250 - HISTORY OF CINCINNATI, OHIO.
The music rendered was of the most modest kind possible, performed only for self-amusement. The, actors of this period played behind a closed scene. But presently we see the desire visible that the curtain rise, and the efforts of the actors communicated to others, to participate in its enjoyment.
The leading spirit in this movement must be ascribed to the German element. "To the Americans belongs the credit," says Klauprecht, "of being the first pioneers of music in Cincinnati; but the Germans may boast of having brought about its higher development." . .
In Cincinnati the Germans practiced music already in the early years of the city's existence. At first, when the number was small, they confined their chorus-singing to the church, and when the divine service was over on Sundays they would flock into the country, and there, seated or lying in the grass, beneath the green crown of a shady tree, they would sing the songs of their native land in swelling chorus. And in the evening often would the guitar or the zither, the flute or the violin, send the melodious strains of a German ballad from the lone window of his small cottage, or even the garret-window of the tenement house:
"In einem kuehlen grunde ;"
Or—
" Ich weiss nicht, was soil es bedeuten."
A number of young Teutons, in 1838, formed the first German singing society in the city, and the first organization of a chorus of male voices. It was part of an attempt to introduce the chorus-singing of four-part songs here. Every Thursday evening the members assembled in the dancing-hall of the Rising Sun tavern, "beyond the Rhine," on the corner of Main and Thirteenth streets. Among them were General Augustus Moor, Frederick Gerstaecker, the famous German traveller and writer, who spent some years in this city; with Godfrey Frank, Christian Lange, and other well-known German gentlemen of that era. Mr. William Schragg, later of Lebanon, Warren county, was the first leader of the chorus. Herr Rattermann adds:
That the songs of this pioneer of our German singing societies were as yet of a primitive character, we may safely infer from the fact that all beginnings are necessarily small. The singers seated themselves around a table, and alongside the music-book of each stood the quart of beer, for the expenses of the illumination of the hall, which consisted of two large lard-oil lamps, had to be covered by the profit realized from the sale of the beer to the members. Thus the drinking may have played a greater role in this first German singing society than the singing.
The choirs of the German Protestant church on Sixth. street and the German Catholic Church of the Holy Trinity on Fifth street, united some years afterwards to form a singing society, which met regularly at the residence cif Fritz Tappe, a watchmaker on Clay street. Fortunately, the names of this organization are on record: Fritz Tappe, leader; George Labarre, Adolphus Menzel, Henry Poeppelmann, Christ Lange, Louis Dieck, Godfrey Frank, Anthony Nuelsen, Arnold Weigler, Augustus Friedeborn, William Ballauf, Charles Beile, and Charles Schnicke, sen. All are now dead, except Poeppelmann, a professor in the Woodward High School; Beile, teacher in the Twenty-first ward; Frank, a grocer on Central avenue; and Nuelson, the well-known Front street tobacconist.
The German Liedertafel was founded anonymously, as a modest organization of musicians, in 1841, but took a name and something more of a formal organization in June, 1843, and was regularly and fullyconstituted a year thereafter. Its musical conductors included George Valentine Scheidler, an early German musician here, whose wife, Bertha Scheidler, held high rank as a local singer down to 1855; with successors George Labarre, William Runge, Franz Schoenfeld, Carl Barus, and Robert T. Hoelterhoff. The society, as the Liedertafel, lasted fourteen years quite successfully, doing a good work, and was finally, in 1857, merged in the greater Maennerchor.
The Gesang- und Bildungs-verein deutscher Arbeiter had its beginnings in 1846. It was the first German organization here which allowed female voices in the chorus. Henry Damm was its first and Xavier Vincent the last conductor of the society. Under the latter a performance of Haydn's Creation was given. The Verein lasted but six years, disbanding in 1852.
A small society was founded among the Germans in the spring of 1848, and called the Eintracht. It had but one leader, Anthony Bidenharn; and with his death from cholera the next year, the organization also expired.
A number of Swiss musicians in Cincinnati, about the same time, formed a Schweizer-verein, whose first leader was Emanuel Hinnen. In 185o its identity was lost in the Nordische Saengerbund, a select double quartette. The members were: First tenors—Augustus Klausmeyer and Louis Haidacker; second tenors—Professor William Klausmeyer (leader) and Frederick Winkler; first basses—Dr. C. F. Hetlich, H. A. Rattermann; second basses—John Sterger, Charles Niemann. It was a favorite society with the Cincinnati public during 1849-5o, and in October of the latter year the consolidation with the Schweizer-verein was made, the two forming the Saengerbund, which, after somewhat distinguished career, became in its turn a part of the Meannerchor.
The oldest surviving musical society in the city is the Cincinnati Mannerchor, dating as it does from June 27, 1857. It had its being by the union of three German singing societies, the Liedertafel, the Sangerbund, and the Germanic; to which was added, in 1859, the literary society, "Lese und Bildungs-verein," which added a fine library and substantial pecuniary aid to the new society. In 1860 the Mannerchor, being, as its name implies, exclusively a male society, undertook the pro- and duction of the opera "Czar nd Zimmerman," with but one female voice in the cast, that of the prima donna. Lady members were afterwards admitted, and many fine operas produced. Since the withdrawal of a number of members to form the Orpheus society, in April, 1868, from difficulties resulting from the production of operas, the society has been simply a choral organization. Weekly meetings for practice have been held in Mannerchor Hall, corner of Vine and Mercer streets. The building was destroyed by fire on the fourth of August, and the valuable musical library belonging to the society burned. It will be replaced as rapidly as possible.
The list of German singing societies of this era is filled with the addition of the musical section of the Turnverein, formed in 1849. Mr. Rattermann comments and continues the history as follows :
The existence of these societies brought life into the musical silence of our city. Each one of them gave a regular series of concerts annually, generally followed by a ball. Those of the Liedertafel, and afterwards of the Saengerbund, were considered the bon ton entertainments of our German citizens of those years.
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The narrow compass to which these societies, according to their nature and tendency, were limited, soon called for an extension of the boundary. This could not he accomplished in one association, as that would soon become unwieldly for the general purpose. The Liedertafeln, as societies for the object of cultivating the male voice chorus, without instrumental accompaniment, are called, and of which the first was founded in Berlin under Zelter in 1809, are, on account of their original intention, not adapted for massive choruses. Wherever they are found, they seldom number as many as a hundred singers, generally averaging about twenty-five members. If, then, a more powerful, a massive chorus is desired, it becomes necessary to bring several of these Liedertafeln together, and by their united efforts the massive chorus is obtained. For that purpose festivals, to be given at stipulated intervals in the larger cities of a country, are devised. The earlier of these festivals have their origin in Germany. The first festival of the kind was held in the city of Wuerzburgh, in Bavaria, August 4th to 6th, inclusive, 1845.
The first attempts to introduce them in America were, in comparison with these festivals in Germany, very diminutive in size. Already in 1846 endeavors were made in Philadelphia and Baltimore to organize friendly relations between the German singing societies of these cities. They, however, were restricted to mutual visits paid each other, connected with a social festivity, in which the public of these cities participated. No formal organization was attached to these visits, and therefore they cannot be classified as Saengerfests. Festivals of this character were likewise held in Cincinnati in the summer each of 1846, 1847, and 1848.
A formal organization was first effected in 1849, by a union between the singing societies of Cincinnati, Louisville, and Madison, Indiana. These societies held the first German Saengerfest in America in the city of Cincinnati, June 1st-3d, inclusive, 1849, and at this festival, on June 2d, the German Saengerbund of North America was founded.
This was the first effort of its kind in America, and the city of Cincinnati can boast, not only of being the author of them, but also of the fact that these festivals were originated here in America. With that indeed diminutive Saengerfest there was inaugurated a new era in the musical history, not only of Cincinnati, but of America ; for then the foundation was laid to the great musical festivals which have given to our city the titles of 'The Paris of America' and 'The City of Festivals.'
Notwithstanding Mr. Rattermann modestly styles this initial step diminutive, it seems to have comprised five important German societies from the three cities named, and informal delegations were present from the Maennerchors of St. Louis and Columbus, and the Deutscher Liederkranz of Milwaukee. These societies, it is said, had promised attendance, but failed to come as bodies. One hundred and eighteen singers, nevertheless, participated in the concerts given at the Fest; and at the open air concert and social gathering on Bald Hill, near Columbia, several thousand people were present. This was held on Sunday, after the German manner; and was much disturbed by roughs from the city, who posted themselves in force at the entrance to the picnic grounds. Mr. Rattermann relates that-
" To avoid a tumult—for the many thousand Germans would have been in any emergency the stronger—the several flags and banners, the capturing of which it was known was contemplated by the gang Of rowdies assembled on the outside of the garden, were carried on a circuitous road, via Linwood, to the banks of the Ohio river, by Ex-County Auditor Siebern, and from there taken on board of the Pittsburg steamer back to the city.
One of the musical historians in the historical number of the Daily Gazette, from which we have quoted, supplies some interesting details of this first regularly organized Saengerfest. He says:
Viewed in the light of the events of the last few years, the first German festival held here in 1849 looks very modest, and yet, at the time, it meant much to the Germans. Only one concert was given ; it was on June 1st, and of all the city's populace only four hundred bought tickets at fifty cents each and attended. The result was a deficit which, by a subsequent concert arranged to cover it, was swelled to one hundred and seventy-one dollars, and the singers were assessed to pay this. The chorus numbered one hundred and eighteen, there being twenty-eight first tenors, thirty-two second tenors, twenty-nine first basses, andtwenty-nine second basses. T- he societies participating were the Louisville Liederkranz (fifteen singers), Madison Gesangverein (nine singers), Cincinnati Liedertafel (thirty-two singers). Cincinnati Gesung and Bildungsverein (thirty-three singers), Cincinnati Schweizerverein (fourteen singers), eight delegates from the Louisville Orpheus, and seven singers from Cincinnati who did not belong to any society. The concerts were given in Armory Hall, on Court street, at present used as Geyer's Assembly Rooms. The music consisted of part-songs by Zoellner, Mozart, Kreutzer, Frech, Broch, Reichardt, Abt, Silcher, and Baumann.
The second festival was held in 1850 in Louisville. The Cincinnati societies participated and carried off both of the prizes offered.
In 1851, when the third festival was given, in Cincinnati, the bund had grown to include fourteen societies, by additions from Columbus, Hamilton, Cleveland, St. Louis, Newport, Kentucky, Lafayette, Indiana, and Detroit, and the chorus, which was conducted by Mr. William Klausmeyer, numbered two hundred and forty-seven voices. Instrumental numbers by the Military band from the United States garrison at Newport were given a place in the programme.
Sixteen years later, and in the same city that saw this small beginning, a festival was celebrated which had nearly two thousand singers in its chorus, and the concerts were given in a building specially erected for the purpose. This was in 1867, and from this went out one of the impulses that called the May Festivals into life.
The festivals of the Saengerbund which were held here were the first, in 1849; those of 1851, 1853, 1856, 1867, and the twenty-first, in 1879, in the Music hall.
THE MAY FESTIVALS.
The relation of the Saengerfests to the May festivals, as preparers of the way, has already been suggested. By the beginning of 1872 the conditions were eminently favorable to the inauguration of the festivals. The city had become accustomed to the monster concerts of the Germans, and would welcome similar entertainments with elements from other nationalities in them; a great building, whose acoustic properties had proved very excellent for musical purposes, had been erected for the Industrial Expositions, and was suffered to stand from year to year, and was available for annual concerts; and, in another's words, "the Expositions, too, had demonstrated the fact that the citizens of Cincinnati were generous in their support of big things which made the city attractive, while the inhabitants of the surrounding country rejoiced in the opportunity of coming to town to spend their money." The historical Gazette thus continues the narrative:
The first public step taken to carry out the plan was a meeting of prominent gentlemen, which was held in the law office of Storer, Goodman & Storer, on the twenty-seventh of September, 1872, at which a temporary organization was effected by the appointment of an executive committee composed of George Ward Nichols, President; Carl A. G. Adae, vice-president; John Shillito, treasurer; and Bellamy Storer, jr., for secretary; besides John Church, jr., Ceorge W. Jones, and Daniel B. Pierson. Plans were discussed, the question agitated, and three days later a large finance committee, with Hon. George H. Pendleton as chairman and George W. Jones as secretary, was appointed and authorized to raise a guarantee fund of fifty thousand dollars, the understanding being that no further steps should be taken until thirty thousand dollars had been subscribed.
A little more than one month was required for this work, and on the twelfth of November a circular was issued announcing that a musical festival would be held in Cincinnati in May, 1873, for the purpose of elevating the standard of choral and instrumental music, and to bring about harmony of action between the musical societies of the country and especially of the west. Telegrams and letters were also sent broadcast, an official agent was employed to visit the various singing societies of the west and northwest to secure their co-operation and to arouse the public mind to an interest in the affair. The response was very general; and when the chorus was organized it was found to con-
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taro no less than thirty-six societies, aggregating one thousand and eighty-three singers, of whom six hundred and forty were Cincinnatians. Twenty-nine societies participated in the first mass rehearsal, which was conducted by Professor Carl Barns, who had been appointed assistant director, but who had been superseded by Mr. Otto Singer, who has since held the position, in March, 1873. The instrumental forces were an orchestra numbering one hundred and eight pieces, and a chorus organ of one manual, fourteen stops, and six hundred and sixty-five pipes, built for the purpose by Messrs. Koehnken & Grimm of this city.
The festival was held on the sixth, seventh, eighth, and ninth of May. The original plan, borrowing the idea from the Saengerfests, purposed to devote the last day to an open-air concert and picnic; but rain spoiled the scheme, and an afternoon concert in the hall was substituted. Thus Providence came in to take from the festival this vestige of the German custom which had done much to degenerate the Saengerfests from festivals of song to bacchanalian carouses. The soloists were Mrs. E. R. Dexter, of Cincinnati; Mrs. H. M. Smith, of Boston; Miss Annie Louise Cary; Mr. Nelson Varley, of London; Mr. M. W. Whitney and Mr. J. F. Rudolphsen; and Mr. Arthur Mees, organist. The principal compositions performed were Handel's "Dettingen Te Deum," Beethoven's C minor symphony, scenes from Gluck's "Orpheus," Schumann's symphony in C (op. 61), and his chorus, "Gipsy Life;" Beethoven's choral symphony, Mendelssohn's "The First Walpurgis Night," and Liszt's symphonic poem "Tasso."
At the close of the last evening concert Judge Stanley Matthews read a request, signed by a large number of prominent citizens, for another festival. The managers determined to act on the suggestion and a second festival was announced for May, 1875. Owing to the inexperience of the managers the expenses were very large, but so generous was the patronage that the deficit amounted only to three hundred and fifty dollars, which the executive committee paid from their privy purses.
The second Festival was given in May, 1875, the Biennial Musical Festival Association having meanwhile been incorporated for the purpose. As before, Mr. Thomas was director, and Mr. Singer his assistant. The soloists were Mrs. H. M. Smith, Miss Abbie Whinnery, Miss Cary, Miss Cranch, Mr. William J. Winch, Mr. H. Alexander Bischoff, Mr. Whitney, Mr. Franz Remmertz ; Mr. Dudley Buck, organist. The chorus numbered six hundred and fifty, and the orchestra one hundred and seven. The principal works performed were the Triumphal Hymn, by Johannes Brahms, Beethoven's A major Symphony, Scenes from Wagner's Lohengrin, Mendelssohn's Elijah, Bach's Magnificat, the Choral Symphony, Schubert's Symphony in C, and Liszt's Prometheus. The Festival was a complete financial success, and though its expenses exceeded forty thousand dollars, there was a balance of one thousand five hundred dollars in the treasury when the accounts were closed.
The future of the festivals now seemed assured, and the movement inaugurated by Mr. Reuben R. Springer, which gave to the city the Music Hall and the great organ, -created an enthusiasm here which, supplemented by the curiosity abroad to see the new structure and hear the new instrument, made the third Festival, given in 1878, an unprecedented success. It was given on the fourteenth, fifteenth, sixteenth, and seventeenth of May, and on the first evening the dedicatory ceremonies of the new hall took place. The soloists were Mme. Eugene Pappenheim, Mrs. E. Aline Osgood, Miss Cary, Miss Cranch, Mr. Charles Adams, Mr. Christian Fritsch, Mr. Whitney, Mr. Remmertz, Signor Tagliapietra, and Mr. George E. Whiting, organist. The chorus numbered seven hundred, and embraced, besides the local societies,. the Dayton Philharmonic society, the Hamilton Choral society, and the Urbana Choral society. The principal numbers in the scheme were scenes from Alceste, by Gluck, the Festival Ode, composed by Otto Singer, Beethoven's Eroica Symphony, Handel's Messiah, selections (finale of Act III) from Wagner's Goetterdaemmerung, the Choral Symphony, Liszt's Missa Solennis, and Berlioz's Romeo and Juliet Symphony. The orchestra numbered one hundred and six men, all from New York city.
The financial success was enormous, the receipts running up to eighty thousand dollars, and thirty-two thousand dollars being left in the treasury after settlement.
The fourth festival was held during the third week in May, 1880, and was also a financial success, though not so great as the third. The receipts amounted to fifty-five thousand and eighty-five dollars and twenty-eight cents; expenses, forty-six thousand and eleven dollars and thirty-six cents; balance, nine thousand and seventy-three dollars and ninety-two cents. The board of directors of the festival association resolved January 14, 1879, to offer a prize of one thousand dollars for the best musical composition by a native American, which was to be performed at the festival of 1880. The musical world received the proposal very favorably, and a wide interest in the festival and this particular item of preparation for it was awakened. Twenty-five more or less elaborate works were offered for competition, and a board of judges, of which Mr. Theodore Thomas was chairman, concurred in awarding the prize to the author of the composition entitled Scenes from Longfellow's Golden Legend, who was found by opening the letter of transmittal with it, on the day of its performance, May l0th, to be Mr. Dudley Buck, of Boston. A similar prize will be offered for the next festival, with some changes suggested bv experience. The festival chorus has been made a permanent institution, with Mr. Michael Brand, of Cincinnati, as chorus director; and, in addition to its work at the May festivals, will annually render on Christmas night, as it did in 1880 with triumphant success, Handel's magnificent oratorio of the Messiah.
GEORGE WARD NICHOLS.
Colonel Nichols held the office of president of the board of directors of the Musical Festival association from the period of its creation until March 10, 1880, when he resigned the post, and also his place as a director. As he remains president of the College of Music, and has been most ^conspicuously identified with musical matters in Cincinnati since his residence here began, in 1868, we make some special mention of his life and public services.
Colonel George Ward Nichols was a Boston boy, and spent his earlier school-days in that city. His family on both sides reaches far back into New England history, and he inherits patriotic and cultured instincts. Although very young when the Kansas troubles broke out, he was old enough to take some part in them in behalf of freedom. He afterwards studied the fine arts, especially painting,. in New York city, and was for several years attached to the New York Evening Post, as its art critic. He painted for a time in the studio of the great Couture, in Paris. When the war of the Rebellion broke out, he was early in the field, served as aid-de-camp on the general staff with Generals Fremont and Sherman, and closed his military career with honor, After the war he finished the preparation of the Story of the Great March, narrating Sherman's wonderful campaigns through Georgia and the Carolinas. It was published by the Harpers, and sold rapidly and largely. His literary efforts have since been otherwise directed, and have performed eminently useful service in presenting the world with his books on Art Education Applied to Industry, and Pottery: How it is Made and Decorated. He has also written much on congenial topics for the magazines and newspapers, and was for some time an approved and popular lecturer in the field. About 1868 he married Miss Maria Longworth, daughter of Judge Joseph Long-worth, of Cincinnati, and grand-daughter of the millionaire Nicholas Longworth, and removed to the Queen
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City, where he soon began to interest himself in the promotion of music and fine art. To him, more than to any other one man, the annual musical festivals and the College of Music owe their origin and successful maintenance. Mrs. Nichols devotes her attention mainly to decorative art, and has established a pottery of her own, in and for which she labors faithfully and toilsomely.
THE COLLEGE OF MUSIC.
This noble institution had its origin, in part, in the felt want of an American School of Music that could enter boldly into competition with the great conservatories of the continent, to which our students, ambitious to enter the higher ranges of the art, had been compelled to resort. The need was clearly seen, in all parts of the land, of broad, thorough, practical instruction, which should do for the young musician what our best colleges are doing for the scientific or literary student, under masters of equal repute in their special profession. The disappointment, too, which many American students had experienced in the foreign conservatories, was an element in the feeling which seemed to demand a new and greater institution on this side the water. The musical schools of Europe are mostly under the control of Governments, and are, as another has expressed it, "loaded down with administration." They are clogged and hampered to such an extent that progress in their courses is seriously embarrassed. The teachers, though they may be men of great celebrity, are commonly poorly paid, and have constantly present the temptation to neglect their public duties and compel the pupil to take private lessons of them at a high rate—five dollars for a half-hour lesson is a known example. The pupils are often grouped in classes, and so miss that individual instruction which is indispensable to progress, unless they resort to private lessons. An American student at one of the conservatories writes : "There are six of us in a piano class of one hour—ten minutes for each. While I had my turn, Professor was violently discussing, with a friend of his who without ceremony had entered the room, Bismarck's last coup. This and other occurrences, with an utter lack of interest on the part of the teacher, have discouraged me." Similar testimonies abound in the letters of our musical students abroad. The methods of instruction in fundamental principles are also often faulty in the European schools. The performances of our vocalists, as well as instrumentalists, on their return from a course in the famous institutions of the Old World, is thus made singularly disappointing. Such experiences of foreign study and their results had long produced, in the minds of thoughtful lovers of the art, a conviction that a great American school was necessary for the best ambitions of American students. The completion of the Music Hall and the building of the great organ seemed to furnish the desirable auspices for the beginnings of such a school.
Primarily, however, the college grew out of the musical festivals which had given this city such wide reputation. The experience of Colonel Nichols for several years as president of the Festival association, and as author of the plan of the festivals, led him to believe that Cincinnati might well become the seat of a great college of music. From long association with Mr. Theodore Thomas, it seemed to him also that the renowned orchestra leader was the best man to be placed at the head of such an institution ; and so, early in the spring of 1878, he ascertained, by private correspondence, that Mr. Thomas would accept the position. A meeting of some scores of prominent gentlemen was held, the scheme of Colonel Nichols adopted, and a corporation formed with a capital of four hundred and fifty thousand dollars, and the following officers and directors: George Ward Nichols, president. Peter Rudolph Neff, treasurer. J. Burnet, secretary. Remaining members of the board—R. R. Springer, John Shillito.
Upon the death of Mr. Shillito, General A. T. Goshorn was elected to his place. The number of directors was increased to seven, when the Hon. Jacob D. Cox and Mr. William Worthington were also elected.
Within two months of the incorporation of the college, on the fourteenth of October, 1878, it opened its doors for the reception of students, with a faculty of eminent teachers representing every important branch of musical education. Probably no collegiate institution, so fully formed, sprang so quickly into existence. On the part of the management it required courage, judgment and a long purse. They were rewarded by an attendance of some five hundred pupils in the first year. This year was one of great activity. Besides the regular course of instruction, the college gave twelve orchestra concerts and twelve public rehearsals, with twelve chamber concerts, and organ concerts on the great Music Hall organ twice a week throughout the year.
The second year the college witnessed a similar activity. More than five hundred students were in attendance, and the orchestra, chamber, and organ concerts were steadily maintained. In the last months of this year (1879) Mr. Thomas retired from the musical directorship. Upon his retirement the faculty of the college, which until then had exercised no functions other than as teachers, were for the first time called together and consulted in the management of its affairs. Subsequently a board of examiners, representing the heads of important departments, was appointed. This board, in consultation with the board of directors of the college, performs now the duties of musical direction. The result of this new government is a thorough reorganization of the college upon a wise and systematic plan.
The Cincinnati College of Music is incorporated under the laws of the State, with the following objects: "To cultivate a taste for music, and for that purpose to organize a school of instruction and practice in all branches of musical education; the establishment of an orchestra; the giving of concerts; the production and publication of musical works; and such other musical enterprises as shall be conducive to the ends above mentioned." Its capital stock is only fifty thousand dollars, held in shares of fifty dollars each. The stockholders are principally wealthy, influential citizens, who have invested in the enterprise, not so much from the hope of pecuniary returns,
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as from a love of art and a fine sense of public good. Seven directors manage the business affairs of the college and are elected annually by the stockholders. This board chooses its own officers—a president, a treasurer, and a secretary. It also appointed, formerly, the musical director, who shouldered the entire responsibility of the instruction, while the business details were managed by the officers and remaining members of the board of directors. He nominated the professors, fixed the courses of study, and regulated the discipline of the institution. In these matters the board was advisory, but did not control except when financial considerations were involved. Since the retirement of Mr. Thomas, the office of musical director has been practically abolished, the officers of the college and its faculty satisfactorily performing all the duties formerly committed to the famous conductor. The officers of the board give all necessary time to the management of the college—some of them, as Colonels Nichols and Neff, their entire business hours; yet all serve without salaries. The officers at the time this sketch is made up (March 16, 1881) are: Colonel George Ward Nichols, president; General A. T. Goshorn, vice-president; Colonel Peter Rudolph Neff, treasurer ; William Worthington, secretary; remaining directors, ex-Governor Jacob D. Cox and R. R. Springer, the latter the well-known benefactor of the Music hall and other philanthropic enterprises.
Colonel Nichols has been president of the college from the beginning. Mr. Neff is a retired merchant, of large means, liberal taste, and cordial appreciation of high art. Judge Burnet, descendant of one of the most distinguished pioneers of Cincinnati, the Hon. Jacob Burnet, was secretary for some years and until very lately, is a practical musician and a gentleman of large culture and influence. General Goshorn is widely renowned as the able director-general of the late Centennial Exposition at Philadelphia. Mr. John Shillito, another wealthy and eminent citizen of Cincinnati, was a director of the college until his recent death.
The college has no endowment as yet, except a gift of five thousand dollars from Mr. Springer, the interest of which is expended annually in the procurement of prizes —ten gold medals—which are awarded to the students who manifest superior musical ability, have been in the college at least one year, and have complied with the rules, attended all obligatory classes, been diligent and punctual, and have maintained good character. Other endowments, however, from the generous benefactors of Cincinnati, can hardly fail to fall to this most meritorious institution in the lapse of time.
The college is in no sense a money-making affair or business venture; it pays no cash dividends. The reasonable wish of its founders is simply that it may meet its own expenses, upon the most liberal terms that can be safely granted to its pupils. This modest ambition has pretty nearly been gratified, although assessments on the stockholders have at least once proved necessary, and the probability is that if it continues to be judiciously managed as now, its stockholders and officers will soon have to pay nothing, except in time, care, and mental energy, for the privilege of its maintenance and management.
The attendance at the college, for the academic year 1880--1, aggregated over five hundred. The permanent success of the institution seems confidently assured, and it is no exaggeration to say that it is the largest and best appointed school of music in the world.
The Several branches taught in the college, according to the announcements of 1879-80, are the piano, organ, violin, violoncello, bass viol, flute, French horn, cornet, bassoon, clarinet, vocal music, with individual instruction and chorus classes, elocution, the French, German, and Italian languages, history of music, theory, and the hygiene of the throat, including anatomy of the ear and larynx. It is pleasant to record in pepeto the names of the faculty in charge of the several branches of instruction. They include some of the most famous musicians in the country, in their respective walks of art :
FACULTY,
Piano—Henry Carter, Charles A. Graninger, Armin W. Doerner, Adolph Hartdegen, Miss Jennie Elsner, Miss Helen Sparmann, Miss Cecilia Gaul, Otto Singer.
Voice—Max Maretzek, Madame Maretzek, James E. Perring, J. F. Rudolphsen.
[Miss Emma Cranch, the celebrated contralto, and Miss Louise Rollwagen, withdrew from this department in the spring of 1881, and we have not yet the names of their successors].
Organ—Henry Carter, George E. Whiting.
Theory—Charles Baetens, Adolph Hartdegen, Henry Carter, Otto Singer, George E. Whiting.
Violin—Charles Baetens, Miss Kate Funck, Jacob Bloom, S. E. Jacobsohn.
Violoncello—Adolph Hartdegen.
Bass Viol—Frederick Storch.
Flute—Hugo Wittgenstein.
Cornet—M. Heidel.
French horn—A. Schrickel.
Bassoon—H. Woest.
Harp—Madame Maretzek.
SCHOOL FOR THE OPERA.
Dramatic expression—Max Maretzek.
Clarinet—Carl Schuett.
Chorus classes—Henry Carter.
Elocution - _____ _____
LANGUAGES.
French—Madame Fredin.
German—Madame Langenbeck.
Italian--C. P. Moulinier.
Lectures on music—Henry Carter, George E. Whiting, Otto Singer.
Hygiene of the throat, anatomy of the ear and larynx—Dr. Bernard Tauber.
The departments of the college are organized, severally, for instrumentalists, vocalists, theory, chorus classes, lectures, elocution, and languages' The larger division is into the general music school and the academic department—the former for general or special instruction when the pupil enters for an indefinite period, or without a view to graduation; the later for those who aim to become professionals or are amateurs who enter for graduation, all of whom are required to pursue a definite course of study for a period of time. The academic year is four terms, of ten weeks each. The orchestra and ensemble classes are recruited altogether from this department. A board of examiners from the faculty fix a standard of ad-
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mission to it, and conduct the examination of applicants.
In 1880 a school for operatic training was added to the facilities of the college, and placed in charge of the celebrated impresario, Max Maretzek, who also brought to the institution his invaluable services as a singing-master. Another interesting recent feature is the addition of the choristers, or choir in which boys are carefully trained in vocalization, for the purpose of church music, etc.
Neither elementary nor advanced knowledge is requisite to admission; but the merest tyro in music is cordially welcomed with the rest. Attendance upon the chorus classes, the lectures on the history of music, the students' recitals, the rehearsals of the orchestra, and the organ concerts, is free to all students. Attendance upon the chorus classes is obligatory upon alh The other privileges of the school are furnished at very low rates of tuition. A special advantage of this institution is the predominance of individual over class instruction—the former being the rule, the latter the exception, contrary to the practice of the European schools.
An interesting, and to the public peculiarly valuable, feature of the work of the college is the orchestral and chamber concerts given under its auspices and by its members. Thirty-six of these were given during its first season, that of 1878-9—twelve symphonic concerts, twelve public rehearsals, and twelve chamber concerts. Of the last-named a most interesting series of eight was announced for the academic year 1880-81, to be given by the College String Quartet, with Professor Jacobsohn as first violin, Miss Gaul, and Messrs. Doerner, Singer, and others as pianists, accompanying, from time to time, vocal performances of a high character. One paragraph from this announcement is well worth perpetuation:
The value to a musical community of the String Quartet, and the fine artistic performance of the beautiful compositions of the great masters known as "chamber music," cannot be over-estimated. The college sustains the financial responsibility of the Quartet, because it is an important branch of instruetion for the students and teachers in the college, and because it offers rare entertainment to the general public.
Some of the choicest works of Haydn, Bach, Beethoven, Mendelssohn, Mozart, Rubenstein, and other masters, were announced for performance at this series of chamber concerts.
At the symphony concerts important service is rendered by the college choir, which consists of three hundred members, students being admitted to it as they successively become qualified by their study and practice in the college course. The orchestra, which also bears an important part in these concerts, is composed of about sixty musicians. During the directorship of Mr. Thomas, he introduced an innovation, in this country at least, by placing some lady performers in the orchestra, whose skillful and tasteful execution is said to have justified his confidence. The members of the orchestra are guaranteed a fixed income by the college, thus securing, what is not secured in any other city in this country except New York, the permanence of superior players in the troupe, as well as a number of invaluable professors of instrumental music for the college. A number of members of the orchestra were formerly of Mr. Thomas's famous orchestra, and long enjoyed the benefits of his unrivalled drill and mastership. The college receives nothing from the performances of its orchestra, except at its own concerts; but deals thus generously by them in order to keep the players together, enhance the reputation of the school, and confer additional benefits upon the local public. There is no other instance in the world of a-self-supporting school of music embracing an orchestra in its plan of organization and scheme of education, and maintaining it at great financial risk—sometimes inevitable loss.
The full programmes of the concerts have been collected and published in a beautiful little book, which has permanent interest and value.
Another public benefaction conferred by the college is through the organ concerts, which are given twice a week, upon the great organ in the Music hall, by the two professors in organ-music in the college, Messrs. George E. Whitney and Henry Carter. These are conducted largely at the expense of the college, the limited attendance at the concerts seldom returning the expense of them; but they serve to aid the institution to reputation and popularity, especially among music-loving strangers visiting Cincinnati. The price of admission to the concerts is always cheap, in imitation of the plan pursued at the concerts given for the masses upon the great organ in St. George's hall, Liverpool, Albert hall, London, and other places in the Old World. As an educating influence among the people, slowly but surely prevailing in behalf of the higher order of music, the value of these performances can hardly be overestimated. Free concerts are also given upon the organ, partly at the expense of the college, during the annual Expositions held in the hall.
In the fall of 1880 the management of the college projected another enterprise, in the form of a grand Opera Musical Festival, to be given in the Music hall during the last week in February—seven performances, representing the favorite operas Lohengrin, Faust, Mefistofele, Aida, Lucia di Lammermoor, the Magic Flute, La Sonnambula, and part of Moses in Egypt. The college of music, with the aid of the thoroughly trained troupe of Colonel J. H. Mapleson, the well-known opera mannager, gave the festival. The musical directors employed were Signor Arditi, Max Maretzek, and Otto Singer. A famous array of soloists was employed, including Madame Gerster, Miss Annie Louise Cary, Signors Campanini and Ravelli, and many others. An orchestra of one hundred musicians was formed, and the organ of the Music hall was used effectively in some of the operas. The massive chorus, made up in Cincinnati, consisted of about four hundred voices. The troupe controlled by Colonel Mapleson, and known as Her Majesty's Opera company, was embodied in the great corps. The stage of the Music hall, the largest in the world, was fitted throughout with new and beautiful scenery, and the entire festival presented on a scale of magnificence unequalled before in America or Europe. Visitors were present from far and near, including many fashionables from the seaboard. The aggregate receipts were not
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far from sixty thousand dollars, a comfortable share of which went to the treasury of the college of. Music.
ANOTHER COLLEGE OF MUSIC.
The original Cincinnati College of Music (the larger institution being the College of Music of Cincinnati) was founded by Miss Dora Nelson, daughter of Richard Nelson, president of Nelson's business college, but a short time before the other sprang into being. Miss Nelson had been for six years in charge of a conservatory of music, when, in the spring of 1878, overtures were made to her by distinguished musicians to undertake the management of a more important school, which should supersede the necessity of American students going abroad to complete their musical education. Another proposal, from influential sources, was that she should open an extensive musical institution in the Mount Auburn female seminary, which was not at the time in operation, and whose property would be purchased for the new school by an association of citizens. Both projects were 'abandoned, for various reasons; and Miss Nelson, resolving to proceed altogether on her own account, bought out an academy of music as a nucleus for her proposed college, and issued her announcements about the first of August, 1878. On the first of September the school went into operation with a large Faculty and a patronage which, notwithstanding the existence of the other college of music, under the auspices of Colonel Nichols and Mr. Thomas, and of other rival institutions, returned expenses the first year, and laid the foundation of a good business thereafter. During the early part of the academic year it was removed to No. 305 Race street, where it now is. Miss Nelson remains president of the college, with Professor Adolph Carpe, a musician of some distinction, as musical director, and a staff of competent instructors. A boarding apartment is attached, which is kept in the same building, and is also under the immediate supervision of Miss Nelson.
OTHER SCHOOLS OF MUSIC
are not wanting in the city. Among them are the Cincinnati Conservatory of Music, on Eighth street, Miss Clara Baur, directress; the Cincinnati Musical Institute, Miss Hattie E. Evans, directress; the Academy of Music, recently started by two professors from the college of music of Cincinnati; and private teachers in great number. No city in the world is more abundantly provided with facilities for musical education.
THE CINCINNATI MUSIC HALL ASSOCIATION.
The success of the Musical Festivals and of the Expositions, and the inadequacy and temporary character of the building used for their purposes, naturally led up to the thought of a permanent structure, which should be worthy of the riches and culture of the Queen City, and should be available for all great occasions and shows, when a monster audience-room or vast spaces for displays were desired. In May, 1875, the venerable and wealthy philanthropist, Mr. Reuben R. Springer, made the prompt erection of such an edifice possible by his munificent offer of a gift of one hundred and twenty-five thousand dollars for the purpose, if the people would con tribute an equal sum, thus raising a quarter of a million, which proved, finally, to be but about half the sum necessary to execute the enlarged and liberal views ultimately entertained of the erection of a great Music Hall and the related buildings. The work of soliciting subscriptions to secure Mr. Springer's gift went briskly and successfully on; and in December of the same year an organization of subscribers was had, under the name of the Cincinnati Music-Hall Association. This body, a joint stock company, is constituted of fifty shareholders, who are elected by the entire body of subscribers to the fund, and who in turn elect from their number seven trustees, in whom was vested absolute authority, as an executive board, to construct the hall, and thenceforth to conduct its affairs. Each of the gentlemen appointed to represent the subscribers as a stockholder is depositary of one share of stock, of the nominal or par value of twenty dollars. He cannot sell this share except to a purchaser approved by the trustees, nor can it be sold to one, who is already a stockholder. If the holder dies, his share reverts to the association, to be placed in the custody of a newly-elected member. The original trustees were elected for terms, severally, of one to seven years; and a trustee is now elected annually, whose term of services is seven years. 'The following-named gentlemen formed the original corps of trustees: Reuben R. Springer, for one year; Robert Mitchell, for two years; William H. Harrison, for three years; Julius Dexter, for four years; T. D. Lincoln, for five years; Joseph Long-worth, for six years; and John Shillito, for seven years. Judge Longworth was made president of the board, Mr. Dexter secretary, and Mr. Shillito treasurer. Mr. Dexter was also chairman of the building committee, with Messrs. Longworth and A. T. Goshorn as associates; and rendered most signal and efficient service in the active operations that rapidly followed. The smaller hall in the building, used for operettas, piano recitals, chamber concerts, and the like, was given the name of Dexter Hall, in honor of his services and his generous pecuniary contributions. The entire structure is often popularly called the Springer Music Hall, to perpetuate the name and fame of its founder. First and last, he gave to this monumental enterprise the aggregate sum of two hundred and thirty-five thousand dollars—nearly the entire amount to which his original benefaction looked. Among other gifts toward the erection of the hall and Exposition buildings, must not he forgotten that of about three thousand dollars, made by the children of the public schools, from the proceeds of four concerts given by them. The city of Cincinnati, as a municipal corporation, contributed the ground upon which the building stands, most of the large block bounded by Elm and Plum, Fourteenth and Grant streets, on the east facing the north part of Washington park.
A year or two elapsed before the means were in hand and plans consummated for the erection of the hall. It was at last determined to complete the building, if possible, sufficiently for the holding therein of the May festival of 1878; and most of the contracts were let April 28,
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of the previous year. Obstacles and delays were numerous in the construction of so great and unique an edifice, but the intelligence and energy of the building committee, with a competent staff of aids, triumphed over all difficulties, and the hall stood ready for dedication by the appointed time, when a splendid ceremonial formally set it apart to its destined purposes. The Exposition annexes were subsequently added by the beneficence of Mr. Springer and others, and were first used for the Fair of 1879. They receive due notice and description in another part of this volume. An excellent account of the hall proper is contained in the little book descriptive of the organ, in which the cost of this building is placed at about three hundred and seven thousand dollars.
In this hall have been held all the great concerts and monster musical occasions in Cincinnati since its erection; also the National Democratic convention and the Raikes Sunday-school centennial in June, 1880, popular Sunday afternoon services in the summer of the same year, and many other large meetings. The hall and Exposition buildings must be so rented and managed as to yield no profit above what is necessary to keep them in repair. No stockholder can expect a dividend upon his share, and no trustee is allowed compensation for his services. The College of Music is the lessee of the hall, but several large rooms are occupied by the collections and classes of the Women's Art Museum Association. Both of these institutions, however, annually give way, during parts of September and October, to the occupation of all the buildings by the Industrial Exposition.
THE MUSICAL CLUB.
This is one of the leading social and musical organizations of the city, It is composed of influential patrons of music and prominent local musicians, both professional and amateur, and has for its objects the cultivation of classical and modern chamber music, and the promotion of harmony and fraternity among musical people. It was organized in 1876, and its membership, at the time of the annual meeting October 4, 1880, was eighty-six—well up to its constitutional limit of one hundred. The initiation fee is eight dollars. The club has had at times a sharp struggle for existence, but seems now fairly upon its feet, and occupies handsome rooms of its own at No. 200 West Fourth street. The last annual report of its president, Mr. Lucien Walzin, gives some facts in its history of permanent value:
At the time of the formation of the club there existed in this city no organization for the cultivation of chamber music our best musicians had but a bare acquaintance with each other, while the younger membcrs of the profession, in spite of culture and talent, found it difficult to secure recognition. The objects of the club, " the promotion of musical culture and good-fellowship among its members," were then best served by our weekly Sunday afternoon meetings, where the music of the masters fused the acquaintance of our little band of members into active friendship, and gave to all a knowledge, respect, and affection for each other, which not only had an immediate effect, but must continue to make us cherish through life the recollections of those days.
Two years so passed had ripened the club for a larger effort, and the third year satisfied the members that a step in advance was needed as an incentive to that activity which is as necessary to the healthful life of a club as to that of an individual. Measures for the formation and
33 support of a string quartette of the highest order were being taken when the formation of the College of Music made further effort in that direction unnecessary, and at the same time gave us new work and new life in receiving and amalgamating, as it were, with our local, musicians, the artists who were thus brought to the city.
The fourth year of the club, and its last at the Literary Club-rooms, gave us a number of brilliant performances, but the great number of concerts of the highest order, which we were then having in the city, naturally detracted from the intense satisfaction which the early performances at the club had given, for we were no longer in the hungry state of former years. The musicians themselves were wearied by the continual demands which weekly performances required, and toward the close of that year, though strong in members, the interest in the club was rather low.
It was then that the move was made to our present quarters. The result has been in many respects most gratifying.
The report of the secretary, Mr. Chapman Johnson, adds an item or two of interest:
The musical entertainments were all highly successful. Among the larger, three were devoted to the compositions respectively of Beethoven, Mozart, and Chopin, celebrating the anniversaries of their births ; two were devoted to a variety of composers, and one was furnished by Mr. Parry, the Boston pianist. The reputation of these performances spread outside of the club's limits.
There were about six smaller performances, taking in quite a range of compositions. At the larger entertainments the highest grade of ensemble music was invariably performed, and a very high standard reached.
These entertainments must by a high source of congratulation to both the entertainers and entertained, and only one regret is to be expressed, and that is, that those members whose playing was listened to with great pleasure in former years, were seldom, if ever, heard during the last season.
OTHER MUSICAL SOCIETIES
exist in Cincinnati in great number, including several which are organized as orchestras and bands. Among them are the St. Cecilia Maennerchor, organized in May, 1867, by the male members of the choir of St. Mary's German Catholic church; the Cincinnati Maennerchor, whose history has already been outlined; the Germania Maennerchor, formed from the latter by eight seceding members in 1872; the American Protestant Association Maennerchor, a singing club connected with the German branch of the association named; the Turner, Odd Fellows', Schweitzer, Herwegh (Polish), and other Maennerchors; the Harmonic society, founded in 1869, and not long since accounted the largest organization of the kind in the city, forming the nucleus of the chorus for the May festivals; the Cincinnati Orchestra, organized in 1872, chiefly for the cultivation of classical music, and prominent in the orchestral concerts of the city, especially the free concerts given in the parks; Currier's band, which is much in request for public occasions; the Ladies' Musical club, with twenty-five members, amateur and professional, the Choral society, Alert and Oneida Singing clubs, the Orpheus, the College Choir, the Druiden Saemgerchor, and many others. There is also a Society for the Suppression of Music.
THE GROESBECK ENDOWMENT.
This is a fund of fifty thousand dollars, given by the Hon. William S. Groesbeck April 7, 1875, for the pleasure and musical culture of the people of Cincinnati, through free concerts given in the warm season at Burnet Woods park. The benefits of the fund were made available very soon after the gift, it having been invested in seven per cent. water bonds of the city, and yielding three thousand
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five hundred dollars annually. One hundred and eight afternoon concerts had been given under this benefaction with great satisfaction to large numbers of visitors, down to the last given in October, 1880. The trust is perpetual, and by the terms of the gift, "the interest thereon shall be applied yearly to furnish music for the people." Free evening concerts have also been given at intervals during recent summers in other parks, at the expense of the city, under the supervision of the park commissioners.
CHAPTER XXVII.
LIBRARIES.
THE collection of books, pamphlets, newspaper files, and other material of libraries, for the uses of the public, is a very prominent feature among the literary aspects of life in Cincinnati. Great success has been attained in the aggregation of books and documents for this purpose; and at least one of these libraries, the Public, has become widely renowned. The Mercantile is also of high local reputation; the collection of the Historical and Philosophical society, while less known, perhaps, than its merits deserve, has great value, and is exceedingly useful to those engaged in prosecuting special inquiries. Certain other libraries of a semi-public character, as the Bar library, the Law library in the College building, the University library, the Swedenborgian library at the church on Fourth street, and others, also serve very useful purposes. The history of the Bar library will be detailed in our chapter on the bar.
THE FIRST PUBLIC LIBRARY
established in the Northwest Territory was founded at Cincinnati in 1802, almost two years before the noted "Coonskin library" at Ames, Athens county, in this State, which has been much vaunted as the first. The meeting for preliminary steps was held at Griffin Yeatman's tavern Saturday evening, February 13, in that year; and after due consultation and discussion it was agreed that an attempt should be made to found a library. Messrs. Jacob Burnet, Martin Baum, and Lewis Kerr were appointed a committee to solicit subscriptions of shares at ten dollars each. They drew up the following article the succeeding Monday :
We, the subscribers, being desirous of establishing a public library in the town of Cincinnati, agree to take as many shares in the stock of sucn an institution as are annexed to our names respectively, and pay for the same at the rate of ten dollars for each share.
The paper embracing this is still preserved, and bears the autographs of General Arthur St. Clair, Peyton Short, son-in-law of Judge Symmes, Judge Burnet, General James Findlay, Jonathan S. Findlay, Griffin Yeatman, William Ruffin, Joel Williams, Isaac VanNuys, David E. Wade, Joseph Prince, John R. Mills, John Reily, C. Avery, Jacob White, Patrick Dickey, W. Stanley,.P. P. Stuart, C. Killgore, Martin Baum, Jeremiah Hunt, Lewis Kerr, James Wallace, Samuel C. Vance, and Cornelius R. Sedam. Nine of these subscribed two shares each, so that the total subscription of thirty-four shares amounted to three hundred and forty dollars, which is considered very liberal for the little settlement, in the hard times which then prevailed. Books were speedily purchased, and others given; and the library began issuing March 6, 1802, only nineteen days after the subscription was opened. Mr. Lewis Kerr was the first librarian.
ANOTHER EARLY LIBRARY.
This first library probably lasted but a few years. Again, in 1809, only seven years after the date of the first effort, we find the citizens of Cincinnati moving again for a library, and petitioning the legislature for an act of incorporation; which, strange to say, was then refused. In the summer of 181r Judge Turner obtained a subscription of several hundred dollars, in shares for a library. A meeting of the shareholders was held and a constitution adopted, which was sent to the legislature as the basis of another appeal for a charter. Again was the application singularly denied; but at a subsequent session (in 1812) the assembly granted an act of incorporation for the Circulating library of Cincinnati. There were further delays, however, in perfecting the arrangements; and the licrary was not opened until April, 1814. A second and more liberal, efficient charter was procured soon after.
This library was flourishing in 1815, and had then about eight hundred volumes, which were arranged under the following heads: Arts and Sciences, Belles Lettres and Rhetoric, Biography, Botany, Chemistry, Medicine, the Drama, Education, Geography, History, Law, Metaphysics and Moral Philosophy, Natural History, Natural Philosophy, Novels, Philology, Poetry, Politics, Theology, Veterinary Art, Voyages and Travels, Miscellaneous, and Continued Periodical Works. The collection included Rees's Cyclopedia and Wilson's great work on Ornithology. About sixty of the volumes had been presented.
In the year named the library was kept open one day in the week. It was managed by a president and a board of seven directors, who were elected annually. The shares were ten dollars apiece, were transferable, and were subject to an annual assessment of one dollar.
In 1826 this library had increased to thirteen hundred works, which are spoken of in Drake & Mansfield's book of that year as "well-selected volumes." It was then kept in a lower room of the old College building, and was open to the public Saturday afternoons. Strangers in the city and other non-shareholders were allowed, for a consideration, to use books by the single volume or on a monthly, quarterly, or yearly arrangement. It was thought the institution was not very well sustained at this time, judging from the frequent appeals of the directors for material aid.
THE APPRENTICES' LIBRARY
had by this time also got into full operation. It was founded in 1821, through the liberality of a number of public-spirited citizens, who saw in it an important means
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of intellectual and moral improvement to the younger class of mechanics and laboring men. Five years thereafter it had as many books, within a hundred volumes, as the older library was credited with. All young mechanics or other laborers were entitled to draw books, upon making satisfactory guarantee of their safe return. The contributors elected annually five directors, by whom the library was managed.
In 1829 the library was kept in the Council chamber. Other libraries mentioned this year are the Cincinnati, kept on Main street, north of Third; the Circulating, on Fourth, between Main and Walnut; and the Sun, a private circulating library, on Third, between Main and Walnut.
In 1841 the library had nearly doubled its collection, having then two thousand two hundred volumes, about four hundred of which were taken out and returned weekly. It was still free to all minors of the laboring classes, and was attended by a librarian who received the munificent salary of one hundred dollars a year.
THE CINCINNATI READING—ROOM
was founded in 1818, by Elam P. Langdon, then assistant postmaster. The Gazetteer of the next year, the first published in the city, gives it this notice :
The room is amply furnished with the most respectable news and literary journals in the country ; also with maps, European gazettes, etc., etc. It is conducted on a liberal plan, and is a convenient grid pleasant resort for the citizens and strangers who are desirous of noting the "passing tidings of the times."
It was kept in the rear of the post-office, on Third street, and was successfully maintained for a number of years. It is noticed as "this valuable establishment" in Drake & Mansfield's Cincinnati in 1826. It was furnished with many leading news journals and magazines of the country, including the North American Review, The Museum, the United States Literary Gazette, and the Port olio, and also the Edinburgh Review. Strangers, if to be in the city but a short time, were admitted to its privileges free. It seems at this time not to have been very liberally patronized, and was not long-lived thereafter.
THE MERCANTILE LIBRARY.
This noble literary institution, now forty-six years old, is one of the features of the higher civilization in which Cincinnati justly prides herself. A good account of its genesis and early growth is given by Mr. John W. Ellis, of New York, formerly of Cincinnati, in a letter contributed to the annual report for 1879. Says Mr. Ellis:
The Young Men's Mercantile Library association, of New York, which originated in the. year 1822, was the pioneer of many similar institutions since formed in the various cities of this country. This association had accomplished so much good as to excite a feeling in favor of establishing similar institutions in other cities.
Several prominent young men of Cincinnati had considered this matter, and one or two informal preliminary meetings had been held, at which the subject had been discussed, but the formal meeting at which the Young Men's Mercantile Library association was founded, was held on the eighteenth of April, 1835, in the second story of a building then used as a fire engine house, on the north side of Fourth street, two or three doors east of Christchurch.
There were forty-five persons present; nearly all of this number are now dead. So far as I can recollect, the persons now living who were present on that occasion are Messrs. Rowland G. Mitchell, William H. Harrison jr., John P. Tweed, James Wiles, and myself. I was, probably, the youngest person present, not much more than a boy.
The association was formed and constitution adopted, the members going to work vigorously to get it in shape. As cash in those days was a much scarcer thing than it is now, the salaries of clerks being very small, it worked on very limited means for a long period. It was located for the first few months in the second story of a building belonging to Mr. Daniel Ames, on the west side of Main street, below Pearl street.
During the hot summer weather of 1835, not having the means of hiring a librarian, the library was temporarily closed, but opened again in the fall in the second story of a building belonging to Ross & Geyer, which was located on the north side of Fourth street, just east of Main street.
For a few months the entire duties of librarian, porter, janitor, etc., were performed in turn by the officers and directors. They gave out the books, swept the rooms, and cleaned the lamps. There was no gas in those days.
Donations of money were solicited from merchants, and the sum of eighteen hundred dollars was obtained. By the end of that year, 1835, the library contained seven hundred and fifty volumes, and many leading papers were on file in the reading-room.
In the winter of 1836 Mr. Doolittle was elected librarian, and a special charter for the association was obtained from the legislature.
For the next three years, viz., 1836-37 and '38, embracing the period of the greatest financial revulsion that ever occurred in this country, not excepting that of 1873, the existence of the institution was constantly imperiled for want of money; and it was only sustained by the constant and untiring exertions of a few gentlemen, who were determined, at all hazards, to carry it through. They gave their own personal labor and exertions night after night. They advanced money to it; they became security for its debts; and, in fact, did everything-to accomplish a successful result. It might be improper for me to mention the name of any of these young men who thus did so much for the association, as I might do injustice to many who could not be mentioned. There was one person, however, who more than all others may be considered the father of the association, and that was Mr. Moses Ranney.
The "hard times,"" growing out of the panic of 1837, did not cease for several years, and of course affected the means of the members in sustaining this association. The older members will recollect, and others may find out by referring to the minutes, how "soliciting committees" were appointed every month to raise money to save it from sinking.
In 1837 Mr. Doolittle vacated his office, and Mr. Holly was appointed librarian.
In 1838 the first printed catalogue was published and sold at a moderate price to such members as chose to purchase. The expenses over and above these receipts were paid for by a few gentlemen.
In the year 1839 the number of paying members was increased to five hundred, and all the debts of. the Association, for the time being, discharged. This year Mr. James Wildey was elected librarian. Matters began to improve, connections were better, and the number of volumes in the Library increased.
In 1840 a special collection was made of one thousand dollars, which was sent to London to purchase some choice editions of books, and resulted in the importation of seven hundred and sixty-eight volumes. The record shows, as I have ascertained, that the number of volumes at this time was one thousand six hundred and sixty.
During this year the Association moved its quarters from Fourth street to the old College building on Walnut street, paying a rent of three hundred dollars. That building was a predecessor of the present one. From the south end of the College to Fourth street there was a beautiful garden, with shrubbery and trees.
In 1841 a new catalogue was prepared and published, which showed some three thousand volumes in the library. There were then some six hundred members, and the annual receipts amounted to two thousand dollars.
Among the notable events in which the association participated in a body were the funeral of President Harrison in 1841 and the laying of the foundation of Mount Adams Astronomical Association building in 1843, when the oration was delivered by ex-President John Quincy Adams.
In the year 1842 there was an effort made to establish classes in French and German languages, but they were not successful.
The annual contests, which have been a marked feature in the election's of this association, were originated at the election in January. 1843 ; and I think this fact worth mentioning, as these contests, conducted always with good feeling; have had a marked effect on the progress of the
association.
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It may seem strange to mention the fact ; but a very important event in the history of the association, in a small way, was the introduction of gas into the library and reading-room in 1843. Previous to that time the association, like the community at large, had depended for light on the use of tallow candles and lard oil.
On Sunday morning, January 19, 1845, the college building was entirely destroyed by fire, but by the great exertions of the members and citizens generally, all the books of the association were saved, and the little damage done was covered by insurance. This fire, however, resulted in an arrangement with the trustees of the Cincinnati College for the present quarters occupied by it.
By great exertions there was raised, chiefly by subscriptions from merchants, the sum .of ten thousand dollars to pay for the fee-simple of its quarters, and one thousand six hundred dollars in addition for the furnishing of the rooms. The association took possession of its new quarters in May, 1846, amid the general congratulations of all the members and their friends.
In those days of small things it is well to acknowledge that the eleven thousand six hundred dollars contributed by the merchants for the purpose showed great liberality.
About the same time Mr. Cist was elected librarian, in the place of Mr. Wildey, deceased.
As a good many inquiries have been made, and as there has been considerable discussion for some years past, in reference to the origin of the Chamber of Commerce of Cincinnati, it is well to say that during the early years of the existence of the Young Men's Mercantile Library association, there were many reports made on the subject of forming a chamber of commerce, or merchants' exchange, or board of trade, as it was variously styled from time to time. Many resolutions were passed and conferences had between the offrcers and merchants of the city. Commencing in 1839 and running through the following years up to the spring of 1844, when a committee was appointed, of which Mr. John W. Hartwell was chairman, on the part of your association, and Mr. Thomas J. Adams, a prominent merchant, represented the merchants of the city. They employed Mr. Lewis J. Cist to collect the commercial statistics of the city then accessible, in the shape of imports and exports of merchandise, etc., by canal and river. For the purpose of paying the expense of this undertaking, ninety merchants contributed five dollars each. The result of Mr. Cist's labor was daily recorded in the books in the library rooms, accessible to all contributors ; but no daily meetings were held. After the association had moved into its present rooms, an arrangement was made for a nominal consideration, by which the Merchants' Exchange became a fixed institution, under its own management, as it now exists.
In regard to the lectures that were a prominent feature for many years, some recollections may be of interest.
The first lectures delivered before the association were upon commercial law, in the winter of 1835-36, by Joseph L. Benham, a prominent and distinguished lawyer.
In the winter of 1838 Judge Timothy Walker gave a course of lectures. No charge was made for attendance upon either of these courses.
In the winter of 1840 and 1841 Dr. Robinson gave a course of lectures on American history, for which, if I recollect aright, he received three hundred dollars, not from the association, but donated by individuals.
In the winter of 1842 Dr. John Locke delivered a course of twelve lectures on geology, which were well attended.
William Green, esq., also lectured three or four times on various subjects. There were also some miscellaneous lectures the same year, but, to the best of my recollection, were not successful.
Up to this period home talent had been entirely enlisted in this matter. Efforts were made to get literary men from the eastern cities to lecture, but the time, fatigue, and expense of travelling were so great that it was impossible to accomplish it, as it required from five to seven days to travel to New York and other eastern cities.
Finding this impossible, for two or three seasons the officers and some of their intimate friends took the bold step of delivering their own lectures. These were very well received by the community, and if they did not enlighten the people on the subjects of which they treated, they at least had the benefit of teaching their authors the subject of composition and delivery.
In the winter of 1843 and 1844, these lectures were delivered by Messrs. R. M. W. Taylor, Richard A. Whetstone, Lewis J. Cist, and others. The following year lectures were delivered by Messrs. J. T. Headley, J. F. Annan, James Calhoun, George S. Coe, John D. Thorpe, William Watts, James Lupton, and John W. Ellis. All these were active members of the association.
The celebrations of the anniversary of the founding of the Association were quite prominent features, and an effort was made to hay e these anniversary orations delivered by active members of the association, but this was not strictly carried out.
The first was delivered by Mr. R. G. Mitchell, on April 18, 1839.
The next by Mr. John C. Vaughn, an honorary member, and editor of the Cincinnati Gazette, April 18, 1841.
This was followed by that of 1844, when the anniversary address was made by John W. Ellis, and a poem was read by William D. Gallagher.
On the eighteenth of April, 1845, the address was made by J. T. Headley; the following year, 1846, by Judge James Hall.
This brings me up to the period at which I ceased to take an active interest in the management of the association, and shall therefore leave the future history to others.
The first officers of the society elected were; Moses Ranney, president; Elbridge Lawrence, William M. Greer, vice-presidents; Charles G. Springer, treasurer ; W. R. Smith, recording secretary. S. A. Spencer, Robert Brown, R. D. Mitchell, I. D. Wheeler, directors.
The succession of presidents of the association, and statistics of the members elected year by year, the total number of members each year, the number of volumes annually added to the library, and the whole number at the several periods, are exhibited at a glance in the following table, prepared for the Annual Report of 1879, which had, to a considerable degree, an historical character:
