in prefer- ence and his idea was to establish a large social connection in the way of singing at private parties and 'at homes'; but it was essential, he said, first to achieve a kind of professional status, so that he could command high terms, and this could only be done by singing in public at an important concert, where he would be the only A STAGGERING SUGGESTION 305 'comic singer,' and on that account alone would ' create a sensation.' Then came the staggering suggestion that I should assign him a prominent place at one of my big concerts a classical one for choice, he said and allow him to sing one of his rollicking, side- splitting effusions. But it was to be a musical joke in more senses than one, because this comic genius's perception of humour extended to the idea of his being announced to sing something legitimate, such as The Erl King, so that the audience might be pulverized with astonishment when he commenced his humorous ditty. I will not disclose the price this extraordinary individual was willing to pay for a debut under such circumstances. Suffice it that he was ready to buy up seats equivalent to a very substantial sum. And when I refused, firmly but politely, he looked too sorrowful and downcast ever to sing- a comic song again. Unabashed, however, he subsequently wrote to me urging his suit, but from that day to this I have never set eyes on him. Often have I wondered how the audience would have received that comic version of The Erl King. Possibly they would have preferred it infinitely to something strictly classical. In common, doubtless, with many other concert 20 3 o6 MUSICAL ASPIRANTS givers, I have had remarkable experiences of persons usually men who, on the advice of their friends, have given up the profession in which they were engaged, and out of which they were making a good income, in order, as they thought, to take the world by storm as singers or players. This is quite a common form of insanity, and one of the very saddest I know of. For it is grievous to find a man, as I often have, at an age when it is too late to begin anything, throwing over of his own free will a settled income (in many cases a large one), to take up one of the most precarious callings in the world without possessing the talent necessary to stand the smallest chance of success. And having said so much on that side of the picture, I am glad to be able to say if I may do so without appearing egotistical that it has been my pleasure and good fortune in the course of my career to have the opportunity more than once of giving a helping hand to young artists of genuine promise and ability, and to have been the means of introducing to public notice singers and instrumentalists who have since risen high in their profession. Thus, to mention only two cases, it has always been a source of pride to me to have been the first to lead on to the concert MARGARET MACINTYRE 307 platform those charming and gifted singers, Miss Marguerite Macintyre and Mademoiselle Antoinette Trebelli, both of whom made their initial public appearance under my auspices, the first-named in. the Brighton Dome, and the latter at St. James's Hall. [ 38 ] CHAPTER XLIV. OUR OPERATIC MANAGERS. Benjamin Lumley Opera in 1845 Some famous dancers Taglioni and the swaying sisterhood Lumley and his competitors Deserted by his singers Loyal Lablache The manager unbaffled A rival flourish of trumpets The Covent Garden Syndicate Jenny Lind to the rescue Rentree of Sontag Titiens and Piccolomini Frederic Gye's enterprise English opera at Drury Lane The ' poet Bunn ' Mr. Punch in Trouble Harrison the tenor Louisa Pyne Likeness to Queen Victoria Gye's ' stars ' In the ascendant My relations with the manager Concert at the Floral Hall Italian opera at the National Theatre E. T. Smith and Mapleson The latter beloved by artists Array of talent Signer Lago Gayarre The sisters Ravogli 'Young Italy' at the Shaftesbury Theatre Cavalleria Rusticana A Russian opera Eugene Oudin Mr. D'Oyly Carte and the Royal English Opera Sullivan's Ivanhoe. IN 1845, the year in which I settled in this country, Benjamin Lumley was the leading spirit of Italian opera in the Metropolis, and under his spirited and able direction both the lyric and the choregraphic arts flourished. In those clays, the LUMLEY LEFT IN THE LURCH 309 ballet was a great feature of the opera, and amuse- ment-goers whose memories do not carry them back to that time can in my opinion have no con- ception of what dancing really should be. I quite admit the grace and agility of our present-day Letty Linds, and the skirt and ' serpentine ' dancers who are held in such high esteem by the modern jeunesse dorte ; but still, I maintain, at the risk of meeting with flat contradiction, that there was a poetry and beauty about the pirouetting of Tag- lioni, Fanny Elsler, Cerito, and Carlotta Grisi, which has never been equalled since. To return to Lumley, who was undoubtedly one of the most enterprising managers of that or any other time, the year that followed my arrival (1846) was the last in which he held absolute sway. For there came other Richmonds upon the field, as he discovered to his cost, and on the last night of the season, when he wanted to renew the contracts with his artists for 1847, he was informed that all the singers (Lablache excepted), the orchestra, chorus, conductor, and the entire staff had entered into agreements with an opposi- tion establishment. No one nowadays can possibly realize the difficulties presented by such a situation as Lumley was called upon to face. An advertisement in- 310 OUR OPERATIC MANAGERS serted in the papers at the present day for a first violin or a bassoon player would elicit at least fifty answers. But not so in Lumley's time, when London boasted practically only one orchestra, which was sufficient to serve all purposes by reason of the fact that the opera performances only took place three times a week, and concerts were given on the days that the opera was closed. The mere fact that his orchestra had given him notice meant that Lumley would have to go into the highways and by ways, and search in Continental cities for efficient substitutes. The same with the chorus, who quitted en masse, and anybody less resourceful than this astonishing manager would have^ been at his wits' end to carry on so stupendous an undertaking in the circumstances. But far from being downcast or crestfallen, Lumley even found the heart to jest about his dilemma. Pulling himself up with the dignity that became a man who always wore a white waistcoat, he said to me one day, in speaking of his troubles : 1 Ah, Kuhe, it's an ungrateful world ! They've all left me except dear old Lablache ; and he's as staunch as he is stout.' Everyone considered poor Lumley's case a desperate one, and wiseacres predicted his speedy retirement from the scene of so many triumphs. COUNTER ATTRACTIONS RESISTED 311 But the manager was far too astute and far-seeing to give up the battle without a struggle, and his extraordinary perseverance stood him in good stead for a time. The rival concern had been duly opened, with a flourish of trumpets, at Covent Garden, in the syndicate for running which were Delafield the brewer, Persiani, and Frederick Beale. But at this time there came upon the scene the incom- parable Jenny Lind, who enrolled herself under the banner of the plucky Lumley, and proved such a mighty attraction that the opposition house was, in colloquial parlance, ' nowhere,' and the directorate, unable to offer their patrons induce- ments in any way proportionate to those held out by the lessee of Her Majesty's Theatre, came to grief. For a time, then, Fortune continued to smile upon Benjamin Lumley, thanks to the return in the following season of Jenny Lind, and to the subsequent reappearance of Henrietta Sontag (Contessa Rossi), who was induced, after twenty years, to emerge from her retirement, and once again charm her old admirers and astonish a new generation. Two other attractions of the first magnitude also came to Lumley, in the persons of Titiens and Piccolomini, and all looked rosy enough until 3 i2 OUR OPERATIC MANAGERS the appearance at the head of affairs at Covent Garden of Frederic Gye struck a death-blow at the other establishment. The enterprise and the power of organization which the new-comer brought to bear on the undertaking proved too much even for Lumley, and he had perforce to give up the fight. By the way, when I first came to London, Drury Lane boasted a scheme of English opera, of which the guiding spirit was the famous Alfred Bunn, called, in a gently ironical appreciation of the unconscious humours of his lyrical efforts, the ' Poet Bunn.' His action against Punch, in whose genial columns much innocent fun was levelled at the manager, is matter of history. Harrison, the great English tenor, and father of Clifford Harrison, was Bunn's chief singer. Together with that accomplished and popular vocalist, Miss Louisa Pyne, Harrison in after years carried on several seasons of English opera at Covent Garden, and there produced works by Wallace including Liirline and Balfe, notably the Rose of Castile. In this Louisa Pyne enacted the part of the Queen, and there are probably old opera-goers who can recall how, made up for that role, she bore a striking resemblance to our own sovereign. This excited, I remember, a good STARS INTRODUCED BY GYE 313 deal of comment at the time; and the extra- ordinary part of it was that off the stage the charming singer had not a vestige of likeness to Her Majesty. As for Frederic Gye, he was one of the most far-seeing and energetic operatic managers London has ever known. In previous chapters I have given an account of the debut of famous song- stresses whom he introduced to the public, among others Adelina Patti and Albani. My relations with Gye were always of the most friendly descrip- tion, and in business matters he proved himself many a time and oft fair and generous to a fault. A case in point occurred when I gave my first concert in the Floral Hall. I cannot remember the year, but our arrangement was that I was to avail myself of the services of all his principal artists including Patti and Albani and was to o pay him ^"400 and share with him all the receipts over and above that sum. I also had to defray the cost of advertising the concert. When it was over, however, he was so liberal as to forego his share in the receipts, and would only accept the sum I have named in return for the artists who had taken part in the programme. Thanks to this kindly action on his part, I not only averted a heavy pecuniary loss, which I 3i4 OUR OPERATIC MANAGERS should have sustained had he claimed his full share of the takings, but was even able to realize some profit. More than one manager in my time has tempted fortune with Italian opera at Drury Lane. The first that I remember was E. T. Smith, although that gentleman, being unversed in the ways of operatic organization, in reality allowed the strings to be pulled by Mr. Mapleson, who ultimately succeeded him, and proved himself to be an entrepreneur of extraordinary skill and resource. By no failure was he abashed, and he allowed no difficulties to stand in his way. His popularity with the artists who appeared under his rdgime, as well as with the public, whom he always did his best to serve, is too well known to call for comment. Suffice it that Mapleson introduced to the notice of English audiences an extraordinary number of distinguished artists ; that he carried on the opera not only in the season but in the autumn (at cheaper prices) ; and that the operatic representations he gave in the provinces also during the autumn were marked by a complete- ness never before attempted in the interest of our 'country cousins.' On leaving Drury Lane, Mapleson, as is well remembered, tried his luck at Her Majesty's, and the ups and downs he 'CAVALLERIA RUSTICANA' 315 experienced within the historic walls of that theatre could be made to fill many volumes. I prefer not to attempt the task. Among comparatively recent operatic managers, one who made persistent and gallant efforts to revive a taste for a form of art which had then seen its best days was Signer Lago. At Covent Garden he rushed in where many equally astute organizers had feared to tread ; but his name is not emblazoned in the roll of those who have accomplished the herculean feat of making Italian opera pay in this country. At Covent Garden, if I remember aright, the tenor Gayarre was his foremost attraction ; but on several occasions has Lago proved his capacity for gauging the public taste. For instance, under his auspices the sisters Ravogli made their first appearance in England, and the manager a thoroughly kind-hearted fellow, by the way scored a big hit when, some few years since, he took the Shaftesbury Theatre, and introduced metropolitan amateurs to the melodic charms and dramatic intensity of 'Young Italy ' in the person of Pietro Mascagni, whose Cavalleria Rusticana had not up to then been heard in this country. But Signer Lago's ubiquity was something to marvel at. Some little time afterwards he 3 i 6 OUR OPERATIC MANAGERS bobbed up again serenely, as the Due des Ifs used to sing in Olivette, in a theatre eminently unsuited to lyrical representations, and produced an English version of Tschaikowski's opera, Eugene Onegin. If success did not attend this production, the manager, at any rate, earned the gratitude of the musical public in that the few performances that were given derived charm and artistic significance from the appearance in the title-role of a singer who won the unstinted admiration of all music-lovers. I refer to Eugene Oudin, whose untimely and pathetic death deprived amateurs of the services of a consummate artist, and was lamented by the many friends to whom he had endeared himself. I cannot here forego a brief reference to an enterprise, the failure of which was, and still is, deplored by all who have at heart the best interests of native musical art. When Mr. D'Oyly Carte, a manager with whom the whole of the play-going and music-loving public are on the best of terms, conceived the idea of giving to London a perfectly equipped theatre dedicated to English operatic art, all musicians rejoiced, and wished the founder well in his laudable undertaking. But it was not to be. No need is there to recall the conscientious completeness with which the manager carried out THE ROYAL ENGLISH OPERA 317 a scheme fraught with danger to himself but seemingly possible of the brightest results. Everything that tact, taste, and artistic resource could accomplish was done to crown the project with success. Personally, I may say that not since I came to England have I seen a production so admirably cast, so beautifully staged, so perfect in every detail as that which, in the spring of 1 890, introduced to the English public Sir Arthur Sullivan's Ivanhoe. But the prospect of witness- ing a series of such works under like conditions of lavish splendour and artistic finish was too good to be realized. The English Opera House is now no more than a memory, the abiding associations of which reflect honour on the man who devised the scheme, and, be it confessed with regret, discredit on those who failed to support it.* * Reference to the fruitful labours of the late Carl Rosa in the cause of operatic progress in this country will be found in a succeeding chapter. CHAPTER XLV. SIR AUGUSTUS HARRIS. Temporary decline and fall of grand opera London a lyric wilderness Sir Augustus to the rescue An organizing genius A globe-trotting manager Early attempts at revival Initial difficulties A plea for a Government sub- sidy Renascence of Italian opera Native talent en- couraged Three simultaneous performances Public recognition A testimonial Generous gift to academies Ceremony at Drury Lane A significant promise ' National opera ' in London Subventions abroad Court Theatre in Vienna The Emperor William and the Berlin opera Superstitions of an impresario Peacocks' feathers on the drop curtain The prima donna's birthday- card Visit from a coryphee The dreaded plumes again. I HAVE spoken, in connection with Signor Lago, of attempts to revive the fallen glories of Italian opera. It is a sorrowful fact that not many years ago the public concealed their taste for grand opera as successfully as they now do their taste if they have any for comic opera. There was just this difference, however, that whereas some- thing has taken the place of the latter and HIS GENIUS FOR ORGANISATION 319 satis fe& fin-de-siecle playgoers who like their fun with a dash of spice in it, there was nothing to supplant Italian opera in public affection, so that musically, or rather operatically speaking, London became a wilderness. How long this state of affairs might have continued had it not been for the indomitable pluck, energy, and determination of one man, goodness only knows. This was Sir Augustus Harris, who, paying no heed to those who prophesied disaster, opened once again the gates of music to opera-lovers whose ears had been stopped, made Covent Garden as spick and span as it was in the days when nobody remembers it, and engaged a first-rate company of artists. There are several kinds of genius. The lessee of Covent Garden Theatre and the rest can lay claim to the title as an organizer. And unlike most other geniuses, he is such a ' hail fellow well met ' that you almost forgive him for being one. Now were I to attempt to describe the marvellous doings of a man who, in the heterogeneous in- terests of a public full of wants, is one day in London, the next in Paris, the following week in New York, and then back again in London before his friends have had time to miss him, I should fail signally. I am informed that ' Augustus 320 SIR AUGUSTUS HARRIS Druriolanus,' in his spare time, is jotting down notes for his memoirs, therefore I will leave it to him to follow the example of the conjuror, and tell us ' how it is done.' Years ago, I believe, when Londoners had witnessed the decline and fall of grand opera in their midst, Sir Augustus made up his active mind that he would seize the first opportunity of making at least a gallant attempt to inspire opera- goers (who had no opera to go to) with sufficient enthusiasm to support an annual scheme of Italian opera on a scale never before surpassed. The difficulties he had to encounter must be patent to all who reflect on the immense disadvantages under which an impresario has to work in a country where no Government grant is forth- coming, and where the expenses are so enormous that prices have to be charged which to the majority of the public are prohibitive. But Sir Augustus was not the man to be ' frightened off.' One of these days the renascence of Italian opera in London under the management of Sir Augustus Harris will make very interesting and instructive reading. No reference, however brief, to the fresh lease of life that has come to Italian opera under the present regime should be penned PRESENT DAY OPERATIC RESOURCES 321 that does not make due recognition of the en- couragement extended again and again by the impresario to native musical talent. He may give us the best French and Italian singers, bring German operas to our doors, and produce foreign works that have appealed to amateurs on the Continent ; but no opportunity has he neglected of bringing to a hearing, under cir- cumstances wholly favourable to the composer's chances, works from British pens, and in this matter he has done that which alone would entitle him to the support and consideration of the English public. Elsewhere I have referred to the difficulties that befell an operatic manager in London half a century ago, through the unfortunate contretemps of his singers, chorus, and orchestra forsaking him. The chief difficulty, as I have said let alone the question of artists was to get efficient substitutes in the orchestra. But what do we find nowadays? That on one and the same night the present manager of Co vent Garden can, with- out turning a hair, so to speak, give a performance of Italian opera at that establishment, a repre- sentation of German opera at Drury Lane, and a ' command ' performance at Windsor Castle. Twenty years ago such a thing would have been 21 322 SIR AUGUSTUS HARRIS impossible. To-day it is accomplished with apparent ease. But it is marvellous all the same. Having regard to all that he had done, it was hardly surprising that two years ago the popular manager's friends should have desired to present him with some acknowledgment of their appre- ciation of his labours in the cause of music. A testimonial was, of course, thought of ideas on this subject somehow never seem to get beyond testimonials and illuminated addresses, the latter constituting a gift which no recipient ever knows what to do with. An influential committee was formed, and in a very short time the subscription list was an exceedingly representative and hand- some one. I recall this pleasing demonstration in recog- nition of the manager's invaluable services because I would like it to be remembered that Sir Augustus, with characteristic generosity, re- fused the offer of any personal gift, and, in order to encourage young musical students, requested that the subscriptions be devoted to purchasing three of the best Steinway ' grands ' for presenta- tation to the most deserving and promising pianoforte pupil at the Royal Academy of Music, the Royal College of Music, and the Guildhall SUBSIDIZED THEATRES ABROAD 323 School. This, surely, was a very kindly and practical act, and three young people, at any rate, must have greatly rejoiced over it. But this is not all. The speech that fell from the lips of Sir Augustus Harris on the occasion of the presentation, which was made at Drury Lane Theatre by his old friend Sir Edward Lawson, was so significant and interesting that I must crave the permission of my readers to recall a statement it contained. On that occasion the lessee of the national theatre announced that he would not rest until he established a permanent national opera in London. One of these days, in fulfilment of the promise he uttered at the function to which I have alluded, he will, I doubt not, remove the reproach so often levelled against the music-lovers of the Metropolis, that they are too indifferent to support a great musical under- taking of that kind year in and year out. But what a task it will be ! In France, in Germany, in Italy, in Russia, and in Sweden, as most people know, a large subvention is paid by the Courts, states, and municipalities to keep up the opera-houses. Thus to the impresario the Court Theatre in Vienna is rent-free, the Emperor of Austria contributing ,40,000 annually, and making himself responsible for the habitual de- 324 SIR AUGUSTUS HARRIS ficit. In the same proportion do all the principal theatres in Germany derive assistance, the Berlin Opera House in particular being an enormous yearly expense to the German Emperor, who, at the same time, spends large sums towards main- taining the opera-houses in Hanover, Wiesbaden, and Cassel. Probably it will be a long time before English theatres, dedicated to the highest forms of art, are placed on a similar footing. But if there is one man capable of carrying into execution such a scheme as that indicated, it is beyond all doubt the remarkable impresario to whom belongs the credit of having resuscitated the ancient glories of the Theatre Royal, Covent Garden. I hope the genial manager of whom I am writing will forgive me if I disclose one or two little incidents arising from a deep-rooted super- stition which he shares with many other people on the subject of peacocks' feathers. I do not know the origin of the fear that exists in certain minds with regard to these gorgeous and deco- rative plumes. Personally I think they are very beautiful, but let it not be supposed that I am a member of the Thirteen Club. Indeed, I willingly confess my inability to perceive in the act of spilling salt a feat calculated to provoke MADAME M ELBA'S BIRTHDAY-CARD 325 uproarious hilarity, while the adornment of a dinner-table with death's-heads and cross-bones seems to me in no way likely to add to the piquancy of the feast or increase the gaiety of the guests. But I believe I am right in saying that the impresario's superstitious beliefs are confined to the multi-coloured feathers taken from the hand- some and dignified birds, and that, unlike Anton Rubinstein, he has never had to send out into the street for an itinerant musician to avoid sitting down thirteen to table. Some years ago an unthinking scenic artist introduced the obnoxious feathers on a drop-curtain he had painted for the ' Lane.' On the curtain which was promptly made to take the place of this work of art, the painter might have depicted in glowing colours the consternation of his chief on making the horrible discovery. On another occasion Madame Melba was opening in her manager's presence a number of congratulatory letters she had received on her birthday. Out of one envelope fell a birthday- card. Picking it up with true managerial cour- tesy, Sir Augustus discovered to his dismay that the fateful feathers figured in the design. In another moment the card had been torn into 326 SIR AUGUSTUS HARRIS small fragments, and the director breathed freely ao-ain. o One more incident. A damsel desirous of figuring in the ballet entered the sanctum of the manager with the view to an engagement in his 'annual.' Wretched girl! In a weak moment she had decked her hat with the dreaded plumes. With natural indignation ' Druriolanus ' upbraided the thoughtless ballerina for appearing before him thus arrayed. Why, the luck of the house was imperilled ! The security of the Christmas audiences was at stake ! So the poor applicant had to leave without having negotiated anything. But she came again this time minus the feathers and the great man, who is nothing if not good- hearted, engaged her without further ado. She had given him her word that the obnoxious hat had been relegated to limbo. [ 327 ] CHAPTER XLVJ. OPERATIC CONDUCTORS. Signer Arditi Cavalleria Rusticana in London // Bario An interpolation in // Barbiere Hansel and Gretel Operatic morning concerts Conductors in demand Bevignani and Vianesi Mapleson's perspicacity Alberto Randegger Carl Rosa as conductor Visit to the United States ' Love at first-sight ' Madame Parepa Court- ship on the steamer Beginnings of the Carl Rosa opera English opera a success Popularization of good works Carl Rosa in Paris Fatal visit The influence of per- sonality Revived fortunes. I NOW come to conductors who have been prin- cipally connected with Italian opera. Amongst these Arditi took foremost rank. For more years than I could count he presided with conspicuous success over the principal orchestras, not only in England, but in America and on the Continent, and at all times his presence in the conductor's chair inspired every whit as much confidence in the artists on the stage as in the ranks of the instrumentalists under his control. Many popular 328 OPERATIC CONDUCTORS operas were first produced under his direction, and, unless I am mistaken, the first performance in this country of Cavalleria Rusticana was con- ducted by him. As a composer, too, Arditi has written much that has retained its popularity to this day, notably the melodious // Bacio, fami- liarized by Adelina Patti, and often introduced by her with marked effect in Rossini's Barbiere. Like the writer of these memoirs, the famous con- ductor is no longer young, but with the march of time his energy has in no wise forsaken him, and not long since I was greatly struck by the enthu- siasm and spirit with which he performed his share in the London production of Humperdinck's delightful Hansel and Gretel. In the 'palmy' days and nights when Lon- don boasted the luxury of two opera-houses, and when the bare suggestion of converting one of them into a caravanserai would have pulverized its habitues, more conductors were required than at the present time. For, besides performances every night (in the season) at the two houses, there were frequent morning concerts, the pro- grammes of which were so long that they might almost have stretched from the one theatre to the other, and in which the Italian singers used to appear, and make some of them a vast deal of BEVIGNANI AND RANDEGGER 329 noise. Jn fact, the more vocal disturbance they created the more delirious was the enthusiasm of their audience. In connection with those days there are two conductors I ought to mention Bevignani and Vianesi. The first-named, who married a niece of Mademoiselle Titiens, first appeared in this country as an accompanist, in which capacity he greatly distinguished himself. Mapleson, whose aptitude for discovering talent in young artists earned for him much respect, placed him at the conductor's desk. He made his mark at once, and soon became one of the most celebrated chefs d'orchestre. Moreover, his services were as much in request in Germany, Russia and America as they were in this country. Of Vianesi, suffice it to say that, hailing from Brussels, he was promptly welcomed as a valuable addition to the ranks of competent and skilled conductors, and that for several seasons he was engaged at the Royal Italian Opera, Covent Garden, with results that were eminently satisfactory. At the present moment the chief of the con- ductors of the Royal Italian Opera is Signer Mancinelli, equally distinguished as a composer and as chef d'orchestre. A word now for my old friend Alberto Ran- degger. More than forty years ago, when quite 330 OPERATIC CONDUCTORS a young man, he came to court fortune in this country, and, as everyone knows, he succeeded in the attempt. As conductor, composer, and teacher of singing he has done wonders, and many are the vocalists who owe their present high posi- tion to his experience and ability, amongst others, Mrs. Mary Davies, Madame Clara Samuel, Miss Marian Mackenzie, and Mr. Ben Davies. His association with Italian and English opera performances has always been productive of good artistic results, and at the present day his experi- ence as conductor is brought to bear with com- plete success on the Queen's Hall orchestral and choral concerts. He has been most happily identi- fied, too, with the Norwich Festivals. Best known, perhaps, among his most successful compositions is his cantata Fridolin, produced at the Birming- ham Festival. But, besides important works, he has written countless songs and unambitious pieces that have earned widespread popularity.* * In connection with Mr. Randegger's association with the Philharmonic Society, it is worthy of note that a scena of his Prayer of Nature (Byron's words), was produced at one of the concerts in 1887, and achieved considerable success. It is of interest, too, to recall the fact that he conducted for the first time in English the following operas : Carmen, Lohengrin, Tann- hauser, Esmeralda, and Nadeschda, the last two from the graceful and melodious pen of the late Arthur Goring Thomas. CARL ROSA OPERA INITIATED 331 Carl Rosa, a very distinguished wielder of the baton, was brought up as a performer on the violin, and as such- achieved considerable success. As a young man he scented fortune in the United States, and, curiously enough, his doing so led to an exceedingly happy 'union,' resulting from that now almost antediluvian malady, ' Love at first sight.' For on the steamer that carried him across the Atlantic he made the acquaintance of a very charming English vocalist, to wit, Madame Parepa (the widow of Mr. Scarvel). In those days, when the voyage to the States was not accomplished in ' record ' times, there were plenty of opportunities for a young couple to discuss matrimonial schemes, and the course of true love in this instance ran so smoothly that the young people got married in America, and shortly after- wards founded in the new country English opera under the style and title of the ' Carl Rosa Parepa English Opera Company.' Parepa Rosa, of course, became the prima donna and a very charming one she proved to be -while her hus- band doubled the parts of manager and con- ductor. The success that followed the inauguration of the scheme was instantaneous and thorough. On leaving America, Carl Rosa and his gifted 332 OPERATIC CONDUCTORS and amiable wife came to England, and started a similar enterprise, with the gratifying result that their operatic performances soon became a national institution. On the death of Madame Rosa, whose demise was universally regretted, both on account of her artistic worth and her endearing personal attributes, her husband formed a company to carry on the undertaking, and became the director thereof. It was an arrange- ment by which both the public, to whom the manager's name was a household word, and the O shareholders benefited. Good performances yielded good dividends, and to the founder and mainstay of the enterprise belongs the rare credit of being the only impresario who has ever made ' English ' opera pay in this country. He gave to provincial audiences during a long succession of years lyrical representations, complete and artistically satisfying in every detail, at reasonable and even cheap prices, and in this way popularized works which but for him would rarely have reached the ears of the multitude. He died in the prime of life, leaving behind him an extraordinarily wide circle of friends of every nationality. If I recollect aright he had gone to Paris in quest of a new work (his energy in the direction of obtaining the English rights of new THE INFLUENCE OF PERSONALITY 333 operas was simply astounding, while he commis- sioned countless English composers to write works for his company), and contracted on the journey a chill, which ended fatally. A few years prior to his death Carl Rosa had taken unto himself a second wife a very charm- ing and prepossessing lady. With his master- hand no longer there to direct affairs, and with the loss of his personality, fortune deserted the company which he had controlled so indefatigably and with such unerring discretion. His widow had no share in the management of the business, and for a long time the triumphs enjoyed by the company that bore her name were few and far between. About a year ago, however, Madame Rosa joined the board of directors, and from that time dates the renascence of part, at least, of the prosperity which marked the career of the enterprise during the lifetime of its initiator. That good fortune may long continue to attend an undertaking that has been so fruitful of good work in the past must be the sincere wish of all who have at heart the well-being of English musical art. [ 334 ] CHAPTER XLVII. BRIGHTON ORCHESTRAL CONCERTS. The Orchestral Union Frederick Kingsbury J. T. Carrodus as leader Some well-known instrumentalists Mademoi- selle Liebhart The Brighton Concert Hall Panoramas versus Polyphony A small orchestra Character of the programmes Financial failure Seats at sixteenpence Mrs. Stirling as a reciter Midsummer Night's Dream Samuel Brandram The Brighton Dome An increased orchestra Madame Lemmens-Sherrington AnnaThillon Madame Schumann and some noted executants Falling off in receipts Musical feast Cowen's Symphony in C minor A boy composer Brighton Sacred Har- monic Society Mr. Robert Taylor ' Monday Pops ' at Brighton Lilliputian takings A first and last attempt Roseate view of the future. IN the autumn of the year 1868, a number of excellent orchestral players, most of them English- men, banded themselves together under the style and title of the ' Orchestral Union,' and visited Brighton. This small but very efficient body of instrumentalists had for their conductor Mr. Frederick Kingsbury, and the members consisted THE ORCHESTRAL UNION 335 of players from the two Italian opera-houses in London, and also the Philharmonic Society. The late Mr. Carrodus was leader, and every one of the instrumentalists was well known in the musical world. There were Viotti Collins, Burnett, G. Collins, H. Chipp, J. Howell, Pratten, Barrett, Radcliffe, Hutchins, Harper, Hughes, Howard Reynolds, and others. Then there was a very accomplished vocalist in the person of Madame Liebhart, who, coming over to this country with a reputation gained at the Vienna Opera, made an instantaneous success, and became a great public favourite. The Orchestral Union's performances took place in the Concert Hall, West Street, an institution which in after years renounced music in favour of a scheme of variety which embraced panoramic exhibitions and roller skating attrac- tions which brought within its walls audiences more numerous than those which had gathered to worship at the shrine of Mendelssohn, Beethoven, and the classic masters. To revert to the orchestra, it was, as I have said, a small one. There were only four first and three second violins, all the other strings being in proportion, while the horns numbered two, and all the trumpet parts were played by the cornet. 336 BRIGHTON ORCHESTRAL CONCERTS The programmes were made up of favourite over- tures, parts of symphonies, operatic selections, and generally a couple of songs. There had been no similar entertainments in Brighton since the famous Jullien visited that town and gave promenade concerts. Nevertheless, the concerts were anything but a financial success. At that time, indeed, orchestral concerts never were, and it needed the attraction of a bright particular ' star ' in the musical firmament to fill even a small room. Notwithstanding the result of the first venture, I conceived the idea of engaging the Orchestral Union for the winter of 1869, and giving a series of subscription concerts. They were to number fifteen, and the subscription for reserved seats for the entire series was fixed at one guinea. I am not a very good arithmetician, but I believe this worked out at the rate of one shilling and fourpence per concert. For that sum I offered as vocalists, in addition to Madame Liebhart, who appeared the previous season, Madame Sainton Dolby, Miss Edith Wynne, the popular tenor Vernon Rigby, Lewis Thomas then one of our leading bassos and Sims Reeves. If my memory serves me, the fee of the last-named artist was at that time one hundred guineas for each appearance. MRS. STIRLING AND SAMUEL BRANDRAM 337 In other respects I improved upon the first venture. For instance, I gave symphonies in their entirety, instead of in part only, and, with the exception of one operatic selection, the pro- gramme was composed wholly of classical works. Then I engaged the celebrated actress Mrs. Stirling to give a reading of Shakespeare's Mid- summer Nigkf s Dream, on which occasion the whole of Mendelssohn's incidental music was per- formed. I may here mention that I have seen the late Samuel Brandram stand up in Brighton before an eager, alert, and crowded audience, to recite this same masterpiece. But in the year 1869, neither the immortal name of the poet- dramatist, nor that of the gifted and renowned actress who was to be his exponent, nor the additional attraction of some of the most beautiful music that has flowed from the pen of its composer, proved of sufficient interest to bring to the hall more than a scanty gathering. As for the rest of the scheme, it embraced in the way of oratorios a performance of Handel's Messiah and one of Haydn's Creation. After what I have said, it will astonish no one to hear that the undertaking resulted in a serious deficit ; but I nevertheless made up my mind to repeat the experiment, which I did in the following winter 22 338 BRIGHTON ORCHESTRAL CONCERTS (1870), when the concerts were transferred to the Dome, one of the finest concert-halls in the kingdom, although the building was not designed for entertainments of the kind. I considerably increased the orchestra, doubling the strings and engaging, besides four horns, T. Harper, the finest trumpet-player then living. In addition to the vocalists who appeared in the first season, I secured the services of Madame Lemmens-Sherrington, Madame Anna Thillon, W. H. Cummings, George Perren, and Maybrick. Madame Sherrington, I may recall, had some time previously replaced Madame Clara Novello as leading soprano ; and besides vying with that artist as an exponent of sacred music, she achieved conspicuous success in grand opera. Madame Anna Thillon had created quite a sensation in the forties by her personal attractions, the beauty of her singing, and the charm of her acting in light opera. In Auber's Domino Noir and Diamants dc la Couronne she created a veritable furore. When she appeared at my concerts it was after living some years in retirement. With regard to my other artists, musicians should need no re- minder of the fact that W. H. Cummings"" dis- * Mr. Cummings, although he has disappeared from the ranks of public favourites, devoting himself now to the profes- PRICES AND THE PUBLIC 339 tinguished himself greatly as a tenor, particularly in the interpretation of sacred works ; or that George Perren also enjoyed for many years high repute as a tenor. Among the instrumentalists I engaged were Madame Schumann, Madame Norman- Neruda, Joachim, Sainton, Piatti. Ernest Pauer, and Walter Macfarren. In view of the enormous increase in the ex- penses I raised the subscription for the fifteen concerts from one guinea to a guinea and a half, and in doing this, having regard to the artistic value of the enterprise, I can hardly be said to have presumed too much on the financial resources of a public which many local prints had assured me was a music-loving one. This, however, was not apparently the view generally held. At any rate, many of my former subscribers marked their disapproval of a course which would have involved the expenditure of an additional eight- pence per concert by withdrawing their support. For the faithful ones there was presented a very fair musical feast, consisting of special Mozart. Beethoven, Schubert, Mendelssohn, and Weber sion of teaching and to lecturing, is still held in the highest esteem by all musicians, to whom his extraordinary learning in matters appertaining to the art is well known. 340 BRIGHTON ORCHESTRAL CONCERTS nights : a reading (with Beethoven's incidental music) of Goethe's Egmont, and another by Mrs. Stirling of Midsummer Nights Dream, as in the preceding year. I was glad to be able, at one of the concerts, to procure a hearing for F. H. Cowen's Symphony in C minor, a remarkably fine work, the composer of which at that time was only sixteen years of age. The symphony was first given by Mr. Manns, at the Crystal Palace, where it won for young Cowen the approbation of all connoisseurs. On its production in Brighton the work was con- ducted by my young friend, who, even in those early days, showed that he had thorough command of the forces under his control. My scheme further comprised performances of the Messiah, Elijah, and Rossini's Messe Solennelle. I should here acknowledge the valuable assistance I received in the presentation of these works from the Brighton Sacred Harmonic Society, of which my old friend Mr. Robert Taylor was the accom- plished conductor and guiding spirit. One event in connection with that season I cannot overlook, both on account of its intrinsic importance, and its extraordinary monetary result. On February 14, the Monday Popular Concert took place at St. James's Hall, and, by arrange- A TUESDAY 'POPULAR' CONCERT 341 ment with Mr. Arthur Chappell, I was able to put forward in Brighton on the following afternoon precisely the same programme interpreted by the identical artists. These were Madame Schumann, Joachim, Ries, Zerbini, Piatti, and a vocalist whose name I am unable to recall. Alas! the Monday Popular Concert did not prove a Popular Tuesday Concert ; and in disclos- ing the receipts on that occasion I fear I shall lay myself open to the accusation that I am presuming on the gullibility of my readers. But I desire to do no such thing. The entire takings, apart from the small amount derived from the subscriptions (paid for the series), came to only a little over four pounds. Such was the result of my first attempt to popularize those unique and far-famed concerts in Brighton. It may almost go without saying that it was my last. Unfortunately, this was not the only concert of the series at which my artists exercised their talents before a beggarly array of empty benches. In a word, the season was a complete fiasco, resulting in a loss heavier, in proportion to the in- creased expenditure, than that of the previous year. Nevertheless was I determined, encouraged by the congratulations or, rather, the condolences of my musical friends and the Brighton press, to 342 BRIGHTON ORCHESTRAL CONCERTS persevere in my endeavour to develop in the town on which I had pinned my faith a love and practical appreciation of high - class orchestral concerts. With this object in view I set to work to extend the scope of the undertaking, and organize for the following year a scheme of sufficient magnitude to justify me in designating .it a ' Musical Festival.' To some details concern- ing the first of these ventures, and those that followed in successive years, I propose to devote the next few pages. [ 343 ] CHAPTER XLVIII. THE BRIGHTON MUSICAL FESTIVALS. First of the series Works by English composers F. H. Cowen's Maid of Orleans Gounod in Brighton First visit of Edward Lloyd Miss Virginia Gabriel Benedict's Tale of Fairyland W. Sterndale Bennett His dislike to public appearances His last Letters from the com- poser Sir George Macfarren J. F. Barnett and G. A. Osborne La Flute des Perles F. Clay's Lalla Rookh The composer at work Songs of Araby Madame Sainton Dolby A Deluge And another A disciple of Sullivan's Alfred Cellier Walter Macfarren His first pupil My nerves give way Some interesting novelties After eleven years A few reflections Final attempt Meeting of 1882 An Elijah cast The Redemption Testimonial from my subscribers Disastrous losses Un- fulfilled pledges A painful subject A word about other English festivals Why I renounced mine. IN the following account of my Brighton Festivals, which commenced in 1871, I will, in order to be as brief as possible, confine myself almost entirely to an enumeration of the principal new works I introduced to Brighton audiences, and some of the artists who were identified with the series. 344 THE BRIGHTON MUSICAL FESTIVALS As to the first point, I may say it was my desire, from the outset, to emulate the example of Mr. Manns at Sydenham, and produce, whenever the opportunity presented itself, works by English composers. Looking back over the years that have passed since then, it is a source of pride and pleasure to me to reflect that the first composer who under- took to write an original work for me was my old and valued friend Frederic Cowen. For my first festival he wrote the incidental music to Schiller's Maid of Orleans, a work every page of which was marked by the grace, the facility of expression, and the beauty of orchestral effect which has dis- tinguished every composition with which he has since enriched our musical art. The work, which he conducted himself, met with the greatest pos- sible success. So much for the first festival, and it will save a tedious amount of repetition if I state here that the pecuniary result of that enterprise, and of all the succeeding gatherings, was lamentably un- satisfactory. Special falat was lent to the meeting of 1872 by the presence of M. Gounod, who conducted many of his works, including Gallia (Lamenta- tions of Jeremiah), his Messe Solennelle, and a EDWARD LLOYD 345 short scena, Oh, Happy Home, which he had written expressly for me. Let me here say that the scheme each year embraced performances of all the standard sacred works, and that among the musicians who testified their interest in the gatherings by coming, season after season, to direct the performance of their own opi were Sir Arthur Sullivan, Sir Julius Benedict, Sir Michael Costa, and SirW. Sterndale Bennett. The names of those to whom I entrusted the rendering of these and other works I need not enumerate, save, in passing, one or two of them. Enough that they were artists whose names are honourably identified with all that is best in the musical art of this country and without whom none of our great festivals could be successfully carried out. This serves to remind me that it was in 1873 (unless I am greatly mistaken) that my old and loyal friend, Edward Lloyd, was first associated with me in Brighton, and as I have not had an opportunity of doing so elsewhere, let me here briefly express the profound admiration I have always had for the voice, the style, and the exquisite refinement of our great English tenor. Let me also add that my association with the artist, who has attained to a position reached by 346 THE BRIGHTON MUSICAL FESTIVALS few singers of his time, has always been of the most friendly and pleasant description. Coming to the works I produced that season, Miss Virginia Gabriel, a very popular and tuneful writer of operettas, drawing-room pieces, and English songs, wrote for me a cantata founded on Longfellow's Evangeline, which proved highly successful. Another novelty I was instrumental in bringing to a public hearing for the first time was a scherzo for orchestra composed by Sir Julius Benedict, and entitled A Tale of Fairy- land. Another interesting event was the performance of Sir W. Sterndale Bennett's sacred cantata, the Woman of Samaria. For some time I had been desirous of giving this beautiful and strangely- neglected work. With that view I put myself in communication with its distinguished composer, who readily and kindly promised to superintend the rehearsals, and should his health, which was then very precarious, permit it, conduct the per- formance. Sterndale Bennett had a deep-rooted aversion to appearing on a public platform a dislike easily to be accounted for from the fact that he was by nature a most modest and retiring man. Up to this time he had not shown himself to the public 3 I -AJ^Z - x vx To face /. 347. STERNDALE BENNETT 347 for a great number of years, and it was therefore an act of kindness of which I was fully grateful that he should have come down to Brighton and personally supervised all the rehearsals of his work. When the day arrived for its performance he was so pleased with the intelligence and enthu- siasm which the orchestra and chorus had brought to bear on the work, that he overcame his scruples, and to the surprise of all who knew him, and the delight of the interpreters, faced the latter with the conductor's baton. When the career of Stern- dale Bennett came to be written it was found that this was the very last appearance in public of a musician whose name is cherished to this day by all musical England. Here I ive a facsimile of the letter written O by Sir Sterndale Bennett in reference to the visit to Brighton above recorded. In recording the performance in 1875 of the then new oratorio, St. John the Baptist, by Sir George Macfarren, I should, in passing, pay a tribute to the memory of this accomplished composer, who was not only one of England's greatest musicians, but one of the most charming and kindly men I ever met. As a writer his versatility was remarkable, for he not merely produced sacred works, symphonies, overtures, 348 THE BRIGHTON MUSICAL FESTIVALS chamber music and the like, but several operas, of which Don Quixote and Robin Hood are perhaps best known. When Principal of the Royal Aca- demy of Music a post which he filled with such distinction he was idolized alike by the profes- sors and students of that institution. In 1876 I gave two novelties written expressly for my festival. The first was a sacred cantata, the Good Shepherd, by J. F. Barnett a work which I was proud to be able to produce ; while the second was a ' festival overture ' by G. A. Osborne, the composer of that famous piece, La Pluie des Perles, which has probably been played all the world over. For the meeting of 1877 1 had commissioned Mr. F. Clay, the writer of some charming light operas and songs (among the latter, She wandered down the Mountain ^ide, which was first sung at a concert of mine at St. James's Hall, by Madame Kellogg, a very accomplished American soprano), to compose a cantata. He chose for his subject Moore's legend, Lalla Rookh. While he was writing the score I frequently called upon him, when he showed me how he was progressing with the work. On one occasion of my visiting him he said, on my entering, ' Do, like a good fellow, glance through the paper for a few moments ; 1 'SONGS OF ARABY' 349 am just finishing a song for the cantata, and it won't take me five minutes.' He was as good as his word, and having put the last bar to paper, he played me the song. It was the beautiful and evergreen /'// Sing tkee Songs of Araby. My delight on hearing this exquisitely melodious air was indescribable. To this day the song has re- mained one of the most favourite in the repertory of Mr. Lloyd, who sang it at the first performance of the work, while only last year Mr. Ben Davies created a sensation with it in Germany. I might mention that the composer presented my daughter with the manuscript of the song, which is now in the possession of Mr. Lloyd, who expressed such a great desire to have it that she gave it to him. On its first production LaUa Rookk evoked a remarkable demonstration of enthusiasm, and at every subsequent performance of the work in England it won for the composer golden opinions. That poor Fred Clay should have been cut off from this world in the prime of his life and in full possession of his rare gifts is one of those things sorrowful beyond words. The other novelty I produced was Madame Sainton Dolby's cantata, the Legend oj St. Doro- thea, reference to which I have made in an earlier portion of these reminiscences. 350 THE BRIGHTON MUSICAL FESTIVALS I should here mention that I had organized a festival choir, in the training of which my old friend Dr. Alfred King was indefatigable. To his assistance I was greatly indebted, as I had been in previous years to the valuable co-opera- tion of Mr. Robert Taylor, the director of the Brighton Sacred Harmonic Society. The following works were written expressly for me in 1878, and were produced under the direction of the composers : F. H. Cowen's oratorio, The Deluge ; Walter Macfarren's Pas- toral Overture ; and a Suite Symphonique by Alfred Cellier, a musician whose untimely death deprived us of one of the most facile and graceful writers of light opera scores of modern times. True it was that this composer broke no fresh ground. He sat at the shrine of Arthur Sullivan, whose methods and mannerisms as exemplified in the Savoy operas he closely followed. But Cellier was no slavish imitator, and his scores were characterized by a delicacy and refinement which were absent from the pages penned by others who sought to emulate the incomparable col- laborator of W. S. Gilbert. A word for Walter Macfarren. He is one ot the truest friends I ever had, and like his brother, the late Sir George Macfarren, he boasts con- TWO DELUGES 351 siderable and varied attainments, being equally at home as a composer, pianist, or teacher. In the latter capacity, indeed, he has hardly an equal. Oddly enough, my wife (when quite a young girl) was his very first pupil, and it was to his assist- ance that I looked on the anxious occasion, during the festival of 1878, when my daughter made her first bow to an audience. She was to play Schumann's Concerto, and I had arranged to take the baton. But when the time came I was. so nervous on the debutante's account that I had to relinquish the task, and Mr. Macfarren kindly volunteered to undertake the responsi- bility. And it was mainly to the generous en- couragement he extended to the young player that her success was due. Mr. Cowen's oratorio to which I have alluded was, by a curious coincidence, produced on a day upon which the title of his work was realized in an abnormal degree. From early morn till late at night the rain came down ' in buckets full,' as the saying goes, and the dismay wrought by the meteorological clerk caused many music-lovers to resist the temptation of sampling the orchestral. ' deluge ' prepared by the gifted young com- poser. Those, however, who were not drowned on their way to the concert-room reserved their 352 THE BRIGHTON MUSICAL FESTIVALS abuse for the aforesaid official, and lavished un- stinted praise on a score that teemed with melodic and orchestral beauties. All the subjoined works were written for this festival, and were conducted by their composers. A cantata founded on Sir Walter Scott's Lord of the Isles, by Henry Gadsby ; a concert overture, in A major, by Thomas Wingham ; another over- ture, Hero and Leander, by Walter Macfarren ; a suite entitled Air de Danse, by Lindsay Sloper ; and, lastly, a Concerto for Pianoforte and Orchestra in C, by William Shakespeare. This was played by my daughter, and conducted by August Manns. The gathering of 1880 was also fairly prolific in new works. They included a sacred cantata, The First Christmas Morning, by Henry Leslie ; ballet music by Arthur H. Jackson, a very pro- mising composer, who died young ; an Organ Concerto in E minor, by Ebenezer Prout ; and a Symphony in B flat, by Walter Macfarren ; all of which were given for the first time. With the season of 1882 I come to the Mast of the Mohicans.' That I should not have re- nounced the scheme sooner, seeing that every development of it brought me further losses, may seem strange to those people and there are a THE LAST OF THE MOHICANS 353 great many in this world who believe in making money and not ' dropping ' it. But even after two seasons of orchestral concerts and eleven of festivals, I determined to make one more attempt. Alas, for vaulting ambition ! Not satisfied with the tout ensemble of the previous ventures, albeit their completeness and artistic excellence had been generally admitted, I organized this my final festival on a more costly and elaborate scale than I had any of its predecessors, and engaged, besides the artists who had appeared in former years, Madame Albani and Madame Trebelli. Thus I was able to present the Elijah, with the following cast : Albani, Sophie Robertson, Trebelli, Edward Lloyd, and Santley. Remem- bering past experiences, I did not raise the prices of admission, but the room was more than half empty. The most important event of the week was a fine performance under Mr. Randegger, by the same artists who had interpreted the work on its production two months previously in Birmingham, of Gounod's Redemption* On this occasion the * In 1885 Mors et Vita, Gounod's sequel to the Redemp- tion, was produced at the Birmingham Festival, and, with the able assistance of Mr. Randegger, I gave in the same year a 2 3 354 THE BRIGHTON MUSICAL FESTIVALS attendance was good, but this was not sufficient to save me from a loss so heavy and disheartening as to make all idea of continuing the festivals impossible. In fairness to my subscribers, I should here state that after one peculiarly disastrous season they generously presented me with a testimonial amounting to ^350 ; but there was never enough enthusiasm shown by the inhabitants in the under- taking to justify me either in persevering with it single-handed, or in making a determined effort to obtain a guarantee fund a course the de- sirability of which had often been suggested to me. Every season had resulted in a loss averaging 500 sometimes a little more, at others a trifle less. The last of the series, however, by reason of the enormous increase in the expenditure, ended with a deficit of over ,1,000. The abandonment of the festivals was to me an unspeakable disappointment, the more so as several composers were at the time under a promise to write for me works for production in performance of the work in Brighton. The result was not such as to encourage me to give sacred works with a full orchestra, even at intervals, and to this day I have never repeated the experiment. Experientia docet. SOME REFLECTIONS AND A MORAL 355 Brighton, notably Sir Joseph Barnby and Sir John Stainer. I do not wish to dwell upon this matter except to say that no similar enterprise, to my know- ledge, has ever been conducted at the risk of a single individual, and that the success of our principal musical festivals is, in some measure, due to the fact that the proceeds, if any, are devoted to local institutions and charities, whose welfare the inhabitants have at heart, and that the affairs are controlled by an influential com- mittee who work with double zest from the reason that they make themselves responsible for whatsoever losses may arise. It is probable that those who supported me in the undertaking did so wholly from a love of art, and not because they philanthropically regarded me in the light of a useful or deserving charity. But I would not have it be supposed that I am under the erroneous impression that England's premier festivals could not be held but for the extraneous motives that prompt the attendance of large crowds. I know full well, and gladly recognize, the love of music that exists among all classes in such towns as Birmingham, Leeds, Bristol, and the like, but I do believe that had the public on whom I had to rely been called 356 THE BRIGHTON MUSICAL FESTIVALS upon to support those ill-fated festivals in the name of any large and popular local institution- church, chapel, or hospital the result financially would have been very different. An eloquent tribute this, no doubt, to the humane, religious, and philanthropic instincts of the British race. The reflection is not one, how- ever, that mitigates the inconvenience arising from the loss of capital, or that encourages one to try and cultivate in others a love of art. [357] CHAPTER XLIX. PAST AND PRESENT 1845 AND l8 9S- ' Were the English a musical nation ?' A question never asked Latter-day improvements The old music-hall argument Metropolitan concert-rooms in 1845 Hanover Square Willis's Rooms Exeter Hall Its danger incase of fire The hall attached to Her Majesty's Stipulations of the directorate Sir Julius Benedict's concerts The dearth of music in the winter season Concerts given by professors of music A convenient educational process Entertainments at private houses Matinees musicales and ' at homes ' A quid pro quo Signer Marras and J. Blumenthal ' Benefit ' concerts The limited re'pertoires of artists. IN an earlier portion of my musical jottings I have indicated the kind of entertainments that found favour with Londoners when first I took up my abode in their midst. In those days I never, as far as I can recollect, heard the question asked : ' Are the English a musical nation ?' Be it remembered, however, that I am speaking of 1845. I n tne fifty years that have passed since then, the changes that have come over the public 358 PAST AND PRESENT 1845 ^-vz> l8 95 in their tastes and predilections with respect to all branches of art have been wonderful indeed, and it would be quite outside the scope of these recollections to attempt any sort of analytical comparison. I will simply say that the improve- ment wrought as regards music alone has been prodigious, and, to all who love the art and wish to safeguard its interests, gratifying in the highest degree. It is all very well for exacting and hypercritical grumblers to say that, as long as people prefer music-halls to classical concerts, the English race cannot claim to be musically educated and appre- ciative of what is good and sound and intellectually nourishing. The argument has been adduced again and again, and will continue to be heard so long as there are persons fatuous enough to advance it. People do not go to ' halls of dazzling light ' in order to hear good music, any more than they read the police ' intelligence ' (which, by the way, usually reveals constabulary stupidity) in the hope of discovering in the reports literary excellence and finish. They go to the variety theatres simply and solely to be amused, and, if possible, to forget amid the mirth of their surroundings the worries of a work-a-day world. But I have strayed from my point, and, in my CONCERT-ROOMS OF THE FORTIES 359 anxiety to assert the right of the present-day public to the title of music-lovers, have permitted myself a slight digression. In attempting a brief comparison between past and present in matters musical, I cannot do better than let a few facts speak for themselves, and those of my readers who have borne with me so far can then judge how far I am right in affirming that the difference between 1845 an ^ 1895 is wholly in favour of the present generation, and, from one point of view, of those w r ho minister to their artistic wants. When I came to England there were few concert-rooms in the Metropolis. I can well remember the Hanover Rooms in the square of that name, and Willis's Rooms, an institution which has undergone many changes, and where at the present time (so I am informed) a well-cooked chop can be obtained for the modest outlay of a guinea or so. Both the rooms I have mentioned accommodated six hundred people. Very frequently they con- tained a lesser number. Then there was Exeter Hall, a larger building, but so incommodious that even people as righteous as the pious folk who now take their pleasures within its walls occasion- ally gave vent to their feelings in language which was too picturesque to permit of its reproduction 360 PAST AND PRESENT 1845 AND 1895 here. More than this, the hall at which, I should have stated, oratorios were given was built on the principle that no one who attended a concert was deserving of any protection from danger in the event of an outbreak of fire. The perform- ances of the now defunct Sacred Harmonic Society were given at Exeter Hall, by reason of the fact that it contained an organ, and a platform large enough to accommodate an orchestra and chorus. Attached to Her Majesty's Theatre was another concert-room a small one but this was only let on terms that involved the inclusion in the pro- gramme of the names of some of the artists who were appearing at the time at the opera-house. This meant, of course, a considerable outlay, and, as far as I can remember, the only concert-givers who made entertainments yield a profit at this annexe were Madame Dulcken, Madame Car- rodori Allen, and Sir Julius Benedict, all of whom had such a host of friends that they really relied in no way on these occasions upon the support of the public. Their programmes were stupendous in length, and were made up, for the most part, of arias and excerpts from the repertory of the Italian singers. In the winter months there were hardly any PROFESSORS AND PUPILS 361 concerts at all, and Londoners, having been surfeited in the months of May and June with Italian dishes, certainly faced the musical starva- tion that followed with marvellous equanimity. Probably their fortitude and resignation were aided by a sense of copious favours to come when the season of lyrical banquets arrived again. These favours were mostly conferred by pro- fessors of music, whose pupils took tickets for their concerts as regularly as they took their lessons perhaps more so. And this unfailing regularity pleasing alike to professors and pupils really formed part of the latter's educational curriculum. The professors taught them how music ought to be sung, and then gave a concert, at which the Italian singers and other foreign importations knocked all the theories they had been taught on the head. By this means the ambitious and earnest students were impressed with the necessity of taking more lessons, and when the next season came round their masters never failed to give them an early opportunity of testing the progress they had made in the light of the achievements of the operatic ' stars.' They could gratify their curiosity in this direction on payment of the usual fee. It was always one guinea. 362 PAST AND PRESEN T 1845 AND 1895 In those days, too, a convenient and popular form of giving concerts was that adopted by many artists (mostly foreign), who were wont to gather round them an appreciative assemblage of friends at matinees held in private houses, the drawing rooms of which had to be dismantled for that purpose. But this responsibility devolved upon the domestics of the establishment, and not on the concert-givers, so that the latter were put to no trouble beyond that involved in trying to amuse their audience a task in which they rarely succeeded. But they were the richer by ^200 or ^300, all the same. The owners of the mansions in which these matinees musicales were held were very generous. They never dreamt of accepting any remuneration for the loan of their rooms and their servants, or the subsequent provision of tea, coffee, and ices, with which the audience and the artists were regaled. But when they gave 'at homes' on their own account, their keen and artistic appre- ciation of the talent of the musical celebrities in whose interests they had previously dismantled their furniture, was such that they included them in their list of invitts, and were overwhelmed with gratitude when their hospitality was returned by a song, a violin solo, or a brilliant display on the RECIPROCAL FAVOURS 363 piano, which was rarely opened save on these occasions. Very few artists at that time ever refused an invitation to an ' at home'; and their readiness in the matter of ' obliging ' the hostess with musical contributions, thankfully received and never listened to, knew no bounds. Moreover, their good-nature was such, that when their turn came to give a concert they never failed to remind the kind ladies at whose houses they had performed of the artistic treat that was open to them if they chose to follow up the receipt of a programme with an application for two or three or more tickets. The application was invariably made ; and it was never refused. I would not have it be supposed, however, that every musician then in London was willing to sing and play about, right and left, on such implied conditions. Among the pleasant recollec- tions of my early years in the Metropolis was the singing and playing of two charming artists, both of whom were very much in demand in social circles, and received terms commensurate to their great skill and high position. The one was Signer Marras, a favourite tenor and singing- master ; the other Jacques Blumenthal, admir- able pianist, thorough artist, and a writer of who 364 PAST AND PRESENT 1845 ^ r /> l8 9S shall say how many melodious songs and piano pieces ? At the larger ' benefit ' concerts the artists for whose benefit they were organized (by themselves) were not put to any very great expense. As a rule, they only engaged two or three performers, the rest of the programme being filled by others who gave their services. The concert-giver, of course, did the same for them when they gave entertainments, with the inevitable result that people who attended many of these musical functions invariably heard the same artists, and also enjoyed the edification of listening to the identical songs. The repertoires of the vocalists were generally limited. The patience of their hearers was the reverse. Matters have changed since then. Nowadays, one of the few things rarely ' taxed ' is the patience of concert-goers. It was different in 1845 ; they had more money. Their wealth may have diminished, but their love of art has increased at least, I think so. CHAPTER L. PAST AND PRESENT 1845 AND 1895. (CONTINUED). Apathetic audiences and loquacious listeners Talking during performances What it enabled me to do A party in Belgrave Square and my practical joke The accommoda- tion of old concert halls The Brighton Town Hall Singers' salaries in the forties A Mario and Patti concert Albert Hall concerts and a diva's terms Sims Reeves then and now Printing and advertising Public ideas as to the cost of concert-giving -Peculiar impressions An income-tax story The writer as a millionaire Why the Commissioners imagined him to be one. I HAVE spoken of the lack of variety that charac- terized the repertoires of many artists when first I became acquainted with the musical life of London. That audiences should not have wearied of constantly hearing the same songs and the familiar pieces may appear strange to present-day frequenters of concerts and recitals. But it was mostly at private parties and drawing-room enter- tainments that people were treated to these repe- 366 PAST AND PRESENT 1845 ^D 1895 titions, and seeing that on such occasions the visitors were wont to engage in animated conver- sations and never ceased chattering the whole time that the musical programme was in progress, it mattered little or nothing what was sung or who the performer was. I was once guilty of a practical joke in this connection. It was at a noble mansion in Bel- grave Square, where I was engaged to play for the edification of a number of guests bidden to a crowded 'at home.' It happened that the very next day I was to perform at a concert in the Hanover Square Rooms, so the idea occurred to me that it would be good practice to play over the piece a new one for which I was put down in the programme of the morrow. I did so, to the accompaniment of the usual babel of voices, which made it even difficult for me to hear some- times the notes I struck. Probably on this ac- count I was rewarded with considerable plaudits, when, the piece over, I rose from the piano. When my turn came to play again I repeated the composition, knowing full well that, in the din of conversation which never flagged, the chances were ten to one against anyone discovering the repetition. And I was right. So high-pitched were the voices of the 'listeners,' and so incessant A MUSICAL JOKE 367 was their prattle, that it would have made no difference whether I played the Dead March in Said or Tommy make Room for your Uncle. Yet a third time was I asked to give the guests a further opportunity of exercising their conversa- tional powers to the accompaniment of my limpid strains, and I readily complied. But I stuck to the piece in the rendering of which I hoped to surpass myself at the next day's concert. Result, the same. Talk, laughter, final crash on the iron- grand, followed by prolonged applause, mingled with cries of ' Charming !' ' Quite exquisite !' etc. The hostess, in particular, was lavish in the com- pliments she bestowed on me, and thanked me most effusively for the great artistic treat I had given her friends. Then it was that I asked her which of the three pieces I had played she liked the most. ' Well,' she replied, after duly considering the point, ' I think I preferred the second one. But,' she added, ' not that I didn't appreciate the others, only the second was so sweetly melodious.' I told her I thought her discrimination wonder- ful. And so it was. I have particularized the more important con- cert-rooms that existed when I was first in London. I may now add that they were all so limited in 368 PAST AND PRESENT 1845 AND 1895 the accommodation they offered that had artists in those days commanded the terms paid to plat- form favourites in the present age, concert-giving would have been the shortest conceivable cut to the Bankruptcy Court. In proof of this I will give one or two instances. In Brighton the largest concert-room in the forties formed part of the Town Hall. It held about 600 people. In 1847 I gave a concert there, at which the artists were Grisi, Alboni, Mario, Fred Lablache (son of the great Lablache) and Julius Benedict. The combined services of these the most distinguished performers of their day C ost me ^120. In 1861 Adelina Patti sang for me in the same building, and the expenses of the concert (including the salaries of the other vocalists) amounted to no more than ^"150. Now for the other side of the picture. When the diva appears at the present day at an Albert Hall concert she receives ,800, which represents, of course, only a part of the expenses. The artists who support her, I need hardly say, do not sing for nothing ; and then there is the cost of the room and of the printing and advertising (very heavy items) to be reckoned with. In provincial towns, I may add, the same cantatrice commands ,500 for each concert. EXPENSES OF CONCERT-GIVING 369 Another example. The first time Sims Reeves appeared at a concert of mine in London I gave him, according to his terms, ten guineas. On the last occasion that he sang for me in the Metro- polis he received 100 guineas. With regard to printing and advertising, ex- penses in concert-giving have increased in the same proportion. When I first came to England there were not many newspapers, and advertise- ments inserted in them only ran to a few lines. Now, of course, the journals and periodicals of importance and influence are without number, and very often announcements for concerts and enter- tainments require the space of half a column and more. And the strange part of it all is that the public seem to have no idea of the real cost and the enormous risk involved in these undertakings. Star singers and ' sensation ' players, many people seern to imagine, are so desperately fond of their art, and derive so much pleasure from appearing on a platform, that they apprise their services at the lowest possible value, and display in this matter a ' sweet reasonableness which enables entrepreneurs who engage them to make large fortunes. (Mem. : Will any manager who has reaped a 24 370 PAST AND PRESENT 1845 AND l8 95 large fortune out of concert-giving communicate with me and tell me how he did it ?) I will even go further and assert that I have known people foolish enough to labour under the hallucination that all artists perform for the con- cert impresario en ami; and I have astonished more than one such person with the assurance that this was a mistaken idea, and quite contrary to the usages of members of the musical profes- sion. The ' enormous ' profits supposed to be derived from concert-giving were the cause a few years ago of a singular and rather amusing episode, in which I involuntarily figured. One morning I received an income-tax paper (a document with which I was painfully familiar), and on reading it I discovered to my amazement that my income had, for some recondite reason, been assessed at a very much higher rate than in any previous year. I could not repress a sigh at the reflection that my state of finances did not in reality justify the figures on the ominous blue paper, but the matter was one that called for action, and not cogitation, and I hastened, therefore, to put myself in communication with the authorities on the sub- ject. In the result I went to see one of the com- missioners (this occurred at Brighton) whom I MISTAKEN PUBLIC NOTIONS 371 knew well, and asked him to explain how the mistake had arisen. He solved the mystery by telling me that one of his colleagues had stated that I was insufficiently taxed (in this respect being, apparently, more favoured than anyone else in the three kingdoms) and that in reality my income was enormous. ' From what ?' I asked in astonishment ; ' from teaching or from concert- giving ?' ' From concerts,' was his reply. ' It was under- stood that every one of the three concerts you give during the season yields a profit of not less than ;i,ooo.' Bewildered by the imaginary riches heaped upon me by the generous commissioners, I was at a loss in the first blush to know what to say. When I had sufficiently recovered myself from the shock of astonishment, I explained, with all the dignity demanded by the circumstances, that at the usual prices of admission the Dome, in which these fortune-yielding entertainments were given, held (when crowded) ^500 ; that at the last concert I had organized the star vocalist received 175 guineas, and the other artists sums in proportion ; that the hire of the room, and the printing, advertising and commission on the sale of tickets came to over ^100 ; and that the 372 PAST AND PRESENT 1845 AKD l8 95 actual receipts (out of which all these expenses had to be paid) amounted to less than ^450. I further volunteered the statement that at another of the concerts 1 had paid my diva ^500, that the expenses totalled up to over ^700, and that, although the prices for seats were increased, the receipts did not come to more than ^800. On putting down these and other figures which I gave him, and duly pondering over the matter, my friend realized that the expenditure incurred by these undertakings scarcely left a margin for a profit of ,1,000, and I will do him the justice further to acknowledge that the explanation he sub- sequently tendered to the commissioners resulted in my income-tax return being reduced accord- ingly. [ 373 ] CHAPTER LI. PAST AND PRESENT 1845 AND 1895 (CONCLUDED). Programmes at miscellaneous concerts in the past Days of trash The taste of audiences half a century ago An artists' room anecdote Programmes of Gargantuan length My own failings in this direction St. James's Hall An early Philharmonic concert A performance at Her Majesty's in '51 A Covent Garden bill Present- day operatic representations A modern German fashion A story about Cavalleria Rusticana An uncanny Scot English singers of to-day Miss Maude Valerie White's compositions Amateur orchestras A sign of musical progress The Duke of Edinburgh as ' first violin ' Musical education in this country Then and now The R.A.M. Royal College of Music Guildhall School of Music Provincial musical institutions Brighton School of Music. I HAVE endeavoured to give some idea of the kind of musical entertainments that were tolerated when I first found myself in England. The pro- grammes of miscellaneous concerts were for the most part made up of hackneyed operatic airs, 374 PAST AND PRESENT 1845 AND 1895 ballads (few of the best kind), and instrumental solos of a character so trashy that anyone ven- turing to play them nowadays at a concert of any importance would run a serious risk of being hooted off the platform. But these were the things that used to find favour with unsophisti- cated audiences in the forties and fifties. They preferred quantity to quality, and would gladly sit out programmes containing enough items for three performances of reasonable length. By the way, some years ago I gave a concert at which the last piece but one to be sung was a ballad entitled Ask Nothing More. It so happened that the programme was one of in- ordinate length, and embraced no fewer than twenty-six items. On looking down the list of contributions, one of the artists laughingly re- marked that there was little likelihood that an audience which had listened patiently to twenty- four pieces would, like a famous little hero of Dickens, ' ask for more.' But to return to concerts of a bygone era. Those given by Benedict used to last from half- past one till seven, while, for my part, I must plead guilty to having given concerts in St. James's Hall and elsewhere which took four hours to complete. Possibly I might have in- STUPENDOUS OPERATIC PROGRAMMES 375 flicted even more suffering on my friends but for the fact that there was a clause in my agreement with the proprietors of the hall to the effect that the programmes must be concluded by six o'clock, so as to enable preparations to be made for any evening entertainment that might follow. I recollect a programme at one of the concerts of the Philharmonic Society which contained two symphonies, a couple of overtures, a concerto for piano, another for violin, and some vocal pieces. The audience remained to the end. I also remember being present at a perform- ance, in 1851, at Her Majesty's Theatre, when Beethoven's now rarely heard Fidelia (with Cruvelli and Sims Reeves in the cast), two violin solos by Sivori, a divertissement by a troupe of Spanish dancers, and a long ballet constituted the attractions. Here was variety with a vengeance. Another performance remarkable for its length was at Covent Garden Theatre, when Bellini's Nor ma and Mozart's Flauto Magico were given on the same evening. The artists were Grisi, Viardot. Mario, Tamberlick, Formes, and Ronconi. Nowadays operatic performances in London are mainly long on account of the excessive length of the entr'actes. The subjects then dis- 376 PAST AND PRESENT 1845 AND 1895 cussed by friends in the front of the house are of so profound and intellectual a character that justice cannot be done to them under half an hour or so. I have noticed when in Germany on recent visits that operatic representations of extreme length are becoming the vogue again in the Fatherland. For example, such works as Traviata, Rigoletto, and La Figlia del Regiment o, are frequently given there, together with shorter operas like Cavalleria Rusticana. Mention of this last-named work brings to my mind a story I heard some time ago in Glasgow. It seems that Mascagni's melodious opera was being played at one of the theatres there by an English company, and under the title given to the English version. A Scotsman, evidently not belonging to the ' canny ' order, saw a bill em- blazoned with the words ' Rustic Chivalry, by Mascagni, to-night,' and immediately went off and imparted to his friends the strange informa- tion that ' something new ' was to be given by the composer of Cavalleria. Comparisons are proverbially odious, and I will therefore attempt none between the singers of the present and those of the past. But end-of- the-century audiences have assuredly no reason ENGLISH SINGERS OF TO-DAY 377 to complain on the score of lack of talent. Take at random the names of some of our promi- nent English artists (Continental and American vocalists I will refrain from enumerating again) : Macintyre, Clara Butt, Lloyd, Ben Davies (now as great a favourite in America and Germany as he is over here), Santley, Plunket Greene, Norman Salmond, Andrew Black, Douglas Powell, Iver McKay, Foli to mention only a few who at once recur to one's mind. Of English pianists in 1845 I only recollect Mrs. Anderson and Sterndale Bennett. At the present time pianistic notabilities are so numerous that there are scarcely concerts enough in which to find a place for them. Of present-day composers I have written in a previous chapter. To the list already given, however, I should add that accomplished lady, Miss Maude Valerie White, who with a rare gift of melody combines the art of writing drawing-room songs in such a way as to command the attention and respect of connoisseurs. She is an artist to the tips of her fingers. And while speaking of lady composers I cannot here refrain from paying my tribute to the rare and conspicuous talent of that charming, refined, and pre-eminently musicianly writer, Mademoiselle 378 PAST AND PRESENT 1845 AND 1895 Chaminade, who rightly holds a foremost place in the affections of all amateurs of true discernment. As a pianist, too, she has established for herself a deservedly high reputation. Another sign of our musical progress is the number of excellent amateur orchestras that now claim public notice. Too well known are these bodies to call for enumeration. Suffice it that they one and all help to supply a want that was sadly felt when I first came to England. I should add that among those who have done excellent and valuable work in furthering the cause of amateur musical art a conspicuous and honourable place should be assigned to the Duke of Saxe-Coburg-Gotha, who, as the Duke of Edinburgh, played for many years first violin in the. Royal Amateur Orchestral Society. A word for musical education in this country. When I arrived in 1845 the Royal Academy of Music was the only important institution of the kind in the Metropolis. Indeed, I might go further and say it was the only one in England. Moreover, it was by no means in so flourishing a condition as it happily is at the present time. Now London boasts, in addition, the Royal College of Music, the Guildhall School of Music, and institutions almost without number conducted ACADEMIES OF MUSIC 379 on a smaller and less ambitious scale. Then, in all large cities, such as Edinburgh, Glasgow, Dublin, Manchester, and Liverpool, there are large musical academies, as indeed there are in smaller towns like Cheltenham and Brighton. In the last-named, fifty years ago, it was only in large boarding-schools that any considerable number of pupils obtained musical education under one roof. And then they only took piano and singing lessons in the ordinary course of their curriculum, just as they were taught history, algebra, arithmetic, languages, and the like. Now the town in question boasts an admirably- conducted School of Music, which prospers under the able guidance of Dr. Alfred King, Mr. Robert Taylor, and Mr. Sydney Harper, and with a staff of professors which includes such accomplished musicians as Mr. F. Corder, Mr. Henry Davey, and my old and esteemed friend, Mr. Leopold Stern, father of the well-known 'cellist. I may say that I consider it a privilege to be associated with an institution so excellently managed and productive of so much good to earnest students of the art. CHAPTER LII. MY SEVENTIETH BIRTHDA Y AND MUSICAL JUBILEE. Congratulations on December 10, '93 Loyal friends in and out of the profession Letter from Sir Arthur Sullivan My birthday party The testimonial My Brighton friends Ceremony at the Royal Pavilion My jubilee concert in London Committee and artists An apology. ON December 10, 1893, I reached my seventieth year, and the anniversary brought me so many kind and congratulatory messages from old and young friends alike that I confess to having ex- perienced some little pride at the spontaneous manifestation of good feeling that was made on that occasion. In the years that are left to me I shall always look back to that birthday and the heartfelt wishes it evoked from countless members of my profession with sincere pleasure, and, I think, justifiable pride. For that reason I cannot refrain from enumerating here a few of the letters (.QUEENS MANSIONS. VICTORIA STREET. S.W. AL^^AA^. . J u^i ^. f^ ti^f^ff *4v ** tv/T^ " (j^L^fa^i** To face p. jSi. FELICITATIONS OF FRIENDS 381 that reached me on the morning of that, to me, memorable anniversary, from friends who were unable to attend my ' birthday party.' From Sir Arthur Sullivan I received the graceful and sympathetic greeting, a facsimile of which faces this page. I was also the recipient of felicitations from Sir Edward Lawson, who sent ' hearty congratula- tions and many blessings from all '; Colonel the Hon. W. Colville, Mr. and Mrs. Bancroft, Miss Liza Lehmann, Miss Esther Palliser, SignorTosti, Mr. Clifford Harrison, Mr. W. Ganz, Mrs. Gilbert Hare, Miss Marianne Eissler, Mr. Leo Stern, Mr. J. M. Le Sage, Mr. A. Schloesser, Mr. Tivadar Nachez, Mr. Percy Betts, Mr. Learmont Drysdale, and many others. Among many valued friends in my profession who were able to come in person to congratulate me were M. Paderewski, M. Sarasate, Mr. F. H. Cowen and Miss Henrietta Cowen, Mr. Walter Macfarren, Sir Joseph Barnby, Mr. Randegger, Mr. and Mrs. Eugene Oudin, Mr. Leonard Borwick, Mr. Santley, Mr. and Mrs. Norman Salmond, Mr. Otto Goldschmidt, Mr. and Mrs. Felix Moscheles, Madame Lemmens Sherrington, Mr. Vert, Mr. and Mrs. W. H. Brereton, Mr. Albanesi, Mr. W. Shakespeare, Mr. Daniel Mayer, 382 MY SEVENTIETH BIRTHDAY Mr. and Mrs. Douglas Powell, and Mr. A. P. Hipkins. It was also my good fortune to be made the recipient of a birthday testimonial, the movement in connection with which originated among some loyal friends in Brighton, in which town the pre- sentation was made by the Mayor (Sir Joseph Ewart). Accompanying it was an address couched in the following terms : ' Royal Pavilion, Brighton, ' June 23, 1894. ' DEAR MR. KUHE, 4 On behalf of the subscribers to the fund raised for the purpose of commemorating your great services to the cause of music, on your having attained your seventieth birthday, we, the undersigned, have been deputed to request your acceptance of the accompanying cheque for 450 guineas, as a token of the esteem and respect in which you are held by a large circle of friends, and as a mark of their gratitude for your lifelong devotion to the development and improvement of the musical art, especially in this town, where for so many years you were a resident among us. That you may be long spared to enjoy the blessing of unimpaired health, and to continue the pursuit MY JUBILEE CONCERT 383 of your professional work with undiminished vigour for many years to come, is our sincere wish and fervent hope. ' We remain, with warm regard, dear Mr. Kuhe, 4 Yours sincerely and affectionately, (Signed) ' JOSEPH EWART, Mayor of Brighton. ' C. B. WOODRUFF, Chairman of the Hove Commissioners. ' SYDNEY HARPER, Hon. Secretary.' My Jubilee concert to commemorate the fiftieth year of my residence and musical career in this country took place at the Queen's Hall, Lang- ham Place, on the afternoon of May 28, 1894. It was organized by a committee composed of the following : The Earl of Lathom, Sir Edward Lawson, 'Sir Arthur Sullivan, Sir George Grove, Sir Charles Halle, Sir Joseph Barnby, Sir Augustus Harris, Madame Adelina Patti, Signer Nicolini, Sir Henry Irving, Mr. S. B. Bancroft, Sir A. C. Mackenzie, Professor Villiers Stanford, Dr. Hubert Parry, Mr. Sims Reeves, Mr. Charles Santley, Mr. Edward Lloyd, Mr. Ernest Gye, Mr. Arthur Chappell, Mr. F. H. Cowen, Mr. Alberto Randegger, Mr. Wilhelm Ganz, Mr. Henry Evill, Mr. D. Mayer, and Mr. N. Vert. 384 MY SEVENTIETH BIRTHDAY The artists who appeared on that occasion, and all of whom generously gave their services, were : Madame Albani, Miss Esther Palliser, Miss Liza Lehmann, Miss Dale, Madame Antoinette Ster- ling, Madame Alice Gomez, Miss Clara Butt, Mr. Edward Lloyd, Mr. Eugene Oudin, Mr. Santley, Mr. David Bispham, Mr. Douglas Powell, Mr. Norman Salmond, the Meister Glee Singers, Madame Sophie M enter, Signer Simonetti, Master Huberman, Mr. Leo Stern, Mr. Henry Bird, Mr. Lane-Wilson, Mr. Ran- degger, Mr. Ganz, and Mr. George Grossmith. My old and staunch friend Sims Reeves, one of the first to ask to be identified with the concert, was, to everybody's regret, prevented through severe illness from taking part in the programme. To the kind and loyal artists who rallied round me on that eventful afternoon, and to the countless friends who by their presence on that occasion testified to their regard and let me believe affection, I take this opportunity of publicly expressing my sincere gratitude and thanks. One word in conclusion. I prefaced these memoirs with a promise to refrain, as far as pos- sible, from alluding in its pages to myself, and I THE LAST WORD 385 feel that, in writing of the events just recorded, I have laid myself open to the charge of having forgotten that pledge. But I felt that I could not close these re- miniscences without making some acknowledg- ment, however inadequate, of the cordial and generous and sympathetic attitude of those who helped to make the two commemorations of which I have spoken the success they happily were. So perhaps, after all, it is not necessary for me to conclude with an apology to my readers. Rather, I fear, will the latter owe themselves an apology for reading these memoirs. INDEX. A. ADELAIDE, Dowager Queen, 74 Africaine, I', 126 n., 171 Albanesi, Signer, 382 Albani, Madame, 38, 85, 184, 205 et "^313. 353. 384 Albert Hall, 195, 196, 276 Alboni, Madame, 45, 92, 102, 146, 178, 184, 368 Allen, Carradori, 41, 42, 46, 360 Alvars, Parish, 41, 47, 48 Anderson, Mary, 296 ,, Mr., 120 ,, Mrs., 120, 377 Andre, 187 Angouleme, Duchesse d', 3 Anna Bolena, 117 Arbos, Senor, 150 Ardili, Signor, 328 Arnold, Sir Edwin, 298 Ashdown, Parry, 112 Auber, 175, 176, 206, 338 Austria, Emperor of, 323 B. Bach, 79, 107, 208 ,, Choir, 275 Bache, Walter, 145 Balfe, Michael, 71, 75, 89, 92, 124, 146, 253, 312 Balfe, Victoire, 75 . Bancroft, Mr.. 296, 381 ,, Mrs., 296, 298, 381, 383 Barbiere, 11, 156, 175, 180, 184 n., 186, 328 Barnby, Sir Joseph, 355, 381, 383 Barnett, J. F. , 270, 348 ,, Morris, 40, 296 Barrett, Mr., 335 Bayreuth, 27 Beale, Frederic, 43, 45, ico, 311 ,, Willert, 45, 244 ,, and Company. 113 Beethoven, 4, 44, 93, 107, in, 127, 132, 142, 158, 208, 273, 335, 339. 34 Beethoven Rooms, 47 Bellini, 37, 209 Benedict, Sir Julius, 37, 46, 71, 76, 78, 79, 95, 150, 253. 254 ., 296, 299. 345- 346, 360. 368, 374 Benedict, Lady, 79 Bennett, Joseph, 27, 301 ,, Sir W. Sterndale, 254, 255, 345 et seq. , 377 Berlin Opera House, 66, 227 Berlioz, 16, 89, 105, 109, 278 Bernhardt, Sarah, 125 Bettini, Signor, 165 Belts, Percy, 381 Bevignani, Signor, 329 Bird, Henry, 150, 384 Birmingham Festival, 62, 93, 121 Bisaccia, Signor, 166 Bismarck, Prince, 172 Bispham, David, 384 Bizet, 169, 185 ., 206 Black, Algernon, 44 ,, Andrew, 377 ,, John, 44 Blagrove quartette, 148 Blumenthal, J., 363 Bohemian Girl, 75, 124, 146 Bohrer, 28 Boieldieu, 114 ;/. Boosey, Messrs., 169 n. Borwick, Leonard, 29, 150, 381 Bosio, 123, 125 Bottesini, Signor, 87, 89 Bradlaugh, Charles, 220, 221 Braham, John, 52 Brahms, 27, 268 Brandram, Samuel, 337 Brereton, Mr. and Mrs., 382 Bridge, J. F. , 260, 261 Brighton, 98 el seq., 307 INDEX Brighton Festivals, 29, 61, 63, 268, 343 et seq. Brighton Orchestral Concerts, 334 et seq. Brighton Sacred Harmonic Society, 340. 350 Brighton Theatre, 101 British Army Quadrilles, 87, 88 Broadwood, Henry, 43 ,, Messrs., 113 ,, Walter, 43 Broadwoods, The, 44 Bull, Ole, 241, 242, 257 Biilow, Hans von, 144, 150, 266 et seq. , 278 Bunn, Alfred, 312 Burnett, Mr., 335 Butt, Clara, 275, 377, 384 Byron, H. J., 296 C. Campanini, Signer, 206 Camp in Silesia, The, 66 Candia, Conte di, 199 . Carmen, 169, 172, 185 ., 207, 330 n. Carr, Osmond, 209 Carrodus, J. T., 205, 335 Carte, D'Oyly, 316 Carvalho, Miolan, 147, 170, 171 Catarina Carnaro, 32 Caux, Marquis de, 160, 179, 296 Cavalleria Rusticana, 315, 328, 376 Cavour, 199 n. Cecil, Arthur, 296, 298 Cellier, Alfred, 350 Cerito, 92, 309 Chaminade, Mademoiselle, 378 Chappell, Arthur, 148, 149, 341, 383 ,, Messrs., 169 Charles X. , 2 Cheer, Boys, Cheer, 96 Cherubini, 114 n., 127 Chipp, H., 335 Chopin, 23, 105, 107, in et seq., 138, 229 Chorley, Mr., 40, 113 Cioffi, Mr., 89 Claus, Wilhelmina, 120 Clay, Frederic, 348, 349 Collinet, Mr., 89 Collins, G., 335 ,, Viotti, 335 Cologne Cathedral, 132 Colville, Colonel the Hon. W., 381 Concordia, The, 139 Consort, Prince, 74, 93 Corder, F. H. , 261, 262, 270, 379 Cosmopolitan entertainments, 105 Costa, Sir Michael, 56 et seq., 78, 92, 252, 253, 256. 296.^345 Costa, Raphaelo, 62 Covent Garden Theatre, 45, 59, 67, 90, 92, 97, 118, 122, 153, 154, 170, 179, 194, 207, 210, 311 et seq., 319 et seq., 329, 379. Cowen, F. H. , 255, 256, 259, 270, 297. 340, 344. 35. 35*. 3 8 3 Cowen, Miss, 381 Cramer, J. B. , 44 ,, Messrs., 113 Crampton, Lady, 76 . Creation, 181, 209, 337 Crociato, //, 4 Cruvelli, Sophy, in, 375 Crystal Palace, 62, 87, 213, 265 et seq., 340 Cummings, W. H., 338 Cusins, Sir William, 120, 203, 255, 270 Czar, The, 215 Dale, Miss, 384 Dame aux Camtlias, 125 Davey, H. J. , 379 David, Ferdinand, 76 Da vies, Ben, 330, 349, 377 Davies, Fanny, 29, 150, 222 Davies, Mary, 330 Davison, J. W., 40, 102, 149 Daily Telegraph, 103, 293, 300, 301 Delafield, Mr., 311 Deluge, The, 350 Diamants de la Couronne, 338 Dicey, Edward, 296 Didier, Nantier, 170 Dietrichstein, Prince, 25 Dinorah, 147, 155 [349 Dolby, Charlotte, 93, 102, 245, 336, Domino Noir, 338 Don Giovanni, 6, 8, 10, 24, 124, 126, 127, 157, 158, 187 Don Pasquale, 25, 81, 83, 116 Don Quixote, 348 Donizetti, 81, 117, 167, 200, 209 Dore, Gustave, 178 Dreyschock, A., 27, 118, 119, 137 et seq. Drury Lane Theatre, 51, 89, 96, 312 et seq., 321 et seq. Drysdale, Learmont, 269, 381 Duka, Dr., 145 Dulcken, Madame, 23, 40, 46, 76 et seq., 101, 106, 360 Dumas, Alexandre, 105, 125 Duse, Eleonora, 125 Dvorak, Anton, 257 E. Eckert, 116 Edinburgh, Duke of, 78 INDEX 389 Egyptian Hall, 151, 152 Eibenschiitz, Ilona, 29, 150 Eissler, Marianne, 381 Eli. 56, 252 Elijah, 56, 77, 78 n, 93, 209, 340, 353 Elisir d' Atnore, 186 Ella's Musical Union, 47, 148 Elsler, Fanny, 309 Elvey, Sir George, 254 n, Engel, Louis, 178 Erard, M., 133 Erard (pianos), 133 Ernst, 105, no, 241, 242, 296 Esmeralda, 259, 330 //. Essipoff, Madame, 226. 278 Etoile du Nord, 67, 90, 147 Eugene Onegrin, 316 E-cangeline, 346 Evill, Henry, 384 Ewart, Sir Joseph, 382, 383 Exeter Hall, 52, 93, 276, 359, 360 Exhibition of 51, 119 F. Faure, Monsieur, 171 Faust, 127, 165, 168 et seq., 185 ;/., 167, 194 Favorita, La, 91, 114, 200 Ferdinand, King of Bohemia, 3 Fidelia, 4, in, 127, 375 Figlia del Regimento, 66, 72, 124, 376 First Christmas, The, 352 Fischoff, Professor, 139, 140 Flan tit Magico, 12 ., 33, 165, 375 Fledcrmaus, no Floral Hall, 313 Florinda, 119 Flotow, 89 Foli, Signor, 377 Formes, Carl, 77 n., 241, 257, 375 Fornasari, Signor, 38, 42 Forty, Miss, 78 FraDiavolo, 126 n., 171 Francis, Emperor of Austria, 2 Francis Joseph, Emperor, 5 Franco-Prussian War. 186, 205 Frederick the Great, 66 Freischiifs, 128 Friaz, Duchesse de, 76 n. Fridolin, 330 G. Gabriel, Virginia, 346 Gadsby, Henry, 270, 352 Gaiety Theatre, 300 Gallery of Illustration, 47 Ganz, Wilhelm, 235, 277, 278, 301, 384 Garcia, Manuel, 185, 187 et seq. Garcia, Madame, 187 Viardot, 184 et seq. Gardoni, 74, 91 Gassier, 170 Gayarrd, 126 n., 315 George IV., 99 German Emperor, 228, 324 ,, Edward, 262, 263, 270 ,, Opera, 321 Gerster, Ethelka, 296 Gilbert, W. S., 247, 289, 350 Giuglini, 125 et seq., 146, 170 et seq., 184 Goddard, Arabella, 120, 150, 222 Godefrois, M., 48 . Goethe, 173, 340 Goetz, Mrs., 50, 215 Golden Legend, 209, 247 Goldschmidt, Otto, 274, 275, 381 Gomez, Alice, 384 Good Shepherd, 348 Gottlieb, Madame, 12 Gounod, 147, 168 et seq., 185 ., 206, 344 Grafton Galleries, 271 Grain, Corney, 46, 282 et seq., 288 et seq., 296, 298 Gras, Dorus, 89 Graziani, Signor, 170 Greene, Plunket, 377 Grieg, Edvard, 257 Grisi, Carlotta, 92, 309 ,, Giulia, 38, 42. 45. 83, 92, 190, 191, 199, 204, 368, 375 Grossmith, George, 18, 46, 282 et seq., 289 et seq., 298, 384 Grove, Sir George, 272, 273, 383 Gruneisen, Mr., 40 Guildhall School of Music, 277, 322, 378 Guillaume Tell, 175, 185 . Gye, .,383 ,, F., 67, 122, 153 et seq., 179, 194 n., 200, 202, 312 et seq. H. Halle, Sir Charles, 106 et seq., 109 ., 149, 150, 278, 383 ,, Lady, 150 Hambourg, Max, 238 n. Hamilton, Miss, 178 Hamlet, 194, 288 Handel, 93, 140, 208, 260, 337 Festival, 62, 270 Hanover Square Rooms, 50, 109, 1.42, 212, 359, 366 Hansel and Gretel, 328 Hanslick, Edward, 27 Hare, Gilbert, 381 ,, John, 296 390 INDEX Harper, T. , 335, 338 Sydney, 379, 383 Harris, Sir Augustus, 259, 296, 318 et seq., 383 Harrison, Clifford, 312, 381 Hauk, Minnie, 206 Hausmann, 40 Haydn, 181, 208, 337 Heine, Heinrich, 114 n. Heller, Stephen, 112, 142 Henry VIII., 234 Henschel, George, 275, 276 Her Majesty's Theatre, 37, 56, 59, 68, 82, 91, 92, in, 116, I2i, 123, 124, I 59- *7, 190, 192, 194 ., 253,311, 313 et seq. , 375 Hero and Leander, 352 Herald, 114 n. Hildebrand, Herr von, n Hiller, Ferdinand, 142 Hipkins, A. J., 45, 382 His Excellency, 289 Hofmann, Josef, 235 et seq. Hogarth, W. , 40 Hohenlohe, Cardinal Prince, 13 Hohenzollern-Hechingen, Prince of, 143 Holland, Henry Scott, 71 Hollingshead, John, 296 Holmes, Henry, 270 Homburg, no Hook, Theodore, 289 Howell, Mr., 89 ,, Edward, 335 Hubermann, Master, 384 Hueffer, Dr., 235 Hughes, Mr. , 89, 335 Huguenots, Les, 4, 28, 126, 127, 163, 185 ., 186 Hummel, 20, 32 Humperdinck, 328 Hutchins, Mr., 335 Hymn of Praise, 79, 209, 253 I. Illustrated London News, 103 Imperial Institute, no Irving, Sir Henry, 86, 195, 201, 263, 297, 298, 383 Italy, King of, 203 Ivanhoe, 247, 317 J. Jackson, A. H., 352 Jarrett, Henry, 241 Jessonda, 240 Joachim, Dr., 105, 150, 189, 240, 339, 34i Jones, Whitford, 89 Jullien, 86 et seq., 336 I K. Kalkbrenner, 20, 22, 23, 30, 105 Kean, Charles, 296, 298 ,, Mrs. Charles, 296 Keeley, Mrs., 5 //. Kellerman, 41 Kellogg, Clara, 348 Kendal, Mr. and Mrs., 296 King, Alfred, 350, 379 Kingsbury, Frederick, 334 Kingston, Beatty, 142, 301 ,, ,, Mrs. and Miss, 142 Koenig, Herr, 88 Kolnische Zeitung, 216 Lablache, Madame Demeric, 165 ,, Frederic, 84, 96 25, 38, 42, 71, 74, 81 et set/. 86, 92, 119, 147, 309, 310, 368 Lachner, Franz, 32 Lago, Signer, 315, 318 Lalla Rookh, 348, 349 Lnmonde, F. , 270 Lara, Isidore de, 235 Lathom, Earl of, 383 Lavigne, Mr., 89 Lawson, Sir E. , 300, 301, 323, 383 ,, Lady, 301, n. ,, Lionel, 300 Lazarus, Mr., 59, 88, 150 Lefort, Jules, 178 Legend of St. Dorothea, 349 Lehmann, Miss Liza, 384 Leichtenberg, Duke of, 143 //. Leipsic Conservatoire, 79 Lemaitre, Monsieur, 201 Lemmens-Sherrington, Madame, 335, 38i Le Sage, J. M., 300, 381 Leschetizky, 226 Leslie, Henry, 270, 352 Levi, Hermann, 279 [sey. Levy, J. M., 49, 50, 96, 160, 292 et ,, Miss Angelina, 49 Miss Florence, 294 ,, Miss Matilda, 299 Liebhart, Madame, 335, 336 Liedcr ohne Worte, 102, 136 Lily of Killarney, 299 Lind, Jenny, 38, 64 et seq., 77, 85, 91, 92, 99, in, 116, 117, 123, 124, 154, 184, 188, 274, 275, 279, 311 Linda di Chamounix, 116 Lindpeintner, 41, 278 Liszt, Franz, 15, 21, 30, 112, 121, 130 et seq., 137 et seq., 158, 212, 223, 238, 243, 263 ;/. , 279 Litolff, Henry, 50 INDEX Lloyd, Edward, 225, 260, 345, 349, 353- 377. 383. 384 Lohengrin, 127, 206, 330 . Longfellow, 346 Louis, King of Bavaria, 21, 32 Lucca, Pauline, 171, 172, 296 Lucia, 38, 39, 51, 66, 89, 159, 193, 194 Lucombe, Emma. 50, 242 Lucrezia Borgia, 38, 127, 191, 206 Lumley, Benjamin, 123, 124, 254, 308 et seq. Lurline, 312 Lutzer, Jenny, 38 Lyceum Theatre, 122 Lytton, Lord, 242 MacCunn, Hamish, 270 Macfarren, Sir George, 347, 350 Macfarren, Walter, 251, 270, 339, 350 et seq., 381 McKay, Iver, 377 Mackenzie, Sir Alexander, 245, 256, 263, 270, 383 Mackenzie, Marian, 330 Maciniyre, Margaret, 307, 377 .Maid of Honour, 89 Malihran, Madame, 154, 185 Manchester College of Music, 108 Mancinelli, Signer, 329 Manns, August, 149, 189, 264 et seq., 340, 344, 352 Mapleson, J. H., 159, 164, 169, 170, 194 ., 296, 314, 329 .Maria Padilla, 167 Marinion, Marie, 206 Marini, Signer, 92 Mario, 38, 39, 42, 45, 83, 92, 114, 125, 126, 159, 171 et seq., iqqetsey., 368- 375 Marlbcrough Club, 78 Marras, Signor, 363 Marseillaise, 109 Martha, 89 Mascagni, Pietro, 315, 376 Massenet, 206 Mathews, Charles, 81 n., 296 Maybrick, 338 Mayer, Daniel, 382, 384 May Queen, The, 259 Meister Glee Singers, 384 Meister singers, 280 Melba, Madame, 259, 325 Mendelssohn, 56, 59, 65, 76, 77, 79, 85, 93, 102, 112, 121, 142, 243, 245, 253. 254, 33.5- 337. 339 Menter, Sophie, 223 et seq., 278, 384 ,, Karl. 223 Merry Wives of Windsor, 171 Messe Solennelle, 340 Messiah. 93, 128, 209, 337, 340 Metternich, Prince, 31, 52 ,, Richard, 32 Meyer, Leopold de, 41, 42 Meyerbeer, 4, 59, 65 et seq. , 90, 126 ., 147. 155. 157. 171. 181, 185, 227 Midsummer Night's Dream, 337, 340 Mignon, 194 Mikado, The, 19, 248, 249 Milanollo, Sisters, 243 n. Miranda, Comtesse de, 195, 196 : Mireille, 169 n. Molique, 33, 40. 43, 244, 245 Monday ' Pops,' 340, 341 Monte Cristo, 105 Moriani, 39, 42 Mors et Vita, 353 n. Moscheles, 20, 21, 37, 41, 42, 47, 76, 79, 95, 112, 143, 253 Moscheles, Felix, 80 n. ,, Madame, 76, 79, 381 Mottl, 279 Mozart, 6 et seq., 33, 120, 126, 158, 187, 208, 339 Mozart (the younger), 12 Miihlfeld, Herr, 150 Murray, Mrs. Douglas, 283 Musicians' Corner, 114 n. N. Xachez, Tivadar, 381 Nadesckda, 330 n. Napoleon III., 143 n. , 179, 180 National Concerts, 119 ,, Gallery, 187 Naudin, 126 . New Philharmonic Society, 277, 278 Nicolai, 171 Nicolini, 159, 173, 206, 383 Nikish, 279 Nilsson, Christine, 166, 173, 184, 190 et seq. , 296, 298 Norma, 25, 38, 127, 375 Norman-Neruda, 339 Norwich Festivals, 330 Novello, Clara, 29, 338 Nozze di Figaro, 116 Nye-Chart, Mrs. H. , 101 O. Oberon, 128 Olivette, 316 Ollivier, 143 n. Orchestral Union, 334 et seq. Osborne, G. A., 348 Oudin, Eugene, 316, 381, 384 Overland Route, The, 151 Oxenford, John, 296 392 INDEX p. Pachmann, Vladimir de, 228, 229, 278 Paderewski, 150, 226, 2,30 et seq., 381 Paganini, 14 et seq., 18, 239, 241 Palliser, Esther, 381, 384 Papini, Signer, 149 Parepa, Madame, 33 Paris, 22, 31, 48, 133, 188 ,, Conservatoire, 159, 205 ,, Opera, 161, 180 ,, Op6ra Comique, 147 , , Siege of, 175 Parry, John, 46, 47, 101, 151, 281 ,, Hubert, 260, 270, 383 Parsifal, 27, 158 Pasta, 117, 191, 199 Patti, Adelina, 38, 67, 92, 125, 154 et seq., 173, 180, 184, 186, 193, 207, 279, 296, 298, 313, 328. 368, 383 Pauer, Ernst, 120, 339 Paxton, Sir Joseph, 264 Pere la Chaise, 114 n. Perren, George, 338, 339 Persian), 92, 154, 311 Peter the Great, 67 Peter the Great, 90 Philharmonic Concerts, 62, 80, 93, 142, 254 et seq. ,, Society, 42, 253, 266, 330 ., 335, 375 Piatti, Alfredo, 149, 150, 189, 296, 339, 341 t l8 4, 3" Piccolomini, Mademoiselle, 123, 146, Pink Dominoes, 288 Pischek, 33 et seq., 39, 41, 42, 77 Pleyel, 22 ,, Camilla, 30, 79, 120, 222 ,, Salle, 133 Poniatowski, Prince, 179, 180 Popper, Herr, 150, 223 Popular Concerts, The, 146 et seq. Postilion of Longjumeau, 126 n. Powell, Douglas, 377, 382, 384 Prague Conservatoire, 7 ,, Opera House, 6, 163 Pratten, Mr., 335 Proksch, Joseph, 19 Prophete, Le, 185, 186, 227 Prout, Ebenezer, 270, 352 Prume, 239, 240 Prussia, Queen of, 134 Punch, 312 Purcell, Henry, 261 Puntani, 37, 38 Puxzi, Madame, 120, 121 Pyne, Louisa, 312 Q. Quatre Fils de Haymon, 75 Queen's Hall, 330, 383 ,, Theatre, 300 R. Rachel, 123, 158 Radcliffe, Mr., 335 Raff, 268 Rahlen, Baron, 172 Randegger, Alberto, 329, 330, 352, 381, 383, 384 Ravogli, Sisters, 315 Redemption, The, 353 Reed, German, 47 Reeves, Sims, 51, 52 et seq., 86, 89, 119, 196, 203, 242, 296, 336, 369, 375, 383, 384 Regondi, Gmlio, 28 Reichardt, A., 105, no Reisenauer, A., 150, 238 Reszke, Jean de, 126, 173, 260 Revolution of '48, 104 Reynolds, Howard, 335 Richardson, Mr., 89 Richter, Hans, 279, 280 Ries, Ferdinand, 44 ,, Joseph, 44 ,, Mr., 150. 341 Rigby, Vernon, 336 Rigoletto, 185 n., 376 Robert le Diable, 68 Robertson, Sophie, 353 Robin Hood, 348 Roche, Madame, 112 Rockstro, W. S., 71 Rode's Air and Variations, 116 Romberg, 28 Ronconi, Signor, 375 Rosa, Carl, 317 n., 331-333 [331 ,, ,, Company, 259 ; Opera, Rosati, 92 Rose, Frederick, 44 , , George, 44 Rose of Castile, 312 Rose of Sharon, 263 Rosenthal, Moritz, 156, 338 Rossi, Count and Countess, 115, 311 Rossini, 59, 84, 92, 93, 114 n., 163, 164, 174 et seq., 184 n., 185 //., 226, 328, 340 Royal Academy of Music, 63, 188, 245, 254, 269, 322, 378 Royal Amateur Orchestra, 378 [378 Royal College of Music, 273, 322, Royal English Opera, 317 Royal Italian Opera Company, 100 Roze, Marie, 206 Rubini, 39, 200 Rubinstein, 30, 148, 150, 211 et seq., 230, 231, 232, 236, 278, 279, 296, 298 S. Sacred Harmonic Society, 62, 360 Saint-Satins, Camille, 206, 234, 235, 278 INDEX 393 St. George's Hall, 287 St. James's Hall, 149, 166, 193, 213, 232, 287, 307, 340, 374 St. James's Palace, 74 St. John the Baptist, 347 Sain ton, Prosper, 59, 245, 339 Sala, George Augustus, 103 ,, Madame, 103 Salmond, Norman, 377, 381, 384 Salvini, 201 Salzburg, it Samson and Delilah, 234 Samuel, Clara, 330 Santley, Charles, 78 ., 170, 171, 353/377. 381, 383. 384 Sapellnikoff, 223 Sarasate, 255, 381 Sartori, Madame, in Sauer, Emil, 150, 258 Sauret, Emil, 245 Savoy Operas, 247 Saxe-Coburg-Gotha, Duke of, 272, 378 Saxe- Weimar, Grand Duchess of, 134 Scandinavian Symphony, 256 Scarvel, Mr., 331 Schwarzenburg, Cardinal Prince, 13 Schlesinger, Max, 216, 217 ,, Mrs., 217 Schloesser, Mr., 381 Schroder-Devrient, Madame, 4, HI, 127, 201 Schubert, 140, 273, 339 Schulhoff, J., 27, 77, 94, 95, 105, no, 118 Schulhoff, Madame, 95 Schumann, 28, 65, 112, 273, 341 ,, Madame, 29, 71, 150, 222, 339. 34i Scott, Clement, 301 Scottish Orchestra, 271 Sembrich, Madame, 296 Semiramide, 92, 165, 183 Servais, M. , 28 Shaftesbury Theatre, 315 Shakespeare, W., 268, 282, 352 Simonetti, Signor, 384 Sivori, 87, 243, 244, 375 Sloper, Lindsay, 352 Smith, Albert, 46, i$oet seq., 281 Smith, E. T. , 314 Sonnambula, La, 65, 76 ., 124, 153, 207 Sonntag, Henrietta, 115 et seq., 124, 3" Sothern, Edward, 296 Spectres Bride, The, 257 Speyer, 41, 42 Spohr, 41, 240, 278 Stabat Mater, 77, 176 Stainer, Sir John, 355 Stanford, Villiers, 260, 270, 275 ,, 383 Staudigl, 39, 41. 77 n. Stavenhagen, 238 Steinway pianos, 322 Sterling, Antoinette, 384 Stern, Leopold, 379 Leo, 381, 384 Stirling, Mrs. , 337, 340 Stoker, Bram, 297 Strakosch, Maurice, 155, 160 et seq. Strauss, Edward, no ,, Johann, 105, 109 ,, Johann, junr., no ,, Joseph, no Stuttgart Opera House, 72 Sullivan, Sir Arthur, 78, 246 et seq., 2 57. 259, 269, 273, 295, 317, 345, 35. 379.. 383 Sunday Times, 49, 293 Sweden, Queen of, 143 n. Swoboda, 6, 7, 9, 11 Symphony Concerts, 275 T. Taglioni, 92, 178, 309 Tarn O'Shanter, 269 Tamberlik, 125, 126 ., 170, 375 Tamburini, 83, 92 Jannhduser, 157, 182, 330 n. Tausig, 223 Taylor, Robert, 340, 350, 379 Tedesco, J., 27 Thalberg, 21, 23, 24, 28, 45, 47, 48, 105, 117, 119, 133, 212, 296, 298 Theatre Historique, 105 Thillon, Anna, 338 Thirteen Club, 334 Thomas, Arthur Goring, 259, 330 . Thomas, John, 48 n. ,, Lewis, 336 Times, The, 119, 124, 149 Titiens, Therese, 4, 126 et seq., 146, 165, 170, 184, 311, 329 Tomaschek, Wenzel, 19, 26, 94 Toole, J. L., 296, 298 Traviata, 123 et seq., 156, 192, 376 Trebelli, Antoinette, 166, 307 ,, Madame, 163 et seq., 170, 184. 353 Treffz, Jetty, 105, no Tristan und Isolde, 158, 209 Troubadours, The, 263 n. 'I'rovatore, II, 127, 129, 146 Tschaikowski, 316 V. Vanity Fair, 283 Verdi, 123, 124, 146, i8r n. 394 INDEX Vert, N., 116, 220, 290, 384 Vianesi, Signer, 329 Viardot, M., 186, 375 Victoria, Her Majesty Queen, 62, 74, 85, 93, 120, 122, 203 Vienna Concerts, 30 ,, Conservatoire, 139 ,, Court Theatre, 323 Vieuxtemps, 41, 42, 87, 149 W. Wachtel, 126 n. Wagner, Richard, 27, 157, 158, 182, 209, 257, 268, 279 Wales, Prince of, 62, 79 Wallace, William, 270, 312 Walthew, R. H., 270 Wartel, M., 166 Weber, Carl Maria von, 7, no, 278, 339 Webster, Benjamin, 296, 301 n. Wehle, Charles, 118 Weimar (Court of), 135, 143 Weiss, Madame, 38 Wessel, 112 When Other Lips, 147 White. Maude Valerie, 377 Whitehouse, Mr., 150 Whitehurst, Mr., 249 Wieck, Clara, 28, 29 Wieniawski, 87 Wieniawski (pianist), 94 //. Wigan, Mr. and Mrs. Alfred, 296 William, Emperor, 172 Williams, Montagu, 296 Willis's Rooms, 359 Willmer, Robert. 94, 95 Willyams, Mrs. Brydges, 195 Wilson. John, 282 Wilson-Lane, 384 Wilton, Marie, 298 Windsor Castle, 321 Wingham, Thomas, 270, 352 Witgenstein, Princess, 143, 144 Wolff, Johannes, 150 Woman of Samaria, 254, 346 Woodruff. Mr., 383 Wright. Frederick, 99 Wurtemberg, Queen of, 33 Wylde, Dr. Henry, 277 Wynne, Edith, 336 Y. Yates, Edmund, 296 Z. Zauberftote, 33 Zerbini, 341 /err, Anna. 90 Zimmermann, Agnes, 150 THE END. BILLING AND SONS, PRINTERS, GUILDFORI). ;. <.<:-=( ',>. t\o? I0^ kcr f UNIVERSITY OF CALIFORNIA LIBRARY Los Angeles j^N 1 7 1384 This book is DUE on the last date stamped below. m %4 hrt F.CUJ 3 L/Bf