Anthony Philip Heinrich: A Nineteenth-Century Composer in America 9780231878357

Table of contents :
Introductory Note
Preface
Contents
Illustrations
I. Early Years in Europe
II. A Merchant-Musician of Philadelphia: 1816–1817
III. Pioneering in Kentucky: 1818–1823
IV. Recognition at Boston: 1823–1826
V. At Drury Lane in London : 1826–1831
VI. Welcome Home to Boston : 1831–1833
VII. Years of Growth in London : 1833–1835
VIII. Disappointments and Triumph on the Continent: 1835–1837
IX. Triumphs in New York: 1837–1857
X. The Crowning Triumph in Europe: 1857–1861
XI. Man and Musician
Appendices
List of Compositions by Anthony Philip Heinrich in the Music Division of the Library of Congress
Bibliography
Index

Citation preview

ANTHONY PHILIP TBTT

HEINRICH

BT

Title Page of "The Dawning

of Music in

Kentucky"

ANTHONY

PHILIP

HEINRICH A NINETEENTH-CENTURY COMPOSER

IN

AMERICA

BY W I L L I A M T R E A T UPTON

AMS Press, Inc. New York 1967

Copyright 1939, Columbia University Press New York

Reprinted 1967 with Permission of Columbia University Press

AMS Press, Inc. New York, N.Y.

10003

Manufactured in The United States of America

To THE

MEMORY

OF

OSCAR G. S O N N E C K UNFORGOTTEN P I O N E E R I N T H E STUDY OF EARLY A M E R I C A N

MUSIC

I

INTRODUCTORY NOTE

F Moussorgsky had composed a piece of program music to portray "The Dawning of Music in Siberia" the world would still give ear to a performance of the piece, even if it were known to fall far short of real excellence. But Moussorgsky's bizarre fancy never strayed in that direction. No vivacious young American composer has thought of portraying "The Dawning of Music in Alaska." Now, there was a time, early in nineteenth-century American history, when Kentucky, across the Allegheny mountains, far off from the civilized and cultured Atlantic coast region, was as little known as Alaska is today. And yet there was in those days a serious-minded, if somewhat eccentric, musician, who knew the recent culture of the metropolitan centers on the Atlantic coast, who had visited and lived in Kentucky, and who made an honest attempt to portray "The Dawning of Music in Kentucky" in tones. Anthony Philip Heinrich's composition will never become repertoire pieces for our symphony orchestras or for our piano virtuosos. Perhaps none of them will be made to live again even for a brief moment. But the man who composed them had no small share in spreading the gospel of music in a land and at a time that needed musical missionaries. Even those who may be tempted to look down upon his own creations must perforce lift their hats to the man who, on Wednesday, November 12, 1817, made it possible for the music lovers of Lexington, Kentucky, to hear Beethoven's Sinfonía con Minuetto (the First) performed under his direction by "the principal performers and amateurs" of the town. This was ten years before the Viennese master's death, and it constitutes the first performance in America, so far as our present knowledge goes, of a Beethoven symphony. Although Oscar G. Sonneck threw much light upon the musical life of America before 1800, the first half of the nineteenth century is still not well known. Recent years have brought us several attempts to penetrate beyond the covering shadows, and they have

INTRODUCTORY

X

NOTE

brightened dark corners here and there. B u t not until we have more such special studies as this book on Heinrich will it be possible to write a connected account of musical doings in America and to t r a c e the steps in our musical growth. P r o f e s s o r U p t o n ' s book is a serious contribution to the h i s t o r y of American life and culture. I t s significance extends beyond the circle of interest of the mere musical historian or curious musical reader. No one who has an interest in the United S t a t e s of 1 8 0 0 t o 1 8 5 0 will fail to be heartily thankful t o the a u t h o r for the detailed and f a s c i n a t i n g background of N o r t h American life and manners in this period, a g a i n s t which the p o r t r a i t of F a t h e r Heinrich is limned. OTTO CORNELL

UNIVERSITY

ITHACA,

NEW

OCTOBER

18,

YORK 1938

KINKELDEY

PREFACE THE oddest figure in American musical history: Anton Philipp Heinrich. in Born a millionaire in Bohemia in 1781, he died in extreme poverty New York in 1861 after a weird and fantastic career. It hat been for years a plan of mine to write a biography of this composer who was known in America as "Father Heinrich" and whom his admirers dubbed the "Beethoven of America" . . . The "Berlioz of America" would have been more appropriate, since Heinrich in his innumerable symphonic poems, etc., consistently employed an orchestra of almost fin de siecle proportions, though with a background of ideas that suggest the influence of a Pleyel. It is characteristic of our incomplete knowledge of the history of music in America that the name of "Father Heinrich," easily the most commanding figure as a composer in America before 1860 and perhaps the first symphonic composer to utilise Indian themes and to display, however naively, nationalistic "American" tendencies, is not even mentioned in the histories of American music.—OSCAR G. SONNECK

T

O AN interested student of American history in the early nineteenth century, the writing of the biography of Anton Philipp Heinrich is both fascinating and d a n g e r o u s : fascinating because of the remarkable way in which his life linked u p with t h a t early history in so many of its vital phases, dangerous because of the ease with which such a biography might expand itself into a treatise on the whole of American life a t t h a t time. He was born in 1781, and died in 1861. His life thus spanned t h a t notable period in American history which reached from Washington to Lincoln, from the Revolution to the Civil W a r — a period t h a t has aroused an ever broadening interest on the p a r t of our historians. T o a musician, this fascination and danger are even more p r o nounced because this age is j u s t the one as yet almost untouched by the researches of our musicologists. U p to 1800, the ground has been comprehensively and authoritatively covered by the scholarly studies of Oscar G. Sonneck ; but f r o m the beginning of the nineteenth century to the Civil W a r there has been scarcely a scratching of the surface. T o do anything like justice to this extensive field, it would be necessary to search all newspaper and magazine files of t h a t period, in all

xii

PREFACE

the principal cities of the United States, for musical notices, programs, personal notes of musicians, and the like, as well as to make a careful study of all journals and letters, published and unpublished. Until such material has been gathered and thoroughly organized, no satisfactory story of the musical development of America in the first half of the nineteenth century can ever be written. And to the accomplishment of this truly enormous task something more than individual study is necessary—there must be a well-organized collective effort toward this end. I say this without detracting in any respect from the value in this field of such works as George C. D. Odell's monumental Annals of the Nexc York Stage and John Tasker Howard's Our American Music. May their tribe increase ! Nevertheless, in the absence of such a collective effort, there is much of interest and value to be gained through careful and detailed study of the life of some individual, particularly of one whose life was rich in personal contacts, in varied experience, and close and vital relation to his own time. All this was conspicuously true of Anton Philipp Heinrich. I t is extremely unlikely, in fact, that there was any one in private life in America at that time whose knowledge of the various phases of American life was greater, whose acquaintance with representative people (particularly in his own field of music, both in Europe and America) was broader, or whose life, even into old age, was characterized by more varied and vital experience. I t is my chief hope that through this book I may in some measure mirror this rich and eventful life, and that through and beyond this individual career readers may catch some slight vision of the broader cultural life of the America of his time. I t is in line with this purpose that the text has been so profusely illustrated with concert programs, letters, newspaper clippings—in short, with documents of every kind that bear directly upon Heinrich's life and career. For it is my firm conviction that in no other way can the real flavor of the time be so vividly conveyed. My own interest in Heinrich was first aroused some years ago, while I was gathering material for my Art-Song in America, and came across various songs by a certain Anton Philipp Heinrich, which somehow seemed very different from the ordinary run of American songs of t h a t time. Somewhat later, in a back number of The Musical Quarterly ( t h a t of April, 1920), I read for the first time the above-

PREFACE

xiii

quoted comment on Heinrich by Oscar G. Sonneck, which I have taken as a point of departure for this book. This paragraph so stimulated my curiosity that I proceeded to investigate Heinrich's entire output as represented in the very complete collection of his works, both published and in manuscript, which Mr. Sonneck, then Chief of the Music Division of the Library of Congress, had secured for the Library in 1917. In his report for that year he had said: "An item of purchase remains to be reported which was out of the ordinary in every respect. I t was offered as the 'musical estate of Anthony Philip Heinrich.' One would look in vain for this name in the histories of music in America, now most before the public. Yet he was a commanding figure in his day in the American musical world. In the '40's and '50's of the last century festivals on a 'grand scale' were devoted to his music in New York, Boston, Philadelphia, and he was not unknown in Europe, where his music was performed in concerts at London, Dresden, Prague, Graz." My constantly increasing interest in this subject received still further impetus through the kindness of Dr. Carl Engel and Dr. Otto Kinkeldey, Mr. Sonneck's literary executors, in permitting me to make use of any material of Mr. Sonneck's that I might be able to find. In point of fact nothing was found except a complete catalogue of such of Heinrich's works as are in the possession of the Library of Congress. I hereby record my deep appreciation of the permission thus granted to avail myself of this invaluable item, which through the courtesy of the Library of Congress is reproduced with some minor modifications at the end of this book. I also wish to express my renewed thanks to Carl Engel, the late Walter R. Whittlesey, Oliver Strunk, Harold Spivacke, and other members of the staff of the Music Division of the Library of Congress for their courteous assistance in this as in many other tasks, and for their kind permission to reproduce in this book many programs, letters, and manuscripts, and much other material from their rich collection of Heinrichiana. And again to the Music Division of the Library of Congress, as administrator of the Sonneck Memorial Fund whose generous grant has made possible the publication of this work at the present time, I express my sincerest appreciation of the honor conferred and the benefit which is involved. In 1929 the Beethoven Association of

xiy

P R E F A C E

New York City presented to the library in memory of M r . Sonneck —who had been S e c r e t a r y and Historian of the Association as well as Chief of the Music Division of the L i b r a r y — a sum of money the income of which is to be used f o r the aid and advancement of musical research. T h i s work is the first to be issued under these g r a n t s . I also desire very p a r t i c u l a r l y to voice my deep g r a t i t u d e t o F r a n z Hladik of Schonlinde, Czechoslovakia, f o r his untiring patience in searching through church and community records for f a c t s concerning the birth and early life of Heinrich. His investigations have proved of the greatest value and interest. I t has been my task to sort out this mass of material, in so f a r as possible to bring order out of chaos, and, when necessary, to reconcile a p p a r e n t discrepancies according to my best judgment. I t has not troubled me overmuch t h a t the final identification of certain newspaper clippings in Heinrich's Scrapbook has eluded me. When I came fully to realize how supreme was Heinrich's disregard for a n y t h i n g like orderly arrangement of his material (it never occurred to him to indicate either d a t e or source), and t h a t the more t h a n twelve hundred folio pages of his Scrapbook contain, along with many other interesting things, a scattered and confused mass of newspaper items ranging f r o m London, Graz, and P r a g u e , to Louisville, Boston, Philadelphia and New York, and covering a period of more t h a n f o r t y years, it came to me t h a t I ought to be thankful for any identification whatsoever. As it stands, many such items have been definitely located. As to the remainder, I have solved such bibliographical problems as seemed capable of solution through internal evidence, and have been content to refer the others to their sole but perhaps sufficient source— the Scrapbook itself. I t has been my consistent purpose to keep myself distinctly in the background, allowing persons, events, contemporary reviews and letters, to speak f o r themselves. WILLIAM

Oberlin,

Ohio

September,

1938

TREAT

UPTON

CONTENTS Abbreviations

2

I. E a r l y Years in Europe

3

II. A Merchant-Musician of Philadelphia: 1 8 1 6 - 1 8 1 7 .

.

10

III. Pioneering in Kentucky: 1 8 1 8 - 1 8 2 3

17

IV. Recognition at Boston: 1 8 2 3 - 1 8 2 6

70

V. At Drury Lane in London : 1 8 2 6 - 1 8 3 1

94

VI. Welcome Home to Boston : 1 8 3 1 - 1 8 3 3

117

VII. Years of Growth in London : 1 8 3 3 - 1 8 3 5

129

VIII.

Disappointments and Triumph on the Continent: 1835-1837

IX.

136

Triumphs in New Y o r k : 1 8 3 7 - 1 8 5 7

X . The Crowning Triumph in Europe: 1 8 5 7 - 1 8 6 1 . XI.

Man and Musician

147 .

. 229 237

APPENDICES

I. German Documents Cited in the T e x t

255

II. "The Dawning of Music in Kentucky"

260

III.

"The Western Minstrel"

263

IV. Nomenclature of Scores, Vocal and Instrumental W o r k s 265 List of Compositions by Anthony Philip Heinrich in the Music Division of the L i b r a r y of Congress . 269 Bibliography

317

Index

323

ILLUSTRATIONS Title Page of "The Dawning of Music in Kentucky"

Frontispiece

Title Page of "Storia d'un violino"

110

Title Page of "The Log House"

176

Program of Heinrich's Grand Festival Concert in Boston, June 13, 1846 196 Home of Anton Heinrich at Schönbüchel

234

MUSIC FACSIMILES

First Page of "How Sleep the Brave"

41

First Page of "The Birthday of Washington"

49

Finale alia Polacca from "La Buona Mattina"

52

Alia Polacca from "I Love the Brilliant Courtly Scene" First Page of "The Exile"

.

. 100 107

ANTHONY PHILIP

HEINRICH

ABBREVIATIONS Mussik

F. A. Mussik, Skissen aus dem Leben del sich in Amerika befindenden deutschen Tondichters Heinrich Anton Philipp

Schilling

Gustav Schilling, Encyclopädie musikalischen Wissenschaften

Scrapbook

A. P. Heinrich, M S scrapbook

der

gesummten

I

EARLY YEARS IN EUROPE A NTON P H I L I P P H E I N R I C H was born on the eleventh of / % March, 1781,1 at Schonbiichel near Schonlinde in northern 1 J ^ Bohemia, just across the German border. As his name implies, he was originally of German descent. Of his early life we know little except that he was adopted by his uncle, Anton Heinrich, 2 a well-to-do merchant, at whose death (1800), he fell heir to a fine property, a handsome house in Schonbiichel, and his foster father's business: that of a wholesale dealer in linen, thread, wine, and other commodities, with manufacturing plants in Schonlinde, Schonbiichel, and Georgswalde, and warehouses in Prague, Vienna, Trieste, and Naples. In connection with these numerous establishments there had developed a large banking and exchange business with even some governmental Privilegium attached, BO that when young Heinrich came into the property he was known as one of the most important wholesale merchants in all Bohemia. He at once formed a company (of which he was the head) to manage this large business, and for a time he devoted himself assiduously to its affairs. With the enthusiasm of youth, he even set about enlarging its scope.3 His visits to the various offices—in his own picturesque capital city of Prague, in the fascinating imperial city of Vienna, and the important seaports of Trieste and Naples—merely whetted an appetite already keen for knowledge of other lands and countries than his own. It is said of him 4 that from his early youth he was of an adventurous spirit and was always greatly interested in travel and in 1. p. 7. 2. 3. 4. book,

Date and place of birth are given in Heinrich's own hand In his Scrapbook, See Appendix I, note 1. Mussik, pp. 9, 17; Schilling, III, 643, 544. New York Atlat, quoted in Boston Evening Trantcript, p. 1C60).

June 10, 1846 (Scrap-

4

EARLY

YEARS

observing the customs and habits of unfamiliar peoples. The possession of such ample means left him at liberty to follow the promptings of his will in all these matters. So it was not exclusively for the purpose of advancing his business interests that he traveled all over I t a l y , France, England, Portugal, and parts of Spain. Once, on a visit to Lisbon, 5 Heinrich was so impressed with the transatlantic traffic of that city that he determined to take some such extensive voyage himself. In 1805 6 he actually carried out the audacious plan of visiting America, as he said later, " t o take a peep at the new world." 7 T o the alert, ambitious young man, what delights these journeys into the distant parts of the world must have afforded! So entertaining was it all, so novel and exhilarating, that it is not strange to find him sometimes giving more heed to the zest of travel than to the business back of it, or showing more interest in giving " a double Trinkgeld to every postilion who drew out peculiarly sweet bugle blasts from his p o s t h o r n " 8 than in carrying through some business deal of the moment. F o r from his earliest childhood he had been profoundly moved by music and had made something of a study of the piano and the violin, particularly the latter. 9 This interest in things musical was immeasurably increased and became a lifelong passion when, on one of his visits to M a l t a , 1 0 Heinrich came into possession of a magnificent Cremona violin. From that time on, no matter where his travels might carry him, the beloved violin was his inseparable companion. These were days long to be remembered by this genial young fellow, wealthy and possessed of everything that heart could wish. In the words of a friend, written long afterward in the rather expansive style of the time: His youthful days were a continued scene of joyous happiness; health and the smiles of friends were his companions in those halcyon moments. He lived not for himself but because he enjoyed and was enjoyed. 6. Mussik, p. 17; also New York Atlas (Scrapbook, p. 1060). 6. Duright'i Journal, X I X (April 20, 1861), 22. 7. Scrapbook, p. 1027. 8. Lydia Maria Child in the Boston Courier, "about 1856," from a reprint In the Library of Congress. The date is misleading, as internal evidence shows the article to have been written in 1846. 9. Mussik, p. 12; Schilling, I I I , 843. 10. Mussik, p. 17; New York Atlas (Scrapbook, p. 1060).

EARLY

YEARS

5

Manhood dawned upon him with additional lastre; he saw with pride his friends increase; he saw bnsiness accumulating upon him, in a succession of events; he saw his credit advancing in full accordance with his industry ; he saw the increasing confidence that was every moment confided to him; he saw and thanked his God that he was fast rising to that consummation of earthly concernment that places the inheritor above want and gives his declining days a relish of enjoyment. Mr. Heinrich at last enjoyed the reputation of a distinguished, rich and honest merchant.11 I n 1803 Heinrich had sold f o r 10,000 gulden the fine mansion he had inherited from his uncle. T h e subsequent history of this house is interesting and merits some comment. 1 2 I t seems that in those days there existed in this p a r t of Bohemia a custom of giving children small g i f t s , such as colored eggs or little cakes, on Maundy T h u r s d a y . Sometimes the g i f t s were of g r e a t e r value. In accordance with this age-old custom, this house was given in 1817 by its then owner, F e r d i n a n d Hielle ( t o whom Heinrich had sold i t ) to his nephew, W o l f g a n g Hielle, as a Maundy

Thursday

present. T h e house is still standing and still known as the M a u n d y T h u r s d a y House

(Gründonnerstaghaus).

T h r o u g h the kindness of Gustav J ä g e r , of Schönbüchel, we are able t o reproduce a photograph of one gable and the garden of this house as it appears t o d a y . N o t h i n g could throw more vivid light upon Heinrich's prosperity at that time than this view of the fine old mansion. I t is quite likely that our carefree youth spent altogether

too

much time in these travels of his and l e f t t o o much responsibility to those managing his affairs at home. F o r there came a time when he began to hear disquieting rumors. I t seemed the whole country was in a bad way. T h e N a p o l e o n i c wars were inducing a state of financial

depression

throughout

the entire Austrian

Empire

and

business was everywhere r a p i d l y d e c r e a s i n g ; then, too, mismanagement on the p a r t of other responsible houses had involved him in their difficulties. 13 Even in his own company there had been u n f o r tunate speculations and rumors of dishonesty. 14 W i t h characteristic 11.

B o s t o n Gazette

12.

S e e A p p e n d i x I, n o t e 2.

13.

Schilling,

14.

M u s s i k , p . 9.

III,

(Scrapbook, p. 543.

500).

6

EARLY

YEARS

energy Heinrich set himself to the task of straightening out his business, "addressed circulars to every person he had ever had traffic with, made a thorough report of his a f f a i r s and gave them to the world. So a p p a r e n t was his disinterestedness in this business, t h a t he was unanimously acquitted of every u n j u s t suspicion." 15 P e r h a p s , in spite of all, a rescue could still be effected and financial victory snatched from d e f e a t ! All E u r o p e was in the slough of financial depression, but how about America, t h a t wonderful land which he h a d so recently visited and which had made so strong an appeal to the impressionable and enthusiastic young man? W h y not tempt f o r t u n e anew under more favorable auspices? W i t h Heinrich to think was to act. Therefore, gathering together as best he could what remained of his fortune, he fitted out a merchant boat with Bohemian glassware and once more sailed f o r America, 1 8 there to begin anew his business career. All was not entirely lost. If the first a t t e m p t should t u r n out well, other boats could follow; for with his usual enthusiasm Heinrich planned f o r quite an impressive little fleet to b r i n g his wares from Trieste to America. 1 7 T o his optimistic temperament there seemed no limit to the possibilities of his success in the New W o r l d . And a t first, indeed, all seemed to go well; f o r in 1810 we find him in America, a well-to-do amateur, none too much absorbed in his business responsibilities, perhaps, but more than h a p p y in the congenial t a s k of directing the music a t the Southwark T h e a t r e in Philadelphia, entirely without salary, simply f o r the pleasure of it. 1 8 Incidentally, this position a t the Southwark T h e a t r e , Heinrich's first official musical position in America, was interesting in more ways than one. F o r this Southwark T h e a t r e had the distinction of being the first permanent theatre building erected in America (built in 1766 by David Douglass, t h a t indefatigable pioneer in early theat r e building in this c o u n t r y ) . U n a t t r a c t i v e as it seems to have been architecturally—its lower floor, b r i c k ; its u p p e r story, wood'—it was nonetheless the place 15. 16. IT. 18.

Boston Oazettt (Scrapbook, p. 500). Mussik, p. 9. Mussik, p. 10. Mussik, p. 17j New York Atlat (Scrapbook, p. 1060).

EARLY

YEARS

7

where the most brilliant array of fashion had assembled daring a quarter of a century . . -1' The brickwork was rude but strong, and the wooden part of the building rough and primitive. The whole was painted a glaring red.20 This last fact, strange and bizarre as it seems to us, appears to have been quite generally true of these early theatres. With the opening of the new and much finer Chestnut Street Theatre in 1794, the glory of the earlier house of course departed. But its historic interest as the Philadelphia home of the original "American Company" distinguishes it for all time. On this historic spot, then, Heinrich began his active career as an American musician. In 1811 came the dreaded financial crash in Austria. The government went bankrupt. And with this final stroke Heinrich's fortune entirely disappeared—no further recuperation was now possible. The foundations which he had been gradually rebuilding fell from under him, and this time there was no relief. From now on stark poverty stared him in the face. Truly a hard celebration of one's thirtieth birthday ! In one way, however, the fates had treated him kindly. In Boston he had wooed and won a "lady of superior personal and mental endowments," 21 so that now he no longer needed to bear his tribulations alone. 22 J u s t how well or how ill the next two years passed we do not know. At the end of that time, however, we find Heinrich's thoughts again turning toward the land of his birth. Perhaps it was his old wanderlust again come upon him, or perhaps it was the perfectly natural desire to show Mrs. Heinrich his native land. At any rate, in 181 3 23 we find Heinrich and his wife leaving for a visit to the 19. As Scharf and Westcott say in their HU tory of Philadelphia (II, 967) : "The Southwark Theatre gradually faded away before the rising glory of the Chestnut Street Theatre. It could scarcely have been otherwise; the old theatre, according to the reminiscences of 'Lang Syne' was an ugly, ill-contrived affair outside and inside; the stage lighted by plain oil-lamps without glasses. The view from the boxes was intercepted by large square wooden pillars supporting the upper tier and roof. It was contended by many at the time that the front bench in the gallery was the best seat in the house for a fair view of the whole stage. "Such was the place where the most brilliant array of fashion had assembled during a quarter of a century." 20. Seilhamer, Hiitory of th» American Theatre, II, 152. 21. See p. 88. 22. Mussik, p. 10. 23. Year determined by date of Moreau's return to Europe, June 27, 1813.

8

EARLY

YEARS

old home in Bohemia. Unfortunately this was before the days of packet ships, and our travelers had to content themselves with a merchant sailing ship bound for London. But what they thus lacked in comfort they may have gained in interest, for aboard the same ship they were surprised to find as fellow passenger none other than the distinguished warrior Jean Victor Marie Moreau, 24 who had formerly been one of Napoleon's favorite generals, but had later been exiled for his alleged participation in plots against the emperor's regime. After some years of seclusion in America, Moreau was hurrying to the assistance of Alexander, czar of Russia, against Napoleon; it was on the battlefield of Dresden, a little later (August 27, 1 8 1 3 ) , that he was mortally wounded. In spite of interesting companionship, however, it must have required a valiant spirit and stoical endurance to make the ocean trip at that time. We read of sixty to ninety days being needed for the crossing, of storms and poor accommodations, of privations and hardships of which we of the twentieth century can form no true conception. And then, too, there still remained the long journey from London to Schdnlinde, a journey scarcely less trying than that from America to London, when one considers the discomfort of stagecoaching through all kinds of country and over all kinds of roads. No wonder that the young wife seems to have been much wearied by the journey, or that longing for her home and parents in America increased with the lengthening distance between them! When they finally arrived at their destination, the rigorous climate and the unfamiliar and rugged country seemed to her strangely inhospitable. Her homesickness and her ill health grew upon her daily, so that when the baby daughter, Antonia, was born, soon after they had reached Schonlinde, plans were made for an immediate return to America. 25 Strange to say, the babe " T o n i " was left behind. J u s t why, we do not know. Perhaps the mother's precarious health would not permit her properly to care for the tiny daughter on the long, difficult journey home—"ninety days from Trieste." 2 8 They may 24. Mussik, p. 10. 26. Mussik, p. 10. 26. Helnrich in letter "to one of his friends," as quoted by Mrs. Child. See note 8 above.

EARLY YEARS

9

have planned to send f o r her later. W e only know t h a t when her p a r e n t s s t a r t e d on the long j o u r n e y back to America, T o n i was left with a distant relative, Joseph Hladek, a teacher a t Gorkau, in the district of Saaz, not f a r away. 2 T Once more the old u n h a p p y life on shipboard—and t h a t f o r three months! T h e wearied mother failed to regain her strength. T h e long, h a r d sea journeys, the enormous amount of difficult land travel, the visit to unfamiliar lands and peoples, the birth of the d a u g h t e r — a l l these had been too heavy a burden. Even the intensely longed-for homecoming to her native land, her friends, and her p a r e n t s failed to restore her. Almost immediately upon reaching Boston, Heinrich found himself once more alone. 28 27. 28.

Mussik, p. 13. Mussik, p. 10.

II A MERCHANT-MUSICIAN OF PHILADELPHIA 1816-1817

S

O FAR we have dealt with Anton Philipp Heinrich, European merchant—wealthy, influential, a well-known figure in financial circles in Bohemia, now suddenly fallen into deepest poverty. From here on our story must concern itself with quite another person: Anthony Philip Heinrich, always poor in this world's goods but still rich in enthusiasms, a devoted pioneer in American music, fervently devoted to his chosen art. Truly the prologue is over and the curtain rises on a very different scene for the main action of our drama. The dramatis personae are thus reduced for the moment to practically one individual, except as occasion may group others about him. Heinrich is now thirty-five years old, quite alone in the world: his wife gone, his property vanished, his child in faraway Bohemia. Once more he is at Philadelphia. His own business and private fortune having been by now entirely swept away, he has apparently made arrangements, while on his visit to Bohemia, to act as agent in America for Theodore Loehley, 1 head of a large export firm located at Trieste. This business connection is short-lived, however—perhaps Loehley himself, in due time, also falls a victim to bankruptcy, which has been putting an end to so many businesses in the Austrian Empire. With the failure of this venture we draw the final curtain on Heinrich's connection with the world of business. Here the merchant ceases to be. The musician takes his place. While in Philadelphia before, Heinrich had been "invited to a private concert where he heard the violin played remarkably well and he had an indefinite notion that he could make a proficient upon that 1.

Scrapbook,. pp. 1211-1220.

P H I L A D E L P H I A : 1816-1817

11

2

i n s t r u m e n t . " In this very city, he—an a m a t e u r — h a d been able to lead the orchestra in the Southwark T h e a t r e . H e had made good there. W h y , then, can he not with practice become a professional ( a " p r o f e s s o r , " in the idiom of those d a y s ) and thus still be able to make a career for himself in this new land of promise? So his friends argue, a n d he himself agrees. H i s early love of music, his devotion to his violin, come over him like a flood. F r o m this time on Heinrich knows b u t two objects for his affections: his dear deserted d a u g h t e r T o n i and his beloved and inseparable companion, his violin. These affections a r e to last his whole life long. In the words of his Bohemian friend, Mussik, " M i t dieser b e t r a t er nun als Concertist und Compositeur seine neue L a u f b a h n und legte dagegen Merkurs H a n d e l s t a b auf immer nieder." 3 T h e fabulous land of Kentucky, with its rich soil and its alluring climate, is soon to exert upon him the fascination so all-prevalent a t this time. B u t before we follow him into these new p a r t s of the count r y , let us take a passing look a t Philadelphia—more t h a n anywhere else, so f a r , his home in America. W e can almost see the Philadelphia t h a t Heinrich saw—in 1810 and, not much changed, in 1816—with its regularly laid out streets crossing each other so decorously a t r i g h t angles. We see the red brick houses, many of them adorned with white marble a b o u t the doors and windows and with immaculate white marble s t e p s ; we see the trim rows of Lombardy p o p l a r s bordering the sidewalks, and the streets themselves paved with the round stones brought f r o m the bed of the river a t T r e n t o n Falls. W e may still see, even today, t h a t first bank building ever built in America-—"a handsome, mellowed, white marble building with a p o r t i c o of g r e a t Corinthian columns, built in 1795 for Alexander Hamilton's first Bank of the United States and later used as the p r i v a t e Bank of Stephen G i r a r d . " 4 W i t h our mind's eye we see as Heinrich saw them the gardens stretching for miles to the N o r t h and South of the city, and the g r e a t markets renowned for their cleanliness and variety of f r u i t and vegetables, fish and meat. I t is perhaps a little harder to visualize the oil lamps along the sidewalk, used only when the moon ungraciously refused her self-appointed task of lighting the city. 2. Boston Gazette (Scrapbook, p. 500). 3. Mussik, p. 12. 4. Frey, The Independence Square Neighborhood,

p. 85.

12

PHILADELPHIA:

1816-1817

Always a great center for printing and publishing, Philadelphia in Heinrich's day prided herself on turning out work quite the equal of that done in Europe. Though dull as to content, Joel Barlow's Columbiad ( 1 8 0 7 ) — t h a t monumental poem in ten books, illustrated with elaborate engravings—was unquestionably the finest bit of publishing yet done in America. The publishers of Philadelphia likewise took special pride in the seven volumes of Alexander Wilson's American Ornithology (1808—13), which was the immediate predecessor of Audubon's Birdt of America, and in the various geographical works of John Melish, with their excellent maps and charts. Typical of cultural interests in Philadelphia at this time were the activities of such organizations as the American Philosophical Society, the University of Pennsylvania, and the Academy of Fine Arts. 5 The richest, most cultured city in America, Philadelphia had naturally become the chief center of a r t in the country. Few of the prominent native artists, u p to this time, had failed of association with her in some way or other. Copley is said to have acquired much of his initial interest in painting through study in Philadelphia of copies of important Italian paintings. Benjamin West, who had now f o r a quarter of a century been President of the Royal Academy in London, began his career as a p o r t r a i t painter (or "face p a i n t e r " ) here. Gilbert S t u a r t once painted here; Robert Fulton, artist as well as inventor, was for a time a draftsman in this same city. Henry Benbridge and Matthew P r a t t , well-known portraitists of their time but long since forgotten, were both Philadelphians. Charles Willson Peale, who painted so many p o r t r a i t s of prominent Americans, was one of the founders of the Pennsylvania Academy of Fine Arts. His son, Rembrandt Peale, and Thomas Sully also belonged to the Philadelphia group. Even William Rush, the pioneer American sculptor, and Thomas Doughty, first of our native landscape painters, were from Philadelphia. In 1810 the talented young German artist John Lewis Krimmel had recently come to Philadelphia to become the first successful painter of genre subjects in America. If we go somewhat f a r t h e r afield than Philadelphia itself, we find 5. of

The principal authority for these last paragraphs has been Mease, Philadelphia.

Picture

P H I L A D E L P H I A : 1816-1817

18

t h a t Washington Allston, perhaps, enjoyed the greatest contempor a r y vogue—partly because of his personality, p a r t l y because of his ability as an artist. In 1810, Allston was in London, b u t was presently to return to make his permanent home in Boston and Cambridge. John Vanderlyn had recently returned to America a f t e r exhibiting in Paris his Ariadne, a painting which was to set all America by the ears on account of its then novel treatment of the nude. John Trumbull of Connecticut, recently returned from London, was soon to produce his well-known historical paintings for the Rotunda of the Capitol a t Washington, and S. F. B. Morse of Massachusetts, whose world fame as inventor of the telegraph has completely overshadowed his very real ability as a painter, was also at home a f t e r several years' study in London. E . G. Malbone of Rhode Island, our first miniaturist worthy of the name, had but recently died. I t was, as we can see, the time of true pioneering, much of it crude. B u t study in London, Paris, and Rome was already laying the foundations for f u t u r e advancement which, though slow in maturing, should ultimately give American a r t its own proper place. 6 In literature, even from William Penn's day, Philadelphia had maintained her own traditional preeminence. This preeminence she might later surrender. But a t the time of which we write, Philadelphia was still foremost in literary affairs in America. As we have seen her boast her pioneer sculptor and the first to essay landscape and genre painting, what more n a t u r a l than that she should point with equal pride to her own first American novelist, Charles Brockden Brown, who died in 1810? In and about New York the so-called Knickerbocker g r o u p was beginning to assert itself. Already Washington Irving had amused his American public and set Sir Walter Scott's sides to aching with laughter over the broad drolleries of Diedrich Knickerbocker's Hi*tory of New York (1809). 7 Soon Irving was to issue the Sketch Book ( 1 8 1 9 - 2 0 ) . William Cullen B r y a n t , w i t h " T h a n a t o p s i s " (1817), was calling the world to witness t h a t America, too, had at last brought 6. Authorities: Dunlap, Arti of Detign; Tuckerman, Book of the Artist»; Mather, Morey and Henderson, The American Spirit in Art. 7. New York Mirror, IX (June 9, 1832), 386. Sir Walter Scott to Washington Irving (April 23, 1813): "I have been employed these few evenings in reading them aloud to Mrs. Scott and two ladies who are our guests, and our sides have been absolutely sore with laughing."

14

PHILADELPHIA:

1816-1817

f o r t h a poet. We should not forget those humble verses of this same year, Samuel Woodworth's "Old Oaken Bucket," or fail to note t h a t the identical years which produced Irving's Sketch Book saw the first beginnings of James Fenimore Cooper's career as a novelist—that career which was soon to be immortalized by the inimitable "Leatherstocking Tales." When we turn to musical affairs, we note t h a t in the last decade of the eighteenth century there had come to Philadelphia from England three musicians who did much to establish and develop the musical culture of the city: Alexander Reinagle, Raynor Taylor, and Benjamin Carr. Of these men, Reinagle had j u s t died (1809) a t the time of Heinrich's first definite sojourn in Philadelphia. But during all the later years Heinrich must have come into intimate contact with T a y l o r and Carr, the latter now in his later forties and in the prime of his life and influence. Carr's was the predominant musical influence in Philadelphia at this time, and a fine and wholesome influence it was, founded on the best English traditions. At the same time, similarly wholesome influence was being exerted in New York by James Hewitt and Victor Pelissier, and in Boston by Gottlieb Graupner. While not one of these men was American born, they all gave freely of their talents to the land of their adoption and helped in the attempt to establish the musical interests of America on an equal footing with the other arts. I t can be seen how few were the workers in such an increasingly large field, when we realize t h a t these six men seem to have been actually the only musicians in America at that time who exerted any marked influence on creative music of a secular type. In New England, it is true, there had been since the time of William Billings (1746— 1800) a long line of hymn-tune writers and teachers of choral singing, whose activities culminated in the important work of Lowell Mason, now in his early twenties and with all his busy career before him. B u t these men, true to their Puritan background, had contributed almost nothing to the development of secular music—either vocal or instrumental. Through their informal singing schools they had, however, fostered an appreciation of choral music which resulted in the formation at Boston of such important organizations as the Handel and H a y d n Society (1815), a society still in existence and with a fine

P H I L A D E L P H I A : 1816-1817

15

history as one of the foremost American agencies for the cultivation of what is most worth while in choral music. I n 1810, also in Boston, G r a u p n e r had made a beginning in the cultivation of instrumental music by gathering his various musical friends together on S a t u r d a y evenings, to play for their own pleasure the symphonies of H a y d n and similar compositions. This organization, so informally begun, lived and prospered for fifteen years as the Philharmonic Society of Boston, and to a lesser degree did for instrumental music what its younger but stronger sister, the Handel and H a y d n Society, was doing in the more familiar field of choral music. 8 As for the theatre, it, too, had been slow in getting established in America—largely on account of the prevailing Quaker influence in Philadelphia and Puritan sentiment in Boston—and it was still primarily in the hands of players from London or the provinces. John Howard Payne, however, had appeared at the P a r k Theatre in New York in 1809, with so much success t h a t in 1813 he went to London, where he was cordially received a t Covent Garden and remained for many years. T h e theatres in Philadelphia at this time, besides the Southwark, were the Chestnut Street T h e a t r e and the Walnut Street Theatre. The former, comparable in size to Covent Garden Theatre, 9 London, and closely patterned a f t e r the Royal T h e a t r e a t Bath (England's most important provincial t h e a t r e ) , was destined to be for many years the leading theatre in America. The latter, opened in 1809, was the scene of the f u t u r e triumphs of Edwin Forrest. On the roster of the Chestnut Street Theatre were such well-known plaj'ers as William B. Wood and William W a r r e n ( p a r t n e r s in the management), Joseph Jefferson (interesting to us as the g r a n d f a t h e r of Joe Jefferson of Rip Van Winkle fame), Mrs. Jefferson (Euphemia F o r t u n e ) , M r . and Mrs. Francis, and Frank Blissett. Many of these capable players we shall come to know better later in our story. 1 0 So much for some of the more pronounced cultural elements of t h a t American life into which Heinrich has come. Literature and painting, 8. Authorities: Sonneck, Early Concert Life, Early Opera, Mitcellaneovt Studiet; R i t t e r , Mutic in America. 9. Sonneck, Early Opera, p. 113. 10. A u t h o r i t i e s : D u n l a p , Ilitlory of the American Theatre; Wemyss, Chronology of the American Stage; W e m y s s , Twenty-Six Yeart; Wood, Perianal Recollection,t of the Stage; B e r n a r d , Retrotpectiom of America.

16

PHILADELPHIA:

1816-1817

music and d r a m a , leave much to be desired, p a r t i c u l a r l y so f a r as active participation of native Americans is concerned. Nevertheless a hopeful beginning has been made in each of these a r t s . A t the outset of his own professional career, then, Heinrich comes t o the America of Cooper and B r y a n t ; of Morse, D o u g h t y , and Krimmel; of John Howard P a y n e and Lowell Mason—all young men in their twenties. Of Heinrich's own age are Irving and Sully; in and around their forties, Allston, Vanderlyn, Rembrandt Peale, C a r r , Hewi t t , and G r a u p n e r ; a t fifty, William D u n l a p ; a t sixty, Trumbull, S t u a r t , and R u s h ; j u s t under seventy, R a y nor T a y l o r ; seventy-five, Charles Willson Peale. Seventy-eight years old, with four years of active life still before him, is a grand old man in London. Over fifty years in England and loaded with honors, Benjamin West is yet American to the core. Some of these names will be entirely forgotten, to us of the twentieth c e n t u r y ; many will be but a faint memory; a few will survive and continue to survive as long as America endures. I n t o this company of varied tastes and abilities, of diverse types and characteristics, all alike in their common search for the higher, finer aspects of life, comes our stranger from across the seas. F r o m now on he is to be one with them in this same intellectual striving, this same enthusiasm f o r all t h a t is beautiful and true, and second to none in his devotion to this land of his adoption.

III

PIONEERING IN KENTUCKY 1818-1823

N

O S O O N E R had Heinrich determined to give himself up to a musical career than a call came to him to direct the music a t the T h e a t r e — t h e Theatre—in Pittsburgh. 1 This was not to be, as at the Southwark T h e a t r e , an h o n o r a r y position, but was to c a r r y a regular salary. We can imagine with what anticipation Heinrich prepared to enter upon the new task, his first experience as a duly qualified " p r o f e s s o r . " The offer must have seemed to him an excellent omen and a p r o m p t vindication of his j u d g m e n t — t o say nothing of its very welcome pecuniary advantages.

A

DIFFICULT

JOURNEY

The first consideration was how to get to Pittsburgh—how to cover t h a t long cross-country journey of almost three hundred miles into the wilderness. F r o m his letters 2 we learn t h a t Heinrich, like many of his contemporaries, decided to make this j o u r n e y on foot. Foot travel was cheaper than traveling by stagecoach and perhaps not always less desirable: while p a r t of the journey could be made on comfortable roads, much of the way was hard, rough, and mountainous. There it was unquestionably easier to walk than to be mercilessly jolted about inside the poorly springed stagecoach of t h a t day. Heinrich left us no record of the t r i p beyond the statement t h a t he walked the entire distance. Nevertheless, there are preserved to us such detailed accounts of journeys taken along this very route, a t exactly this time, by observant and well-informed travelers t h a t we almost feel as if we had actually made the t r i p with Heinrich himself. From these travelers we learn t h a t the customary route was by way 1. 2.

Boston Gazette ( S c r a p b o o k , p . 5 0 0 ) ; Mussik, p p . 13, 17. Also N e w Y o r k Atlas ( S c r a p b o o k , p. 1060).

KENTUCKY:

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of the L a n c a s t e r P i k e — t h e first macadamized American r o a d — a s f a r as L a n c a s t e r , and then onward over the central Pennsylvania route, through Bedford, Ligonier, and Greensburg. W e read of the " f a m i l y waggons moving westward—the young and strong walking, the aged and infants riding."

3

These " C o n e s t o g a " wagons seem to have been

the advance guard of the numerous " P r a i r i e S c h o o n e r s " which were to p l a y so g r e a t a role in the l a t e r , more extensive migrations westward. T r a v e l e r s spoke enthusiastically of the rich and fertile country from Philadelphia to L a n c a s t e r . T h r o u g h this c o u n t r y the road was smooth and h a r d ; beyond L a n c a s t e r , toward Chambersburg, it was not so good. L a n c a s t e r , an enterprising place with numerous f a c t o r i e s and much commerce, a t this time had a population of some six t h o u s a n d ; Chambersburg, a busy and important center, was the meeting place of the northern and southern branches of the westbound turnpike. T h e southern branch ran through Y o r k , the northern through Carlisle. While we cannot know which of these two routes Heinrich took, there is no question t h a t he must have passed through Chambersburg, of which one of our travelers writes in 1 8 1 8 : The rough roads already surmounted, the report of worse still before us, determined two of the passengers, besides myself, to walk, as an easier mode of travelling over the mountains. Chambersburg is 143 miles from Philadelphia and 155 from Pittsburg; and lies in the intersection of the roads from York, Baltimore and Philadelphia. Several branches of what has been very properly called the current of emigration, being here united, strangers from the eastern country and from Europe are passing in an unceasing train. 4 Along the way the taverns were log houses or clapboarded frame houses. W i t h i n , they were roughly finished, the walls being sometimes plastered, sometimes bare. Often the guests slept on the floor of the b a r r o o m . I f more f o r t u n a t e , they had bedrooms, but it seemed the invariable rule t h a t there should be numerous beds to each room and numerous occupants to each bed (quite aside from certain inevitable and unwelcome bedfellows t h a t shall remain nameless). Last night [says Flint] we slept in a large room containing five beds. I t was proposed that one of these should •hold two of us. My companions went 3. 4.

J . Flint, Letter», Ibid., p. 67.

p. G5.

KENTUCKY:

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19

together and I congratulated myself on monopolizing one of the beds—but here I reckoned without mine host. About midnight a man entered the room, groped over all the beds, and finding that I was alone, tumbled in beside me. Such is a common occurrence, I am told, in this country, but it is the first time that I have met with it. In the morning I discovered that my neighbor was a person of good address and respectable appearance. 1 From Chambersburg the road led to the north, finally reaching the notorious Sidelong Hill, a particularly difficult ascent: The waggon path is worn into a deep rut or ravine, so that carriages cannot pass one another in some parts of it. The first waggoner that gets into the track, blows a horn, to warn others against meeting him in the narrow pass. The waggoners are understood to be as friendly toward one another as seamen are, and that cases are not wanting, where one has waited several days, assisting another to refit his carriage. On Sidelong-hill we came up with a singular party of travellers—a man with his wife and ten children. The eldest of the progeny had the youngest tied on his back; and the father pushed a wheelbarrow, containing the moveables of the family. They were removing from New Jersey to the State of Ohio, a land journey of 340 miles to Pittsburg. Abrupt edges of rock higher than the wheel, occasionally interrupt the passage. Their humble carriage must be lifted over these. A little farther onward we passed a young woman, carrying a sucking child in her arms and leading a very little one by the hand. I t is impossible to take particular notice of all the travellers on the way. We could scarcely look before or behind, without seeing some of them. The Canterbury pilgrims were not so diversified nor so interesting as these. 6 Morris Birkbeck, another traveler, adds: Old America seems to be breaking up and moving westward. We are seldom out of sight, as we travel on this grand track towards the Ohio, of family groups. . . . Add to these, the numerous stages filled to the utmost and the innumerable travellers on horseback, on foot, and in light waggons, and you have before you a scene of bustle and business, extending over a space of three hundred miles, which is truly wonderful. 7 Crossing the Juniata, the road passed Bloody Run, recrossed the Juniata, and finally reached Bedford, "a considerable place, with some neat brick and stone houses"—population about seven hundred. 8 From here the route became increasingly rough and mountainous, climbing 5. 6. 7. 8.

Ibid., p. 73. Ibid., p. 71. Notei on a Journey in America J . Flint, Letten, p. 73.

(3d ed.), pp. 31, 36.

KENTUCKY:

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1818-1823

the steep ridge of the Alleghenies. On account of so much dense foliage, we are told, it was often impossible to judge of altitude or get any view of the country round about. These ridges of mountains extended across the route for nearly one hundred miles and formed the really difficult p a r t of the journey. Here is a morning picture in one of these wild regions: A t half past five all were in bustle, preparing for the road; some settling bill with the hostess, others waiting to settle; some round a long wooden trough at the pump, washing or d r y i n g themselves with their pocket handkerchiefs ; some Americans drinking their morning bitters (spirits with rue, wormwood, or other vegetable infusion) ; some women catching children who had escaped naked from bed, others packing up bedclothes or putting them into w a g g o n s ; waggoners harnessing their horses etc.*

The less strenuous ascents of Laurel Hill and Chestnut Ridge brought one well on his way to P i t t s b u r g h . Pittsburgh itself had at about this time a population of some seven thousand, 1 0 and was, as it always had been, a place of g r e a t strategic importance. In earlier times a military post, it was now a center of exchange between the E a s t and the West, but it was soon to exchange its enormous river c a r r y i n g t r a d e f o r the iron and steel industry with which we so definitely associate it today. We are told of brick buildings, but also of numerous log and frame houses, "several places of public worship, a large market house, several banks, numerous taverns and large stores." There was much boat building; in f a c t , this had been one of the foremost occupations of Pittsburgh since the beginning of the century. "Seaworthy ships were here launched and floated to New Orleans, whence they sailed to foreign as well as domestic p o r t s . " 11 Steamboats, too, had been building here since 1811. Strangest of all, here in the wilderness in 1808 had been established an excellent plant for the m a n u f a c t u r e of cut glass, to which skilled workmen had been brought from F r a n c e and England. An experienced E n g lish traveler reported t h a t he had never seen better cut glass a t home. 12 An illuminating description of Pittsburgh in these early days is given in the interesting Narrative of Richard Lee Mason in the Pioneer We»t in 1819. Under date of October 12,1819, Mason writes : 9. 10. 11. 12.

Ibid., p. 77. Woods, Two Yeart Retidence, p. 217, J. Flint, bettert, p. 86n. Fordham, Personal Narrative, p. 76.

KENTUCKY:

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21

I n approaching Pittsburg the traveler would suppose the town was laid in ashes by fire. The surrounding heights, its low situation, the fogs from the rivers, together with the universal use of stone coal for fires, added to the smoke and dust from the large number of mills and manufactories, form a cloud which almost amounts to night, and overspreads Pittsburg with the appearance of gloom and melancholy . . . Coal dust was well ground in until I might say with much truth that I did not see a white man or woman in the place. The more you wash, the blacker you get. I am confident that I carried some of this coal dust 1,000 miles in spite of my efforts to get rid of it. Convenient place for performing "Zanga" or " T h e Moor of Venice." Visited all the manufactories and curiosities of the place. Their glass manufactories seem to excel all others—a great treat to those who never saw a bottle blown. Pittsburg in appearance suggests the idea of Moscow smoking and in ruins. It is a town of considerable manufacturing importance. Its inhabitants deserve fortune and a more salubrious atmosphere to spend it in. 13 H e r e then we find Heinrich. H e h a s followed the s t r e a m of traffic a l o n g the P h i l a d e l p h i a - L a n c a s t e r T u r n p i k e ; he has been one of t h e h o s t of t r a v e l e r s over the r o u g h r o a d s leading into the W e s t ; he h a s slept on b a r r o o m floors, eaten in log t a v e r n s , climbed the wooded h e i g h t s of the Alleghenies; he h a s come t o know the b a n k s of the S u s q u e h a n n a , the J u n i a t a , the Y o u g h i o g h e n y , and now a t l a s t he h a s reached " l a belle r i v i e r e " — t h e Ohio. W h a t a p i c t u r e s q u e j o u r n e y ! One wonders if H e i n r i c h h a d ever experienced a n y t h i n g j u s t like it in his j o u r n e y i n g t h r o u g h F r a n c e a n d E n g l a n d and I t a l y and P o r t u g a l a n d S p a i n a n d A u s t r i a ! H a d these lesser a l t i t u d e s of the Alleghenies b r o u g h t back to him memories of his own native Riesengebirge? A n d h a d these s t r a n g e companions on the w a y — t h e o f t e n t i m e s u n c o u t h , p r o f a n e , t o b a c c o - s p i t t i n g , big-boned, f r i e n d l y c o m p a n i o n s of his j o u r n e y , sometimes inquisitive a n d y e t kindh e a r t e d , reminded him in a n y w a y of backwoods j o u r n e y i n g s a t home? If so, it must have been with a difference, f o r here, surely, was an entirely different t y p e f r o m a n y t h i n g he h a d ever known before. W i t h his inborn love of a d v e n t u r e , of seeing new places a n d new peoples, this j o u r n e y , in spite of all d i s c o m f o r t , can have been n o t h i n g less t h a n a n unalloyed delight. I n his impetuous friendly way, the s t r a n g e " D u t c h " fiddler must have made numerous p l e a s a n t a c q u a i n t a n c e s h i p s a l o n g the road. 13.

Pages 19-20.

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1818-1823

Now he had arrived a t the scene of his new labors. Of this theatre Ludlow writes: Such a theatre! I t was the poorest apology for one I had then ever seen; I have, I confess, seen worse since. I t was situated on the eastern outskirts of the city and fronted, I think, on Fifth Street, not far from Wood Street. It had been built, I think, by some amateur in theatricals. It contained a pit and one tier of boxes, as they were called. The form was after the old style —two parallel elongations with an elliptical curve at the entrance. The decorations, if such they might be termed, were of the plainest kind and every portion bore the Pittsburg stamp upon it—coal smut. 11 Poor Heinrich! W e know nothing of Heinrich's experiences in Pittsburgh except t h a t financial difficulties on the p a r t of the manager of the theatre soon lost him his position. 1 5 I t seems probable t h a t he spent a very short time here. W h e t h e r he was glad or sorry we have no way of knowing; given his peculiarly optimistic philosophy of life, however, we may feel sure he was convinced t h a t it was all for the best and immediately made plans f o r further adventuring. W h a t was more n a t u r a l than t h a t he should continue to follow the crowd in its invasion of the W e s t — t h a t he should a t t a c h himself to one of the numerous bands of pilgrims to the promised land of Kentucky? 16 W e do not know by what sort of c r a f t Heinrich made his way down the Ohio River. I n view, however, of his poverty, in consequence of which he had walked the entire three hundred miles from Philadelphia to P i t t s b u r g h , we may suppose t h a t he took the least expensive means of travel. He may quite likely have taken a skiff and made the passage alone ( a common procedure a t that time). In these small boats one could ordinarily float down the river without the necessity of rowing: the more indolent was in f a c t considered by f a r the safer of the two methods, for the river was full of obstructions and the current was deemed a better guide p a s t them than one's own sight could possibly be, p a r t i c u l a r l y when one was rowing and so facing backward. On the other hand, he may have taken passage in a flat boat (family b o a t ) , or a keel boat, or even have hired himself out as one of their oarsmen. F l i n t has given us excellent descriptions of these unique river c r a f t : 14. 15. 16.

Dramatic Life at 1 Found Jt, p. 55. Boston Gazette (Scrapbook, p. 500). Mussik, p. 17.

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1818-1823

23

The craft, called family boats, are square arks, nine or ten feet wide and varying in length as occasion may require. They are roofed all over, except a small portion of the fore part, where two persons row. At the back end, a person steers with an oar, protruded through a hole, and a small fireplace is built of brick. Such boats are so formed as to carry all the necessaries of new settlers. The plough, and the body of the waggon, are frequently to be seen lying on the roof; and the wheels hung over the sides. The bottom is made of strong plank, not liable to be stove in, except where the water is in rapid motion; and the whole fabric is exempt from the danger of upsetting, except in violent gales of wind. Family boats cost from thirty to fifty dollars at Pittsburg. 1 7 Keel boats are large, shallow vessels, varying from thirty to seventy tons burden. They are built on a keel with ribs, and covered with plank, as ships are. They are very flat below, and draw only about two feet of water. The gunwales are about a foot above water. Something like a large box is raised over the boat, which serves for a cover, leaving a narrow footpath on the outside all around. Four or six men row near the prow, and a steersman behind plies a long oar, which serves for a rudder. 1 8 However he traveled, Heinrich must have found the t r i p a s interesting in its own entirely different way a s the j o u r n e y a c r o s s the Alleghenies. T h e Ohio River, a s it leaves P i t t s b u r g h , is bordered on either side by steep ridges of hills, which a t t h a t time were heavily wooded. T h e rich bottom lands a l o n g the river varied in width from a few y a r d s to a mile. On the cultivated portions, Indian corn was ordinarily grown. 1 9 The river took Heinrich p a s t the site of the old F o r t M c i n t o s h , p a s t Beaver Creek with its many mills, p a s t Georgetown with its f e r r y . I t took him p a s t Yellow Creek, with its settlement of Scotch H i g h l a n d e r s , and B a k e r ' s B o t t o m , a c r o s s the river on the Virginia side. B o t h were important places in the early history of these p a r t s , f o r a t Yellow Creek had been the c a m p of L o g a n the M i n g o chief, and a t B a k e r ' s Bottom had occurred the m a s s a c r e of his f a m i l y — a n event f r a u g h t with disaster to the whites, a s we shall presently see. Here the river is very beautiful, being in general about a quarter of a mile wide, interspersed with several islands, which add to its beauty; some being partly cultivated and partly in wood, some wholly in wood, and some cov17. Letter>, p. 96. 18. Ibid., p. 109. 19. Hulme, Journal,

p. 38.

24

KENTUCKY:

1818-1823

ered with low aquatick shrubs and bushes; and all fringed with low willows whose yellowish green foliage, contrasted with the rich and variegated verdure of the gigantic forest trees, the fields of wheat and Indian corn, and the dwarf alders, other shrubbery and reeds of the inundated islands, which they surround, mark their bounds as on a coloured map. 20 N e x t is Steubenville, named f o r t h e B a r o n von Steuben of Revolut i o n a r y fame. I t h a d a t this time a p o p u l a t i o n of some two t h o u s a n d a n d was r e g u l a r l y laid out with houses of brick a n d wood a n d some of stone. I n it were " a p a p e r mill, a g r i s t mill a n d a small c o t t o n mill" a n d , the c o n t e m p o r a r y a c c o u n t continues, " t w o e a r t h e n w a r e m a n u f a c t u r e s , a brewery, f o u r p r e a c h e r s , six l a w y e r s , five surgeons, twentyseven shops, sixteen t a v e r n s , two b a n k s a n d a considerable number of a r t i s a n s . " 2 1 T h i s would seem a f a i r l y c o m p l e t e equipment f o r a town of its size. T h e a c c o u n t p r o c e e d s : " I f I am n o t mistaken, Steubenville c o n t a i n s a g r e a t e r p r o p o r t i o n of o r d e r l y a n d religious people t h a n some other American towns which I have seen." W h a t a b o u t t h a t brewery and those sixteen t a v e r n s ? A f t e r W e l l s b u r g h on the s o u t h shore a n d W a r r e n on the n o r t h ( t h e f o r m e r p r o u d l y possessing a " c o u r t house of stone, with a small light c u p o l a s p i r e " ) , the t r a v e l e r s on t h e river reached W h e e l i n g on the Virginia side. T h i s town a t the time seemed destined to rival P i t t s b u r g h in its h a n d l i n g of the w e s t w a r d - b o u n d traffic, since it was the terminus of the newly completed C u m b e r l a n d R o a d , o u r first n a t i o n a l highway, which connected it with C u m b e r l a n d , M a r y l a n d , t h r o u g h R e d s t o n e ( B r o w n s v i l l e ) , P e n n s y l v a n i a . T h e t o w n a t this time contained two h u n d r e d and fifty houses. A f t e r Wheeling and the " L o n g R e a c h " where the course of t h e river is s t r a i g h t f o r seventeen miles, one p a s s e d M a r i e t t a , the " P l y m o u t h R o c k of the W e s t , " founded b y G e n e r a l R u f u s P u t n a m a n d a fine body of New E n g l a n d veterans of the R e v o l u t i o n a r y W a r . Of this colony W a s h i n g t o n spoke most highly ; on r e a d i n g the list of pioneers, which c o n t a i n e d the names of some fifty m i l i t a r y officers, L a f a y e t t e d e c l a r e d : I know them all. I saw them at Brandywine, Yorktown, and Rhode Island. They were the bravest of the brave. T h e town was named f o r the F r e n c h queen, M a r i e A n t o i n e t t e . A t the time of H e i n r i c h ' s j o u r n e y , it h a d a p o p u l a t i o n of some seventeen hundred. 20. 21.

Cuming, Sketchet J . Flint, Lelten,

of a Tour, p. 103. p. 102.

KENTUCKY:

1818-1823

25

Blennerhassett Island with its romantic and tragic history—a bit of European culture and beauty set down in the midst of these wild pioneer lands—was soon seen. Then appeared the mouth of the Great K a n a w h a River and Point P l e a s a n t , 2 2 also of t r a g i c memory. W i t h out the glamour of Blennerhassett's romance, this spot was y e t of surpassing interest, for here it was t h a t the t r a g e d y of the massacre a t B a k e r ' s Bottom reached its still more t r a g i c dénouement. T h a t this s t o r y of Logan the Mingo chief and all its related history made a deep impression upon Heinrich, when he learned the thrilling tale, we shall see in due time. Not f a r below the scenes of these far-off t r a g i c events was Gallipolis, with its own pathetic s t o r y of a deluded and stranded French colony of some one hundred families, entirely unfitted for such life, which had been left to perish—another of those unfortunate pioneer experiences, and one in which it is much to be feared our friend Barlow of Columbiad fame played a none too honorable p a r t . F a r t h e r on were Portsmouth, on the Scioto River, and finally Limestone, where most of the immigrants to this western country left the river. Even before the founding of the town of Limestone, the valley of Limestone Creek h a d furnished a favorite opening into Kentucky. Like so many of these points along the river, it had its own historic interest : once, in Revolutionary d a y s , a l a r g e supply of gunpowder, being carried down the Ohio for defense against the Indians, had been hastily buried within the mouth of the creek, when its bearers h a d been threatened by the a p p r o a c h of p u r s u i n g enemies. 23 I t is no wonder t h a t Heinrich's vivid imagination was tremendously impressed by all these romantic stories brought so clearly to his a t tention by the historic places along the river. He must also have been much interested in meeting for the first time t h a t notorious—and unique—type of American, the river boatman, the forerunner of the wild and boisterous cowboy of the western plains. He had a l r e a d y seen pioneer life and c h a r a c t e r , to be sure, in the rough and r e a d y companions of his crossing of the Alleghenies. Here, however, was something new and much more e x t r a o r d i n a r y . I have seen nothing in human form so profligate as they are. Accomplished in depravity, their habits and education seem to comprehend every vice. They make few pretensions to moral character ; and their swearing is ex22. Bradbury, Travelt, p. 279, nl56. 23. Thwaites, On the Storied Ohio, p. 189.

26

KENTUCKY:

1818-1823

cessive, and perfectly disgusting. Although earning good wages, they are in the most abject poverty; many of them being without any thing like clean or comfortable clothing. I have seen several whose trousers formed the whole of their wardrobe, and whose bodies were scorched to a brown colour by the rays of the sun. They are extremely addicted to drinking. 24 A p p a r e n t l y we must accept this picture, or worse. Nothing can be considered as overdrawn, for all the travelers of t h a t time unite in utterly condemning these river men. This, of course, is not strange, f o r they were indeed the wildest of frontiersmen. Many had left their homes t o escape the law; the best, perhaps, were confirmed vagabonds out for adventure of any s o r t — t h e wilder the better. I t is exceedingly interesting t h a t Heinrich should have capped his three-hundred-mile walk over the Pennsylvania mountains with this four-hundred-mile ride down the Ohio River. T h e two together had led him along our very frontiers. H e had seen American frontier life in the m a k i n g : first in the uncomfortable log taverns along the Pennsylvania r o a d t h a t led p a s t the old dismantled f o r t s and through the few and scattered villages, and then along the river, which once more led p a s t old historic f o r t s , rough lodging places, Indian battle grounds, and a few scattered towns. All along, in one region as well as the other, the countryside was filled with romantic interest. I t is no wonder t h a t t o the end of his days Heinrich was deeply interested in the Indian race— its c h a r a c t e r , customs, and life in general and p a r t i c u l a r . I n these journeyings he had seen how the Indian nations had constantly been compelled to give place to the white i n t r u d e r s ; he had, as it were, like some fascinated spectator in a play, beheld their g r a d u a l b u t final withdrawal from the stage where f o r so long their f o r e f a t h e r s had played the leading p a r t . Soon, in Kentucky, he was to come into yet more intimate contact with them and so round out an acquaintance which was always to him one of the vital realities in his life. Leaving the boat a t Limestone (now Maysville), Kentucky, Heinrich entered upon the last l a p of his j o u r n e y , the walk of some sixtyodd miles to Lexington, which was to bring him into the h e a r t of the wondrous blue-grass region of Kentucky. From Limestone, 2 5 with its houses carefully placed "above the level of the highest floods," the way led uphill to a plateau with rich and fertile soil, gentle slopes, and ex24. 26.

J . Flint, LttUr§, Ibid., p. 127.

p. 113.

KENTUCKY: 1818-1828

27

tensive f a r m land. A walk of f o u r miles b r o u g h t him to the considerable village of Washington, a town laid out on a large scale in the h e a r t of a very fertile c o u n t r y , but a t t h a t time not p a r t i c u l a r l y flourishing. E i g h t miles f a r t h e r on was Mayslick, where " a rich soil and a fine undulated surface unite in forming a neighborhood t r u l y delightful— the most florid descriptions of Kentucky have never conveyed to my mind an idea of a country n a t u r a l l y finer than this." 26 T h i s comment of F l i n t ' s was indeed rich praise, f o r the early tales of Kentucky as a t e r r e s t r i a l paradise are proverbial. F r o m Mayslick on the c o u n t r y continued to become rougher, stonier, worse cultivated, less inhabited, until a t last the Blue Licks were reached, "rude, uncultivated, stony barrens, poor beyond description and extremely difficult to travel over." 2 7 These Blue Licks, 2 8 however, were historic ground and could not have failed to interest Heinrich, with his newly acquired curiosity about all things I n d i a n — f o r here took place in 1782 the disastrous battle of Blue Licks, in which sixty Americans were killed. Beyond Blue Licks the country began to improve and soon became once more fertile and attractive. Millersburg was next passed, a very small town with a bank, several large g r i s t mills, and, strangely enough, a university—the Kentucky Wesleyan University, which had j u s t been founded in 1817. E i g h t miles from Millersburg Heinrich reached P a r i s , an a t t r a c t i v e town situated on a hill in the midst of a delightful and populous country. Of P a r i s Richard Lee Mason writes: " M a n y of the houses are of brick and of handsome shape. There is constantly t h a t stir and bustle which denotes a place of business." 2 9 P a r i s possessed a t this time a cotton mill, and two g r i s t mills, with a considerable population. There were several large taverns, which, like many others in the western c o u n t r y , retained the picturesque feature of having bells on the house tops which were r u n g f o r meals. T h e twenty-odd miles from P a r i s to Lexington, t h r o u g h a rich, fertile country of which it was said, " T h e scenery of no place in the western country surpasses t h a t on the r o a d between this place [ P a r i s ] and Lexington," 3 0 must have given pleasure to our traveler. Arrived at Lexington, Heinrich found himself in the largest town in Kentucky, 26. 27. 28. 29. 30.

Ibid., p. 128. Mason, Narrative, p. 28. Thwaites, On the Storied Ohio, p . 160. Narrative, p. 29. T . Flint, Condemed Geography and Hutory,

I I , 191.

28

KENTUCKY:

1818-1823

with five thousand inhabitants, of which over fifteen hundred were slaves. Although it had lost its prestige as the capital city of its state, it was "still considered the capital of fashion in Kentucky. There are here many genteel families, a few of which keep coaches. The town, on the whole, exhibits a well dressed population." a cheerful, gay and conversable people."

32

31

" I t s inhabitants are

T o which the contempo-

rary report naively adds, "most of them capable of conversation upon literary subjects." LEXINGTON,

FRANKFORT,

AND

LOUISVILLE

Heinrich seems to have arrived in Lexington the latter part of October or early in November, 1817, almost if not quite penniless and alone. The long journey from Pittsburgh had eaten into his slender resources. On Wednesday evening, November 12, 1817, however, a "grand concert of vocal and instrumental music" was given—undoubtedly as a benefit f o r him. While history does not record the financial result, we have the program (p. 29), 3 3 which for our purposes is even more to the point. In the first place, it gives us our first clue to Heinrich's musical taste and proficiency at this time. He appears as director of the orchestra ( o r band, for we must remember that in those days these words were practically interchangeable—in the program before us we even find both used to designate what was undoubtedly one and the same group of musicians), also as violin soloist and pianist. N o t e particularly that he does not appear as composer. This first of his concert programs seems also to be the last on which he fails to appear in the latter capacity. I t shows that he had not yet entered upon that part of his musical career which was later to be all-important. W e find him, then, leading the orchestra (probably with his violin), playing violin solos, and sharing with a Mr. Wenzel (undoubtedly the proprietor of the music store) in a performance on two pianos. This latter was scarcely, however, two-piano playing as we understand it today. I t is more likely that the two performers played the same composition at the same time on the two instruments. There is no question that the orchestral compositions performed under Heinrich's direction on this occasion—works of 31. 32. 33.

J. Flint, Lettert, p. 137. T. Flint, Condensed Geography Scrapbook, p. 1209.

and Hittory,

I I , 186.

Beethoven,

G R A N D CONCERT OF VOCAL A N D

INSTRUMENTAL

MUSIC,

Under the direction of A. P. HEINRICH, ASSISTED AT

BY

THE

MESS. ON

PRINCIPAL

KEENE

&

PROFESSORS

LANPHEAB'S

WEDNESDAY •

EVENING, • *

AND

ASSEMBLY NOV.

AMATEURS, ROOM,

12,

P A R T 1st. S I M F O N I A con Minuetto . . GLEE—-"When Sappho tuned"

Beethoven.

A D A G I O con Sordini e Violino Obligato S O N G — " T h e Anchor-Smiths' D U E T T O Concertante, due Vi olini C A T C H — " A h ! how Sophia,' alias "A House on Fire" Solo Violino con Variazioni RONDO

Mozart. Dibdin. Viotti.

Fiorillo. Pleyel.

Full Band Mess. S. Drake, Blisset, and an Amateur Full Orchestra Mr. Blisset Mess. S. Drake and Heinrich Mess. Blisset, Alex. Drake, & an Amateur Mr. Heinrich Full Band

P A R T 2d. GRAND OVERTURE . . . S O N G — " F r o m blood stain'd plains of glory" The celebrated Concerto Violino CHEERFUL GLEE—"Sigh no more, Ladies" . . . . OVERTURE TO LODOISKA, followed by the Queen of Prussia's Waltz, on two Piano Fortes COMIC S O N G — " T h e Auctioneer" C A T C H — " I t was you that kiss'd the pretty girl" . FINALE

Gyrowetz.

Full Orchestra Mr. S. Drake

Giornovichi.

Kreutzer Himmel.

Haydn.

Mr. Heinrich Mess. Blissett, Drake, and Amateurs Mess. Wenzel & Heinrich

Mr. Alexander Drake Mess. S. Drake, Blisset, & A. Drake Full Band

Doors to be opened at 6 o'clock, and performance to commence at half past 6. Tickets of Admission, O N E D O L L A R each, to be had at the several Book-Stores, at Mess. Keene & Lanphear's Bar, and at Mr. Wenzel's Music Store.

30

KENTUCKY:

1818-1823

Mozart, and Haydn—were of an exceedingly high quality. As for the three composers for the violin represented on the program—Viotti, Fiorillo, and Giornovichi—they were for their time scarcely less notable. Giomovichi (or, as more often given, Jarnovic—an Italian composer of Polish parentage) had died in 1804, but Viotti and Fiorillo were still living, though both now in their sixties. To us of today, Viotti is the best known of the three. The "father of modern violin playing," as he has been called, was at this time about to accept the directorship of the Paris Opera (Academie de Musique), which honorable position he held from 1819 to 1822. Fiorillo and, still more, Giornovichi are almost forgotten names to us, but they figured largely on the programs of the latter p a r t of the eighteenth century, both in Europe and America. Of the composers whose works were performed on the piano, Kreutzer, the distinguished violinist to whom Beethoven had dedicated the Kreutzer Sonata, was at this present time first conductor a t the Paris Academie de Musique; while Himmel, the noted Prussian pianist and composer, had died only a few years previously. Dibdin, the only song composer identified with this program, was famous for his sea songs and his "Table Entertainments." In these he himself appeared in such varied capacities as author, composer, singer, and accompanist ; from one of them this song, "The Anchor-Smiths," is undoubtedly taken. He had also recently died, in the identical year with Himmel (1814). Of the orchestral composers mentioned, Beethoven, now in his forty-seventh year, was living in Vienna. Gyrowetz was Kapellmeister at the Viennese Court Opera. Haydn had died a t Vienna some eight years before, as had Mozart in 1791. How rich was Vienna in musical geniuses! Thus the program was made up mostly of the works of contempor a r y composers—without question, composers who were well known and highly regarded. Heinrich needed to make no apologies for this program. But almost more interesting to us than the program itself is the list of performers, for here we meet for the first time Samuel Drake (familiarly and affectionately known as Old Sam Drake) and his three sons and two daughters—members of a gifted family, who were valiant pioneers in bringing into the western country such welcome entertainments as the theatre and concerts. Of the three sons, two appear on this program: Samuel, J r . , and Alexander—the former as solo singer, singer in glees, and violinist with Heinrich in the duetto

mvmM MIL DRAKE

f ) E S P E C T F U L L Y informs bis friends, and the Ladies and Gentlemen •*•*• in general residing in Frankfort, that the house will open for a short season, during which, every effort in his power will be exerted to deserve their favor and patronage. H e begs to recommend to their notice Mr. and Mrs. SAVAGE, late of the Philadelphia Theatre, also Mr. and Mrs. A N D E R S O N of the same house, whose arrival he is daily in expectation of. The lovers of science, he has no doubt, will be greatly gratified with Mr. HIEN'RICH, whose excellence on the Violin was never surpassed in the western country. In the course of the season a variety of new and interesting pieces will be produced.

On Wednesday Evening Nov. 26, Will be performed for the first time in Frankfort, the admired new Comedy in five acts, called

The Dramatist, OR,

S T O P H I M W H O CAN. Vapid, (The Dramatist) Lord Scratch, Ennui, - - • WiUoughby, - Neville, - - - Peter,

- Mr. Savage, - - Douglass, - - - J ames, - - Pinkham, S. Drake, Blissett,

Floriville, - - Alexander, Lady Waitfort, - - Mrs. Lewis, Marianne, - - - Savage, Letty, - - - - - Miss Clarke, Louisa Courtney, - - - Julia.

To conclude with the admired Musical Farce, called

The Poor Soldier. Patrick, Dermot, - Darby, Captain Fitiroy, Father Luke, Bagatelle, Nora, - - Kathleen, - - -

Mr. S. Drake, - - - - - - - - - - James, - - - - Alexander, - - - - - - Pinkham, - - - - - Douglass, Blissett, - - - - - Miss Clarke, - - - - - - Julia,

Doors to be opened at half past five, and to begin at half past six precisely. Gentlemen are requested to observe that the smoking of segars within the Theatre cannot be allowed. Tickets only, will be received at the door. For the want of change to accommodate, no bank bill exceeding the sum of Five Dollars can be received. Tickets may be had of Mr. Drake, Butler & Wood's Book-store, Mr. Huntingdon opposite the Theatre, and at the Box-Office.

32

KENTUCKY:

1818-1823

concertante by Viotti; the l a t t e r as solo singer and p a r t i c i p a n t in the catches. Another performer on this program is Mr. Blissett—for many years one of the greatest favorites of the Philadelphia stage. In this connection our next p r o g r a m (p. 31) 34 is also of interest. T h a t our friend Heinrich had made a fine success in his concert of two weeks before is evident in Mr. Drake's words: " T h e lovers of science will be greatly gratified with Mr. Hienrich, whose excellence on the violin was never surpassed in the western c o u n t r y . " This use of the word science, particularly in regard to music, is novel to us, but characteristic of its time. I t meant learning, culture, technical skill, in music. This time we see the name of M r . D r a k e himself, with the names of his son Samuel and his daughter Julia, whose own daughter J u l i a Dean ( 1 8 3 0 - 6 8 ) was later to be so popular on the American stage. Again we find Mr. Blissett. 3 5 This capable a c t o r had received a careful musical education in p r e p a r a t i o n for a musical career, but when eighteen years old had taken up the dramatic profession instead. H e came to America a t the age of twenty and was a member of the original Chestnut Street T h e a t r e Company a t its opening in 1794 under Thomas Wignell. T h e western country owes much to Mr. Drake and his family, for it was due to his pluck and ambition t h a t now for the first time a firstr a t e theatrical company was induced to visit this theatrically unknown land. In p u t t i n g himself in their midst, Heinrich was all unwittingly linking himself with one of the most absorbing chapters in the early annals of the American stage. Samuel Drake (1768—1854) 38 was born in England, became a successful actor and manager in the provinces, and came to America in 1810, when he and his wife joined the Boston T h e a t r e Company a t the Federal Street T h e a t r e of t h a t city. L a t e r , while stage manager a t Albany, he was induced to undertake the formation of a theatrical company to visit Kentucky and perform in the three cities, Lexington, F r a n k f o r t and Louisville. W i t h his own talented family as a nucleus, he gathered together a company containing such capable players as Blissett, Thomas Jefferson (oldest son of J o s e p h Jefferson the first), and James Douglass, son of t h a t earlier 84. Scrapbook, p. 1198. 38. Dunlap, Hutory of the American Theatre, p. 122; Wemyss, Chronology of the American Stage, pp. 25, 49; Wood, Pertonal Recollection» of the Stage, p. 278ff. 36. Ludlow, Dramatic Life at I Found It, p. 363.

KENTUCKY:

1818-1823

83

Douglass who had built the Southwark Theatre in Philadelphia, also Frances Ann Denny, later to marry Alexander Drake and in due time to become known throughout America as the great "American Tragedy Queen." With scarcely less difficulty than Heinrich himself, this interesting group of players had reached Kentucky, stopping to perform in Pittsburgh on the way, as he had done, and coming via the very same route. 37 These, then, were the colleagues with whom Heinrich found himself brought into contact on his first entrance into the western country. This new acquaintanceship must have been congenial to all parties concerned, for they had much in common. Did they not all know that terrible barn of a theatre in Pittsburgh? Had they not all come down the Ohio River, and were the}' not all intimately familiar with every step of the road from Limestone? To be sure that experience could scarcely compare with Heinrich's difficult walk across the mountains of Pennsylvania, but they, too, had had their difficult journey in New York, "through what was then almost a wilderness." There must also have been many mutual reminiscences of life on the Atlantic seaboard. Drake had played in Boston, where Heinrich had found his wife, and Blissett had been many years in Philadelphia, at the Chestnut Street Theatre—had been there in 1810, at the very time when Heinrich had been at old Southwark. But what were these three Kentucky towns that extended so warm a welcome to the play-actors of the North and this friendless musician ? Lexington, 38 the largest of the three and one of the most interesting and important towns in the entire western country, must have been a very attractive place. I t was set in the midst of the rich, fertile countryside, within a sort of semicircle formed by the Kentucky River, and was surrounded by farms and country places. Laid out in a fine, roomy way with broad, well-paved streets, and large, comfortable brick houses, it was entirely comparable with towns of the Atlantic seaboard and must have been a very welcome sight to our footweary fiddler in the fall of 1817. Here there was even a college—Transylvania University. Founded in 1783, it was the oldest institution for higher education west of the Alleghenies and had at this time one hundred and forty students. One 37. See early chapters of Ludlow, Dramatic Life at I Found It. 38. Flint, Lettert, p. 137; Flower, Lettert, pp. 94-95; Mason, Narrative, Melish, Geographical Description, p. 327.

p. 30;

84

KENTUCKY:

1818-1823

of the members of its B o a r d of T r u s t e e s was H e n r y Clay, whose home h a d been a t Ashland, a mile o u t of Lexington, since 1797, and who h a d served as P r o f e s s o r of L a w between 1805 and 1807. Lexington also possessed a r e a d i n g room ( t h e A t h e n a e u m ) ; equipped with numerous newspapers, the best periodicals a n d scientific j o u r n a l s of the d a y , Rees's Cyclopaedia, and o t h e r books, it was much frequented. T h e r e were also stores with fine displays of merchandise and m a n u f a c t u r e s of all kinds. I n s h o r t , Lexington was the busiest kind of a p l a c e — a n d y e t all was n o t business, f o r we r e a d of tea p a r t i e s and balls and o t h e r amusements on a seemingly e x t r a v a g a n t scale. T h e people were noted f o r their h o s p i t a l i t y and their politeness. T h e r e was much of fashionable society, even of l u x u r y . L e x i n g t o n h a d been famous since the beginning of the c e n t u r y f o r the number of its horses and c a r r i a g e s . I n 1807 Cuming w r i t e s : Last year there were in Lexington thirty-nine two wheel carriages, such as gigs and one horse chaises, valued at 5764 dollars, and twenty-one four wheel ones, coaches, chariots, &c. valued at 8900 dollars; since when four elegant ones have been added to the number. This may convey some idea of the taste for show and expense which pervades this country. There are now here, fifteen hundred good and valuable horses, and seven hundred milk cows." A n d t h a t was ten y e a r s before, when the town was much smaller. As to its t h e a t r e , we have Ludlow's description: It was probably seventy to eighty feet in length by about twenty-five to thirty feet in width. If I remember rightly, the seats were constructed upon the amphitheatre plan—gradually rising from the floor, one above the other, to the back, these back seats being reached by a sloping platform at one side. They were simply covered with canvas and painted, without being stuffed, or having any backs to them, and the surroundings were of the most simple, unpretending character.40 F r a n k f o r t , the scene of M r . D r a k e ' s d r a m a t i c p e r f o r m a n c e , was the c a p i t a l of the s t a t e , b u t nevertheless a much smaller town t h a n Lexi n g t o n . I t h a d been founded some seven y e a r s later, and when it became c a p i t a l of the s t a t e still h a d a p o p u l a t i o n of something less t h a n five h u n d r e d souls. I t h a d , however, its own p a r t i c u l a r a t t r a c t i o n s , f o r it was picturesquely placed, s u r r o u n d e d by hills, and situated on the 89. 40.

Skttehtt of a Tour, pp. 187-88. Dramatic Life at I Found It, p. 90.

KENTUCKY:

1818-1828

85

Kentucky River, whose banks of limestone rose from the bed of the stream, at times precipitously, for perhaps some hundred feet. Speaking of this river, Flint's Geography (1828) says: It has a rapid current and high banks. For a great part of its length it flows in a deep chasm, cut out of perpendicular banks of lime stone. Nothing can be more singular than the sensation arising from floating down this stream and looking up this high parapet at the sun and sky, from the dark chasm down which the waters float the boat.41 Mason noted "the very handsome bridge, neatly painted, thrown across the Kentucky River, which together with some public buildings erected with considerable taste, assist much in enlivening and adding beauty and elegance to the appearance of the town." 42 Frankfort was considered "a place of much gaiety ; its people showy in their dress and establishments." 4 3 This was probably due to the fact that it was the capital city: there must be gaiety and amusement for lawmakers when in session. (Samuel Drake had timed his first journey to Kentucky so as to reach F r a n k f o r t before the assembling of the state legislature, early in December.) All travelers remarked the same spirit of kind hospitality and intelligence as at Lexington. There was, however, much less of business and manufacturing. Louisville, differently situated from either F r a n k f o r t or Lexington, possessed its own individual advantages. The early descriptions of Louisville are very engaging. They speak of her fine situation "on an elevated plane to which the ascent from the creek and the river is gradual, being j u s t slope enough to admit of hanging gardens with terraces." 44 The town faced the Ohio River, here about a mile wide, the gleam of the river before it, and the "hills of Kentucky form[ing] a waving outline of dark forests" 45 behind. The view up and down the river was delightful; up the river a reach of five or six miles, down the river the falls or rapids—a romantic and picturesque sight. These falls were a great hindrance to navigation, although they a t times played their own quite harmless tricks upon the navigators: for instance the English family who at j u s t about this time "passed these falls during the night in a small skiff without perceiving any of them, 41. 42. 43. 44. 45.

Condensed Geography and History, II, 178. Narrative, p. 30. T. Flint, Condensed Geography and History, Cuming, Sketches of a Tour, p. 258. Fordham, Personal Narrative, p. 157.

I I , 185.

KENTUCKY:

36

1818-1823

the water then being very high. I n the morning they inquired how f a r they had t o the falls and could hardly be persuaded they had passed them."

40

I t was not for some y e a r s t h a t navigation was rendered easier

by a c a n a l , completed in 1 8 3 0 . A t the time of which we are writing, the town and business were principally confined to one street running parallel with the river. Even so, the atmosphere must have been r a t h e r cosmopolitan, for Fordham n a r r a t e s the following rather illuminating incident: We put up at the Washington Hall, a handsome hotel; supplied apparently with the usual luxuries of European Inns, except clean floors. There were a great many well-dressed gentlemen in the reading and bar room, whose attention was caught by my appearance. I had on a decent suit of clothes, though past their best, and a pair of Kentucky leggings, but over my great coat I wore a blanket, pinned under the chin in the Indian fashion, and confincd to the waist by a leather belt; to which was suspended a large hunting or scalping knife. Fifteen years ago, this was a common dress in Kentucky, as it is now on the frontiers of Indiana and in the Illinois Territory. But the early Settlers of Kentucky are dead, or moved farther west; or have become rich and luxurious, and Mercantile adventurers have introduced the fashions of London and Paris. Perhaps there is a greater proportion of well dressed men in Louisville than in any European Commercial city. 47 Once more there is unanimity on all sides as t o the hospitality, politeness, and kindliness of the K e n t u c k y people. I t is to be hoped t h a t any possible readers from I n d i a n a may not take too much to h e a r t the following note from a traveler who had crossed the river from Kent u c k y into t h a t s t a t e : " W h i l s t h o s p i t a l i t y , politeness and good sense c h a r a c t e r i z e Kentuckians, ignorance, impudence and laziness stamped the I n d i a n i a n s . "

48

has

And those of us who happen t o have been

born and bred in Ohio will feel in duty bound to stand by our neighbors from I n d i a n a in this crisis, with the following f u r t h e r quotation from F o r d h a m , apropos of the ball given a t Cincinnati in F e b r u a r y , 1 8 1 8 , in celebration of W a s h i n g t o n ' s B i r t h d a y : " A g r a n d ball will be given tonight, t o which I shall not go, as I do not choose the risk of being insulted by any vulgar Ohioans."

49

T h i s calls to mind what was said

by one of F l i n t ' s fellow travelers crossing the Alleghenies, t h a t "shades 46. 47. 48. 49.

Woods, Two Yean Residence, Pertonal Narrative, p. 158. Mason, Narrative, p. 34. Personal Narrative, p. 165.

pp. 242-43.

K E N T U C K Y :

1818-1828

87

of character, sensibly different from one another, are forming in the western States," that the Kentuckians were " a high-toned people, who frequently announce their country, as if afraid of being mistaken f o r inhabitants of Ohio State; and the Ohians as having less pride of country, being less assuming in their demeanor, but not less agreeable in conversation nor less punctual in business transactions."

50

So it

seems that we Ohioans were not without our good points after all!

BARDSTOWN

AND

FARMINGTON

A f t e r his opening concert in November, Heinrich busied himself with teaching and playing and directing until some time in the winter. Then, as was hardly surprising, he was taken seriously ill. 81 His experiences had been of such a character as to undermine the strongest constitution—the long walk through Pennsylvania, with its hundred miles of hard hill-climbing in the midst of the journey and its frequent nights of exposure ( f o r Heinrich, like other travelers, must have slept much in the open, to avoid the cost of stopping at an inn) ; the tenday trip down the river, with, very likely, turns at the oars; the sixtymile walk from the landing at Limestone to Lexington; and

finally,

the strain of entering abruptly into the musical life of Lexington and Frankfort, with the necessity f o r making a good beginning and the actual physical need of teaching, playing, and directing, that he might not indeed starve in this very land of plenty. Heinrich, moreover, never took things easily. I t has been remarked of him that he always walked "as if he was going somewhere—as if he had some object in view which he was pursuing with all possible earnestness."

62

I t is not strange,

then, with all the excitement of new friends, a strange country, an untried profession, hard work, and nervous tension, that he wore himself out completely. I t becomes especially easy to understand his illness when we recall that in the midst of all these new experiences there persisted the longing for the dearly loved wife so recently taken from him, and for the baby girl, left alone in far-distant Bohemia. W h a t would he not have given to "clasp her in his arms!"

53

He fell ill of a hard fever. W i t h spring and convalescence there came 60. 61. 62. 53.

J. Flint, Lettert, p. 68. Mussik, pp. 17-18. Mrs. Child in the Boston Courier Mussik, p. 11.

[1846],

38

KENTUCKY:

1818-1823

the conviction that, money or no money, he must for a time change all his mode of living. In the first place he had to recover his health; then, too, he was feeling more and more the need of further development in his newly chosen profession. I t was not for nothing that he had been born in that part of Bohemia bordering upon Germany. His German blood and his early Bohemian environment both called for the best in music—nothing less than the very best. He knew he was an amateur—that if he wished to be successful in his new profession, he had to study. He had seen these Englishmen, Samuel Drake and his colleague Blissett, with the fine technique of highly trained actors. He knew that his own musical training had been desultory, not thoroughgoing; that he had played the violin and the piano solely for the love of them; that he was no scientifically trained musician. He had the natural talent, that he knew—but how was it to be developed? There were no others in these regions who could teach him. Finally it came to him that he must work out his own salvation; that if he was to become a musician, he must make himself such through his own efforts alone. Sick, harassed, worried, anxious over Toni, he was in no condition to train himself. He had to find some place where he could enjoy peace and quiet. With the forests of Kentucky all about him, this should not prove difficult. And yet he must not be entirely cast off from human kind. He must still keep in touch with his fellow men. J u s t how he was led to his definite choice, we have no clew. But with the warm spring days of 1818 8 4 we find him in a simple log cabin in the forests about Bardstown, one of the important early settlements in Kentucky. Timothy Flint's Condensed Geography and History of the Western States, already quoted, calls it "an important village, with a beautiful view of adjacent hills and mountains . . . noted for a respectable catholic seminary, in the center of a considerable catholic settlement, to which many people send their children for instruction from the remotest points of the Mississippi valley." 8 8 I t may well have been this Catholic settlement that attracted Heinrich to Bardstown (he seems himself to have been a Roman Catholic). At any rate, there we find him once more enjoying a carefree life—free to give himself unreservedly to his music. F o r the tinie being there was for him no 54. 55.

See p. 40. I I , 194.

KENTUCKY:

1818-1828

89

heavier responsibility than to draw in the fresh fragrant air from the forest about him and build up his bodily vigor. And how wondrously beautiful were those Kentucky forests at that time ! Timothy Flint dwells on the charming aspect of the woods, as though they were trees promiscuously arranged for the effect of a pleasure ground. Grape vines of prodigious size climb the trees; and spread their umbrageous and dark green leaves over all the other verdure. Black walnut, black cherry, honey locust, buck eye, pawpaw, sugar tree, mulberry, elm, ash, hawthorn, coffee tree, and the grand yellow poplar, trees which indicate the richest soil, are everywhere abundant. In the first periods of the settlement of the country, it was covered with a thick cane brake, that has disappeared; and there is a beautiful grass sward of a peculiar cast even in the forest. In the early periods of spring, along with the purple and redundant flowers of the red bud, and the beautiful white blossoms of the dog wood, there is an abundance on the surface of the May apple, the rich verdure of which, in the first starting of spring, has an indescribable effect upon the eye. The trees generally are not large, but tall, straight, and taper; and have an aspect, as of having been transplanted to the places, which they occupy. Innumerable branches wind among these copses; and in the declivities burst out springs of pure lime stone water. 59 How the sensitive spirit of our musician and beauty-lover must have reveled in this springtime glory of the redbud, the dogwood, the M a y apple, and all the rest of the glamour of this forest as of a dream. Surely he could have found no more ideal spot for convalescence and recuperation. And with gaining strength we find him once more devoting himself to his violin, practicing diligently, perfecting himself as a player, making ready for that time when his health should permit reentrance upon his musical career. And more than t h a t — i n these days and nights of constant solitude, with the unbroken forest about him, we find him more and more filled with an unquenchable longing to express himself, not alone through the interpretation of the musical thoughts of others, but through the actual development of his own creative powers. Thus it came about that he took to improvising upon his violin, giving poignant expression to that deep longing for his wife and daughter which was with him so mightily in these days. Naturally enough, it was not long before news of this strange musician with his weird midnight melodies from the lonely log cabin 56.

Condensed

Geography

and History,

II, 174.

40

KENTUCKY:

1818-1823

became noised about. N o t only curiosity, but also increasing respect for the solitary man and his passion for music, spread through the community. T o quote his own words : Once when I was vegetating in my Bardstown log house, upon roots, milk and bread, quite solitary, I was not a little frightened after midnight whilst playing on the violin a dead march in honor of my poor departed wife, when a negro, prowling about, burst suddenly open the shattered door of my hut, which was blocked up with large sticks of wood. He soon pacified my agitation by his harmonious request that I would go on playing, as he had been attracted solely by the sweet sounds. I began again the dirge which pleased him amazingly; so much so that he requested it again, handing me at the same time a fippenny bit. True fact. I, of course, returned him the bit and gratified him with the tune. This adventure with the negro, at dead of night, in the lonely forest, seemed to me rather poetical. I liked the good ear, taste and generosity of the sable visitor exceedingly. 57 About this time, Heinrich began to compose, and this too in spite of the fact that never in his life had he had a single lesson in the theory of music—let alone independent musical composition. Again his own words tell the story, in a note attached to the manuscript of his setting of Collins's ode, "How Sleep the Brave": In the Spring of 1818 J . R. Black, a young student of Bardstown, Kentucky, attracted by my well known seclusion in a retired loghouse interrupted my studious application on the violin, by desiring me to adjust the following ode from Collins to music. I took pencil and instantaneously reciprocated with the present melody which in fact became the basis of all my after efforts. A. P. H. 5 8 This setting was afterwards published. It is really a dignified, worthwhile composition, surprisingly so, in view of the fact that its composer was absolutely self-taught. We reproduce the first page to show how truly our backwoods composer caught the spirit and dignity of the text. A f t e r this beginning, Heinrich busied himself more and more with composition. Its fascination grew upon him. H e came to feel that much as he loved to develop his ability as a violinist, his true passion was for composition, as fulfilling that desire for full and free selfexpression which had first come to him here in the forests of Kentucky. 57. Heinrich ELS quoted by Mrs. Child, Boston Courier [1846]; also in the New York Tribune, May fi, 1846. 68. See under title in List of Compositions.

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First Page of "How Sleep the

Brave"

42

KENTUCKY:

1818-1823

He began to write for violin and piano aa well as for voice. For the latter he set some dozen texts by Henry C. Lewis, whom he had known as editor of the LadxeMuteum, a literary and musical magazine published at Philadelphia. "Sensibility," one of Lewis's poems which Heinrich set to music, had appeared in this magazine in September, 1817, probably just as Heinrich left Philadelphia on his wanderings into the western country. Heinrich also set some seven texts by William B. Tappan of New Y o r k ; two poems and a translation of a German text ("The Yager's Adieu") by his friend the Bardstown lawyer, Peter W. Grayson; one by the Shelbyville-Bardstown student, James R. Black, whose request for a setting of Collins's "How Sleep the Brave," we have already mentioned as giving Heinrich his start as a bona fide composer. There were two settings of Burns, one of Byron, and a few other scattered texts. There were also numerous instrumental compositions. J u s t how many of these were written at Bardstown we may not, however, know; for by January 5, 1819, 69 Heinrich had left his log cabin in the woods and had taken up his abode on the estate of Judge John Speed at "Farmington," some six miles out of Louisville on the road between Louisville and Bardstown. It is quite evident that Heinrich's life as a recluse in the forest cabin did not prevent his making certain lifelong friends among the Bardstown people. We have already referred to Lawyer Grayson and James Black—we shall see him paying warm tribute to their friendship later. But we also find him dedicating songs to a Miss Lucy May and to Mrs. Sarah Ward Grayson, both of Bardstown, and writing an overture to a ball given by Major Smiley of that place. And it was undoubtedly through Thomas Speed, member of Congress at that time, whose home, "Cottage Grove," lay just outside of Bardstown, that Heinrich found friendly asylum with Judge John Speed (Thomas Speed's brother) at Farmington. The Speeds were among the most prominent of the Kentucky families in this section, and a mutual appreciation developed between the lone musician and this influential Kentucky family. Judge Speed furnished Heinrich with a home, undoubtedly at little or no expense to the musician, and here Heinrich enjoyed probably the most congenial surroundings he had known since early days at Schonlinde. Evidently he was as much his own master 59. See Appendix II.

KENTUCKY: 1818-1823

43

now as then, and worked as he wished, p r a c t i c i n g , studying, a n d composing. N a t u r a l l y , in this f r e e r , more spacious environment, he came more into the society of his kind, he mingled more with the people a b o u t him and even began to a p p e a r a g a i n in public as p e r f o r m e r , composer, a n d d i r e c t o r of the o r c h e s t r a . H a d he sought the c o u n t r y over, Heinrich could scarcely have found s u r r o u n d i n g s more ideally suited t o his needs t h a n the home of this f a m i l y — s o devoted to him, so a p p r e c i a t i v e of his g i f t s , so entirely kindness itself in every way. A n d a t r u l y remarkable family was t h a t of J u d g e J o h n Speed. 6 0 W h e n twelve y e a r s old he had come f r o m Virginia t o K e n t u c k y with his f a t h e r and family, on foot a n d horseback over the historic W i l d e r ness R o a d . When Heinrich knew him, his first wife h a d died, leaving two d a u g h t e r s , M a r y and Elizabeth. H e h a d married a g a i n , and of this m a r r i a g e there were living a t this time two s o n s — J a m e s , seven, and J o s h u a , some y e a r s y o u n g e r . J u d g e Speed's sister, Elizabeth, who had made the t r i p f r o m Virginia with the family when she was eight y e a r s old, h a d married and h a d also settled in K e n t u c k y . She a n d her husband, D r . Adam R a n k i n , lived in Henderson, in the western p a r t of the s t a t e , on the Ohio River. I n their home f o r several y e a r s lived the distinguished n a t u r a l i s t , J o h n J a m e s Audubon, who came t o H e n d e r s o n a f t e r his failure as a m e r c h a n t in Louisville. Visits m u s t often have been exchanged between the two families, and in this way Heinrich came to form a lifelong friendship with Audubon a n d his wife. Across the river f r o m Henderson, in the Pigeon Creek Valley in I n d i a n a , there was a n o t h e r family with a y o u n g boy—some ten y e a r s old a t the time. T h i s lad had been born in K e n t u c k y , h a d moved across the river into the forests of southern I n d i a n a , and had helped his f a t h e r clear a space f o r their primitive home. H e h a d worked h a r d , h a d endured the u n u t t e r a b l e sorrow of seeing his mother f a d e and die, a n d had helped his f a t h e r fashion t h e rude coffin in which they buried her. T h a t mother was N a n c y H a n k s L i n c o l n ; t h a t boy, A b r a h a m Lincoln. S t r a n g e coincidence: A b r a h a m Lincoln—a p o o r , f o r l o r n , motherless lad, living a life of h a r d s h i p almost unbelievable in its severity, in the midst of the I n d i a n a forest. Across the river in Kentucky, h a p p y in plenty of this world's goods and in a f o r t u n a t e social position, the two boys, J a m e s a n d J o s h u a Speed. W h o among them all 60.

See Speed, Recordt

and Memonal*

of the Speed

Family.

44

KENTUCKY:

1818-1823

could draw back the curtain of the future and show these same three lads a few years later—Abraham Lincoln, President of the United States; James Speed, Attorney General in his Cabinet; and Joshua Speed, his most intimate personal friend. The two older daughters, Mary and Eliza, were no less interesting personalities than the brothers—Mary a great lover of music and somewhat of a composer, with poetic gifts besides; Eliza a great reader and a refined and cultured woman of unusual personal charm. No wonder then that the influence of such a family was bound to be far-reaching in its effect upon the impressionable musician in its midst.

"THE

DAWNING

OF M U S I C

IN

KENTUCKY"

With the Speeds Heinrich remained for nearly two years, 61 and later referred to Farmington as the place "where I first drew in my musical inspiration." 8 2 He worked industriously, continuing the compositions begun at Bardstown. Among those written here were the song, "The Birthday of Washington," 83 composed at the request of Judge Speed and dedicated to him; a divertimento for piano, containing a "Farmington March," dedicated to Mrs. Speed; a "Visit to Farmington" and a "Farewell to Farmington" (a cotillion), as well as many other songs and piano pieces. His thoughts seem often to have turned to the distant fatherland, for we find such compositions as the "Marche Concertante, Dedicated to the Citizens of Schonbiichel, Schonlinde, and Georgswalde" and "The Fair Traveller, or The Post Ride from Prague to Vienna"—a descriptive waltz for piano—briefly touching and characterizing the more important places along the line of this journey. But perhaps the most interesting of all is "The Minstrel's Petition, or a Votive Wreath for the Piano-Forte, Humbly Presented to Her Majesty, Charlotte Augusta, Empress of Austria, Containing Variations on Haydn's 'God Save the Emperor,' Followed 61. H e i n r i c h signs himself as a t Louisville J a n u a r y 5, 1819, in t h e P h i l a d e l p h i a Literary and Musical Magazine, I V ( A p r i l 26, 1819), 10. W e find him in P h i l a d e l p h i a F e b r u a r y 10, 1821, f o r t h e first p e r f o r m a n c e of his m e l o d r a m a , The Child of the Mountain. 62. M r s . Child in the Boston Courier [1846], 63. F o r t a b l e of c o n t e n t s of The Dawning of Music in Kentucky and the supp l e m e n t a r y volume, The W«if«rn Minstrel, in which t h e s e v a r i o u s compositions a p p e a r , see A p p e n d i c e s I I a n d I I I . B o t h volumes a r e in t h e Music Division of t h e L i b r a r y of C o n g r e s s .

KENTUCKY:

1818-1823

45

b y Five M i n u e t s ( A l l f o r P i a n o ) , t h e I m p e r i a l , t h e R o y a l , t h e Illust r i o u s , t h e A f f a b l e , t h e P h i l a n t h r o p i c ; also t h e A u s t r i a n — a L ä n d l e r . " T h a t H e i n r i c h ' s t h o u g h t s were n o t e n t i r e l y c o n c e r n e d w i t h his old home, however, is evidenced b y m a n y such titles as " H a i l C o l u m b i a " ( m i n u e t ) , " Y a n k e e Doodle W a l t z , " and " T h e Yankee Doodleiad" ; b y the patriotic songs " H a i l to K e n t u c k y " ( P . G r a y s o n E s q . ) , " T h e Y o u n g C o l u m b i a n M i d s h i p m a n , " " O d e t o t h e M e m o r y of C o m m o d o r e 0 . H . P e r r y , " "Columbia's P l a i n t " ; and by the Indian war song "Sons of t h e W o o d s . " All of these save " H a i l to K e n t u c k y " were t o t e x t s b y H . C. Lewis. T h e w o r d s of " H a i l t o K e n t u c k y " were by P . G r a y s o n , E s q . I n t e r e s t i n g also is his " A v a n c e et R e t r a i t e " f o r p i a n o , t o be p l a y e d e i t h e r f o r w a r d o r b a c k w a r d — t h r o u g h t o its end one w a y , a n d t h e n b a c k a g a i n t o its b e g i n n i n g — a r a t h e r clever idea well w o r k e d o u t . A m o n g o t h e r c o m p o s i t i o n s were two s o n g s , " S e n s i b i l i t y " a n d " S e n s i b i l i t y ' s C h i l d , " d e d i c a t e d t o Miss M a r y S p e e d ; " F r o m T h e e , Eliza, I M u s t G o " ( B u r n s ) , a p p r o p r i a t e l y dedicated to Miss Eliza S p e e d ; " T e m a de M o z a r t " a n d " A n O r i g i n a l A i r V a r i e d f o r V i o l i n , " d e d i c a t e d t o M e s s r s . C. F . a n d J o h n H u p f e l d , well-known violinists in P h i l a d e l p h i a a n d f r i e n d s of H e i n r i c h t h e r e . W e should a l s o especially n o t e t h e " Y a n k e e D o o d l e i a d " m e n t i o n e d above. I n t h e first p l a c e its n a m e is p r e s u m a b l y f a s h i o n e d on t h e model of J o e l B a r l o w ' s Columbiad p u b l i s h e d ( a s a l r e a d y n o t e d ) s h o r t l y bef o r e H e i n r i c h ' s first s t a y in P h i l a d e l p h i a . E v e r y b o d y seemed t o w r i t e iads in t h o s e d a y s , p a r t i c u l a r l y j u s t b e f o r e the t u r n of t h e c e n t u r y : Anarchiad ( 1 7 8 6 ) , Democratiad (1795), Guillotiniad ( 1 7 9 6 ) , Porcupiniad ( 1 7 9 9 ) . Heinrich composed various musical " C o l u m b i a d s " himself. T h i s ridiculously n a m e d c o m p o s i t i o n ( " Y a n k e e D o o d l e i a d " ) is i n t e r e s t i n g , however, f r o m t h e f a c t t h a t h e r e f o r t h e first time H e i n rich makes use of a c h a m b e r m u s i c ensemble. H e r e t o f o r e he h a d w r i t ten f o r p i a n o alone o r f o r violin a n d p i a n o , b u t h e r e we find a t r u e c h a m b e r music g r o u p — p i a n o a n d s t r i n g s — t h e violins d i s t r i b u t e d a s primo, secondo, a n d principale. H e i n r i c h finally g a t h e r e d all these m a n u s c r i p t s t o g e t h e r a n d s e n t them to B a c o n & H a r t , P h i l a d e l p h i a , t o be published. T h e y were issued in one volume with t h e g e n e r a l t i t l e : The Dawning of Music in / Kentucky, / or The Pleasures of Harmony in the / Solitudes of Nature / Opera Prima, a n d were c o p y r i g h t e d M a y 4, 1 8 2 0 . 6 4 On J u n e 2 3 , 1 8 2 0 , 64.

For advance notice of this work see Appendix II.

46

KENTUCKY:

1818-1823

Heinrich copyrighted also a supplementary volume, published in Philadelphia, by the same firm. Entitled The Western Minstrel, it was " a collection of original, moral, patriotic and sentimental songs for the voice and pianoforte interspersed with airs, waltzes, etc." 9 5 This work Heinrich dedicated to the citizens of Philadelphia. These two volumes, particularly The Dawning of Mutic in Kentucky, were at that time unique in America. In 1820, when the Dawning was published there were in the country, as we have said, a few thoroughly capable musicians, particularly Benj amin Carr in Philadelphia, James Hewitt in New York, and Gottlieb Graupner in Boston. These were all well-trained professional musicians who had come to America in the 1790's. Carr and Hewitt were from London, and Graupner, although German by birth, had lived there several years before coming to America. The culture and musical traditions of all three were thus preponderantly English. All were too busy in a practical way to produce a body of original compositions. Carr and Hewitt perhaps were more productive than Graupner, writing songs for the then popular English operas, various dramatic and descriptive pieces for piano and for orchestra, and some serious music. We still have a few examples of attractive songs by Carr and instrumental compositions by Hewitt, published apparently in the first decade of the nineteenth century. If Graupner composed, all trace of his compositions has been lost. Of our own native American composers of those days who were later to make names for themselves, Francis Boott and William H. F r y were both seven years old. Richard Storrs Willis, Harrison Millard, J . C. D. Parker, and William Mason were all to be born within the next decade. Amateur in music as he was, Heinrich had thus produced a work unique in American musical annals of the period. Individual compositions of some of these older, better disciplined English musicians may have surpassed the best of Heinrich's work. In the way of a general collection of musical works expressive of varying moods, however, the Dawning can not have had its equal in America. We need but note, for instance, the inherent dignity of "How Sleep the Brave," 6 6 whose opening measures could scarcely be better done. The melody is distinctly Brahmsian in its intervals and general contour; there is a most 65. 66.

See Appendix I I I . See excerpt, p. 41, this work.

KENTUCKY:

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47

h a p p y lowering of the melodic curve at "sink t o r e s t " ; t h e declamation is excellently handled. T h e a c c o m p a n i m e n t is a p p r o p r i a t e l y simple a n d reserved in its expression, and t h e r e is a c h a r m i n g bit of melody in the bass a t the words "dewy fingers." T h e r e is a superfluity of o r n a m e n t ( H e i n r i c h , alas, was never able t o c u r b a tendency to overe l a b o r a t i o n ) , b u t this was a common failing a t the time, p a r t i c u l a r l y on the p a r t of a n y one a t all influenced by the p r e v a i l i n g I t a l i a n taste. T h e opening p h r a s e s of " T h e B i r t h d a y of W a s h i n g t o n " (see p. 4 9 ) a r e also good. T h e r e is a like d i g n i t y of expression, j u s t l y influenced by a certain military style. A g a i n , u n f o r t u n a t e l y , it is weakened by the i n a p p r o p r i a t e cadenza. I t is deplorable t h a t we must always encounter this tendency to display in H e i n r i c h ' s works, b u t he seemed absolutely incapable of a real simplicity of style. I t was his g r e a t e s t f a u l t and often his entire undoing. Somewhat similar in quality a n d style is the opening section of his so-called s o n a t a , " L a Buona M a t t i n a . " T h i s is really excellent music in the I t a l i a n manner—florid, b u t a b o u n d i n g in i n t e r e s t i n g effects: imitations ( s t r i c t and f r e e ) , countermelodies, r h y t h m i c freedom, and v a r i e t y . T h e a m a t e u r is b e t r a y e d by the lack of skill shown in the management of certain complicated h a r m o n i c progressions. B u t even here the musical intent is so good t h a t we forgive the lack of finished technique in handling the situation. A succession of fifths such as was a source of mortification to Heinrich in a f t e r y e a r s , when he h a d become more proficient in the g r a m m a r of composition, strikes us of t o d a y as really delicious. H e used them with t r u e t w e n t i e t h - c e n t u r y effect—he was merely a hundred y e a r s a h e a d of his time! C o n t r a s t with this the really c h a r m i n g lyricism of t h e finale alia pollaca f r o m the same work (see p p . 52—53). I t m i g h t easily be a p a g e f r o m H a y d n — t h e r e is much of his b u o y a n c y and g r a c e . I t is s u r f a c e music but genuinely delightful. N o apologies need be offered f o r a single note. All superfluous o r n a m e n t s a r e dispensed w i t h — f o r once we find simplicity unadorned. These excerpts show plainly t h a t H e i n r i c h was musically g i f t e d . T h e y a r e in themselves authentic evidence of an inherent musicianship, of a feeling f o r the a p p r o p r i a t e expression of v a r y i n g moods, a n d — even a t this time—of a technique in composition which, while n o t always dependable, is yet often a p p a r e n t l y quite a d e q u a t e to the task in hand.

48

KENTUCKY:

1818-1823

The Western Minttrel comprises shorter, less elaborate compositions. "The Yager's Adieu" is an excellent example of the ever popular hunting song, simple in its construction and with frequent use of true horn intervals, thus creating the proper atmosphere. We shall meet this song again, 8 8 as it was one of Heinrich's best known compositions. In these early days of the nineteenth century, as in the latter part of the eighteenth, every composer luxuriated in the writing of descriptive music. Like all the rest, Heinrich gave himself over to this form of writing—altogether too much, it would seem. His beginnings along this line are tentative, never very dramatic or pictorial, but showing a few descriptive touches that are not ineffective. In the "Minstrel's March or Road to Kentucky" 89 the very first Italian tempo mark is excellent. Philadelphia, at that time and for a long time to come, could be admirably characterized by the expression tempo giusto. Heinrich was not without a keen sense of humor, which stood him in good stead in many trying experiences in life. The Market Street Hill with its constantly accelerating descent and the sudden stop at the toll gate at the bottom are also admirable, and any one who knows by experience the dull reverberations of a rapid canter through one of the old-fashioned covered wooden bridges will find a rather faithful presentment of it here in the rumble of these dissonant tremolos. The stop at Lancaster seems a bit sudden—but perhaps that was the way the coaches stopped! Stop ad libitum is also good. It is clear that one might or might not stop at Lancaster either on the trip or in the music—it was purely optional. We should not fail to notice the numerous prefaces, introductions, dedications, letters, and the like, with which these volumes are embellished. If there was one thing which Heinrich loved with an ardor only second to that with which he approached the writing of music, it was composing long, exhaustive letters. In the style of their time, they abounded in flowery language, with frequent quotations from the Latin 67

67. See Appendix III. 68. See under title in List of Compositions for later revised and elaborated version. 69. "The Minstrel's March, or Road to Kentucky. A tempo giusto (da Filadelfia)—Post horn—Market St. hill—Toll Gate—Schuylkill B r i d g e — T u r n p i k e Lancaster (stop ad libitum), March—Alleghanies—Fort Pitt—Embarcation— Salute—Passage on the Ohio—The rapids—Standing in for port—Casting Anchors —Side steps—Landing and cheers—'Sign of the Harp.' "

T H E

POETKV

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A . P . H F . 1 N K I C II .

* It is w i t h r e g r e t , t h a t A . P . H e i n r i c h

h a s to p u b l i s h t h e following Music without i n s e r t -

ing t h e N a m e of t h e A u t h o r of t h e P o e t r y . — H e can only a d d , t h a t f r o m r e p e a t e d i n q u i ries at t h e O f f i c e of t h e N a t i o n a l I n t e l l i g e n c e r , h e could not gain t h e desired i n f o r m a t i o n . T h e C o m p o s e r t r u s t s , t h a t t h e M e l o d y t h r o u g h o u t , will b e found s m o o t h and f l o w i n g , and prove F l u t e and V i o l i n : Should the Piano Forte accompaniment, pr

well adapted f o r t h e

d i f f i c u l t , t h e s a m e is l e f t

ad

Libitum.

Copy right s e c u r e d .

Pr.C2.

P h i l a d e l p h i a , P u b l i s h e d by

BACON & H A R T , a n d b y the AUTHOR, K e n t u c k y .

AI.I.A

First

Page

of "The

Birthday

of

Washington"

^

KENTUCKY:

50

1818-1823

and numerous allusions to classical or m y t h i c a l s u b j e c t s . F o r m a l , a n d filled with an e l a b o r a t e c o u r t e s y , they were y e t n a i v e ; usually simple and gentle in their s p i r i t , they could a t times be s a r c a s t i c and b i t i n g . T h e s e published p r e f a c e s and dedications f o r The Dawning in Kentucky

and The Western

Minstrel

of

Music

are t h o r o u g h l y c h a r a c t e r i s t i c .

T h e r e is the usual f o r m a l style, the c u s t o m a r y e l a b o r a t e c o u r t e s y . T h a t H e i n r i c h was not without a certain v e r y real a b i l i t y in this t y p e of leisurely w r i t i n g we see f r o m this dedication t o the H u p f e l d b r o t h e r s of P h i l a d e l p h i a : T o

70

MESSRS.

CHAHLES

F.

AND

JOHN

HUPFELD,

Sins, The high admiration due to your musical talents, and the gratitude I owe to you, and family, for many instances of kindness, have chiefly prompted the present dedication. Having of late been led to make Music the subject of professional cxcrciscs, and the means of combating adversity, I thought I should also show to the Public, especially to the Heroes of the Bow, a small specimen of my own humble talents. There are many, among the principal Professors, and Amateurs of Music at Philadelphia &c. who have evinced marks of friendship towards me; and to the Inhabitants of Kentucky, (the State in which I now reside), and other respectable Citizens of the United States, I acknowledge myself to be particularly indebted, for patronage: T o them, and to you, these Compositions are now presented; and as they are the firstlings of my Muse, they may therefore be entitled to some indulgence; the more so, as they were drawn up in the wilds of America, where the minstrelsy of nature, the songsters of the air, next to other Virtuosos of the woods, have been my greatest inspirers of melody, harmony, and composition. Although of foreign growth, and reared as it were, in a musical country, where all are more or less conversant in such acquirements; yet have I, till recently, meditated so little on music, that I may j u s t l y call myself a T y r o in an art; which, tho' of so pleasing a nature, is very intricate in its principles, and execution, particularly on the Violin, the King of instruments, and the Pillar of the Orchestra. You, and the public perhaps will say, I rather should have used a tacet, or withheld a dedication : I acknowledge, that the modes of address, and the arts of pleasing, are a species of learning, that I have never yet acquired; but silence is not justifiable, when gratitude urges an acknowledgment; which feeling myself constrained to make, in some w a y ; I thought the most natural course, at least for myself, was to turn the warm effusions of a grateful heart into music. Should my musical strains be well received, it will show, to whom I am indebted; but should a different fate await them, I can only assert, that the good motives I felt on the occasion, will soften the mortifiDEAR

70.

The Dawning of Music in Kentucky,

p. [ 122].

K E N T U C K Y :

1818-1823

51

cation of disappointment. It is not however, to my own feelings, but to the public judgment, and generosity that I appeal: I have therefore no further apology to offer; and will only add, that should these my humble efforts be made instrumental, either for practice, or amusement, I shall hereafter probably take courage to continue, with more aspiring publications: at t h e same time let it be remembered, that a well known Poet j u s t l y observes, "Whoever thinks a faultless piece to see, "Thinks what ne'er was, nor is, nor e'er shall be." W i t h such sentiments, I subscribe m y s e l f — G e n t l e m e n , Your highly obliged and V e r y humble servant, ANTHONY P H I L I P HEINRICH.

T h e r e is s o m e t h i n g of t h e c o u r t l y g e s t u r e of t h e old school in t h e s e n t e n c e : " I a c k n o w l e d g e , t h a t t h e m o d e s of a d d r e s s , a n d t h e a r t s of p l e a s i n g , a r e a species of l e a r n i n g t h a t I h a v e n e v e r y e t a c q u i r e d ; b u t silence is n o t j u s t i f i a b l e , when g r a t i t u d e u r g e s a n

acknowledgment;

which f e e l i n g myself c o n s t r a i n e d t o m a k e , in some w a y ; I t h o u g h t t h e m o s t n a t u r a l course, a t least f o r myself, was to t u r n the w a r m effusions of a g r a t e f u l h e a r t i n t o m u s i c . " B a r r i n g a b i t of m o m e n t a r y c o n f u s i o n in i t s c o n s t r u c t i o n , h e r e is a s o r t of r h y t h m i c p r o s e e n t i r e l y a d m i r a b l e . T h e P r e f a c e t o t h e Dawning

h a s t h e s a m e florid b u t a p p e a l i n g t o n e :

71

P R E F A C E . I n p r e s e n t i n g this work to the world, the Author observes, t h a t he has been actuated much less by any pecuniary interest, than zeal, in f u r n i s h i n g a Volume of various Musical Compositions, which, it is hoped, will prove both u s e f u l a n d e n t e r t a i n i n g . T h e many a n d severe animadversions, so long and repeatedly cast on the t a l e n t f o r Music in this C o u n t r y , has been one of the chief motives of the A u t h o r , in the exercise of his abilities; a n d should he be able, by this effort, to create but one single Star in t h e West, no one would ever be more proud t h a n himself, to be called an American Musician.—He however is fully a w a r e of the d a n g e r s which, a t the present day, attend talent on the crowded and difficult road of eminence; but fears of j u s t criticism, by Competent Masters, should never r e t a r d the enthusiasm of genius, when ambitious of producing works more lasting than the too many Butterflyeffusions of the present a g e . — H e , therefore, relying on the candour of the Public, will rest confident, t h a t justice will be done, by due comparisons with the works of other Authors (celebrated for their merit, especially as regards I n s t r u m e n t a l execution) but who have never, like liim, been thrown, as it were, by discordant events, f a r from the emporiums of 71.

The Dawning

of Music in Kentucky,

p. [3].

First Page

Finale

Alla Polacca

from

"La

Second Page

Buona

Matlina"

54

K E N T U C K Y :

1818-1823

musical science, into the isolated wilds of nature, where he invoked his Mose, tutored only by A L M A M A T E R . A. P.

HEINRICH, KENTUCKY.

The Preface to The Western Minttrel gives what would seem to be Heinrich's private and exclusive Hall of Fame, a list of his true friends and benefactors in those days: "Joshua F r y , John Speed, Willis Lee, Isaac Thorn, Peter Grayson, James Black, Henry Maltz and I. C. Wenzel of Kentucky; also Charles Voltz of Pittsburgh, who voluntarily exerted themselves to obtain subscriptions for the publication, and in other respects testified their friendship for the Author." We cannot help speculating a little over this one individual name from Pittsburgh! Can it have been Heinrich's employer at the Pittsburgh Theatre during his brief and rather inauspicious season there? Or does it stand for some personal friendship, sprung up in that short time? There is no doubt that Heinrich was a man of fine native intellectual capacity—though this capacity had never been developed to the extent that it deserved to be. In his writing, whether it was in prose or music, he was always the passionate, ardent lover of his art, but an amateur his life long. He did not take kindly to any sort of a pruning process. The expression of his thought, musical or otherwise, had to remain as it had come to him—not too much disciplined or in any way abbreviated or trimmed down. Had his youth been less opulent, had he been compelled to work harder for what he got, it might have been easier for him to curb himself, to practice greater self-criticism, but he had gone his own way too long. As to his genuine natural ability, however, there can be no doubt; as to his instincts as a courteous gentleman, there is equally no question. On June 8, 1819, Heinrich emerged from his retirement in Farmington long enough to take a prominent p a r t in a concert sponsored by two Kentucky musicians, P. Declary and H . M. Penner. 72 Declary seems to have been distinctly a silent partner as far as participation in the program was concerned. Penner played two piano solos. Heinrich appeared as leader of the orchestra and as violin soloist, in 72. Program in Scrapbook, p. 1207. The year has been determined by the fact that June 8 fell on Tuesday in the years 1819 and 1824. Heinrich was in Boston in 1824.

KENTUCKY:

1818-1823

S5

the l a t t e r c a p a c i t y entirely in compositions of his own. Once more we have a p r o g r a m ( p p . 56, 5 7 ) with its own peculiar values. T h e very first item, M a r t i n i ' s " O v e r t u r e t o H e n r y I V , " is of g r e a t interest t o students of early American music, f o r it was one of the most p o p u l a r of all the orchestral compositions of its time, a p p e a r i n g on p r o g r a m s again and again. I t seems to have made its first a p p e a r a n c e in America in the 1790's, and f r o m t h a t time it had never lost its p o p u l a r i t y . As a composition this o v e r t u r e is simple but not c h e a p ; indeed, it is r a t h e r effective with its q u a i n t old-fashioned o r c h e s t r a t i o n . A n o t h e r orchest r a l composition, equal in p o p u l a r i t y to the " O v e r t u r e to H e n r y I V " and p e r h a p s even more o f t e n p l a y e d , was " T h e B a t t l e of P r a g u e " by the Russian F r a n z K o c z w a r a , which also a p p e a r s on this p r o g r a m . Someone has said t h a t this R u s s i a n " B a t t l e of P r a g u e " was t o the first half of the nineteenth c e n t u r y what the Russian B a d a r z e w s k a ' s "Maiden's P r a y e r " was to the second. These were without question the days of b a t t l e pieces. " T h e B a t t l e of M a r i n g o " was a n o t h e r wellknown example, of which we here have a p a r t , the march. A t the t u r n of the c e n t u r y J a m e s H e w i t t in New Y o r k had written " T h e B a t t l e of T r e n t o n , " and l a t e r we shall come upon Knaebel's " B a t t l e of Bunker Hill." T o the credit of H e i n r i c h , it should be said t h a t this was one form of p r o g r a m music which he never a t t e m p t e d . The o p e r a of Guy Mannering, which we find so prominent u p o n this p r o g r a m , was composed by H e n r y B i s h o p ; " T h e B a t t l e of H e x h a m , " by D r . Arnold. And once more we note the prominence given in those days to " Y a n k e e D o o d l e " and " H a i l Columbia." I t is d o u b t f u l if we of today can quite realize the hold these two p o p u l a r airs h a d u p o n our people a t t h a t time. Heinrich makes use of these melodies time and again in his own compositions, as we have already seen and shall see again. N o r was he alone in this. We also see here our friend Samuel D r a k e the younger. J u s t who was the M r . Jones of the T h e a t r e , who had so i m p o r t a n t a p a r t in the p r o g r a m , we have no way of knowing. Probably the most c h a r a c t e r i s t i c item t h a t we have to r e c o r d of these y e a r s a t F a r m i n g t o n is the letter Heinrich wrote in A u g u s t , 1820, to H e r Imperial M a j e s t y , C h a r l o t t e A u g u s t a of A u s t r i a , t o be f o r warded with the a l r e a d y mentioned compositions g r o u p e d u n d e r the title " T h e Minstrel's P e t i t i o n , or A Votive W r e a t h f o r the P i a n o -

CONCERT Of Vocal and Instrumental Music P. BE CLARY

% H. M. PENNE

R

Have the honor to inform the admirers of Harmony, that they will give a CONCERT ON

Tuesday evening, June 8th, in the

THEATRE with the assistance of a number of gentlemen Amateurs, and some of the gentlemen of the Dramatic establishment, who have kindly volunteered their respective talents. P A R T I. 1st.—Overture to H e n r y 4th—Martini, full O r c h e s t r e - leader Mr. Ileinrich. 2d.—Glee, " W h e n A r t h u r first a t court b e g a n ; " f r o m the O p e r a of the B a t t l e of Hexham, S u n g by - Messrs. S. Drake, Alexander 8[ Fisher. 3d.—Solo, Violin—Variations on Malboro' coinposed and to be p e r f o r m e d by - - Mr. Ileinrich. 4th.—Comic song, 'The E x ciseman' - - Alexander. 5th—Solo, on the G r a n d Cabinet Piano, will you come to the Bower with variations, - Mr. Penner.

Cth—Catch, " D a m e D u r den," - - - - - S. Drake, Alexander Fuher. 7 t h — D u e t t , t w o Violins - - - Ileinrich Drake. 8th—Song " T h e old Commodore," - - - - 9th—Solo, Violin—Postillion W a l t z e s (Concert a n t e ) w r i t t e n in imit a t i o n of the G e r m a n Postillion Bugle a i r s or P o s t horns, composed and t o be exec u t e d by - - Mr. Ileinrich. 10th—Finale O v e r t u r e to Guy M a n n e r i n g with f a v o r i t e Scotch airs, full Oreheatre.

Between the two parts of the Concert, Mr. Jones of the will recite, Dryden's celebrated Ode on

Theatre,

St. Cecelia's day, or Alexander's Feast. PART II. 1st—Grand March in the battle of Maringo, full Orcheitre. 2d—Duett, "All's Well" - S. Drake & Fisher. 3d—Plough boy, with variations and accompaniments, by Dusseck, the Piano part to be performed by - - - - Penner. 4tli—Song, "Be mine dear Maid" from the Opera of Guy Mannering, Mr. S. Drake. 5th—Yankee Doodle varied for the Violin, with the introduction of Hail Columbia, (Violino obligato) composed and to be performed by - - Mr. Heinrich.

D o o r s t o o p e n a t 7 , Concert

6th—Comic song, "Feyther, mother and Suke" - - - - Alexander. 7th—Variations on the "Sprig of Shelala" for the Violin - - - S. Drake. 8th—Catch, "Old Thomas Day," - 9th—Soio, "Violin, By an Amateur. 10th—'"Battle of Prague," full Orcheitre. 11th—Song, "The bald pate Lieutenant, - Mr. Fisher. 12th—Finale, full Orcheitre.

to commence at 8 o'clock.

T I C K E T S $ 1 , t o be h a d a t the T h e a t r e .

58

KENTUCKY:

1818-1823

F o r t e , Humbly Presented to H e r M a j e s t y , Charlotte Augusta, Empress of A u s t r i a . " This letter 7 3 accompanied the music when it was sent to the Empress, but Heinrich printed a copy of it in The Dawning of Mutic in Kentucky. Despite its extravagant emotionalism, the letter is so absolutely typical of the simple-minded, affectionate father, t h a t we are sincerely moved in reading i t ; though it is not surprising t h a t no response was forthcoming from Her Imperial M a j e s t y . And yet, why should not she, too, have been moved? T o

HER

IMPERIAL

MAJESTY,

CHARLOTTE

AUGUSTE

OF

AUSTRIA.

With trembling do I address your Majesty, and present you a few blossoms of my Sylvan Muse, from the American Woods. I am a native of Bohemia, a Son of misfortune, cast amid the distant regions of Kentucky. A Babe—my child—a motherless infant—claims me back to my native soil; but alas! I apprehend, I shall never be enabled to revisit the shores of Austria, or again behold my daughter Antonia.* She was presented to me by an American Lady of superior personal and mental endowments, while on a Tour to Bohemia. A most cruel fate parted Mother and Father from the dear pledge of affection, when she had scarcely entered on this vale of tears. The tender mother rests in the silent grave—and the surviving parent, far from his native home, and that object, which alone binds him to this world, is a prey to the corrosions of sorrow and anguish. With the patriotism and energy of a Bohemian, I can confidently assert and incontestably prove, that in a commercial point of view, I have conferred superior benefits on Austria, since my residence in the United States. During my mercantile transactions I have lost nearly a Million of Florins, and have yet considerable claims in litigation, in the Imperial Dominions, which, most probably, I shall never recover; but the sacrifice of millions would be cheerfully made, for the happiness of again pressing to my paternal bosom my child, or again to restore her the irremediable loss of a mother. Your Majesty will vouchsafe to pardon this brief sketch of sufferings, wrested from a convulsed heart; and will sympathise with an orphan child, if not with an unfortunate father. You are the august Mother of the land— the legitimate protectress of orphans, and the widow's stay. Various reasons demand from me an explanation to the community, especially to that of my native country. I make therefore this public appeal to your Majesty, and present my helpless Infant to your throne of grace and benevolence, with the anxious hope that you will extend towards her your countenance 73.

The Damning of Mutie in Kentucky,

p. [218],

K E N T U C K Y :

1 8 1 8 - 1 8 2 8

59

and patronage. Fortuitously, you may foster one, whose life may be spared to prove her gratitude to her Sovereign and a blessing to Bohemia. The Spirit of her sainted mother will watch your slumbers, and Heaven will reward the benevolence which relieves from a weight of misery, a Parent, who fervently, from the western hemisphere, offers up his orisons to the King of kings for the welfare of your Imperial family, and who, with a throbbing heart, subscribes himself an afflicted Father, And your Majesty's most humble, Devoted and obedient Servant, ANTHONY PHILIP

HEINRICH.

Farmington, near Louisville, Kentucky. August, 1820. * This hapless Infant was committed to the care of a relative—an indigent but philanthropic man—Joseph Hladeck, residing on the domains of Prince Lichtenstein, at Grund, near Rumburg.—Anno Domini, one thousand, eight hundred, and fourteen. Aside from its sentimental interest this letter is illuminating in t h a t for the first time we learn something definite as to Heinrich's earlier fortune. A million florins, amounting in those times to something like five hundred thousand dollars, seems to many of us, even today, a considerable fortune. In those days and in Bohemia it would have placed him in the ranks of the independently wealthy. Poor Heinrich! More than ever we appreciate his good sportsmanship in bearing all his losses so uncomplainingly.

A

VISIT

TO

PHILADELPHIA

Suddenly and without any f u r t h e r preliminaries we find Heinrich early in the following spring a t Philadelphia. Here on F e b r u a r y 10, 1821, a t the Walnut Street Theatre, occurred the first performance of his melodrama, Child of the Mountain, or The Deserted Mother. T h e second performance took place March 7. T h e libretto was written by Dr. H . McMurtrie, and the presumption is t h a t Heinrich journeyed to Philadelphia for the purpose of producing this work. The f a c t t h a t Mr. Blissett of the Chestnut Street T h e a t r e , Philadelphia, had been playing in Mr. Drake's company in Louisville, F r a n k f o r t , and Lexington, and thus knew Heinrich, probably accounts for the particip* tion of t h a t excellent company.

60

KENTUCKY:

1818-1823

The Chestnut Street Theatre had been destroyed by fire April 2, 1820. Its company at once secured a lease of the Walnut Street Theatre, and opened there on November 11 of the same year. This fact undoubtedly accounts for all the well-known names on our program 74 —they formed the Chestnut Street Theatre personnel, the finest in Philadelphia. Surely Hcinrich was fortunate in the interpreters of his work.

Walnut &imt For the Benefit of the Author. Wednesday Evening, March 7, 1821, Will be performed (2d time here) a new Melo-Drama, in 3 acts, called the

Child of the Mountain, Or, the Deserted Mother. Written by H . M'Murtrie, M.D. With E N T I R E N E W MUSIC, composed expressly for the piece by A. P. Heinrich, Esq. professor of Music. T H E NEW SCENERY

Designed and executed by Messrs. H. Warren, T. Reinagle, Anners, J. Jefferson and I. Darley. Albert, Count of Tockenburg, - - - - - Mr. WILLIAMS. Rhodolpho, his Kinsman, - - - - - Mr. WOOD. Charles, Son of Albert, - - - - - - Miss H. HATHWELL. Walter, his Tutor, - - - - - - - Mr. DARLEY. Leopold, Count of Insby,\ fMr. BAKER. f A], Lodovic, Count of Balau, J ' iMr. J. JEFFERSON. Furbino, Captain of Robbers, - - - - - Mr. C. DURANG. Arnold, Vassal of Albert, - - - - - Mr. WHEATLY. Pedro, Servant to Rhodolpho, - - - - - Mr. JEFFERSON. Zozo, a Negro Boy, - - - - - - - Miss M. HATHWELL. Karlo, Captain of the Guards, - - - - - Mr. SCRIVENER. Iachimo, - - - - - - - - - - Mr. MURRAY. Andrew, - - - - - - - - - - Mr. HATHWELL. Robbers, Peasants, Guards, &c. Celinia, the Deserted Mother, - - - Gertrude, - - - - - - - - - 74.

Scrapbook, p. 1196.

Mrs. Mrs.

WILLIAMS. FRANCIS.

KENTUCKY: SCENE

1818-1823

61

FIRST,

The Place de'armes of the Castle. . . . On each side Trophies, Escutcheons, &c. of the House of Tockenburg — u p o n the right a Throne, richly ornamented—at the bottom of the stage a parapet wall, beyond are seen high Rocks, down which a Torrent rushes—a Bridge ornamented with Garlands—in the distance the Mountains covered with Snow—on the left a Pavilion. In the course of this scene, A PROCESSION' O F A L B E R T ,

And Attendants, accompanied by the Counts of Insby and B a l a u — with Guards, Banners, - A. P. ranged for the Piano-Forte by - - -J The Mellow Horn; Mrs. P A P A N T I , with")

Heinrich.

{

Horn Obligato Accompaniments, by >Mr.

{

PAPANTI.

-

- -

- -

- -

I.

Jones.

-J

Clarionet; J . KENDALL;—Medley, with") full Orchestral Accompaniments, by T. iC O M E R , compiled by - - - - -J

J.

Kendall.

DUETT: M r s . PAPANTI a n d M r . COMER; ( b y

reTickets at 50 cents each, may be obtained at all the music stores.

quest) Master and Scholar. - - - - Full Orchestra. - - - - -

GRAND F I N A L E :

Fiarovanti. Rossini.

120

BOSTON:

1831-1833

of his own benefit. Heinrich does not seem to have taken any active p a r t in this concert himself, but he doubtless was present. In one way this program is perhaps the most notable document in our entire collection. I t is a veritable museum piece in that it must be in the nature of the case one of the very few programs in existence featuring Charlotte Cushman—not as the great American tragedienne, but as a singer! Miss Cushman was at this time not yet sixteen years old and this may easily have been her début on the concert stage. 6 At any rate, Heinrich was again fortunate in his interpreter ; for he was being served not only by the great actress of the future but also by a most attractive singer. All reports agree that in lier youth Miss Cushman had a magnificent singing voice—a fine cont r a l t o — s o fine indeed that Mrs. Joseph Wood, when she visited America with her husband in 1834, advised Miss Cushman to take up singing professionally on the opera stage. This she did, making her operatic début in 1835 in the Tremont Theatre, Boston, as the Countess in Mozart's Marriage of Figaro. In trying to force her voice to a higher range, however, she injured it and was forced to take up speaking parts. She then gave herself up to the career of an actress and made her stage début as Lady Macbeth at the Bowery Theatre, New Y o r k . T h e first song of Heinrich's which Miss Cushman sang on this program of December 10, 1 8 3 1 , is shrouded in anonymity, but her second was our familiar " Y a g e r ' s Adieu." A paragraph in regard to Miss Cushman's singing at this concert throws interesting light upon the general style of her work at this time: We were particularly pleased with the song next in succession, by Miss Cushman, which she sang in a peculiar manner. She possesses a voice of uncommon magnitude, which, if properly cultivated, will render her at no late period, a valuable acquisition to the musical community. We would drop her a friendly caution. Flourishes and cadences unless executed with very nice discrimination are to be avoided, as one blemish of this description mars the whole effect of a piece, however otherwise well performed.7 In this same concert we find Tom Comer himself singing Heinrich's " D e a n Swift's Receipt to R o a s t M u t t o n , " and our friend of the earlier Boston days, Mrs. Ostinelli, çlaying the "Witches' Dance," ar6. But Ireland ( R e c o r d > of the Neu> York in public March 25, 1830. 7. Scrapbook, p. 966.

Stage,

I I , 160) says she first sang

BOSTON:

1831-1838

121

ranged by Heinrich. These compositions, therefore, were all in good hands. In February of this year our only definite item is the following letter to Mr. John Sinclair, who was appearing in the United States in 1832 with Miss Hughes (also of London) in Rossini's Cinderella (an adaptation of the opera La Cenerentola),8 which had an immense vogue in England and America. Apparently it was to the "treasures" acquired during this operatic tour that Heinrich refers in the letter. 9 MR. JOHN SINCLAIR. Sir!—-When you feast in England upon the American treasures, forget not gratitude, and treat American visitors, and especially an American Musician, like myself, with more truth, more justice, more respect, nay, even with more humanity than you treated me, when I was in London, as you not only robbed me there wantonly of many hours valuable study, but even caused me expenses, which then I could illy spare, and which you so barbarously requited with that supercilious indifference, if not hauteur, which seems to constitute one of the cardinal virtues of the green-room gentry in the British capital, who look upon the members of the orchestra as menials, however talented and essentially necessary they may be for the execution of great master-works. Please to take home with you, no more a brave follower of Mars, but now a British aspirant to the temple of Castalia, the following general finale of an honest man: Shut not the door against those who were not reared in the saloons of splendor and fashionable imitation, but who nevertheless claim a distant associateship with the celestial Erato. The Aonian mount is sun-shine, without arrogance and pomposity—on its summit should be enthroned— Brotherly Love. A. P. H E I N R I C H . Boylston Hall, 27th Feb. 1832. This letter appears to add to the already sufficient evidence that Heinrich's toes had been rather roughly trodden on many times in London. With all his lovableness Heinrich seems to have had a very short temper, although from appearances there was frequently ample justification for it. The following card appears under date of February 2 0 : 1 0 8. from York 9. 10.

Cinderella was made up of excerpts not only from Cenerentola, but also Armida, Maometto Secondo and Ouillaume Tell—all by Rossini. See New Mirror, V I I I (January 22, 1831), 227. Scrapbook, p. 1014. Scrapbook, p. 1012.

122

BOSTON:

183 1 - 1 8 3 3

A. P. H E I N R I C H most respectfully gives notice to his friends and the public g e n e r a l l y , that his Concert will positively take place in the course of a few weeks. Preparations of considerable magnitude are in train, to give his fellow citizens an entertainment worthy of their patronage. He has composed for this occasion a g r a n d orchestral piece, entitled "The Washington Centennial Symphony," in three distinct parts, which it is hoped will meet the approbation of this enlightened metropolis. He cannot but flatter himself with the expectation that all his brother Professors will extend to him that liberal aid (so necessary to its perfect execution) which they have heretofore so kindly bestowed. As soon as the above Symphony comes from the transcriber (which will probably be in a few d a y s ) he will announce the first rehearsal. On M a r c h 1 7 Heinrich gave his own delayed concert:

11

GRAND SECULAR CONCERT A. P. H E I N R I C H most respectfully gives notice to his friends and the public g e n e r a l l y , that his Concert will take place T H I S EVENING, at Bolyston H a l l . H e flatters himself that the entertainment will be worthy the patronage of a liberal and enlightened community. The Professors gene r a l l y have manifested a cordial reciprocation to his feelings and interests, and he devoutly hopes, some d a y or other, to return the compliment four fold. The following Programme is submitted: Leader of the Orchestra—Mr. Comer. To preside at the P i a n o — M r . Heinrich. Solo Performers—Mrs. Ostinelli, Messrs. J . and E. Kendall, Hansen, Downe, Coupa, Webb—and last, not least, the musical prodigy, Miss Graupner, only eight years of age. Miss Alexander has also politely offered to assist, and will sing some Songs. Mr. Heinrich will also be under obligations to Mr. Millon, the highly talented leader of the orchestra in Cinderella, who has kindly tendered his valuable services on this occasion. P A R T 1. 1. Grand Overture—"Fra diavolo." Full Orchestra. Auber. 2. Duett—"Yes, he is f r e e , " Miss Alexander and Mr. Webb, accompanied by Mr. Webb on the Piano Forte. Rossini. 3. Solo—Piano Forte—"II Divertimento di Londra," or the Grand Arg y l l March and Harmonic W a l t z , dedicated to Thomas Welsh, Esq. of the A r g y l l Rooms, and Royal Harmonic Institution, London, Mrs. Ostinelli. A. P. Heinrich. 4. Comic Glee—"The Schoolmaster," in the German Language. Messrs. Knaeble, Rosale, and Kyburz. 6. Solo—Flute. Mr. Downe. Buckstone. 11.

Scrapbook, p. 1057.

BOSTON:

1831-1833

123

6. Divertimento—Guitar. Mr. Coupa. 7. Song—"Be silent now, ye merry strains," with full orchestral accompaniments. Miss Alexander Heinrich. 8. Piano Forte—"Waltz of the Boston Graces"—composed and performed by the Log-house Composer. PART II. 1. Overture: Der Freischutz. Webb. 2. Piano Forte—Variations. Miss Graupner. Ignaz Katzer. 3. Song: "Savourneen Deelish." By an Old Friend. 4. Quintetto—for two Violins, two Tenors, and Violincello. Messrs. Hansen, Warren, Geitner, Wivild, and Heinrich. Krommer. 5. Song: " T h e Soldier T i r e d , " Miss Alexander, accompanied on the Piano Forte by Mr. Webb. D r . Arne. 6. Polacca, for the Viola, with full Orchestral accompaniments, composed and performed by E . R. Hansen. 7. Song: " D e a n Swift's Receipt to Roast Mutton," (vide D r . Kitchener's Cook's Oracle,) dedicated to all the Cook's in the country, but most particularly and respectfully to Thomas Cooke, Esq. the celebrated Composer. Mr. Comer, with full Orchestra. A. P. Heinrich. 8. Solo: Copenhagen Waltz, with Variations, composed and performed by J . Kendall. 9. Finale. N. B. The Concert will commence precisely at half-past 7 o'clock, and no postponement on account of the weather. Tickets, single, $1; double tickets, to admit a lady and gentleman, $1.50; triple tickets, to admit two ladies and one gentleman, or contrawise, $2. To be had of Richardson & Lord, I. W. Goodrich, S. H . Parker, J o h n Ashton, Hewitt & Co. John H . P r a y , B e n j . Pray, John H . Belcher, and in the lobby of Boylston Hall, this evening. mar 17 I t is most d i s a p p o i n t i n g t h a t this p r o g r a m fails to show t h e " g r a n d o r c h e s t r a l piece," The Washington Centennial Symphony, t h a t Heinrich's original p r o s p e c t u s p r o m i s e d . P r o b a b l y it p r o v e d t o o difficult to give w i t h o u t m o r e a d e q u a t e p r e p a r a t i o n . A t a n y r a t e , t h e c o n c e r t seems t o have been given w i t h o u t it. W e find on the p r o g r a m t h e songs r e c e n t l y published in L o n d o n : " B e Silent N o w , " 12 s u n g b y Miss A l e x a n d e r , a n d a g a i n " D e a n S w i f t ' s Receipt t o R o a s t M u t t o n , " 1 3 s u n g by Comer as a t t h e previous concert. T h e r e was also " I I D i v e r t i m e n t o di L o n d r a " 14 f o r p i a n o 12. 13. 14.

Scrapbook, p. 911. Scrapbook, p. 967. Scrapbook, p. 1149.

124

BOSTON:

1831-1833

played by Mrs. Ostinelli, and "Waltz of the Boston Graces," 15 composed and played by Heinrich himself. Although Heinrich played in the orchestras of Drury Lane and Vauxhall Gardens in London, we realize that his farewell to his beloved violin as a solo instrument, in 1826, was sincere. As he said, the concert performer had in very fact ceased to exist. We find him now and then playing the piano, however, in various forms of dance music where the left hand part is less exacting than the right. The Mr. Webb appearing on this program was undoubtedly- George James Webb, who had but recently come to Boston and was destined to play an important part in the musical life of that city. Like Tom Comer, he was connected in a responsible way with various local musical organizations. Tom Comer had made himself exceedingly popular; not alone for his musical ability, but for his delightful personality, his friendliness, and his Irish wit. "Honest Tom Comer" was everybody's friend. 18 On April 16, 1832, a "new divertimento" for orchestra, by Heinrich was performed at the close of a performance of Rossini's Cinderella as a sort of overture to the farce. The performance was given as a benefit to Mr. Sinclair: he appeared as the Prince and Miss Hughes as Cinderella. Mr. Sinclair had been in earlier years one of the most popular singers in London—"A Scottish Minstrel," the "King of Song." Of late his popularity had somewhat waned. Miss Hughes, on the other hand, became a very great favorite with the musical public in America, the role of Cinderella being her most admired one. We note from the program that this was the twenty-sixth performance of CtndereUa in Boston. 17 I t was a tremendously popular work at this time. The engagements for the season [ 1 8 3 2 ] , attached some importance to the history of the Tremont Theatre, in consequence of the introduction of Operas in a style of excellence hitherto unattempted. These musical entertainments, considering the combined strength of talent with which they were brought forward, form an era in the annals of our stage. The leading 15. Scrapbook, p. 1177, where it is called, "Waltz of the New York Graces." There seeras to be some politic shifting here! 16. Ryan, Recollection*, p. 52; Elson, llittory of American Mu»ic, p. 56. 17. It had a run of some fifty nights in New York (New York Mirror, September 25, 1831, p. 95).

BOSTON:

1831-1833

125

vocalists were Mr. Sinclair, Mr. Horn, Mrs. Austin, and Miss Hughes, whose merits individually are well known and appreciated. Added to these, were a full and efficient Orchestra, under the direction of Mr. Ostinelli. The vocal department was superintended by Mr. Comer, and the stage arrangements, were under the direction of Mr. Barrymore. 18 I t was a t this T r e m o n t T h e a t r e , built in 1 8 2 7 and patronized by Boston's élite, t h a t Cinderella

was given.

On M a y 5 , 1 8 3 2 Heinrich took p a r t in what was undoubtedly a benefit concert given by M r . J . G e a r , the Boston double-bass p l a y e r . 1 9 Once more Heinrich appears in the c a p a c i t y of pianist in his own " B a c h e l o r ' s Quick S t e p and Wedding W a l t z , "

20

and as a song com-

poser, his " S o n g of J a c o b to R a c h e l " ( t o words by W . B . T a p p a n )

21

being sung by a M r . W h i t e . Again we find M r . Comer as leader of the orchestra, and again Mrs. Ostinelli is a t the piano. W e note once more the exceeding popularity of Cinderella,

as shown in the

f a c t that two numbers on the program ( p . 1 2 6 ) are taken from its score. F r o m the Kendall and Comer concert soon a f t e r Heinrich's arrival in Boston (which caused so much comment) until J . Gear's concert in M a y , Heinrich has been very busy giving and assisting a t various concerts. T h i s activity may have continued indefinitely ; but Heinrich apparently preserved no further memoranda. T h e year 1 8 3 2 seems to have been for Heinrich a very busy y e a r for getting various and sundry of his compositions published. I t was apparently during this y e a r ( 1 8 3 2 ) t h a t C. Bradley of Boston published for him the following songs: " I Love T h e e " ( T h o m a s H o o d ) , 2 2 " T h e Voice of F a i t h f u l L o v e " (William G a s p e y ) , 2 3 " W e

Wander

in a T h o r n y M a z e " ( W . B . T a p p a n ) , 2 4 " H a i l Beauteous S p r i n g " ( W . B . T a p p a n ) , 2 5 dedicated to J o n a s Chickering, " N a y , (ballad by unknown N. G. )

20

and probably also " T h e L o g H o u s e "

(see page 1 7 2 ) . " W e W a n d e r in a T h o r n y M a z e " 18. 19. 20. 21. 22. 23. 24. 25. 26. 27.

Lady"

Bowen, Picture of Bonton, p. 209. Scrapbook, p. 1197. For Wedding Waltz, see Scrapbook, p. 814. Manuscript, undated, in Heinrich's Mtuical Scrapbook, p. 1070. Scrapbook, p. 1075«. Scrapbook, p. 1083. Scrapbook, p. 1079. Scrapbook, p. 1074. Scrapbook, p. 16.

Memorandumt.

27

(with organ

CONCERT

OF VOCAL AND I N S T R U M E N T A L

MUSIC.

Mr. J . G E A R most respectfully informs his friends and the publicj that his Concert will take place on Saturday Evening, May 5, 1832, AT T H E

MASONIC

TEMPLE.

L E A D E B OF T H E ORCHESTRA, Mr. PIANO-FORTE,

Vocal

Mr».

T.

Comer.

OstineUL

Performers,

Messrs. Comer, White, Pierce, and the German gentlemen, &c. Solo Performers, Messrs. Ostinelli, Hansen, Downe, Pierce, Gear, E . Kendall Coupa and Papanti. Violins, Messrs. Comer, Hansen, Heinrich, Warren, A. White, L. White, E v e r t , &c. &c. Tenors, Messrs. Bennett and Mallet Double Basses and Violincellos, Messrs. Gear, Wivild, and a gentleman amateur Flute, Mr. Downe Clarionetts, Messrs. Kendall, Myers, Mann, and Fillebrown Bassoon, Mr. Pierce Serpent, Mr. T . A. Armor Trombones, Messrs. Sibley and Delano French Horns, Messrs. Papanti, Reed and Knaeble Kettle Drums, M r . Mann Cymbals, Mr. Raymond. PART GRAND OVERTURE.

J.

. . . L a Dame Blanche,

SONQ. . . . M r . C o m e r ,

. . . . Flute, Mr. Downe, Nicholson. Favorite G L E E . . . . Messrs. Comer, Pierce, and White, . . . . S O L O . . . .Violin, (Double B a s s Accompaniment) Messrs. Hansen & Gear, Corelli. French AIR. . . .with Variations, Piano-Forte, Mrs Ostinelli, R. Andrews. F A N T A S I A . . . .for the Contrabasso, (never performed) dedicated to the Ladies of Boston, from a National Air, sung at the Centennial Celebration of the B i r t h - D a y of George Washington, February 22, 1832. Adapted, composed, and arranged with Variations and Embellishments, (expressly obligato) for the Contrabasso & full Orchestra, by M r . Gear T H E B A C H E L O R ' S Q U I C K S T E P and W E D D I N G W A L T Z , composed for the Piano-Forte, and performed by A. P. Heinrich. POT-POURIE

PART

II.

Barber of Seville O V E R T U R E , Rottini. S O N G of Jacob to Rachel . . . Mr. White, with Piano-Forte Accompaniments, composed expressly for this Concert by A. P. Heinrich. S O N G

OF

J A C O B

TO I A C U E L .

1. O, Who is she! ye swains declare, What Shepherdess that wanders nigh; Is she of earth, or formless air, The maid that meets the ravished eye?

3.

With sandals girt, to Haran's well, At noon the fainting Hebrew came; Her charms he heard the Shepherds tell, They sung of love, and Syria's Dame.

2.

4.

The maid that smiles so sweetly fair, Shall bless the weary pilgrim's toil; Like Sharon's rose, her beauties are, The flower of blooming Padan's soil.

Her locks are gemmed with Hermon's dew, Like Night's star-ray, her smiles are seen; Her eye's of morn's cerulean hue, Speak all the spotless soul within.

T R I O for Violin, Guitar, and French Horn—Messrs. Hansen, Papanti, and Coupa, composed by . . Signor Luige The celebrated T R I O from Cinderella, arranged for six wind Instruments and Violincello,—one of the most celebrated compositions of T Y R O L I E N A I R . . . .Variations, for Piano-Forte, Mrs. Ostinelli, — f r o m the Opera of Cinderella S O N G . . . .Mellow H o r n : Mr. White,—accompanied on French Horn by Mr. Papanti S C H O O L M A S T E R and S C H O L A R S . . . .by the German gentlemen, by particular desire

GRAND

Mosllr.

Rottini.

Jonet.

FINALE

I S ^ Those Ladies and Gentlemen who intend to honor the Concert with their presence will please to have the goodness to provide themselves with Tickets, to prevent the unpleasantness of taking money at the door. Tickets (single, $1; double, $1.50; triple $2) may be obtained at all the Music Stores in the City, and at the Masonic Temple on the evening of the Concert. J S ^ Performance to commence at quarter before eight, precisely.

128

BOSTON:

1831-1833

accompaniment) was composed on leaving England and inscribed to Mr. Griffith, organist, Kenington Church, London. Mr. Chickering, 28 to whom Heinrich had dedicated the song, "Hail Beauteous Spring," was at this time about thirty-five years old and in the midst of those experiments in piano making which had so much to do with the development of this instrument in America. He was a simple man, democratic in his tastes, a man of large and kindly influence, and a warm friend of Heinrich's his whole life long. There also appeared, in 1832, the first edition of Nathaniel Duren Gould's National Church Harmony, containing four hymn tunes by Heinrich. Gould 29 was a well-known leader of singing schools in various parts of New England, and had come in 1819 to Boston, where he published various collections of hymn tunes and a History of Church Music in America. The four tunes by Heinrich were "Harmonia," "Antonia," "On Judah's Plain" (all comparatively simple), and "Death of a Christian," an elaborate anthem-like composition. This last named was later arranged by Heinrich as a vocal quintet with accompaniment for organ and orchestra. 30 Among the instrumental compositions published at this time were "II Divertimento di Londra" and "Paganini's Incantation," both of which we have noted as played by Mrs. Ostinelli during the y e a r ; " L a Promenade du Diable 3 1 . . . dedicata al suo amico Felice Mendelssohn-Bartholdy a Berlino;" "The Rubezahl Dance," 32 also dedicated to Mendelssohn; "The Witches' Waltz 33 . . . a la Paganini," dedicated to Miss C. Barton, daughter of J . H. Barton, Esquire, leader of the orchestra, Theatre Royal, Drury Lane; and, finally, "The First Labour of Hercules . . . dedicata al Signeur Lizt (sic) a Parigi." 34 This last was published for the author by S. Wetherbee (Boston). 28. For interesting sketches of Jonas Chickering see Ryan, 108-11; Elson, Hittory of American Munic, pp. 44-46. 29. Ritter, Aftitie in America, pp. 181-82. 30. See under title in List of Compositions. 31. Scrapbook, p. 1111. 32. Scrapbook, p. 1133. 33. Scrapbook, p. 1183. 34. Scrapbook, p. 1098.

Recollection«, pp.

VII

Y E A R S OF GROWTH IN LONDON 1833-1835

J

U S T how it h a p p e n e d t h a t H e i n r i c h failed t o g e t f r o m L o n don t o t h e Continent on his visit of 1826—31, we c a n n o t of course k n o w — p r o b a b l y , as a l r e a d y s u g g e s t e d , his financial resources did n o t p e r m i t so much travel. In a n y case we know it was t h r o u g h no l a c k of longing t o see his l o n g - a b a n d o n e d d a u g h t e r . F o r he h a d been in America b u t little over a y e a r , when, the same a n x i e t y r e t u r n i n g , we a g a i n find him in L o n d o n , once more en r o u t e t o Bohemia. A n d y e t y e a r s m u s t still p a s s b e f o r e he accomplishes his p u r p o s e of r e a c h i n g his n a t i v e land. On A p r i l 10, 1833, H e i n r i c h is in L o n d o n , w r i t i n g an a n x i o u s letter to R i c h a r d H u g h e s , second leader of the T h e a t r e R o y a l , D r u r y L a n e — t h e f a t h e r of t h a t Miss H u g h e s whom we l e f t p l a y i n g Cinderella so successfully in the B o s t o n of 1832. Quite evidently H e i n rich is b a c k in t h e o r c h e s t r a a t D r u r y L a n e ; q u i t e as evidently, all is n o t well with t h e o r c h e s t r a . W e quote a p a r t of t h e l e t t e r , f o r , as we have a l r e a d y said, it is t h r o u g h Heinrich's l e t t e r s t h a t we come t o know his m a n y idiosyncrasies, his foibles, a n d his inviolable h o n esty and i n t e g r i t y . 1 London 10 April 1833 Richard Hughes, Esq. 2d leader of Theatre Royal Drurylane Dear Sir: . . . I am ready to fulfill every particle of the weekly engagement but if I am not mistaken, the Manager of the Drurylane Theatre has already broken his own reciprocal obligation, by the defalcation of nightly performances and payments. I understood last Saturday that Mr. Cooke had undertaken to deliver any message from the Orchestra to the Manager being aware of the just claims of all the members under his direction, but if he cannot procure a more congenial reply from Captain Polhill than 1.

Scrapbook, p. 241.

130

LONDON':

1 8 3 3 - 1 835

'that the Orchestra shall go to the Devil, be damned etc.,' then I must beg, to be struck off the list of those Devotees to Hell, for if Englishmen can stand Belzebub's fire and damnation, I cannot, as a Bohemian, and hope to go to a much better place with my Music and principles. If the renowned and rich Exmember of Parliament means to be also a real Man of business and honor, he must strictly fulfill his engagements towards everybody devoted to his enterprise, from the spanish warbling Señora Garcia Malibran, to the sooty british Lamplighter of the Theatre, whether his Royal boxes are filled with fashion or not . . . If you, in the name of Captain Polhill, (with my respectful compliments to Mr. Cooke) have any better message to furnish than sending me to the Realms of the Devil then will I cheerfully come again to the harmonious regions of the Orchestra, if not, it remains only for me, to bid you all an affectionate farewell for the Finalissimus, subscribing myself with great respect my Dear S i r ! Your humble obedt Sert A. P. Heinrich. And undoubtedly there was cause for irritability on the p a r t of both orchestra and management. Opera was then as now distinctly a gamble. Fortunes might be made or they might even more easily be lost, and this was being learned by the present managers of Drury Lane, Captain Polhill and Mr. Bunn. M r . Bunn had followed, as manager of D r u r y Lane, our friend Stephen Price—that Stephen Price who had roused Heinrich's ire on the good ship Manchester when they both came to London in 1826—and had now ( 1 8 3 3 ) associated with himself a wealthy patron, one Captain Polhill. Together they had also leased Covent Garden, so t h a t both theatres were now under the same control. I t was a l a r g e proposition to handle, and it is said that when Polhill withdrew a f t e r three y e a r s he had lost a cool £100,000. 2 Heinrich seems a l w a y s to have felt a very real affection for Thomas Cooke, and also for Richard Hughes, to whom he addressed this letter, but for the Alfred Bunns and Captain Polhills, to say nothing of Stephen Price, he had scant regard. Undoubtedly it was true t h a t the management had paid enormous sums to Señora Garcia-Malibran, for she had come to London fresh from her sensational triumphs in P a r i s and throughout I t a l y , where she had received fees of unheard-of e x t r a v a g a n c e for that time. But apparently she was worth all that'she cost. The y e a r s 1834 and 1835 still find Heinrich in London, busily 2. Stirling, Old Drury

Lane, I, 242.

LONDON: 1833-1835

131

teaching and composing, established more permanently than we have ever known him to be heretofore, a t Bateman's Buildings, Soho Square. These years are among the busiest of his entire career, for it is now that he gives himself up for the first time and wholeheartedly to his favorite form of creative work—composing for the orchestra, and a large and full one at that—ranging from thirty-seven to fortytwo actual parts. His orchestral scheme has become that of a Berlioz or Richard Strauss, rather than that of the Haydn or Martini whose symphonies and overtures we saw him directing in America. Something in London must have enormously broadened his orchestral horizon. Could it have been Old Drury? More likely it was the concerts of the London Philharmonic Society, which he must often have attended. On May 26, 1834, we see him completing what he calls "a grand oratorical divertissement entitled The Tower of Babel or The Lan3 The manuscript comprises 55 pages, folio, guages Confounded." and is one of those strangely conceived mammoth scores in which his heart took such delight. By August of the same year he had completed a still longer work, Complaint of Logan the Mingo Chief, the Last of his Race, which he calls a "Fantasia Agitato Dolorosa for a full orchestra," and which comprises 155 pages, folio. By August 15 he had completed the score of Schiller, "Grande Sinfonia Dramatica," the whole composed and arranged for thirty-five instruments ; score, 150 pages. In October, 1834, came The Treaty of William Venn with the Indians "dedicated to the Musical Fund Society of Philadelphia," 49 pages. November brought rich harvest. First was a Concerto for the Kent Bugle or Klappenfliigel, "with obligato accompaniments for forty-two parts," 20 pages, folio. It is thought possible that this may be the Washington Centennial Overture for full orchestra which Heinrich prepared for his concert in Boston, 1832, the concert which was to have been given in February of the centennial year of Washington's birth, but had to be postponed until March and then given without the overture. Second was The Fair Daughters of the Western World, "Capriccio Leggiadro Scherzevole per Grande Orchestra," later renamed The Mocking Bird to the Nightingale, 27 pages, folio. 3. In regard to all the scores here mentioned, see under their respective titles in List of Compositions.

132 T h i r d c a m e The

LONDON:

Indian

War

1833-1835

Council,

" G r a n C o n c e r t o Bellico. A

g r a n d heroic divertissement f o r f o r t y - o n e i n s t r u m e n t a l p a r t s , " 57 p a g e s , folio. F o u r t h was 0 Santa

Maria,

"motetto

concertante,"

3 7 p a g e s , written in fourteen p a r t s — t h i s is, f o r fourteen different voices. T h e completion of eight such l a r g e works within so short a time m e a n s a p r o d i g i o u s a m o u n t of work. T h a t Heinrich was able to keep on with his p l a y i n g in the D r u r y L a n e o r c h e s t r a t h r o u g h o u t this b u s y p e r i o d seems d o u b t f u l . Y e t how, otherwise, could he have m a d e both ends meet? In s p i t e of all the b u f f e t i n g s of f o r t u n e , Heinrich was still looked o u t f o r by a kindly f a t e . T h e t h i n g s he most w a n t e d still continued to be h i s — m u s i c p a p e r on which to write and a p i a n o on which t o p l a y . I t is i n t e r e s t i n g t o s p e c u l a t e a s to the s o u r c e s of H e i n r i c h ' s p r o -

The Tower of Babel it was undoubtedly the descriptive possibilities inherent in the idea of the confusion of tongues t h a t lured h i m ; also, p e r h a p s , the b u i l d i n g u p of the tower, a s e x p r e s s e d in music. The Complaint of Logan the Mingo Chief is p l a i n l y a reminiscence of H e i n r i c h ' s j o u r n e y down the Ohio R i v e r , with memories of the K a n a w h a R i v e r a n d the B a t t l e of P o i n t P l e a s a n t . Heinrich showed his c o n s t a n t interest in the I n d i a n motif ( a t t h a t time so absolutely a n d entirely new in the world of m u s i c ) by t r e a t i n g also the s u b j e c t of The Treaty of William Penn with the Indian* a n d The Indian War Council. T h a t he was not w a n t i n g in chivalrous memory of his A m e r i c a n l a d y f r i e n d s is shown b y the title The Fair Daughters of the Western World; of his interest in the musical possibilities of the K e n t bugle we have a l r e a d y written. Schiller was undoubtedly ins p i r e d by the seventy-fifth a n n i v e r s a r y in 1 8 3 4 of the p o e t ' s birth in 1 7 5 9 . F o r the m o s t p a r t , the y e a r 1 8 3 5 seems to have been spent much like 1 8 3 4 , in t e a c h i n g , c o m p o s i n g , a n d p e r h a p s p l a y i n g in the orc h e s t r a a t D r u r y L a n e and Covent G a r d e n ( t h e s a m e o r c h e s t r a s e r v i n g both t h e a t r e s ) , except f o r the f a c t t h a t the number of works written was much smaller in this y e a r than in the y e a r before. One of the works p r e s u m a b l y written this y e a r , however, was of all his c o m p o s i t i o n s the n e a r e s t and d e a r e s t to his own h e a r t . I t was eng r a m s f o r all these tone poems, f o r such they really were. I n

LONDON:

1833-1886

titled The Ornithological Combat of Kings, or The Condor Andes and the Eagle of the Cordilleras and was described as

133 of

the

A grand symphony extracted and arranged for a full orchestra, with some deviations from a descriptive concerto grosso vocale of the same title and subject, comprising successively four characteristic movements united in one. First, The Conflict in the Air; second, the Repose; third, The Battle on Land; fourth, The Victory. T h i s score contains 1 2 5 pages, folio. T o be sure it was not now completed in exactly this f o r m — t h a t was to come later. B u t the entire work must have been planned a t this time, and the first movement finished. Under date of August 19, 1 8 3 5 , Heinrich received the following letter:

4

Aug. 19, 1835 My dear Heinrich I hope you will pardon my not having written or called upon you before. The reason of it is that I have been very unwell for several days. The following is the paragraph I mentioned to you: To Symphony Writers— golden opportunities are now beginning to open to artists of this class. The directors of the Concerts Spirituels of Vienna have offered to composers of all nations a premium of fifty guineas for the best symphony sent in to them before February, 1836. The jury are Messrs. Cobler, Weigl, Gansbacher, Girowitz, Conradin Kreutzer, Seyfried and Michael Umlauf. I f England do not sack the amount we shall be disappointed, abundant as the country is in symphonists since the erection of the Royal Academy. Let every man therefore begin to score his paper—write thereon in due order flauti, oboi, corni, etc. Then look for ideas and not for the fifty guineas, which will take him by surprise if they come. Yours most sincerely H. Hill. P. S. Doubtless you have heard of Mr. Griffiths' most unfortunate accident viz. that of his having broken his collar bone by falling down in his own garden last Friday. T h e enclosed clipping, from some London newspaper, read as follows: Important To Musical Composers.—The directors of the Concert Spirituel of Vienna have offered a premium of 50 pounds for the best new grand symphony for a full orchestra; and the invitation is not confined to native composers, as the advertisement says "Foreigners as well as natives are requested to send their scores, free of expense, to Mr. Tobias Haslinger, music-seller, of Vienna. The period of trial is fixed in Lent, 1836. Men 4. Scrapbook, p. 201.

134

LONDON:

1833-1835

of first-rate talent are to be the umpires; and the successful candidate will be paid on the 1st of M a y , 1836, when the score will also be returned, and the name of the composer who receives the reward of his exertions will be announced in the Vienna newspapers !" 5

Heinrich was intensely interested in entering this competition. J u s t what composition he submitted is unknown, but knowing his fondness for the above-mentioned Combat of Kings, it seems almost certain that this must have been the work sent. We can imagine with what joyous anticipations he went about this task, representing as he did in this world-wide competition the new world across the sea. How marvelous it would be if he could take back to America this much coveted prize! Like the tournament heroes of old, how gladly would he break a lance for his fair adopted country, and show to age-old Europe what her sons can do when transplanted to the fresher soil of the new world. Then, too, how wonderful to present to his newly found daughter this rare honor, and, perhaps (anticlimactic as it may seem) how welcome would be these £50 in this time of financial stress! Full of these high hopes he dispatched his manuscript and awaited the result. The judges in this momentous contest were all well-known orchestral writers of the time, most of them resident in Vienna. Gyrowetz we already know from programs in America, his compositions being exceedingly popular there as elsewhere. Cobler, Weigl, Gansbacher, Conradin Kreutzer, Seyfried, Michael Umlauf—these are to us mere empty names. Not one was a great man, as we measure greatness, but they were all well-known Viennese musicians, composers in the larger forms, entirely competent to judge for their time and entirely representative of its orchestral world. T o appear before such a tribunal could not fail to stir Heinrich's highest ambitions. At about this time, he completed a Gran Sinfonia eroica, designed for three movements: ( 1 ) " T h e Voice of W a r , " ( 2 ) " T h e Counsel," ( 3 ) " T h e Resolve." Composed for full orchestra, it contained 164 folio pages. On November 24, 1835, he also completed the score of the Jdger's Adieu,6 75 pages, for thirty-two instruments (corno di bassetto obli5. 6.

Scrapbook, p. 20S. See under title in List of Compositions.

LONDON:

1838-1885

185

g a t o ) . There is a pathetic note attached to this score: "Composed and arranged under severe bodily affliction; and at the time of finishing this work, I was under the painful necessity of becoming a patient in the London Hospital." No wonder then that so comparatively little had come from his hand during these months!

VIII

DISAPPOINTMENTS AND TRIUMPH ON THE CONTINENT 1835-1837 A S S O O N as he had sufficiently recovered from this illness, Hein/% 1

rich began the journey so long deferred—the journey to see

J ^ h i s daughter, whom he had not seen since she was an infant

of but a few months, or as he himself had somewhat extravagantly expressed it, "whom my eyes as yet never beheld."

1

She was now over

twenty years old, and had been living f o r several years at Gorkau, near Saaz, in northern Bohemia, with her relative, Joseph Hladek, who had a position as teacher in that town. H o w slowly must the hours have crept away as Heinrich journeyed on from London to that little Bohemian village which contained the one person in all the world who really belonged to him— his own flesh and blood—who now at last, after long years of lonely waiting, was to be his own once more. Forgotten were all the hardships of his life of over half a century: the loss of his fortune, the death of his wife, the hardships of the intervening years, the loneliness of the Kentucky forest, the struggle f o r an existence in town and city, the constantly recurring illnesses, the trials and poverty and that other loneliness in the vast depths of London—all these were now as nothing, with Toni close at hand. N o t all had been hardship; there had been much that cheered him through the years; there had been many close and deep friendships. H e recalled the happy days at Farmington; the free and easy life of the Kentucky towns—Lexington, Frankfort, and Louisville; his professional successes in Philadelphia and Boston; his years in London, rich in creative effort, with recognition coming to him more and more as time went b y ; and now the possibility of greater honors than had ever been his if only he should win in this new and important contest at Vienna. 1.

See Heimich's note, p. 146, this work.

THE

CONTINENT:

1835-1887

137

F i n a l l y t h e j o u r n e y n e a r e d its end. Very s h o r t l y now he would see his T o n i . B u t T o n i was g o n e ! W e a r i e d f r o m w a i t i n g to have h e r f a t h e r come t o her, she h a d suddenly m a d e u p her mind t o g o t o h i m — a n d she h a d gone. 2 T h e ocean was once more an inexorable b a r r i e r between them. Led by a perverse f o r t u n e , she was now f a r a w a y when he a t last h a d come to h e r . H o w inextricably t a n g l e d were the s t r a n d s of f a t e ! A f t e r r e m a i n i n g with the H l a d e k s only long enough t o learn the f a c t s a b o u t T o n i ' s leaving f o r A m e r i c a — h o w she h a d looked in vain f o r word f r o m him, h a d begun t o w o r r y a b o u t him, h a d d e s p a i r e d of ever seeing him t h e r e , a n d a t l a s t in sheer d e s p e r a t i o n h a d sailed f o r A m e r i c a h o p i n g to find him in B o s t o n — a f t e r l e a r n i n g all t h a t he could, he resumed his j o u r n e y , much broken by his overwhelming disappointment. T h a t T o n i knew n o t h i n g of his y e a r s in L o n d o n , t h a t she so u t t e r l y failed to realize t h e f a c t t h a t he was much n e a r e r t o her all this time t h a n he h a d been a t Boston, we a r e quite u n a b l e to u n d e r s t a n d . T h e r e h a d a l w a y s been g r e a t difficulty, a p p a r e n t l y , in e s t a b lishing or m a i n t a i n i n g a n y kind of a correspondence between them. A w a y back in the old P h i l a d e l p h i a d a y s , when H e i n r i c h was first p l a n n i n g t o g o into the western c o u n t r y , he wrote to his f r i e n d Mussik in B o h e m i a : Perhaps you may know how things are going with my daughter, Antonia; as for myself, I have not been able to hear for a long time, although I have written dozens of letters to Cousin Hladek and others. I have asked several of my friends to go and see my child; I have asked travellers to find out about her. Perhaps they lacked a father's anxiety—at any rate nothing has come of it. Could not Cousin Hladek and his wife have done better than this ? I am enclosing a letter to H e r r Hladek and beg of you to deliver it to him. I should be happy to have Toni here with me. If it is possible, dear friend, please bring it about that I may clasp her in my arms, if she still lives. 3 U p o n leaving J o s e p h H l a d e k ' s home a t G o r k a u , H e i n r i c h went t o the n e i g h b o r i n g city of S a a z , 4 where he h a d m a n y f r i e n d s , a n d t r i e d to f o r g e t his d i s a p p o i n t m e n t in picking u p the old relationships of some 2. 3. 1.

Mussik, p. 13. Mussik, p. 11. See Appendix I, note 3. Mussik, p. 13.

138

THE

CONTINENT:

1835-1837

t w e n t y y e a r s back. H e was warmly received by all his f o r m e r friends, who tried t h e i r best t o revive his downcast spirits. L a t e r he spoke most a p p r e c i a t i v e l y of them all, 5 of their kindness a n d hospitality. F r a n z Lechleitner and his good wife wept as they b a d e him farewell and generously offered to give him money f o r his j o u r n e y . H e refused this offer, b u t accepted a letter of recommendation to their business a g e n t in Vienna. 6 All in all, his little visit among his old friends did him a world of good, a n d helped him to face the f u t u r e with somewhat more of c o u r a g e a n d cheerfulness. A l t h o u g h his first t h o u g h t was t h a t he must follow his d a u g h t e r immediately, his f r i e n d s finally persuaded him t h a t it would be wiser t o wait. H e should l e a r n the decision of the a u g u s t t r i b u n a l in Vienna. While waiting, why n o t t r y to get some of his compositions p e r f o r m e d in his native l a n d ? T h e idea s t r u c k home a t once and did m o r e t h a n a n y t h i n g else to reconcile him to the t h o u g h t of the delay necessary before he should follow Toni. I t would help, indeed, if he could have t h e s a t i s f a c t i o n of showing his Bohemian friends somet h i n g of w h a t he h a d done since leaving his boyhood home a t Schonlinde. W i t h t h a t t h o u g h t to c o m f o r t him, he s t a r t e d o u t f o r P r a g u e , t o see if t h e r e m i g h t be o p p o r t u n i t y there t o p r o d u c e some of his l a r g e r works. T h i s city h a d long been famous f o r its orchestral p e r f o r m a n c e s . I n H e i n r i c h ' s boyhood, as a m a t t e r of f a c t , the orchest r a s of P r a g u e were said t o "equal those of P a r i s in brilliancy of execution, t o s u r p a s s them in a c c u r a c y and exactness of h a r m o n y . " 7 H e r e in the home of this fine musical t r a d i t i o n he would t r y f o r a hearing. On the way f r o m Saaz to P r a g u e he came quite unexpectedly upon a nephew and s t o p p e d f o r a brief visit. I n due time, he reached Bohemia's c a p i t a l city. H o w vividly it m u s t have b r o u g h t back to him the y e a r s of his y o u t h , when, as a wealthy m e r c h a n t , he h a d been accustomed to come here t o inspect one of the p r i n c i p a l offices of his l a r g e business! H o w differently m a t t e r s stood now—he was poor, and a musician, one who, however, h a d accomplished much t h a t was worth while. 5. Mussik, p. 14. 6. Mussik, p. IS. 7. Riesbeck, Travelt through Germany, in Pinkerton's "Voyages," VI, HO.

THE C O N T I N E N T : 1835-1837

139

I n P r a g u e Heinrich foregathered with many of the principal musicians of the city. J o h a n n N. A. Witassek, Kapellmeister a t the Cathedral, who as a player of the various M o z a r t piano concertos had earned the warm praise of Mozart himself, visited him on several occasions and examined his works. So also did R o b e r t Fiihrer, head of the P r a g u e School of Organists, a pupil of Witassek who was later to succeed him as organist a t the Cathedral. M a n y of the government officials treated him very handsomely and paid him fine compliments, but no production of his works was forthcoming. T h u s again disappointed, Heinrich took up his interrupted j o u r n e y toward Vienna. I t was now F e b r u a r y , 1836. He had spent some ten days in P r a g u e , mostly (to his sorrow) in the midst of tobacco smoke—to which, strangely enough, he was and always had been strongly averse. 8 When he finally reached Vienna a f t e r all this accumulation of anxieties and disappointments, he was again taken ill and cared f o r at the Spital der Barmherzigen Briider. 9 His illness was a severe one, b u t under the care of the kindly brothers he soon recovered. H e came out of the hospital only to learn t h a t the coveted prize and hoped-for honor of winning in the competition had gone to another, nearer home and better known: to Kapellmeister Lachner. Another disappointment! In Vienna 1 0 he visited various of his former business associates and friends, who received him with great cordiality. They urged him to remain in Vienna until he should recover his health, but he was deaf to all entreaties. He had set his heart on visiting an old friend in Graz, S t y r i a , a certain Ferdinand Rossler whom he had known in the old d a y s in Schonlinde, and who had shown many kindnesses to T o n i during her father's years in America. H e felt he had to see this kindly friend, to thank him for all his goodness to Toni, and t o hear f r o m his lips f u r t h e r news of his daughter. If he could n o t now see T o n i herself, the next best thing was to see those who had been near her and knew her well. So he journeyed from Vienna to Graz, 1 1 to the home of his old 8. F o r the t h r e e p a r a g r a p h s above, see Mussik, p. 14. 9. Mussik, p. 15. 10. Mussik, p . 16. 11. Mussik, p. 15.

140

THE

CONTINENT:

1 8 3 5 - 1 837

f r i e n d . H e r e , where he h a d t h o u g h t to find only the c o m f o r t s of f r i e n d s h i p a n d s y m p a t h y , he found (miracle of miracles) t h e one t h i n g t h a t his soul c r a v e d — a sincere a n d general desire to h e a r his works p e r f o r m e d . Could a n y t h i n g else in the world have cheered him as did this g e n e r o u s wish on the p a r t of his c o u n t r y m e n t o give a c o n c e r t of his compositions? I t is easy t o imagine with w h a t zeal H e i n r i c h entered u p o n this most c o m f o r t i n g t a s k ! Sorrow and illness were e n t i r e l y f o r g o t t e n in the j o y of p r e p a r a t i o n . A t last he h a d f o u n d f r e e a n d b o u n t i f u l recognition of his musical w o r t h , of his ability as a c o m p o s e r , and it warmed his h e a r t as it h a d n o t been warmed f o r many months. F o r t u n a t e l y we h a v e H e i n r i c h ' s own a c c o u n t of this c o n c e r t . I t is in few w o r d s , a n d modest withal, y e t gives a f a i r l y vivid p i c t u r e of the event. T h e c o n d u c t o r was Anselm von H i i t t e n b r e n n e r , a t r u l y d i s t i n g u i s h e d m a n a n d musician, now f o r t y - s i x y e a r s of age, who h a d been a fellow s t u d e n t with F r a n z S c h u b e r t under the t e a c h i n g of Salieri. S c h u b e r t knew a n d warmly p r a i s e d H i i t t e n b r e n n e r ' s comp o s i t i o n s , a n d it was in H i i t t e n b r e n n e r ' s a r m s t h a t the m i g h t y Beethoven h a d b r e a t h e d his l a s t . H e was now living u p o n his own l a r g e e s t a t e in the vicinity of G r a z , and since 1 8 2 5 h a d been D i r e c t o r of the S t y r i a n Musik-Verein. A g a i n H e i n r i c h , the composer, was f o r t u n a t e in his i n t e r p r e t e r ! I n a l e t t e r w r i t t e n next d a y he s a y s : The noble Hiittenbrenner, a man of property and renowned here and in Vienna for his compositions in the larger forms, presented me to the public. The H a l l was well filled and I hear that I gave satisfaction. It is a difficult task, with serious and churchly music, or music that is new and original in style, to satisfy an audience spoiled by waltzes and military music. 12 A s t h e p r i n t e d p r o g r a m 13 shows, the concert was given u n d e r the auspices of the S t y r i a n Musik-Verein, on T h u r s d a y , J u n e 9, 1836, in one of the halls of the provincial assembly building. O u t of a t o t a l of six compositions p e r f o r m e d , f o u r were by H e i n r i c h , who t h u s m a d e the m a j o r c o n t r i b u t i o n to the evening. T h e p r o g r a m , in a marvelous blend of E n g l i s h and G e r m a n , read as follows: 12. 13.

Mussik, p. 15. Scrapbook, p. 312.

T H E C O N T I N E N T : 183Ä-1837

141

Gesellschafls-A cademie des steyerm. Musik-Vereines Donnerstag den 9. Juni 1836 im Rittersaale des ständischen Landhauses. Vorkommende

Mutikttücke:

1. E r s t e r Satz der Simfonie, The Combat of the Condor ( D e r Kampf des Condor), amerikanisch charakteristisches Tongemählde von Anton Philipp Heinrich, of Kentuky. 2. T h e absent charm ( D e r ferne Zauber), Lied f ü r T e n o r , mit PianoforteBegleitung von Heinrich. 3. T h e death of the Christian ( D e s Christen T o d ) , Vocal-Quintett von Heinrich. 4. Introduction und Variationen f ü r die Violine, mit Orchester-Begleitung, componirt und vorgetragen von Jacob Lorber. 5. I love the courtly brilliant scene ( E s glänzt das F e s t ) , Bravour Cavatine alla Polacca f ü r Sopran, mit Pianoforte-Begleitung von Heinrich. 6. Gott im Ungewitter, Chor mit Orchester-Begleitung von F r a n z Schubert Sämmtliche Gesangtexte werden in deutscher Uebersetzung vorgetragen. D e r A n f a n g ist um 5, das Ende um halb 7 Uhr Abends. W e see as the first and most important number on the p r o g r a m the recently completed first movement of Heinrich's s y m p h o n y , Ornithological

Combat

of Kings}*

The

In a note a t t a c h e d to this work

under date of J u l y 10, 1 8 3 6 , at Graz, Heinrich s a y s : The first movement of the Simphony, The Combat of the Condor, obtained a full band rehearsal in the capital of Styria viz. G r a t z , by the highly talented members and artists of its Musik-Verein under the direction of Anselm von Hüttenbrenner, Esqr. T h e gentlemen of the orchestra went this introductory movement twice very handsomely through, namely on the 25th of May, 1836. On the 7th of J u n e another rehearsal took place, but having only obtained a few violin performers, and those mostly s t r a n g e r s to their parts, there was great deficiency in the effect. T h e actual concert took place on the 10th of J u n e following, when this first movement met with 14. See under title in List of Compositions.

142

THE

CONTINENT:

1835-1837

public introduction; however, as there were by far too few violin performers and basses, and again, some new gentlemen, not enlisted before, the author must confess that he suffered by it. To cope with the powerful accompaniments of so many bass and wind instruments, this simphony will positively demand 8 or 12 first violins and a corresponding number of other stringed performers, knowing their parts; in fact, the more violins, tenors, violon-cellos and basses, the better. How much we can read between these lines! T h a t memorable twenty-fifth of May, 1836, was probably one of the brightest of all the red-letter days of Heinrich's life, when in very fact "the gentlemen of the orchestra went this introductory movement twice very handsomely through." W e can fairly see the radiance of his face as he actually heard, in all probability for the first time and that at the hands of skilled musicians, this important work of his. I t must have been a day such as he had often dreamed of. Here was a serious work of his own hands, written for and played by an excellent orchestra. Did he remember the various patchwork orchestrations of his piano works that he had prepared for the ballrooms and theatres of faraway Kentucky? Yet we know how far it was from the spirit of this kindly man to look with anything but sincere appreciation upon the efforts of his less cultured friends of the new western country. This, however, was the triumph to which he had long looked forward. T o be sure, when the second rehearsal came, with its fewer and different performers, and the concert itself, under similar conditions, there was keen disappointment for the composer. B u t nothing could deprive him of that one great unforgettable moment on M a y 25, when things had gone so well. As to the rest of the program, we find the familiar "Absent Charm" and " I Love the Brilliant Courtly Scene" (both accompanied by Heinrich himself) and the vocal quintet, " T h e Death of a Christian," which we have noted as published in Gould's National Church Harmony (Boston, 1 8 3 2 ) . Here it was given in a German translation by August Mandel, Secretary of the Musik-Verein, and with the accompaniment of organ and orchestra. Taken all together, it was a well-chosen program of serious works, and those showing Heinrich's ability to best advantage. In spite of his pessimism as to the performance of the orchestra, the concert

THE CONTINENT:

1835-1837

143

called forth sympathetic criticism and general approval. Mandel, in his excellent review, says: 18 As to H e i n r i c h ' s compositions, it is entirely beyond all question t h a t in America and E n g l a n d where m a n y of his works, even operas, have been p e r f o r m e d a n d published he has attained a high r e p u t a t i o n ; several periodicals call him "the Beethoven of America" and British t r a n s - a t l a n t i c poets have celebrated his achievements. . . . A letter f r o m the g i f t e d poet, T h o m a s Moore, establishes the fame of our composer beyond all doubt a n d what he advises him in all friendliness is what a great p a r t of the world would call out to the dead hero, Beethoven: "A little more of sing-song." A n d yet a f t e r what we have h e a r d we cannot charge Heinrich with a n y lack of m e l o d y ; and might indeed assert t h a t he is well versed in all t h e subtleties of song-writing, even in the demands of t h e I t a l i a n school, as is shown in his Cavatina for soprano in polonaise form. A vocal q u i n t e t t e , " D e a t h of a Christian," shows a true dignity of style, a thorough u n d e r s t a n d i n g of t h e text (in itself very h a p p i l y chosen by the composer) a n d m a s t e r l y t r e a t m e n t . A second setting of the text of the polonaise shows kinship with our G e r m a n type of song. T h e most striking achievement, however, was the S y m p h o n y , The Combat of the Condor, in which the coo p e r a t i o n of all known orchestral instruments is required to represent the s t r e n g t h of t h e gigantic bird as it wings its way over the topmost peaks of the A n d e s ; while at the same time the work in question acquaints us with certain American folk melodies. Your reviewer d a r e s not maintain t h a t this composition will please every ear. Something peculiar in its design and t r e a t m e n t distinguishes it f r o m everything t h a t has as yet come into our sphere of e n j o y m e n t . For as a l r e a d y intimated Heinrich's muse is a daughter of N a t u r e , but not of t h a t N a t u r e whose quiet, idyllic grace possesses us all unconsciously. H e has sought out N a t u r e in her workshop where she produces her mighty works, where great bridges of rock are thrown across s t r e a m s ; where rivers, broad as seas, flow out of undiscovered sources over hundreds of miles to the ocean i t s e l f ; where g r e a t lakes plunge with d e a f e n i n g roar to t h e d e p t h s below, a n d the tornado, with its crashing s t r e n g t h lays bare the impenetrable secrets of the primeval forests. If anyone objects to the p o w e r f u l instrumentation which a f t e r all cannot conceal certain very melodious passages, and whose needs could only be met by the kind cooperation of the most distinguished members of our regimental band, it should be remembered t h a t since Spontini and Meyerbeer, even in our own hemisphere, orchestral scores as broad as the falls of Niagara are no longer i n f r e q u e n t , a n d at any rate Heinrich's Symphony has not gone so f a r as to seek reinforcement by bells a n d cannon. 15.

Mussik, pp. 18-20. See Appendix I, note 4.

144

THE CONTINENT:

1835-1837

This concert in Graz may well be recorded as Heinrich's first real and unquestioned success as a composer of serious aims and excellent achievement—the highwater mark, so far, of his professional career. His pleasure in this success must have been greatly increased by the fact that it was given in the land of his birth and in the midst of his friends. Another signal honor, and one greatly appreciated by Heinrich, was the inclusion of a biographical sketch in Dr. Gustav Schilling's Encyclopadie der gesammten musikalischen Wissenschaften, oder universal Lexicon der Tonkunst, published that year (1836) at S t u t t g a r t . I t was undoubtedly the first time that a musician from America had ever been included in a foreign dictionary of musical biography. I t is extremely doubtful if there was a t this time in America a single other individual whose musical attainments would have warranted such an honor. Near the close of this biographical sketch occurs the following pen picture of Heinrich: He is a lean but strongly built man with white hair and sharp eyes, very decided in his speech, and speaks with great warmth, not to say enthusiasm, of his art. In his more recent compositions for full (often overfull) orchestra, he is distinctly individual, particularly in regard to rhythm; and his descriptive notes, both in English and German, disclose something of genius, scarcely to be expected from one of his education. After his concert at Graz, Heinrich left for an ill-fated visit to Buda and Pesth, or "Pesth and Ofen" as he terms these twin cities on the Danube. Here he was sick unto death. 16 As soon as he recovered sufficient strength to travel, he exclaimed, "Yes, I must go; ocean travel has become second nature to me and I must see my Toni." When he had gotten as far as Laibach, in the vicinity of Trieste, his intended sailing point, he wrote the following letter to his friend Mussik in Prague: 17 Laibach, Feb. 5, 1837. Dearest Friend:— I have purposely made a brief halt in my journey at this place in order to write various letters to old acquaintances and friends, and now I am extending to you my affectionate farewell for I am steering again toward 16. 17.

Mussik, p. 20. Mussik, p. 20. See Appendix I, note 5.

THE

CONTINENT:

1835-1887

145

America. My stay in the Fatherland has not been particularly pleasant, in fact wretched in the highest degree. Particularly in Hungary I suffered much misfortune and ill luck. In Ofen I went to the Hospital of the Brothers of Charity where they gave me the last Sacrament and I was very near to death. Scarcely at all recovered, I came away firm in the belief that it would be a long time before I could undertake any further journeying; but God's grace and pity planned otherwise. As if by a miracle one morning I felt myself so rejuvenated and strengthened that I was able soon to reach this place. Twice however on the journey I was robbed, and in customs offices had to pay what was for me an oppressive and irritating tax upon my own individual compositions, not even published, but still in manuscript. Perhaps day after tomorrow I may go to Trieste where I shall take ship for America and the primeval forests of the new world. There amidst the Indian grave mounds I shall find the rest I long for. Yet I hope before that to see my deserted daughter Antonia and press her to my heart. Mussik states

18

t h a t Heinrich carried out his plan, reached Amer-

ica in perfect health in spite of all mishaps, and lost no time in l o c a t ing his daughter, so long and so vainly sought a f t e r . H e adds: " M y pen is f a r too feeble to describe the ecstasy which filled both hearts a t the reunion." W e can easily believe him. U n f o r t u n a t e l y , all f u r t h e r details as to this long-deferred and longed-for meeting are denied us. P e r h a p s it is as well. Our imagination can best fill in the picture. What

Mussik did not then know, and what seems to us

far

from easy to understand or to explain, is the fact t h a t Heinrich did not a f t e r all, as he expected, sail from Trieste, but on the c o n t r a r y s t a r t e d on a long j o u r n e y through I t a l y and F r a n c e . H e visited Venice, 1 9 where he was all but drowned through falling into one of the canals, then Milan ( M a r c h 1 6 ) , 2 0 where the Bohemian Count P a c h t a gave him a letter of introduction to the famous music publishing house of Ricordi. M a r c h 2 6 found him in Genoa

21

letter of introduction

merchant,

from a German

(or Austrian)

with a

Friedrich Gruis, to the Russian Consul G a r y in Nice. (One can but wonder a little a t this strange hodgepodge of a letter from a German living in I t a l y , introducing an American of Bohemian birth to a Russian consul with an English name a t a port which once had 18. 19. 20. 21.

Pages 20-21. Mussik, p. 22. Scrapbook, p. 787. Ibid.

THE

146

CONTINENT:

1835-1837

been and w a s a g a i n t o become p a r t of F r a n c e . S u r e l y a s t r a n g e bit of c o s m o p o l i t a n i s m ! )

From N i c e Heinrich traveled across

France

t o B o r d e a u x , where a t the end of the a u t o g r a p h score of The

Colum-

biad,

"Grand American N a t i o n a l Chivalrous S y m p h o n y , " completed

in B o r d e a u x , he a d d s the f o l l o w i n g n o t e , signed a n d d a t e d B o r d e a u x , June 6 , 1 8 3 7 : A f t e r h a v i n g been severely robbed in the H o t e l de la P a i x , Rue C h a p e a u Rouge, k e p t by a M r . S a n s o t , I r e t i r e d f o r consolation to a solitary g a r r e t in the b o a r d i n g house of Mademoiselle J o u a n o , R u e devise S t e . Catherine, No. 7, a n d w r o t e this work. I finished a t t h e same place The Condor, and my i n s t r u m e n t a l p h a n t a s y Pocahanta. T h e Muses h a d not f a v o r e d me with a p i a n o f o r t e . I n f a c t , since two y e a r s , I have been so s i t u a t e d , as constantly travelling about, t h a t practical music is e s t r a n g e d to m e ; but I t r u s t notw i t h s t a n d i n g , t h a t at some d a y or other, this w o r k a n d those other productions alluded to, will be f o u n d w o r t h y of public p a t r o n a g e , especially in the U n i t e d S t a t e s ; a n d should I not live to derive a n y benefit f r o m these works, m a y my d e a r Antonia, the child of my sorrows, be benefited by them, o r should she be in p r o s p e r i t y , may they then serve to some other charitable p u r p o s e . I have t r a v e l e d so f a r t h r o u g h F r a n c e without letters of introduction, a n d without h o l d i n g a social converse with any human being, t h a t a f t e r my disaster in the H o t e l de la P a i x , not to mention other d i s a p p o i n t m e n t s a n d m i s f o r t u n e s on m y j o u r n e y , I f o u n d it necessary to seclude myself f o r a few weeks at B o r d e a u x a n d find diversion and comf o r t in these compositions. M a y the blessings of heaven rest on them and on my d a u g h t e r Antonia, who, a l a s ! is f a r d i s t a n t f r o m me, and whom my eyes as y e t , never beheld. 2 2 A t the same time he c o m p l e t e d The

Hunters

of Kentucky,

"Sin-

f o n í a di c a c c i a , " 6 2 p a g e s , f o l i o , which bears t h e f o l l o w i n g signed n o t e : " D r a w n u p in a b s o l u t e s o l i t u d e in B o r d e a u x , a l o n g with Columbiad

and the

finishing

of

The

Condor,

Bordeaux, June

The 6,

1837." W h y H e i n r i c h should have made such a decided c h a n g e of plan and how or why he took this l o n g a d d i t i o n a l t r i p t h r o u g h I t a l y and F r a n c e when he was so near the s a i l i n g p o r t of T r i e s t e is exceedingly difficult f o r us t o explain. T h e w h y s a n d w h e r e f o r e s of

Heinrich's

j o u r n e y i n g s are o f t e n e x c e e d i n g l y p u z z l i n g . T h i s seems the most ine x p l i c a b l e of them all. 22.

See under title in List of Compositions.

IX

TRIUMPHS I N N E W YORK 1837-1857

T

H E f a l l of 1837 finds Heinrich back in the U n i t e d

States,

this time in N e w Y o r k . H e had, of course, o f t e n visited this city, but never b e f o r e had he really

made it

his home.

T h o u g h t a r d y , this was his final choice—here he was t o spend the rest of his days. Philadelphia, P i t t s b u r g h , K e n t u c k y , Boston, and now N e w Y o r k — w i t h what varied types of American life does Heinrich continue to associate himself !

NEW YORK IN 1837 Visitors of the time seem quite agreed that architecturally Y o r k possessed no p a r t i c u l a r l y

outstanding

features. T h e

New Astor

House seemed its most imposing public building, while the C i t y H a l l was considered rather undistinguished. I n this r e g a r d New Y o r k fell short of Philadelphia or even Boston. A l l conceded, however, that in its general aspects it was an interesting c i t y , B r o a d w a y being its chief distinction. Perhaps the best c o n t e m p o r a r y description of N e w Y o r k

from

this point of view is that given by an Englishman, James S. Buckingham, a f o r m e r member of P a r l i a m e n t , who visited N e w Y o r k in 1837. I t is true that he does not seem as f a v o r a b l y impressed with B r o a d w a y as were some of his fellow travelers. The hotels are generally on a larger scale than in England. T h e great Astor House, which overlooks the Park from the west side of Broadway, is much larger in area than the largest hotels in London or Paris. It is built wholly of granite; is chaste in its style of architecture, and is called after the rich John Jacob Astor. The private dwellings contain, as must be the case in all large cities, a great variety of kinds and descriptions. The older houses are small, and mostly built of wood, painted yellow or

148

NEW

YORK:

1837-1857

w h i t e . T h e s e a r e n o w confined to t h e r e s i d e n c e s of the p o o r e r classes, a n d a r e f a s t d i s a p p e a r i n g in e v e r y q u a r t e r ; t h e i r p l a c e s b e i n g occupied b y s u b s t a n t i a l b u i l d i n g s of b r i c k , t h o u g h h e r e a n d t h e r e are a f e w with g r a n i t e f r o n t s . T h e r e a r e m a n y i n d i v i d u a l houses of m u c h g r e a t e r s p l e n d o r in L o n d o n t h a n a n y to be seen in N e w Y o r k , e s p e c i a l l y in the mansions of the E n g l i s h n o b i l i t y ; b u t , on t h e whole, t h e n u m b e r of l a r g e , commodious, a n d e l e g a n t l y f u r n i s h e d p r i v a t e d w e l l i n g s in N e w Y o r k is much g r e a t e r in p r o p o r t i o n t o t h e w h o l e p o p u l a t i o n t h a n those of L o n d o n , a n d a p p r o a c h e s n e a r e r to t h e r a t i o of E d i n b u r g h or P a r i s . T h e s t r e e t s a r e very u n e q u a l in t h e i r p r o p o r t i o n s a n d c o n d i t i o n s . T h e g r e a t a v e n u e of B r o a d w a y is s t r i k i n g f r o m its c o n t i n u o u s a n d u n b r o k e n l e n g t h of t h r e e miles in a s t r a i g h t l i n e ; b u t its b r e a d t h , a b o u t e i g h t y f e e t , is n o t sufficiently a m p l e f o r the d u e p r o p o r t i o n of its l e n g t h . I t is, m o r e o v e r , w r e t c h e d l y p a v e d , both in t h e c e n t r e a n d on the sides. L a r g e holes a n d d e e p p i t s a r e f r e q u e n t l y seen in the f o r m e r ; a n d in t h e l a t t e r , while b e f o r e some houses t h e slabs of s t o n e a r e l a r g e , u n i f o r m , a n d level, t h e r e is o f t e n a n i m m e d i a t e t r a n s i t i o n f r o m these to b r o k e n m a s s e s of loose s t o n e s , t h a t r e q u i r e the g r e a t e s t caution to p a s s o v e r , e s p e c i a l l y in w e t or f r o s t y w e a t h e r . T h e l i g h t i n g a n d c l e a n s i n g of t h e s t r e e t s is not n e a r l y so good as in the l a r g e t o w n s of E n g l a n d , t h e g a s b e i n g s c a n t y in q u a n t i t y , t h e l a m p s too f a r r e m o v e d f r o m each o t h e r , a n d t h e b o d y of s c a v e n g e r s b o t h weak in n u m b e r s a n d deficient in o r g a n i z a t i o n . Some of t h e s m a l l e r s t r e e t s a r e almost impassible in times of r a i n a n d snow a n d , w h e n not i n c o m m o d e d b y a p r o f u s i o n of m u d or w a t e r , t h e y a r e prolific in t h e i r s u p p l y of d u s t . M a n y of the s t r e e t s h a v e trees p l a n t e d a l o n g the e d g e of t h e f o o t p a v e m e n t on each side, which in s u m m e r a f f o r d s a n a g r e e a b l e s h a d e , b u t in a u t u m n it h a s t h e d i s a g r e e a b l e effect of s t r e w i n g t h e p a t h with f a l l i n g leaves, a n d in w i n t e r it makes t h e a s p e c t m o r e d r e a r y . T h e p o p u l a t i o n of N e w Y o r k is e s t i m a t e d at p r e s e n t to be l i t t l e s h o r t of 3 0 0 , 0 0 0 . I n t h e s t r e e t s all is h u r r y a n d bustle. O m n i b u s e s a r e as n u m e r o u s as in L o n d o n , m a n y of t h e m d r a w n by f o u r h o r s e s , t h o u g h t h e c a r r i a g e s a r e i n f e r i o r t o t h e E n g l i s h ones. H a c k n e y coaches a r e also a b u n d a n t , a n d s u p e r i o r in e v e r y r e s p e c t to those of L o n d o n . T h e s e , w i t h p r i v a t e c a r r i a g e s , w h i c h , h o w e v e r , a r e few a n d p l a i n , g e n e r a l l y with a b l a c k c o a c h m a n a n d f o o t m a n , w i t h o u t d i s p l a y of livery or a r m o r i a l b e a r ings, a d d e d to gigs a n d o t h e r vehicles, m a k e u p a c r o w d of conveyances t h r o u g h t h e p u b l i c s t r e e t s , w h i c h , f r o m t h e i r b a d p a v e m e n t , occasions as m u c h r a t t l i n g noise as in t h e m o s t b u s t l i n g p a r t s of P i c c a d i l l y or C h e a p s i d e . T h e whole of t h e p o p u l a t i o n seen in t h e s t r e e t s seem to e n j o y this b u s t l e , a n d a d d to it by t h e i r own r a p i d p a c e , as if t h e y w e r e all g o i n g to some p l a c e of a p p o i n t m e n t , a n d w e r e h u r r y i n g on u n d e r the a p p r e h e n s i o n of b e i n g too l a t e . 1 Of t h e t h e a t r e s a t t h i s t i m e , P h i l i p H o n e , in his d i a r y , u n d e r d a t e of S e p t e m b e r 4 , 1 8 3 7 , m e n t i o n s n i n e — o f w h i c h o n l y t h e 1. Quoted in Nevins, American Social History,

pp. 308-12.

first

three

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need concern us: " T h e Park, the Old Drury of New York, which has done well during the whole of the hard times; the Bowery, with Jim Crow, who is made to repeat nightly almost ad infinitum his balderdash song, which has now acquired the stamp of London approbation to increase its eclat; the Franklin, in Chatham Square." H e also speaks of the National

(the former Italian Opera House)

under

Wallack's management, so that there must have been ten theatres in all—and this, too, in a time of extreme financial depression. As to the literary activities of New Y o r k , Captain M a r r y a t , himself a well-known author, who was traveling in America in 1837, makes appreciative mention of New York's four periodicals—The Quarterly

Review, The New York Mirror

The Knickerbocker Magazine.

American

(George P. Morris, editor),

(Lewis Gaylord Clarke, editor), and The

Monthly

H e calls them all "very good," and finds that "the periodi-

cal press of America is pretty well on a par with that of this country (England)."

2

Like all other travelers, he is amazed and disgusted

with the yellow journalism of some of the New Y o r k papers, particularly the Herald

under the editorship of James Gordon Bennett. 3 In

this view he is upheld by such an intelligent and loyal New Y o r k e r as Philip Hone. 4 M a r r y a t also sums up the general literary situation in America. Since he thus does not limit himself to the writers of New Y o r k , it is interesting to see to what extent these names, nationally prominent as they were in their own time, have survived the changes of fashion and the passing of the years. In history, and the heavier branches of literature, they have the name of Sparks, Prescott, Bancroft, Schoolcraft, Butler, Carey, Pitkin etc. In general literature, they have Washington Irving, Fay, Hall, Willis, Sanderson, Sedgwick, Leslie, Stephens, Child and Neal. In fiction, they have Cooper, Paulding, Bird, Kennedy, Thomas, Ingraham, and many others. They . . . have produced some very good poets: Bryant, Halleck, Sigourney, Drake, etc.5 I t is to be feared that the dark cloud of oblivion has obscured most of these names, but there is the usual saving remnant. Of the literary celebrities whom M a r r y a t failed to mention, Emer2. 3. 4. 5.

Marryat, A Diary in America (2d series), p. 67. Ibid., p. 58. Diary, January 20, 1836; December 5, 1837, and elsewhere. Marryat, A Diary in America (2d series), p. 6".

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son, H a w t h o r n e , Longfellow a n d W h i t t i e r were then in their t h i r t i e s ; H o l m e s a n d P o e , b o t h t w e n t y - e i g h t ; W a l t W h i t m a n a n d Lowell, eighteen. E m e r s o n h a d j u s t published his Ettay on Nature (1836) a n d given his f a m o u s P h i B e t a K a p p a a d d r e s s a t H a r v a r d ( 1 8 3 7 ) . H a w t h o r n e , a f t e r m o r e t h a n a decade of quiet s t u d y of the a r t of s t o r y w r i t i n g since his g r a d u a t i o n f r o m Bowdoin, h a d j u s t p r o duced his Twice-Told Tales ( 1 8 3 7 ) . Longfellow h a d been a p p o i n t e d P r o f e s s o r of M o d e r n L a n g u a g e s a t H a r v a r d a n d , a f t e r some p r o s e w r i t i n g , was now a b o u t to enter u p o n his career as a p o e t ( " T h e R e a p e r a n d the F l o w e r s , " J a n u a r y , 1 8 3 9 ) . W h i t t i e r h a d given himself, mind a n d soul, t o the a n t i - s l a v e r y cause. T h e f u t u r e genial A u t o c r a t h a d w r i t t e n "Old I r o n s i d e s " a n d " T h e L a s t L e a f , " and h a d r e c e n t l y r e t u r n e d f r o m two i n t e r e s t i n g y e a r s in P a r i s . P o e h a d won a p r i z e with his " M S . F o u n d in a B o t t l e " and h a d w r i t t e n those imp e r i s h a b l e lyrics " T o H e l e n , " " I s r a f e l , " and o t h e r poems. Lowell a n d W h i t m a n , as we have seen, were mere y o u t h s . Of o u r a r t i s t f r i e p d s surviving f r o m the time when H e i n r i c h first established himself in A m e r i c a , T h o m a s D o u g h t y , f o r t y - f o u r , h a s been blazing a new t r a i l in American a r t . F o r the last fifteen y e a r s , he h a s been p a i n t i n g scenes a l o n g the rivers and a m o n g the m o u n t a i n s of P e n n s y l v a n i a a n d New Y o r k . Samuel Finley Breese Morse, f o r t y six, is P r e s i d e n t of t h e N a t i o n a l A c a d e m y of A r t , New Y o r k , a n d h a s j u s t p a t e n t e d his new m a g n e t i c t e l e g r a p h . T h o m a s Sully, fiftyf o u r , is in E n g l a n d , p a i n t i n g ( o r a b o u t t o p a i n t ) a p o r t r a i t of the y o u n g Queen V i c t o r i a in her C o r o n a t i o n robes, f o r the S t . G e o r g e ' s S o c i e t y of P h i l a d e l p h i a . W a s h i n g t o n Allston, fifty-eight, has declined a g o v e r n m e n t commission to d e c o r a t e one of the panels in the R o t u n d a of t h e C a p i t o l a t W a s h i n g t o n , and is living in quiet seclusion a t C a m b r i d g e , M a s s a c h u s e t t s , while he dallies with t h a t immense, mj-sterious, now a l m o s t m y t h i c a l canvas of Belshazzar's Feast, beg u n some t w e n t y y e a r s b e f o r e in L o n d o n and destined never to be finished. R e m b r a n d t Peale, fifty-nine, is still p a i n t i n g p o r t r a i t s in P h i l a d e l p h i a a n d a t t e m p t i n g huge canvases with symbolic s u b j e c t s . V a n d e r l y n , sixty-one, is p r o b a b l y e n g a g e d upon his p a n o r a m i c vent u r e s in New Y o r k . William D u n l a p , seventy-one, a f t e r a p i c t u r esquely varied c a r e e r as a r t i s t , w r i t e r , a n d p l a y w r i g h t , h a s recently published a History of the Rise and Progress of the Arts of Design in the United States (New Y o r k , 1 8 3 4 ) . J o h n T r u m b u l l , a lonely old

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man of eighty-one, has bequeathed his p i c t u r e s t o Y a l e College, acc e p t i n g f r o m the college a life a n n u i t y , and is j u s t moving to New H a v e n . H e is l a t e r to r e t u r n to New Y o r k a n d die t h e r e in 1843, a t the age of eighty-seven. In the mean time, a y o u n g e r school has risen, with a new emphasis u p o n the intimacies of genre p a i n t i n g — I n m a n , Quidor a n d M o u n t , all in their thirties, the l a s t named p e r h a p s t h e most a u t h e n t i c r e p resentative f o r his d a y of this p a r t i c u l a r t y p e of a r t . T h e so-called H u d s o n River School of landscape p a i n t i n g has made its a p p e a r ance, with T h o m a s Cole (born 1 8 0 1 ) , and Asher B. D u r a n d ( b o r n 1 7 9 6 ) . T h i s school is to a t t a i n g r e a t p o p u l a r i t y somewhat l a t e r a t the hands of J o h n F . Kensett, now a y o u t h of nineteen. F i n a l l y we note a still y o u n g e r g r o u p of f u t u r e academicians, mostly g a t h e r e d in and a b o u t New Y o r k , all in their twenties or still y o u n g e r . A m o n g them a r e Daniel H u n t i n g t o n , E m a n u e l Leutze, William P a g e , H e n r y P . G r a y , G. P . A. Healey, and Charles L o r i n g E l l i o t t , t o g e t h e r with m a n y other sincere and capable p a i n t e r s who, a l a s ! a r e never t o a t t a i n to the coveted N.A. In p o i n t of f a c t , a t j u s t this time there seems to have been a g r e a t and g r o w i n g interest in a r t in America. N o one looking f o r w a r d t o this profession was satisfied until he had a t least visited the galleries of E n g l a n d and I t a l y , or, b e t t e r still, h a d e n j o y e d some s t u d y with either an E n g l i s h or Continental m a s t e r , and it is t r u l y s u r p r i s i n g to see how general was this E u r o p e a n experience on the p a r t of a s p i r i n g y o u n g a r t i s t s in America. W h e n we t u r n t o sculpture we find much the same s t o r y . I n 1837, H o r a t i o Greenough, p r o b a b l y o u r first professional s c u l p t o r , h a d long been living in Florence, I t a l y , where he was now welcoming H i r a m Powers. B o t h were y o u n g men of t h i r t y - t w o . Greenough is remembered f o r his classical s t a t u e of the togaed W a s h i n g t o n ; Powers f o r his Greek Slave, which, like V a n d e r l y n ' s p a i n t i n g of A r i a d n e , created a sensation in America because of its n u d i t y . ( W e must remember t h a t these were the y e a r s when even the c u l t u r e d E d w a r d E v e r e t t , in his Boston home, veiled with d r a p e r i e s w h a t was considered the immodesty of his Apollo Belvedere.) 8 T h o m a s C r a w f o r d and H e n r y K. Brown were both in their t w e n t y third y e a r . T h e f o r m e r was in later y e a r s to design the pediment of 6.

Marryat, A Diary in America

(2d series), p. 44.

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the Senate wing of the Capitol at Washington, as well as the statue of Freedom surmounting its dome; the latter was to be the designer, among other works, of the equestrian Washington in Union Square, New Y o r k . Clark Mills, extremely popular in his day and the creator of what has been somewhat ungenerously called "our first and worst equestrian monument," 7 that of General Jackson in Lafayette Square, Washington, was still a year younger. E . D. Palmer was twenty, S t o r y and Ball were still in their 'teens. With the exception of Palmer, all these men had founded their work on a more or less extended period of study in E u r o p e ; he alone seems to have been a pure product of American environment. 8 T h e time is also important in the musical development of America, for it is the beginning of a decade which is to see the advent of many excellent musicians from England, something like that fine group which came over in the nineties of the eighteenth century. Among these newcomers of the eighteen-thirties and forties were such men as Charles E . Horn, Benjamin E . Woolf, Henry C. Watson, Richard Hoffmann, J . L . Hatton, and Frederick N. Crouch (the talented but erratic composer of "Kathleen Mavourneen"), also Henry Russell, composer and singer of dramatic ballads, sea songs, and the like. J . P. Knight, too, spent a couple of years in America in this period and left as his memorial the song, "Rocked in the Cradle of the Deep." These men were of varying degrees of ability, but each left his own individual imprint upon American music of this time. Of native American composers there was as yet but one—William H. F r y — n o w in his twenty-fourth year. L a t e r he was to share with Heinrich the latter's own chosen field of orchestral composition; as yet, however, he was comparatively unknown. As to the theatrical friends of the Philadelphia and Kentucky days, William Warren had died in 1832, as had also Joseph Jefferson, I. William B . Wood had retired from any permanent connection with the theatre. Blissett had returned to England in 1 8 2 1 , apparently immediately after the Philadelphia performance of Heinrich's melodrama. Joseph Jefferson, I I , was on the point of leaving New Y o r k , where he had been painting,scenery for the Franklin Theatre and Niblo's Garden, to t r y his luck at helping to manage a theatre 7. 8.

Mather, Morey, and Henderson, The American For principal authorities see Chap. I, note 6.

Spirit

in Art, p. 183.

NEW YORK: 1837-1857

153

in Chicago, then a town of some two thousand inhabitants. Joseph Jefferson, I I I , was a precocious youngster of seven or eight. Frances Denny, now the wife of Alexander Drake, had become a famous actress. Julia Dean, daughter of Julia Drake, was a child of six or seven, destined also in a few years to become one of the best-known American actresses. Edwin Forrest, whose debut at the Walnut Street Theatre, Philadelphia, in 1820, we have already noted, is now a famous actor (the greatest so far produced in America) and is j u s t embarking on his first English tour; Charlotte Cushman, soon to be recognized as the greatest American actress of her time (and more) has j u s t made her first appearance in New York. 9 As thus in sketchy fashion we have attempted to point out some of the varied cultural activities of the time, we see more and more that these thirties and forties of the nineteenth century in America formed a particularly vital period, both materially and intellectually. We recall such world-revolutionizing projects as the invention of the telegraph, patented in 1837 and put into operation in 1 8 4 4 ; the introduction of railroads in the earlier, and of transatlantic steamships in the later thirties; of the appearance of the epoch-making laborsaving devices, such as the McCormick harvester ( 1 8 3 4 ) , the Howe sewing machine ( 1 8 4 6 ) , and other similar inventions. Still more striking, perhaps, is the intellectual activity of the time—the great educational awakening in the thirties, a time of free schools, normal schools, academies, and colleges; a time so important in the intellectual life of America that Morison in his Oxford History of the United States says: " T h e year 1836, when Emerson published his Essay on Nature, may be taken as the focus of a period in American thought corresponding to 1776 in American politics." 1 0 I t was the time when American thinking was so deeply affected by Emerson's transcendentalism—the transcendentalism which has been aptly characterized by Morison as "an intellectual overtone to democracy, a belief in the divinity of human nature." 11 I t was the day of visionary Utopias of all sorts; of phrenology, and Millerism, 12 and cults galore. Mormonism assumed a large place in the public consciousness. 9. F o r principal authorities see Chap. I, note 10. 10. Page 446. 11. Ibid. 12. F o r a vivid contemporary picture of Millerism, see Lydia Maria Child, Letter» from New York (2d series), pp. 235—11.

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Deep below the surface, but coming ever nearer, were the ominous rumblings of the slavery issue. The period was also marked by the great tide of immigration, induced primarily by the insistent demand for labor in connection with the rapidly increasing extension of railroads throughout the country. All of this immigration came from northern countries—from Ireland after the terrible famine of 1846, from Germany after the revolution of 1848. Far-reaching, too, in its influence was the discovery of gold in California in 1848. It was into this world, so teeming with ideas, good and bad, wise and foolish, that Heinrich entered on his return from Europe in 1837. Heinrich came to a New York which was in the midst of intense financial depression: the panic of 1837. Two years previously she had suffered the most destructive fire in her history, in which $20,000,000 worth of damage had been done.13 Naturally the time was not distinguished by any very optimistic outlook on the future. Heinrich seems to have shared the general depression, for in a later letter to his friend Mussik he speaks of a severe personal misfortune which came to him immediately upon his arrival in America and which prevented his writing for several years 14 to any of his friends in Bohemia. Whether this trouble was physical or mental we cannot know —he gives no clue. Fortunately for Heinrich, he now had Toni with him—and what could any external misfortune mean to him with her at his side? Soon after reaching America Heinrich completed his Two Scores for Eleven Performers: No. I, The Columbiad, 53 pages (dated September 4 , 1 8 3 7 ) ; No. II, The Tower of Babel, 60 pages. 15 With the beginning of the new year 1838, he entered at once upon the task of securing publication for various recent compositions, some through the regular channels, and some by subscription—at that time so popular as a method of publication. On October 16, 1838, we find Heinrich's good friend, Richard 13. Hone, Diary, December 17-December 23, 1835. 14. Mussik, p. 22. 15. These scores were composed primarily for Noll's Miniature Orchestra. See Scrapbook, p. 924. Although written much later, Heinrich's letter to Noll, Feb. 19, 1851 (Appendix I, note 6) seems to refer to these same scores. Possibly Heinrich revised them at this later time.

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Hughes, writing the following fine letter of introduction and commendation on Heinrich's behalf to the well-known Providence musician George Maeder, Esquire, who had been the teacher and coach of Charlotte Cushman during her brief operatic career and was now the husband of the famous English actress, Clara Fisher, who was as much admired in America as she had been in London : 16 Tuesday, Oct. 15, 1838 My dear Maeder/ I believe I have only to mention the name of the bearer to you to procure him if possible more than a favorable hearing. Mr. Heinrich thinks that a situation with you at Providence would suit all parties. As a composer of course it would be superfluous for me to speak— As a Violin or Tenor, or even when you are absent as conductor at the Piano you could not even in European nations meet with one more competent. Above all as a gentleman and general friend to all professors I know not his equal should your engagements at present remain incomplete—I need say no more. Yours ever truly R. Hughes G. Maeder, Esqr. On November 11, 1838, and on June 14-15, 1839, Heinrich issued further proposals for the publication of two of his recent compositions, the second being an Elegiac Impromptu Fantasia for Pianoforte, in memory of Daniel Schlesinger, who had died suddenly in New York, June 8, 1839. According to Ritter, 1 7 Daniel Schlesinger was "one of the most remarkable German musicians then active in New York." He had been a pupil of Moscheles as well as of Ries and had made concert tours on which he had played in Leipzig, Vienna, Paris, and London. He had made several successful appearances in New York since his arrival in 1836 and had only recently become musical director of the German Society, Concordia. There is no question that his death was a severe loss to musical circles in New York. Heinrich's Elegiac Fantasia was published for the composer in 1840 by C. G. Christman, New York, and was favorably received. 18 During these same two years, 1838 and 1839, Heinrich's song "Bonny Brunette" (with words by John M. Moore) 19 was published by James L. Hewitt, New York; and three waltzes for piano, " M a y 16. 17. 18. 19.

Scrapbook, p. 289. Mu»ic in America, pp 235-37. See below, p. 159. Scrapbook, p. 431; Musical Review,

1 (May 23, 1838), 33.

NEW

156 Day Waltz,"

20

YORK:

1837-1857

" L ' E s p r i t et la b o n t e , "

21

a n d " P o c a h o n t a s , the P r i d e

of t h e W i l d e r n e s s " ( g r a n d c o n c e r t w a l t z )

22

were all p u b l i s h e d by

D a v i s a n d H o r n , New Y o r k . Of " B o n n y B r u n e t t e " t h e Musical

Review said : " T h e r e is s o m e t h i n g

v e r y p l e a s i n g in t h e melody of t h i s s o n g ; a n d t h o s e t h a t a r e in f a v o r of s i m p l i c i t y will find a n e a s y a n d b e a u t i f u l a r r a n g e m e n t on t h e l a s t p a g e . " T h i s would seem t o be a v e r y f a v o r a b l e v e r d i c t , c o n s i d e r i n g E l a m Ives' punctilious r e g a r d f o r musicianship and c o r r e c t technique in m u s i c a l c o m p o s i t i o n . H e i n r i c h , however, a p p a r e n t l y

considered

t h i s a s d a m n i n g with f a i n t p r a i s e , a s the f o l l o w i n g l e t t e r s h o w s : To the Editors of the Musical Review: Messieurs—It is not my wish to intrude on you, but having seen a review on my "Bonny Brunette" in your number of the 23d of May last, and thinking the erudite writer thereof has totally mistaken the nature of the song, I beg leave to offer the following observations, which I trust you will make as public as the article that has called them forth, in justice to all the parties concerned. The gentleman says, " T h e r e is something very pleasing in the melody of this song, and those that are in favor of simplicity, will find an easy and beautiful arrangement on the last page." I hope this is the case, and I am t h a n k f u l for the compliment; at the same time, Messieurs, allow me to ask you, (not from ambitious motives, but purely for the sake of a perfect professional understanding between us,) is there not by f a r more matter in the "Bonny B r u n e t t e " t h a n he has chosen to notice, or that could be noticed in a p a r a g r a p h of four lines ? How happened it that he forgot to mention the song and the arrangement as they fully appeared, and not their epitome? Why must the piece be shown, as if it were intended for the performance of boarding school misses, instead of for the use of scientific musicians, vocal and instrumental? The "Bonny B r u n e t t e , " gentlemen, was composed with great care, and for the inspection of critics. W h y , in a work professedly critical, have not the merits or demerits of the composition been pointed out? How is it that the musical ears of the writer have altogether lost the introductory symphony, the varied allegorical accompaniment, and the finale—subjects which, in my humble opinion, it is the province of a reviewer to investigate. If he had not time or space so to do, he should have remained Tacet. I t appears to me that the gentleman is a novice in criticism, and has but small acquaintance with the instrument to which the song is adapted. At least he does not notice the essential attributes of the piece, and mentions only its simple 20. 21. 22.

Scrapbook, p. 826. Scrapbook, p. 821. Scrapbook, p. 717.

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arrangement on the extra page, expressly added for the use of juvenile performers at the request of the publisher, to whom the copyright belongs, and whose interest I defend as well as my own. I wish you to believe, Messieurs, that I am in no way desirous that any praise should be bestowed on my humble effort, or any compliment on me. I write only for the benefit of the science whose votary I am, and the promotion of whose interests I presume is your object. With these views, I respectfully suggest that all musical productions, thought worthy of your notice, should be closely examined, and not despatched, "Quati Pretistimo, tenza Amore e Gusto." I think, Messieurs, that the welfare of your Review would be best promoted by scientific and impartial articles on musical subjects—not such as merely skim over the surface. I beg you to reflect, that you cannot do a professional man greater injury than "to damn him with faint praise." Still, whatever the oversight of your correspondent may have been, I hope there are among you some able and impartial critics, to whom I might safely apply the language of Correggio— "Anch'io ton Pittore." A. P. H E I N R I C H . T h e " M a y D a y W a l t z " was also published in the New York Mirror with the following comment: 2 3 Mr. A. P. Heinrich.—We commend to the favourable attention of our musical readers, the beautiful waltz on our last page, by Mr. A. P. Heinrich. We have rarely had the opportunity to enrich the Mirror with an original composition of higher merit. Mr. Heinrich is a composer of genius, and an artist of rare attainments. Many of his pupils are now among the most distinguished amateurs of the country; and all will bear testimony to his brilliant talents and his fine musical taste. But, like many persons of similar temperament and genius, Mr. Heinrich has never been remarkable for the faculty of pushing his way in the world. The truth of Johnson's celebrated line, "Slow rises worth by p o v e r t y oppressed,"

is forcibly illustrated in the history of Heinrich. Although living in an ideal world of his own, devoting himself exclusively and unremittingly to the cultivation of his favourite pursuit, with tones of beauty "haunting him like dreams," few men have experienced more of the harsh rebuffs of fortune, or been oftener checked in their career by the sterner realities of life. His history has been one of vicissitude, privation and adventure. But, under all circumstances, he has found, in musick, an unfailing refuge and a never-changing friend. It has been, in more senses than one, his support. Mr. Heinrich is now somewhat past the meridian of life; but his faculties 23.

N'ew Y o r k Mirror,

X V ( M a y 26, 1 8 3 8 ) , 383.

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are still in their prime, and neither years nor misfortune have chilled or soured a spirit naturally buoyant and elastick. We can conscientiously commend him to those in want of musical instruction, as a faithful and competent teacher, and a perfect master of the science he professes. W e remember C a p t a i n M a r r y a t ' s commendation of this magazine. 2 4 " L ' E s p r i t et la bonté" was dedicated to Heinrich's friends, "Mesdames Frédéric Schetter et Charles F. Hupfeld de Philadelphia" (we can't help wondering j u s t why this sudden incursion into the court language of E u r o p e !), while Pocahontas is announced as having been performed a t one of M r . H o r n ' s soirées by the excellent pianist, William Scharfenberg, but recently arrived in New York from Germany. Scharfenberg, though but twenty years old, had studied with Hummel in Weimar and had played second violin in Spohr's q u a r t e t in Kassel. Like Schlesinger, he belonged to the advance guard of t h a t brilliant g r o u p of German musicians so soon to come to America and build up a German supremacy in American musical affairs which was to last well into the twentieth century. D u r i n g the year 1839 Heinrich was honored by having a sketch of his life a p p e a r in still another famous E u r o p e a n biographical dictiona r y , this time F . J . Fétis's Biographie universelle des musiciens et bibliographie générale de la musique (Brussels, 1839). U n f o r t u nately, this sketch follows the Von Schilling Encyclopedia in crediting Heinrich with a second marriage. This statement he was for years at g r e a t pains to deny, as in the following letter 25 to W . C. Peters, editor of the Baltimore Olio and Musical Gazette: Dear Sir— Accept my thanks for your excellent musical magazine. I trust you will allow me the privilege of a corner therein for the purpose of correcting an egregious mistake in the article signed 'H.' While I thank the writer for his apparent good will manifested in the complimentary biographical sketch, I must, at the same time, correct his error in attributing a second marriage to my share, having only been wedded once and not to a "lady of wealth," as the world understands the phrase, but one abundantly rich in beauty, accomplishments and qualities of a noble heart. Having stated thus much in justice to others, as well as justice to myself, I draw a veil over my private history. 24. N o one who has had the patience to follow through the various references in this present work can fail to realize its author's indebtedness to the well-nigh invaluable files of the New York Mirror. 25. D a t e d February 21, 1850.

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Cordially wishing you success for your liberally conducted paper, and hoping that much harmony may emanate from the inspiration of your muse, I conclude by subscribing myself not the "Beethoven of the age," but simply the log-house composer of Kentucky. Anthony Philip Heinrich A letter to Mussik under date of August 18, 1 8 4 0 , tells something of Heinrich's life a t this time, 2 6 but the first sentence throws light more especially on the slowness of transatlantic mail service and the confusion then existing in all international postal m a t t e r s : On the twenty-seventh of April of this year I found in my room your welcome letter of the fourteenth of January. I have not yet found out who brought it to me from Europe. W e wonder less than a t first how Heinrich found it so difficult to keep in touch with his daughter during all the years of their separation. Quite apparently in those days one trusted f o r the most p a r t to personal delivery of all such correspondence. I t was certainly slow—let us hope it was sure. In reply to Mussik's request for information ( t o be published in Bohemia) as to Heinrich's life and work, Heinrich says t h a t he finds it difficult to write about himself, but will do the best he can to give a proper report of himself to his fatherland. He encloses various newspaper clippings, with reviews of some of his compositions. H e tells of the hard struggle he has had to make against a d v e r s i t y : several theatres with which he had contracts had failed, and he had lost much in the way of salaries promised but never paid (this was undoubtedly due to the hard times) ; the last straw, however, had been the burning of the Bowery T h e a t r e . He mentions the numerous fires in New Y o r k , which so impressed all travelers

27

a t that time, and expresses his con-

stant anxiety over the safety of his own manuscripts and the difficulty of preserving them in case of fire. He adds the information t h a t various painters have wished to do his p o r t r a i t , but t h a t he has not been able to spare the time for the sittings. 2 8 Another letter to the same friend, under date of F e b r u a r y 1841,

29

continues the report of his activities. He is p a r t i c u l a r l y

pleased over a most sympathetic review of his Elegiac 26. 27. 28. 29.

18,

Mussik, p. 21. Marryat, A Diary in America, Mussik, p. 23. Mussik, pp. 23-25.

p. 37.

Fantasia

in

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memory of Schlesinger, a copy of which he encloses. He is j u s t about completing his great national American historical work, The Jubilee, for which he hopes great things. He wishes particularly that the enclosed articles in regard to his work may be shown to Anselm Hiittenbrenner and August Mandel in Graz, also to Joseph Huttenbrenner, Gyrowetz, Privy Councillor Kiesewetter, and the American Consul Schwarz, all in Vienna. He adds in sincere simplicity: I am convinced that these paragraphs speak the truth, and that you will soon hear and see more of my work. If Bohemians are able out of mere pebbles to fashion the finest glass (one might even say gold), why should not I, too, simple creature of nature that I am, be able to produce something sublime ? 80

I t is this simple, childlike belief in the ultimate possibilities of his own nature that endears Heinrich to those of us who feel t h a t to a certain extent we have come to know this erratic but truly remarkable man. Here was no brazen trumpeting of his own genius, but a sincere and deeply felt belief in his own powers. Of his character as a man he himself held a most modest opinion. H e realized his own weakness. But for the genius of music which a t times seemed utterly to possess him— for this veritable g i f t of the gods—he had the deepest respect and veneration. In its defense he was willing at any time to meet the most formidable adversary, and of its fair name he was always intensely jealous. The years 1840-^12 were years full of interest to New York and America in general, and to Heinrich in particular. The year 1840 saw the advent of Fanny Elssler, the famous danseuse, in New York. She gave fifteen performances before leaving for other cities, and with an ever increasing popularity. Of her last appearance (June 11) Hone tells how she was "smothered under a shower of wreaths and flowers. Amidst the waving of handkerchiefs and three full, thundering rounds of hurrahs she came and in a short speech of sweet broken English expressed her gratitude, the regret with which she left New York, and her determination soon to return." 31 Undoubtedly Heinrich was also under the spell of her art, for at about this time appeared his Elssler Dances 32 for the pianoforte—"The Laurel 30. 31. 32.

Appendix I, note 7. Diary, I, 484. Scrapbook, p. 723.

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Waltz," "The Zephyr Dance," and " T h e New York Capriccio" ("a waltz in motu contrario")—together with a grand serenade, "The Nymph of the Danube." On March 11, 1841, his sixtieth birthday, Heinrich completed the score of his American historical work, The Jubilee, about which he had written to Mussik a few days earlier. We shall see much of this composition as time goes on, in its entirety or in p a r t , for Heinrich rewrote it many times. The sudden death of President William Henry Harrison on April 4, within a month of his inauguration, called forth from Heinrich "The President's Funeral March," 33 composed for the pianoforte or organ, but also designed for the use of military bands. Under date of J a n u a r y 5, 1842, we have the following appreciative letter:34 Waverly House, Jan. 5, 1842 My Dear Sir— I am much obliged to you for the two compositions you were so kind to send for my inspection. The Stranger's Requiem would not disgrace the name of Beethoven and the Bonny Brunette is very original. The words are well expressed in musical sounds. I regret the Public have not as yet done justice to your genius. There is a wildness, an originality—about your musical effusion that would delight a cultivated audience. When you were in London during the lifetime of Price, I saw and admired your manuscripts and then regretted I could not persuade him to give you a trial. But we must all bide our time. I remain, My Dear Sir Yours truly, John Braham We remember from the London days that John Braham was by common consent the greatest living English singer. His influence and prestige in London had always been immense. The great event of 1842 to New York and to all America, the repercussions of which are with us even yet, was the visit of Charles Dickens and Mrs. Dickens. Those were certainly the days of visiting celebrities ! What the coming of Elssler was in 1840, that and more was the visit of "Boz" in 1842. That Heinrich could not well remain outside all the 33. Scrapbook, p. 621. 34. Ibid., p. 426.

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excitement of extravagant hospitality goes without saying, and he published in 1842 The Yankee Welcome to Boz,3!i two waltzes for pianoforte—"The Rose of Albion," dedicated to Mrs. Charles Dickens, and "The Cosmopolitan," dedicated to Charles Dickens. Also in February, 1842, Heinrich received the following letter 30 from Washington Irving, which is self-explanatory. The composition to which Mr. Irving refers is "The Maiden's Dirge," 37 described as "a Lament composed for the pianoforte, suitable for instrumentation (in memory of the poetess-sisters Lucretia-Maria and Margaret Miller Davidson)." It was published in 1841. Sunnyside, Feb. 28th, 1842

Dear Sir, I have to return you my sincere thanks for the pieces of music which you were so kind as to send me, and especially for your musical tribute to the memory of Lucretia and Margaret Davidson; as well as for the obliging expressions with which you accompanied the present. My departure from town prevented an earlier acknowledgement of your kindness. With best wishes for your prosperity Your very obliged friend & servt Washington Irving Anthony Philip Heinrich Esq On March 21 and 28 Heinrich assisted at the piano in two concerts 38 given by Mr. Knaebel, French horn player. At the second of these two concerts Madame Otto sang Heinrich's setting, composed for this occasion and dedicated to her, of Wordsworth's "She Dwelt among the Untrodden W a y s . " 39 In April Heinrich participated in an event which proved to be of much greater importance than probably either he or any of the others concerned in it ever imagined: namely, the formation on April 2, 1842, of the Philharmonic Society of New York. At the meeting called for this purpose at the Apollo Rooms, Heinrich was chosen chairman. 40 35. Scrapbook, p 837. 36. Scrapbook, p. 637. 37. Scrapbook, p. 641. 38. Scrapbook, p. 448. 39. Scrapbook, p. 447. 40. Goodwin, Sketches and ImprettUnt, p. 173. It is impossible to overestimate the value of this society throughout its long and distinguished period of service in New York. At its first concert Madame Otto and Charles E. Horn appeared as soloists: the former in the great scene from Oberon and a Mozart aria, the latter in a scene from Beethoven's Fidelio, and with Mme. Otto in a duet from Armida by Rossini.

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The organization resulted in the choice of Ureli Corelli Hill as President and Director of the Society.

GRAND MUSICAL FESTIVAL, 1842

Naturally the event which loomed largest in Heinrich's eyes in the year 1842 was his own first concert in New York, given on Thursday evening, June 16. This concert aroused the liveliest interest. T o a certain extent fashioned after the musical festivals so popular in England, particularly the great Handel Commemoration Festivals, it sought to provide the largest possible orchestral group and a similar choral body. Everything was to be on a lavish scale, and it was to be in very truth America's first Grand Musical Festival. The newspapers were full of it: the great preparations, the fine talent to be employed, and the wonderful compositions to be presented, such as had never been heard in this country before. In sober fact, such an orchestra as was required had never been dreamed of in America. Heinrich's works called for an orchestra of "6 double basses, 6 violoncelli, 8 violas, 24 violins, primo and secondo, 4 trumpets, 4 horns, 1 cornetto, 1 bombardo, 1 ophicleide, 1 serpent, 1 bass horn, 3 tromboni, 1 contraFagotta, 2 Fagotti, 2 oboes, 3 clarinetti, 1 petite-clarinet, 2 flauti, 1 piccolo, timpani, bass and side drums, tambourins, cymbals, triangle, gongs, etc." 41 Shades of Berlioz and Wagner! And this in America in 1842! It is much to be doubted that this complete orchestra was realized, for the figures given vary from a hundred performers down to forty. Even if the latter figure was more nearly correct, however, and if a few serpents, ophicleides, and bombardos had to be omitted, still it is quite certain that nothing similar in an orchestral way had ever been planned in America before. But let us allow the newspapers to tell their own story. Before the Concert:

T H E H E I N R I C H MUSICAL F E S T I V A L It should be extensively known that preparations are being made for a grand musical festival to be held in this city some time during the present month. In England, and on the continent, since the grand commemoration 41. Brother Jonathan: A Weekly Compend of Belle» Art», I ( A p r i l 16, 1842), 436 (Scrapbook, p. 879).

Lettret

and the

Fine

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of H a n d e l , such meetings have been f r e q u e n t , when the most eminent p e r f o r m e r s combine their efforts, t a l e n t and skill in presenting to the public the g r e a t compositions of the g i a n t masters. T h e Heinrich Concert has been p r o j e c t e d on a magnificent scale, corresponding in some degree to those assemblages in Europe, with respcct to the music to be p e r f o r m e d , and the ability of the performers. I t cannot be doubted that such meetings conduce materially to the extension of the a r t , where ever they are encouraged; as by those means the public taste is improved, and the artists themselves are impelled and stimulated in man}* ways to continue their efforts to excel. We are not aware that any combination of musical talent has yet taken place in our country under such circumstances as to j u s t i f y the designation of a Musical Festival. I f , however, an orchestra, which will number nearly 100 of the best p e r f o r m e r s in the United States, and a choir of sixty selected vocalists, trained and drilled by an efficient a n d competent chorus m a s t e r ; combined with the brightest stars t h a t corruscate in our musical horizon, constitute material for a F e s t i v a l — t h e n is M r . Heinrich p r e p a r e d to give an entertainment which shall be r e f e r r e d to, in a f t e r times, as the first American Musical Festival. 4 2 T h e Concert will open with H e i n r i c h ' s G r a n d Festival Overture, and among the selections from his works will also be given: " T h e S t r a n g e r ' s Requiem," " T h e H y m n of the Virgin," " T h e Loved One's G r a v e , " " T h e D e a t h of a C h r i s t i a n , " and the " B i o g r a p h i c L o g House." We do hope t h a t t h e r e will be such an effective interest taken in this matter t h a t the venerable enthusiast Anthony Phillip Heinrich will have the pleasure of hearing his g r a n d oratorio once p e r f o r m e d . T h e subject certainly is one which should interest Americans, p a r t i c u l a r l y if they feel any pride in the history of their country. Let those who have read Zanoni and feel for G a e t a n o Pisani—who think they would have come forward to aid him, come f o r w a r d for H E I N R I C H . H e will certainly die one of these days with his fingers on the instrument keys f o r such is his feverish devotion to the heavenly science, such his earnest application, that he has absolutely produced a nervous disease in his system, of a singular character. At times the ends of his fingers are so acutely and tingingly sensitive that they will not bear the touch of any object. I t seems like driving acute pin points into the flesh, to let his hands touch an instrument. W h a t does the old enthusiast t h e n ? Suspend his p u r s u i t ? N o t he ! Armed with thick glove finger ends, his hands disdaining the confinement of whole mittens he r a t t l e s away as industriously as e v e r — a n d compose he will—test the capabilities of his notes he would, though each key of ivory were a glowing coal! H a v i n g r e f e r r e d to Gaetano Pisani, in the connection, it is only justice to our old friend Heinrich to say t h a t the parallel between them must not 4,2. Scrapbook, p. 879.

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be carried too f a r . M r . H e i n r i c h does not select gloomy or monstrous subj e c t s , he is not moody or r e p e l l a n t in m a n n e r s , but h a s a word f o r every body, and never f o r g e t s t h e p e r s o n to whom he has been once introduced. H i s whole conversation is, to be sure, of his own p r o f e s s i o n , a n d he moves about by fits a n d s t a r t s , as if t h e pulse of eloquent music were all t h e time p l a y i n g on his nerves. Single h e a r t e d a n d benevolent, all his s h a r e of t h e irritability of his profession is reserved f o r replies to attacks m a d e on him by certain y o u n g musical critics, who can no more u n d e r s t a n d him than an Esquimaux could c o m p r e h e n d Aristotle. Old a n d deep musicians give him credit f o r w o n d e r f u l power a n d originality, a n d nothing delights A n t h o n y more than when he has s t r u c k off a composition which those whipp e r s n a p p e r s who affect to be his critics c a n n o t r e a d , much less p l a y . B u t we know nothing of music, technically or scientifically. O u r opinions a r e f o r m e d on such s u b j e c t s on t h e r e p r e s e n t a t i o n s of such men as we know a r e worthy of confidence. T h e soul of music, however, we can detect, and its incarnation a l w a y s seemed to us to be F a t h e r H e i n r i c h . T h e r e is music in his j o y — t h e r e is expression deep, a n d u n t r a n s l a t a b l e into words, in his rapid a n d fitful gestures. We love his enthusiasm—love the m a n — a d m i r e the eccentricities of his genius, evident even to a person whose pretensions to science a r e as slight as ours. H e has been a life time summoning strains which will s p e a k in his " P i l g r i m F a t h e r s . " G e n e r o u s p u b l i c ! S h a l l not this old m a n have an o p p o r t u n i t y to e n j o y y o u r kind p a t r o n a g e ? . . . Come f o r w a r d a n d crown this m a n ' s career, and let him die h a p p y ! 43 A f t e r the C o n c e r t :

T H E GRAND MUSICAL

FESTIVAL

T h u r s d a y night, was one of t r i u m p h to F a t h e r H e i n r i c h . T h e r e were a thousand people a t t h e T a b e r n a c l e , a g r a n d o r c h e s t r a a n d choir, the most eminent musical t a l e n t , vocal a n d i n s t r u m e n t a l , now in the c o u n t r y , a n d over all p r e s i d e d the genius, enthusiasm, a n d w o n d e r f u l power of the old composer, whose choicest p r o d u c t i o n s were so proudly a n d so h a p p i l y given to the world. All his long life, A n t h o n y P h i l i p p e H e i n r i c h has h a d one single, absorbing passion, controlling a n d o v e r p o w e r i n g all others. Music has been his meat, his drink, and all his p l e a s u r e . H e t a l k s of nothing else, writes of nothing else. T o it his d a y s a n d nights have been devoted. Of late he h a s been engaged upon a g r e a t w o r k , which he wished to bequeath to his adopted c o u n t r y , and to have p e r f o r m e d , a t least a portion of it, f o r himself a n d the public. H e summoned the musical talent of the land a r o u n d 43. Brother Jonathan (Scrapbook, p. 879). Bulwer's Zanoni was published in America in the spring of 1842 and most enthusiastically received.

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him, and it is most honorable to those composing it that they promptly responded to the call, and volunteered their services. Madame Otto, the most brilliant vocalist in America, volunteered—Madame Spohr-Zahn, Mrs. Outcalt, came from Philadelphia, and Mrs. H a r d wick, Mrs. Strong and Miss Pierson, were among the most distinguished. We had the great violinist Leopold Herwig from Boston, who came here expressly for this occasion, Mr. Timm, Mr. Scharfenberg, and other well known artistes. 4 4 MUSIC M. Heinrich's Grand Musical Festival.—On Thursday evening we had the gratification of witnessing the complete triumph of a veteran musician, who, although he has written voluminously and well, has not achieved here the reputation he deserves, until the tardy period of his greatly advanced years. M. Heinrich gave his festival at the Tabernacle, and assembled for the performances a powerful orchestra, consisting of at least forty instruments, nine principal vocalists, and about sixty chorus singers. The weight of the instrumentation devolved upon M. Herwig (violino obligato,) Messrs. Timm and Scharfenberg, (Piano,) Mr. Rosier, (contra basso,) and an artist whose name we know not (trumpet). Mr. U. C. Hill was leader, and D r . Hodges, and Messrs. Alpers and Harrison, presided by turns at the Organ. I n the vocal department were Mesdames Spohr Zahn, Otto, Strong, Hardwick, Outcalt ( a debutante,) Miss Pearson, Messrs. Pearson, Senr, and J u n r , and Mr. Massett. T h e music was chiefly from the compositions of the venerable Heinrich; the opening piece, a grand overture to The Pilgrim Fathers, consisted of four movements indicative of the origin and progress of civilization and freedom in America. The first movement was an ottetto adagio, giving the idea of solitude and repose in the vast forests of this continent; it was loudly applauded, but it disconcerted the composer for it interrupted the resolution into the next movement, which was another adagio for the full orchestra, in which all is supposed to be gradually wakened into life. The third movement indicates the onward march and struggles of Freedom; and the fourth is its joyous completion. Nothing could be more grand than the conception, and few things were more beautiful than the enunciation of this plot; the melodies were good, but the harmony was magnificent. It is to be feared however, that the passages were upon too scientific and German principle to receive their due measure of applause, except in the hearing of musical critics. The general effect nevertheless was highly satisfactory, for at the conclusion of the piece the composer was honoured with repeated rounds of applause from the thronged audience who had listened to it. It was a grateful sight, though an oppressive one, to witness the emotions of the veteran upon receiving 44. Scrapbook, p. 50.

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167

the unequivocal testimony to his taste and talent. It shook the old man out of his composure, but we trust that after his excitement shall have subsided, that he will remember last Thursday evening with peculiar satisfaction. In the first movement of the piece to which we have alluded, the low notes on the bass horn did not mingle well with those of the violoncello and the contra bass, and the effect was somewhat harsh, but this diminished when the subject continued, and the intended effect became understood. The other principal compositions of the evening, by M. Heinrich, were a "Grand Chorus Canonicale," in which the national airs were mingled up with much skill; and a vocal quintett called "The Death of a Christian" in which the harmonies displayed the most erudite skill of a master, and the performance was honoured with the most enthusiastic applause. Besides these pieces, Mesdames Otto and Spohr Zahn sang in fine style a duet from Tancredi, and an air and chorus were sung from the new "Stabat Mater." 45 Mrs. Hardwick sang "Thy mighty Power," composed by Novello, and was accompanied in capital style by Mr. Rosier on the Double Bass. Mr. Herwig played a concerto on the violin, in a manner which showed much skill on the instrument, but the effects were but mechanical. Mrs. Outcalt made her first appearance in public, but was so completely terrified that she did herself great injustice. We feel satisfied that this lady, whose voice is that of a mezzo soprano, has much power, sweetness, truth, and even skill in the management of her voice, but she certainly needs to improve in self-possession. We had never given Mrs. Strong credit for so large a degree of sweetness or of skill as that which she exhibited on this occasion. She was evidently indisposed, yet she sang music in which difficult distances, chromatic passages, and most extensive display of compass were continual, and she went through her arduous business of the evening in excellent style. Miss Pearson also is a very promising vocalist, and we trust that she will not be allowed to spoil her voice by singing indifferently contralto or soprano parts. Let her be kept closely to one line, that, namely, which legitimately belongs to her quality. We congratulate M. Heinrich on the deserved compliment he has received, and we equally congratulate the numbers who assembled to pay it, for the good taste which they thereby displayed. 48 W e have quoted this last review in its e n t i r e t y as a good example of the f r a n k n e s s of musical criticism a t this time. W e c a n n o t fail t o feel s y m p a t h y f o r p o o r Mrs. O u t c a l t , who was so evidently suffering f r o m a bad case of stage f r i g h t on this occasion. As one of t h e reviewers assured her, however, she was f a r f r o m being alone in this plight. 45. Think of the thrill of hearing for the first time the Inflammatus from the new Stabat Mater! 46. Scrapbook, p. 1053.

GRAND

MUSICAL FESTIVAL MR. A. P. HEINRICH RESPECTFULLY ANNOUNCES TO HIS FRIENDS AND T H E PUBLIC IN GENERAL THAT H I S

GRAND MUSICAL

FESTIVAL

WILL TAKE PLACE AT THE

Broadway Tabernacle, ON

Thursday Evening, 16th June, 1842. PRINCIPAL

PERFORMERS.

MADAME OTTO, MRS. STRONG, MISS PEARSON, MADAME SPOHR-ZAHN, MR. S. PEARSON, MRS. OUTCALT, (her first appearance.) MR. PEARSON, MRS. HARDWICK, MR. MASSETT, MR. S C H A R F E N B E R G , MR. TIMM, MR. E. R. H A N S E N , (from Philadelphia.) MR. BOUCHER, MR. H. B. DODWORTH, LEOPOLD HERWIG, ( f r o m Boston.)

The O R C H E S T R A will be n u m e r o u s and p o w e r f u l ; consisting of all the available Professors in the city: together with upwards of 60 efficient voices. Mr. U. C. HILL. Mr. J. PEARSON. General Director, . . . . . . . . A. P. Who will preside at the Piano-Forte.

HEINRICH,

E. HODGES, (Mus. Doc.) MR. WM. A L P E R S & MR. D. R. HARRISON, Will preside at the Organ alternately.

PART

I. OPENING

OF

THE

FESTIVAL

I. The Grand Overture to the Pilgrim Fathers, ITEMS:

A . P. HEINRICH

Ottetto.—The Genius of Freedom slumbering in the Forest shades of America. Adagio Secondo—FÜLL ORCHESTRA—She is awakened into l i f e and action by those moving melodies with which N a t u r e regales her solitudes. ifarcia.—The efforts of Power to clip the wing of the young Eagle of Liberty. Finals Allegriitimo.—The joyous reign of universal Intelligence and universal Freedom. Adagio

I I . Concertante.—Santa Maria. Mrs. Strong, Miss Pearson, Mr. S. A . P. HEINRICH. Pearson, and Mr. Pearson . I I I . Song.—Sweet is the Balm. Mrs. Outcalt, (her A . P. HEINRICH. first appearance.) I V . Duetto.—From the Opera of Tancredi. Md'me Spohr-Zahn Sf Md'me Otto ROSSINI. Recit.—"A chrystal pavement lies," tria.—"The traveller stands perplex'd," I Ar Mr. S. Pearson HAYDN'S SEASONS. V I . The Biographical "Log-House Song." Mrs. Strong A. P. HEINRICH. Piano-Forte Obligator,—Mr. Scharfenberg. V I I . Grand Chorus Canonicale.—From the Pilgrim Fathers A . P. HEINRICH. PART

II.

V I I I . Grand Solo or Concerto. Mr. Leopold Herwig. I X . Aria, with Chorus.—From Rossini's celebrated Stabet-Mater—"In flammatus et accensus. Madame Otto X . Duett.—The Stranger's Requiem. Mrs. Strong Sf Miss Pearson X I . Song.—"Thy mighty power." Mrs. Hardwick, Contra-Basso. Obligato,—Mr. Rosier. X I I . Quintetto.—The Death of a Christian. Mrs. Strong, Miss Pearson, Mr. S. Pearson, Mr. Pearson and Mr. Massett. . X I I I . Finale.—Beethoven's Grand Hallelujah to the Father Doors will be opened at half past 6 o'clock;

Performance

ROSSINI.

A.

P.

V.

A.

P.

HEINRICH.

NOVELLO.

HEINRICH.

BEETHOVEN.

will commence

at 8.

S I N G L E T I C K E T S , I D O L L A R ; Tickets to admit a L a d y and Gentleman, $1.50; to admit two Ladies and a Gentleman, $2. T o be had at the Music stores, at the Book store of Dayton & Newman, at Saxton & Miles's, Broadway, at Mr. J. A . Sparks's office, 111 Nassau street, up stairs, and at the door on the evening of performance.

170

NEW

YORK:

1837-1857

W e close t h e reviews of the c o n c e r t with H e i n r i c h ' s own c a r d , d a t e d J u l y 12, 1 8 4 2 : 4 7 MR. A. P. H E I N R I C H tenders his sincere thanks to his friends and the public, for the liberal patronage extended to him on the occasion of his Musical Festival. To the Orchestra, and to the ladies and gentlemen who assisted at the performance, he acknowledges many obligations for the promptness and enthusiasm with which they responded to his invitation for their aid, in bringing out some of his works. To the editors of the various public journals, Mr. Heinrich desires to express his gratitude, for their liberality and very flattering notices, both before, and after, the performance. This is especially due, on account of the confidence reposed in his ability as a composer, and the assurances given to the public, that the Festival would be worthy of patronage. Mr. H . regrets that any circumstances, should have prevented a larger number of citizens from listening to the numerous and powerful orchestra convened on the occasion, comprising the highest order of musical talent in our country; and, particularly, as the receipts were insufficient to enable him to make such returns for the service rendered, as he had intended. I f , however, he should be able to realize his present intentions of again visiting Europe, to exhibit to the musical giants of the Old, some of the minstrelsy of the New World, he may avail himself of the kind suggestions from many estimable individuals, as well as from the press generally, and give another public performance as a Farewell Concert. Fully alive to a sense of their kindness, he proffers to his musical brethren, friends and patrons, the testimony of his grateful acknowledgements. A s we s t u d y t h e p r o g r a m ( p p . 168—69) 4 8 in detail, we find much of i n t e r e s t . M a d a m e O t t o , a w a r m f r i e n d of H e i n r i c h ' s , was u n d o u b t e d l y " t h e most b r i l l i a n t vocalist in A m e r i c a . " M r . S c h a r f e n b e r g we have a l r e a d y met. Messrs. T i m m a n d B o u c h e r were p r o m i n e n t in the o r g a n i z a t i o n of the New Y o r k P h i l h a r m o n i c Society. L e o p o l d H e r w i g , who came f r o m B o s t o n to help on this occasion, was a fine violinist of whom we shall h e a r more presently. M r . U . C. Hill 4 9 we recall as t h e leading s p i r i t in the f o r m a t i o n of t h e Philh a r m o n i c a n d its first p r e s i d e n t a n d c o n d u c t o r . E d w a r d H o d g e s was t h e distinguished o r g a n i s t a t T r i n i t y C h u r c h . W e complete the p r e s e n t a t i o n of this really brilliant occasion ( H e i n r i c h ' s first m a j o r t r i u m p h in A m e r i c a , c o n t i n u i n g a n d increasing the p r e s t i g e acq u i r e d a t G r a z ) with the excellent p r o g r a m - b o o k ( p p . 171—74). 5 0 47. 48. 49. 50.

Scrapbook, p. 1053. Scrapbook, p. 1221. Ritter, Mtuic in America, Scrapbook, pp. 45-48.

p. 273ff.

OF

HEINRICH'S

GRAND MUSICAL FESTIVAL TO B E G I V E N AT T H E

Unraitotag ©abmtarU J u n e 16th, 1842.

PART I. I.

GRAND OVERTURE

to the "Pilgrim Fathers,"

.

A.

P.

HEINRICH.

Ideal s u b j e c t — I T E M S : Adagio Ottetto.—The Genius of Freedom slumbering in the Forest shades of America. Adagio Secundo—FULL ORCHESTRA—She is awakened into life and action by those moving melodies with which N a t u r e regales her solitudes. Marcia.—The efforts of power to clip the wing of the young Eagle of Liberty. Finale Allegrissimo.—The joyous reign of universal Intelligence a n d universal Freedom. II.

CONCERTANTE—Santa

Maria,

HEINRICH.

O Santa Maria, viva inaeternum. O viva inaeternum Beatissima Felicissima Maria. O Gloriaissima, O Beatissima Maria.

III. SONG—Sweet is the Balm Sweet is the balm t h a t hope can give, To soothe the lover's b r e a s t ; In sorrow's hour it bids him live, A n d calm his fears to rest. The dew is sparkling on each flower— W h a t minstrel wakes the strain? ' T is Echo's voice, f r o m yon lone bower. H e calls—he calls in vain. How brightly beams the lover's eye; J o y starts t h a t speaking tear— Hush'd is his lyre and heaving sigh— F o r see, his love is near.

HEINRICH.

I V . DUETTO—From the Opera of Tancredi. (Md'me Spohr-Zakn and Md'me V.

RECIT.

and

ARIA—"A

The

Biographic

ROSINI.

chrystal pavement lies the lake."

Recit. A chrystal pavement lies the lake; Arrested stands the rapid stream, And o'er the lofty cliff the torrent hangs, With idle threat and seeming roar. The leafless woods no more resound; The fields are hid, the valleys chok'd With heaps immense of drifted snow; The dreary earth appears a grave, Where Nature's splendor lies interd— A death-like hue o'er all prevails; And o'er the wild and bleak expanse, 1'ale Desolation spreads her wings. Aria. The Trav'ler stands perplex'd, Uncertain and forlorn, Which way his wandering steps to turn, VI.

Otto.)

"LOG-HOUSE

HAYDN.

Across the trackless waste. No human dwelling cheers his sightNo mark of human foot is found, And onward as he eager toils, In deeper error plunges still. Depressed his courage sinks, And anguish wrings his heart, As night its sable horror sheds, And weariness and cold Have stiffened all his limbs. But to his gladdening sight appears A sudden gleam of neighboring light; With joyful panting breast, To gain the welcome cot, Where all his pains may find relief; And now revived he springs, To gain the welcome cot, Where all his pains may find relief.

SONG."

HEINRICH.

Descriptive of scenes in the author's l i f e — C o m p o s e d in a wild forest of Kentucky, whither Mr. Heinrich — t h e n a Bohemian s t r a n g e r — h a d been driven by the storms of adverse fortune. Far in the west, an endless wood, Sighs to the rushing cataract's flood— 'T was there an humble log-house stood, To fame unknown; There first loved minstrelsy I wooed, And wooed alone. The thundering fall, the bubbling stream, Murmuring midst stones and roots between, Where Nature's whispers, for some theme To inspire my lay— Trilling arpeggios thro' my dream, With wild sweet play. Thro' gloom and mists, Heaven's glorious bow, Hope, bursting, gleamed her sunny brow, Bidding the wild wood minstrel go Far to the East— And careless scatter, midst her glow, His forest feast. He came, a wandering wayward child, A native flower, free and wild, With ardor fierce! with feelings mild— 'T is genius' boon— Then swept his minstrel lyre, and smil'd, For fear had flown.

VII.

CANONICAL*—from the Pilgrim Fathers, H E I N R I C H .

GRAND CHORUS

The words and Items, adapted to the original Andante—The

embarkation.

The Prayer

tcore—by

WILLIAM

J.

EDSON.

arrival of the "May F l o w e r " on the coast of New E n g l a n d . Basso.

The Dit

written for, and

of

F r o m a f a r distant land we come, T r u s t i n g God for our faith, and a home!— A s our feet a r e now placed on a rock, We vow to be constant and t r u e ; Hence evermore breasting each shock, The end of our faith keep in view.

Gratitude.

F a t h e r in Heaven, we bless t h y name, F o r thy mercy and thy care. H o w can we repay Goodness so divine; Creatures of a d a y — The Fecut of Shells—or

the firtt New England

Ocean's bed makes glad our f e a s t ing. Now our toils and f e a r s f o r g e t t i n g ; H e r e a country we have found, L e t the notes of joy r e b o u n d ; Ocean yields her stores of food, P r a i s e the L o r d for he is good. The Prophetic

All we have is thine, And thine, O L o r d , are we— Glory and honor be Given unto thee, Thine own a r m hath saved u s ; Thy grace made us free.

virion of the future

Qlory of

Of our nation's f u t u r e fame, T r u t h surpasses story, Age on age shall swell the theme, Chanting deeds of glory. G r a t e f u l ever ever be, W e to whom 'tis given; L e t the song of jubilee Resound from e a r t h to heaven. S h o u t ! Loud his praises shout! H e from oppression brought us out,

Thanktgiving.

S p r i n g shall make the prospect cheering, F r o s t and snow now disappearing, The e a r t h shall be all clothed with verdure, S u m m e r then its f r u i t s shall bring, Thou O God, alone a r t King.

America.

And placed our feet on freedom's shore, A n d broke the t y r a n t ' s cruel power. H i g h then our voices raise, H i s be the honor—His be the p r a i s e ! We, till time's long course is run, Will ne'er yield the boon His favor won. And all shall endure 'till time's last hour: F o r God will hear the Pilgrim's prayer. Let each p a t r i o t brave and free, Celebrate the jubilee.

PART IL VIII. IX.

G R A N D S O L O OR

CONCERTO—Violin—

(Herwig.)

WITH CHORUS. From Rossini's celebrated S t a b e t - M a t e r — " I n flammatus et accensus."

ARIA,

X. DUETT—The

Stranger's

Requiem,

HEINRICH.

The words composed to the music, at the request of the author, to commemorate the departure of an esteemed Professor of the "divine art," from the "Father land," and a highly gifted son of song—by . . . . W. J.EDSON. In yonder bright celestial sphere, Where angel harps resound, Where sorrow's note ne'er greets the ear, A spirit rest has found. Rest spirit, r e s t — f a r , f a r away, F r o m sorrow, sigh or t e a r ; We'll lightly chant thy requiem lay, A n d hold thy memory d e a r . There take thy h a r p a t t u n e d to praise, A n d wake sweet melody; And though we wait our term of days, We'll rise and come to thee. B r i g h t seraphs list thy notes to hear— Then wake an echo song—Alleluia—Alleluia. There thou the purest, brightest thought, Of thy r a p t soul may sing, Which s o f t and clear shall echo float, As fann'd by angels' wing— Then strike anew thy h a r p of gold, A n d swell the song above, 'Till strains unheard, and thoughts untold W a k e all the soul to love. Alleluia, Alleluia—Amen. XI. XII.

S O N Q — " T h y mighty power." QUINTETTO—The

V.

death of a Christian

NOVELLO. HEINRICH.

Sweet is the scene where Christians die, When holy souls retire to r e s t ; H o w mildly beams the closing eye! H o w gently heaves th' expiring b r e a s t ! So fades a summer cloud a w a y ; So sinks the gale when storms are o ' e r ; So gently shuts the eye of day, So dies a wave along the shore. T r i u m p h a n t smiles the victor's brow, F a n n ' d by some g u a r d i a n angel's wing; O g r a v e ! where is thy vict'ry now; And where, O d e a t h ! is now thy sting? XIII.

GRAND

C H O R U S — H a l l e l u j a h to the Father.

.

.

BEETHOVEN.

H a l l e l u j a h to the F a t h e r , and the Son of God, Praise the L o r d ye everlasting choir, in holy songs of joy. Worlds on worlds shall sing his glory, The exalted Son of God. Praise the Lord in holy songs of j o y , etc.

NEW YORK:

1837-1857

175

F r o m this program-book, it is quite evident that New Y o r k , even in 1842, knew how to manage a great concert with all possible dignity and decorum. I t was probably at about this time that Heinrich was so busily engaged in the composition of a part of his large scheme for a great national oratorio, The Pilgrim Fathers. He has affixed to one particular portion of this work, " T h e Wild Wood Spirit's Chant," 5 1 the following characteristic note: There is no fact better authenticated than that poets (who were grave historians in ancient times) heard or feigned to hear the voices of spirits and the music of the spheres, and men have always believed that myriads of beings walk the earth unseen to mortal eyes. But whether that be truth or fable, the author has himself heard the genii of music (if credence be given to his imagination) in an American forest—and although strange vicissitudes have chased him since, and these storms of more than sixty winters have left their chill upon liiin, yet the impressions of that ethereal music were no deception and he recalls all so vividly that by the help of sketching —scored upon that mystic ground in the state of Kentucky—then the abode of Sylphs and Naiads—he has been able to note down that music on these pages as he heard it from an invisible band. How much this great work of his was on his mind and in his heart we can see from the following letter " 2 to Mr. Seaton, M a y o r of Washington, D. C., and partner in the printing establishment of the National Intelligencer of that city, in which paper had recently appeared a favorable notice from the pen of a Mrs. Colvin, of Heinrich and his works. To the Honorable Mayor of Washington City. Georgetown, 2 March 1843 I hear that your accomplished daughter, Miss Seaton, is a very distinguished Amateur Pianist. I regret that no suitable occasion would offer, to hear her perform and join in the Chorus of admiration. Will you have the kindness to present her in my name the following few stragglers of my compositions for the Pianoforte with my best apologies, as for the moment I am not provided with copies from my printed effusions of more execution and effect. During 2 weeks, I have at least been trotting about 140 miles, by day and night, to and fro, from the Tiber to the Capitol, inclusive of many Zig Zags, taken with heavy letters of introduction, Pitts, Patts, Puffs and Packages of music to the Colossuses of learning and patri51. 52.

See under title in L i s t o f Compositions. Scrapbook, p. 39.

176

NEW YORK:

1837-1857

otisra of the Commonwealth, abounding so much in these parts, in quest of Patronage for my Grand National Musically historical work. One night, as an utter stranger, I was actually lost in the swamps of Washington City and the Quagmires of Georgetown, thus sustaining many rough Counterpoints but not one cheering subscription corresponding to my harmonious enterprise. . . . I shall forwith return very independent, nay stoically to my loft garret in New York, reflect on my haps in Washington City and most likely upset the Musical Consumation of American Liberty (Vide my Prospectus) which is by no means a profitable current or tolerated subject in Europe and other parts of the world, where the divine art however is a particular attribute of the pious and the great in Civilization. If the venerable Patriarch J . Q. Adams, so exalted as a Statesman and Poet would furnish me a Poem on the Emancipation of the Slaves, as huge as that immense Roulade of Signatures from the Abolitionists which was apparently his Symbol before his seat in the Congress hall, I will compose and arrange a Score or an Oratorio, whose gigantic effects may possibly reverberate more stentorian through the welkin and impressive through the World, than all the ponderous dissonant speeches of his opponents, or the Thunders of Niagara. If necessary, my strains shall also flow as gently as the invitations of the "Lovely Ohio". If you please, mention this little "Fantasia or Cappricio" of mine with "Gran Gusto e Amore" to the enthusiastic and philanthropic John Quincy Adams as coming from the ardent Loghouse Composer of Kentucky, who always strives to fulfill his promises to the best of his powers. Pardon my frank and uncerimonious rhapsodizing—remaining with perfect esteem, honored sir! Your very obliged humble svt. A. P. Heinrich. T h i s letter was written d u r i n g those s t r e n u o u s d a y s when the still vigorous f o r m e r P r e s i d e n t , J o h n Quincy A d a m s , now Member of Congress, was p r o v i n g himself (in spite of his seventy-five y e a r s ) the efficient w a t c h d o g of all Abolitionist interests in the H o u s e of R e p r e sentatives a t W a s h i n g t o n . One of the "heavy l e t t e r s of i n t r o d u c t i o n " which H e i n r i c h said he was c a r r y i n g a b o u t W a s h i n g t o n these d a y s was the following f r o m J o h n H o w a r d P a y n e , with whom, we remember, H e i n r i c h had formed a firm f r i e n d s h i p in the old L o n d o n d a y s : 5 3 New York Jany 18, 1843 My dear Sir, The bearer of this is A. P. Heinrich Esqr, of whom I have already written to you, and concerning whom you must often have heard from other quarters. Mr Heinrich is a compatriot of Mr Pettrich, and like him an 53.

Scrapbook, p. 895.

T © M IS ;,O I'. W©ÏÏS3IS .

J%m/Ùt M.VmxnUr I *'"•'''

Title Page of "The

Log

House"

NEW YORK:

1837-1857

177

enthusiast and a master in the science to which he has devoted himself—in short, he is in music all that we admire Pettrich for in sculpture. I would ask your kind countenance to my friend. I have known him very long and regard him very warmly. I will also ask that you will further oblige me by introducing him to the President as well as to Mrs T y l e r ; both of whom will, I am sure, take great interest in a man of so much genius and at the same time of such child-like simplicity and truthfulness. With my most respectful remembrance to all who may care to hear from me under your roof, believe me, ever faithfully yours John Howard Payne. Robert Tyler Esqr Washington City. W h e t h e r a n y t h i n g ever came of this f r i e n d l y letter we do not know, but it seems d o u b t f u l . Also in J a n u a r y , 1843, H e i n r i c h received the following letter from C. E . H o r n . I t is merely a business letter, b u t it shows a fine and j u s t spirit. 5 4 Jan. 30, 1843.

My dear Sir— The plates on which your May Day Waltz, L'Esprit and Bonté were printed are with Messrs. Firth and Hall or at Mr. Parson's other agent Mr. Beal—Fulton Street near St. Paul's Church—but I fear they have never paid anything like the expenses of the plates—like most of our compositions we think are to make our fortunes, when sometimes an unexpected trifle turns out a good thing. Either Firth and Hall or Mr. Beal will explain all to you—and of course must account for all such things which were not bona fide my own property. I published these for you and they must render you an account. I was not aware you were unpaid the last [illegible] because I always desired you should be paid first. However, you must allow me to pay you on Tuesday which will be the same thing. Pray send me anything for our friend Tuke—as I shall endeavor to find him as soon as I get to London, and believe me always to have been your sincere friend, and remain yours faithfully C. E. Horn A. P. Heinrich, Esq. A torn f r a g m e n t , f o u n d a m o n g H e i n r i c h ' s p a p e r s , witli the record of a week's teaching d u r i n g M a r c h , 18-13, shows t h a t along with his other numerous activities Heinrich was a busy t e a c h e r : 54.

Scrapbook, p. 817.

NEW

178

YORK:

18 3 7 - 1 857

Saturday, 25 Mch. 1843 Lesson—third in the week to Miss Ferris. Sunday, 26 Mch. 1843 Second lesson since return from Washington City to Miss Godefrey. Monday, 27 Mch. 1843 1 Lesson—first in the week—to Miss Hallett. 1 Lesson to David Banks—first in the Week. Tuesday, 28 Mch. 1843 1 Lesson to Miss Dykers. 1 Lesson to Miss Hallett. 1 Lesson to Miss Gay. Wednesday, 29 Mch. 1843 1 Lesson—second in the Week—to Miss Hallett. 1 Lesson—first in the Week—to Miss Ferris. 1 Lesson to Miss Godefrey. Thursday, 30 Mch. 1843 1 Lesson to Miss Dykers (Second in the Week). 1 Lesson to Mr. David Banks (Second in the Week). 1 Extra Lesson to William Banks. Friday, 31 Mch. 1843 1 Lesson to Miss Gay (Second in the Week). 1 Lesson to Mis.« Hallett (Third in the Week). T h a t H e i n r i c h w a s once m o r e k e e p i n g s t e p w i t h n a t i o n a l a f f a i r s is shown b y t h e p u b l i c a t i o n t h i s n e x t y e a r ( 1 8 4 4 ) of " T y l e r ' s G r a n d Veto Q u i c k - S t e p "

55

and " T h e Texas and Oregon Grand M a r c h , "

56

b o t h f o r p i a n o f o r t e . N o r was he u n m i n d f u l t h e s e d a y s of t h e l a n d a c r o s s t h e sea, t h e l a n d of C o v e n t G a r d e n , of D r u r y L a n e , of r o y a l c o r o n a t i o n s , a n d of r o v r ' f r u g a l i t y in p a y m e n t f o r t h e m u s i c a l glories of the same. B u t t h e ill h a d l o n g since been f o r g o t t e n f o r the g o o d , a n d on O c t o b e r 2 2 , 1 8 4 4 , H c i n r i c h c o m p l e t e d a R o y a l S y m p h o n y e n t i t l e d of Wales.

This Royal

S y m p h o n y f o r m e d p a r t of a p r o j e c t e d P a r t i t u r a , National

Victoria's

and Albion's

Young

Hope,

The Prince

Memories,

which we shall come u p o n a g a i n . U n d o u b t e d l y t h e r e were m a n y o t h e r i d e a s in his b u s y b r a i n which were t o m a k e t h e i r a p p e a r a n c e a l i t t l e l a t e r , f o r we find t h e y e a r 1 8 4 5 r e m a r k a b l y rich in t h e p r o d u c t i o n , in whole o r in p a r t , of these l a r g e r w o r k s , m o s t of t h e m c o m p o s e d f o r f u l l o r c h e s t r a . T h e s e w o r k s emb r a c e d t h e f o l l o w i n g scores :

57

55. Scrapbook, p. 749. 56. Scrapbook, p. 755. 57. See under titles in Liât of Compositions.

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179

Boadicea. A concert overture for thirty-one parts, with an organ part ad libitum. [Program:] Boadicea, the British warrior-queen. A heroic fantasy. . . . The revolt of the Iceni (ancient Britons) led on by the Queen Boadicea . . . The battle with Suetonius, the Roman general . . . The defeat and despair of the Queen . . . Her tragic death . . .

2. The Empress

Queen and the

Magyars.

"Moriamur Pro Rege Nostro." Sinfonía patriótica dramatica in 4 parts. (Plena orchestra, con violino obligato.) A tribute to the memory of the Empress Queen Maria Theresia. [Only a part of this work was completed in 1845.] 3. The

Mastodon.

A grand symphony in three parts for full orchestra. Containing musical portraitures on the following subjects: I. Black Thunder, the Patriarch of the Fox Tribe. I I . The Elk Horn Pyramid, or The Indians' Offering to the Spirit of the Prairie. [ I t is possible that only the Elk Horn Pyramid was composed in 1845.] I I I . Shenandoah, a Celebrated Oneida Chief. IV. The New England Feast of Shells. Divertimento Pastorale Oceánico Orchestral. 1. Andante—The Home Adieus of the Nymphs and Swains departing for the maritime festival. 2. Andantino—The fanciful curvettings of the mermaids in the ocean surf. 3. Finale Brillante—The romantic love feast resulting in the destruction of the bivalves and the sacrifice of the shells (vulgate, "Clam bake"). 4. To the Spirit

of

Beethoven.

Monumental symphony for a grand orchestra. An echo from America to the inauguration of Beethoven's monument at Bonn. T o these enormous manuscript remains we add the published Quintette and Chorus, "The Adieu," 5 8 being the opening vocal soli and chori with an organ accompaniment from the grand historic oratorio ! The Wild Wood Spirit's Chant or The Pilgrims to the New World. The English words by William J . Edson, Esquire ; the German words by Charles J . Hempel, Esquire, the entire oratorio 58. Scrapbook, p. 57.

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including the overture and voyage symphony entitled The Columbiad or Ocean Wave. " T h e Adieu" is a choral ode with organ accompaniment arranged from the orchestral score. Many of the above-named manuscript works were not completed f o r a couple of years, but these years 1845—47 were the most continuous and f r u i t f u l period of composition in the larger forms of Heinrich's entire life, comparable only to the London years 1834—35. T h e o u t p u t is really remarkable, representing a more than ordinary creative capacity. The mere physical task of p r e p a r i n g these gigantic scores, to say nothing of the intellectual effort involved, is immense. On April 29 of the year 1845, Madame Otto "took a benefit." T h a t this concert furnished yet another triumph for Heinrich is evident from the following p a r a g r a p h in the Musical World: "9 The orchestra was very large and very effective. The Overture of the Grand Historical Oratorio by Mr. Heinrich was a great attraction in the bill, and was received with the most tumultuous applause. The worthy musical veteran was hailed with bravos from every side, and the delight and triumph of the enthusiastic old man may better be imagined than described. This overture is evidently the same as the one he used in his own prog r a m of three years before, but with its title enlarged from Grand Overture to the Pilgrim Fathers to Overture of the Grand Historical Oratorio, The Wild Wood Spirit's Chant or The Pilgrims to the New World. This was in line with the development of the larger work upon which he had recently been engaged. Soon a f t e r this we find Heinrich leaving his g a r r e t a t 41 Liberty Street, where he had stayed so long and been so h a p p y despite all misfortunes. W e are not sure j u s t where he next betook himself. His d a u g h t e r Antonia had married a D r . Scherdlin, originally from Strasbourg, Alsace, and was living in New York. Whether Heinrich spent much of his time a t her home we do not know. We do know of various New York addresses at which he apparently lived a t different times. I t may easily be t h a t he was happier in rooms of his own, littered to his heart's content with the multitudinous manuscripts on which he was always working, than in the home of any careful housekeeper, his own daughter not excepted. L a t e r in the fall Heinrich was deeply 59.

Scrapbook, p. 438.

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181

moved by the death of his friend Leopold Herwig, the excellent violinist. At the time of his death Herwig was "Leader in the O r c h e s t r a " of the Handel and H a y d n Society and the Philharmonic Society (both of Boston) and exerting a fine influence on musical affairs in t h a t city. 8 0

FESTIVALS

IN

NEW

YORK

AND

BOSTON,

1846

If flowers and laurel wreaths and poems and storms of applause are marks of triumph, then probably Heinrich's greatest triumph came in the concert given (once more) in the Broadway Tabernacle, on the night of May 6 , 1 8 4 6 . This was an all-Heinrich p r o g r a m and, as in the case of the concert in 1842, the newspapers of New York vied with each other in their anticipation of this important event. One of the most interesting communications is f r o m L y d i a M a r i a Child, a warm personal friend of Heinrich's. She is remembered as a novelist, poet, and abolitionist-—a woman of g r e a t importance and reputation in her time. H e r statement was published in connection with the following letter to the New York Tribune, in its issue f o r M a y 5, 1846:

Mr. Greeley: The artists of the city have nobly come forward with their precious gifts in behalf of the dear old man whose familiar name—Father Heinrich—sufficiently tells the love and veneration we children all feel for him. His Benefit Concert—the last public triumph in all probability that awaits the worn out Artist here on earth—is tomorrow night—don't forget —tomorrow night, at the Tabernacle. Do make room for the following sketch of Father Heinrich written by Mrs. Child, which must, I am certain, induce many strangers, who will thus perhaps hear of him for the first time, to attend his Concert. G. G. F. I rejoice to see that a complimentary concert is to be given to the good old man, well known as Father Heinrich. It is highly creditable to the musicians of the city that they unite with such cordial good will in paying this tribute of respect and affection to the gray-haired minstrel. It is to be hoped that the public, too, will do their part. Father Heinrich deserves it at their hands, not only for his great musical talent and learning, but for his child-like simplicity of character, his innocent and gentle heart, and a life full of kindly deeds. Incapable of meanness himself, it excites his indignation in others. Artless and impulsive, he can forget and forgive all wrongs to himself, but cannot tolerate any want of kindness to a fellow 60.

See Heinrich's own tribute to Herwig, Scrapbook, p. 476.

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c r e a t u r e . T h e loaf which he e a r n s b y p a t i e n t toil is s h a r e d f r e e l y w i t h t h e s t a r v i n g b e g g a r , a n d while his p i a n o is p r o p p e d u p w i t h wooden boxes, f o r w a n t of legs, a n d all t h e ivory h a s been s w e p t f r o m t h e keys by t h e c h r o m a t i c s t o r m s of m a n y y e a r s , he c h e e r f u l l y t r a n s f e r s his own p u p i l s w h e n a t e a c h e r of music, in g r e a t e r need t h a n h i m s e l f , excites the s y m p a thies of his g e n e r o u s soul. T h a t first g r e a t requisite in a musical c o m p o s e r he h a s almost to excess, v i z : a h e a r t f u l l of f e e l i n g , a n a t u r e t h a t m o d u l a t e s f r o m e n t h u s i a s m into t e n d e r n e s s . H o w little w o r l d l y wealth the m i n s t r e l g a i n s b y his exclusive devotion t o t h e divinest of a r t s , m a y be c o n j e c t u r e d f r o m t h e f o l l o w i n g r e m a r k s in a l e t t e r to one of his f r i e n d s : " I am t r o t t i n g about f r o m m o r n i n g till n i g h t , t e a c h i n g little misses on t h e p i a n o f o r t e , f o r small q u a r t e r money, o f t e n u n p a i d . Sometimes I have h a d good cause t o sink u n d e r m y e x e r t i o n s , b u t still m y s p i r i t s r e m a i n b u o y a n t on t h e h e a t e d a n d d u s t y s u r f a c e of t h e s u m m e r e a r t h . A t n i g h t , I close my toilsome labors a n d lonely i n c u b r a t i o n s , on a b r o k e n , c r a z y , worn-out, feeble, a n d very limited o c t a v e d p i a n o f o r t e . A s t h i s d e c r e p i d i n s t r u m e n t has, alas, lost, by m o v i n g on the first of M a y , one of its legs, a n d m a n y o t h e r p r o p s a n d i n t e s t i n e s of e n c h a n t m e n t , it m i g h t be well w o r t h t h e visit of some curious a n t i q u a r i a n to look a t it a n d h e a r it. " I believe my music r u n s in the same vein as m y l e t t e r s to y o u ; f u l l of s t r a n g e ideal somersets a n d capriccios. Still I h o p e t h e r e m a y be some m e t h o d discoverable, some b e a u t y , w h e t h e r of r e g u l a r or i r r e g u l a r f e a t u r e s . P o s s i b l y t h e p u b l i c m a y a c k n o w l e d g e t h i s , w h e n I a m d e a d a n d gone. I m u s t k e e p a t the work with m y best p o w e r s , u n d e r all d i s c o u r a g i n g , n a y s u f f e r i n g c i r c u m s t a n c e s . T h e p i t c h e r goes to the well till it b r e a k s , a n d t h a t I a p p r e h e n d , will soon be t h e case with my old shell. I t is h a r d to g o out of the world without t h e l e a s t e n c o u r a g e m e n t . " I believe it will not be so, even in this selfish w o r l d , a n d this busy age. T h e n u m e r o u s p r o f e s s i o n a l musicians, w h o a r e p r e p a r i n g t h i s well m e r i t e d o v a t i o n , f r o m motives so h o n o r a b l e to themselves, a n d to t h e v e n e r a b l e obj e c t of their a f f e c t i o n a t e r e s p e c t , will s u r e l y be c o r d i a l l y s u s t a i n e d by t h e public. M a y this concert prove a b r i g h t sunset gleam in a l i f e f u l l of clouds a n d s t o r m s , a n d m a y it w a r m a n d cheer the good old m a n , with a soul f u l l of music, a n d a h e a r t f u l l of love. L. M.

CHILD.

A g a i n " t h e s u n s e t g l e a m " ! P o o r H e i n r i c h ! S u r e l y h e d i d well t o s u r v i v e a l l t h e s e p o i n t e d s u g g e s t i o n s of m o r t a l i t y . T h e a n n o u n c e m e n t of t h e c o n c e r t r e a d a s f o l l o w s : 61.

Scrapbook, p. 1199.

91

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183

A. P. HEINRICH. The undersigned respectfully announces to the citizens of New York and its vicinity, that he has made arrangements for the production of a few of the most prominent compositions of A. P. H E I N R I C H , Esq., upon a scale of grandeur seldom equalled in this or any other country. The entire nett proceeds to be deposited for the

BENEFIT OF T H A T V E T E R A N

AUTHOR.—THE

CONCERT Will take place on W E D N E S D A Y E V E N I N G , 6th May, inst., at the Tabernacle, COMMENCING

AT

8

O'CLOCK

PRECISELY,

Under the direction of Mr. GEORGE LODER. For this occasion nearly all of the Best Vocal and Instrumental Talent of the City have generously volunteered their valuable services. T I C K E T S F I F T Y C E N T S EACH.—May be obtained at the principal music stores; at the Store of Saxton & Miles, 205 Broadway; G. F. Nesbitt, corner of Wall and Water streets; at the door on the evening of performance, and of H. M E I G G S , 446 Broadway. T h i s announcement is immediately followed by the p r o g r a m , which is a n n o t a t e d j u s t as our symphony p r o g r a m s a r e a n n o t a t e d f o r us t o d a y . T h e notes were written in this case by H e n r y C. W a t s o n , f o r a long time New Y o r k ' s leading music critic. 6 2 PROGRAMME. PART FIRST 1. A Monumental Symphony—"To the Spirit of Beethoven," written for a grand orchestra. An Echo from America, to the inauguration of the Monument at Bonn—Organo, Mr. Beams. Pianofortes, Messrs. H. C. Timm and W. A. King A. P. Heinrich. 2. "The Maid of Honor Laughing at Love," a concertante for 62.

Ibid.

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voice a n d p i a n o f o r t e , Madame Otto and Mr. H . C. T i m m . . . 3. S o n g — " T h e P a r t i n g , " Miss J . L. N o r t h a l l 4. S a c r e d S o n g — " W e wander in a thorny maze," f r o m the Oratorio of " T h e Pilgrims," Mrs. E. L o d e r . — O r g a n o , M r . W . A. King, 5. E m b a r c a t i o n M a r c h and Chorus, " T h e Adieu of the P i l g r i m s " — S o l o p a r t s by M r s . Loder, Miss E . Watson, Messrs. W a t son, M a s s e t and Leach PART

A P H A P H

A P II

A P H

SECOND

6. " T h e W a s h i n g t o n i a d , or the deeds of a H e r o . " — A n American Festive Ouverture, introductory to the t h i r d p a r t of the " O r a t o r i o of the Pilgrims," entitled " T h e Consummation of A m e r i c a n L i b e r t y " — O r g a n o , Mr. W . A. King, AP 7. " I m o i n d a , " an I n d i a n Love Song, Madme Otto, and M r . H . C. Timm AP 8. " T h e V a l e n t i n e " — D u e t t o S c h e r z a n t e — b y a L a d y and G e n t l e man, AP 9. S o n g with O r c h e s t r a , "Sweet is the B a l m , " F l a u t o Obligato on t h e Boehm F l u t e , M R . W. J . D A V I S , Miss E. W a t s o n , A P 10. Coro di Caccia, or H u n t i n g Chorus, " T h e Yager's A d i e u , " — Solo p a r t s by Madame Otto, Mrs. Boulard, M r . R. D u n n i n g a n d M r . J . Boulard AP

H H H H

H

Wre will now proceed to describe the works which f o r m t h e p r o g r a m m e of this s t u p e n d o u s concert. F i r s t on the list stands

The Adieu of the Pilgrims F r o m t h e g r a n d Historical Oratorio of t h a t name. I t is written for vocal q u i n t e t solo, a p o w e r f u l chorus, a grand orchestra a n d an organ accomp a n i m e n t . T h e piece opens with an adagio movement of a grave and sustained c h a r a c t e r , called the

Embarcation March of the Pilgrims. I t is supposed to represent the deep a n d p r o f o u n d feelings which agit a t e d the breasts of the noble men, who banished themselves f r o m their native land in d e f e n c e of those glorious principles—liberty of conscience a n d the inviolability of civil rights. T h e strongest ties still bound them to their native land—love of home, aarly a n d long cherished rembrances, t h e glory of a thousand years, and the noble struggles in defence of l i b e r t y ; these conflicting emotions rendered still more acute by the unc e r t a i n t y which invested their f u t u r e ; the unknown shore to which they

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185

were wending, and the d e e p responsibility which rested on each individual. B u t through the regret of the past, the sorrow of t h e p r e s e n t , a n d the anxiety of the f u t u r e , the unshaken constancy of the Pilgrims a n d their steady faith in the Divine Ruler of events stood f o r t h in strong relief. An idea of the t r u t h f u l n e s s of the composer's description can only be formed by hearing the music in the orchestra. A soprano solo, andante largo, introduces the vocal section of the work. This is sweet and touching. H o m e dearly loved where kindred dwell, Our native land—farewell—farewell! O'er ocean's wave in climes afar, Shines holy loves' resplendent star.

A quintette follows, commencing with the first bass voice. Farewell, farewell, our native land, W e go where God's directing hand shall point the w a y ; We ask not why, But on his mighty arm rely.

A quicker movement succeeds; one bespeaking confidence and h o p e ; the foreshadowing of a mighty f u t u r e . Through storm and wave and tempest roar, Our bark shall reach the distant shore; And future time shall tell the story, And give the Pilgrim's God the glory.

A solemn movement succeeds, marked grave sostenuto, descriptive of the last struggle with r e g r e t f u l feeling, in which the full chorus is brought into play. The conflict's past, the hour has come, And Heaven points westward to our home; All future time shall bless the day, Unfurl the sail! a w a y ! a w a y !

T h e working out of this chorus is in every way w o r t h y of the m i n d which conceived it, and cannot fail to fix the attention of t h e h e a r e r . T h e movement then changes, and the solo voices have a cadence singular in its c h a r a c t e r upon the words " F a r e w e l l , farewell, our native land f a r e well," which leads into a g r a n d chorus, allegro moderato, with b r i l l i a n t orchestral accompaniment. We go where God's directing hand shall point the way, W e ask not why, but on his mighty arm rely!

This is a mere outline of the general i d e a ; it would be impossible, in plain prose, to convey a j u s t conception of the remarkable and varied t r e a t ment of the s u b j e c t by the composer, either for its learning or its ingenuity. Suffice it to say, t h a t it is a noble tribute to the memory of the P i l g r i m F a t h e r s , f r o m one whose aspirations are of the noblest kind.

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T h e next i m p o r t a n t work is the g r a n d characteristic a n d descriptive s y m p h o n y to the

Spirit of Beethoven. I t depicts in glowing colors t h e whole ceremony of the i n a u g u r a t i o n of t h e S t a t u e of the immortal Beethoven, a t Bonn. A detail of the p r i n c i p a l points will a f f o r d some idea of the comprehensive a n d poetical conception of the poet-composer. I t commences with a ceremonious m o v e m e n t — a salutation to t h e citizens of Bonn. T h e n follows at the signal of the Gong—the assembling of the musical profession a n d the people. Signal with the Gong—Approach of the clergy. Signal with the Gong—Commotion of t h e m u l t i t u d e discovering the R o y a l Cortege. Soli, Flauto, Oboe, Clarinetti, Fagotti, Sfc.—The melodious out-pourings of t h e Celestial Genii hovering over the monument. Tutti.—The g r e e t i n g of the Genii to the assembled host of a d m i r i n g visitors. Signal with the Gong—Arrival of the K i n g of P r u s s i a , Queen Victoria, a n d her royal Consort, a n d D i g n i t a r i e s of t h e C o u r t s . Entrata of Trumpets, Horns, — H a i l to Beethoven. Signal with the Gong—The uncovering of t h e monument. Allegro Brillante—The enthusiastic a d m i r a t i o n and praise of t h e convocation. Signal with the Gong—The t r i u m p h of Beethoven's glory. Signal with the Gong—Coda religiosa—Last homage to the shades of Beethoven. F a r e w e l l salutation. T h i s g r a n d work is written f o r an immense o r c h e s t r a , and the s u b j e c t p r e s e n t s a wide scope f o r the inventive faculties, in which p a r t i c u l a r Mr. H e i n r i c h is marvellously g i f t e d . T h e t h i r d g r a n d work is called the

Washingtoniad, or the Deeds of a Hero. An American Festive Ouverture, i n t r o d u c t o r y to the third p a r t of the O r a t o r i o of the Pilgrim F a t h e r s , entitled the C O N S U M M A T I O N O F A M E R I C A N L I B E R T Y . I t will be perceived t h a t this O u v e r t u r e is a portion of one g r e a t design, in which the Composer has endeavored to render musically the g r e a t e s t epochs in American history. T h e first movement, adagio, is descriptive of t h e deliberations in council. T h e n follows an allegro of a m a r t i a l c h a r a c t e r , in which the N a t i o n a l Melody is introduced in a m a s t e r l y manner. A g r a n d movement of tremendous power t h e n ensues, descriptive of

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187

a battle, which winds up with the song of triumph, bearing the national melody impressed in every part. This ouverture is truly a national work, and should demand the warmest sympathy in every American heart. [ HENRY C. WATSON.] We cannot know for certain, but it seems quite likely that The Washingtoniad is but another name for the overture which appeared in Heinrich's concert in 1842, as well as in Mme Otto's concert in 1845. I f so, this overture, together with the song "Sweet Is the B a l m , " were not new to the New York audience. We find also another old friend under a new guise in " T h e Yager's Adieu"—which here appears as coro di caccia or hunting chorus, with solo quartet. This is an elaboration of the song so popular in Heinrich's earlier days, which Charlotte Cushman sang in Boston in 1831, and which we remember having seen on several of Heinrich's earlier programs. The rest of the program, however, is quite new and thoroughly representative of Heinrich's present abilities as a composer. " T h e Maid of Honor Laughing at Love," 6 3 a concert song for voice and pianoforte, must have put both Mme Otto and Mr. Timm on their mettle, for it is a veritable concerto for each part, and prodigiously difficult. In it the voice goes the whole limit of Italian coloratura, while the piano bravely follows after. I t is easy to understand the reviewers' doubt that anyone other than Mme Otto, with her superb vocal technique, could have surmounted its difficulties. " T h e P a r t i n g " 64 shows Heinrich in a more tender, expressive mood and is a simple, touching melody. " T h e Valentine" is sparkling, lively, piquant. We quote various reviews, j u s t as Heinrich has preserved them in his own scrapbook. We give them because of their interest as representative contemporary musical criticism and because of the light they throw, not only upon Heinrich's personality and compositions, but upon the musical ideas of the age. HEINRICH.—A. P. Heinrich, or Father Heinrich, as the veteran composer is familiarly called, had a benefit, got up by Mr. Meiggs and conducted by George Loder, last Wednesday, at the Tabernacle. The old gentleman has been long known, and highly respected, in this city. He is an admirable composer, and one of the greatest enthusiasts in music that 63. 64.

Scrapbook, p. 162. Scrapbook, p. 322.

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ever lived. . . . T h e T a b e r n a c l e was n e a r l y filled, a n d none but the compositions of H e i n r i c h were p e r f o r m e d . H e i n r i c h was in his element. H e no doubt looked u p o n the n i g h t as the h a p p i e s t of his life, a n d w h e n , a f t e r his pieces h a d been loudly a n d e n t h u s i a s t i c a l l y a p p l a u d e d , he w a s called to a p p e a r in f r o n t of the p l a t f o r m , a n d receive the w a r m - h e a r t e d g r e e t i n g of his f r i e n d s — ( e v e r y body in the house was his f r i e n d ; if you h a d said to a n y i n d i v i d u a l t h a t he was not, he would have insulted y o u ) — a n d w h e n he was a l m o s t s m o t h e r e d with b o u q u e t s — a n d when his old h e a d , which sixty w i n t e r s h a v e silvered, was c r o w n e d with a coronal e m b l e m a t i c of i m m o r t a l i t y — h e m u s t have been in a very delirium of delight. 6 5

A GRAND MUSICAL

FROLIC

" F a t h e r H e i n r i c h ' s " g r a n d benefit c o n c e r t , which took place on W e d n e s d a y e v e n i n g l a s t , was, indeed, in m a n y r e s p e c t s the most r e m a r k a b l e , exciting a n d n e v e r - t o - b e - f o r g o t t e n e n t e r t a i n m e n t we have ever witnessed. A u d i t o r s , old a n d y o u n g , o r c h e s t r a , chorus a n d solo p e r f o r m e r s , a l l seemed f o r a while to h a v e gone p a r t i a l l y m a d , or to have become inflicted with the v e n e r a b l e beneficiary's nervous a n d excitable enthusiasm. Such yelling, s c r e a m i n g , c h e e r i n g , l a u g h i n g a n d s t a m p i n g ; such showers of bouquets a n d w r e a t h s , w e r e never b e f o r e seen or h e a r d of on a similar occasion. T h e s i g n a l f o r t h i s excitement seemed to have been given by a child, which a s c e n d e d t h e p l a t f o r m a n d p r e s e n t e d a b e a u t i f u l bouquet to M r . H e i n r i c h , j u s t a f t e r t h e first p a r t of t h e concert w a s over. T h i s was immediately followed by a w r e a t h of laurel, t h r o w n by a l a d y - p o e t e s s , distinguished bv her u l t r a - t r a n s c e n d e n t a l e n t h u s i a s m in musical m a t t e r s , a n d the incomprehensibility of m o s t of her " s u p e r l a t i v e l y s p l e n d i d " notices. I t seemed to us t h a t t h e l a d y m u s t , in f o r m e r d a y s , h a v e h a d some p r a c t i c e in the a t h l e t i c a n d m a n l y exercise of quoit-pitching, f o r the w r e a t h w a s t h r o w n w i t h such a d m i r a b l e good aim a n d precision, as to f a l l directly upon the old a r t i s t s ' h e a d , encircling his silvery locks, a n d giving him t h e p e r f e c t a p p e a r a n c e of a m o d e r n Apollo, s o m e w h a t a d v a n c e d in y e a r s . Over the Apollo's l e f t eye, however, d a n g l e d a d e l i c a t e c a r d , which was a t t a c h e d to t h e w r e a t h , a n d bore t h e w o r d s , " F o r f a t h e r H e i n r i c h , f r o m L . M . C . " T h e t r i b u t e to t h e old m a n ' s genius was in no d a n g e r of b e i n g m i s t a k e n . Amidst t h e shower of w r e a t h s a n d bouquets which followed, M a d a m e O t t o gracef u l l y s t e p p e d f o r w a r d a n d crowned the h e r o of t h e e v e n i n g with a n o t h e r m a g n i f i c e n t w r e a t h . A n u m b e r of these floral offerings h a d m y s t e r i o u s little b i t s of p a p e r a t t a c h e d to them, but we question much whether these were b a n k checks, as has been i n t i m a t e d . T h e f o l l o w i n g are the contents of two, of which we o b t a i n e d c o p i e s . — T h e first is f r o m the pen of M r s . M. E . H e w i t t ; t h e second is signed D * * * * # . 65.

Scrapbook, p. 878.

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How Shall we Crown Him! How shall we crown the minstrel, Who hath brought us from the wild, The melody that nature Taught her free-souled mountain child? They twined for him of Teos The myrtle and the vine; And the never-fading laurel For the Chiain bard divine. And of old, in tuneful Provence, Where the monarch wore the bay, They gave the golden violet To the victor minstrel's lay. But for him, who with the pilgrims, Knelt in spirit on the sod, While the full heart's prayer, like incense, Went up to freedom's God; Who, amid the swaying forest, 'Mong the old primeval trees, Learned the glorious song of liberty From the voices of the breeze, While fame shall give his minstrelsy To the world, in after days, Let us crown him proudly in our heart, With the deathless meed of praise.

TO F A T H E R

HEINRICH

Hail! mighty priest of music's potent sway! Magician of the heart's most deep r e t r e a t ! Accept the simple offering that we lay, A gift of warm affection, at thy feet. We feel thy mighty power to grasp the soul, And wake bright ecstasy, or deadly f e a r ; To rouse pale terror with thy thunder's roll, Or pour soft strains of gladness on the ear. Long may'st thou here in honored quiet dwell, And weave thy visions with our country's name; The after-times in glowing words shall tell Thy worthy greatness, and thy well-earned fame. What if unheeded by the heartless throng? What if at times no hopeful, sun-warm gleams Beam on thy clouded path of secret song? Let this not shade or break thy golden dreams.

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There comes a future after this brief hour, That wraps our memories in undying bloom. A loud-tongued voice of mystic-working power Echoes behind us in this vale of gloom. Then cheer thee, master of thy heaven-born a r t ! Thy strains shall float down through the endless years, Thy magic melody will ever stir the heart To wild-toned rapture, or to silent tears. Thy name will find a home in every land Where Music dwells to hallow and refine; In far-off ages will there proudly stand, To thy great soul, a sacred, cherished shrine. New York, May 6, 184(i.

D

T h e c o n c e r t , u p o n the whole, w a s a g r e a t , a very g r e a t , t r i u m p h f o r t h e old a r t i s t . W e s h o u l d s u p p o s e t h a t a b o u t 1500 p e r s o n s w e r e p r e s e n t o n t h e occasion, a n d a r e c e r t a i n t h a t a l l w e r e p l e a s e d a n d d e l i g h t e d . M u c h of t h e music is t r u l y m a g n i f i c e n t a n d g r a n d ; but in the m i d s t of t h i s s u b l i m i t y a n d g r a n d e u r , we w e r e sometimes s t a r t l e d by the q u a i n t e s t a n d o d d e s t p a s s a g e s we ever h e a r d . T h e r e is c e r t a i n l y a w o n d e r f u l d e a l of o r i g i n a l i t y in all M r . H . ' s compositions, a n d t h e most f a n t a s t i c p a r t s a r e a l w a y s a r t i s t i c a l l y c o r r e c t , a n d p e r f e c t l y d e s c r i p t i v e of t h e i r s u b j e c t . T h e " G r a n d M o n u m e n t a l S y m p h o n y " to the m e m o r y of B e e t h o v e n was o m i t t e d , a s , n o t w i t h s t a n d i n g t h e v e r y l a r g e o r c h e s t r a e n g a g e d , t h e r e w e r e not i n s t r u m e n t s e n o u g h f o r its execution. M a d a m e O t t o ' s first song, " T h e M a i d of H o n o r L a u g h i n g a t L o v e , " is c e r t a i n l y both f o r the s i n g e r a n d p i a n i s t , one of t h e most difficult ever w r i t t e n . W e question very m u c h w h e t h e r a n y o t h e r l a d y vocalist could be f o u n d in the c o u n t r y c a p a b l e of e x e c u t i n g t h e l o n g r u n n i n g p a s s a g e which occurs n e a r t h e close of this song, in so c h a r m i n g a m a n n e r as M a d a m e O t t o did, a l t h o u g h her s h a k e in t h e s a m e p l a c e w a s " n o g r e a t s h a k e . " " T h e P a r t i n g , " a m o s t sweet a n d p a t h e t i c song, w a s v e r y effectively a n d c o r r e c t l y given by M i s s N o r t h a l l . I t seemed, i n d e e d , as if each of the t h r e e p r i n c i p a l l a d y vocalists h a d her song w r i t t e n e x p r e s s l y f o r h e r , so p e c u l i a r l y well w e r e t h e i r respective pieces a d a p t e d to t h e i r i n d i v i d u a l t a l e n t s , s t y l e and voice. A f t e r the above two ladies, M r s . L o d e r s a n g a sacred s o n g f r o m M r . H e i n r i c h ' s O r a t o r i o of " T h e P i l g r i m s , " ent i t l e d " W e W a n d e r in a T h o r n y M a z e , " which [is a ] most c h a r m i n g , c h a s t e a n d b e a u t i f u l composition. A n d no one could have done b e t t e r j u s t i c e to it t h a n M r s . L o d e r ; f o r t h a t s a c r e d s o n g , executed as it was b y this l a d y , w a s c e r t a i n l y one of t h e most b r i l l i a n t g e m s of t h e evening. T h e " E m b a r k a tion M a r c h of the P i l g r i m s " is a v e r y expressive, a n d h i g h l y d e s c r i p t i v e composition, r e p l e t e with the a u t h o r ' s peculiarities a n d difficulties. Some p a r t s of this w e r e well given, b u t in o t h e r s , especially t h e more difficult c o n c e r t e d p a s s a g e s , a lack of sufficient r e h e a r s a l was s t r o n g l y p e r c e p t i b l e . T h e " Y a g e r ' s A d i e u " is very b e a u t i f u l a n d effective, a n d we should s a y , d e s t i n e d to g r e a t p o p u l a r i t y . W e m u s t not omit m e n t i o n i n g Miss W a t s o n ,

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who sang in very excellent voice, nor Messrs. Loder, T i m m and King, all of whom came in for a well merited share of applause. M r . Heinrich, however, has by this one concert immortalized himself. May he live many years more, and in happiness repose on his well earned laurels. 8 9 W i t h the exception of Mme Otto and Mr. T i m m , we find the personnel of this N e w York concert quite changed f r o m t h a t of Heinrich's concert of f o u r y e a r s ago. In place of U . C. H i l l we now find G e o r g e Loder, Hill's successor as director of the Philharmonic. W e also find a new o r g a n i s t , W. A . K i n g , for sixteen y e a r s o r g a n i s t at Grace Church. T h e W a t s o n family is well represented in the persons of Mr. W a t s o n and p r o b a b l y two sisters, Mrs. Loder and Miss E . W a t s o n . Mr. Beams and Miss N o r t h a l l seem t o have lapsed into o b s c u r i t y — we know n o t h i n g but their names. W e close with the financial statement of the concert as it a p p e a r e d in the press. I t speaks for i t s e l f :

87

T H E ' H E I N R I C H ' B E N E F I T C O N C E R T . — W e give the following statement and result of the great Heinrich Concert, and leave every reader to make his own comment:—

A. P . H E I N R I C H , Esq, for Benefit Concert, (6th May, DR. 1846. Feb. 5. To cash paid J . Pearson, for coping music, - - - - $ 47.25 Mc'h 15. T o " " T r u e Sun a d v ' t , ' m u s i c a l notice,' - - 2.00 " To " " M i r r o r do. - - - - - - - - - 2.00 " To " " N . Y. H e r a l d , do. - - - - - - 3.00 May 3, to 9th To cash paid Atlas for adver't, programme, &c., 3.00 " " Long I s l a n d S t a r , $1.75, Island City $2.00, Mirror $10, - - - - - - - - - - - - - - 13.75 " T r u e Sun, $6.00 Evening Post $5, Brooklyn E a g l e $2.25, - - - - - - - - - - - - - - 13.25 " Brooklyn Advertiser $2.00, Schnellpost $2, Gazette $7, 11.00 " Express $7, Tribune $10.03, Sun $2.50, Commercial $7 26.53 " Courier $12, H e r a l d $10, Sunday Mercury $2.50 - 24.50 " Dispatch $2.50, Times $3.00, Smith & Williams $9, 14.50 " " David Hale, for Tabernacle & organ - - - - 42.50 " " W. Reid, for staging, use of ticket box and organ blower 8.50 Adam Fecher, for porterage, carterage, &c. - - - 12.00 " " G. F. Nesbitt, for printing - - - - - 48.50 Geo. Loder, for drilling chorus and conducting, - 25.00 H i r e of Society L i b r a r y , for rehearsals, - - - - 24.00 66. Scrapbook, p. 320. 67. Scrapbook, p. 859.

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3, Firth, Hall & Pond, for cartage and tuning piano - To Cash paid sundry gentlemen of the orchestra, &c., as remuneration to their deputies, etc., etc., (as per vouchers exhibited,) - - - - - 11th To cash paid you this day, to balance, - - - - -

3.50 44.75 68.97 $438.50 CR.

In Account with W. E. MILLET, Agent for the occasion. 1846. May 9th, By cash from H. Meiggs, for tickets, sold by him to sundry persons, as per his report, attested by myself, viz.: To L. B. Wyman, $25, G. F. Nesbitt, $25, W. A. Pond $5.00, - $ 55.50 N. A. Baldwin $5.00, Ira Hutchinson $10, J . F. Hall, $5.00, 20.00 T. Firth $5.00, Ullman $5.00, G. E. Vanderburgh $5.00, 15.00 F. Whitehead $5.00, B. Martin $5.00, W. A. Burtis $5.00, 15.00 J . H. Wood, $5.00, J . Bayles $5.00, S. Spencer $5.00 - 15.00 F. Taylor $5.00, J . B. Curtis $5.00, S. O. Dyer, $5.00, - 5.00 T. M. Doughty $10.00, W. G. Moody $5, T. F. Drowne $10.50, - - - - - - - - 25.50 J . A. Rolph $5.00, G. R. Jackson $5.00, Mrs. L. M. Childs $10, - - - - - - - - - - - - - - - - 20.00 Scarfenburgh & Luis $6, Firth, Hall & Pond $7, - - - 13.00 All others, in quantities less than $5 each - - - - - 46.00 $240.00 By cash for tickets sold at the Tabernacle, on the evening of the performance, - - - - - - - 157.00 By do. for tickets sold by myself, and other music stores supplied by me, - - - - - - - 41.50 $438.50 Benefit brought forward, $ 68.97 N. B. In addition to this balance, I gave to Mr. Heinrich 200 tickets, to distribute for sale among his more immediate friends, for which he has or will receive about - - - - - 50.00 Balance, $118.97 tSZr' We regret to learn that there are 'sundries' to be charged in this balance, not included in the above. We look for a better result from the Bostonians. T h e r e a r e echoes also from B o s t o n : MR. H E I N R I C H ' S CONCERT at New York, according to all accounts, was brilliant and successful, almost beyond parallel. The Tribune says of it.— 68 68.

Issue of May 7, 1846.

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"Father Heinrich was absolutely overwhelmed by an eruption of bouquets, wreaths and flowers, a t the close of the first p a r t of the performance last evening. H e fairly staggered under the rosy burden of his well-earned triumph. The old man's music is g r a n d , glorious—sublime. There are here and there fantastic syllables or even whole sentences; but then so there are in the solemn dirge of the autumn winds. The Creator has evidently developed in close conjunction with sublimity the manifestations of a full, joyous and unrestrainable mirthfulness, which breaks out in most grotesque and unexpected fashion—thus helping to keep Nature's face decked with smiles. Heinrich is undoubtedly ahead of the age; and we believe that his music will be f a r more popular long a f t e r he is dead than now. I t is unnecessary for us to speak critically of the pieces performed last night, a f t e r the elegant and keenly appreciative analysis of Mr. Watson. Madame Otto was in excellent voice, and sang with excellent taste and effect, her very difficult first song. " T h e P a r t i n g " is one of the truest and deepest musical expressions of pathos and tenderness to which our heart ever listened. Miss Northall's voice, pure as starlight falling amid summer dews, seems to have been given to her on purpose to sing such music as this. Mrs. Loder sang the grand Sacred Song, "We wander in a thorny maze," with much taste and feeling. Miss E. Watson's song, "Sweet is the Balm," displayed the fine voice and enameled style of that artist to great advantage. The "Washingtoniad," and the "Embarcation March and Chorus," are most extraordinary compositions, and could have been written by none but a man of the profoundest musical genius. Altogether, when we consider the variety of pieces and subjects introduced into this mammoth Concert, and remember that they are all the work of a single mind, we cannot but admit that that mind is a most extraordinary one. Sincerely do we congratulate Mr. Heinrich upon his brilliant and unmarred triumph." At sundry times we have brought to the notice of our readers, the extraordinary claims of Father Heinrich to the favorable consideration of musical amateurs. We avail ourself of the present occasion to express a hope that he will give Bostonians an opportunity to show their kindness, and to convince him that he is not forgotten in a city, which he once considered as his home. At any rate, he will find a few who admire his genius, respect his character, reverence his age, and delight to refresh their recollections of past enjoyment. 6 9 T h i s idea of a B o s t o n a p p e a r a n c e was n a t u r a l l y most p l e a s i n g t o H e i n r i c h , who h a d a l w a y s f e l t a p a r t i c u l a r f o n d n e s s f o r the c i t y t h a t h a d invited him f r o m the f o r e s t s of K e n t u c k y t o come a n d make it his home. H e a l w a y s looked back t o those y e a r s in Boston with v e r y special pleasure, a n d we h a v e a l r e a d y q u o t e d his published expression of a p p r e c i a t i o n of B o s t o n ' s a t t i t u d e t o w a r d musical a r t in g e n e r a l 69.

Scrapbook, p. 320.

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a n d in p a r t i c u l a r t o w a r d his own s h a r e in f o r w a r d i n g m u s i c a l a r t . T h e p r e s s of B o s t o n g r e e t e d t h e a p p r o a c h i n g r e t u r n of h e r f o r m e r d i s t i n g u i s h e d citizen w i t h g l o w i n g a p p r e c i a t i o n of his w o r t h ,

and

e x p r e s s e d on behalf of t h e c i t y a w a r m welcome t o " F a t h e r H e i n r i c h , " a s he was now a n d f r o m now on i n v a r i a b l y called. H e i n r i c h himself in a letter written a t a b o u t this time makes q u a i n t reference to this universal custom. H e s a y s : T h e appellation of " F a t h e r H e i n r i c h , " so generally bestowed, is more deeply appreciated in this age of little names than the epithet of " H e r r " ; the former ever recalling ennobling associations of the past, not unmingled with hopes of the f u t u r e , connected with my chequered professional career. 7 0 A s s h o w i n g t h e c o r d i a l t o n e of B o s t o n ' s welcome, we r e p r o d u c e t h e following p a r a g r a p h s : F A T H E R H E I N R I C H . Notwithstanding the a p p a r e n t success of the concert recently given in New York to this good old man, we understand t h a t he will not r e a p any pecuniary a d v a n t a g e — a n y benefit from the f u l l attendance. T h e receipts it seems are likely to be swallowed up in the expenses, so t h a t little or nothing will be l e f t for him who was intended to be the beneficiary. I n this state of things, it has been proposed to F a t h e r Heinrich to give a concert in Boston, but he hesitates, fearing as he says, that he "may have the humiliation to p e r f o r m to empty benches and cold e a r s . " This would hardly be the case, we think, provided the right persons take the matter in hand and aid him by judicious advice and counsel. T h e elegiac composition to the memory of H e r w i g , it is the desire of Heinrich to bring out in Boston—a difficult piece as the New Yorkers say, but which the good " F a t h e r " asserts only requires "five good, sensible sympathetic singers, and a warm-hearted, well toned o r g a n i s t . " Miss Stone is fully capable of aiding in such a piece, and other vocalists, we doubt not, would gladly volunteer in behalf of the septuagenarian composer, whose misfortunes have been sustained with a serene philosophy which appeals to our better feelings like a strain of heart-music, p r o m p t i n g our benevolence and exciting an electric s y m p a t h y . T o F a t h e r Heinrich, his own melodies have been in his reverses like "the letting in of a world of Poetry upon a world of P r o s e ; " his a r t has been his comfort and consolation, and has evoked continually in him the spirit of goodness and charity. We hope that some persons may be found in our city who will be interested in getting up a benefit for the p a d r e , which shall prove of more substantial avail than the recent a t t e m p t a t New York. T o crown a man with flowers instead of filling his pockets with silver p a r t a k e s rather of the t r i u m p h of a Corinne 70. Scrapbook, p. 1027.

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than the favor of the appreciating. It makes a ludicrous farce of an essay at benefitting! Shall we have a concert for Heinrich or not? 71 T h e friends of " O l d F a t h e r H e i n r i c h " have fixed upon S a t u r d a y , the 13th instant, for the Complimentary Benefit. A meeting was held at the rooms of Mr. Chickering last evening, and a r r a n g e m e n t s made for a splendid entertainment. We learn f r o m the Bee that the members of the National T h e a t r e O r c h e s t r a , comprising 18 excellent p e r f o r m e r s , have already kindly volunteered their services, as also a large number of the best artists in the city. Previous to a d j o u r n m e n t the following resolution was unanimously a d o p t e d : Resolved, As the sense of this meeting that we all feel a deep personal interest in the success of this Concert, and will lend our utmost endeavors to make it every way worthy of the high character of the beneficiary. 7 2 T h e concert is sufficiently a n n o u n c e d — a n d the programme will tell the rest. We hope that it may yield for the beneficiary—not crowns and garlands of flowers or odes of sentimental p o e t r y — b u t rather t h a t better produce for practical man, which can provide comforts for age and g r a t i f y the generous heart in its dictates. T h e Boston concert must sound of silver, and surpass that of New York. 7 3 T h a t is indeed a r a t h e r wicked l i t t l e d i g a t N e w Y o r k w i t h i t s " c r o w n s a n d g a r l a n d s of flowers" a n d " o d e s of s e n t i m e n t a l p o e t r y . " O n e becomes s o m e w h a t c u r i o u s t o see how s t a i d a n d dignified B o s t o n will c o m p o r t herself on a like o c c a s i o n ! T h e Transcript

p r e f a c e s a sketch of H e i n r i c h ' s life w i t h t h e fol-

lowing : F A T H E R H E I N R I C H . O u r p a p e r s have announced t h a t something's to be done this week in the musical way, for the benefit of the good man whose name is above given—an enthusiastic musiciain whose whole life has been a sad and eventful history, and whose g r e a t sacrifices have been made not for himself, but for the divine art which he has almost wildly and yet truly worshipped. 7 4

T h e c o n c e r t t o o k p l a c e on S a t u r d a y evening, J u n e 1 3 , 1 8 4 6 . W e see f r o m t h e p r o g r a m , r e p r o d u c e d h e r e w i t h , 7 5 t h a t t h e c o n c e r t p e r s o n 71. 72. 73. 74. 75.

Scrapbook, p. 878. Boston Evening Tranicript, June 3, 1846. Scrapbook, p. 1064. Boston Evening Tranicript, June 10, 1846. Scrapbook, pp. 339-42.

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nel of Boston had almost completely changed since Heinrich's concert of 1826. Not entirely, however; for here is our good old friend, the witty, lovable Irishman, Tom Comer, appearing in all dignity on the program as "Mr. Thomas Comer, Leader of the Orchestra and Chorus to the 'Yager's Adieu.' " We have also had occasion to make brief mention of Mr. Maeder, but the others are all newcomers. 76 With Henry Schmidt, leader of the orchestra, the pianist Scharfenberg, and the late lamented Schlesinger and Herwig, America is finding more and more of German influence in her musical affairs. To be sure these are all executant artists: pianists, violinists, orchestral directors, and the like. Germany does not yet seem to have contributed in any marked degree to the advancement of musical composition in the United States, except as we see it in Father Heinrich himself. Although the performers may be for the most part unknown to us, the different numbers on the program, with very few exceptions, are distinctly familiar. The only new composition by Heinrich is the "martial overture," Tecumseh, or The Battle of the Thames. The Indian love song "Imoinda," "The Parting," "The Yager's Adieu," the overture to The Pilgrims, "We Wander in a Thorny Maze," the duetto "The Valentine"—all these were heard in the New York concert of the month before, and most of them on other occasions as well. The concert met with great praise on the part of the reviewers. Once more Boston twitted New York on her "bouquets and garlands," her "sentimental ceremonies." One wonders a little if Boston's thrift in this matter was not be a bit overdone. Among the critiques were the following: FATHER HEINRICH'S FESTIVAL CONCERT, on Saturday evening, was honored by the attendance of a large audience, though not so packed as we had anticipated; the good old gentleman will however, we trust, reap a substantial benefit from it. The performance went off to general acceptance, although—the music being new and unfamiliar to the mass, and moreover of that character which required to be heard several times to fully appreciate its beauties—there was not that electrical effect produced, that taking of the audience by storm, as it were, which the splendid orchestra and chorus would have effected with more familiar and appreciable music. We were particularly delighted ^ith the "Overture of the Pilgrims," and "Parting song," by Miss Stone, both of them father Heinrich's compositions. "Der Freyschiitz was executed in a masterly style. At the con76.

Of these the most important were Miss Stone and Mrs. Franklin.

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N o POSTJ'O.NKMENT O S V(C(M \ r o f t i i i : A V b a t i i b r .

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A. P.

Jleinrirh.

2.—' I M O I N D A , " — A n Indian Love Song,—Miss

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PRIMO,—The

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slumbering in the forest shades of America. 2d—ADAGIO SECONDO,—She is awakened into life by those moving melodies, with which nature regales her votaries in her primeval solitude. 3d—MARCIA,—The

efforts of

power to clip the

young eagle of liberty. 4th—ALLEGRETTO POLLACCA,—The joyous reign of

universal freedom and iftiiversal intelligence,

A. P.

Hcinrich.

2 . _ " W E W A N D E R IN A T H O R N Y MAZE,"

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STONE,

A. P. Heinrich.

£

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NEW YORK:

1837-1857

197

elusion of the programme, the chorus and orchestra joined in good "Auld lang Syne," as a parting tribute to the venerable beneficiary. The andience seemed highly gratified with father Heinrich, whose whole soul was in the affair, betimes suggesting to the Conductor, and approving with various demonstrations of satisfaction the execution of his several compositions. We have never beheld a finer specimen of the "fine old music gentleman" than father Heinrich. May the remainder of his days be peaceful and happy, and his transit from this imperfect state to that land where harmony reigns undisturbed, gentle and easy. 77 I t is always p l e a s a n t to observe the good wishes of one's friends f o r a h a p p y j o u r n e y into the next world. A p p a r e n t l y the age of sixtyfive was considered a ripe old age and the " t r a n s i t f r o m this imperfect s t a t e to t h a t land where h a r m o n y reigns u n d i s t u r b e d " to be expected a t any moment. Well, p e r h a p s it should be! Again f r o m the Transcript: The large hall of the Tremont Temple resounded on Saturday evening with streams of melody such as never before stirred its echoes, or floated far and wide through that spacious apartment. The concert to "Father Heinrich" was completely successful, and as it was his own music which filled the halls and galleries of the Temple, so it is the spirit of it which will long wander through the chambers of the memory. The various compositions of the venerable artist were rendered in a manner which showed that the performers had entered with warmth into the feelings of the dreamy and enthusiastic musician, and nothing was wanting of that energy and precision which could alone carry off the peculiarities of the music. They played well because they loved the man for whose benefit they played, and each and all, from "honest Tom Comer" and the gentlemanly and intelligent Schmidt, through every grade of professional rank, seemed inspired with a desire "to do their utmost" for the festival occasion. The assistance was all voluntary, and it was the better for being so. The programme has already given an idea of the design of the instrumental pieces, and seldom have three more stirring selections been presented in the concertroom, than the martial overture of "Tecumseh, or the Battle of the Thames," "The Yager's Adieu," a hunting song, and the grand overture to "The Pilgrims." In the last piece, every variation was beautiful,—from the soft lullaby and liquid measure chanted in the forest shades o'er the slumbering Genius of Freedom, to the thrilling melodies which awaken her into life, and the joyous shouts of proclaiming her universal reign—all was successful, and the mind was electrically filled by the sounds with a rare order of musical majesty and beauty. The unpretending presence of the good Father himself, seemed to fill 77.

Scrapbook, p. 1060.

198

N E W Y O R K : 1 8 3 7 - 1 857

the audience with a sympathy in favor of those compositions which had been so long the cherished offspring of his inspiration; and to say that they were enthusiastically received, is but to express in other words, that the entire concert was a triumph not only for the man but for the artist. The singing of Mrs. Franklin and Miss Stone was excellent, according to their individual capacities—the clear musical pipes of the latter sent forth ringing notes, and the sweet warbling of the former, who is ever a favorite, was received with prompt and appreciative applause. At the close of the entertainment, Mr. Comer announced that the whole strength of the professional company present intended to express their regard for the beneficiary by singing a song together, and, in accordance with this announcement, the orchestra of sixty and the chorus of fifty performers united in making the welkin ring with the touching and appropriate melody of "Auld Lang Syne." It was a hearty compliment and a most suitable finale. The concert, we doubt not, will put some hundreds into the pocket of Father Heinrich. Not a farthing was spent for bouquets or garlands; no sentimental ccrcinonies were gotten up for the occasion, and care was taken at the outset that the expenses should not exceed the receipts. The pecuniary results, however large, will be but an inadequate reward for the toils and deprivations of one of the most unselfish creatures ever born into a world of care—of an old man of many misfortunes, but with a great soul and the heart of dreaming youth! Caro Padre! May the evening of your life glide away serene and happy towards the everlasting shore, and may the divine presence whisper to you hereafter, both the melody and the song! 78 This is of p a r t i c u l a r interest as it undoubtedly comes from the pen of Cornelia W a l t e r , 7 9 music critic for the Transcript, and since her brother's death also its editor. Even in America, where woman's field is always broad, the editorship of a great newspaper has seldom fallen into the hands of a woman. I t is more than likely t h a t Miss W a l t e r as editor of the Boston Transcript was a t t h a t time unique. She was a warm personal friend of Heinrich's. T h e one authentic critique—the one fair and j u s t summing up of Heinrich, the man and the composer—came from the pen of J o h n S. Dwight, soon to be generally recognized as America's foremost music critic. Dwight was a cultured, scholarly gentleman, a musical amateur of extraordinarily fine taste, conservative, and yet willing to acknowledge merit wherever it might be found. His influence in later years, 78. Scrapbook, p. 1063. 79. From the New York and Boston Harbinger, V (September 11, 1847), 224, we learn of Miss Walter's retirement from editorial charge of the Boston Evening Transcript. She was succeeded by E p e s Sargent.

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YORK:

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particularly as editor of the Journal of Music, was prodigious and always well deserved. T h e review b e f o r e us is t y p i c a l of all his work. F i n e l y w r i t t e n f r o m the l i t e r a r y p o i n t of view, excellently presented f r o m a musical s t a n d p o i n t , it s t a n d s as the most a u t h o r i t a t i v e criticism of H e i n r i c h ' s work written up to t h a t time. I n p o i n t of f a c t , it m a y well s t a n d so even t o d a y . T h e t r i b u t e he p a y s is still deserved ; the f a u l t s he p o i n t s o u t a r e still a p p a r e n t . I t is an exceedingly valuable document t o one seeking the c o r r e c t a p p r a i s a l of H e i n r i c h ' s a b i l i t y as a c o m p o s e r . W e a r e g l a d to give it in full. I t was published in the

Harbinger,80

the official o r g a n o f B r o o k F a r m , the T r a n s c e n d e n t a l i s t c o l o n y of which M r . D w i g h t was a t t h a t time a p r o m i n e n t member.

"FATHER

HEINRICH"

IN

BOSTON

This eccentric, noble hearted man, now quite advanced in years, whom it was the fashion to call music-mad, until further acquaintance with the great music of Germany taught us to suspect our own taste rather than his genius, is at last reaping some reward for a life of disinterested, illappreciated devotion to Art and to all kindly sentiments. T h e Complimentary Concert tendered to him by the musicians of Boston, and his other numerous friends there, took place on the 13th. T h e audience numbered twelve or thirteen hundred; the orchestra sixty and the chorus forty. T h e enthusiasm of the occasion, the warmth with which a numerous assembly greeted the re-appearance of " F a t h e r Heinrich" and the manifest good will with which both orchestra and managers and audience cooperated to make all pass off pleasantly to him, were in themselves a sufficient source of interest. A certain characteristic Yankee pride evinced itself in the manner of expressing this enthusiasm, which reflected somewhat upon the concert got up for the same end in New York. Instead of covering the good man with garlands and bouquets, the Bostonians concentrated their ambition upon the one point of producing solid silver for his benefit. This was very well, but yet one-sided and a little surly, inasmuch as it was a suppression of a very natural prompting. We should have preferred the silver and the wreaths. T h e hour belonged to friendship; and the man no doubt was pleased. But there was also the Composer's ambition to be gratified. And there, we fear, the concert must be in the main pronounced a failure, though it had good points. I t did not furnish (which was probably the main hope with him, as well as with the more musical portion of his audience) an opportunity to test the value of his musical genius. His works were tried, but not 80. July 4, 1846.

200

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brought out. P a r t s were drowned by the unmitigated energy of those who plied the drums, and cymbals and triangles; parts were weakened or confused by the breaking down of some luckless trumpet obligato; and parts, indeed whole movements, through the lagging or impatience of some instruments, went distracted, ( a s did the vexed composer and his audience too, from sympathy with him f a r more than from any perception of the right or wrong in a musical point of view.) T h e whole was therefore but a poor distorted image of what the composer meant to place before us. His creations still continue his own secret. Those piles of folio scores, so elaborately wrought out for full orchestras, and copied in a beautiful hand, which he shows to every one, but has never even heard himself, must still abide their time. An accomplished orchestra must study them, and become familiar with them by repeated rehearsal and performance, before we shall know what they are. America inspired them, but his own Germany will have to be the first to hear and understand them. W e say this revere n t l y ; for it does not seem to us that so much labor, prompted by so much pure enthusiasm, the devotion of a life to its own strongest calling, is to be lightly treated and dismissed as so much incoherent dreaming, until it has had a chance to speak for what it is. Meanwhile if we were called upon to state the impression which we did get of this music, a f t e r every allowance for the representation, we should say, that it was swarming with ideas as beautiful and palpable as most modern music; that there were passages of very grand and impressive harmony; that there was nothing superficial, weak or false in the manner in which the themes were wrought out; that it was thorough, artist-like and learned composition; and so f a r entitled to respect as a whole, while here and there in passages, the effect upon the mind was as of glimpses of something truly great. B u t we did suspect a want of poetic or dramatic unity in the largest pieces. Beautiful details, sudden fancies, shifting without end, would continually fix a t t e n t i o n ; but it was not so obvious whither they were leading; no unitary design appeared to cover them. T h i s might have been the fault of performance merely, and not intrinsic to the music. And yet in one sense there was too much design. T o o much anxiety to make his compositions clear to every one, lias doubtless helped to make them only more eccentric, difficult and unintelligible. In efforts to describe things, to paint pictures to the hearer's imagination, music leaves its natural channels, and forfeits that true unity which would come from the simple development of itself from within as music. Beethoven had no programme to his symphonies, intended no description, with the single exception of the Pastorale; yet, how full of meaning are they ! M r . Heinrich belongs to the romantic class, who wish to attach a story to every thing they do. Mere outward scenes and histories seem to have occupied the mind of the composer too much, and to have disturbed the pure spontaneous inspiration of his melodies. We are sorry to see such circumstances dragged into music

NEW YORK:

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201

as the "Indian War Council," the "Advance of the Americans," the "Skirmish" and "Fall of Tecumseh." Music, aiming at no subject,—music composed with no consciousness of anything in the world but music, is sure to tell of greater things than these. I t is true that every thing about America and American history was ideal to the warm-hearted and liberty-loving enthusiast when he came here. It was to him a new world; and in his log cabin in the forest solitudes of Kentucky, there must have been as much to inspire and people a musician's fancy, as in the most fabulous region of the world. The "Genius of Freedom" which he celebrates in his Overture to "the Pilgrims," was what he followed, what he fancied everywhere. The vanishing hosts of the Red Man, ministered to his passion for the picturesque and marvellous. This was so far well, and can be conceived to have cooperated finely with his musical labors, had he only composed from the sentiment with which they filled him, instead of trying to compose tonenarratives and tableaux of them. Music is the breath of sentiment, and utters states of mind, but errs in undertaking the same office with her sister, speech, which is the voice of the understanding and describes facts. But this distinction we have often made before; we need not repeat our conviction, that imitation and description are not the true end of music. A series of historical events may have unity enough in themselves to make a very good story; but it does not follow that just that series of subjects, translated into so many musical themes or passages, will still have unity as music. We except however from the above remarks, the Songs of Mr. Heinrich which were sung on that occasion. They were truly beautiful in sentiment and style; worthy of a place among the "Gems of German Song." The Indian Love Song was full of grace and tenderness, original and deep. The song from the Oratorio of the "Pilgrims," though rather lengthy and unvaried for the idle ear, was yet a severe and lofty melody such as an earnest soul is ever glad to hear. And the Coro di Caccia, or "Yager's Adieu," for choir and orchestra, was full of rich grand harmony, and most inspiring. The orchestra made amends for any want of familiarity with the Padre's bewildering scores, by the spirited and clear style in which they gave forth the noble Overture to " D e r Freyschiitz" at the close. Then for sentiment, in lieu of garlands, the musicians craved leave to express their feelings to their good friend and father by a song, which all could understand. The singers were drawn up in close ranks on the front edge of the stage; the orchestra behind commenced with Auld Lang Syne; the voices joined in, and the hearts of the whole audience responded. How was it with the good old man? His music may be wild and complicated; but his simplicity of heart, his childlike, fresh, and loving nature, must have felt this as it was meant. May the memory of it refresh his old days, and may he yet find the publisher and the orchestra and the audience to do justice to his music, which is more to him than himself!

202

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YORK:

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We close these reviews of the concert with a card from Heinrich himself: 8 1 A M U S I C A L C A R D . T h e u n d e r s i g n e d is desirous of e x p r e s s i n g in this public m a n n e r his h e a r t f e l t t h a n k s to his p r o f e s s i o n a l f r i e n d s f o r t h e i r k i n d a n d g r a t u i t o u s a s s i s t a n c e r e n d e r e d him a t his C o n c e r t of t h e 13th inst. Also, to those who could not a f f o r d to give t h e i r aid he h a s no o t h e r f e e l i n g t h a n t h a t of t h e w a r m e s t sympathy. T o Miss Stone a n d E m m o n s , M r s . F r a n k l i n , S h i r l e y a n d R a m e t t i , a n d to his old, v e n e r a b l e f r i e n d R i c h a r d s o n , a n d to t h e C h o r u s , one a n d all, f o r t h e i r successful e n d e a v o r s t o r e n d e r his music effectively, very m a n y t h a n k s . Also to M e s s r s . M a e d e r , L a n g e a n d H a y t e r , f o r t h e i r u s u a l efficient aid on the Piano and Organ. I t is but a n act of j u s t i c e to t h e f o l l o w i n g g e n t l e m e n , who p r o m p t l y c a m e f o r w a r d v o l u n t a r i l y to his a i d , t h a t t h e i r n a m e s should be p u b l i s h e d ; a n d indeed t h e y will l o n g , v e r y l o n g be r e m e m b e r e d : M e s s r s . C o m e r , Schmidt, Kendall, Groonveldt, G e a r , Bartlett, Pearce, Moorhouse, Seipp, Fillebrown, Cutting, Clark, (Lem'l.) Evert, Niebhur, Friedheim, W a r ren, R a m e t t i , W e r n e r , H a r b o r d , A z e l l W h i t e , R e e d , J o P e i r c e , A u r a y , R i p p o n , B u r d i t t , F r a m b o u r g e . A n d n o w to t h e p u b l i c , w i t h o u t whose supervision each a n d e v e r y a r t m u s t l a n g u i s h — t h a t p u b l i c which a f t e r a n absence of some fifteen y e a r s so k i n d l y received a n d s u p p o r t e d h i m — n o w o r d s can tell of his g r a t i t u d e . Suffice it f o r him to s a y , he n e v e r will f o r g e t it. ANTHONY PHILIP HEINRICH, N e w E n g l a n d H o u s e , N e w Y o r k , J u n e 19, 1846.

As to the financial outcome of the Boston Concert, with its volubly expressed preference for actual cash returns as opposed to "sentimental ceremonies" we have the following note: F A T H E R H E I N R I C H ' S c o n c e r t in B o s t o n was not a f a i l u r e , a n d the " C a r o P a d r e " ( a s t h e C a r a F i g l i u l a [ i i c ] of the Transcript calls h i m ) received more t h a n twice t h e a m o u n t of p e c u n i a r y compensation t h e r e as he did in N e w Y o r k , beside m a n y t o u c h i n g p r i v a t e testimonials of the love in which he is h e l d b y t h e good a n d wise. T h e good old man came back y e s t e r d a y , looking as f r e s h as a rose, a n d his eyes g l i s t e n i n g as if a b r i g h t f o u n t a i n h a d s u d d e n l y b u b b l e d u p b e n e a t h t h e m . W e are g l a d to m a k e t h i s correction r e g a r d i n g t h e Boston c o n c e r t , as his f r i e n d s will be to r e a d it. 8 2

Under date of July 11, 1846, Heinrich wrote his friend J. G. L. Libby, a well known Boston merchant-jeweller, in regard to the 81. 82.

Scrapbook, p. 1053. Scrapbook, p. 1063.

NEW YORK:

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Boston concert and Dwight's review of it. We give excerpts from the letter, with his discussion of these points: 8 3 T h e m u s i c i a n s of Boston h a v e in t h e i r zeal a n d r e f i n e d a c c o m p l i s h m e n t , n e a r l y c h o p p e d off my h e a d — b u t with the little s t u m p l e f t , I hope to have, in some less b a r b a r o u s s p o t b e t t e r l u c k , a n d t h e n I will p l a y a D u e t with M r . D w i g h t or a C a p p r i c c i o w i t h the illustrious Boston Sons of Appollo. M r . D w i g h t is a h a p p y w i g h t f o r he lives in s u n n y , s e r e n e solitude a t Brookf a r m a m o n g t h e c h i r p i n g s of some i n n o c e n t i n s e c t s a n d t h e Concertos of t h e B u l l f r o g s , t h e l a t t e r like t h e s y m p h o n i e s of B e e t h o v e n n e e d i n g no P r o g r a m m e s , a s s p e a k i n g f o r t h e m s e l v e s to t h e m i n d of t h a t contemplative g e n t l e m a n , — H e is u n q u e s t i o n a b l y a n h o n e s t k i n d h e a r t e d good soul, t a l k ing e l o q u e n t l y w i t h the genii of m u s i c in t h e a i r , alike S w e d e n b o u r g with the A n g e l s . . . M r . D w i g h t is r e a l l y v e r y d i s t a n t l y l o c a t e d f r o m f u l l good o r c h e s t r a s a n d has p r o b a b l y h e a r d v e r y little of o r c h e s t r a l effects, combinations a n d p r o f e s s i o n a l t a c t i c s . U p o n t h e v e r y i m p e r f e c t , n a y slovenly, c o n f u s e d execution of m y o r c h e s t r a l w o r k s in B o s t o n , I c a n n o t a c c e p t a n y criticism or f o r e c a s t of j u d g m e n t on m y musical w a y s — i n common j u s t i c e beyond t h a t m i s e r a b l e f a c t of i n s t r u m e n t a l b a n k r u p t c y with w h i c h I w a s so c r u e l l y s e r v e d by m a n y d e l i n q u e n t p e r f o r m e r s . . . I c a n n o t see w h y I should not i n t r o d u c e into a w o r k , which I choose to call " T e c u m s e h " — " t h e I n d i a n W a r C o u n c i l — W a r D a n c e " etc.,—likewise so the c l a c k i n g of cymbals, t r i a n g l e s etc., in p r o p e r p l a c e s f o r the f e a t s of a s a v a g e " n e l stilo musicale . . . " I have h o w e v e r never t a k e n a n y p a t t e r n of B e e t h o v e n or a n y b o d y else. M r . D w i g h t j u d g e s a g r e a t d e a l by f a i t h a n d musical s u p e r s t i t i o n . H e discovers so m u c h m e a n i n g in Beethoven. I c o n g r a t u l a t e him u p o n so i m p o r t a n t a d i s c o v e r y a t m y expense. H a d my i n s t r u m e n t a l works been p r o p e r l y p e r f o r m e d in B o s t o n — t h e y would possibly have a c t e d quite o t h e r w i s e u p o n t h e Y a n k e e notions, or u p o n the Musical P h i l o s o p h e r of t h e p l a c i d B r o o k f a r m , w h e r e no cymbals or the r o l l i n g of d r u m s d i s t u r b t h e music of N a t u r e , e x c e p t , p e r h a p s t h e m a n y peals of the g o n g f o r their social f r u g a l d i n n e r s . . . T h e O v e r t u r e of W e b e r which m y f r i e n d a l l u d e d to a n d t h e B o s t o n O r c h e s t r a u n d e r s t o o d f u l l well as also " A u l d L a n g S y n e " c a n h a r d l y a t o n e f o r the incongruous m a n n e r , with which my " O v e r t u r e to t h e P i l g r i m s " w a s p e r f o r m e d , of which t h e two Adagios m i g h t even claim a v e r y p a r t i c u l a r s o m e t h i n g of the c r i t i q u e s not only in B r o o k f a r m a n d in B o s t o n b u t in the world a t l a r g e , first f r o m the score, secondly u p o n the r e s u l t s f r o m c o m p e t e n t orchest r a s . . . . T o tell you the t r u t h I like M r . D w i g h t for he writes so cont r a r y a n d ideal. H e rails g e n t l y a t my p r o g r a m m e s whilst all the while he makes in his speeches all sorts of m e t a p h y s i c a l metaphors a n d creates w o n d e r f u l i m a g e r y , f a r b e y o n d m y s u m m e r s e t s . M r . C h i c k e r i n g asked me 83. Scrapbook, p. 517.

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on my leaving your concerted city which I considered my g r e a t e s t work. I will answer him now through your kind medium that it is my S y m f o n i e o f the Condor. S o m e ten years ago I heard a movement of it in G e r m a n y . S i n c e I have worked it over »ix times and it is now the seventh time t h a t I recast and recopy this stupendous production, which is so extensive that I fancy if the secret was known, t h a t the bare notes of it closely put together would cover the whole road from M r . Chickering's wareroom o f splendid P i a n o f o r t e s till the printer's devil t y p e cases of the H a r b i n g e r or P h a l a n x in B r o o k f a r m . . . M y daughter and grandchild is pining away, especially the l a t t e r . S h e looks like the poor little departed g i r l S e y mour, and I am apprehensive of some f e a r f u l consequences. I should like to send them on p r e f e r a b l y to Boston for a few weeks, in change o f a i r , and ask you whether for love or money, I could get them shelter in your house, at Miss G r a v e s ' or Miss G r a u p n e r ' s . D o not misinterpret the freedom of my anxious f a t h e r l y inquiry and if you are so inclined, write me a few friendly lines. I t would seem t h a t

H e i n r i c h w a s n o t q u i t e so a p p r e c i a t i v e

D w i g h t ' s p o i n t o f view a s he m i g h t h a v e b e e n , f o r D w i g h t

of

regretted

as much as H e i n r i c h the inadequacy of the o r c h e s t r a l p e r f o r m a n c e of t h e e v e n i n g . H e i n r i c h ' s one p o i n t a s t o t h e l e g i t i m a c y o f m u s i c , h o w e v e r , was in t h e c o m i n g d e c a d e s t o find f u l l

program

vindication

t h r o u g h o u t t h e m u s i c a l w o r l d , in a v e r y m a r k e d m a n n e r . U n d o u b t e d l y , all in g o o d t i m e , D w i g h t m u s t h a v e c o m e t o see t h a t t h e r e w a s s o m e d e f e n s e f o r i t . H e i n r i c h d i d , n e v e r t h e l e s s , m o r e t h a n o c c a s i o n a l l y enc u m b e r his m u s i c with a decided s u p e r f l u i t y o f p r o g r a m m a t i c d e t a i l . 8 4 S o we m a y well g r a n t t h a t t h e y were b o t h r i g h t on t h i s p o i n t . T h e r e seems no q u e s t i o n as t o t h e u t t e r i n a d e q u a c y o f the p e r f o r m a n c e o f t h e o r c h e s t r a a t t h i s c o n c e r t , b u t t h e r e was w i t h o u t d o u b t a r e a s o n . T h e w o r k s p e r f o r m e d were difficult in t h e e x t r e m e , a n d t h e r e was, unquestionably, the ordinary experience of a lack of

proper

rehearsal. 84. The following paragraphs were called forth somewhat later by the performance of the descriptive symphony, The Sea Voyage by Carl Hohnstock: "There are fashions in music as well as in dress, furniture et cetera; the present rage appears to be for description. Haydn may be said to be the father of this style, for he was the first among modern composers to bring it to its present perfection; he has had a host of imitators, among the most successful of them in Europe may be mentioned Beethoven, Schumann, David and Berlioz; in America, Trajetta, Heinrich, Fry and Hohnstock. "That there is danger in pushing this style too far, we cannot but admit, for there is but a step from the sublime to the ridiculous; nevertheless we must rank the true conscientious composer, when he enters this field, not only as a musician but also as a poet, for the descriptive symphony is a poem if there ever was one." (Scrapbook, p. 648.)

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205

T h a t Heinrich did n o t t a k e all this too seriously t o h e a r t , however, is evident f r o m the following f u r t h e r c a r d published over his own s i g n a t u r e : 85 A CARD.—The subscriber tenders his sincere thanks to his friends and the public in Boston for the liberal patronage extended to him on the occasion of his late Concert in that City. To the Orchestra and to the Ladies and Gentlemen who assisted at the performance, he acknowledges his many obligations for the promptness and the enthusiasm with which they responded to the invitation of a generous and liberal-minded Committee. The Editors of the various public journals are also entitled to his warmest gratitude. The universal sympathy and the kind reception so freely bestowed on the musical visitor, by old and new friends in Boston, will ever live impressed in ineffaceable traces on his heart. Should he be able to realize his present intention of again visiting Europe and exhibiting to the musical giants of the Old some of the minstrelsy of the New World, he may avail himself of the friendly suggestions of his estimable Boston patrons and give, next Autumn, in their cherished City, another Farewell Concert. Fully alive to the kindness of those friends who, in former times, took him cordially by the hand, and have ever since kept him near their hearts, lavishing upon him their generous hospitalities, he again assures them of his unchangeable esteem and humble but grateful regard. New-England

ANTHONY P H I L I P HEINRICH. Houte, N. Y. June 23, 1846.

R e v e r t i n g f o r a moment t o H e i n r i c h ' s letter to L i b b y , we find in it the first mention of H e i n r i c h ' s d a u g h t e r A n t o n i a , t h a t we have seen in many y e a r s . A p p a r e n t l y H e i n r i c h was as a f f e c t i o n a t e a n d solicitous as ever over her welfare, a n d evidently the little g r a n d d a u g h t e r h a d won a warm p l a c e in his h e a r t as well. H e i n r i c h h a d m a n y songs published d u r i n g the y e a r 1 8 4 6 — a m o n g them the various songs we have noted on the p r o g r a m s of t h e y e a r : " T h e M a i d of H o n o r L a u g h i n g a t L o v e " 8 6 (William Steele, L o n d o n ) ; " T h e P a r t i n g " 8 7 ( D . C. D r i s c o l l ) , dedicated to Miss M a r y L . Speed, F a r m i n g t o n , K e n t u c k y (it is quite evident t h a t Heinrich h a d n o t f o r g o t t e n his old and loyal f r i e n d s in K e n t u c k y ) ; " T h e Valentine" 8 8 (George Blake K i n g ) , presented to the St. Cecilia Society, Louisville, K e n t u c k y ; " I m o i n d a " 89 ( 0 . H . M i l d e b e r g e r ) , dedicated to L y d i a M. 85. 86. 87. 88. 89.

Scrapbook, Scrapbook, Scrapbook, Scrapbook, Scrapbook,

p. p. p. p. p.

1060. 161. 321. 331. 351.

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Child. Besides these there are " T h e Y o u n g Columbian M i d s h i p m a n " 9 0 ( H . C. Lewis), dedicated to Cornelia W . W a l t e r ; " T h e Minstrel's F r i e n d , " 9 1 dedicated to J o n a s Chickering; " U n e P e t i t e F a n t a i s i e d ' a m o u r " 0 2 ( M a r s h a l l P i l e ) , dedicated to Miss H a r r i e t H . G r a u p n e r ; and " T h e T r i b u t e , " 9 3 two concert songs, dedicated t o the Musical F u n d Society of Philadelphia (here again Heinrich is remembering old friends as well as new). And there was also an " E l e g i a c Quint e t t o " 94 with o r g a n acompaniment, in memory of Leopold Herwig. Heinrich received f r o m Miss W a l t e r a cordial l e t t e r 85 of which we quote a p a r t , expressing t h a n k s f o r the song dedicated t o h e r : You have w a r m f r i e n d s h e r e who will a l w a y s be g l a d to give you a h e a r t y welcome, a n d tome a m o n g s t t h e m , who, in the m e m o r y of t h e volumes of composition r e a d y to be i n t r o d u c e d to the world a t a f u t u r e d a y u n d e r the p o w e r f u l p a t r o n a g e of E u r o p e a n C o u r t s , foresee f o r you a l o n g a n d sweet recompense of toil. M a y our good wishes f o r you be more t h a n r e a l i z e d ! M y d e a r M o t h e r begs me to s a y t h a t she r e c i p r o c a t e s c o r d i a l l y all y o u r p l e a s a n t memories, a n d wishes you h e a l t h a n d e v e r y h a p p i n e s s ; whilst f o r m y s e l f , I wish I could w a f t my letter to you by some musical t e l e g r a p h , which should be electric too, a n d be sure of conveying m y real s y m p a t h y a n d r e g a r d f o r t h e good H e i n r i c h , the v e t e r a n composer. W i t h r e s p e c t a n d t r u e e s t e e m , I am d e a r sir, your obliged f r i e n d Cornelia W . W a l t e r .

W e can see from the final phrases of this letter how deeply the new telegraph had stirred the imagination a t this time. Acknowledgments were received also from M r . C h i c k e r i n g 9 0 in Boston and f r o m the Musical F u n d Society in Philadelphia. T h e letter from the President of the Musical F u n d Society reads as follows: 97 H a l l of the Musical F u n d Society P h i l a d e l p h i a , J a n . 6, 1847 Dear Sir: Y o u r l e t t e r of the 1st of D e c e m b e r , a d d r e s s e d to the m e m b e r s of the 90. 91. 92. 93. 94. 95. 96. 97.

Scrapbook, p. 371. Scrapbook, p. 357. Scrapbook, p. 381. Scrapbook, p. 393. Scrapbook, p. 481. Scrapbook, p. 367. The letter is dated October 27, 1846. March 8, 1847. Scrapbook, p. 389.

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207

Musical Fund Society was laid before the Board of Directors, at their first subsequent meeting, which was held last evening and it was received I assure you with the cordial welcome so naturally excited by an appropriate reminiscence from an old and honored friend. You were well remembered by many of us98 and so were the productions you were pleased to call "the firstlings of your Muse." This Muse again pays in her maturity "A Visit to Philadelphia." We receive her with open arms and accept with gratitude the Tribute which she brings, and which she dedicates to us. You generously offer us another proof of your attachment to the Society, and of your zeal in the case of music and benevolence to which it is devoted. You propose to produce before an audience your orchestral work "The Treaty of William Penn with the Indian»." The offer was received most gratefully, by the Board and referred to the "Committee on Music," which has full charge of the performances. The arrangements for the season having been made, we must be obliged to defer to a future period the hope of listening to a simphony of the merit of which we have full assurance in the well known talent of the composer. I am, Dear Sir, most respectfully and truly your friend and servant. R. M. Patterson, President Musical Fund Society. I t is impossible to know j u s t when the following letter was written. Mr. Seguin was another well-known English opera singer who made a fine success in America. Singing the p a r t of Devilshoof and with his wife as Arline, he gave the first American performance of Balfe's ever popular Bohemian Girl a t the P a r k T h e a t r e , New York, in 1844. W h a t would America have done in those days without this brilliant galaxy of operatic stars from London? 89 White St., NYK Saturday Evg. Dr. S i r Excuse my not writing before this, but I have been absent from New York. I thank you very much for your present, and shall value highly your beautiful compositions. I shall be glad to see you, to have a chat upon our 9ft. From Madeira, page 76, we learn that in the second performance of the First Concert of the Musical Fund Society in Philadelphia, May 8, 1821, Heinrich played next after De Luce in the orchestra. The orchestra was made up as follows: Principal Violins, Messrs. De I.uce, Heinrich, Kahn, Getze, etc.; principal violoncello, M. P. Gilles; violoncellos, Messrs. Homman, Sr., etc.; tenors, Messrs. Cantor, C. Homman, etc.; principal double bass, Mr. Schetkv; double basses, J. Homman, Klemm; principal flute, Mr. Dannenberg; principal bassoon, Mr. J. D. Weisse, from Bethlehem. It will be remembered that many of these same men took part in Heinrich's concert in Philadelphia, April 19, 1821. See page 65.

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old friends in Europe, when yon have half an hour to spare, and are passing my way. I am, with respect Yours truly, Edward Seguin Professor A. P. Heinrich P r o b a b l y a t about this same time there a p p e a r e d the following poem, 9 8 entitled " T h e G a l l e r y of Genius," in which H e i n r i c h is apostrophized a l o n g with W e b s t e r , Cushman and other celebrities. I t is quite evident t h a t a l t h o u g h Heinrich felt he could not t a k e the time to sit for a p a i n t e d p o r t r a i t ( a s we saw in his letter to Mussik, some y e a r s b a c k ) , 1 0 0 he did succeed in finding o p p o r t u n i t y to sit for a d a g u e r r e o t y p e . W o u l d t h a t this p o r t r a i t were in existence t o d a y ! T H E G A L L E R Y OF GENIUS. 8UGGE8TED BY A VISIT TO

W H I T E H U R S T S MAGNIFICENT DAGUERREIAN ROOMS, 349 BROADWAY, NEW-YORK. No canvas spreads its colors here, Where trees and streams and mountains teach That Nature is a minister With sweet and everlasting speech. No architecture grandly holds Man's yearning in its marble folds; No Music softly, sweetly rings, Like murmurs caught from angel wings, Seen by the enthusiast in some cloud, When Earth is hushed and Men are bow'd In worship, while the very air Swoons at the splendor falling there. And yet I tread the ample space With deep delight and solemn thought, For here I can at pleasure trace The various forces that have brought The canvas forth as Beauty's slave— The statue from the quarry's grave— The senseless wood to music's power. Till with some sound's divinest roll— 99. Scrapbook, p. 1076. 100. Mussik, p. 23.

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Thrilling in some divinest hour— It seemed itself a living soul. Yes ! MAN is here—the Fount of all, The crown, the mystery, the power. Before whose advent Eden sighed, And useless bloomed the bower. Here can I trace an E L L I O T ' S eye, And ample forehead's glorious dome, Where, like a rainbow mystery, The soul of color makes her home. Here H I E N R I C H ' S countenance reveals The enthusiast whom no age can chill— The snow may fall on Etna's head, It stands a fiery Etna still. See W E L B Y with voluptuous face, Tempered by the ideal grace, And know why in her glowing hours Of loftiest ecstacy you hear Some strain that brings you back at once Unto a sensuous sphere. See C U S H M A N with that earnest air, And mouth intense; say, who could see The terrible lines upon this plate, Nor own her Queen of Tragedy ? See S O U T H W O R T H ! how her mystic brow, Her serious lips, her airy eyes, Show you the graceful sovereign in Romance's mysteries. Nor, C A R E Y S of the forest home! Must ye forgotten be: How sweet this imaged plate recalls Your songs' clear brilliancy! And RIPLEY—there his manly face, Attempered by thought's graceful lines, Beams out upon me, and I see A Priest of Learning's shrines— A Priest who never yet has made The altar but a sordid trade, But one who ministers for love Of Truth and Beauty born above. Whose face is this, where awful might Is throned in melancholy light?

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Whose brow seems made to wear the crown Of Rome's great Thunderer, when he Fell from Olympus at the voice Of dread Eternity. Whose face ? a nation knows—a world ! H a r k from ten thousand lands a name Is whispered—"your own W E B S T E R see !"— Oh, H e a v e n ! this—thit is f a m e ! And who art thou whose beauty beams Like jewels under shadowed streams? So wan, so sad, those glorious eyes, They bring to mind some broken flower, Some shattered h a r p , some withered bower— A beauteous "wreck of Paradise." Pale, lovely one! Is that the trace Of grief from wrong upon thy face? Yes ! Yes ! the tale I might rehearse ! To thee the heaven—to him the curse. And—but, no more—no more—'tis God, Not man, who holds the A V E N G E R ' S rod. But round me thicker, thicker loom, I n manhood's power, or beauty's bloom, The brows of those whose memory beams By city-hearths, or forest streams: And One, the chief of these, demands A laurel from the poet's hands— Yes, chief, though youngest of the t r a i n : To him the harp's last lingering strain. What inward light within his eyes, What earnestness upon his lips ! 'Tis his to pierce the earth—the skies, And roll away the dark eclipse T h a t veils the soul, and show us how Eden again may light the brow. Yes, LAZARUS—with a heart as mild As whispers of a gentle child, Yet with a genius bold as fire T h a t quivers with its own desire— 'Tis thine to show that nature stands With no discordant, j a r r i n g bands. But unit-like from star to sod, She is the image of her God.

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211

Thanks, W h i t e h o r s t ! thanks! to thee I owe A nobler sense—a finer glow— Humanity is not so low ! When you and I have passed away, Each one's own several labor done, How many thousands here will stray, From care awhile, or folly won— And crown thee with th' immortal bay, A faithful Artist of the Sun! On M a r c h 5, 1847, H e i n r i c h lost a n o t h e r of his d e a r e s t f r i e n d s — none other t h a n t h a t Boston friend to whom he h a d so recently unburdened his soul a b o u t the u n s a t i s f a c t o r y p e r f o r m a n c e of his orchest r a l works in t h a t city a n d M r . D w i g h t ' s subsequent review of the concert. T h e news of M r . L i b b y ' s d e a t h came to H e i n r i c h t h r o u g h a tenderly s y m p a t h e t i c n o t e 1 0 1 f r o m H a r r i e t H . G r a u p n e r , d a u g h t e r of B o s t o n ' s " g r a n d old man of music," G o t t l i e b G r a u p n e r . Sunday, March 7, 1847 My dear Mr. Heinrich: I have sad, very sad news to tell you, the loss of one of your dearest friends—which I know will affect you so deeply that I cannot bear you should receive the first intelligence of it through the newspapers. So I have taken upon myself the painful task of communicating it to you; yet at this moment shrinking from the thought of the sorrow I shall cause, though hoping, perhaps vainly, that I may at least prepare you for the blow. Mr. J . G. L. Libby died at his residence on Friday last. Of the particulars of his death I, as yet, know nothing except that the disease was pleurisy. H e is to be buried on Monday afternoon. When I heard of his death, my first thought was for you and I offer you my most heartfelt sympathy. One more has passed away from this earth to join the circle of friends who wait to welcome you to Heaven. With love and respect truly yrs. Harriet H . Graupner. I n this same y e a r ( 1 8 4 J ) H e i n r i c h p r o d u c e d a " F u n e r a l A n t h e m " 1 0 2 in memory of L i b b y , designed as a companion piece t o t h e " E l e g i a c Q u i n t e t t o , " published "in a f f e c t i o n a t e remembrance of Leopold Herwig, the intimate f r i e n d of the l a t e Libby a n d also of the a u t h o r . " H e i n r i c h also mourned, with the rest of the world, the untimely death of Mendelssohn and saw published " T h e L a u r e l a n d 101. 102.

Scrapbook, p. 501. Scrapbook, p. 525.

NEW

212 the C y p r e s s "

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described as a " p e t i t i m p r o m p t u f o r the p i a n o f o r t e

suggested by p l e a s i n g recollections of F e l i x Mendelssohn B a r t h o l d y . " H e also wrote The

Tomb

of Genius,

dedicated " t o the memory o f

Mendelssohn-Bartholdy—Sinfonia sacra for grande orchestra," 67 p a g e s , folio. I n 1 8 4 8 there came t o New Y o r k the distinguished singer M a d a m e A n n a B i s h o p , wife of the E n g l i s h c o m p o s e r H e n r y R . B i s h o p , and R . N . C. B o c h s a , f a m o u s t h r o u g h o u t E u r o p e f o r his skill as a h a r p i s t and his entire lack of m o r a l i t y as a man. T h e c o n c e r t s given by B o c h s a and M a d a m e B i s h o p were most e l a b o r a t e and made a g r e a t impression in New Y o r k , as indeed they did everywhere. W e give two c h a r a c t e r i s t i c l e t t e r s f r o m H e i n r i c h , t o B o c h s a and M a d a m e B i s h o p , which throw some i n t e r e s t i n g sidelights upon H e i n r i c h ' s earlier life in L o n don : R . N . C . Bochsa Esq. New York 29 Nov. 1848 Sir: About 15 years ago I performed among the motley orchestral crowd one of the viola parts of your Voyage Muticale at a concert which you gave in London. You there stepped up to my desk with your wonted politeness to explain the order of the pieces etc., directing the grand " T o u t e E n semble" like a modern King David on the H a r p in the Theatre Royal Covent Garden. This and other things connected with it, I remember with pleasure. The performance of your musical "Orbis pictus" last Saturday was a great treat to me and I only regret (which remark you will excuse from a plain spoken man) that you have overlooked to place Bohemia in your nomenclature. . . . My village schoolmaster of long bygone days, a real " S t o c k Böhme," spoke always enthusiastically of his crony Bochsa, born in his hamlet and virtuoso on the Oboe. This might have been your father or grandfather. . . . I admired especially your scientific and characteristic performance on the harp. Apollo visits me sometimes incognito, inspiring me with airs and fundamental Basses but hitherto I have not had the good fortune of finding executants, adequately to exhibit my productions. Anticipating your kindness for the delivery of the enclosed letter to Madame Bishop, I remain Dear S i r ! Your most obediently humble servant A. P. Heinrich 1 0 4 103. Scrapbook, p. 646. 104. Scrapbook, p. 207.

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213

N.Y. 29th Nov. 1848 Madame Anna Bishop Most Musical L a d y : Some time ago I allowed myself the professional licence of presenting yon a number of my compositions accompanied by a very respectful letter. I take again the liberty to tender a few additional pieces for your kindest acceptance, the more so, as you will find my last Musical Echo connected with a kindred dedication to Mr. Bishop, for whom I entertain the highest respect in every way. Mr. Bishop when he was musical Director for Mr. Bunn engaged me to set several orchestral parts to some Dances, which were performed in a Ballet at D r u r y Lane but Mr. Bunn to whom I was referred never paid me, being probably short of money, which I regretted for his sake. In regard to myself, although I needed the daily bread as well as other people, it corresponds better with my innate feelings to give than to take. The song inscribed to Mr. Braham was approved by him with other subjects to sing in an Opera of mine. I did not succeed under the management of the late Stephen Price to bring that dramatic vocal Work before the Public of London. This production I have since entirely lost by fire (saving only by chance the song above alluded to) which nearly shook my Philosophy, the more so, as some time previous the cruel flames had consumed a great quantity of my compositions actually engraved at my own expense and of which I have scarcely any vestige left. . . . I may have the gratification of seeing Mr. Bishop next year. A friend of mine presented me a ticket for your Festival last Saturday. You warbled most sweetly. For your next Concert I wish you a real California Harvest—remaining with full admiration of your eminent musical and dramatic attainments, Madame, Your obdt humble servant A. P. Heinrich

105

H o w exactly these letters d a t e themselves! W e have a l r e a d y n o t e d Cornelia W a l t e r ' s reference to the t e l e g r a p h ; in this i n s t a n c e , " C a l i f o r n i a H a r v e s t " could scarcely f a i l t o p o i n t definitely t o those golden y e a r s 1848 and 1849. T h e song dedicated t o J o h n B r a h a m , which H e i n r i c h s t a t e s was the only number f r o m his o p e r a rescued when t h a t work was otherwise t o t a l l y d e s t r o y e d b y fire, was " S w e e t I s t h e B a l m , " 1 0 6 which h a d a p p e a r e d in p r a c t i c a l l y all of H e i n r i c h ' s r e c e n t p r o g r a m s in New Y o r k . A n o t h e r distinguished singer in New Y o r k a t this time was t h e o p e r a t i c b a r i t o n e Giuseppe de Begnis, the f r i e n d of Rossini a n d t h e c r e a t o r of some of the most i m p o r t a n t roles in Rossini's works. D e 108. 106.

Scrapbook, p. 208. Scrapbook, p. 215.

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Begnis was very p o p u l a r in America, where he s p e n t m a n y y e a r s . H e writes H e i n r i c h (in I t a l i a n ) as follows: Monday, Nov. 20, 1848 Dearest Heinrich: I spent the half of yesterday at the piano in gloomy thought over the music you had presented to me. You did not write as master but as more than master, and your music will be understood only by few (it is too great, majestic, sublime!)—in short, by Handel, Haydn, Mozart and Beethoven only. And I believe your mind to be at once a musical storehouse and a volcano! But dear Master, those masterpieces will not be valued by the generality as they merit, and not over here in a hundred years, until America in general shall have made the necessary progress in the beautiful art which so shines and flourishes in Italy and Germany. I shall preserve your compositions like precious jewels and in exchange can only offer those trifles which you have seen published by Mr. Hall. In the meantime believe me with esteem and friendship De Begnis. I n 1848, also, H e i n r i c h h a d n u m e r o u s songs published. As in 1 8 4 6 he h a d dedicated a number of songs t o his American f r i e n d s , so now he generously remembered his f r i e n d s of the London d a y s . Aside f r o m the dedication t o B r a h a m , t h e r e a r e dedications t o M r s . E d w a r d T u k e , wife of the Good S a m a r i t a n who cared f o r H e i n r i c h so devotedly a f t e r his a r r i v a l in E n g l a n d in 1 8 2 6 ; t o M r s . R i c h a r d H u g h e s , wife of H e i n r i c h ' s devoted and influential f r i e n d a t D r u r y L a n e a n d Covent G a r d e n ; to a M r s . R o b e r t Bell, also of L o n d o n , in " g r a t e f u l recollection of h o s p i t a l i t y " ; a n d t o Sir H e n r y R . Bishop. One of H e i n rich's p r o f o u n d sorrows was the d e a t h in this y e a r of T h o m a s Cooke, f o r whom he h a d cherished a p a r t i c u l a r l y deep affection ever since the e a r l y L o n d o n d a y s , a n d now a n o t h e r song is dedicated t o Cooke's memory. T h e y e a r 1849 was made memorable to H e i n r i c h by the receipt of w h a t he always considered t o be the highest testimonial t o his ability as a composer t h a t he ever received. T h i s was a l e t t e r f r o m the celeb r a t e d D r . H e i n r i c h M a r s c h n e r , G e r m a n composer of successful o p e r a s and symphonies which h a d s p r e a d his f a m e over the entire musical world. T h e l e t t e r , in H e i n r i c h ' s own t r a n s l a t i o n , is as follows: 10T 107.

Scrapbook, p. 882. For original text, see Appendix I, note 8.

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Hanover, 10th of May, 1849 To A. P. Heinrich, Composer in New York: While I tender you, dear sir, my most sincere thanks for the compositions, so kindly sent to me, I cannot omit to express, at the same time, my joy on finding that the German school of music is so worthily represented by you in America; for in all your compositions, honored sir, I remark that you exhibit the t r u e German style most effectively. A character, originality and solidity, a p p e a r throughout your works; and nowhere do you imitate the inflated exhibitions of superficiality and shallowness, perceptible in many modern Italian and, alas! also in French works at the present day. Although you are sometimes tempted through your originality, to offer the performers too g r e a t difficulties, and to require of the human voice too extensive a compass! still the originality, and the deeply poetic ideas, which are developed in your compositions, repay the painstaking to master t h e m ; and are a splendid testimonial of German talent in the West. Remain assured of my most perfect esteem, and may you be gladdened long yet with the applause of every lover of the art. This wish is from my heart. H . Marschner. H e i n r i c h r e s p o n d e d by p u b l i s h i n g " T h e I n d i a n C a r n i v a l " a n d " T h e F e s t i v a l of t h e D e a d a n d t h e Cries of t h e S o u l s , "

108

dedicating them

to Marschner. T h e e x c i t e m e n t of J e n n y L i n d ' s visit t o A m e r i c a in 1 8 5 0 h a d its own v e r y p a r t i c u l a r a n d d i s t r e s s i n g i n t e r e s t t o H e i n r i c h , f o r he e n t e r e d u p o n a v o l u m i n o u s b u t f u t i l e c o r r e s p o n d e n c e with O t t o G o l d s c h m i d t in a n e a r n e s t a t t e m p t t o g e t t o t h e f a m o u s d i v a ' s a t t e n t i o n a collection of pieces which he h a d d e d i c a t e d a n d sent t o h e r . H e a s k e d ( r e a s o n a b l y e n o u g h , it would seem) t h a t if the volume of music could n o t reach h e r , i t should be r e t u r n e d t o him. H e never succeeded in his first request a n d s p e n t m a n y w e a r y m o n t h s in o b t a i n i n g t h e second. H e never ceased t o feel t h a t he h a d been u n f a i r l y t r e a t e d in t h e whole matter.109 G R A N D V A L E D I C T O R Y C O N C E R T IN N E W Y O R K ,

1853

T h e y e a r s 1850—52 were r o u t i n e y e a r s f o r H e i n r i c h . H e assisted a t m a n y c o n c e r t s a n d c o m p l e t e d m a n y c o m p o s i t i o n s , l a r g e a n d small, p u b l i s h i n g m a n y of the l a t t e r a n d r e t a i n i n g in m a n u s c r i p t all of t h e f o r m e r . H e w r o t e some o c c a s i o n a l music, such as t h e f u n e r a l m a r c h in 108. Scrapbook, p. 673. 109. Scrapbook, pp. 401-2.

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memory of General Taylor, which was arranged for wind instruments and performed at a "grand national concert" given by the French horn player, Knaebel, on April 8, 1851. At about this time, he also sent to Queen Victoria various compositions in honor of the great Industrial Exhibition in London and had the very high pleasure of receiving official sanction for the dedication of these compositions to the Queen.110 In March, 1852, he was tendered a banquet by the orchestra of the Bowery Theatre and was deeply touched by the friendliness and affection of his hosts. 111 In May of this same year he issued a proposal for the publication of Sunset Chimes, in which he laid great emphasis on his attempt in these compositions at artistic simplicity—the lack of which had always been such a conspicuous fault. This particular subscription blank is especially notable from the fact that it bears the signature of Catherine Hayes, the internationally famous Irish singer. The one great and vital interest of the year 1852, however, was the concert proposed as Heinrich's valedictory before he should leave America for his homeland to renew acquaintance with the old familiar scenes and friends of long ago and also, once more and for the last time, to bring before the European public the fruits of his active musical life in America, "the country of his choice and affection." In the fall of 1852, he issued two public notes: one to the New York Philharmonic Society, which he had helped to organize ten years before, the other to the general public. In both he besought sympathetic cooperation in this undertaking. It was not until April 21, 1853, however, that the concert was actually given. As always with Father Heinrich, the newspapers were most cordial and friendly in announcing the concert and in urging that there be a large attendance. FATHER HEINRICH.—The concert of this amiable old gentleman and venerable musician, of which frequent mention has already been made in these columns, will positively take place at Metropolitan Hall, on Thursday, 21st inst. Among the volunteers on this occasion, are many of the finest and most reliable of our resident artists, and the programme itself is of a nature, which is at once artistic, peculiar, quaint, original and at110. Scrapbook, p. 1132. Published letter from Augusta Browne (December 8, 18fi2) in which she says, "I have myself read the courteous letter, signifying through Earl Gray the royal acceptance." 111. Scrapbook, pp. 366-66.

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tractive. We recommend an attentive perusal of it to all, as it will surely excite the interest of all in behalf of our old friend, the veteran Kentucky musician. We sincerely and earnestly wish Father Heinrich every possible success, and refer to another column for farther particulars respecting this great Concert. 112 H e i n r i c h h a d noted in t h e m a r g i n of t h e following c l i p p i n g t h a t i t was written b y a M r . H a r r i s of t h e S o c i e t y of t h e I r o n M a n , a n o r g a n i z a t i o n f o r the b e t t e r m e n t of the n o t o r i o u s Five P o i n t s n e i g h b o r hood 1 1 3 of New Y o r k C i t y t h r o u g h the s u p p o r t of t h e F i v e P o i n t s H o u s e of I n d u s t r y , a civic o b j e c t in which H e i n r i c h was deeply interested. Mr. Heinrich's Concert. —Most happy should we be, if by any means within our power we could succeed in so calling public attention to Mr. Heinrich's claims, that his approaching concert should be fully attended. Mr. Heinrich, or, as he is affectionately styled in the world of music, Father Heinrich, was once a German merchant of great wealth and the highest standing. By circumstances, which we cannot now relate, he became, twenty years ago, bankrupt and utterly impoverished. He has resided, since his misfortunes, in this city, engaged chiefly in composing mutic, earning, meanwhile, a scanty subsistence by giving musical lessons. H e has gone on, in his solitary attic, composing oratorios, operas, symphonies and songs—merely composing, not publishing them—till he has accumulated several large chests full of elaborate, original musical compositions—his only wealth. A pure love of art has been the sole motive of his labours, and the j o y of composing, his only reward. Now, f a r advanced into the vale of years, the desire has sprung up in his mind to submit some of his compositions to the judgement of the world. At the concert which he intends soon to give at Metropolitan Hall, six of them are to be, for the first time, performed, by the best orchestra the city can furnish. Mr. Heinrich hopes to realize from this concert a sum sufficient to pay the expense of a visit to Europe, where he intends to lay his compositions before the great masters of the musical art. What degree of merit his works possess, we do not know. Some of them, however, received the praise of Mendelssohn, with whom Mr. Heinrich used to correspond. Such devotion to an art as Mr. Heinrich's, we may also observe, is usually prompted by remarkable talent. Let him, by all means, have a candid hearing. Let us not refuse to a creator of music a portion of that wealth which we bestow so lavishly upon the mere interpreter. In a week or two the particulars of the concert will be made public. 11 * 112. Scrapbook, p. 1132. 113. For a vivid picture of the Five Points at just about this time, see Bremer, The Hornet of the New World, II, 601-3. 114. Scrapbook, p. 1112.

GRAND VALEDICTORY CONCERT. ANTHONY PHILIP HEINRICH, Most respectfully informs his generous Subscribers and the Public at large, that his M U S I C A L VALEDICTION will be given on

Thursday Even'g, April 21, 1853, At Metropolitan Hall. 1 3 ^ The Orchestra, a numerous and powerful one, will be under the direction of Mr. T H E O D O R E E I S F E L D , and the Beneficiary. VOCALISTS: Mad. A N T O I N E T T E OTTO, Mad. A N N E T T E STEPHAN I, Mrs. C. E. L. B R I N C K E R H O F F , Miss M. S. B R A I N E R D , Miss H. G. BROWN, Miss C. A. D I N G L E Y , Mr. F. H. NASH, Mr. W. M. S M I T H , Mr. I. CONKEY. H E N R Y C. TIMM, VAN DER W E Y D E , CHARLES HAASE, The B R O T H E R S S C H N E I D E R ,

will preside at the Piano Forte. " " at the Phys-Harmonica. will perform on the Cornetto. " " " Piano Forte.

A. P. H. gratefully acknowledges the kindness of the Ladies and Gentlemen in volunteering their valuable aid upon the occasion.

PROGRAMME. PART

I.

1. The Wildwood Troubadour, a musical Auto-Biography, Festive Ouverture. Heinrich. "The Dawning of Musical Inspiration in the Log-House of Kentucky." I. P R E L U D I O G R A V E , M I S T E R I O S O , on the! Phyi-Harmonica, acompanied by Oboi. The Centn* of Harmony II. L A R G O P E N S O R O S O . Quartetto of Violonilvmbering in the forett celli, Contra Basso, &c. &c. ihade* of America. III. ADAGIO GRANDIOSO, with an increased Orchestra, Cornetto coneertante The harmonic ttudiei of her votary are encouraged by the itirring melodiet of Nature; hit "Alma Mater."

I

Wm. Vincent

2. SONG—"One Gentle H e a r t . " MR*.

C. I .

L.

3. BALLAD—"Three Ages of Love." KIM

Wallace.

BRINCKERHOFF.

M . 8.

E.J.Loder.

BRAINERD.

4. I M P R O M P T U C H A M P E T R E for the Pianoforte PERFORMED

BY T H E

BROTHERS

CHRISTIAN

AND M A T H I A 8

SCHNEIDER.

5. "The Captive Greek Girl."

Hobb*.

MISS C. A.

DINGLKY.

6. The New England Feast of Shells. DIVERTIMENTO

PASTORALE

Heinrich.

OCEANICO.

(Orchestral.)

I. ANDANTE—The Home Adieus of the Nymphs and Swains departing to the Maritime Festival. II. ANDANTINO.—The fanciful curvetings of the Mermaids in the ocean surf. III. F I N A L E BRILLANTE. The romantic "Love Feast," resulting in the destruction of the "bivalves" at the "sacrifice of shells," vulgatt "Clam Bake." PART

II.

7. National Memories, Grand British Symphony. Heinrich. By gracious acceptance, dedicated to H . B. M. Q U E E N VICTORIA. I. II. III. IV.

INTRODUZIONE Maettoto « Allegro A N D A N T I N O ROMANTICO. SCHERZO. FINALE TRIONFANTE.

Eroico.

8. SCENA, from "Der Freyschutz." MADAME

Weber. OTTO.

9. "Non Paventar." Bravura.

Mozart.

MADAME

STEPHANI.

10. Q U I N T E T T E — " T h e Adieu," from the Oratorio of the "Pilgrim Fathers." HEINRICH. MISS M. 8. B R A I N E R D , MISS H . G. B R O W N , MR. W . M . S M I T H , MR. F . H .

NASH,

MR. CONKEY.

11. The Tower of Babel, or Language Confounded, i. Canonic ale, ii. Coda fugato:—

Sinfonia Heinrich.

T H E DISPERSION, which will be characterised by a gradual cessation of melodies, and consecutive retirement of each individual performer. If time permits, the whole Symphony will be given; if not, the Ditptrtion alone.

The Grand Piano Forte used on this occasion is from Mr. Chickering's Manufactory. The Phys-Harmonica is from the Manufactory of Mr. Wm. Lindemann. Doors open at half-past Six, Performance to commence at Eight o'clock precisely.

TICKETS FIFTY CENTS, To be had at Wm. Hall & Son's Music Store, at the other Music Stores, and at the door on the evening of Performance. BILLINGS & TAYLOR, PRINTERS, 5 PARK PLACE.

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From Boston came these friendly words:

115

FATHER HEINRICH. This enthusiastic veteran is to have a concert, for the production of a number of those strange and elaborate works of his. . . . May the devoted old servant of Saint Cecilia be cheered by a full house, and may some of that inspiration which has sustained his long labors appear in his works and be felt by his audience. The program (pp. 218—19) 116 offers some familiar and some new items. Unfortunately, in the absence of adequate rehearsal, two of Heinrich's larger works—National Memories 117 and The Tower of Babel 118 —had to be omitted from the presentation. Some of the works given apparently suffered from this same insufficiency of rehearsal. Once more we find The Wildwood Troubadour,119 which has figured with slightly altered title in every one of Heinrich's festival concerts at New York and Boston. It would seem that after playing it so often the musicians might have been better qualified for its performance than they were. We must remember, however, that these concerts were several years apart, also that Heinrich so busied himself in revising and rewriting his scores that very possibly this work may never have been given twice in exactly the same form. Again the personnel is changed except for our familiar and devoted friends, Mme Otto and Mr. Timm. Theodore Eisfeld, 120 who shared with Father Heinrich the responsibility of directing the orchestra, was an excellent musician who had come to New York in 1848, and had taken an important place in musical affairs there, both as conductor of the Philharmonic Society and as a leader in the development of chamber music, 121 Once more we note the ever increasing expansion of the German element in the development of American musical art. At the close of a review of this concert, we find the following : Whatever expressions musical critics may choose to make about Mr. Heinrich's works—and there are many who deem them mere enthusiasms— every one will remember that already time has reversed some such criti115. Dwight's Journal, II ( F e b r u a r y 19, 1853), 159. 116. Serapbook, p. 42». 117. See under title in List of Compositions. 118. See under title in List of Compositions. 119. See under title, Mutingt of tht Wild Wood, No. 1, in List of Compositions. 120. Ritter, Music in America, pp. 291-92. 121. See Eisfeld Quartette Soirées in New York, Dwight'i Journal, I (May 22, 1852), 62.

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cisms with respect to other composers. For oar part, we see in a man who can do so much, without learned works on Fugue, Counterpoint, and other perhaps very necessary studies, the real musical genius; one of more inspiration and deserving of a much better rank than the modern mere adapter or populariser, as Bishop, Benedict, et hoc omne. M. Heinrich, wherever he goes, and as long as he lives, will always retain the regards and affections of such as have witnessed his amiable unaffected simplicity. We extract from a Weekly his parting address, which in itself is sufficient to show the poetical character of its care and timeworn author:— " L A D I E S AND GENTLEMEN:—An ancient troubadour, whose harp must shortly be hung up for ever on the willows, acknowledges your kindly greeting. He is about to leave the land of his adoption, and the home of his heart for the country which gave him birth; and it is no wonder that his breast throbs with emotion, and that his eyes are dim with tears. America has been indeed the home of my affections; but it has likewise been the grave of many hopes. Looking back nearly half a century, to the time when I first landed on these shores, a curious stranger, seeking amusement by foreign travel. Then to another period, when I came as a merchant, doing business in the great marts of commerce; and, finally, to the day when, stripped by capricious fortune of the wealth gained in traffic, I left the crowded cities and sought refuge in the wilderness of Kentucky—there to form, under the rafters of a log-house, the musical taste which has since been my chief solace in life. In these three periods I mark the epochs of my existence. And, now, once more a pilgrim minstrel, I take my staff and scrip, and go back to the old world, to review the scenes of Fatherland, and to hear in the German land the expression of my American musical thoughts. There are many kind faces before me to-night—faces that have cheered me with their smiles for many years; and many 'Loving Hearts' will remember the Kentucky Minstrel, so that he feels not quite 'The Forsaken.' And perhaps when they listen, after his departure, to the 'Sunset Chimes' which tell his musical requiem, they will drop a tear to the memory of one, whose heart and energies were consecrated to the divine art of music, and whose professional life, both as musician and composer, has been devoted to the honor and glory of his adopted country—'The Land of the Free and the Home of the Brave.' " 122 T h e following review is from The Musical Musical Times:

World and New

York

" F A T H E R " H E I N R I C H ' S Valedictory Concert a f t ] Metropolitan Hall, on Thursday evening, April 21st, called out some fifteen hundred to two thousand persons, most of whom were probably subscribers. The veteran master's worthy effort to produce some of his best orchestral works in a style

122. Attributed by a note in Heinrich's own hand to the New York World, April 30, 1853.

Literary

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commensurate with the wants of the age, should have been more cordially responded to. A band of seventy musicians, the best the city affords, and conducted by Mr. Heinrich himself, undertook the difficult task of giving his music a fair interpretation, after meagre and unsatisfactory rehearsals. The two compositions which we most desired to hear, "National Memories," and "The Tower of Babel," were both entirely omitted, and the three that were played gave evidence of great haste in the getting up. The orchestra were too closely tied to reading their parts to admit of freedom in giving proper expression to their performances. We should except Mr. C. Haase, however. His solos on the Cornetto in the first piece (Festive Overture,) evinced vigor and precision united to a noble sentiment and sustained, manly self-possession. Mr. Haase is an artist of the first water, and is becoming a decided favorite with the public. Mr. Vanderweyde's opening movement on the Phys-Harmonica was in excellent keeping with the design of the composer, and immediately produced that quiet in the audience so necessary to a nice appreciation of the repose of a primeval forest. This Festive Overture, "The Wildwood Troubadour," answers the end contemplated by its author. Without any of the sombre harmonies or sudden transitions, which are peculiar to the Beethoven and Von Weber school, it gives to the impartial, unprejudiced listener a faithful picture of the forest home of the self-reliant Western man, by means of simple harmonies united to melodies highly florid. New and fantastic passages of imitation are distributed among the different instruments of the orchestra in a style entirely the composer's own. The harmony reminds one of Mozart and H a y d n ; but the orchestral treatment is to the last degree original. We believe this remark will apply with more or less truth to all the instrumental works of Mr. Heinrich which we have seen or heard. Mrs. C. E. L. Brinckerhoff sang a German song in place of "One gentle heart," by W. V. Wallace, thereby rendering an equivocal compliment to that composer and gentleman as well as to the audience. Miss Brainard sang the "Three Ages of Love," by E. J . Loder, in a distinct and pleasing manner. Madame Stephani did not appear—cause unexplained. Miss Dingley has a powerful voice not yet under control, which was plain from her faulty intonation in singing "The Captive Greek Girl," by Hobbs. This dashing, spirited, whilom favorite piece of Miss Northall's, is irregularly constructed and needs much art in the rendering to give it tolerable consistency and proportion. The Messrs. Schneider played a duet called "Impromptu Champêtre" on the piano, in a way that puzzles all attempt at recollection or explanation. Mr. Heinrich's second piece was "The New England Feast of Shells," which closed the first part of the programme. It is a "Divertimento Pastorale Oceanico" in three movements: I. " T h e home adieus of the nymphs and swains departing to the maritime festival," Andante. I I . "The fanciful curvetings of the mermaids in the ocean surf," Andantino. I I I . " T h e romantic 'love feast,' resulting in the destruction of the 'bivalves' at the

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sacrifice of shells, vulgate, 'Clam Bake,' " Finale Brüliante. It is graceful and pleasing throughout, though a greater variety of keys and more changes in harmony would, to our mind, have made it more marked in character. Part I I of the programme opened with another pastorale (orchestral) instead of the British Symphony, "National Memories," conducted by Mr. Eisfeld, who was received with applause. This, like the " F e a s t of Shells," abounds in fanciful curvetings of melody founded on very simple harmonic changes. Madame Otto, fresh as at sixteen, next appeared and sang the recitative and air in the grand scena from Der Freyschutz effectively, brilliantly. The applause was genuine and an encore was demanded,—but the lateness of the hour and the difficulty of the music forbade.—Madame O. retired amid friendly, even enthusiastic demonstrations of pleasure. The quintette "Adieu," from the oratorio of the "Pilgrim Fathers," sung by Miss Brainard, Miss Brown, and Messrs, Nash, Conkey and Smith, closed the evening's entertainment. Mr. Heinrich apologised for the nonperformance of his symphony, " T h e Tower of Babel," after which the audience quickly dispersed. P. S. We forgot to mention the first appearance at this concert of a talented little pianist, Master Perabeau, only seven years of age, who played a duet with Mr. Vanderweyde in a very clever way, considering his years. The tableau presented by the " F a t h e r " (over seventy,) and the youthful musician (seven,) was not the least of the interesting scenes on the occasion. A lovely little girl, not more than five years of age, also stepped on the stage and made a handsome present to the venerable master. We trust he will realize something peculiarly handsome for the vexatious labor involved in this effort. 1 2 3 W e a r e p a r t i c u l a r l y interested in the p i c t u r e here drawn of " M a s t e r P e r a b e a u , " seven y e a r s old, and F a t h e r Heinrich, over seventy y e a r s old

124

— r e a l i z i n g t h a t this child is the same P e r a b o

125

later famous

123. April 30, 1858. 124. There seems to be a slight element of confusion here—though of no great importance. On page 1132 of the Scrapbook there is a program in German (apparently taken from some German paper published in New York) which differs from this program In two respects: the date is given as April 28 instead of April 21, and an extra number is added—"Polonaise Brilliante, Kücken, vier händig, ausgeführt von Mr. Ernst Perabo, 7 Jahre alt, und Vater Heinrich." It is evident from the P. S. in the review in the Mutical World that some such composition was performed on this occasion, but with the assistance of Mr. Vanderweyde instead of Father Heinrich. And yet it speaks of "the tableau presented by the 'Father' (over seventy) and the youthful musician (seven)." Of course it is possible, but scarcely probable, that there were two concerts, with the slight differences in program as noted. In any case the only element of any importance involved is the fact of the appearance at this concert of the seven-year-old Ernst Perabo—and that fact seems definitely established. 125. Ernst Perabo had come to New York from Germany with his father the previous year (1882).

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as a t e a c h e r in B o s t o n , and the m a s t e r of m a n y distinguished p u p i l s . F r o m a n article by M a d a m e J u l i e de M a r g u e r i t t e s , well-known a u t h o r , d r a m a t i c critic, a n d o p e r a singer, we quote the following paragraphs: V A L E D I C T O R Y C O N C E R T O F F A T H E R H E I N R I C H — I n a small attic, so high that the noise of the busy street scarcely penetrated the narrow window through which now beamed one bright stream of sunshine, sat an old man. The furniture around him was poor; neglected dust had accumulated on all around; no trace of woman's hand was there, bringing care or comfort—yet the old man's face beamed with a serene joy. His eyes, full of tenderness and vivacity, were raised as in an ecstasy, whilst his hands followed his inspirations on an old ricketty piano, whose date, had time spared it on the painted keyboard, would probably have been contemporary with that of the musician's birth. The keys were indented, yellow, worn, and from many the sound was entirely gone. But the inspired apostle of harmony, whose mantle of genius hid with its gorgeous folds the deformities of poverty, soared through his imaginations beyond that so sordid roof to the blue regions of celestial harmonies. Around him were pile upon pile of M.S. music, scored with his own hands, the work of a whole life now near its close—the result of solitude, abstraction, meditation, in the wilds of an untrodden land. This old man's life had been but harmony. H e lived alone for this; for this deep study he had, as the priest for his religion, detached himself from the world, avoided all ties of kindred, all human enjoyments and passions; for this it is that old man, in a foreign land, is alone, unattended, uncared for. Privation, poverty, neglect—the patriarch feels them not. H e lives but for one idea, one hope, one ambition—to hear, before he dies, the full tide of harmony from the living sounds of an orchestra, manifesting orally those celestial harmonies which have been year after year teeming in his brain. They are here, with his own hand, written in the most elaborate, scientific scores ever penned. Shall this one humble wish not be gratified on earth ? Or must he wait until celestial harps reveal his thoughts to him in Heaven ? No! Father Heinrich, the gentle, the unassuming, the indulgent old man, that little children cling to, after gazing with their clear, earnest eyes into his, and clear and innocent as their own-—Father Heinrich shall find friends—kind, tender hearts, overflowing with respect and admiration. So, a valedictory concert is announced, for he is going to wander forth again. The orchestra is there; and the old man, trembling with emotion, mounts the conductor's rostrum, opens one of his stupendous scores, and the strain solemnly begins, with a gentle breathing of the organ. The "musical inspirations," dawning on the solitary inhabitant of the Log-house of Kentucky, first flutters over one instrument, then on another, whilst the murmur of accompaniment sighs through the thick foliage of the forest, and then bursts forth into one grand blast from the

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oboe, most admirably executed, though of the very greatest difficulty. Originality, vigor, melody, are in each bar of the father's works. Simplicity and silence are united by his genius—he recalls not the frippery of modern music, but the magnificent works of the immortal masters, Weber, Beethoven, and Mendelssohn.126 Oversentimental we s a y — e v e n mawkish a n d m e l o d r a m a t i c . Y e t u n d e r n e a t h it all we see a sincere a n d s y m p a t h e t i c u n d e r s t a n d i n g . In response to a note of a p p r e c i a t i o n a f t e r the c o n c e r t , H e i n r i c h replied a s follows : 1 2 7 To Madame la Baronne J u l i e de Marguerittes New York Fourth of M a y , 1853 Esteemed Friend: Your highly generous letter and those paragraphs in the public J o u r n a l , which you honored me with, relative to my valedictory concert, will be ever most gratefully appreciated by me. To make some honorable amends for my musical trespasses at the concert (although you complimented me with so much liberality, good feeling and eminently gifted p e n ) I allow myself the liberty of preparing a small token of remembrance for you, namely, a song on the flower, "Forget Me Not," which I hope shortly to present with other musical items, anticipating before-hand your indulgent sympathy, as a l a s ! my humble music is waning, "Rallentando, Perdendosi e Morendo." With the greatest respect. A. P. Heinrich. One f u r t h e r p o i n t of interest in this v a l e d i c t o r y concert lies in the f a c t t h a t it was given, not in B r o a d w a y T a b e r n a c l e where all of H e i n rich's New Y o r k concerts h a d h i t h e r t o been given, but in M e t r o p o l i t a n H a l l , r e c e n t l y b u i l t and a f t e r the i n v a r i a b l e fashion of New Y o r k in those d a y s soon reduced to a s h e s . 1 2 8 T h e y e a r s 1 8 5 4 and 1 8 5 5 came a n d went, a n d still p o o r F a t h e r H e i n r i c h saw the d r e a m of v i s i t i n g his home c o u n t r y p o s t p o n e d f r o m one season to a n o t h e r . H e was still b u s y , s e p t u a g e n a r i a n t h a t he w a s , in t e a c h i n g , composing, h e l p i n g with this concert a n d t h a t , 1 2 9 a l w a y s 126. Scrapbook, p. 1112. 127. Scrapbook, p. 1110. 128. "The other day the Metropolitan Hall, a finer concert room than any in Europe, went up with no fuss; the other day it was burnt down."—New York Tribune, September 19, 1854. 129. Scrapbook, p. 686: Grand Concert for the Benefit of the Widow and Orphans of the late Wm. Brady, December 26, 1854; p. 1124&: Grand Complimentary Benefit Concert to Prof. Wm. It. Jackson, January 16, 1855; p. 887: Grand Vocal and Instrumental Concert given by Mr. David Smith, March 27, 1855;

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hoping that the time of his departure might not be too long delayed, trying in every legitimate manner to collect funds sufficient for the journey. There was one occupation for which he never had too much time—nor even time enough—namely, the fond preparation of many of his works for presentation in Europe. He rewrote, rearranged, recombined 1 3 0 many of his orchestral scores in order to bring them into the most satisfactory possible shape. Of this labor during these years there was literally no end. On April 1 9 , 1 8 5 6 , we find him issuing the following notice: 131 TO T H E

PUBLIC

THE undersigned intends shortly to proceed to Germany, where, in his old home, he wishes to present to his countrymen his many Vocal and Instrumental Works, comprising both the Manuscripts and Printed Music of his Composition. The preparations requisite for the proposed journey have totally consumed his slender resources, therefore, from necessity alone, he appeals to the friendly sympathy of those who are disposed to aid the Composer, already far advanced in years, for he confidantly trusts to bring about the execution, and consequently hopeful acceptance of his Works. Upwards of forty years ago, the Composer landed in this country, when music was in its infancy, and now he desires to complete a long delayed journey to Europe. Every assistance, therefore, however trifling, will be thankfully received, and considered not only as a memento of America, but really the foundation, in part, of his further creations and actions. ANTHONY P H I L I P HEINRICH, No. 351 BROOME S T R E E T . New York, April 19, 1856. P.S.—The Composer did not commence writing music until verging upon the fortieth year of his age, when dwelling by chance in the then solitary wilds and primeval forests of Kentucky. It was from a mere accident that music ever became his profession—its love and influence weaning him from his previous sphere of opulence. The majority of his compositions, as will be noticed by the annexed list, are those of purely American sentiment. The same appeal was copied in the musical magazine, The Criterion, in its issue for May 2 4 , 1 8 5 6 , with the expressed wish and hope of the envelope at end of Scrapbook: Grand Classical Sacred Music Festival given by Robert Hamilton, May 10, 1855. 130. These rearrangements are far too numerous to mention in detail—cf. Pushmataha, 1831, 1855; Indian War Council, 1834, 1850; Wildwood Troubadour, 1834, 1853; Empress Queen and the Magyars, 1845, 1848, 1855, etc., etc. 131. Scrapbook, p. 836.

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magazine that there might be prompt and generous response. I t was added: Heinrich is a most enthusiastic devotee of the divine art, and an honest open-minded man as all enthusiasts are. There are not many who have as few enemies and as many friends as good old Father Heinrich. October found him at last engaged in the actual preparations for the journey: gathering together letters of introduction 1 3 2 to those musicians who had come into prominence since his return from Europe twenty years before and doing all those delightful last things which precede a transatlantic journey. J u s t when he sailed we cannot know. We have record, however, of a dinner invitation to Heinrich from Friedrich K i t t l , 1 3 3 Director of the Conservatory of Music at Prague, under date of December 24, so the likelihood is that Heinrich reached Europe some time in December, 1856. One cannot help wondering a little as to what went on in Father Heinrich's mind on the journey over. He was now an old man—not many months more and he would celebrate his seventy-sixth birthday. Was he thinking of all the different crossings he had made? Of that first trip across the ocean " t o take a peep at the New World," now more than fifty years ago? Of the two journeys with the wife who, all unknowing, was so soon to leave him? Of that fruitless journey to meet his daughter, whom at the time he had scarcely ever seen? What would the old home seem like, after all these years? Would there still be any of the old friends left to greet him? I t would be interesting at this point, when once more, and now for the last time, Heinrich leaves its shores, to try to sum up musical conditions in the America he leaves behind him. But the task is too great. Shallow and unimportant as it has seemed at times, the stream of musical and cultural development in America, which we have been following for so long, has been steadily deepening and broadening with the years. The various currents which cross and re-cross each other are so diverse in character, so opposed in purpose, so contradictory each to the other, that one can only wonder what the end may be. 132. Scrapbook, p. 6. Letter of introduction from Dr. Max Langensehwartz of New York to Dr. Kolbal, Leipzig, October 30, 1856. 133. Born 1806, died 1868. Succeeded Dionys Weber as Director of the Prague Conservatory, 1843. F o r letter, see Scrapbook, p. 671.

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T h e vogue of E t h i o p i a n minstrelsy, so uniquely American; the various "families" ( H u t c h i n s o n , Rainer, B a r k e r , Houser, Bohannan, and o t h e r s ) , so appealing to the American taste of t h a t time; the burlesque o p e r a s ; the children p e r f o r m i n g Shakespeare—all these betoken the exaggeration, the racy humor, the love of sensation, which was America. On the other hand, the growing attention to chamber music of a finer sort ( t h a n k s to an Eisfeld, a Mason, a Dresel et al.) ; the increasingly higher s t a n d a r d s f o r performance, whether in opera or concert, ensemble or individual; the beginnings of a deeper and more genuine appreciation of the realities of a r t — t h e s e were E u r o p e impinging upon America, and g r a d u a l l y i m p a r t i n g to our musical life the greater richness of the older world. All these would require a volume to do them justice—not a mere p a r a g r a p h or even a c h a p t e r !

X

THE CROWNING TRIUMPH IN EUROPE 1857-1861

O

N H I S a r r i v a l in Europe, Heinrich seems to have gone directly to P r a g u e . He remained there during the entire y e a r 1857, except for certain brief visits in the immediate vicinity. Apparently Heinrich received a warm welcome in his home country, for he figured in three concerts in P r a g u e , in comparatively rapid succession. On March 22, a t a concert under the auspices of the Sophien-Akademie, his solo quintet "The Adieu," from the oratorio The Pilgrim Fathers, was given. The program was as follows: 1

Einladung zu dem ersten

CONCERT welches die

Sophien-Akademie ihren Vereinsmitgliedern Sonntag den 22. März 1857 präcise um 4 Uhr Nachmittags

im Saale der

Sophien-Insel

unter der Leitung ihres Musikdirektors veranstaltet. PROGRAMM: I. Abtheilung. 1. Der 66. Psalm „Deus misereatur nostri", für 8 gemischte Stimmen von C. G. Reissiger (neu). 2. „Schweigen ist ein schönes Ding," Männerchor von Th. Vaigt (neu). 3. Trio in C-moll von Beethoven, vorgetragen von Fräulein Kinzel, den Herren Bennewitz und Brichta. 4. „Nun Herr wess sollt' ich mich getrösten," Motette für gemischten Chor von M. Hauptmann (neu). 1. Scrapbook, p. 360.

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I I . Abtheilung. 5. Solo-Quintett. Fragment des historischen Oratoriums „The Pilgrim Pathers" von Anthony Philip Heinrich aus Kentucky in Nordamerika, geboren in Böhmen (neu). 6. Maienzeit von Geibel für Männerchor von Juliut Rietz (neu). 7. „O schönster Stern." Gedicht von Friedrich Oter, für zwei gemischte Chöre v. Eduard Tauwitz, kompon. für d. Akademie (neu). Fräulein Kinzl, und die Herren Bennewitz und Brichta haben als Vereinsmitglieder die gefällige Mitwirkung übernommen. Vereinsmitgliedern werden 2 Freikarten zugestellt; ausserdem sind Eintrittskarten zu 1 fl. in den Saal und zu 30 kr. C. M. auf die Tribunen am Concerttage an der Kasse zu haben. Das Piano ist aus der Niederlage des H e r r n Fischer.

G r e a t interest was aroused in the r e t u r n e d wanderer, and his life in America was p i c t u r e d in romantic style. H i s y o u t h f u l enthusiasm, in spite of his seventy-six y e a r s , caused universal c o m m e n t ; his "combination of a whimsical sort of self-importance with an effort a t becoming m o d e s t y " 2 amused his former fellow c o u n t r y m e n , and the whole experience stimulated the g r e a t e s t interest on the p a r t of all concerned. T h e p e r f o r m a n c e of " T h e Adieu" still f u r t h e r increased this interest. H e was presented with an a t t r a c t i v e memento of the occasion, signed by all those p a r t i c i p a t i n g in its p e r f o r m a n c e — a g r a c e f u l gesture which he sincerely a p p r e c i a t e d . T h i s concert was soon followed by a n o t h e r , given a t the Conservat o r y , in which Heinrich's symphony, Maria Theresia,3 was success4 fully produced. T h e climax, however, was reached with an entire concert of works by Heinrich, given once more in the S a a l der Sofieninsel, a t noon, on M a y 3. T h e p r o g r a m consisted o f : 1. The Wildwood Troubadour,5 made so f a m i l i a r to us f r o m its numerous presentations in America, b u t this time closing with 2. Gemisch von humoristischem Selbstbewusstsein and strebsamer Bescheidenheit (Scrapbook, p. 360).

3.

See under title, The Empreti

positions. i . Scrapbook, p. 350. 5. See under title, Mutings

Queey and the Magyar/,

of the Wildwood,

in List of Com-

No. 1, in List of Compositions.

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a chorus, "Heil Dir, ritterlicher Kaiser," which introduced the Austrian National Hymn. 2. "God Save the Queen," first movement of the great British symphony, National Memories,8 most graciously accepted by Her M a j e s t y Victoria, Queen of England, on the occasion of the World Exhibition at London. 7 3. The Migration of WHd Passenger Pigeons,8 with the following program: Introduction. A Mysterious Woodland Scene, the assembling of the wild passenger pigeons in the 'far west' for their grand flight or migration. I. Andante ed Allegro. The flitting of birds and thunder-like flappings of a passing phalanx of American wild pigeons. II. The aerial armies alight on the primeval forest trees, which bend and crash beneath their weight. I I I . Andante ed Andantino. A twilight scene. The cooing of the doves previous to their nightly repose. IV. Allegro Mosso. With Aurora comes the conflict of the Beechnuts. V. Adagio ed Allegretto Cantabile. The vast conclave in grand council resolve to migrate elsewhere. VI. Molto Animato. Sudden rise and flight of the myriad winged emigrants. VII. Piu mosso. The alarm of hunters' rifles startles the multitude. The wounded and dying birds sink tumultuously earthward. VIII. Allegro Agitato. In Brooding agitation the columbines continue their flight, darkening the welkin as they utter their aerial requiem, but passing onward, ever onward to the goal of their nomadic wandering, the green savannas of the New World." IX. Finale. The Columbiad. Marcia grande ed a passo doppio. American folk tunes: Hail Columbia and Yankee Doodle. Overprogrammed this may be, but we cannot read it through without feeling its romantic power. The situations are admirably chosen and tersely, yet poetically, expressed. With all his eccentricities, Heinrich possessed a true vein of poetic fancy. Whether he was always 6. See under title in List of Compositions. 7. See Chapter IX, note 110. 8. See under title, The Columbiad or Migration of American Wild Passenger Pigeons, In List of Compositions. 9. For a striking description of this very phenomenon in actual life, see Hone, Diary, November 4, 1835.

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c a p a b l e of g i v i n g i t a d e q u a t e e x p r e s s i o n is t o be d o u b t e d ; b u t t h a t a t times he succeeded is c e r t a i n . H e i n r i c h ' s v a r i o u s c o m p o s i t i o n s were g r e e t e d w i t h m u c h a p p l a u s e a t t h e i r p e r f o r m a n c e a n d t h e c o m p o s e r was t h e r e c i p i e n t of a flattering personal ovation.10 T h i s m u s t have been t h e s u p r e m e t r i u m p h , indeed, f o r F a t h e r H e i n rich. I t h a d a l w a y s been his h i g h e s t a m b i t i o n t o a p p e a r a s a c o m p o s e r in t h e c a p i t a l c i t y of his n a t i v e l a n d . W e r e m e m b e r his keen d i s a p p o i n t m e n t when, some t w e n t y y e a r s e a r l i e r , he f a i l e d t o a c c o m p l i s h t h i s p u r p o s e . N o w a t t h e a g e of seventy-six he was r e a p i n g t h e r e w a r d of his l o n g a n d p a t i e n t w a i t i n g . W e d o n o t g r u d g e him o n e i o t a of t h i s g l o r i o u s t r i u m p h — f o r h e r e he h e a r d f o r t h e first t i m e a n e n t i r e p r o g r a m of his l a r g e r w o r k s given a d e q u a t e p e r f o r m a n c e , which, of c o u r s e , h a d been a b s o l u t e l y impossible in A m e r i c a , w i t h all t h e best will in t h e world. T h e New Y o r k a n d B o s t o n m u s i c i a n s were n o t t r a i n e d t o s u c h difficult scores. E v e n in P r a g u e r e f e r e n c e w a s m a d e m o r e t h a n once t o t h e e x t r e m e difficulty of t h e w o r k s p e r f o r m e d . 1 1 H e r e , however, he h a d r e a l l y h e a r d a n d s h a r e d w i t h o t h e r s w h a t f o r so m a n y y e a r s h a d been k n o w n o n l y t o his own inner m u s i c a l consciousness. T h e c o n c e r t d r e w f o r t h l o n g a n d detailed c r i t i q u e s . One review says: Without question the most successful number on the program was the t h i r d : Grande Capriccio Volante, a characteristic symphonic poem which in its several movements describes the life of the American passenger pigeons in excellent fashion, and for the most p a r t with originality of treatment and piquant orchestration. I t closes appropriately with the American folk melodies, Hail Columbia and Yankee Doodle.12 A n o t h e r goes i n t o t h e m a t t e r s o m e w h a t m o r e d e e p l y : I n a certain way we see here the primitive beginnings of that form of musical description which at present seems to have attained a degree of justification in the a r t world under the name of program music; and indeed in this case it depends for its effect upon immediate and objective impression—as of course it must do, since that can be the only possible means of expression of a personality like this, so absolutely untouched by any fundamental a r t culture such as is obtained through the study of theory and musical literature, but forced to rely solely upon its own exceedingly sensitive and innately expressive spirit. T h a t the effect is often surprising and 10. Appendix I, note 9. 11. "Dieser höchst schwierigen Werke." 12. Appendix I, note 9.

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strange is easily understood, yet it cannot be denied that on occasion we find not only true spiritual essence, but also its eminently worthy expression. Then, too, there are moments showing a well-disciplined, consistent, logically correct musical diction, and a carefully worked out and originally conceived instrumentation; all of which places the really artistic personality of our worthy countryman in a very advantageous light. Z.13 T h e reviewer also speaks of " t h e excellent performance of this extremely difficult work." Although somewhat involved and obscure ( p a r t i c u l a r l y in translation) this would seem to be, probably, the most keenly analytical review of Heinrich's ability as a composer ever written. W e would give a good deal to know who was this " Z " in Prague, who could give such a j u s t appraisal of his former countryman's musicianship. A t about this time Heinrich published a complete list ("Nomenc l a t u r e " ) of his compositions. 1 4 In April Heinrich had written to his old friend of the London and Kentucky days, Mrs. Audubon, in New Y o r k . Apparently they had kept in fairly close touch through all the years. In her reply to Heinrich's letter ( M a y 1 0 , 1 8 5 7 ) she s a y s : Accept my thanks, my excellent friend, for your interesting letter from Prague which I received a day or two ago. It gave us all great pleasure to hear from you and, above all, I rejoice in your having met with at least one person who will take an interest in you and care for you . . . I cannot write you a long letter in return for yours but I can wish you all manner of good success and beg of you to write me as frequently as you can . . . You say I must not think you revengeful. There is no fear of that. I wish all the world were as good as you are. And now I must wish you good night; and hope you are well and doing more to your satisfaction than at first when you arrived. At any rate, let us hear from you, And believe me, dear sir, Yours, Lucy Audubon. On the twentieth of J u l y , 1 8 5 7 , Heinrich wrote a long letter to the distinguished German scientist, Alexander von Humboldt, 1 5 asking if it would be possible for him to help Heinrich to a production of some of his larger works in Berlin. In this letter he tells of his friendship with Audubon and Agassiz; 13. Appendix I, note 9. 14. Appendix I V . It is an interesting fact that almost all of the compositions here listed are in the Music Division of the Library of Congress. 15. F o r this and the above letters see envelope attached to Scrapbook.

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of how Mendelssohn once visited him a t his lodgings in L o n d o n , a n d how they h a d dined t o g e t h e r ; and with w h a t r e g r e t he h a d learned of H u m b o l d t ' s recent " i n d i s p o s i t i o n . " I t is a t y p i c a l , r a m b l i n g old m a n ' s l e t t e r , b u t it shows how H e i n r i c h ' s s p i r i t a t seventy-six h a d n o t changed in the slightest degree f r o m t h a t of his e a r l y m a n h o o d in the persistence with which it s o u g h t a c o n s t a n t l y increasing field of influence. H u m b o l d t was e i g h t y - e i g h t y e a r s old a t the time a n d h a d recently suffered an a p o p l e c t i c s t r o k e , y e t he answered H e i n r i c h with a note which reads (so f a r as it can be d e c i p h e r e d ) : 1 8 You will forgive, Honored Man . . . if I, eighty-eight years old and worn out after a very active and over-busy life, answer with only a few lines in thanking you for the kind communication of your life story and a list of your musical creations. You, deeply moved as you are by the governance of the forces of nature, have known how to return charmingly and magnificently what you have received. I was a close friend of Felix Mendelssohn and an admirer of the excellent work of John Audubon, but I am unfortunately unknown—through a defect in my education-—to the great and noble musical world. With most distinguished respect, Your most obedient servant A. v. Humboldt Potsdam, Aug. 6, 1857 In A u g u s t Heinrich wrote a similar letter 1 7 to f o r m e r E m p e r o r F e r d i n a n d of A u s t r i a , a n d was more t h a n d i s g u s t e d to receive, instead of a n y help of the s o r t he w a n t e d , the sum of sixty florins 1 8 — yet t h a t would seem to be a f a i r l y r e s p e c t a b l e g i f t f r o m a f o r m e r emperor! I n September he visited Schonlinde, a n d m a d e a p i l g r i m a g e t o the g r a v e of his old f r i e n d H l a d e k , 1 9 g u a r d i a n f o r so m a n y y e a r s of his d a u g h t e r A n t o n i a . H e was welcomed t o his old home in every possible way, and a poem was composed in his h o n o r a n d r e a d in public assembly. 2 0 A s h o r t time a g o there still lived in Schonlinde a c e r t a i n F r a u M a r i e Wenzel, over ninety y e a r s old, who remembered this visit of H e i n r i c h ' s , when she was a girl of sixteen. So t h a t until very recently 16. Scrapbook, p. 3. See also Appendix I, note 10. 17. Scrapbook, p. 9. 18. Scrapbook, p. 10. 19. Scrapbook, p. 11. 20. Scrapbook, p. 1.

Home of Anton Heinrich at

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there was this one living, vital link between Father Heinrich and ourselves. This same month Heinrich presented to the National Museum of Prague certain volumes of his compositions. 21 Various letters 22 indicate that Heinrich spent the spring of 1858 (February to May) in Dresden. From May 22 to May 25 he was at Coburg, endeavoring to interest His Highness Duke Ernst of SaxeGotha in his compositions. He was sympathetically treated by the Duke and received an extremely courteous letter saying that His Highness would examine Heinrich's works with great interest and would inform him at the earliest possible moment as to his opinion of them. Nothing further, however, seems to have developed from this incident. Either the matter was dropped at this point, or further correspondence has been lost. June found Heinrich back in Prague, where he still was in April, 1859, as we learn from a note a t the end of the score of Der Felten von Plymouth,23 dated April, 1859: The foregoing musings were chiefly written during the winter season of 1858 and 1859 in a desolate, comfortless chamber, without any fire whatsoever, during great sufferings of cold, as also without the aid and solace of a pianoforte. The wanderer leaves now his severe winter quarters for more congenial climes, on his musical experimental tour, under the banner, "Hope on, hope ever."

Poor Father Heinrich! It verily seemed that poverty and suffering were to follow him to the bitter end. Here he was, seventy-eight years old, without fire in winter in this rigorous climate—but still composing, and probably only happy when so doing. October found him back in America once more. 24 Of the months that followed we know little beyond the account in Duñght's Journal: 25 In 1860 he returned to his adopted country (the United States) and till the present time has quietly lived in this city, where this octogenarian and probably the oldest musician living is fast fading away. His life has been one of the most varied conditions, begun in opulence with hosts of friends to 21. 22. 23. 24. of the 25.

Scrapbook, p. 7. In envelope attached to Scrapbook. See under title in List of Compositions. Augustine Duganne to Heinrich, October 4, 1859: Broome St., rear house block, back of Westchester House, at Mr. Spier's (Scrapbook, p. 886). "Trovator," in Dwight't Journal of Muiic, X I X (April 20, 1861), 22.

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cheer him and partake of his rare hospitality, f u l l of youth, vigor and hope, now the picture has changed and he t r u l y needs the sympathy and respect of the world. There is a later statement t h a t he "was temporarily s t o p p i n g with D r . W o l f , 3 3 B a y a r d Street near the B o w e r y , N e w Y o r k , where as an octogenarian and the oldest composer of music in America, he received the warmest tributes of respect and s y m p a t h y from the profession." 2 6 T h a t he was p o o r and ill is shown by the following: 2 7 A. P . H E I N R I C H . We translate the following from the New York Abendzeitung and trust that some of F a t h e r Heinrich's friends here may be able to relieve his necessities in his sickness and old age. Further information may be had at the office of this J o u r n a l : " T h e r e is among us an aged artist numbering eighty years. Every reader of this paper knows him as a highly gifted musician. His many valuable manuscripts fill large trunks, and in face of these riches this old man lies sick and without money in the second story of the house, No. 33 Bayard St. Anthony Philip Heinrich is too illustrious a person to be suffered to make his debut before the world in the character of a beggar. H e has worked much and the world owes him. "Will you not, my fellow citizens, liquidate p a r t of this debt ? I trust t h a t the German American p a r t of our population will see to it that this venerable old man is not only relieved but done justice to." Under such circumstances, a f t e r a lingering illness of several months, Heinrich died on the third of M a y , 1 8 6 1 . 2 8 26. New York Musical Review and World, May 11, 1861. 27. Dwight'» Journal of Music, X V I I I (March 23, 1861), 415. 28. "Anthony Philip Heinrich died in New York on the third of May, after an illness of four months. Our readers will recollect an interesting sketch of his life and works in a letter from correspondent Trovator, in this Journal of April twentieth. The enthusiasm for his art which first led Father Heinrich to adopt it as his profession seems never to have left him even in his sickness and old age, as his occasional contributions to these columns attest. His circumstances were very straitened during the latter part of his life, and his most pressing wants were recently relieved by the ready kindness of his early friends in this city and New York."—Dwight's Journal of Music, X I X (May 11, 1861), 47.

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D so passed this b r a v e , fighting spirit to its reward. T h e r e is infinite pathos in such a c h a r a c t e r . T h e constant struggle f o r recognition, the fight f o r mere p h y s i c a l existence, mak-

ing all of life a perpetual w a r f a r e — h o w pitiful, how t r a g i c , and yet

how heroic! A s in Heinrich's music, so, too, in his life there must have been moments on the mountain t o p : times when all the struggle, all the p o v e r t y and destitution seemed worth while and more, because of his perception, now and then, of a fleeting glimpse on the p a r t of his own c o n t e m p o r a r y world of what his life really stood f o r — a passing wave of friendliness and understanding s y m p a t h y f o r the man and his ideals. How his heart craved this s y m p a t h y and r e g a r d ! F o r with all his multitude of friends, Heinrich was still a lonely man. H e lived with and f o r his a r t and t h a t alone. A s we have traced the varied career of this t r u l y interesting chara c t e r , we have seen the innumerable, more or less objective, formal, and impersonal c o n t a c t s between Heinrich the merchant, Heinrich the violinist, Heinrich the orchestral conductor and those about him who belonged to the same commercial and professional world. W e have noted, too, the many warm personal contacts of Heinrich the eccentric, y e t friendly, kindly, lovable man with those about him who admired and loved him. B u t the inner spiritual contacts of Heinrich the creative musician, the individual genius passionately reaching out in search of a kindred and understanding s p i r i t — o f

these, were there

any in his world? W e call to mind his most intimate friendships: with John and L u c y Audubon, the Speed family, John H o w a r d P a y n e , Jonas Chickering, Antoinette O t t o , and others less known to us, but equally dear to him: J . G. L . L i b b y , H a r r i e t G r a u p n e r , Cornelia W a l t e r , Leopold Herwig, and (in L o n d o n ) T h o m a s Cooke, T h o m a s Welsh, and Richard

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Hughes. Then we recall many not so intimate as these, but thoroughly proven: J o h n Braham, Charles E . H o r n , and D r . Edmund T u k e in England, Charles and J o h n Hupfeld in Philadelphia. There were others still, and their name was legion, with whom he made vital and absorbing professional contacts: Charlotte Cushman, the D r a k e family, the Jefferson family, F r a n k Blissett, D r . M c M u r trie, Mr. and Mrs. Ostinelli, U. C. Hill, H . C. Timm, William S c h a r fenberg, Daniel Schlesinger, George E . Loder, H e n r y C. W a t s o n , Theodore Eisfeld, Lydia M. Child—each and every one a real and potent personality. We recall, too, the many institutions or organizations with which he was connected for shorter or longer seasons: the Southwark, Chestnut Street, and W a l n u t Street T h e a t r e s in Philadelphia ; the theatres in Pittsburgh, Lexington, F r a n k f o r t , and Louisville; the T r e m o n t T h e a t r e in Boston, and the Bowery T h e a t r e in New Y o r k ; D r u r y Lane, Covent Garden, and Vauxhall Gardens in London. Of the halls t h a t had echoed to his music, we recall: Boylston H a l l and T r e m o n t Temple in Boston, Broadway Tabernacle and Metropolitan H a l l in New York, and the various concert halls of Europe. W e recall likewise his contacts with such outstanding organizations as the Philharmonic Society of New York, the Musical F u n d Society of Philadelphia, and the Handel and H a y d n Society of Boston. In short, when we read the roster of people he knew, of the theatres and concerts in which he was richly represented either in person or through his compositions, and of the musical organizations with which he was intimately associated or which he helped to form—we realize how essential and vital was the p a r t t h a t Heinrich took in the development of the early musical life of America, t h r o u g h o u t the rapidly changing first half of the nineteenth century. When we add to this the f a c t t h a t he knew more or less intimately (having lived for an a p p r e ciable time in each) Philadelphia, Boston, New York, P a r i s , Vienna, Prague, Graz, and London, also, t h a t he was thoroughly conversant with German, English, Italian and probably French, we see how cosmopolitan had been his experience. F o r an American of this period it was well nigh unparalleled. And what of his music? In a t t e m p t i n g an answer to t h a t difficult question we must keep in mind t h a t Heinrich was practically a selft a u g h t musician, certainly a self-taught composer, and t h a t in his

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self-teaching he lacked the benefit of much study of the work of other composers. While this f a c t made for a certain originality, it also made f o r crudity, for lack of technique. He did much to overcome this handicap by constantly re-studying and re-writing his works, and there is no question t h a t he improved them by this process. H i s harmonic sense was limited, and his compositions suffer from this f a c t , but within his limits he often makes surprisingly effective use of such harmonic material as he has a t his disposal. H e was diffuse in his music, exactly as in his letters. He never knew how to condense his ideas or how to prune away extraneous material. This diffuseness and overelaboration probably constituted his worst fault. H i s melodies were of conventional type, though often attractive in themselves. H i s strongest point was his almost never-failing sense of what was a p p r o p r i a t e or fitting. He knew how to a d a p t his material to the mood he wished to express. In his best work there was little of the purely p e r f u n c t o r y . In this sense it was truly expressive music. H i s orchestral works, together with certain of his songs and choral compositions, probably show him a t his best. If oftentimes conventional in his material, he was radical enough in its presentation. His orchestration was, f o r his time, daring in the extreme. Sometimes this d a r i n g resulted in roughness and uncouthness, b u t sometimes, as all his critics agreed, it entirely justified itself. He was content with nothing less than the most elaborate orchestral scheme. T h e scoring of his more important works called for an orchest r a of enormous proportions. Heinrich showed the true instincts of an orchestral composer in t h a t there were no dummy p a r t s in his orchestration. E a c h p a r t was correctly individualized, rarely doubling another p a r t except when a special effect was desired. According to the custom of the time he made the flute the mainstay of his woodwind section, and it generally carried the melody, oftentimes alone. In his later work, however, Heinrich began to give more prominence to the clarinet and oboe. Again, as a t r u e orchestral colorist he reveled in contrasting tone qualities, a l t e r n a t i n g string and woodwinds with freedom and effect. There is no question t h a t he was by temperament and choice a writer for the orchestra. This medium seemed invariably to call f o r t h the

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best that was in him. Therefore, if we wish to get a t the very spirit of the man as expressed in his music, we can scarcely do better than to study quite in detail some of his orchestral works. In graceful lyricism contrasting with d r a m a t i c fervor, he did nothing better, perhaps, than The War of the Elements and the Thundering of Niagara, " C a p r i c c i o grande for a full o r c h e s t r a . " 1 As to the time of its composition we know only t h a t it was listed in his Presentazioni mwiicali 2 and therefore must have been written before 18-15. While shorter and more concise than many of his orchestral works (the manuscript score contains 54 pages, oblong folio) it is written for his usual full orchestra, in this case comprising t h i r t y actual p a r t s as follows ( t o p to bottom) : " t r i a n g l e , cymbals, tambourine, flautino, flauto, oboi, clarinetti, fagotti, trombi [ * t c ] , tympani, bass and side drums, alto and tenore tromboni, bass trombone, violino 1, violino 2, viole, violoncello e bassi." T h e work, which is nominally in the key of C m a j o r with time signatures varying between^, ^ and^, divides itself naturally into three p a r t s : an introductory section of 5 pages, a main section of 31 pages, and an extended " C o d a " of 18 pages. T h e structural scheme is as follows: I . Introduction A. P a g e s 1—3, Adagio largo

4 4

B . P a g e s 4—5, Allegro moderato

3 4

I I . Main Section A. P a g e s 5—26, Poco piu mosso

3 4

B . P a g e s 2 6 - 2 7 , Andantino

3 4

C. P a g e s 28—36, Allegro primo

3 4

I I I . " C o d a , " pp. 3 6 - 5 4 , Allegro assai, quasi presto

2 4

T h e first ( i n t r o d u c t o r y ) section opens with a brief

cadenza-like

figure for the clarinet, followed by a full orchestral chord in F m a j o r . 1. 2.

See under title in List of Compositions. Scrapbook, pp. 61-64.

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Solo

T h i s in t u r n is followed by a similar figure f o r the oboe, similarly answered by a chord in D minor. Then occurs imitation between woodwinds (oboe and clarinet) and strings ( f o u r p a r t s ) in D minor and

major.

Then again come cadenza-like figures by the flute, and the piccolo and the flute, accompanied by woodwinds and strings ( D m a j o r and B minor). Once more there is imitation between the woodwinds (oboes and bassoons) and the f o u r - p a r t strings in B m a j o r ; then a cadenza by the clarinet accompanied by the brasses (horns and trombones) on the dominant ninth of C minor, resolving to the chord of E flat m a j o r , thence through C m a j o r and A minor to a final elaborate cadence on the dominant of B. This perhaps over-literal analysis of these sixteen preluding measures is given to show t h a t although these fugitive modulations are made in the simplest, most conventional manner possible, there is underlying them all an unmistakable feeling for variety of harmonic color. Opening the second p a r t of the introductory section (allegro m o d e r a t o ) , there follows a duet by solo flute and solo viola with a chordal response in A s h a r p m a j o r , then a similar passage ( B flat) by solo clarinet and solo bassoon with woodwind response in A major.

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The lower melody is now taken as principal theme by 'cellos and basses, bass trombone and bassoons, with full orchestral responses. B y means of an interesting chromatic alteration

this melody leads over to the Poco piu mosso, the main section of the work, which opens with a delicate fluttering figure in the woodwinds

This mere fragment of a phrase is constantly tossed about; first in the oboe, then in the flute, the clarinet, and so on. T h e texture is always thin and open, the contrasting solo effects giving a delicacy and buoyancy altogether delightful. On page 9 a digression is made into the key of F , and a more deliberate theme enters, with the flute. I t is answered by a similarly rhythmed phrase in the bassoon, continued by the clarinet. N

A

f }

^f

o On page 13 we return to the key of C, and find several interesting themes: for instance, the following, for all the basses (woodwinds, brasses, and strings)

punctuated here and there by woodwinds and strings. Also there is this graceful melody, accompanied by the four horns, with a drum beat (pianissimo and staccato) on the second count of every measure, a charmingly idyllic passage.

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Similar ideas are expressed all through this section. As this analysis suggests, Heinrich never develops his ideas thematically or formally. On the contrary, he is quite of the modern notion, and writes paragraphically! The steady course of the movement is interrupted on page 26 by a sixteen-measure Andantino, characteristically consisting of a flute solo accompanied by pizzicato strings, except for two violas arco. The allegro movement is then resumed, on page 36 merging into the " C o d a " — T h e Thunders of Niagara. Here a distinct change comes over the scene. In place of the thin, open texture of the preceding movements, with their varying solo effects, we have what is practically continuous full orchestra—a dangerous proceeding for any composer, particularly for Heinrich, who was easily led into a megalomaniac style. Here, however, he quite rises to the occasion. The first seven measures show nothing but the tonic (C m a j o r ) chord. Had our composer all unknowingly anticipated the spirit of those marvelous undulations of the tonic chord in the opening measures of Das Rheingold? The score is too full to be reproduced here, but over the spirited, contrary-wise-moving arpeggios in the strings (the violins and basses moving in opposite directions to each other, while the violas remain fixed), the flutes trill in a deliberate upward moving arpeggio progression, two measures to a note, the drums roll, the bassoons move in opposite directions to the string basses, the upper woodwinds remain stationary, the brasses speak at intervals— but all absolutely piano. When this long sustained chord is finally released, the strings (sometimes joined by the woodwinds) break up into all sorts of scale figures—the rapidly moving sixteenth-note rhythm takes complete possession, and the movement from here on never loses its headlong momentum. There are, however, brief moments of respite which provide the necessary dynamic variety and relief. I t is surprising to see with what success Heinrich was able to vary the texture without ever weakening it. The inner parts are now sustained against the onrushing strings, now in syncopated opposition to them. There are moments when the towering structure fairly reels, with its syncopated melody in upper strings and woodwinds set against the whole orchestra in steady rhythm, supported by the constant roll

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of the drums, the crashing of triangles, cymbals and tambourines, •presto and forte crescendo /TV u

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£ bi

and then—the most delicate descending passage in chromatic thirds for strings and woodwinds. The last page of this composition is dramatic and forceful in the extreme. All this seems very genuine music. It is not of our day and age. There is no tang to the harmonization—Heinrich seldom ventures farther afield than to make use of a dominant seventh with lowered fifth, or diminished seventh with lowered third. H e leaves almost untouched the vast range of prepared and unprepared dissonance, to say nothing, of course, of the astringencies of latter-day harmonization. But there is vigor of thought in this composition. Heinrich senses the impetuosity of the cataract in this last section, and expresses it in his own way. T h a t his rhythmic sense was well developed, even bold, is evident in this work, in its more lyric no less than in its more dramatic parts. And the feel of the orchestra—that is there as well: in the variety and contrast of timbre, thin texture and thick, the various choirs used idiomatically, whether in unison or in opposition. It would seem that if we could hear this work performed by one of our modern orchestras, with careful regard to balance of parts (poor Heinrich was always bemoaning the fact that there were never strings enough in the orchestras of his day to balance his loved brasses and woodwinds), with all the tonal beauty of these instruments of today, with a conductor fully alive to what is really vital in the work —-it might easily impress us not only as a valuable historic document, but as representing a phase of human expression as valid in our time as in his—-plumbing no vast depths, to be sure, but none the less bearing witness to an innate musical culture and refinement of feeling altogether rare at that time in America. Another interesting score is To the Spirit of Beethoven—"a monumental symphony for a grand orchestra. An echo from America to

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the inauguration of Beethoven's monument a t Bonn." Somewhat longer than The War of the Elements, its autograph score comprises 94 pages, folio. W i t h its fourteen "tableaux," it is also much more programmatic than the other work. While it is undated, internal evidence and the fact t h a t it, too, is listed in the Presentazioni, place its composition at about the same time as that of The War of the Elements. T h e eighth section, p p . 22 to 29, " H a i l to Beethoven," andantino grandioso, is extremely effective. Heroic, almost military in character, it is dominated throughout by a martial air in ^ time, carried by trumpets. T h e trombones furnish a simple but solid harmonic background, with generous open spaces. The various woodwinds embellish the melody with a rich embroidery, while the strings are purely accompanimental. In direct contrast to this is the coda religiosa, "tableau" number twelve, from page 83 to the end—"Last Homage to the Shades of Beethoven." This opens in somber fashion ( B flat minor) with solid harmony (five p a r t s ) given out by the trombones and bassoons, piano, accompanied at first by nothing but a pianissimo tremolo on low B flat by the 'cellos, and a pizzicato repetition of the same note on each count by the double basses, later reinforced by the other strings, pizzicato— the whole passage being characterized by a sort of tragic simplicity. Its tension is relaxed by a response from the flutes and oboes. Again the somber brasses (this time trombones and ophicleide), answered by full choir of woodwinds, accompanied by the entire string body, pizzicato. L a t e r there is an attractive passage for muted strings alone, which fades out into the faintest pianissimo. J u s t before the close the solo trumpet seems to sound " t a p s . " The oboes and bassoons respond, their response being followed in turn by muted strings over a low horn bass, ending pianissimo with a sustained tone on the low horn and a single pizzicato tone by double bass—-a most touching and eloquent close. We make but one quotation from this work—an interesting example of the rhythmic freedom and flexibility which was so thoroughly characteristic of Heinrich a t this period. I t occurs on page 38 of the score. 3.

See under title in List of Compositions.

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The two further quotations from Heinrich's orchestral works, showing his ability in fluent writing, are taken from The Jubilee* " a grand national song of triumph, composed and arranged for a full orchestra and a vocal chorus." Composed in New York in 1841, it has a full orchestral score of forty-eight parts. Our first quotation is from the third page of Part I, for strings alone, and speaks for itself in its smooth, flowing polyphony.

The second is from page 15 of the same work. 4.

See under title in List of Compositions.

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The upper voice is taken by the piccolo, first flute, and clarinets (triple octaves) ; the lower voice by the oboes, bassoons, and serpent. The whole is accompanied by strings pizzicato, one chord (sometimes two) to a measure. The second flute plays a florid obbligato. This passage is immediately repeated by strings ( a r c o ) in the key of A major in inverted form (double counterpoint). This passage in turn is followed by a long and interesting canon in the octave between first and second violins, strengthened for most of the time by the addition of the violas and 'cellos to the first violin part, the clarinets in turn assisting the second violins. The accompaniment is furnished by woodwinds, horns, and the like. I t is firm, vigorous writing. In the section quoted above we note the simplicity of its underlying idea, the unmitigated ruggedness of its expression. Here is no rounding of the edges, no softening of the surface. The boldness with which the melody leaps from point to point, the implacable rhythm, even a hint of acerbity in the harmonization as each of the two voices pursues its own independent way, those descending fourths and fifths in measures 15 to 16, the piquancy of the displaced accents in measures 27 to 30—is there not a hint of genuine talent in such writing as this? As a brief but characteristic example of Heinrich's choral writing we quote on pages 249 and 250 a passage from Adoramus te, Christe,5 offertorio, Musa Sacra, No. 2, " f o r Soprano, Tenore and Soprano 2 ° , and Basso" (three p a r t s ) . The accompaniment is scored for flutes, oboes, clarinets, bassoons, trombones, horns, and strings. Here is ingratiating melody of the Italian type—fluent, graceful, singable. Measures 8 and 9 are not as empty as they seem, being filled in by the accompanying instruments. Musa Sacra, No. 3, the motetto concertante "O Santa M a r i a , " 6 is much more florid and elaborate in every way. I t is written for soprano, tenor, first bass, and second bass (four p a r t s ) . The accompaniment is scored for oboe, flute, bassoons, and strings (the latter including a violino principale). 6. 6.

See under title, Mutingt See under title, Mutingt

of the Wildwood, of the Wildwood,

No. 10, in List of Compositions. No. 11, in List of Compositions.

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Of course, as Sonneck has indicated, there is one point of view from which Heinrich's scores have a truly unique intrinsic value: he was, so f a r as we know, the first to make any serious attempt to bring Indian themes into American music, a t any rate in the larger forms. T h i s is of real historic importance in the development of American music. 7

F o r example, in Der Felsen von Plymouth 8 (probably Heinrich's last work, completed at Prague in April, 1 8 5 9 ) , we find the following sections—"Freudentänze der Squaws nach erhaltenen Geschenken," " D a s Calumet oder die Friedenspfeife der Indianer," and " D e r Calumet T a n z . " In this röle—that of the interpreter of works of large calibre—but even more in his and fullness of utterance, F a t h e r Heinrich his work in its entirety was so soon forgotten

the Indian in orchestral general breadth of design was a true pioneer. W h y is an interesting question.

Presumably it was forgotten for the very simple reason that there were no orchestras in America capable of performing satisfactorily his larger works. There were few singers who could sing his songs. There were still fewer choral bodies who could master his many-voiced vocal scores. Himself of the time of Berlioz, he wrote for the technical equipment of that impetuous French composer, and when the passing decades had finally met these extravagant technical demands, the ideas themselves were outmoded—the world had passed them by. Heinrich's thoughts reflected his own time. Their mode of expression looked f a r into the future. And therefore it is that he was but a voice in the wilderness—that he is now but a forgotten pioneer. And yet all honor to the man who went his own way in his a r t . He was subject to no man. He feared no man. T o be a "scientific musician," an honored "professor of music," in the finest sense of these strange, old-fashioned phrases; to be loved by those who knew him best; to be respected by all who ever came in contact with him; to be a worthy pioneer, though long forgotten—this is enough. Father Heinrich would ask no more. 7. 8.

See page xj of this work. See under title in List of Compositions.

APPENDICES

I

GERMAN DOCUMENTS CITED IN T H E T E X T 1.

A

ANTON

HEINRICH

gestorben 7 . / 1 0 . 1 8 0 0 an Schlagfliiss, 1 0 . / 1 0 . begra60 Jahre alt, Sohn des Bäckermeisters Johann Heinrich aus Schönbüchel No. 22 (Kirchenbuch). NTON

HEINHICH,

L ben,

2.

THE

GRÜNDONNERSTAGHAUS

Dieses Haus wurde 1803 an Ferdinand Hielle, einen Geschäftsmann, um Gulden verkauft. Dieser gab es 1 8 1 7 als Gründonnerstag-Geschenk seinem Neffen Wolfgang Hielle, deshalb heisst das Haus heute noch im Volksmunde Gründonnerstaghaus. Zum Gründonnerstage wurden bei uns nach Volksitte an Kinder kleinere Geschenke, wie gefärbte Eier, Gebäck u.s.w. gegeben, später auch wertvollere Geschenke.—Franz Hladik, Stadtchronist und Bürger schuldirektor, Schönlinde. 10,000

3.

HEINRICH

TO

MUSSIK

I n einem spätem Briefe sagt Heinrich: "Was aus meinem Kinde Antonia geworden ist, weisst Du vielleicht; ich habe seit langer Zeit nichts hören können, obschon ich Dutzende von Briefen an Vetter Hladek und Andere geschrieben; mehrere Freunde habe ich ersucht, mein Kind selbst zu besuchen, und Reisenden Aufträge gegeben, sich nach solchem zu erkundigen; vielleicht haben ihnen die Vaterherzen gefehlt, es mag wohl nicht geschehen seyn. H a t mein Vetter Hladek und seine Gattin nicht besser gesorgt und Vaterstelle vertreten? Ich lege Dir einen Brief f ü r H e r r n Hladek bei, und bitte Dich, ihn zu besorgen. Ich würde glücklich seyn, meine Toni hier zu besitzen; ist es Dir möglich, so sorge dafür, dass sie in meine Vaterarme gelangt, mein theurer Freund, wenn sie noch am Leben ist." 4.

AUGUST

MANDEL'S

REVIEW

OF

HEINRICH'S

CONCERT

Was nun Heinrich's Tonwerke betrifft, so ist es ausser allem Zweifel, dass er in Amerika und England, wo viele seiner Werke, selbst Opern zur Aufführung und zum Drucke kamen, einen hohen Ruf erlangte; mehrere Blätter bezeichnen ihn als Beethoven american, brittische und transatlantische Dichter haben sein Verdienst gefeiert . . . Ein brittischer Brief des genialen Thomas Moore setzt jedoch den Beruf unseres Tqnsetzers ausser allen Zweifel, und was er ihm freundschaftlich anräth, ist, was ein

256

GERMAN

DOCUMENTS

grosser T h e i l der Welt dem todten H e r o s Beethoven z u r u f e n w ü r d e : A little more of sing s o n g ; doch können wir nach dem, was wir h ö r t e n , H e r r n H e i n r i c h M a n g e l an Melodie eben nicht zur L a s t legen, u n d möchten beh a u p t e n , dass er mit allen Nuancirungen des Gesanges, selbst nach den A n f o r d e r u n g e n der italienischen Schule, v e r t r a u t sey, wie eine Cavatine f ü r S o p r a n in Polonaisen-Form beweist. E i n Vocal-Quintett, des Christen T o d , zeigt edle H a l t u n g , tiefes Auffassen des T e x t e s , den der Tonsetzer ü b e r h a u p t sehr glücklich wählt, und m e i s t e r h a f t e n S a t z ; eine zweite Bearbeitung des T e x t e s der Polonaise b e u r k u n d e t V e r w a n d t s c h a f t mit unserer deutschen L i e d e r f o r m . D i e auffallendste E r s c h e i n u n g bleibt j e d o c h eine S y m p h o n i e : T h e combat of the Condor, in d e r die M i t w i r k u n g aller wie immer N a m e n f ü h r e n d e n I n s t r u m e n t e die K r a f t des über den G i p f e l n des Cordi schwebenden Riesenvogels versinnlichen soll und die zugleich mit einigen amerikanischen Volksweisen b e k a n n t macht. R e f e r e n t w a g t nicht zu behaupten, dass dieses Stück j e d e s Ohr ansprechen w e r d e ; etwas Eigenthümliches in A n l a g e und B e h a n d l u n g unterscheidet es von Allem, was in unserer G e n u s s - s p h ä r e geliefert w u r d e ; denn wie schon gesagt, ist H e i n r i c h s Muse eine T o c h t e r der N a t u r , nicht j e n e r , deren stille idyllische A n m u t h uns unbewusst fest hält. Sie h a t die Mutter in den W e r k s t ä t t e n belauscht, wo sie gigantische Formen zu T a g e fördert, wo sich Felsenbrücken über Ströme bauen, wo Flüsse breit wie Meere aus u n e r f o r s c h t e n Quellen im L a u f e vieler h u n d e r t Meilen dem Ocean entgegenziehen, wo grosse Seen sich im donnernden F a l l in die T i e f e s t ü r z e n , und der H u r r i a n mit zermalmender K r a f t in d a s unerforschliche Geheimniss t a u s e n j ä h r i g e r U r w ä l d e r einbricht. Sollte J e m a n d an der gewaltigen Ins t r u m e n t i r u n g , die übrigens einige sehr melodiöse Sätze nicht verdeckt und deren Bedarf nur durch die gefällige M i t w i r k u n g der ausgezeichnetesten Glieder des Musikcorps unseres vaterländischen Regiments verdeckt werden konnte, Anstoss nehmen, so wolle g ü t i g erwogen werden, dass seit Spontini und M a y e r b e e r , auch in unserer H a l b k u g e l P a r t i t u r e n , breit wie der N i a g a r a f a l l nicht mehr unter die Seltenheiten gehören, und Heinrichs Symphonie noch nicht zur V e r s t ä r k u n g durch Glocken und Geschütz vorgerückt sey." 5 . H E I N R I C H TO M U S S I K , F E B R U A R Y 5 ,

1837

Mein theuerster F r e u n d ! Ich habe hier mit allem Fleisse einen kleinen H a l t gemacht, um einige B r i e f e an alte B e k a n n t e und gute F r e u n d e zu schreiben, und nun biete ich auch D i r meinen herzlichen Abschied d a r , denn ich steure wieder nach Amerika. Mein A u f e n t h a l t im V a t e r l a n d e w a r eben nicht anziehend und angenehm, sondern leidend im höchsten G r a d e , besonders in U n g a r n hatte ich viel Unglück u n d Ungemach erlitten. I n O f e n kam ich in das Spital der Barmherzigen B r ü d e r , wo m a n mir das h. S a k r a m e n t darreichte, und ich dem Tode sehr nahe war. K a u m in etwas hergestellt, kam ich heraus und glaubte, nicht so bald eine Reise u n t e r n e h m e n zu k ö n n e n ; aber Gottes

GERMAN

DOCUMENTS

257

G n a d e und B a r m h e r z i g k e i t f ü g t e es a n d e r s ; wie durch ein Mirakel f ü h l t e ich mich eines M o r g e n s so v e r j ü n g t und g e s t ä r k t , dass ich mich bald hieher begeben konnte. Zweimal j e d o c h wurde ich auf der Reise bestohlen, und auf Zollämtern musste ich f ü r meine eigenen einzelnen Comsitionen [ s i e ] nicht g e d r u c k t , s o n d e r n im M a n u s c r i p t , einen f ü r mich drückenden und empörenden Zoll bezahlen!—Vielleicht übermorgen schon reise ich nach T r i e s t , wo ich mich nach Amerika, in die U r w ä l d e r der neuen Welt einschiffen werde. D o r t bei den indischen Grabeshügeln werde ich wohl die gewünschte Ruhe finden. Doch hoffe ich noch f r ü h e r meine verlassene T o c h t e r Antonia unter diesem Sonnenlichte zu erblicken und an mein H e r z zu drücken. 6.

HEINRICH

TO

NOLL,

FEBRUARY

19,

1851

H r n . J . Noll— Verehrter H e r r ! D a ich I h r e r ausgezeichneten Virtuosität u n d auch j e n e r I h r e r sehr werthvollen H e r r e n Collegen bei den Shakspearschen Concerten immer mit B e w u n d e r u n g zugehört habe, so e n t s t a n d in mir der Wunsch, etwas f ü r I h r kunstvolles M i n i a t u r Orchester ( a b e r von grossen E f f e c t ) zu schreiben. D e m z u f o l g e habe ich so eben zwei P a r t i t u r e n vollendet von welchen ich vorläufig die T i t e l angebe. W e n n Sie die Gegenstände anziehend finden, so erweisen Sie mir die E h r e , mich irgend eines Morgens zu besuchen, um I h n e n die W e r k c h e n zu zeigen, welche mit Vergnügen zu Diensten stehen und zu guten, praktischen musikalischen Resultaten f ü h r e n könnten I h r ergebener Anthony Philip Heinrich. 7.

HEINRICH

TO

MUSSIK,

FEBRUARY

18,

1841

Ich bin überzeugt dass diese P a r a g r a p h e Realitäten s i n d — w e r d e n in kurzem mehr davon sehen und hören.—Aus Kieselsteinen machen j a die Böhmen das feinste G l a s und so zu sagen Gold, warum sollte ich—schlictes N a t u r g e s c h ö p f — n i c h t etwas sublimes liefern können? [ M u s s i k , p. 25.] 8.

MARSCHNER

TO

HEINRICH,

MAY

10,

1849

Als E n t g e g n u n g auf den Bericht des musikalischen B e r i c h t e r s t a t t e r s der " N e w - Y o r k e r A b e n d - Z e i t u n g " über das Knäbel'sche Konzert erlaube ich mir folgendes an mich gerichtete Schreiben des berühmten Maestro M a r s c h n e r zu veröffentlichen: H e r r n Kompositeur H e i n r i c h in New-York. H a n n o v e r , 10 Mai 1849. I n d e m icli Ew. Wohlgeboren f ü r die mir gütigst zugesendeten Kompositionen meinen verbindlichsten D a n k sage, kann ich nicht umhin, zugleich meine F r e u d e d a r ü b e r auszusprechen, dass deutsche T o n k u n s t in Amerika so würdig von I h n e n v e r t r e t e n wird. In all I h r e n Kompositionen, verehrter

288

GERMAN

DOCUMENTS

H e r r ! tritt das echt deutsche Streben nach Charakteristik, Originalität und Gründlichkeit eclatant hervor, und nirgend schwören Sie zu der j e t z t hochwehenden Fahne der Oberflächlichkeit und Seichtheit, wie es in italienischen und leider auch in französischen Werken seit längerer Zeit zu bemerken ist. Lassen Sie sich, verehrter H e r r ! durch Ihre Originalität auch bisweilen verleiten, den Ausführenden zu grosse Schwierigkeiten zu bieten und der menschlichen Singstimme f a s t zu grossen Umfang zuzumuthen, so entschädigt d a f ü r doch zumeist die Originalität und der tiefinnerste poetische Grundgedanke Ihrer Tonstücke, welche auch im fernen Westen ein glänzendes Zeugniss deutscher Begabung und ernsten Strebens zugeben geeignet sind. Mögen Sie der Versicherung meiner vollkommensten Hochachtung glauben, und sich noch lange des Beifalls aller Kunstfreunde erfreuen. Dies wünscht von Herzen Ew. Wohlgeboren ergebenster D r . H . Marschner New York, 21 März 1851 A. P. Heinrich 9. HEINRICH'S CONCERT AT PRAGUE, MAY 3 , 1857

Der äussere E r f o l g gestaltete sich f ü r unseren liebenswürdigen Autor sehr glänzend, indem fast alle seine Tonstücke mit grossem Beifall aufgenommen und er selbst nach jeder Nummer des "Monster concerts" enthusiastisch gerufen und mit donnernden Zurufen begrüsst wurde. Die einzelnen Sätze wurden mit vielem Beifall aufgenommen, auch wurden dem greisen Komponisten schmeichelhafte Akklamationen zu theil. Die gelungenste ist unstreitig die 3 Nummer: Grande Capriccio Volante, ein charakteristisches Tongemälde, welches das Leben der Amerikanischen Wandertauben in mehren, zumeist pikant instrumentirten originellen Sätzen trefflich schildert und mit den Amerikanischen Volksweisen: Hail Columbia and Yankee Doodle passend schliesst. In einer Beziehung sehen wir hier gleichsam den primitiven Beginn jener musikalischen Schilderungsart, die gegenwärtig als Programmmusik eine Art von Berechtigung in der Kunstwelt errungen zu haben scheint, und zwar in einer Gestaltung, wie sie unter dem unmittelbaren sinnenfälligen Eindrucke ein von allseitiger durch Theorie und Studium der Literatur geklärter Kunstvollendung noch unberührtes aber mächtig empfängliches und ursprünglich produktives Gemüth als Mittel seiner Mittheilung nur anwenden kann. Dass deren Eindruck oft ein befremdender, ist leicht erklärlich, jedoch kann ihr stellenweiser Geist und glückliche Invention nicht abgesprochen werden. In anderer Beziehung fanden wir Momente einer geregelten, Zusammenhängenden logisch richtigen musikalischen Diktion und

GERMAN

DOCUMENTS

259

einer im Effekte ganx sorgfältig and auch originell angelegten Instrumentation, die das echt Künstlerische Wesen nnseres würdigen Landsmannes sehr vortheilhaft ins Licht stellt. 1 0 . H U M B O L D T TO H E I N R I C H , AUGUST 6 ,

1857

Sie werden verzeihen, Verehrter Mann . . . dass ich 88 J a h r e alt, und leidend in einem viel bewegten, überbeschäftigten Leben nur mit wenigen Zeilen auf die freundliche mittheilung Ihrer Biographie und des Catalogue Ihrer musikalischen Schöpfungen dankend antworten kann. Sie wissen, tief-gerührt von dem Walten der Naturkräfte, anmuthig und grossartig wiederzugeben, was Sie eingefangen. Ich war ein inniger Freund von Felix Mendelssohn, ein Bewunderer des trefflichen Werkes von John Audubon, aber ich stehe leider durch Vernachlässigung der Erziehung der grossen und edelen musikalischen Sphäre fremd. Mit der ausgezeichnetsten Hochaltung, Euer Wohlgehorsamster A. v. Humboldt Potsdam den 6. Aug. 1857

II

"THE DAWNING OF MUSIC IN KENTUCKY" PROPOSAL

A

1

P . H E I N R I C H , who, about 18 months since, t h e vicissitudes of f o r tune led to make music his professional exercise a n d the means of combating adversity proposes to his f r i e n d s and the f r i e n d s of t h e A r t , to publish by subscription, the effusions of his leisure hours, his firstling compositions. T h e compositions alluded to will comprise a variety of original Songs and Airs for the Voice and Pianoforte, Waltzes, Cotillions, Minuets, Polonaises, Marches, Variations with some pieces of a national c h a r a c t e r adapted f o r the Piano F o r t e a n d also calculated f o r the lovers of the Violin. As the composer has been chiefly inspired by the Muses of Kentucky he would feel p a r t i c u l a r l y gratified to find sufficient p a t r o n a g e here, to exhibit to the public at large the strains of the Backwoods. The subscription price f o r a copy of them will amount to Thirteen Dollars. T h o s e who feel inclined to venture this small sum for such a novel undert a k i n g in the West and to encourage the honest t a l e n t s and labors of a poor son of O r p h e u s will please to put their names a n d places of residence a t the foot of this p a p e r . T h e Author thinks it however proper to state t h a t this application is not made with a view to profit alone but likewise to cover in some measure the very considerable expense in engraving and p r i n t i n g the intended work and p e r h a p s to r e a p a laurel by pleasing and p r o v i n g useful to the admirers and devotees of Melody and H a r m o n y . Should a sufficient number of subscribers be obtained, it is then the intention of A. P. Heinrich to proceed to one of the large cities to make the necessary a r r a n g e m e n t s for the Edition with attention a n d despatch. T h e work will probably be finished and duly delivered within the course of this y e a r . I t is contemplated to attach to the publication in question a list of subscribers and an a p p r o p r i a t e address to them expressing, beside a Legion of Notes, written con Amore, the best wishes and g r a t e f u l acknowledgments of their devoted humble servant, A. P. Heinrich Louisville, Ky. J a n . 5, 1819. N . B . T h e work will contain f r o m Fifty to Eighty sheets of Music P a p e r , to be well executed and delivered to subscribers in one or two volumes. Subscriptions received at this office. 1.

Philadelphia. Literary

and Musical

Magazine,

I V ( A p r i l 26, 1 8 1 9 ) .

DAWNING

OF

MUSIC

261

CONTENTS

P r o l o g u e Song ( H e n r y C. L e w i s ) 4 H a i l to Kentucky ( P . G r a y s o n ) 11 B u o n a N o t t e ( a serenade a d a p t e d for the Piano F o r t e ) . . . . 19 L a Buona M a t t i n a ( S o n a t a for the Piano F o r t e ) 25 A Bottle Song ( B u r n s ) 41 T h e Y o u n g Columbian M i d s h i p m a n ( H . C. Lewis) 52 L o r d B y r o n ' s Cotillion 55 Fair Haidee's Waltz 56 Rondo W a l t z 57 Kentucky March 61 T h e Musical Bachelor 67 H a i l Columbia ( M i n u e t ) 71 Y a n k e e Doodle W a l t z 74 H o w Sleep the Brave (Collins) 77 The Prague Waltz 80 T h e F a i r Bohemian 81 T h e U n a m i a b l e (Cotillion) 82 T h e B i r t h d a y of W a s h i n g t o n 85 O d e to the Memory of Commodore O. H . P e r r y ( H . C. Lewis) . 91 Columbia's P l a i n t ( H . C. Lewis) 95 Sensibility, a n d Sensibility's Child ( H . C. L e w i s ) 97 Visit to F a r m i n g t o n (Cotillion) 101 T h e Bride's F a r e w e l l ( H . C. Lewis) 102 Visit to P h i l a d e l p h i a ( H . C. L e w i s ) 105 Avance et R e t r a i t e (A military w a l t z ) 115 T e m a di M o z a r t a n d an Original Air Varied for Violin . . .121 A Chromatic Ramble of t h e P e r e g r i n e H a r m o n i s t 135 Coda ( W m . B. T a p p a n ) 146 Supplement 150 T h e Sons of the Woods ( I n d i a n W a r Song, H . C. Lewis) . . . . 153 M a r c i a di Ballo 157 Sweet Maid 164 T h r e e Cotillions ( L u c i a d e , L a P r i m a vera, II B r i l l a n t e ) . . . .166 D i v e r t i m e n t o ( F a r m i n g t o n Minuet, F a r m i n g t o n Allemande a n d Farmington March) 169 F r o m T h e e , Eliza, I M u s t Go ( B u r n s ) 175 F a r e w e l l to F a r m i n g t o n (Cotillion) 180 S a y W h a t is t h a t h e a r t ( P . W. G r a y s o n ) 181 O Where is t h a t h e a r t ( P . W . G r a y s o n ) 188 Canzonet ( f r o m Songs of Judah, W m . B. T a p p a n ) 190 T h e S a r a h (Cotillion) 192 T h e Bohemian E m i g r a n t ( H . C. Lewis) 193 T h e H e n r i a d e (Cotillion) 196

262

DAWNING

OF

MUSIC

Marche Concertante The Minstrel's Petition The Fair Traveller, or the Post Ride from Prague to Vienna . The Yankee Doodleiad

197 216 . 238 252

Ill

"THE W E S T E R N MINSTREL" PROPOSAL

1

A. P. HEINRICH

A

U T H O R of The Dawning of Music, at the solicitation of many of his . friends, proposes to publish, by subscription a musical work to be entitled the WESTERN

MINSTREL

being a selection of Songs and Airs for the Voice and Piano Forte. The work will be comprised in Four Numbers of Six pages each (music size) and be delivered to subscribers at fifty cents per number or two dollars entire, payable on delivery. I t shall be executed in a handsome style and printed on good paper. The selection shall be such as it is hoped will prove useful and interesting to performers in general and consist of well-chosen moral, sentimental and patriotic songs interspersed with airs, waltzes etc. The publication shall be commenced as soon as a sufficient number of subscribers are obtained to warrant the undertaking, and be completed with all possible despatch. The author assures the public that his best efforts shall be made to please and g r a t i f y ; and he earnestly hopes, that their confidence in his reliance on their wellknown liberality will amply remunerate his exertions. Subscriptions received by the author, and by Messrs. Bacon and H a r t , Philadelphia—and by John R. Parker, Franklin Music Warehouse, 6, Milk-Street, Boston. CONTENTS

H a s t thou seen! (W. B. T a p p a n , from Songs of Judah) . . . . 2 Philadelphia Waltz 3 Remember me ( H . C. Lewis) 4 The Yager's Adieu (translated from the German by P. Grayson) . . 6 Maid of the Valley (W. B. T a p p a n ) 11 Venez Ici ( H . C. Lewis) 12 The Musical Bachelor ( J . R. Black) 14 Landler of Austria 16 1. Euterpeiad, I (Aug. 26, 1820), 88.

264

WESTERN

MINSTREL

T h e r e is an H o u r of P e a c e f u l Rest ( W . B. T a p p a n , f r o m New England and other Pormt) W h e r e are the Pleasures of L i f e ( G . D u t t o n ) I r r a d i a t e Cause ( W . B. T a p p a n , Songt of Judah) Image of my T e a r s ( B y r o n ) Gipsey Dance Sailor Boy's D r e a m ( D r . D i a m o n d ) O Smile upon the Deaf a n d D u m b ( W . B. T a p p a n , Songs of Judah) Love in Ohio ( H . C. Lewis) T h e Minstrel's M a r c h , or Road to Kentucky

17 22 24 25 27 32 33 34 36

IV NOMENCLATURE OF

Scores, Vocal and Instrumental Works, Composed by A N T H O N Y P H I L I P H E I N R I C H . 1. The Wild-Wood Troubadour: A Musical Autobiography. Ouverture Ch£valerasque, for full Orchestra or Introduction, to: 2. Noble Emperor, Thine the Olory. (Cantata Grande.) 3. Bohemia. Heroic, romantic Symphony. 4. Amor Patriae. "We'll ne'er forget our native land:" a patriotic Anthem. 5. Austria—The Flight of the Double Eagle. (An Heroic Festival Ouverture.) 6. The Warrior's March into the Battle Field. (Coro Militare.) 7. Marcia Funebre for the Heroes in Battle Slain. (Brass Instruments.) 8. Musa Sacra: a Sacred Votive WreathContaining the Tower of Babel, &c. Sinfonia Canonicale. (For Orchestra.) 9. Adoramus te Christe. Offertorio, a 3 Voci. 10. O Santa Maria. Motetto Concertante, a 4 Voci. 11. The Death of a Christian. (Quintetto Vocale.) 12. Manitou Mysteries: Or, The Voice of the Great Spirit. Gran Sinfonia Misteriosa-Indiana. 13. Fantasia di Caccia; Or, The Jager's Adieu. (Orchestral.)

14. The

15.

16. 17.

18. 19.

20. 21. 22.

Ornithological Combat of Kings; Or, The Condor of the Andes and the Eagle of the Cordilleras. Concerto grosso Instrumentale. Oratorio Vocale—on the same subject, comprising The Conflict in the Air; The Repose; The Battle on L a n d ; The Victory, &c. The Same as a Septett Concertante, (Also arranged for Pianoforte and Violin.) National Memories; Or, Gran Sinfonia Britanica. P a r t of it sent to London under the title—"The American Eagle's Musical Flight to the World's F a i r ; " and officially accepted, by command of Her Most Gracious Majesty Queen Victoria. The Indian Carnival; Or, The Indian's Festival of Dreams. Sinfonia Eratico-Fantastica. Pocahontas— The Royal Indian Maid and Heroine of Virginia, the Pride of the Wilderness. Fantasia Romanza. (Orchestral.) The Hunters of Kentucky. Sinfonia di Caccia. The Columbiad: A Grand American National Chivalrous Symphony. Artistic Perplexities. ("Columbiad" and "Tower of Babel," in Epitome.)

266

NOMENCLATURE

23. The Empress Queen Maria Theresia and the Magyar!. "Moriamur pro Rege nostro." Sinfonia Patriotica-dramatica. (With Programme.) 24. Tecumseth— Chief of the Shawanee Tribe, &c. Ouverture heroique. 25. Puthmataha. (Souvenir Indian, with Programme.) 26. The Indian Spirit Bond; Or, The Mastadon: a Grand Symphony, containing musical Portraitures on the following subjects:— 1. Black Thunder, the Patriarch of the Fox Tribe. 2. Elkhorn P y r a m i d ; or, The Indian's Offering to the Spirit of the Prairies. 3d. Shenandoah: a celebrated Oneida Chief. (With Programme.) 27. The Indian War Council. Gran Concerto Bellico. 28. Mocking Bird to the Nightingale. Divertimento Capricioso. 29. Wild-Wood Spirit's Chant: A Grand National Heroic Fantasia, for a Gigantic Orchestra. 30. A Concertante for the Oboe. (With Orchestral Accompaniments:) 31. Boadicea, the British Warrior Queen,