EARLY MUSIC AND MUSIC HOUSES. MUSICAL INSTRUMENT MAKERS. OLD-TIME
SINGERS
Before our time the beginnings of music were comparatively
insignificant. These we can divide into four heads, as follows:
1. The music of the Indians.
2. The Mission music of the padres.
3. The Spanish and Mexican music.
4. The music of the miners.
These epochs have no bearing upon the music of today. Even the
beginnings in 1850 and 1851 were of the most primitive sort. As early
as 1849 in the then village of San Francisco, music was given by
traveling companies from all parts of the globe, lured here by the
song of gold. As the priests built the missions and gathered the
people into the churches, they sang the songs of the Church, such as
the Gregorian chants. Their scores were written on sheets of
parchment, some of them exist today and can be seen in the Bancroft
collection of California music.
Most of the miners were men who sang songs which were not of the
highest order, and they showed no great proficiency as singers, but if
they were not singers they were good listeners, and occasionally a
strolling violin player would arrive in the camp and he was given the
closest attention and rewarded always with an ounce of gold, which had
the value of $16. He was extended full hospitality and shared their
grub (as the miners called their food in the camp in early days.)
Many of these quaint songs were composed by the miners in their camps,
and later we had men like the well known singer, Sam Booth. The titles
were unique as well as the sentiment, and fitted the time and place in
the early years. With the advent of women the guitars and banjos were
employed in the dance halls and fandangoes of the Mexican men and
women, who were the only women in the state when we arrived. There is
much romance coupled with as much stern reality in building up the
music of our state. The golden city was little better than trails
over the wind-swept sand hills, our beautiful bay was covered with
craft of all nations, lured here by the story of gold and deserted by
crews who joined the masses of humanity of all nations and creeds
ashore, infected with the delirium of the gold fever. They thought
little of music that was stable. There were a few practical business
men among them who looked farther than the mere hunting of gold.
Having been so closely identified with the earliest music and
musicians I have undertaken to give you an exact recital of facts in
my long association and in the performance of this pleasant art, which
is a beautiful memory in my long years of experience. In this work I
have been assisted by diaries, programmes and notes from the musicians
of my time. It will give me gratification and reward for my work if I
can present an historical account from the small beginnings of 1851 to
the colossal and substantial basis upon which the music houses stand
today. The pioneer men in the business had many struggles and
obstacles to overcome. The early fires swept away the beginnings
several times, but like the fabled Phoenix they steadily arose from
the ashes of their disappointments to begin again with renewed energy
and strength of purpose.
I think I can safely say that the music house of Joseph Atwill &
Company on Washington street was the first which dealt exclusively in
musical instruments. Atwill did not import largely but bought of Mr.
A. Kohler who dealt in musical instruments, notions, fancy goods and
toys. Mr. Atwill in 1860 sold out to Matthias Gray, a former clerk of
his, and he and William Herwig in 1862 opened at 613 Clay street.
After a short time Mr. Herwig, who was a clarionet player, dropped
out. Gray's business prospered rapidly, being aided by the acquisition
of the Steinway piano agency. Gray's music store was the headquarters
for many years of all visiting artists and it may be claimed that it
was the first devoted entirely to the music art. Later two of Gray's
clerks, Charles McCurrie and Julius Weber, established a favorite home
for the music business and during some years were on Post street near
Kearny street and later on Kearny street between Sutter and Bush
streets. In the meantime Gray removed to Kearny street next to the
White House. At this location McCurrie and Weber rejoined Gray and the
business was again moved to larger quarters on Post street and
included under its roof a large second story salesroom, that was
easily converted into a recital room and was designated Steinway Hall.
A very tempting offer from the then young dry goods firm of O'Connor,
Moffatt & Co. induced Gray to give up his lease and move a block
further out Post street. Just prior to this the business was
incorporated and known as the "Matthias Gray Co." Later Mr. Gray
passed away, and still later the business was terminated. The immense
stock of music was purchased "for a song" by Oliver Ditson Co. During
its existence Gray did an extensive publishing business and became a
member of the Music Board of Trade, which then controlled prices, etc.
Charles H. McCurrie and Julius Weber were so thoroughly identified
with music as an art for many years that a word about their present
activities may be of interest. Mr. McCurrie went into Eastern piano
factories and interested himself in the technical makeup of pianos and
the art of tuning and returning settled and still lives in Alameda,
Calif., where he has written several successful operettas and
collections of songs for children. Selections from the latter are in
daily use in the public schools, although not written for that
purpose. The Rival Queens and The Marsh King are also two successful
cantatas, the Quest of Truth being his latest work of that nature. Mr.
Julius Weber joined the faculty of piano teachers at Mills College and
remained there until recently, the demands upon his time by pupils at
his residence in Berkeley having compelled him reluctantly to resign.
He is still successfully teaching and is identified with the best
musical advancement in our college city.
[Illustration:
Music House, 1910
S.J. Bruce
Oakland Manager for
Many Years
Andrew Kohler
Quincy A. Chase
Music House, 1851