HEADS OF PIONEER MUSIC HOUSES OF SAN FRANCISCO]
Since music was so much a part of the life of the earlier days it may not be amiss to mention the names of a few great specialists of that time. There were the Zechs, Jacob and Fred, manufacturers and repairers. Many examples of the former"s work still exist. Jacob was encouraged by the late Wm. C. Ralston and built many grand pianos for the old Palace Hotel and other places. Both the Zechs have pa.s.sed away but their descendants are in the front rank as musical artists, teachers and composers. A celebrated artist in his line was Urban, the violin repairer. Phaff, the flute and clarinet man was another. Others were Senor Nojica, maker of guitars, harps in the Italian quarter of Kearny street, Charles Morrill, of banjos, Tall Dan Delaney, drummer at Maguire"s Theater (who wouldn"t learn a note of music and played as he pleased) who repaired drums, and C.C. Keene, maker of accordeons, in former days much played, Professor Wm. T. Ferrer, the guitarist, lately deceased, came here in early days from Mexico with his family and made a place for himself as a guitar and mandolin teacher. His family were all talented, Annita Ferrer was a beautiful soprano singer and sang in concert and church. She occupied the place as soloist in Calvary Church for a while when the choir was composed of Harry Gates, tenor, Fred Borneman, ba.s.s, M.R. Blake, contralto, G.A. Scott, organist. Prof. Ferrer was not a commonplace performer, but played operatic selections of his own arrangement for the guitar that no one else attempted as far as I can recollect. He had a severe time in the beginning as prices for lessons were so low, and he had all he could do to keep the wolf from the door. We gave him several benefits which were greatly appreciated. One night we crowded the old Mercantile Hall with his admirers. The singers and players were Mrs. Hall McAllister, Mrs. Marriner-Campbell, Clara Tippits, Amphion Quartette, Mrs. M.R.
Blake, Sig. Mancusie, Wunderlich, J. Stadfeldt, Harry Hunt, accompanist. I shall always remember that night. The dear professor thanked us with broken speech, tears filling his eyes. He said the excellent program was a surprise and one of the greatest pleasures he had in California. He was made doubly glad by a well-filled purse of a thousand dollars, the receipts of the concert. This act on our part made him our perpetual friend until he died. He lived long enough to see his prices increased fourfold, which enabled him in his later years to live in apparent comfort. We were glad of it for everybody liked Prof. M.W. Ferrer. He pa.s.sed to his rest several years ago.
Among the earlier piano dealers were Badger & Lindenberger, who handled the Chickering pianos and also did a wholesale clothing business (a strange combination) at Battery and Merchant streets.
After several years they were succeeded by the surviving partner, Wm.
G. Badger, who continued the business until his death, after which it was disposed of by his heirs. Mr. Badger was a faithful worker in the Sabbath schools and took a deep interest to promote good music among the young. Some time in 1874 he produced the cantata of Esther, with Madam Anna Bishop, queen, W.C. Campbell, king, Vernon Lincoln, Hamen, Mrs. M.R. Blake, Hamen"s wife. The old Platt"s hall was packed to its fullest capacity. The cantata was given to the unbounded delight of Mr. Badger, and the audience cheered us all to the utmost. Enthusiasm was at the highest pitch and encomiums of praise were showered upon us. Those were halcyon days for fine singers. We had no lack of voices to call upon at all times.
Among the earliest music stores was that of an aged Italian named Salvator Rosa. He occupied half of a store on Montgomery street, near Market, and was a genial, quiet old gentleman, who spoke very little English. His stock was princ.i.p.ally selections from Italian operas, of which he knew every note. Both American and Italian artists loved to visit the old fellow and sun themselves in his doorway. Rosa moved later to Sacramento street and continued in the field and was followed by Rasche Bros., in turn by J.T. Bowers, a brother-in-law of the Rasche brothers. After Bowers, the business was conducted by Chas. S.
Eaton, and then after some years faded from sight. Also established in the music literature business at one time in Clay street, was Schubert & Co."s branch New York house, succeeded by the Ruppell Bros., their managers, who later gave up the business. Blackman & Davis, Southerners, tried the business for a while, being among the first to occupy a store in the original Phelan Building. Another off-shoot of Gray"s was John Broder, who commenced work as a little boy. He is now in ripe manhood conducting a similar business in the Byron Mauzy building on Post street where he is still successfully conducting the work he chose when a boy.
Engaged in the earlier years of the music business was Woodworth, Allover & Co. Here the founder of the present firm of Benj. Curtaz & Son was employed. Woodworth, Allover & Co. dealt mostly in imported French pianos and harmoniums. They were succeeded by Woodworth, Sch.e.l.l & Co. and with them was connected Mr. Curtaz, who later was in the firm of Hemme & Long. Woodworth, Sch.e.l.l & Co. after several years discontinued. A.L. Bancroft & Co. for a few years also engaged in the music business on Market street but later retired. A. Waldteufel was a late comer from San Jose and sold Blethner pianos. His chief clerk was the late well known Julius Oettl, a fine teacher of the piano and an encyclopedia of musical knowledge. Later he was in the music department of the branch house in Oakland of Kohler, Chase & Co. with whom he was connected until sickness prevented his continuing in the business any longer. He died several years ago, mourned by many friends he had made in his long career of music in the state. S.H.
Long, a music teacher from Marysville, after handling the Chickering piano for a while at the corner of Montgomery and Post streets was joined by August Hemme and for several years they manufactured the Hemme & Long pianos. They are both deceased and the business was continued for a while by Mr. E. Caswell and Mr. Curtaz but finally was wound up.
The well known firm of the Zeno Mauvais Music Co. was established in 1877 at 420 Twelfth street, Oakland, under the name of its founder, Zeno Mauvais. In 1882 it was deemed best to locate in San Francisco and at 749 Market street the stock and sign was first shown to the people on that side of the bay. Two years later the business had so increased as to make a removal to more commodious quarters an absolute necessity. 769 Market street was secured and with the increased facilities for carrying stock and attending to the wants of patrons the business was soon in a fair way to eclipse in volume its oldest compet.i.tors. Mr. Mauvais saw early in his musical career that the public demanded more "up-to-date methods" in the way of "bargains"
"right prices" and "square dealing" than had been offered before, and he began to put into operation the policy of "quick sales and small profits" which was characteristic of the house during its entire existence and brought to it an ever increasing trade. One of the special features was the handling of enormous quant.i.ties of the 50-cent folios and the 10-cent editions of popular issues. These were bought in carload lots and sent out to nearly every quarter of the globe. Pianos and musical goods of all descriptions were included in the lines carried by the firm, whose well known policy of discounting its bills enabled it to secure very desirable agencies and lowest prices on all purchases. In June, 1890, the house sustained an irreparable loss by the death of its founder, Zeno Mauvais, who pa.s.sed away after a very brief illness. Devotion to business and a never ceasing expenditure of energy and vital force was the cause of this man"s withdrawal from the activity of an hitherto busy life, during which he made and kept many friends. The incorporation of the firm under the name of the Zeno Mauvais Co. was the next change made in the affairs of this house. Mrs. Mae Mauvais was elected president and during the next five years her brother, R.L. Eames, occupied the position of manager. At this time a change being deemed expedient, Mr.
H.S. Stedman, who had been connected with the house since 1883, was elected as manager and secretary, continuing as such until the conflagration of 1906 destroyed the entire stock together with all the books of the concern.
Under the new management the firm renewed its effort to expand and took the two upper floors of the building in addition to the one previously occupied. A very successful feature was the division of the lower floor into rooms for the display and sale of different kinds of small goods, each having a room of its own. This was a new thing on the coast and was fully appreciated by the large number of patrons who took advantage of the opportunity to try instruments in comparative seclusion. In 1904 the largest holder of stock, Mr. Roy Mauvais, who was actively engaged in looking after the interests of the firm desired to concentrate his energies in furthering other lines of business in which he had engaged, and found more congenial. At this time an offer from the Wiley B. Allen Co. to purchase the entire stock of pianos, organs and piano players was accepted, and in accordance with the conditions of the sale the stock of small goods, sheet music and books was moved to 933 Market street, in the room adjoining the piano warerooms of the Allen Company and there handled under the name of the Zeno Mauvais Music Co. until the fire of April, 1906, obliterated all traces of it. It was not considered advisable by the stockholders to re-establish the business after this unfortunate occurrence and so one of the best and most favorably known music houses of the Pacific Coast ceased to exist.
[Ill.u.s.tration:
C.C. Clay Leander S. Sherman
MUSIC HOUSE OF SHERMAN, CLAY & CO.
San Francisco]
I will close my chapter with the story of the Zeno Mauvais Company. My story deals only with early history, for it would not be possible for me to give any accurate account of the business except from 1851 to 1877. I moved away from San Francisco twice and as my work was upon different lines, I got out of touch. My music was confined to the churches and concert halls and teaching in music and art and other branches of industrial development for the young of our growing city.
I am indebted to my good musical friends of earlier days for much of this knowledge.
When my earlier co-workers in music heard that I was to write about our early days they were all interested and entered into the proposition with unabated enthusiasm and not one has refused to give me information to make this volume a souvenir of the days when we began as factors in the development of music from the small beginnings of 1850 to the solid foundations of today.
CHAPTER TEN
AS A CHURCH CHOIR SINGER. BARNABEE, ZERRAHN, PATTI, JENNY LIND, JOE MAGUIRE, SAM MAYER, HARRY GATES
My career as a church singer dates as far back as my childhood. As children our father pressed us into the service of the Sabbath school and church services. There were seven girls and three boys. As soon as we were old enough to do the work, our parts were a.s.signed to us, consequently singing the church service was part of my young life.
Before I could read the notes I was able to make an alto part to almost any hymn. That is one reason why I do not read notes as readily as others, for it was easier for me to make my own part than take the trouble to read the music. But later on I was obliged to read my part, if I sang in concert with others.
We moved from Illinois and settled in Cincinnati in 1845. My father was the founder of the Betts Street First German Reformed Church and was its pastor for seven years. During that time I sang each Sabbath.
When father came to California and another pastor occupied the pulpit, we were obliged to give up the parsonage. Other arrangements were made for the music and my sister Mary became the organist of the old Sixth Street Presbyterian Church and Mr. Charles Aiken, director of the music. By accident I went with my sister Mary and sat in the choir loft. Mr. Aiken noticed my presence and recognized me as one of his pupils in the public school where he taught the singing during the week. Surprised at seeing me he asked how I happened to come into the choir. I told him I was with my sister, Miss Kroh, "Ah," he replied, and smiled and left me. I saw him in conversation after she had finished her voluntary. When she was seated beside me she said, "Maggie, when the choir arises to sing go over and stand with the altos and sing with them." When the time came she gave me the music and I sang my first service when I was ten years old, in a double quartette and in that capacity I sang for five years, each service, until 1850, the latter part of the year, when father had arrived in California and sent the gold for us to follow him to the golden land, as he called it.
[Ill.u.s.tration:
Mrs. Emma Jane Kroh-Knight Mrs. Sarah Rebecca Kroh-Harrold Mrs. Ann Lauretta Kroh-Zimmerman Sir Geo. Henry Blake Mrs. Margaret R. Kroh-Blake-Alverson Mrs. Mary Matilda Kroh-Trembly Wm. H. Knight James Holmes Wm. W. Trembly
THE FIRST CHURCH CHOIR IN CALIFORNIA
Stockton, 1852]
At the time of our arrival in California there were no choirs or singers in San Joaquin county. There was one Catholic church in Stockton but it was only a mission and the worshippers were Spanish and Mexicans, priest, Father Mauritz. Our family was the first white family in the city of Stockton, there being only one white woman in the place and she was the wife of Rev. James Woods. Gladly she received us and we were made welcome at her home for two weeks before we were able to see father, who had been sick in Scorpion Gulch for some time and we were obliged to await his coming. After the arrival of our father it was planned that a choir should be established in the First Presbyterian Church of which Rev. Mr. Woods was pastor. We had all the female voices needed. We had made the acquaintance of several of the prominent men in Stockton who were fortunately also singers, and they readily consented to sing as members of the choir. What was to be done for music? There was nothing to be had in Stockton. There were two music stores in San Francisco and the first task was to supply an instrument, if possible. Fortune favored us and between the joint efforts of these musical people we obtained a good sized Mason and Hamlin melodeon, which was duly installed into the choir of the church. The choir members were as follows: Sopranos: Miss Emma Jane Kroh, Miss Sarah Rebecca Kroh; Altos: Miss Mary M. Kroh, Miss Margaret R. Kroh; Tenors: Wm. W. Trembly, Henry Noel, George H. Blake; Ba.s.s: Wm. H. Knight, James Holmes, Wm. Belding; Organist, Miss Mary M. Kroh.
These men and women were the original members of the first choir that had its beginning in Stockton, in 1851. During the years of 1853 and later, the men who had families in the Eastern cities arranged for their coming and not many months elapsed before we had a goodly number of splendid ladies, the wives of these men, and some children and young maidens. Quite a colony of musical folks sprang up. They took an interest in the different choirs that had been formed. There were the Episcopal, Methodist and Baptist missions, begun during this time, and they had their followers and formed their musical services as soon as they were able to procure singers. During this time there came to Stockton from New York, Mr. Henry B. Underhill. He was not only a fine organist but an organ builder. He at once joined our colony of musicians and we rejoiced in the addition of a second organist to rely upon. Up to this time my sister was the only available musician that could be called upon to play on all occasions where music was needed.
The Episcopal mission of which Rev. E.W. Hager was rector, desired my sister as organist for his service which was held in one of the large rooms of the city hall. As Mr. Underhill was a member of the Presbyterian faith and desired to help the church they exchanged places. The choir had grown rapidly, some of the singers were Episcopalians who preferred their own service and all was amicably settled with the result that Stockton could boast of two choirs and two organs, or melodeons.
It was not many years before each mission had built a church of its own with separate organs and choirs. During these years I was sent to the Benicia Seminary, the only available school in the state, to finish my education which had been interrupted when I left Cincinnati to come west. Miss Atkins worshiped in the Presbyterian church, Rev.
Sylvester Woodbridge, pastor, and his daughter, Miss Mary Emma Woodbridge, organist. She also attended the seminary and those of the pupils who could sing were invited into the choir. I was one that was chosen on the alto side to help in the worship. After singing here for a year, Miss Atkins joined the Episcopal church and was confirmed and baptised in that faith by Bishop Wm. Ingraham Kip, D.D. I sang a special song at that time. I was now eighteen years old and was in the last year of my school days. After leaving school I returned to Stockton where I again joined the Episcopal choir--St. John"s--and sang until I was married, September 17, 1857, to George H. Blake, Rev.
E.W. Hager, rector, reading the service.
When my oldest son was seven months old we went to Boston, Ma.s.s., and later to Dedham, a suburban town out of Boston, when my husband was appointed manager of a department store by the firm of Parker, Barnes and Merriam. I heard my first concert, where I listened to some of the great singers of the day in Boston Music Hall, January 28th, 1859. The oratorio, "The Messiah," was given by the Handel & Haydn society, with 300 or more in the choir. Among the soloists were Clara Louisa Kellogg, Isabelle Hinkley, Adelaide Phillips, Signor Stigelli, Mons.
Guilmetti. On April 3rd, 1859, I heard Neukomm"s grand oratorio of David with grand opera principles. Among the singers were Mrs. J.H.
Long, Louisa Adams, C.R. Adams, P.H. Powers, J.P. Draper, Edward Hamilton, George Wright Jr., Carl Zerrahn, conductor, J.C.D. Parker, organist. After these two grand performances I heard many oratorios Sunday evenings at the Boston Music Hall, where each Sabbath a sacred concert was held instead of evening services in the churches. These opportunities helped to lay the foundation for my musical training.
The oratorios were interpreted by the best singers. I never dreamed of such an opportunity when my husband told me I should hear the best and Boston was the place.
It was not many months before my opportunity came to be admitted into the Oratorio Society. It came about like this. My husband"s people were Unitarians and attended the First Church, of which Starr King, then a young man, was pastor. There was no choir singing, but congregational song with a precentor who stood in the middle aisle and led the people, with the large organ at one side of the church, J.C.D.
Parker, organist. As the service began my husband said, "Maggie, when the hymn is given out you can sing, since the entire congregation sings here." He had an excellent tenor voice, and we both sang, unconscious that we were attracting any attention. Between the hymns Mr. Barnes (the precentor) stood three pews behind us. After the service was ended he came to our pew and introduced himself, telling us that when he heard my contralto he thought the church had a visitor, Miss Adelaide Phillips, of the opera company, and Boston"s foremost contralto. He was surprised to find my name was Blake instead. I did not know until I heard this wonderfully beautiful singer in opera oratorio how highly I had been complimented. Then I realized the comparison and did my best to merit the praise which had been bestowed upon me in my twentieth year. When we parted Mr. Barnes invited us to meet some friends at his home on Monday evening, when we met the princ.i.p.al members and officers of the Handel and Haydn Society, and after a pleasant evening of part song, solos and duets, I was asked to sing for the company. I was reluctant to comply, as I was not considered a solo singer, my place was always in quartette work and duets. Contraltos were not so popular in those days as the soprano and tenor and not considered solo voices where I ever sang before. It was only now I realized I was to have a place also. As I sang many beautiful duets with my husband, we favored them with a number. It was still insisted I must sing a song. My husband, accustomed to accompany me, arose and led me to the piano and I sang the old song, When the Swallows Homeward Fly, in the German language, as all German songs should be sung to bring out their full feeling and significance.
That song was the climax and I was lionized for the rest of the evening. There were also German professors present and their compliments would have turned any one"s head were it not poised on good common sense shoulders. My success began on that night.
There were three factions or grades of society in Boston, the literary, wealthy and musical. The position of my husband"s family enabled us to enter all three. Consequently the sails of my ship, success, were flung to the breeze and for four years I had fair winds and bright skies in the realm of song. Is it to be wondered at that memory comes floating up before me like a panorama of beautiful pictures and remembrances of happiness--times enjoyed with souls filled with the love of song, good comradeship and lifelong friendship which can never be erased? It is here where I sang for the first time with the renowned singer and actor, Henry Clay Barnabee, a young man then, just three years my senior, over fifty years ago. There are still five of us left to tell the stories of the singing days, when the city of Boston held scores of the finest male and female singers that ever pleased an exacting public.
On April 3, 1859, began the forty-third season of oratorio with such singers as Mrs. J.H. Long and Miss Louisa Adams, sopranos; Adelaide Phillips, contralto; C.R. Adams, P.H. Powers and J.P. Draper, tenors; Edward Hamilton, George Wright Jr. and Carl Formes, ba.s.s; Carl Zerrahn, conductor; J.C.D. Parker, organist, and full orchestra. Among the productions rendered were: Magic Flute, David, Creation, Messiah, Moses in Egypt, Samson, Elijah, etc., with Clara Louisa Kellogg, soprano; Isabella Hinkley, soprano; Adelaide Phillips, contralto; Signor Stigelli, tenor; Signor Guilmetti, ba.s.s.
Grand opera began the season of 1861 and I had my first opportunity to hear an opera given by such a galaxy of fine artists, being a member of the Handel and Haydn Society, and a.s.sisting in the chorus and also a member of the celebrated choir in Dedham, Ma.s.s., I was enabled to have especial advantages to hear this grand music. "La Juive" was the first with Mme Colson, Hinkley, Signor Stigelli and Susini as Cardinal; Sig. Hartman, Mancini, Barilli, Sig. Sheele. Martha with Colson, Phillips, Brignoli, Susini, Arili, Mancini; Il Giuramento with Colson, Phillips, Brignoli, Farri; Lucia di Lammermoor with Isabel Hinkley, Sig. Ferri, Sig. Lotti, Stigelli and N. Birelli.
[Ill.u.s.tration: HENRY CLAY BARNABEE
a.s.sociated with Mrs. Blake-Alverson in Boston, 1861]
At the close of the season, January 28, Sig. Stigelli was prevailed upon to give a farewell concert in Boston Music Hall, a.s.sisted by the Oratorio Society and Orpheus Musical Society. Soloists for the occasion were Mlle. Carlotta Patti, who sang the aria from the Magic Flute, Carl Formes, ba.s.so profundi, Signor Stigelli, tenor. It was a gala night and every seat was filled at the exact hour to hear for the last time the famous tenor who had sung himself into the hearts of the people by his beautiful voice and exquisite singing of the different arias of the opera in which he excelled. The hall was crowded to overflowing. Never had I beheld such beautifully gowned women and brilliant lights; the tremendous chorus and the full orchestra left a lasting impression upon me which cannot be erased by time. It is over fifty years since I saw such gorgeous splendor and heard the marvelous singing of these birds of song. The singing of Mlle. Carlotta Patti was a revelation almost beyond my conception. I heard her in 1861 and heard Adelina in 1886, twenty-five years afterwards, and of the two sisters I"d give Carlotta the preference. Her trills were like warblings of the birds and filled the auditorium and floated to the high arched ceiling of the cupola in the center of the hall and sounded like a chorus of birds rejoicing over the advent of their nestlings. Words are not adequate to explain the beautiful work of this pet.i.te singer and the reception she received on this occasion.
This concert was my first opportunity to hear such artists. They were singers and players of the highest art.
It was to me not real. The music that I had heard and sung before was sacred, on the Sabbath, and in songs familiar at that time, Home, Sweet Home, Swanee River, Mary of Argyle, etc., and songs moderately difficult, anthems and Te Deums and German leider were all we aspired to. Others than these were not to be thought of. Nothing worldly was tolerated. The minister"s daughters must always be proper in all walks of life. In 1846 when Jenny Lind made her tour of the world my sister Mary was the fortunate one to be able to hear her. All of her beautiful songs were in vogue and I was familiar with them, as my sister was a fine singer. She obtained these songs and although it is over sixty-six years ago I still have a great number of them, yellow with age, published by Pond and Company, and Oliver Ditson Company.
These publishing houses were founded during my early life, Ditson and Company began in 1834 and I was born in 1836. When I was ten years old I was sent to these places to purchase the music sister required in her teaching, church and home songs. For sixty-seven years I have patronized the house of Ditson and Company. The original men have pa.s.sed out and the sons are now the members of the firm. Only this year I received a cheery holiday greeting from the firm. I have digressed somewhat and gone back to my girlhood days in Cincinnati.
Let us return again to Boston fifty years ago and listen to this fine concert given in Boston Music Hall. It is almost impossible for me to describe the grandeur of this magnificent chorus and the orchestra and grand organ with Carl Zerrahn directing this mult.i.tude of singers and players and Howard Dow at the organ, playing with such a masterful touch. The brilliant audience listened with marked attention to this beautiful music and the stillness was only broken by the mighty applause of approval at the close of the grand performance and the repeated recall of the artists who deserved all of this great demonstration. The first great concert was but the beginning of my career. In the four years I had opportunities that were of a lasting profit to me. It was the cradle of my musical life and I often go back in my mind and see those beautiful singers I learned to love as friends and companions in song. Friends made then have lasted as long as life. All have pa.s.sed beyond and only five or six of the galaxy of male and female singers of that time are left to remember with pleasure the days of Auld Lang Syne.
During this period of 1861 the Civil War broke out and every patriotic man and woman was called into action. The union of the states must be preserved. The excitement was intense. Volunteers were called for and business men, clerks and rich men enrolled at once and soon our boys and men were drilling for the march to the south. It was not many weeks before the order was given to march. The first fire had been heard at Fort Sumter and the American citizen soon became a soldier and as the call was given he marched away. Shall I ever forget the sight of those splendid young men as they marched away, company after company. As I saw them in the strength of their manhood going to their destruction, my heart wept inwardly knowing many of them would never return. But those at home had no time for repining, and we were called upon also to supply the needs of the soldier who was fighting for us with willing hands and stout heart. Each one kept busy. Our choir was enlisted when the call came for funds, and faithfully we all responded. Many choirs were united by Edwin Bruce, and we were at once formed into a chorus of willing singers, great and small, in the realms of music, and in several months were well equipped for the work of raising funds for the war needs. The chorus was formed from Dr.
Burgess" choir of Dedham, Newton Musical a.s.sociation, Boudoin Street choir, Church of the Unity choir, the Bullfinch choir, number 200 voices in all. We were known as the Operatic Bouquet of artists. Our repertoire consisted of national and martial songs, our choruses selected from the following great compositions:
Il Trovatore, Verdi; Lucrezia Borgia, Donizetti; Martha, Flotow; Semiramide, Rossini; War Songs (male voices), Adams; Bohemian Girl, Balfe; I Puritani, Bellini; Maritana, Wallace; Masaniello, Auber; Enchantress, Balfe; Hark, Apollo, H.R. Bishop; Enchantress (male voices) Balfe; solo and choruses from Lucrezia Borgia, Donizetti; Hail to the Chief, Il Templario, Nicolai; quintette and chorus from Martha, Flotow; Miserere, from Il Trovatore, Verdi; Chorus of Martyrs, Donizetti; La Fille Du Regiment, Donizetti; chorus from Maritana, Wallace; chorus from Il Lombardi, Verdi; trio and chorus, Attila, Verdi; solo and chorus, Martha, Flotow; trio, Charity, Rossini; trio and chorus, Ernani, Verdi; chorus, full, Gibby La Cornemuse, Clap.i.s.son.
In the spirit of the times these two hundred voices trained especially for the occasion, it was not to be wondered at that success followed our efforts. Whenever we were called old Tremont Temple was filled to the doors. Our treasury was never depleted during all the months we were doing service in the cause of the soldier and his needs. Boston Music Hall, churches in the smaller cities were always filled to overflowing whenever we appeared in Dedham, Medford, Roxbury and Old South Church. For nearly two years this work went on. In 1862 my husband decided to come home once more, as there was less need for our services. We were in Santa Cruz when the war ended, still helping the cause through the Christian Sanitary Commission, founded at the beginning of the rebellion. Money was supplied through this medium, and through free contributions from the different states of the Union and churches and societies, etc. Having had much experience in the East we were enabled to be of great a.s.sistance to the musical people of Santa Cruz and made successful entertainments for the cause for the following year which aroused the patriotic fire in the hearts of the California defenders of the Union and crowned our efforts with success until the end of this dreadful war.