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THE MAPLESON MEMOIRS
VOL. II.
[Illustration: J H MAPLESON]
THE MAPLESON MEMOIRS
1848-1888
IN TWO VOLUMES
WITH PORTRAIT OF THE AUTHOR
VOL II
CHICAGO, NEW YORK, AND SAN FRANCISCO:
BELFORD, CLARKE & CO.,
PUBLISHERS.
1888
[_All rights reserved_].
COPYRIGHT, 1888, BY
JAMES H. MAPLESON
TROW'S
PRINTING AND BOOKBINDING COMPANY,
NEW YORK.
CONTENTS.
CHAPTER I.
My Connection Severed--Musical Protective Union--American
Orchestras--Rival Opera-Houses--Operatic Trial by Jury
--St. Cecilia's Day--The Feast of Father Flattery
pp. 1-21
CHAPTER II.
Patti and her Shoes--Patti Seized for Debt--Flight of Gerster
--Conflict at Chicago--Bouquets out of Season--Cincinnati
Floods--Abbey's Collapse--Resolve to go West pp. 22-39
CHAPTER III.
Gerster Refuses; Patti Volunteers--Arrival at Cheyenne
--Patti Dines the Prophet--Threats of an Interviewer--Arrival
at San Francisco pp. 40-49
CHAPTER IV.
The Patti Epidemic--Gerster Furore--Tickets 400% Premium
--My Arrest--Capture of "Scalpers"--Death of my
First "Basso"--"That Patti Kiss" pp. 50-69
CHAPTER V.
Luncheon on H.M.S. _Triumph_--Opera Auction--Concert at
Mormon Tabernacle--Return to New York--Return to
Europe--Sheriffs in the Academy--I Depart in Peace
pp. 70-83
CHAPTER VI.
Royal Italian Opera Liquidates--Getting Patti off the Ship--Henry
Ward Beecher's Cider--Patti's Silver Wedding--A
Patti Programme of 1855--A Black Concert pp. 84-100
CHAPTER VII.
Panic at New Orleans--Thermometer Falls 105 Degrees--Banquet at
Chicago--The "Count di Luna" at Market--Coffee John--An American George
Robins--My Under-taker pp. 101-117
CHAPTER VIII.
Patti and Scalchi--Nevada's _Debut_--A Chinese Swing--A
Visit from Above--Rescued Treasure--Great Chicago
Festival--American Hospitality pp. 118-139
CHAPTER IX.
"Count di Luna" Introduced to "Leonora"--A Patti Contract
--The Sting of the Engagement--A Tenor's Suite--A
Presentation of Jewellery--My "Don Giovanni"--A
Profitable Tour pp. 140-154
CHAPTER X.
My Covent Garden Season--Patti's London Silver Wedding--Return
to New York--Difficulties Begin--Rival Rehearsals--Grand Opera
and Operetta pp. 155-167
CHAPTER XI.
House Divided against Itself--Rev. H. Haweis on Wagner--H.R.H.
and Wotan--Elle a dechire mon gilet--Arditi's
Remains--Return to San Francisco pp. 168-184
CHAPTER XII.
The Retreat from Frisco--Hotel Dangers--A Scene from
_Carmen_--Operatic Invalids--Murderous Lovers--Ravelli's
Claim--General Barnes's Reply--Clamour for Higher
Prices--My Onward March pp. 185-214
CHAPTER XIII.
Del Puente in the Kitchen--Scalding Coffee--Californian
Wine--The Sergeant takes a Header--The Russian
Mother--I Become a Sheriff--A Dumb Chorus--Dynamite
Bombs pp. 215-228
CHAPTER XIV.
Subterranean Music--The Striker Struck--Tuscan Taffy--A
Healthy "Lucia"--I Recover from the United States--A
Beknighted Mayor pp. 229-243
CHAPTER XV.
Back in the Old Country--The London Season--Sluggish
Audiences--My Outside Public--The Patti Disappointments--The
"Sandwich's" Story pp. 244-257
CHAPTER XVI.
Master and Man--_Don Giovanni_ Centenary--Mozart and
Parnell--Bursting of "Gilda"--Colonel Stracey and the
Demons--The Hawk's Mountain Flight--Ambitious Students and
Indigent Professors--A School for Opera--Anglicized
Foreigners--Italianized Englishmen pp. 258-275
CHAPTER XVII.
Fight with Mr. and Mrs. Ravelli--An Improvised Public--Ravelli's
Dangerous Illness--Mr. Russell Gole--Reappearance of
Mr. Registrar Hazlitt--Offenbach in Italian--Who
is that Young Man?--Fancelli's Autograph--Ristori's
Aristocratic Household pp. 276-291
FINAL CHAPTER.
Envoi 293
APPENDIX.
Singers and Operas produced by me 295
Index to Volumes I. and II. 303
CHAPTER I
MY CONNECTION SEVERED--MUSICAL PROTECTION UNION--AMERICAN
ORCHESTRAS--RIVAL OPERA-HOUSES--OPERATIC TRIAL BY JURY--ST. CECILIA'S
DAY--THE FEAST OF FATHER FLATTERY.
Shortly after my return to London I had various meetings with the
Directors of the Royal Italian Opera Company, Limited, when, to my
astonishment, they informed me they would not ratify the contract I had
made with Mdme. Patti. In fact, they repudiated the engagement
altogether, although it had been concluded by me conjointly with Mr.
Ernest Gye, the General Manager of the Company. I was therefore left
with about L15,000 worth of authorized contracts which the Company had
made with other artists, in addition to Mdme. Patti's contract for
250,000 dollars (L50,000).
I represented to the Directors that the only way to get out of the
difficulty was to release me entirely from all connection with the
Company, as I could then carry out the contracts I had made in the name
of myself and of their representative with Mdme. Patti and with several
other artists.
The matter, however, ended by the Directors giving me my _conge_,
refusing at the same time to pay me any of the money that was then owing
to me.
I had now seriously to consider my position, which was this: I had
parted with my lease of Her Majesty's Theatre to the Royal Italian Opera
Company, Ltd., a lease for which I had paid Lord Dudley L30,000. I had
parted with a large quantity of scenery and dresses, of which a full
inventory was attached to my agreement, and which were valued at many
thousands of pounds. In addition to this, during my absence in America,
Her Majesty's Theatre had been entirely dismantled and many thousand
pounds worth of property not in the inventory taken and removed to
Covent Garden. The amount of salary owing to me was absolutely refused.
My L10,000 worth of shares (being the consideration for the purchase) I
could not obtain; and the Company further gave me notice that I owed
them some L10,000 for losses incurred whilst in America.
In fact, all I had left to me was my liability for the L50,000 payable
to Mdme. Patti, and for over L15,000 on the authorized contracts made
with other artists on behalf of the Company; whilst on the other side of
the ocean I should have to face Abbey's new Metropolitan Opera-house,
for which all the seats had been sold, and the following artists
engaged--all with but one or two exceptions taken from me:--Mdme.
Christine Nilsson, Mdlle. Valleria, Mdme. Sembrich, Mdme. Scalchi,
Mdme. Trebelli, Signor Campanini, etc., etc. My scene painter had been
tampered with and taken away, together with many of the leading
orchestral performers and the chorus--indeed, the whole Company, even to
the call-boy.
[FROM THE _Times_ OF NEW YORK, JULY 4, 1883.]
"MR. MAPLESON'S PARTNERS.
"HIS TROUBLE WITH THE ROYAL ITALIAN OPERA COMPANY.
"THE ACADEMY STOCKHOLDERS PREPARING FOR HIM, HOWEVER,
AND CONFIDENT OF A BRILLIANT SEASON.
"Every mail from England brings papers containing some discussion of the
trouble in the operatic camp; and it is evident that a serious
misunderstanding has arisen between the Royal Italian Opera Company
(Limited)--principally Mr. Gye--and Col. Mapleson. The substance of this
misunderstanding appears to be that Mr. Gye and his Company have decided
to repudiate certain contracts made by Col. Mapleson as their accredited
agent. The principal trouble is in regard to the contract by which the
Colonel agrees to pay Mdme. Patti 5,000 dollars per night. It will be
readily remembered by readers of the _Times_ that a great struggle took
place at the close of last season between Mr. Abbey and Col. Mapleson
for the possession of the great singer's services. For a long time it
was impossible to tell to which house she was going, and public
curiosity was aroused to such an extent that everyone felt like
addressing her in the language of Ancient Pistol: 'Under which King,
Bezonian? Speak, or die!' Mr. Abbey offered her more money than any
singer had ever before received, whereupon Mr. Mapleson, knowing that he
must have Patti to fight the strong attraction of a new Opera-house, saw
Mr. Abbey and went him a few hundreds better. Then Mr. Abbey threw down
his hand and Mr. Mapleson gathered in the prima donna. It will also be
remembered that subsequently the stockholders of the Academy met in
secret conclave and generously voted to support the manager who
established Italian Opera in this country as a permanent source of
amusement and art-cultivation by assessing themselves. They decided to
raise a subsidy of 40,000 dollars to guarantee the Patti contract and
secure the coming season at the Academy. Mdme. Patti subsequently
ratified the contract made by Signor Franchi, her agent, with Col.
Mapleson, and the Colonel wrote to the stockholders here thanking them
for their generous support, and saying that he would return their
kindness by bringing to America next Fall a Company of superior
strength. An early evidence of the earnestness of his purpose was the
engagement of Mdme. Gerster, an artist who is a firm favourite with this
public, and whose great merits are unquestionable. Mr. Gye was in this
city, it will also be remembered, during the latter part of last season,
and was fully aware of Mr. Mapleson's movement. Therefore the
stockholders of the Academy have learned with surprise, not to say
disgust, the action of the Royal Italian Opera Company (Limited). It has
transpired that the principal cause of dissatisfaction was a belief that
there could be little or no profit in an American Opera season with
Patti at 5,000 dollars per night. The _Times_, in an article published
just after the close of the last season, showed that Col. Mapleson had
been unfortunate. While the good people of the West, who are popularly
supposed to possess but a tithe of the culture that animates the East,
flocked to the Opera as if they really knew that they were not likely,
as the Boston Theatre stage carpenter expressed it, to hear any better
singing than that of Patti and Scalchi this side of heaven, the people
of New York and Philadelphia failed to regard the entertainment in the
same light. The result was serious for Col. Mapleson, and he left this
country financially embarrassed. The Royal Italian Opera Company
(Limited) knew this, and decided that it did not care to embark in
another American season, especially with increased salaries and an
opposition of respectable strength. The London _World_, in a long
article on the condition of these operatic affairs, has said that
another cause of dissatisfaction was Mr. Gye's earnest conviction that,
if Mdme. Patti's salary was to be increased, the salary of his wife,
Mdme. Albani, ought also to be raised.
"However all these things may be, it is certain that the great question
now is whether Col. Mapleson will come over next season as a
representative, or rather a part, of the Royal Italian Opera Company
(Limited)."
Despite obstacles of all kinds, I felt happy at being rid of the Royal
Italian Opera, Covent Garden, and I set vigorously to work to complete
the company with a view to the operatic battle which was to be fought
the following autumn in New York.
During the month of June I was fortunate enough to conclude an
engagement with Mdme. Etelka Gerster, also with Mdme. Pappenheim, who
was a great favourite in America. For my contraltos I engaged Miss
Josephine Yorke, and also Mdlle. Vianelli. Galassi, my principal
baritone of the previous years, remained with me, despite the large
offers that had been made to him by Abbey.
Prior to the commencement of my season, I found on perusing Mr. Abbey's
list the names of Signor Del Puente, of Mdme. Lablache, of my
stage-manager, Mr. Parry, and a good many of the choristers, all of whom
were under formal engagement to me.
It is true I did not care much for the services of these people, but I
could not allow them to defy me by breaking their contracts. I
consequently applied for an injunction against each, which was duly
granted, restraining them from giving their services in any other place
than where by writing I directed. Arguments were heard the following
day before Judge O'Gorman, on my motion to confirm the injunction which
I had obtained against Signor Del Puente and Mdme. Lablache, who were
announced to sing the opening night at the new Metropolitan Opera House.
The injunction, as in the case of all operatic injunctions, was
ultimately dissolved by the Court, and I agreed to accept a payment from
Del Puente of 15,000 francs, Mr. Parry and the choristers being at the
same time handed over to me.
Shortly after my arrival in New York I was honoured with a serenade in
which no less than five hundred musicians took part. The sight alone was
a remarkable one. I was at my hotel, on the point of going to bed, when
suddenly I heard beneath my window a loud burst of music. The immense
orchestra had taken possession of the street. The musicians were all in
evening dress; they had brought their music stands with them, also
electric or calcium lights; and, as I have before said, they occupied
the road in front of the hotel.
I was extremely gratified, and when after the performance I went down
into the street to thank the conductor, I begged that he would allow me
to make a donation of L100 towards the funds of the Musical Protective
Union. But he would not hear of such a thing, and was so earnest on the
subject that I felt sorry at having in a moment of impulse ventured upon
such an offer.
The Musical Protective Union is an association extending over the whole
of the United States, to which all the capable instrumental players of
the country belong. There may be, and probably are, a very few who stand
outside it; and I remember that Mr. Abbey, unwilling to be bound by its
rules, resolved to do without it altogether, and to import his musicians
from abroad. Soon, however, this determination placed him in a very
awkward predicament: his first oboe fell ill, and for some time it was
found impossible to replace him.
I have nothing but good to say of the Musical Union. The very slight
disagreement which I once had with those of its members who played in my
orchestra was arranged as soon as we had an opportunity of talking the
matter over. If I have every reason to be satisfied with the Musical
Union, I can equally say that this Association showed itself well
content with me.
While on the subject of American orchestras, I may add that their
excellence is scarcely suspected by English amateurs. In England we have
certainly an abundance of good orchestral players, but we have not so
many musical centres; and, above all, we have not in London what New
York has long possessed, a permanent orchestra of high merit under a
first-rate conductor. Our orchestras in London are nearly always
"scratch" affairs. The players are brought together anyhow, and not one
of our concert societies gives more than eight concerts in the course of
the year. Being paid so much a performance, our piece-work musicians
make a great fuss about attending rehearsals; and they are always ready,
if they can make a few shillings profit by it, to have themselves
replaced by substitutes.
All really good orchestras must from the nature of the case be permanent
ones, composed of players in receipt of regular salaries. Attendance at
rehearsals is then taken as a matter of course, and no question of
replacement by substitutes can be raised. The only English orchestra in
which the conditions essential to a perfect _ensemble_ are to be found
is the Manchester orchestra conducted by Sir Charles Halle.
A larger and better orchestra than the excellent one of Sir Charles
Halle is that of M. Lamoureux.
Better even than the orchestra of M. Lamoureux is that of M. Colonne.
But I have no hesitation in saying that M. Colonne's orchestra is
surpassed in fineness and fulness of tone, as also in force and delicacy
of expression, by the American orchestra of 150 players conducted by Mr.
Theodore Thomas. The members of this orchestra are for the most part
Germans, and the eminent conductor is himself, by race at least, a
German. Putting aside, however, all question of nationality, I simply
say that the orchestra directed by Mr. Theodore Thomas is the best I am
acquainted with; and its high merit is due in a great measure to the
permanence of the body. Its members work together habitually and
constantly; they take rehearsals as part of their regular work; and they
look to their occupation as players in the Theodore Thomas orchestra as
their sole source of income. As for substitutes, Mr. Thomas would no
more accept one than a military commander would accept substitutes among
his officers.
There has from time to time been some talk of Mr. Theodore Thomas's
unrivalled orchestra paying a visit to London, where its presence, apart
from all question of the musical delight it would afford, would show our
public what a good orchestra is, and our musical societies how a good
orchestra ought to be formed and maintained.
Before taking leave of Mr. Theodore Thomas and of American orchestras
generally, let me mention one remarkable peculiarity in connection with
them. So penetrated are they with the spirit of equality that no one
player in an orchestra is allowed to receive more than another; the
first violin and the big drum are, in this respect, on precisely the
same footing. In England we give so much to a first clarinet and
something less to a second clarinet, and a leader will always receive
extra terms. In America one player is held to be, in a pecuniary point
of view, as good as another.
My season at the Academy commenced on the 22nd October--the same night
as my rival's at the New Metropolitan Opera, to which subscriptions had
been extended on a most liberal scale. In fact the whole of New York
flocked there, as much to see the new building as to hear the
performance.
On my opening night I presented _La Sonnambula_, when Mdme. Etelka
Gerster, after an absence of two years, renewed her triumphs in America.
The rival house presented Gounod's _Faust_, with Christine Nilsson as
"Margherita," Scalchi as "Siebel," Novara as "Mephistopheles," Del
Puente as "Valentine," and Campanini as "Faust;" a fine cast and
perfectly trained, since all these artists had played under my direction
and did not even require a rehearsal. After a few nights I began to
discover that the counter attraction of the new house was telling
considerably against me, and I informed the Academy Directors of my
inability to contend against my rival with any degree of success, unless
I could have a small amount of backing.
After consultation, several stockholders signed a paper, each for a
different amount, which totalled up to something like L4,500, which I
had previously calculated would be about the amount required to defeat
the enemy. This was guaranteed by them to the Bank of the Metropolis on
the understanding that I should never draw more than L600 a week from
it, and then only in case of need.
The Manager of the rival Opera-house had fired off all his guns the
first night; and after a few evenings, as soon as the public had seen
the interior of the new building, the receipts gradually began to
decline. In the meanwhile, I was anxiously expecting notice of Adelina
Patti's approaching arrival. I, therefore, arranged to charter sixteen
large tug boats, covered with bunting, to meet the _Diva_; eight of them
to steam up the bay on each side of the arriving steamer, and to toot
off their steam whistles all the way along, accompanied by military
bands. All was in readiness, and I was only waiting for a telegraphic
notification. Some of the pilots at Sandy Hook, moreover, had promised
to improvise a salute of twenty-one guns; and Arditi had written a
Cantata for the occasion, which the chorus were to sing immediately on
Patti's arrival.
By some unfortunate mistake, either from fog or otherwise, the steamer
passed Fire Island and landed _la Diva_ unobserved at the dock, where
there was not even a carriage to meet her. She got hustled by the crowd,
and eventually reached her hotel with difficulty in a four-wheeler. The
military bands had passed the night awaiting the signal which I was to
give them to board the tugs.
On learning of Mdme. Patti's arrival, I hurried up to the Windsor Hotel,
when I was at once received.
"Is it not too bad?" she exclaimed, with a comical expression of
annoyance. "It is a wonder that I was not left till now on the steamer.
As it was, by the merest chance one of my friends happened to come down
to the dock and luckily espied me as I was wandering about trying to
keep my feet warm, and assisted me into a four-wheeler. However, here I
am. It is all over now, and I am quite comfortable and as happy as
though twenty boats had come down to meet me."
She then agreed to make her _debut_ three days afterwards in _La Gazza
Ladra_.
On the second night of the opera we had a brilliant audience for
_Rigoletto_, Mdme. Gerster undertaking the part of "Gilda," which she
sang with rare delicacy and brilliancy of vocalization, so that
"Brava's!" rang throughout the entire audience.
My new tenor, Bertini, who likewise made his _debut_ on this occasion,
produced but little effect, either vocally or dramatically. In the "La
Donna e Mobile" he cracked on each of the high notes, whilst in the
"Bella Figlia" quartet his voice broke in a most distressing manner when
ascending to the B flat, causing loud laughter amongst the audience.
I was therefore under the necessity of sending him the following letter
the next morning:--
"TO SIGNOR BERTINI.
"In consequence of the lamentable failure you met with on Wednesday
evening last, the 24th inst., it is my painful duty to notify you that
by reason of your inability to perform your contract, I hereby put an
end to it. At the same time I request that you will return me the
balance of the money that I advanced to you, amounting to 1,000 dollars.
"Yours, truly,
"(Signed) J. H. MAPLESON."
Of course he did not return my thousand dollars, but fell into the hands
of some attorneys, who at once issued process against me for 50,000
dollars damages!
While admitting that at the time I engaged him he was a good singer, I
maintained that latterly, from some cause or other, his voice had
utterly gone. I had engaged him to perform certain duties which he was
unable to fulfil.
His lawyers insisted upon his having another opportunity. This I at once
agreed to; but not before the public, for whom I had too much respect to
inflict another dose of Bertini upon them. I therefore offered him the
empty house, full orchestra and chorus, and a jury half of his own
selection and half of mine, with the Judge of one of the Superior Courts
as umpire; but this he refused. The matter, therefore, went into the
usual groove of protracted law proceedings and consequent annoyances and
attachments. The very next day all my banking account was attached, and
it was two days before I could get bondsmen in order that it might be
released, so that I could continue to pay my salaries to the other
artists.
On the following night we performed _Norma_ at Brooklyn, with Mdme.
Pappenheim as the Druid priestess; the night afterwards being reserved
for the _debut_ of Mdme. Patti at New York in _La Gazza Ladra_. The
occasion naturally drew together an immense audience, which displayed
much enthusiasm for the singer. The pleasure of hearing Mdme. Patti
again was increased by the fact that the work in which she was to appear
was not a hackneyed one.
The opera, however, failed to make the effect I expected, being
generally pronounced by the Press and the public to be too antiquated.
The contralto who undertook the _role_ of "Pippo" was excessively
nervous, having had no rehearsals and never having met Patti before.
One daily paper said that the lesser _roles_ were well taken, down to
the stuffed magpie, who flew down and seized the spoon, and sailed away
into the flies with prodigious success, adding: "_La Gazza Ladra_ will
soon be laid permanently on the shelf. It is many years since it was
done here before, and from a judgment of last evening, it will be many
years before the experiment will be repeated."
Some time before this, a gentleman called on me. I was about to put him
off, saying I was too busy; but he seemed so earnest for a few moments'
conversation that I turned round, and on his raising his hat and
loosening his overcoat, discovered him to be a priest. On his mentioning
to me that Mdlle. Titiens had done service formerly for a church in
Ireland with which he was connected, I at once gave him every attention.
He explained that the small parish then under his charge was in great
want, whilst the church had a debt of some L700 or L800. All he
solicited was one of my singers, for whom he would pay the sum I might
demand.
I at once told him that I would aid his charity to the best of my
ability, and further, that on the appointed day, which happened to be
St. Cecilia's Day, the 24th November, I would place some of my leading
singers at his disposal for the high mass, and would, moreover, hold the
plate myself at the church door to receive any offerings that might be
made. After meeting him once or twice, I promised to take still further
interest in relieving the Church of its difficulties by giving an
evening concert in addition at the Steinway Hall, placing my best
artists at his disposal, together with the whole of my chorus, and full
orchestra under Arditi's direction, likewise my wonderful child pianist,
Mdlle. Jeanne Douste.
In due course the following announcement was made regarding the concerts
I had promised:--
"ST. CECILIA'S DAY.
"The greatest musical treat ever offered the people of Harlem will be
given on Sunday (to-morrow) in the Church of St. Cecilia, Corner of
105th Street and 2nd Avenue. It will be the feast of the day of the
'Divine Cecilia'--patroness of music. Colonel Mapleson, of the Royal
Opera Company, London, takes a personal interest in the celebration of
the day, and has kindly consented to send a number of his best artists
to delight the people and do honour to the beautiful 'Queen of Melody.'
Our music-loving people will have at their own doors a genuine artistic
treat--such a one as has never been given in Harlem before--and we
doubt not they will appreciate it and fill St. Cecilia's Church to
overflowing. The gallant Colonel has promised to hold the plate at the
door and receive the offerings of the congregation--the only charge for
a rushing torrent of the most delicious music. No doubt his noble and
handsome presence will secure for his friend, Father Flattery, quite a
big collection--a very essential element in such uncommon events.
"Our readers are referred to our advertising columns for the extensive
and varied programme of the great Cecilian Concert at Steinway Hall on
the same day. The famous Mapleson Opera Company will be at their best,
supported by a superb chorus and a full and powerful orchestra. This
will, indeed, be a Cecilian Concert in the best sense of the word."
In due course the day of the Feast of St. Cecilia arrived, which was
most appropriately celebrated at St. Cecilia's Church, Harlem, some
considerable distance "up town." There was no charge for admission, but
I held the plate at the door, and everyone who entered gave something
according to his means or inclination, a most handsome sum being thus
collected. Father Flattery occasionally showed himself near my plate
exhorting the incoming congregation to give liberally.
The service was conducted by Father Peyten, of St. Agnes' Church. Father
Flattery did not preach a regular sermon, but confined his remarks to
the life and character of St. Cecilia. "In venerating this saint," said
he, "we intensify our love of God. St. Cecilia stands conspicuous in the
noble choir as one of the typical saints. In studying her life we are
carried back to the dark days of the Caesars. More than St. Peter himself
this noble lady sacrificed when she left all and devoted herself to God.
Peter was but a poor fisherman, and left but his nets and boats; she was
a noble lady of conspicuous distinction. Hers was no common origin, hers
no ordinary name; but she relinquished all this social _prestige_ for
her religion. What wonder that she should be so popular among Christians
when she is everywhere recognized as the patroness of the loveliest of
arts, an art which lives beyond the bounds of time and can never die!
Like the immortal souls of men, there is nothing destructive about
music. It is music which illustrates the relation between art and
religion. How much the art of music adds to the profound mystery of
religion! How in the hour of exalted triumph it chants its paeans! The
Festival of St. Cecilia is a festival of music; and music becomes more
beautiful still when it is emblemized through such a life as that of
this saint. Enviable is that professional art which has such a saint for
its patron." At the close of his sermon Father Flattery expressed his
own and the sincere thanks of the congregation to the manager and his
artists who in their generosity had done so much for the cause of
religion; and he expressed the hope that "when Colonel Mapleson ends
his days St. Cecilia may come down to bear him up to Heaven."
At the conclusion of the service a sumptuous breakfast was served at
Father Flattery's, to which some 200 guests were invited. Afterwards
some speeches were made and thanks tendered to me for what I had done.
The ladies present handed me, moreover, a set of studs and sleeve-links.
We afterwards drove down to the Steinway Hall to attend the evening
concert (for the breakfast had lasted some time), which was crowded to
the very doors. The receipts taken in the morning at the Church, coupled
with those of the Steinway concert completely extinguished the debt
which had weighed so heavily on St. Cecilia's Church.
About a year afterwards I was in New York, and having one afternoon
(strangely enough) a little leisure, I determined to pay a visit to my
excellent friend, Father Flattery. It was a Sunday afternoon, and when I
got to his house, at some little distance from the central quarters of
New York, I found him teaching a number of school children. As soon,
however, as he saw me he struck work and his young pupils were dismissed
to their homes.
I told Father Flattery that I had come to pay him a short visit.
"Nothing of the kind," he replied, in his frank, genial manner; "you
have come to dine with me, and you are just in the nick of time. Dinner
will be ready very soon; and I hope you have brought a good appetite
with you."
My hospitable friend left me for a minute to give some orders; and while
he was away one of his servants whispered to me that dinner was just
over, and that there was nothing in the house.
I was too discreet to take any notice of this communication, and when
the good priest returned I saw from his manner that he would take no
refusal, and that whether there was anything in the house or not,
whether he had already dined or not, I was to stay that afternoon to
dinner.
After a certain delay, guests arrived, including some very charming
ladies; and in due time dinner was served. It was quite an Homeric
feast. Three roast turkeys were followed by two legs of mutton, and
these, again, by four roast ducks. The wines were of the finest quality,
and among those of French growth the vintages of _Heidsieck_ and of
_Pommery Greno_ were not forgotten.
No one but Father Flattery could have improvised such a banquet at a
moment's notice; and I afterwards found that in order to be agreeable to
me, and to express his gratitude for a slight service which I had most
willingly rendered him, he had requisitioned viands, wines, and guests
from the houses of his neighbours.
"I want that turkey, Pat; I should like to have that leg of mutton,
Mike; Murphy, send me round those ducks you have on the table." In this
summary fashion my amiable and generous host had furnished the feast; or
it may be that in summoning his guests he recommended them to bring
their dinner with them. I can only speak with absolute certainty as to
the result, and I must add that the banquet was thoroughly successful.
After the dinner was at an end we had whisky-toddy and Irish songs.