The best idea that came of the work of the Irish committees was that of a concert of Irish music. It was brought forward by Jeremiah Lawlor, of the Ancient Order of Hibernians, and ardently worked for by him. Once presented to the Hudson-Fulton Commission it was given a place on the official programme. Fortunately Victor Herbert, the distinguished operatic composer and orchestra leader, was at hand, and instantly accepted the concert committee’s invitation to take charge of the programme. It involved some sacrifice on his part but he gladly made it, and the success of the result must certainly have compensated him.
It was in the springtime, too, that another Irish feature of the celebration was arranged, the chartering of the splendid Sandy Hook steamer, Asbury Park, for the naval parade up the Hudson River. The American-Irish Historical Society and the Friendly Sons of St. Patrick coöperated in this—at a cost of $5,000 for the use of the steamer for that single day.
Reception of the Half Moon and Clermont.
The last week in September is apt to be blessed with fine, mild weather in New York, and this time it held good. No more beautiful day could be wished than Saturday, September 25, 1909, when the banks of the Hudson River for ten miles from its mouth became the vantage ground for many more than a million sightseers, with the great stream itself a Broadway of the water over which the floating procession was to pass. Toward the City shore the long line of the gathered warships stretched adrape with gay bunting. Behind the water-front packed with human beings from the Battery Park to Grant’s tomb and beyond, rose the great mass of the city, its lifted turrets and spires and its soaring buildings forming a majestic background. Power spoke in every line and mass that met the eye, and beauty of a kind seldom seen gave its impress of delight. Down the harbor, the fleet of steamers was gathering in its hundreds, every craft from great Hudson River and Sound steamers and private yachts to squadron upon squadron of tugs. All were flag-draped and all were laden with joy-bound participants. The Brooklyn shore down to Fort Hamilton at the Narrows, and the heights and shore of Staten Island from Fort Wadsworth curving around the harbor were black with human beings. Hard by the Kill von Kull lay the Half Moon and the Clermont, the one a quaint, picturesque ghost of the great days of adventure of the early seventeenth century, the other in its long square ugliness a reminder that adventure with steam power in a new element was concerned with fitness and not with beauty; that Fulton was thinking of the turning of his ridiculous paddle wheels rather than the looks of things. And on the Dutch craft stood a make-believe Henry Hudson with a Dutch crew clad in the sea-dogs’ garments of his time. What a dim, pathetic figure that real Hudson of whom here was the twentieth century shadow. He must have been a man of grim purpose and of strong flesh and blood, but never did a man so near our time fade out into the mist more completely than he who first sent the prow of a white man’s ship up past the Palisades and the Highlands. On the Clermont was also a goodly company rigged out in the habiliments of 1807 that still bore something of the lines of the dandies of Paris in the time of the Directory. But it was a man of Robert Fulton’s blood who impersonated the creator of the first steamship that could truly navigate, and that meant that there was Irish blood in him.
It was when the procession in the course of the afternoon began to move with our long slim darting torpedo boats escorting the Half-Moon and the Clermont and all the other steam craft following that the true glory of the day began, and as the vessels swung into line heading northward every piston-beat of the engines, every turn of the churning screws and splashing paddles seemed to make a chorus of Fulton! Fulton! Fulton! and in a precious undertone to many a thousand of the onlookers it murmured Ireland! Ireland! Ireland! whence came the brain that had put a heart of giant power into every floating fortress, every giant of the transatlantic trade that the great flotilla passed as it swept up the river. As the little ship of Hudson and the ungainly master-boat of Fulton passed, the fleets of the world saluted them. So they passed up, acclaimed from the banks and the stream, the Half-Moon and the Clermont halting at the picturesque water gate on the Riverside slope for the reception ceremonies where the dignitaries waited from the Governor of New York state down.
The Illuminations on Water and Land.
For the rest of those afloat it was a sail nearly to Yonkers before the last of the United States battleships was passed, and the turning point reached. By this time the evening was falling rapidly in a glory of crimson sunset that made the river glow as paven with red gold, the Palisades rising black as ebony against the west, and the lingering rays falling in warm ivory and pale pink on the white house-line of New York on its hills farther down the stream. But as the light paled, and the shadows filled with purple and presently when a misty greyness was coming over all on land and water, another glory began which was to gladden and grow until it made a great picture that perhaps the world had never seen and certainly the world of Columbus and Hudson and Fulton had never witnessed before—the festal lighting on water and on land.
Lucky were those in that day procession up the river whose craft could linger in the upper reaches until all the glory of night was ablaze. The warships outlined in strings of electric lamps, the lights on the moving craft, the monuments on shore brilliantly set off with skeleton tracing of light, building after building on both sides of the river glowing with electric lights in every fantasy of device and color, the houses one and all lit up at every window, the tower of Madison Square one mighty shaft of light. Farther South the sky-piercing tower of the Singer building like a glowing mural crown dominated the vast field of the twenty-story office buildings, all illuminated to their roofs. In the harbor the Liberty Statue shone in an island of light. Up the East River a special glory was seen with its three great bridges spanning the stream in glittering cobwebs of light that hung between the water and the sky. All the buildings on the New York and Brooklyn shores swam in a shimmering golden haze. The avenues were long lines of diamonds strung from pillar to pillar, and then to the north a wonderful aurora of fan-spread search-lights, and from a dozen points over the island and the rivers spouted, great fountains of fireworks storming the heavens with jets of colored fire. It was fascinating, intoxicating, and the millions watched it in a daze from nightfall until midnight when at last the city and the river were left to the stars.
The Irish Concert.
On Sunday, September 26, New York was fain to rest from its long outing of Saturday. When, however, night had fallen there was no fatigue visible in the smiling faces that gathered for the Irish Concert in Carnegie Hall. In securing the hearty coöperation of Victor Herbert, the famous composer and orchestra leader, the committee had armed itself for a triumph. Mr. Herbert is Irish-born, and of true Irish stock, a grandson of Samuel Lover, the Irish novelist and ballad writer whose “Low-backed Car” and “Rory O’Moore” threaten to outlive most of the lyrics of his generation. In Germany he received his musical education which was thorough. As a student of harmony and counterpoint none surpassed him in avidity to master all that the best could impart. Learning successively to play well nigh every instrument in the orchestra, he became proficient on the violoncello, acting as solo violoncellist in the Royal Court orchestra at Stuttgart, and taking a high rank as a virtuoso. When he came to this country in 1886 it was to take the important post of solo violoncellist under Anton Seidl, the great Wagnerian conductor at the Metropolitan opera house. His German was so good that musical people around Fortieth street wondered “how well the Dutchman spoke English,” a curious reversal of Lever’s humorous conceit: “I knew by your French you were English, and I knew by your English you were Irish.” Herbert, however, was not long in the land of the free before his Irish heart made itself known to his fellow-Gaels, and ever since it has beat in unison with them. In music he heard a higher call than being a prominent figure among the instrumentalists of even so famous a Wagnerian as Anton Seidl. When Patrick Sarsfield Gilmore, of loving musical memory, passed away, it was Victor Herbert who was called to succeed him as bandmaster of the 22d regiment, and thereafter waved the magical baton of Gilmore’s wonderful band. To this he added the duties of Kappellmeister to Anton Seidl’s orchestra and to the famous organization of Theodore Thomas. In 1898 he obeyed a call to Pittsburg to head a great orchestra, and remained there six years, his power and talent developing all the while. Returning to New York he recruited an orchestra of his own which soon won popular and critical esteem. But his forte lay in musical composition. The immediate road to success and fortune was, to his mind, by the way of comic opera, and work after work of this nature came sparkling from his brain to the joy of multitudes and to his own rapid enrichment. Still he led his now famous orchestra all over the land, working day and night, for he loved his work. The ambition to do greater things, however, never left him, and passing from mere facile outpouring of the riches of his inspiration he turned to the higher work in the realm of music. His oratorio, “The Captive,” a fine work, first heard at the Worcester (Mass.) musical festival was highly praised. Many of his serious fugitive pieces became popular with musicians and the world of music awaits with pleasant anticipation the grand opera into which he has for some time been putting his soul. He has for years been a member of the Friendly Sons of St. Patrick, always prompt to make the musical features of its gatherings notable, and always lending freely of his geniality to its symposiums of good fellowship.