PROGRAMME FOR JULY 4TH, 1874
| 1. Overture—Poet and Peasant | Suppe |
| 2. Song. The Sword of Bunker Hill Mr. C. Makin | Covert |
| 3. Scotch Ballad. Within a Mile of Edinborough Town. (encore) Annie Laurie. Mrs. M.R. Blake | |
| 4. Piano solo. America, with variations Frank Gilder | Gilder |
| 5. Grand Aria. Let the Bright Seraphim Mme. Anna Bishop; Prof. Mehden, cornet obbligato | Handel |
| 6. Song. The Anchor's Weighed Mr. Alfred Wilkie | Braham |
| 7. Grand operatic pot-pourri | Von der Mehden |
SECOND PART
In speaking of these concerts it is interesting to note the number of fine singers that we had in California in 1874 and how easy it was for a manager to select the best out of these for any occasion.
Women's Voices: Madam Bishop, Mrs. M.R. Blake, Mrs. A. Thiesen, Miss Marian Singer, Mlle. Franzini, Mlle. Anna Elzer, Miss Susan Galton, Madam Babcock, Signora Bianchi, Mrs. Eliza Boston, Miss Rowley.
Men's Voices: Signor C. Orlandini, Charles Metti, M.A. Anderson, C. Makin, Henry Baker (tenor of the opera troupe), Sig. Luigi Contini, Ben. Clark, W. Finkeldey, Carmini Morley, Alfred Kelleher, Sig. Fulvio Rigo, Sig. E. Bianchi, Alfred Wilkie, Sig. G. Marra, W.C. Campbell, Mons. Davidowitz (Russian opera tenor), Geo. Carltos, Sam Booth, Amos Durant, F.L. Phelps.
Musicians: F. Gilder, Prof. Hartman, Prof. H. von der Mehden, Ernest Schlott, Mulder Fabbri, Prof. M. Schultz, C.J.J. Smith (flutist), Louis Boedecker (pianist), Stephen Marsh (harpist), George L. Blake (cornetist), Bender, Shepherd, Emerson, Wilson (horn quartet), Miss Rotier (pianist), Prof. G. Cellarius (violinist), A. Kessels (pianist), Miss E.M. Burkhardt (Chicago pianist), H.F. Todd (cornet).
These men and women singers and musicians took part in these series of concerts given by Frank Gilder in 1874 and were available at any time when needed. They were only a number of the many fine singers then in San Francisco. I doubt if you could be so successful today, for these were genuine tried singers, ready to go at any time and fill the place, either with sacred, secular or operatic music. There were also the members of the Loring Club, all good singers, picked and tried, who sang in choirs, concerts and also in prominent musical undertakings of the period. I have tried to leave no name out of the list of singers. Professional jealousy does not exist in any of my musical life. It never did, and if people will use their good, common sense and judgment and see a singer in her true light they will find out very quickly that there exists no grounds for such a feeling with true artists. In the first place no two people look alike, neither are they made alike. I have had the strange experience of teaching five pairs of twins. They were so much alike that it was with difficulty we could distinguish them apart. Especially the Faull twins, who were obliged to wear a gold bar pin with "Rose" and "Sophia" engraved upon them to distinguish them, and yet they were unlike in every respect. The figures were different; their voices, one a contralto, the other soprano; one delicate, the other robust. Rose is living and the other passed out of life. It is so in everything in life. The petty jealousy of singers and players is a laughable farce. Even our grandest singers have shown this weakness because a rival was billed with lettering a quarter of an inch larger. This lowers the singer in the eyes of the public. No two singers can sing alike, even if they sing the same song. The interpretation belongs to the individual singer. It will remain hers forever in the remembrance of the listeners and no amount of jealousy will remove the fact. When once a singer has climbed to a place of recognition and can be classed as a true artist and acknowledged by the public as such, she is entitled to recognition. "Give honor to those to whom honor is due," is the safest way.