Reminiscences, 1819-1899

by Julia Ward Howe

I first came to know him well when Madame Sontag was singing in Boston. We met often at the home of Mr. and Mrs. Schlesinger-Benzon, a house which deserves grateful remembrance from every lover of music who was admitted to its friendly and æsthetic interior. Many were the merry and musical festivities enjoyed under that hospitable roof. The house was of moderate dimensions and in a part of Boylston Street now wholly devoted to business. Mrs. Benzon was a sister of the well-known Lehmann artists and of the father of the late coach of the Harvard boating crew. She was very fond of music, and it was at one of her soirées that Elise Hensler made her first appearance and sang, with fine expression and a beautiful fresh voice, the air from "Robert le Diable:"—

"Va, dit-elle, va, mon enfant,
Dire au fils qui m'a delaissée."

These friends, with others, interested themselves in Miss Hensler's musical education and enabled her to complete her studies in Paris. As is well known, she became a favorite prima donna in light opera, and was finally heard of as the morganatic wife of the King (consort) Ferdinand of Portugal.

Madame Sontag and her husband, Count Rossi, came often to the Benzon house. I met them there one day at dinner, when in the course of conversation Madame Sontag said that she never acted in private life. The count remarked rather rudely, "I saw you enact the part of Zerlina quite recently." This was probably intended for a harmless pleasantry, but the lady's change of color showed that it did not amuse her.

Before this time Dwight's "Journal of Music" had published a very friendly review of my first volume of poems. It did not diminish my appreciation of this kind service to learn in later years that it had been rendered by Mrs. Ednah D. Cheney, then scarcely an acquaintance of mine, to-day an esteemed friend of many years, whom I have found excellent in counsel and constant and loyal in regard.

During the many years of my life at South Boston, Mr. Dwight and his wife were among the faithful few who would brave the disagreeable little trip in the omnibus and across the bridge with the low draw, to enliven my fireside. I valued these guests very highly, having had occasion to perceive that Bostonians are apt to limit their associations to the regions in which they are most at home. Speaking of this once with a friend, I said, "In Boston Love crosses the bridge, but Friendship stops at the Common."

After the death of his wife Mr. Dwight had many lonely years. He was very fond of young people, and as my younger children grew up he became strongly attached to them. As editor of the "Journal of Music" he was the recipient of tickets for musical entertainments of all sorts. His enjoyment of these was heightened by congenial company, and to my children, and later to my grandchildren, he was the great dispenser of musical delights. He was to us almost as one of the family, and to him our doors were never closed. His was a very individual strain of character, combining a rather flamboyant imagination with a severe taste. He could never accept the Wagner cult, and stood obstinately for the limits of classical music, insisting even that the performance of Wagner's operas perverted the tone both of strings and brasses, and that it took some time for the instruments to recover from this misuse. He had much to do with the formation of the Harvard Musical Association, and the programmes which he arranged for its concerts are precious in remembrance.

Dr. Holmes sat near me at Mr. Dwight's funeral, which took place in the Harvard rooms, whose presiding genius he had been. The services were very simple and genial. Some lovely singing, a poetical tribute or so, some heart-warm words spoken by friends, mingled with the customary prayer and scripture reading. In the interval of silence before these began, Dr. Holmes said to me, in a low tone, "Mrs. Howe, we may almost imagine the angels who announced a certain nativity to be hovering near these remains."

Otto Dresel, beloved as an artist and dreaded as a critic, was an intimate of the Benzon household, and was almost idolized by Mr. Dwight. He had the misfortune to be over-critical, but no less so of himself than of others. He did much to raise the appreciation of music in Boston, possessed as he was with a sense of the dignity and sacredness of the art. His compositions, not many in number, had a deep poetical charm, as had also his soulful interpretation of Chopin's works. As a teacher he was unrivaled. Two of my daughters were indebted to him for a very valuable musical education.

Boston has seemed darker to me since the light of this eminent musical intelligence has left it. I subjoin a tribute of my affection for him in these lines, which were suggested by Mr. Loeffler's rendering of Handel's "Largo" at a concert, especially dedicated to the memory of this dear friend. I also add a verse descriptive of the effect of the funeral march from Beethoven's "Heroica," which made part of the programme in question.