AN OCTOGENARIAN AUTHOR.
(1890-1895.)
The five years preceding the celebration of Manuel Garcia's ninetieth
birthday are principally noteworthy for two episodes, which I will leave
Mr Hermann Klein to relate, since he was intimately connected with both.
The first took place during the summer of 1892.
"In the midst of this abnormally busy season, M. Maurel elected to
deliver a lecture at the Lyceum Theatre on 'The Application of Science
to the Arts of Speech and Song.' This duly came off, and its main
feature proved to be an exceedingly virulent tirade against the _coup de
la glotte_. This would not have mattered much had it not happened that
Manuel Garcia himself was present, and had to 'possess his soul in
patience,' while M. Maurel executed some ridiculous imitations of what
he considered to be the indispensable vocal concomitants of the _coup de
la glotte_,--a term derided only by certain Paris teachers who have
misunderstood and misdirected its use.
"Age and dignity alike compelled Signor Garcia to sit still and treat
with silent contempt this ill-timed and unjustifiable attack upon his
method.
"When the lecture was over, however, I offered him the columns of 'The
Sunday Times' as a medium for replying to M. Maurel's assertions.
"On the spur of the moment he accepted, and sent a short account of the
lecture, written in his own terse and trenchant manner. Then thinking
better of it, he decided not to take any personal part in the
discussion, and requested me not to print his copy.
"This threw the onus of reply upon me, and the answer proved so far
effectual that M. Maurel was moved to make a protest in other London
papers against any contradiction of his 'scientific argumentation,' save
by M. Garcia himself, and not even then unless supported by something
beyond 'simple denial.'
"Accordingly, the maestro then consented to write a letter to 'The
Sunday Times,' confirming the statement that he had found M. Maurel's
illustrations of the _coup de la glotte_ 'extremely exaggerated,' but
declining that gentleman's invitation to discuss the subject-matter of
his lecture, and adding that it would be utterly impossible to argue
upon theories which still remain to be revealed."
The second episode took place shortly after the maestro had entered his
ninetieth year,--an event which was celebrated at the Royal Academy of
Music by the gift of a silver tea service, subscribed to by the
professors of the R.A.M., the actual presentation being made by Walter
Macfarren, as _doyen_ of the teaching staff.
Some two months after this--that is to say, in the May of 1894--Hermann
Klein received a letter from the veteran teacher, who a few days before
had attended a dinner given at his house in honour of Paderewski, the
other invited guests being Sir Arthur Sullivan, Sir Joseph Barnby, Sir
A. C. Mackenzie, Signor Piatti, and other prominent musicians. The
maestro, it may be mentioned, had never heard Paderewski play in private
before, and was so enchanted when the latter sat down at the piano, that
he remained listening to the music till past midnight. "A worthy
successor to Rubinstein." This was his criticism of Paderewski's genius.
The letter ran as follows:--
"MON ABRI," CRICKLEWOOD.
DEAR MR KLEIN,--I want to know the cost of printing music, and in
this connection would ask you to write answers to the four
questions contained in the enclosed card. I suppose that in England
or in France the ream consists of 500 sheets?
Excuse my troubling you, and believe me your very sincere
M. GARCIA.
Your evening was charming!
Hermann Klein answered the questions in person, and thus quickly
discovered the nature of the scheme that was afoot.
Manuel Garcia in his ninetieth year intended to bring out another
text-book on Singing. His old pupil at once offered to assist in the
editing and arrangement of the MS., and the maestro readily accepted
the proffered help. I will leave Mr Klein to continue the story.
"For several weeks in succession I went to 'Mon Abri' regularly, to aid
him in the work. On two points he insisted--namely, the 'catechism' form
of the text, and the title, 'Hints on Singing,' which I candidly
confessed I did not care for. Otherwise any little suggestion that I
made was cordially agreed to. He was very careful about the signing of
the contract with the publishers (Messrs Ascherberg), and on this point
wrote as follows:--
_Translation_.
'MON ABRI,' Monday, May 7.
DEAR MR KLEIN,--I have thought that at the reading of the contract
between Mr Ascherberg and myself, if it were to be immediately
followed by the signing, we should not have time completely to
understand the clauses. As these doubtless will contain the details
regarding the Colonial, American, and foreign rights, it is
preferable that we should know in advance what the terms are, and
we should be very much obliged to Mr Ascherberg if he would be so
kind as to send us on a copy of the contract. We will send it back
to him any day that may suit you.--Mille amitiés!
M. GARCIA.
"Three months later the printing was finished, and early in September
the proofs began to come to hand. We were both away from London when I
received this missive:--
_Translation._
GALE HOUSE, LAKE ROAD,
AMBLESIDE, WESTMORELAND,
_September_ 7.
MY DEAR FRIEND,--Are you in town?
I have been working _like a little nigger_ correcting, transposing,
suppressing, &c., the proofs. I will send you my first corrected
proof, and will you please forward it to Ascherberg for the
printers? but I do not wish to do this until I know that you are in
town.--Amitiés!
M. GARCIA.
"The question of a preface now came up. The maestro was somewhat averse
to providing one, but ultimately he yielded to the desire of the
publisher, who was naturally anxious that the 'Hints' should contain
everything calculated to arouse attention. He wrote only a few lines,
however, and I had to persuade him to add more. He also decided to
include a reproduction of the well-known woodcut of himself using the
laryngoscope by the light of an oil-lamp, and a couple of laryngoscopic
mirrors (half-size), which by some mistake nearly came to being omitted.
With the proofs he took infinite pains, and wrote me several notes about
them, of which the following deserve quotation:--
_Translation._
DEAR FRIEND,--Among some corrections which I have been making at
the printer's, I have eliminated pages Nos.---- (I have forgotten
the numbers). I asked to see the whole of the proofs, and they have
sent me only those which were uncorrected. If I can get them
immediately (the newly-corrected lot) you will doubtless have the
whole set without delay.
In the preface they have taken out the two little mirrors: now
one--the smaller--would be necessary, and sufficient to explain the
laryngoscope.
As to the preface, I will see what I can add. It seems to me, if I
am not mistaken, that Mr Ascherberg has the intention of adding an
editorial preface to the work, with the idea of increasing the
sale. That, I think, would be a mistake. Praise, if the book
merits it, must come from without, unless one wishes to turn it
into blame.
Send me, not those proofs which I have, but the corrected pages,
including those in which I have corrected the accompaniments, and
the whole shall be returned to you without delay. We shall be back
again on the 18th (September), and if you care to come to me on the
19th we will prepare the index.--Bien à vous,
M. GARCIA.
"By the middle of October the work was complete and ready for the press.
However, a delay occurred, in consequence of the necessity for waiting
until an American edition had been printed and published in accordance
with copyright requirements. The dear old master grew a trifle
impatient, although he knew the cause:--
_Translation._
DEAR FRIEND,--Business having called me back to town, I paid you a
visit at your house, but did not find you at home. No other cause
led me to do this than the simple curiosity to know what has become
of the 'Hints.' I suppose Mr Ascherberg is having them prepared for
publication in America? If you have time, send me a line.--Mes
amitiés!
M. GARCIA.
"Eventually the 'Hints on Singing' were published in the last week of
January 1895. The reception of the book generally afforded pleasure to
its venerable author, and he was particularly gratified by the long
notice of it which appeared in 'The Sunday Times.' Hence the note here
appended. The one that follows it was elicited by some remarks
concerning the 'real' inventor of the laryngoscope, which I, in due
course, answered in the columns of my journal.
_Translation._
'MON ABRI,' CRICKLEWOOD.
MY DEAR MR KLEIN,--I owe you double thanks, first, for the cordial
congratulations brought by your telegram, and again for the
flattering article in 'The Sunday Times': two friendly emanations
which have been greatly appreciated by the inhabitants of 'Mon
Abri.' I trust your family are all well. Here we are in the best of
health, and unite in warmest regards to you and yours, wishing you
all the prosperity that you can desire!--Tout à vous de cœur,
M. GARCIA.
_Translation._
MY DEAR FRIEND,--Since you wish to come to the aid of the artistic
reputation of the 'maestro di bel canto,' be good enough also to
favour his scientific reputation by saying that he invented the
laryngoscope, and that the Laryngological Society of London created
him an honorary member.
Ascherberg would like me to do something to push the sale of the
'Hints.' What can I do?
This little book has given you more trouble than it deserves, and I
am sorry on your account.--Tout à vous cordialement,
M. GARCIA.
"Acknowledging another notice of the book:--
_Translation._
'MON ABRI,' CRICKLEWOOD.
DEAR MR KLEIN,--Thanks a hundred times for the exceedingly
flattering article you sent me. Let us hope, for the sake of the
sale, that the public will accept your point of view. If Mr
Ascherberg should think of bringing out a new edition (when need
arises), I will point out two or three errors which still exist,
even in the 'corrected' copies I have received. I had already
altered them in proof, but they were inadvertently left in.
What frightful weather! I dare not go out any more. I hope you and
your family are well.--Tout à vous,
M. GARCIA."
Here Mr Klein's contribution ends.
Two months after the publication of 'Hints on Singing' the subject of
our memoir completed his ninetieth year, and with this the feeling was
borne in upon him that at last he might enter on a less strenuous life.
Accordingly in the following September he relinquished his
professorship, and membership on the Committee of Management at the
Royal Academy of Music, and thereby severed a connection of nearly half
a century. Already a middle-aged man when he first took up his work at
the Academy under Cipriani Potter, he saw him succeeded as Principal in
turn by Charles Lucas, Sterndale Bennett, Sir George Macfarren, and
finally Sir Alexander Mackenzie, who was holding the position at the
time of his retirement. Allowing for a possible break of a month or two,
Señor Manuel Garcia was actively engaged in teaching singing at
Tenterden Street for the long period of forty-seven years. The Chevalier
Alberto Randegger, who was his colleague on the staff for the greater
part of this time, sent me the following letter:--
"Although Señor Garcia and myself have been good colleagues for many
years at the R.A.M., he was, as you know, so reserved, modest, and
retiring that very, very few people were by him allowed to approach or
frequent his society on very intimate terms."
What of musical London during the twenty years preceding Garcia's
retirement from the Academy? Let us recall some of the artists who were
most prominently before the public, and the more important musical
events which were taking place in the operatic field. The glance need
only be a brief one, for with the last quarter of the nineteenth century
we are among events which are within the ken of most people.
With 1875, the year after Sarasate's _début_, we find three events
worthy of note. There took place the first performance in London of
"Lohengrin," with Albani as Elsa, Cotogni as Telramund, and Nicolini in
the title part. Then in the following September the Carl Rosa Opera
Company appeared in the capital for the first time at the Princess's
Theatre. Lastly, during the season there was heard at Drury Lane a young
Polish singer, who met with emphatic success in baritone parts such as
Don Giovanni, Nevers, Valentine, and Almaviva. He appeared then under
the name of "De Reschi": eventually he was to return and take the town
by storm as Jean de Rezké.
Two years later we hear of the _début_ of Gerster, and of Gazarré, a
Spanish tenor, who bridges over the interval between the retirement of
Mario and the advent of his famous successor.
In this year, moreover, Richard Wagner came to England to take part in
the series of Wagner Festival concerts, which had been arranged with a
view to paying off the debt on the new theatre at Bayreuth.
1878, in which the deaths of Charles Mathews and Frederick Gye are
chronicled, is important for the London production of Bizet's "Carmen"
on June 22. Hermann Klein went to this _première_ in the company of
Garcia, and in his reminiscences has set down an interesting description
of the evening. On the distributing of the parts for "Carmen," Campanini
returned the _rôle_ of Don José, stating that he could not undertake a
part where he had no romance and no love duet except with the seconda
donna. Shortly afterwards Del Puente, the baritone, declined the part of
Escamillo, saying it must have been intended for one of the chorus;
while Mdlle. Valleria suggested Michaela should also be given to one of
the chorus. For some time things were at a standstill, till at length
the principals were, by persuasions and threats, induced to attend a
rehearsal, and all began to take a fancy to their _rôles_, and in due
course the opera was announced.
The receipts for the first two or three nights were miserable, and
Mapleson had to resort to the same sort of expedients as in "Faust" for
securing an enthusiastic reception, knowing that after a few nights it
would be sure to become a favourite.
"It was no easy matter for a performance at the opera to satisfy the
maestro in these days," writes Hermann Klein; "the singing rarely
pleased him in comparison with the part. Upon my reminding him that
'Carmen' had been nearly a failure at the Opéra Comique in Paris three
years before--'I know,' he replied; 'and the poor composer died of a
broken heart three months later. That is the way France generally treats
rising talent, including her own. I place little value on the opinion of
Paris about a new work.'
"Garcia was enthusiastic over the opera. The subject and treatment
appealed to him to a singular degree, while the story he thought
intensely dramatic, and was astonished and delighted at the Spanish
colour in the music."
During the same year the Gatti brothers gave a series of Promenade
Concerts at Covent Garden, with Sullivan conducting.
We may note here a piece of theatrical news. In December Ellen Terry
first appeared at the Lyceum under Irving's management, taking the part
of Ophelia in that memorable production of "Hamlet." 1879 sees the
Italian Opera season given under Ernest Gye (whose father had died from
the effects of a gun accident in the previous December), and the superb
Jean Lassalle is added to the company. Concert-goers find an interesting
fact in this year in the establishment of the famous Richter Concerts.
These were the outcome of the Wagner Festival of two years before, and
were announced for this preliminary season as a series of three
"Orchestral Festival Concerts."
With 1880 comes the _début_ of the great basso, Edouard de Rezké, as
Indra in "Le Roi de Lahore."
Next year Anton Rubinstein was in London for the production of his
opera, "The Demon."
In 1882 (bringing with it the death of Wagner), we may examine the list
of stars at the Opera House once more, so as to note what names have
disappeared, and by whom the gaps have been filled. Among the fair sex
we find Patti, Albani, Trebelli, Sembrich, Valleria, and Lucca, who had
returned after ten years' absence; while the men include Gazaré,
Mierzwinski, Faure, Maurel, Nicolini, Soulacroix, and Lassalle. 1882 was
further noteworthy as London's great Wagner year, for details of which I
am once more indebted to Mr Klein.
"Early in the year a troupe had been formed by Herr Neumann for the
purpose of performing 'Der Ring des Nibelungen' in the leading cities of
Germany, Austria, Holland, England, and Italy. The months of May and
June were chosen for the London visit, and Her Majesty's Theatre was
engaged. In all, four cycles of the tetralogy were given. The casts
included not a few of the famous artists who had taken part in the
initial performance of the 'Ring' at Bayreuth in 1876--among them
Niemann, Unger, the Vogls, Hill, Schlosser, and Lilli Lehmann (who sang
'Woglinde,' 'Helmwige,' and the 'Bird' music); with Reicher-Kindermann
as _Brunhilde_, while Anton Seidl conducted."
During the same month Herr Pollini arranged with Augustus Harris for a
series of performances at Drury Lane, by the entire troupe of the
Hamburg Opera House, and with the very popular Viennese _chef
d'orchestre_, Hans Richter, as conductor.
The Hamburg artists comprised at the time several who were to earn
world-wide reputations.
"Imagine the advantage of hearing 'Tristan und Isolde' and 'Die
Meistersinger' for the first time," writes Mr Klein, "with such a noble
singer and actress as Rosa Sucher, as 'Isolde' and 'Ena'; with such a
glorious 'Tristan' and 'Walther' as Brangaene, with that fine baritone,
Gura, as 'König Marke' and 'Hans Sachs!'"
In 1883 there are two new productions at Covent Garden, Boito's
"Mefistofele" and Ponchielli's "La Gioconda." Then, again, Joseph Maas
makes his _début_ in Grand Opera as Lohengrin, while Carl Rosa
inaugurates his first season at Drury Lane, and brings to a hearing two
new operas by English composers,--the "Esmeralda" of Goring Thomas and
the "Colomba" of Sir Alexander Mackenzie.
In 1884, the year of Sir Michael Costa's death, the great names are
Patti, Albani, Lucca, Tremelli, and Edouard de Rezké.
In the next year Mapleson is once more in command, and the season closes
with the presentation of a diamond bracelet to Adelina Patti, in
commemoration of her twenty-fifth consecutive season at Covent Garden.
In 1886 Ella Russell made her _début_, while both the Abbé Liszt and
Rubinstein paid their last visits to England. It was on this visit that
Rubinstein gave that wonderful series of seven historical concerts at
the St James's Hall, which realised no less than £6000 gross receipts.
The Jubilee year is noteworthy for the advent of Augustus Harris into
operatic management, for we find him giving a season at Drury Lane for
which he has secured a new tenor, Jean de Rezké, then practically
unknown to London audiences. The artist opened in "Aïda," and obtained a
complete triumph.
[Illustration: [Manuscript: Nellie Melba 1906]
_Photo by M. Shadwell Clerke._]
With 1888, Harris becomes lessee and operative director of Covent
Garden, with a strong social support and subscription to grand tier
boxes, and commences work with Melba and the two de Rezkés, Albani,
Trebelli, Arnoldson, Zélie de Lussan, Ella Russell, Lassalle, and
Margaret Macintyre, Garcia's pupil.
In 1889, the year of Carl Rosa's death, we have two important events.
"Romeo et Juliette" is given in French, instead of Italian, with a
superb cast, of which the star parts are taken as follows:--
_Juliette_ Melba.
_Romeo_ Jean de Rezké.
_Friar Laurent_ Edouard de Rezké.
Moreover, in July, Jean de Rezké takes part for the first time in an
Italian version of "Die Meistersinger," with this cast:--
_Ena_ Madame Albani.
_Magdalena_ Mdlle. Bauermeister.
_Walther_ M. Jean de Rezké.
_Hans Sachs_ M. Lassalle.
_Beekmesser_ M. Isnardon.
_David_ M. Montariol.
_Pogner_ Signor Abramoff.
_Kothner_ M. Winogradon.
The early summer of 1890 witnessed the London _début_ of the successor
to Liszt and Rubinstein, of the greatest of the _fin de siècle_ group of
great pianists--Ignace de Paderewski. He was announced for a series of
four recitals at the St James's Hall. The first of these was given on
May 9 before a meagre and coldly critical audience, the second to a
better audience, which improved again with the remaining ones. But it
was not until the following season that the conquest was completed, and
the meagre attendance became a thing of the past. In fact, his Chopin
Recital at St James's Hall, in the July of 1891, drew the largest crowd
and the highest receipts recorded since the final visit of Rubinstein.
The early months of this year, moreover, witnessed an operatic
experiment which was destined to mark the climax of the modern
development of English Opera. D'Oyly Carte built the "Royal English
Opera House," engaged a double company, and opened it with a repertory
of one work, "Ivanhoe." The cast on the opening night of Sir Arthur
Sullivan's work was as follows:--
_Rebecca_ Marguerite Macintyre
(Garcia's pupil).
_Rowena_ Esther Palliser.
_Ivanhoe_ Ben Davies.
_Richard Cœur de Lion_ Norman Salmond.
_Cedric_ Ffrangçon Davies.
_Friar Tuck_ Avon Saxon.
_Isaac of York_ Charles Copland.
and
_The Templar_ Eugene Oudin.
While the alternative group of artists included Miss Thudicum (Garcia's
pupil), Lucile Hill, Franklin Clive, Joseph O'Mara, and Richard Green.
It ran from January 31 till the end of July; then in November the house
reopened with "La Basoche," in which David Bispham made his _début_ on
the London stage. With the autumn, however, all went wrong, the public
stayed away, and finally, on January 16, 1892, the Royal English Opera
House was finally closed, to be reopened later as the Palace Theatre of
Varieties.
Before leaving 1891 we must note the Covent Garden season, where a very
remarkable collection of artists appeared, who must have compared
favourably with those whom Garcia had heard half a century before. The
new-comers included Emma Eames, Sybil Sanderson, Van Dyck, and Plançon;
while in the company were the de Rezkés, Lassalle, Maurel, Ravelli, and
Montarid; Melba, Nordica, Albani, Zélie de Lussan, Rolla, Bauermeister,
Giulia Ravogli, and Mme. Richard.
Nor must one pass over Signor Lago's venture of an Italian season,
embarked on during the autumn of 1891 at the Shaftesbury Theatre. It was
notable chiefly for the first production in England of Pietro Mascagni's
"Cavalleria Rusticana." In the _première_, which was conducted by
Arditi, Marie Brema made her _début_ in opera as Lola, while the cast
was made up with--
_Santuzza_ Adelaide Musiani.
_Lucia_ Grace Damian.
_Alfio_ Brombara.
_Turiddu_ Francesco Vignas.
In 1892 comes the _début_ in London of Calvé, while Harris engages the
great Wagner singers from Bayreuth, to appear for a season of German
opera on Wednesday evenings at Covent Garden, with Rosa Sucher as
Brunhilde, and Alvary as Siegfried. One must also note the _début_ of
Clara Butt in "Orfeo" at the Royal College of Music.
In 1893, the year of Gounod's death, opera lovers at Covent Garden made
the acquaintance of the younger school of Italian composers in Mascagni
and Leoncavallo. The former first appeared at Covent Garden on June 19,
when he conducted "L'Amico Fritz" with Calvè, De Lucia, Pauline Joran,
and Dufriche. "Pagliacci" was given, with Melba as Nedda and De Lucia as
Canio, while Ancona gave a magnificent rendering of the famous prologue.
The works of two English composers were also produced during the
season,--Isidore de Lara's "Amy Robsart" and Villiers Stanford's "Veiled
Prophet."
With 1894 there are two novelties added to the repertoire,--Verdi's
"Falstaff" and Puccini's "Manon Lescaut"; while the English Jubilee is
celebrated of Joseph Joachim and Alfredo Piatti.
With 1895, the year in which Manuel Garcia concludes his ninetieth year,
Adelina Patti returns to Covent Garden for a few more performances, and
Jean de Rezké makes a temporary absence during the season, for the first
time for eight years.
The following year saw the death of Sir Augustus Harris, and with the
event the present _régime_ came into existence, the formation of the
Covent Garden Syndicate, with Earl de Grey at its head, Higgins as
director, and Neil Forsyth, secretary. Here we will abandon the
narration of the trend of operatic events in London, for those which
took place in the last ten years of Manuel Garcia's life are probably in
the memories of all. Those which took place during the first forty years
of the maestro's life in England seemed sufficiently remote to be worth
recalling, for by them we obtain at any rate a bird's-eye view of the
great names and events of the operatic world during Garcia's active
career as a teacher.
FOURTH PERIOD
RETIREMENT
(1895-1906)