AS A CHURCH CHOIR SINGER. BARNABEE, ZERRAHN, PATTI, JENNY LIND, JOE MAGUIRE, SAM MAYER, HARRY GATES
Y 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 assigned 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.
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; Bass: 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, Mass., 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 principal 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, bass; 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, bass.
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 assisting in the chorus and also a member of the celebrated choir in Dedham, Mass., 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.
At the close of the season, January 28, Sig. Stigelli was prevailed upon to give a farewell concert in Boston Music Hall, assisted 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, basso 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 petite 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 passed 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 multitude 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 passed 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 Association, 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, Clapisson.
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 assistance 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.
In 1869, Mr. Blake having failed in his business, we left Santa Cruz and returned once more to San Francisco to retrieve our lost fortune. Youth, hope and energy were my strong salient points and I began in earnest to gain a substantial footing in music. My opportunity came with the Lyster Opera troupe and through efforts of a friend, Mrs. Cameron, who was employed there as soprano, I secured a position at $20 per week during their season in San Francisco.
I regret that I cannot remember the name of the Baptist pastor during my stay in Santa Cruz. He is the only minister whose name I have failed to recall, yet I can see his kindly face, and I gladly helped his congregation many times when extra help was needed. It has been so many years ago there is no one to help me in my research. This is the first link in my chain of evidence that has to be left unfinished, to my sorrow.
Returning once more to San Francisco I gave my services in the choir of Calvary Church, then on the north side of Bush street, between Montgomery and Sansome streets, Rev. W.A. Scott, pastor; Prof. G.A. Scott, organist, and Washington Elliott, choir master of the large chorus choir. I became the alto of the quartette, Mrs. Van Brunt soprano, W. Elliott tenor, Charles Parent bass. Dr. W.A. Scott was pastor for a short time and Rev. W. Wadsworth succeeded him. I remained in this choir until 1863, when I was offered the place in the choir of the First Presbyterian Church with a salary attached for the first time during my services in these many churches. Rev. Mr. Anderson was the pastor and George Pettinos organist. Sarah Watkins soprano, M.R. Blake contralto, Matthew Anderson tenor, Cornelius Makin bass—one of the best choirs in the city, splendid voices and good singers. I continued here nearly two years, when there was an offer for the place in St. John's choir for me at an advanced salary. I regretted to leave where I had enjoyed the music and the singers, but in the meantime my husband failed in business and I had two children to support. I accepted the St. John's choir offer for financial reasons. The pastor was Rev. W.A. Scott, Frederick Katzenbach organist, Mrs. Robert Moore soprano, Mrs. M.R. Blake contralto, Joseph Maguire tenor, and later, Vernon Lincoln and C. Makin, bass. I resigned this choir after almost three years' service, to take the alto position in Dr. Lacy's choir, Congregational church, corner of California and Dupont streets. Later Dr. Stone arrived and on the Sabbath of his first sermon the organist was Mr. Douglas; Georgiana Leach, Mrs. Northrup, Mrs. Oliphant, sopranos; Mrs. Margaret Blake, Miss Abbie Oliphant, altos; Signor Gregg, basso; Joe Maguire, tenor, with a small chorus choir added. The musical service was of a high order. The sopranos were the foremost singers of their time. Mrs. Leach left later and became the soprano of Starr King Unitarian Church in Stockton street. Mrs. Northrup went to the new First Congregational Church in Post and Mason streets. She was there for years. Samuel D. Mayer was organist at that time, Dr. Stone pastor and later Dr. Adams. At the time of writing Dr. Charles F. Aked from New York is pastor.
When Dr. Stone arrived from the East he had also in his company Mr. George Powers, and, by some arrangement, without any warning, the organist and quartette were unseated by the clique he had formed of his friends. The members of his quartette were in their places the next Sabbath when the regular quartette arrived, consequently we all were obliged to retire. When the new choir began there was a surprise in store for every one. There was nothing for the old choir to do but walk out. There was great grief over the abrupt dismissal. Mr. Benchly of the musical committee was consulted and nothing could be done with the friends of the new pastor. It was a church scandal of the gravest sort. Dr. Powers was from the East and intended to show San Francisco superior music from Boston. He found out before he had been there long that superior men and women were already in the field, and while he continued at the church as organist his influence in music had been tainted and his band of singers were so inferior to those ousted that they had but a short life in the church. I immediately returned to St. Patrick's Church in Mission street and remained there altogether ten years. Our work was very difficult and we had many high days and holidays, requiems, festivals and concerts for the organ fund which had been ordered from abroad, and we were supposed to help the organ fund along until it came. I am not sure how many concerts we gave, but they were all of a high standard. Professor Dohrmann, one of our leading musicians, was organist, also leader of orchestras, and our concerts were given with orchestral accompaniment. Besides the great voices in the choir we had operatic stars whenever they came with their troupes. Nearly all of the Italians being Catholics, Father Gray easily obtained their services and our soloists were artists music-lovers were glad to hear. By permission of Professor Dohrmann I have inserted this picture of the organ. It is the only thing left of this magnificent instrument, which cost $10,000. The earthquake and fire left not a vestige of anything that could be kept as a relic—one of the most beautiful organs that I ever sang with and played by the dean of organists.
During my time there were five fine singers, singing this difficult music: Mrs. Taylor, a Spanish soprano; Mrs. Urgi, English soprano; Miss Louisa Tourney, French soprano; Signora Bianchi, Italian soprano, who afterwards became the contralto when her voice fell by much singing and age. I became alarmed and feared I would also be obliged to resign. I was offered the position in Calvary Church once more. A new Calvary had been built on the corner of Geary and Powell streets, Rev. John Hemphill, pastor. I mentioned the fact to our leader, Prof. Dohrmann, and he objected to my going, saying he could not replace me. When I told him I had been offered a year's contract with more pay he consented. I remained until he obtained another contralto in Miss Ella Steele. I remained as contralto in this choir for the years that Rev. John Hemphill held it, which was twelve years, and also with Rev. Mr. Spucher. At the same time I sang on Saturdays at the Synagogue in Mission street, Rabbi Bettelheim, with the members of Calvary choir, excepting the soprano. The choir soprano of the Synagogue was Miss Carrie Heinemann and Mr. Newman was bass. I was the contralto of both choirs, Harry Gates, tenor. I continued in this choir six years. I had advanced toward the age of fifty years and the work of the two church choirs, my many singing pupils, art work, added to my professional work, began to tell upon my strength and at last I felt I must do something as a remedy or succumb to the inevitable. This was in 1886.
My son, George Blake, lived in San Bernardino, where he played in the Opera House orchestra and was leader of the Seventh Regiment band. My son William, alarmed at my condition, had written, unknown to me, to his brother, saying that I had worked long enough and that he should send for me. I was surprised when I received the word, "Mother, come," not aware he knew the condition. I had many hours of thought before I could decide when my voice was not even impaired, to give up my life's work and be a drone in the hive. At last I yielded to the desire of my sons to go south. I promised on condition that I came unheralded. I supposed I was going so far away no one knew me. Alas, this world is small, so it behooves us all to make our reputation without fault. I sent in my resignation to Calvary and the Synagogue musical committees, and bade good-bye, I supposed, to music and old associations forever. I would never be able to describe the deep sorrow that was depicted on the countenance of pastor and people, rabbi and congregation and the members of the young peoples' societies of the church with whom I had labored for so many years and assisted in their successful efforts from season to season. It was the heroic battle of my life to voluntarily cut loose from all that had been so auspicious during my many years of service. I was held in great affection by the people of San Francisco, who always gave me the most cordial welcome whenever I appeared in the churches or concert halls or took part in patriotic exercises.
I left San Francisco December 1, and had two days of travel. It seemed as though I was in another world, cut loose from all I ever cherished. The world never looked so vast to me before and it was as an open desert without one friendly face in sight, alone, adrift, knowing not the ultimate point of my travels. I was rudely awakened the morning of the second day by the whistle of the engine and the clamor of bells and bustling of feet. I arose quickly and soon was received by my son, who was awaiting my coming, and I said, "Here I am, I have obeyed your orders and now I am to do just as I please, and rest from my labor." He replied, "You have earned your rest after all these years, mother." So we happily proceeded to his cottage, where welcome awaited us. All seemed strange to me after so many years in San Francisco where I was known to all, yet I hoped to meet other pleasant faces and cheerfully accepted the situation with my son and daughter and their friends. During our conversation my daughter informed me that the ladies of the Episcopal Guild had voted unanimously that I had been accepted as the soloist of the choir of St. John's Church. Through their efforts I was to receive the salary of $20 a month. The church was not more than a beginning. The congregation worshipped in a large store on one of the main streets which had been fitted into a comfortable chapel. Mrs. Foster, from San Francisco, one of the many musical people there, had settled in that city and was the organist of that church, unknown to me, as I supposed, but when we met her greeting, "I am glad to meet you, Charity Pecksniff," surprised me. Through her the people soon found out who I was and I not only had the church position secured but also eight pupils ready to begin lessons in voice when I was ready to open my studio to them. So good or evil report follows us through our lives and makes for us our success or failure.
I made my first appearance at the Christmas service, which had been prepared with care, and extra voices were secured. My son had added from his orchestra three instruments in addition to the organ for the morning and evening services of the Christmas festival. The chapel was crowded to the doors and those who were unable to come in remained on the sidewalk during the services. The new singer was to be heard for the first time. I had chosen the beautiful Cavatina by Raff, and was accompanied by Mr. F. Erbe on the violin, who played the obbligato with exquisite grace and finish. In the evening I sang Praise Thou the Lord, O My Soul, by Holden, with two violins, cello and organ accompaniment. This extra service was the forerunner of other good services for the length of eight months, when the ladies' funds were so low they were obliged to discontinue my services, with profound sorrow, as the chapel had been crowded during all these weeks and the place was getting too small for the worshippers. A church building had been begun and money was needed there, so I reluctantly departed and took up the work in the Catholic church with Father Stockman, priest, at a salary of $40 a month, Miss Zabriskie, organist. The choir was composed of sisters from the convent, with a tenor and bass by two young priests who sang well the songs and chants of the church. In all these weeks I had also begun my classes and taught singing and painting. The change had benefited me and I busily passed the days and weeks, adding all the time new voice and painting pupils until I numbered fifty-one pupils and classes twice a week in Colton and San Bernardino. I was as busy as ever I was in San Francisco. But, alas, the hot climate (104 degrees in the morning) to which I was a stranger, was more than I could stand. At noon no one stirred out of the house or store. I stood the weather for sixteen months, then my family doctor ordered me back to San Francisco if I wanted to live.
I left San Bernardino for San Francisco, May 11, 1889. Arriving in San Francisco I took a flat on Geary street, near Steiner. On July 6 I began my work in the Larkin Presbyterian Church and continued there one year, when no funds separated singer and people. I gave the small struggling congregation another month of my services. The congregation met in a hall in the Western Addition. I think a church was built later, but it, like everything else, was destroyed in the earthquake year. I never returned, for after a year at the Geary street flat my son William and I concluded to move to Oakland. I had lost my position in the churches. Calvary Church offered me my old place but I did not wish to oust another who was giving satisfaction, and declined the honor. In Oakland we rented one of Mr. Bilger's cottages on Fourth avenue. After remaining there for two years and a half my son William married and returned to San Francisco to live.
I stayed in Oakland and began my music in the Pilgrim Congregational Church, through the influence of one of my early musical friends, Mrs. Nellie Wetherbee. I went to oblige her, as she was one of the leading spirits of the church. I remained with this church until Miss Mary Fox went East and the leader, Mr. Benham, came for me to take her place in the choir of the First Congregational church, Rev. Dr. McLean, pastor. I occupied this place for six months, giving the greatest satisfaction. Then I returned to Pilgrim Congregational Church and continued there three years. Miss Hough was organist and Mr. Redfield, choirmaster. I sang at first with the quartette, Mrs. Mollie Dewing, Mr. Redfield and Harry Melvin, now Justice of the California Supreme Court. Afterward when Mrs. Dewing left for the First Methodist Church as soprano we had Mrs. Andrew Fine, soprano. Later Mr. Redfield took charge of St. Andrew's choir in West Oakland, and I was left as soloist of the choir. Having a number of pupils in the members of the Christian Endeavor Society, I was urged upon by the pastor, Rev. Mr. McNutt, to take charge of the choir, which I did. Miss Hough continued as organist until she went abroad to study in London. Miss Bertha Hunter, who was an efficient organist, continued until my directorship closed with the advent of Rev. Mr. Silcox, who wished a man director in the choir where he was pastor. I left the choir after I had served almost continuously from 1890 to 1895. Six months of that time I sang for the First Congregational Church in Oakland. The first time was in 1890. In 1894 I substituted for two months while the contralto was ill. After leaving this church I sang with the St. Andrew's choir from January, 1893, until after the Easter service, April 2, almost four months. On January 31, 1896, I began in the English Lutheran Church, corner Grove and Sixteenth streets. Mr. Walling was director, Miss Margaret Oaks and Miss Mabel Hussey were the organists during the time. I sang here until July 16, 1897, as a memorial to my mother, who was a Lutheran in her faith, and the church was new and beautiful to sing in. I gave my services for a year and a half. Mr. Bushnell, the pastor, was popular and the church flourished greatly during the time. In December, 1897, I assisted the choir of the Church of the Advent, East Oakland, Dr. V. Marshall Law, rector, at their Christmas service, giving such satisfaction that I was prevailed upon to help the choir. My sister, Mrs. Harrold, and family worshipped there and her two daughters were in the choir. As I had no other church in view, I consented and continued for eight months. During that time we gave several fine concerts and on one occasion gave The Daughter of Jairus with great success, H. Melvin, bass; Miss Alberta Morse, soprano; Mr. Thornton, tenor; Mrs. M.B. Alverson, contralto. Several other artists with violin and cello assisted the regular choir of forty voices. They were strangers to me so I have reluctantly omitted their names. They were excellent musicians. During the eight months' service there occurred a number of pretentious musical undertakings which were meritorious as well as financially successful.
In 1899 I was once more called to the English Lutheran Church to direct the choir, with salary. I had twenty picked voices thoroughly placed and true. We occupied the upper gallery and all was in readiness to begin the new undertaking by the first Sunday in March, 1899. The church was full and also the Sabbath school rooms were required to seat the people who were anxious to hear the new choir. The rehearsals had been thorough and we had no fear of failure, and the people were not disappointed at the new order of things. How well they all sang—how beautiful was the service of those young voices, and what praises were showered upon them for their work by the congregation for their anthems, chants, hymns and offertories! For three years this order of things lasted and all the time the voices were fully developed and giving weekly more satisfaction. The Easter and Christmas services were efforts worth remembering in history, and I write with great pride because of the good work I was able to produce with these young voices in the service of song. On December 30, 1900, I sent in my resignation, which was very reluctantly accepted. I was now sixty-five years of age and my many pupils and two services on the Sabbath with necessary rehearsals became too strenuous. I had been in the active life of song long enough to lay down the baton.
On January 6, 1901, I sang for the last time in regular active service. Later in the year I assisted at different times the Fruitvale Congregational chapel, Eighth Avenue Methodist Church, Brooklyn Presbyterian Church, churches in Alameda and other small struggling churches when they needed a helping hand. It was my pleasure to do what I could to encourage the pastors and people of these small mission churches and in other churches where I had sung before on extra occasions. On September 1, 1901, on returning from St. Paul's Church, after having heard the monthly programme of song, I met my old Santa Cruz friends of 1864, Mr. and Mrs. Charles Metti and with them walked to their home. After spending a pleasant hour with them Mr. Metti escorted me to the San Pablo avenue cars. On alighting from the car at the corner of Broadway and Thirteenth street the motorman started up when I was but half way down and I was not able to hold on firmly enough, consequently the car shot out and left me on the street with a broken body. The accident closed forever my usefulness as a public singer and rang down for me the curtain upon any future work of this kind, to my great sorrow. Twelve long years I have borne this unhappy condition of things, yet I have not been a drone in the hive of busy humanity. I have fought the battle and won, and am still able to wear a smiling countenance and guide the young people into the pleasant path of song, and my success has been a compensation for all the suffering which has passed. As long as I am a factor for usefulness I will cheerfully do my duty. As long as I am able to chronicle the best results as a competent teacher of voice, which has been my vocation for over thirty years, I will be content. I have been rewarded by having given to our state many beautiful singers who remember with gratitude their aged instructor, no matter where they may reside, and a number of them are climbing and have climbed to high positions of prominence as singers of ability, and with personal attractions which have given them their stepping-stones to higher attainments in the art of vocal music.