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Musical Courier 1896-07-01: Vol 33 Iss 852, 1896
40 lines. Read by computer on 20 September 2026. Printed page 8. See the scan on archive.org.
1Musical Reminiscences of a California Pioneer.
3IMMEDIATELY following the discovery of gold in California there was great excitement among the adventurous emigrants. Everyone turned his attention to mining or to the buying and selling of merchandise. No one was so impracticable as to muse upon the arts. The people lived in covered wagons and tents until rudely designed houses could be constructed by means of pine boards and nails. The population was composed almost wholly of bachelors or men who had left their families in the East until they could survey the field. This is why there was no music nor schools nor other home influences in the pioneer days of California.
5My father, with his family, arrived in the Sacramento valley in the fall of 1849. There was then no city of Sacramento, and not an American house in San Francisco. With the exception of a few towns and villages in the southern part of the State, which belonged to the native Mexicans, there were but few signs or tokens of civilization. But as conditions became more settled a few well-to-do emigrants brought with them their cherished pianos and melodeons. Though my father had studied medicine in Cincinnati (under the famous Dr. Curtiss), he was an enthusiastic musical amateur. He played reasonably well upon the piano, organ and 'cello, and was an excellent vocalist.
7After the first great fire in Sacramento (I believe it was in 1853) my father discovered to his surprise and delight a piano among the ruins. He possessed an unusual amount of mechanical ingenuity, and had acquired in Albany and New York some knowledge of piano construction and cabinet work. So he expressed his belief that something might be made of the apparently ruined instrument. In a brief period the piano was mended of its broken back, restrung, mounted on table legs, and became a joy in the household, if not "a thing of beauty." It was a Bacon & Raven. For several years that was the only available piano in the capital of California, and Madam Anna Bishop was very glad to have the loan of it for her first concert in Sacramento.
9The great cantatrice introduced herself to my father, and after stating that she would give a concert if she could procure a piano, he gladly offered the use of his musical derelict. Madame Bishop was accompanied by the great harpist, Bochsa (could he have been the original Svengali?), and the concert was a decided success, as well as a rare enjoyment to the musically hungry Sacramentoans. Madam Bishop made several other visits to the Pacific Coast, and our family became well acquainted with the great artist. Indeed, it was upon her advice that my paternal sirc consented to my proposed musical career.
11At this time (1854 or thereabouts) there came to Sacramento a Mr. Winter, who desired to organize a class in music. He was referred to "Prof." Goodrich as being the most suitable person to judge of the newcomer's ability. Mr. Winter stated to my father that owing to failure in business (he had been a wholesale wine merchant) he thought he might turn to account his artistic skill. He said that he had been educated in Europe as a musical amateur. My father arranged with Mr. Dale, proprietor of the only music store in town, to test Mr. Winter that very evening after the store was closed.
13About 8 o'clock my father and elder brother, accompanied by the new professor, made their appearance at the music store. Mr. Dale, with his clerk, was there, and all expectancy. The door was locked and the strange examination at once began. It had been determined upon that Mr. Winter should be required to read "at first sight and with correct expression" whatever music was placed in front of him. Mr. Dale and the clerk began at first to hand down from the shelves Beyer's and Hunten's operatic fantasies. After the pianist had played a folio of these morceaux quite correctly, and with perfect ease, my father called for some classical selections. Mr. Dale had but little in this line, and that consisted of sonatas and rondos by Mozart, Steifelt, Dussek, Hummel, and Kalkbrenner. Some of these Mr. Winter frankly said he knew; the others he read in good style. All present were much in surprise, but before deciding the matter my father called for Liszt's arrangement of the Rigoletto quartet, the Twelfth Rhapsody and W. V. Wallace's concert polka in F sharp, then fresh from the press. This, as well as the other selections, Mr. Winter played almost faultlessly, and he seemed to enjoy the inquisition quite as much as did the inquisitors. The pianist was heartily congratulated upon the result, and soon he had a large class of pupils. He was a very accomplished man, who had been educated principally for commercial life, but I doubt if, even at the present time, the average professional could pass through the same ordeal with the same degree of success.
15One of my pleasantest recollections of Sacramento is of my old schoolmaster, Professor Howe, one of the few pedagogues who thoroughly understood the secret of arousing and developing dormant mental faculties. When Professor Howe applied for a position the city school board conceived the idea of propounding a series of idiotic questions which had no bearing upon education or mind development. One of these queries was, "What is the capital of the State of Indiana?" The veteran pedagogue replied, "I don't know, and don't want to know." I never fully appreciated his reply until nearly thirty years afterward, when I attended a convention in Indianapolis, and saw the capitol building which created such a scandal because of its cheap construction and miserable imitations of various marbles in its columns and pillars.
17Of the artists who visited California in the gold fever days Henri Herz, Vincent Wallace, Madame Bishop and Bochsa, and Signora Biscaccianti were the most prominent. Herz, particularly, encountered some queer episodes. He had no instrument, and being unable to speak English he gave few concerts after leaving Mexico. In one small town near the coast he borrowed an old French piano which the ocean fogs had sadly demoralized. During one of his grands tours de force at the concert (it was really a recital) he broke two or three jacks and several strings. Then coming to the front of the stage he shrugged his shoulders (à la Pachmann) and exclaimed, in tragic tones: "Perdu! perdu! ze concert—c'en est fait!" The audience hooted and hissed, while poor Herz continued his pantomime. To make matters worse the owner of the piano came forward and threateningly demanded that "Mister Herz" should then and there make restitution for the damage he had done.
19Vincent Wallace appeared as solo pianist and violinist, and as he was a brilliant virtuoso he met with considerable success, especially in Mexico and lower California. Signora Biscaccianti also had success in her concert schemes, and my remembrance is that she located for a while in San Francisco.
21Gustav Scott was the first prominent musician to settle in the latter city. He was a good pianist and organist, a well informed musician, and a very genial gentleman. Scott commanded a fine organ position and a large patronage among the wealthy San Franciscans.
23A little later came Rudolph Herold, nephew of the opera composer F. Herold. Rudolph was an all round musician, and good conductor, nervous and fiery. He organized and conducted the first concert orchestra in California, and I remember an incident which occurred while the band was rehearsing Mendelssohn's Midsummer Night's Dream music. A passage for the first oboe was not played to the satisfaction of the director, and he rapped for silence. Going to the oboe desk he seized the instrument and tried to give an exemplification, but failed. Returning the oboe to its owner Herold said, severely: "I can't play it, but you can, and why don't you!"
25Two Italian vocal artists, Signor and Signora Bianca, came to San Francisco while I was there a student. They had a large vocal class, and sang much in public, usually appearing together in the operatic duet, Ah! che la morte. This became indissolubly associated with the good signor and his rotund sposa, so much so that the California Minstrels, who were then showing in San Francisco, were tempted to represent the famous duet on their program. So it came to pass that on a certain night the house bill bore this legend: "Operatic duet, Ah! che la morte. (Il Trovatore.) Signor and Signora Bianca." Our artists, taking it as a compliment to their popularity, purchased choice parquet seats and betook themselves to the theatre. When time came for the operatic duet the minstrel orchestra (?) began to sound the chords of the Miserere, and then there appeared upon the stage Dave Wambold and Charlie Backus, black as crows and dressed respectively as man and woman. Backus as Leonora led off, and of course made sorry work with Verdi's florid music. Wambold followed with the tower song in much better style. Signora Bianca had been in the habit of introducing a trill in the final cadence, and this had not escaped the notice of Charlie Backus, though it was quite beyond his vocal technic.
27However, when the cadence was reached, Leonora projected a foot beyond the back of her dress, displayed a large masculine foot, and began to kick vigorously. Manrico in order to facilitate the nuance, placed his hand over the front of Leonora's waist band to support the trembling frame, and shook her violently. This, together with the kicking and goat-like reiterations of the leading tone, resulted, if not in a trill, at least in a most literal shake. The Biancas, already disgusted with the mock performance, could not endure this last bit of horseplay, and so they abruptly quitted the theatre, ejaculating in Italian and French all sorts of maledictions upon the minstrels, the licentious freedom of the country, and American institutions in general.
29A few years previous to this Backus made his first appearance in Sacramento. I still remember his Dahomey mouth and his clever impersonation of Edwin Forrest. Billy Birch was the other "end man," and Sam. Wells was interlocutor.
31Outside of the three cities, San Francisco, Sacramento and Stockton, scarcely any music was heard, and pianos were looked upon as curios. While I was living in Placerville (then called Hangtown) I was in the habit of grinding eight or nine hours per day on Czerny, Bertini and Cramer. One day a church committee came to me with a request that I would perform a few solos at a festival which they were organizing. Upon being informed that I played no pieces, only exercises and études, the committee exchanged incredulous glances with one another until the spokesman said, "Play for us what we hear you play as we pass by here." So I selected a few études from Bertini and Cramer, and these were thankfully received, though I dare say the people present were longing to hear the familiar tunes of the day. Shortly thereafter my father gave a concert with his pupils, who included nearly all the musical people in the town. A chorus class of about thirty young ladies formed one of the principal attractions, and among their number was a beautiful orphan girl possessed of an exquisite voice, full of subtle charm and pathos. She sang Kathleen Mavourneen with such true expression and naïveté that everyone present was affected, and it was with difficulty that I could finish the accompaniment.
33But I, being solo pianist, also had an inning. My first number was Lindant's Mazepa Galop. When I seated myself at the piano I looked almost directly into a private box nearest the stage, which some of my chums had secretly hired for the occasion. In the box were six or eight boys, all in a state of commotion and expectancy. They had procured a number of large champagne bottles and wired them together in pairs so as to resemble opera glasses. With these mock lenses they eyed me all through my solo, and as I did not know whether to laugh or to frown, I nearly lost my head, and was obliged to "fake" the finale. However, no one except the professor knew of my discomfiture and I was recalled. My young friends in the box had provided for this encore; not in the way of floral tributes and silver souvenirs, but with huge balls of pink popcorn fastened to a standard, in imitation of a large bouquet. While this was being handed up by an usher some one among the box party threw on to the stage a loaf of French bread above 5 feet long, especially baked for this occasion.
35No sooner had I appeared behind the stage with my trophies than I was attacked from all sides by the chorus of girls, and in a brief space of time they devoured every particle of the bread and popcorn. It seems that my good father (who was extremely cautious) had counselled the young lady vocalists to eat a very light and early dinner, so as not to impair their vocal efforts, an idea which is still entertained by certain singers. I am not a believer in the proverb, and certainly the girls sang unusually well after having eaten my French loaf and popcorn bouquet.
37About the year 1866 Joseph and Ada Heine came from Australia and gave a number of concerts in the interior of California. I met them in Amador County, and though my solo star was eclipsed by the artistic and brilliant performances of Mme. Heine, I was almost wild with delight, and always accounted this meeting as a propitious episode in my life. Though Mr. Heine was blind, he was an educated musician, an inspiring violinist, and a clever performer upon all manner of musical instruments. Partly through intuitive genius for sounds and partly through a peculiar physical constitution, Mr. Heine required but little technical practice, though he performed with ease the most difficult compositions for the violin and other instruments. It is one of those unfathomable mysteries which I leave to the metaphysicians and psychologists. Mozart was the most remarkable instance; Otto Hegner is another. I asked the boy when he was here in Chicago how much he practiced. "I do not practice," said he, "except to play my program once a day." Yet his interpretation of Chopin's E minor concerto was in some respects a revelation to me. In like manner have I marveled at Heine's performances, and I wondered if the harmonious angels whispered him their secrets, if he had passed through a pre-existent state, or what was the motive of the spell he wove!
39It was a remarkable manifestation to me—an inexperienced and uninformed young dreamer in a wild country where pick and shovel, revolver and bowie knife were the principal implements and arguments employed by men. I found the Heines communicative, generous and genial. Indeed, Mr. Heine was the most entertaining raconteur I ever met, for he combined ventriloquism with his other gifts and acquirements. He told me of an amusing incident which occurred in a stage coach between Grass Valley and Nevada. These towns are near together, and were connected by a plank road. The Heines had concertized in both towns and were returning to Nevada in order to continue their tour toward Sacramento. One of the stage passengers was a minister who had attended the concert of "the wonderful blind musician" in Grass Valley. All went well until the coach stopped to water the horses at a very pleasantly situated wayside tavern, whereupon Heine playfully remarked to his wife, "What a charming place! the three large oaks in front of the inn, the sparkling mountain rill threading its way through the clover meadow, the gaily colored windmill and the pretty flower garden across the way." The good minister was
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