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Early life in 1848 My father, Adolph Ganz Mainz Nurem- 
berg I first meet Jenny Lind London Her Majesty's 
Theatre Balfe " The great singers of my youth " Jenny 
Lind Cruvelli Lablache Sontag My ddbut as a violinist 
Stories of Lablache Thalberg and his opera He takes 
my place at the piano Alboni The famous ballets Cerito, 
Carlotta Grisi, and Marie Taglioni Reappearance of Madame 
Pasta Halevy and Scribe Benjamin Lumley's lawsuit 
with Frederick Gye over Johanna Wagner Picoolomini 
Mapleson at Her Majesty's Story of Titiena Trebelli 
Giuglini, Mario and Grisi Sir Michael Costa Amusing 
story of his discipline His Oratorios I coach Madame 
Ney-Biirde and Signer Tamberlik The Grand National 
Concerts at Her Majesty's under Balfe D6but of Arabella 
Goddard Sims Reeves sings " God bless the Prince of 
Wales " for the first time St. George's Rifle Corps I 
become a naturalised Englishman Queen Alexandra as a 
bride . . . . . . ><,; . pp. 2-29 



English operas under Maddox in 1848 Anna Thillon Weis*, 
composer of " The Village Blacksmith " Louisa Pyne 
First performance of Lntrlme Sir Henry Bishop John 
Hatton "Good-bye, Sweetheart" Henry Smart Sir John 
Macfarren Sivori Jansa Jullien and his Promenade 



Concerts English country seats Orleans House and 
Nuneham Park Princess Mary of Cambridge I am cap- 
sized on the Thames I visit Lord Dufferin and Sir 
Michael Shaw-Stewart at Ardgowaii My confirmation at 
the Savoy Lutheran Chapel French political refugees 
Orleans House and its habitues A musical party of the 
period . . v . . . pp. 30-50 




Opera in English at Drury Lane Jullien and Berlioz Madame 
Dulcken's receptions Alfred Bunn Cremorne and Royal 
Surrey Gardens The great Monte Cristo Row Balfe and 
the Pyne and Harrison English opera season at Covent 
Garden Balfe's extravagance How he composed His 
popular songs Alfred Gilbert Story of the German Reeds 
in their famous entertainments Jenny Lind's Concert 
Tour pp. 51-76 



My first London concert at the old Queen's Concert Rooms in 
1855 Ernst Reichardt "Thou art so near and yet so 
far " Leopold and Moritz Ganz My second concert 
Clara Novello Viardot-Garcia Moritz Ganz, the master 
of Offenbach I attend the marriage of H.R.H. the Princess 
Royal and H.R.H. Prince Frederick William of Prussia 
My succeeding concerts and matinees A brilliant galaxy 
of helpers Sir Julius Benedict Madame Lemmens- 
Sherrington Signer Bazzini Mr. Sims Reeves fails me 
George Perren to the rescue Why Reeves used to disap- 
point Louisa Vinning Charles Santley Miss Kemble 
Lindsay Sloper Madame Parepa Madame Liebhart Miss 
Emily Soldene Master Frederick Cowen Miss Louisa Pyne 
Signor Randegger A young contralto, Madame Patey 
Madame Monbelli Madame Norman Neruda Miss Edith 


Wynne Patey and Sainton Dolby sing at the same concert 
Vernon Rigby Joseph Wieniawski Adelina Patti 
Trebelli-Bettini Kontski Graziani Scalchi Signer Foli 
Madame Carvalho, the original Marguerite Mile Marimon 
Titiens Marie Roze Concert de"but of Albani Edward 
Lloyd Antoinette Sterling William Shakespeare pp. 77-95 



The Earl of Dudley My concerts in his picture-gallery Sarasate 
The Earl's 20,000 Sevres dinner service His great 
generosity A sudden blow My subsequent concerts 
Joseph Hollman Mary Davies Minnie Hauk Alwina 
Valleria Maybrick " Nancy Lee " goes begging I accom- 
pany it for the first time of hearing Maude Valerie White 
" The Devout Lover " Joseph Maas Marian Macken- 
zie Tremelli Debut of my daughter, Georgina Isidore 
de Lara Dudley House again Nordica Bottesini His 
double-bass Anecdote of Paganini Nikita Zelie de Lussan 
Ben Davies His engagement in Dorothy " The Daisy 
Chain " Alice Gomez Emma Holmstrand Elizabeth 
Parkinson makes her debut at my concert pp. 96-109 



John Ella, his great work for music His Musical Union concerts 
at Willis's Rooms and St. James's Hall Joachim 
Madame Clara Schumann Sir Charles Hall6 He first hears 
Madame Norman Neruda play My quartette concerts First 
appearance of Madame Camilla Urso and Madame Conneau 
Sir Augustus Manns Carl Rosa and his opera company 
I become a director .... pp. 110-124 




I take over the New Philharmonic Concerts The first concert, 
April 18th, 1874 Mile Marie Krebs John Francis Bar- 
nett's " A Winter's Tale " First appearance of Madame 
Essipoff Her beauty " Dear Mama Ganz, I am simply 
famished " Titiens Her compliment to me Trebelli 
Jean de Reszke appears as a baritone Von Billow 
Rubinstein plays his own Concerto Redeker Braga Auer 
Janotha Sarasate First appearance of Saint-Saens 
Wieniawski Henschel Rosavella n&& Roosevelt The Duke 
and Duchess of Fxiinburgh come to hear " Egmont " New 
overture by Alice Mary Smith Sauret Marie Roze Ganz's 
Orchestral Concerts Montigny-Remaury First appear- 
ance of Herbert Reeves Sims Reeves's offer to me His 
wonderful singing at my concert First appearance of 
Sophie Menter First performance of Berlioz's Symphonie 
Fantastique Berlioz's Romeo et Jidiette Gluck's Orpheus 
Mentor's eccentricity Her cat, " Klecks " First perform- 
ance of Liszt's Dante First appearance of Agnes Hunting- 
ton First appearance of Vladimir de Pachmann End of 
the concerts My difficulties . . . pp. 126-163 



My first visit to Paris I see the troops pass before Napoleon III 
and the Empress Eugenie I visit the gala performance at 
the Opera Rossini The three occasions ou which I have 
played before Queen Victoria The Prince Consort and the 
Great Exhibition of 1851 Meyerbeer My pupils Three 
Viceroys The Ladies Spencer Churchill The Countess of 
Warwick and Lady Algernon Gordon Lennox Miss Braddon 

pp. 154-169 




I first meet Wagner He conducts at the Albert Hall I attend 
the Second Cycle of The Ring at Bayreuth King Louis of 
Bavaria I attend a reception at Wagner's house " Wahn- 
fried " Wagner's performances in Paris " Bravo lea 
chiens ! " I hear Tristan and Isolde at Munich The Prince 
Regenten Theater . * ,' . . pp. 170-182 



I meet the Abb6 Liszt at Bayreuth and in London Qounod at 
Tavistock House Mrs. Weldon Romfo et Juliette in 
Paris I attend the special performances An annoying 
incident Gounod chez lui I accompany his son to a con- 
cert at the Conservatoire Ambroise Thomas L&> Delibes 
Madame Patti's Christmas-tree Two great pianists 
Rubinstein Hans von Biilow His grimaces while playing 

pp. 183-195 



Her wonderful career Enthusiasm at Swansea " A Royal 
Progress " Annual charity concerts at Swansea, Brecon, and 
Neath Life at Craig-y-nos A kind chatelaine Her Bijou 
Theatre The Albert Hall concerts How Patti practised 
Her marriage with Baron Cederstrom Sir George Faudel- 
Phillips's joke Patti's many escapes from death Her 
wonderful sang-froid Her dresses and jewellery Some 
musical amateurs I have known . . . pp. 19&-213 




Private concerts at Mr. Alfred de Rothschild's The Prince of 
Wales and other guests Madame Patti and a fee of 
1,000 M. Jacoby Mr. Charrington's private concert 
Story of three prima donnas Baroness de Reuter's recep- 
tions Music at Lord and Lady Randolph Churchill's 
Mentmore I meet Disraeli A recollection of the Rt. Hon. 
W. E. Gladstone Tring Park Sir Alexander Cockburn 

pp. 214-235 



attend the first performance of Mascagni's / Rantzau in 
Florence My notice of it in the Daily News Rome 
Clement Scott and I continue the journey A dinner-party 
of celebrities Cardinal Rampolla Madame Ristori Naples 
Scott goes on to Egypt and India Pisa Genoa Paga- 
nini's violin I visit Verdi at the Palazzo Doria His 
Falstaff Nice Monte Carlo Cannes Turin Milan 
Signor Ricordi and his great publishing house Venice 
Farewell performance at the Teatro Rossini to Tamburlini 
His triumph The audience sings with him . pp. 236-265 



Sir Julius Benedict Edouard Silas Sir Arthur Sullivan He 
pays me a compliment M. Camille Saint-Saens I arrange 
a concert for him I meet Tschaikowsky Leschetizky 
Richard Stauss ..... pp. 256-273 




Lord Dupplin's dinner-party My Masonic Jubilee King 
Edward at Warwick Castle His joke about Madame Clara 
Butt and myself Sir Augustus Harris The New Meister- 
singers' Club Maurice Farkoa's first appearance I engage 
Miss Pauline Joran " Westminster Bridge " The Mar- 
chesis " Mamma Puzzi " A telegram after midnight A 
scare at Manchester .... pp. 274288 



Royal concert for the restoration of Kew Church H.R.H. Prin- 
cess Mary, Duchess of Teck An array of stars Concert at 
the German Embassy The Crown PrinceFrederick William's 
thoughtfulness Lady Lansdowne's concert I go to Paris 
to get M. Alvarez A " kidnapped " singer Charity 
dinners The German Hospital dinner Royal General 
Theatrical Fund Dinners Middlesex Hospital The Throat 
Hospital The Newspaper Press Fund . pp. 289-304 



My Jubilee Concert in 1898 Dinner at Lord Blyth's My 
Diamond Jubilee Concert Lady Bancroft's speech Signa- 
tures in the autograph album Recollections of Charles 
Kean Other great English actors . . pp. 305-314 




Jean de Reszke comes out as a baritone I introduce Madame 
Melba to the English public Carl Rosa forgets an ap- 
pointment Tetrazzini Destinn Calve Nordica Kirkby 
Lunn Ada Crossley Clara Butt Ruth Vincent Maggie 
Teyte Aino Ackt6 Huge fees paid to modern singers 
Modern violinists Ysaye His " quick change " Kreisler 
Elman Modern 'cellists Hollman Casals Gerardy 
Modern pianists Paderewski Eugen d' Albert Godowsky 
Busoni Madame Carrefio Her jubilee Robert Hichens 
as musical critic Conductors, past and present Richter 
His wonderful memory Thomas Beecham An interesting 
letter from him Nikisch He pays me a visit Henry J. 
Wood Landon Ronald Sir Edward Elgar Sir Hubert 
Parry Sir Charles Villiers Stanford Norman O'Neill 
Dr. Vaughan Williams Walford Davies and the Temple 
Church . pp. 315-340 



Our golden wedding Wilhelm Kuhe Benefit concert at the 
Albert Hall pp. 341-348 

LIST OF MY COMPOSITIONS .... pp. 349-350 
INDEX . , . . . .pp. 351-357 


WILHELM GANZ . . . Frontispiece 




M. W. BALFE , 64 

JENNY LIND ... . . . .; , 70 

LEOPOLD GANZ ....... 78 

MORITZ GANZ . , . . . , . ' 78 



HECTOR BERLIOZ . . . . . . 1^6 


F. LISZT . 184 

CHARLES GOUNOD ..... - . 188 

ADELINA PATTI, IN La Traviata . . . . 196 


G. VERDI . . . ..;>. 248 
CAMILLE SAINT-SAENS . . , *' . . 264 
MADAME MELBA . . , .. . . 316 

ADELINA PATTI . . . V . 842 
2 xv 




Early life in 1848 My father, Adolph Ganz Mainz Nurem- 
berg I first meet Jenny Lind London Her Majesty's 
Theatre Balfe " The great singers of my youth " Jenny 
Lind Cruvelli Lablache Sontag My debut as a Violinist 
Stories of Lablache Thalberg and his opera He takes 
my place at the piano Alboni The famous ballets Cerito, 
Carlotta Grisi, and Marie Taglioni Reappearance of Madame 
Pasta Halevy and Scribe Benjamin Lumley's lawsuit 
with Frederick Gye over Johanna Wagner Piccolomini 
Mapleson at Her Majesty's Titiens Trebelli Giuglini, 
Mario and Grisi Sir Michael Costa Amusing story of his 
discipline His oratorios I coach Madame Ney-Burde 
and Signor Tamberlik The Grand National Concerts at 
Her Majesty's under Balfe Debut of Arabella Goddard 
Sims Reeves sings " God bless the Prince of Wales " 
for the first time St. George's Rifle Corps I become a 
naturalised Englishman Queen Alexandra as a bride. 

I HAVE been so often asked by my musical and 
other friends to write my reminiscences that 
at last I have made up my mind to do so, and 
I hope these lines will be of interest to them, as 
well as to my younger colleagues. Although I 
am conscious of my literary shortcomings, I 

think I can speak of many musical facts and 



events which have happened during my long 
career in England that may perhaps prove 
acceptable to my readers. 

I was a boy of fourteen when I came to Lon- 
don with my father in 1848, having been born 
on November 6th, 1833. My father, Adolph 
Ganz, had been for more than twenty-five years 
Kapellmeister at the Opera at Mainz, on the 
Rhine, and the Grand-duke of Hesse-Darm- 
stadt bestowed on him the title of Grossherzog- 
licher Hofkapellmeister Grand Ducal Court 
Conductor. He brought the opera there to a 
high pitch of perfection. It was his forte that 
he could conduct most of the classical operas 
from memory I mean, without having the 
score before him and could also write out each 
orchestral part from memory. Furthermore, 
although self-taught, he could play every instru- 
ment in the orchestra. 

My father saw the great Napoleon at Mainz, 
and remembered a grand parade in the Schloss- 
platz, when Napoleon called a soldier out of the 
ranks and pinned the legion d'honneur on his 

I had the good fortune, as a boy, to be 
engaged to play in the orchestra under his 
direction, first the triangle, bass-drum, and 
cymbals, and afterwards the second violin. I 
thus became acquainted in early life with most 
of the operas then being performed at the theatre 
in Mainz, and they were constantly changed. 


The repertoire consisted of the classical operas 
of Gluck, Mozart, Beethoven, and Weber, as 
well as French operas by Me" mil, Herold, Boiel- 
dieu, Auber, Adolph Adam, and a few Italian 
operas by Bellini, Donizetti, and Spontini the 
latter being then general director of music to 
the King of Prussia in Berlin. 

I also perfected myself in pianoforte-playing, 
the rudiments of which I had learned from 
my eldest sister Emilie. I had learnt to play 
the violin from a cousin of my father's, and 
could also play the flute and the guitar, and I 
was fortunately able to read music off at sight 
with great facility. 

After leaving Mainz my father was engaged 
for the post of conductor at the Stadt Theater 
(town theatre) at Nuremberg during the years 
1846 and 1847. I used to be at the piano 
during the rehearsals of the soloists and the 
choruses, and also conducted several musical 
plays on my own account and met with much 
encouragement from the artists of the Opera. I 
accompanied Jenny Lind on the piano behind 
the stage when she appeared as a guest at the 
Stadt Theater in La Figlia del Reggimento on 
December llth, 1846, in the Lesson Scene, and 
at the conclusion of the opera she came up to 
me and complimented me on my playing, say- 
ing, " You have accompanied me extremely 
well, and I am very satisfied." 
This, I remember, pleased me very much, 


for even at that time she was a very great 

When my father and I came to England in 
1848, I find I made the following entry in my 
diary : 

"Friday, Feb. 18^. Left Mainz. ... We 
arrived in London on Sunday night, 10.30, and 
drove to Brydges Street. 

" Monday. Went to see Balfe, who received 
us in a very friendly way ; then went for a walk. 
I cannot describe the impression it made upon 
me ; so many beautiful shops, and so many car- 
riages that one could not walk in the road, but 
had to keep to the pavement. 

" In the evening went across to Drury Lane 
Theatre and saw the opera. Berlioz was con- 
ducting Figaro." 

The late Michael William Balfe, composer of 
the ever-popular Bohemian Girl and many other 
operas, was the conductor at Her Majesty's 
Theatre, and Mr. Benjamin Lumley was the 
director. Balfe had known my father before, and 
had suggested his coming and settling here. In 
a letter dated December 3rd, 1847, he wrote as 
follows . 

" I will do all in my power for your son ; at 
all events, he shall have the triangle." 

And, true to his word, when we came Balfe 
engaged me to play in the orchestra, first the 
triangle and a year after as second violin. In 
that year I had the good fortune to hear " The 



Swedish Nightingale," as Jenny Lind was called 
in all her various operatic roles, such as 
Amina in La Sonnambula, and Maria in La 
Figlia del Reggimento. I shall never forget the 
impression she made upon me. I marvelled at 
the artist who was at once so great a singer and 
so fine an actress. She used her voice, which 
was of rare beauty in every note, as an instru- 
ment, doing with it what she liked. As Amina 
her singing showed such depth of feeling as to 
touch all hearts. In a wonderful cadenza to 
Ah non credea she sustained a long note until 
it died away in the softest pianissimo. Her 
dramatic acting in this part carried everything 
before it, and the enthusiasm of the audience 
knew no bounds. The lively part of Maria she 
also acted and sang to perfection, especially in 
the Lesson Scene, in the second act, into which 
she introduced a cadenza consisting of scales, 
roulades, and shakes lasting for several minutes 
and then threw her music down and sang with 
Belletti (the celebrated baritone who acted the 
part of Sulpizio the Serjeant) marching up and 
down and singing " Rataplan " with him, imi- 
tating the drums. She created a perfect furore 
whenever she appeared. On referring to my 
diary, I find the following note : 

' Wednesday was the first rehearsal of Jenny 
Lind. She sang splendidly, and the whole 
orchestra and personnel applauded tremendously. 

' - Thursday, May &ih, was the performance of 


Sonnambula. The Opera-house was packed full 
with people. The Queen, the Duchess of Gant 
[Kent], the Queen- dowager, and the Duke of 
Wellington were there. After the first act ' God 
save the Queen ' was sung, and the Queen herself 
stood up and bowed to the public. Then the 
cheering began and they cried ' Hurrah ! ' and 
made an awful noise. Lind pleased very much." 

The cause of this demonstration was that it 
was only then discovered that the Queen was in 
the Opera-house. It was a time of intense 
political excitement, and she had not been seen 
in public since the birth of the Princess Louise 
and the great Chartist meeting on Kennington 

Signer Gardoni, a sweet- voiced tenor, was also 
associated with her in La Figlia del Reggimento, 
singing the part of Tonio, and he also sang 
Elvino with her in the Sonnambula. He was a 
very handsome young man, and married one of 
the daughters of the great baritone Tamburini 
whom, I regret to say, I never heard. 

Unfortunately, Jenny Lind was persuaded in 
the zenith of her career (I believe by the Bishop 
of Norwich) to give up the operatic stage and 
sing only for the glory of God. 

The astounding news of her decision came in the 
spring of 1849 with Mr. Lumley's announcement 
of a final series of operas in concert form. Only 
one took place when Die Zauberflote was given. It 
was described as a " Grand Evening Classical Per- 
formance." Jenny Lind sang the part of Pamina, 


and Lablache showed his usual droll humour as 
Papageno. I played the bells in his song. My 
diary says : 

" Wednesday. There was a rehearsal of 
Zaiiberflote. Balfe asked in French, c Est-ce 
qu'il y a un bon pianiste ? ' My father said at 
once ' Mon fils, mon fils ! ' so I had to play the 
bells and was applauded by the whole orchestra. 

" Thursday, April I2tk, was the concert. There 
was no acting whatever ; the singers all sat on 
seats on the stage, the orchestra was as usual. 
The song of Papageno in the second act was en- 
cored. Jenny Lind sang very beautifully." 

But, as the public showed no inclination to 
accept opera in this form, Jenny Lind was 
reluctantly induced to give six final perform- 
ances of opera in the usual way. She chose 
Alice in Roberto il Diavolo for her last appearance, 
and there was a great farewell scene : the audi- 
ence was loath to let her go. 

Thenceforth she sang only in oratorios and at 
concerts, which was a serious loss to the Opera. 
I will describe her Great Tour in 1856 later on. 

At that period (1848) Mademoiselle Sofie 
Cruvelli, who had a magnificent soprano voice, 
sang on alternate nights with Jenny Lind at the 
Opera, and therefore, being handicapped by 
comparison, did not create as much success as 
she really deserved. She was a remarkably 
handsome woman, with a fine figure, and one 
of her great roles was Leonora in Beethoven's 
Fidelio, which she acted and sang superbly. 


Balfe, wishing to perform that immortal work in 
the most attractive manner, got all the princi- 
pal singers engaged at the Opera to take part in 
the Prisoner's Chorus at the end of the first act. 
Of course, the regular chorus also joined, and 
the effect was perfectly prodigious. I ought to 
mention that Mr. Sims Reeves (of whom later) 
sang the part of Florestan in Fidelio, and held 
his own against all his Italian competitors. He 
studied in Italy, and was a perfect Italian scholar. 

Returning to Cruvelli, although she was a 
German by birth, her Italian was also perfect. 
Her real name was Sophia Kruwel, which she 
Italianised into Cruvelli. She did not remain 
very long on the operatic stage, but married a 
French nobleman, Baron Vigier, and lived in a 
wonderful villa at Nice until she died. 

Another operatic star at that time was the 
great basso, Signor Lablache. He always en- 
joyed singing the part of Leporello in Mozart's 
Don Giovanni, and I remember an amusing 
incident that happened in connection with it. 
It was in his first song " Madamina," when he 
recounts Don Giovanni's easy conquests of ad- 
miring ladies, putting the number at mille e ire. 
On this occasion, when the phrase came again 
he repeated it in English " a thousand and 
three " and the whole house roared with laugh- 
ter. Lablache was never vulgar in these buffo 

Another thing he enjoyed singing was the 


Sextet, in Don Giovanni. Near the end he 
used to come in thundering his phrase with 
great gusto. 

Lablache was originally a double-bass player. 
When he gave up that instrument and became 
an opera-singer his voice was so powerful that 
Weber, on hearing him sing, said, " By heavens ! 
he is a double-bass still \ " 

Lablache was also the best Dr. Bartolo in Ros- 
sini's masterpiece II Barbiere di Seviglia, show- 
ing his wonderful sense of humour, as he also 
did in Donizetti's Don Pasquale. Lablache was 
literally "great," being very stout, but he moved 
with extraordinary agility. One night I heard 
him make fun of his own unwieldy appearance. 
In one of the scenes he sat in an arm-chair and 
tried to pick up the handkerchief of Norina, sung 
by Sontag, of wh6m I will speak later on. 
Being extremely fat, he could not do so, and 
his vain efforts always created much amuse- 
ment among the audience. It may interest my 
readers to know that Lablache gave Queen 
Victoria lessons in singing. 

Then there was a baritone, Signer Coletti, 
who sang the " Doge " in Verdi's now forgotten 
opera / due Foscari. He sang with immense 
pathos, and through his artistic singing and act- 
ing gave new life to that work and ensured the 
sympathy of the audience. Another celebrated 
singer of that time was Madame Parodi, who 
excelled as Norma and Lucrezia Borgia. 


After the Jenny Lind fever there arose an- 
other star in the operatic firmament, namely, 
Henrietta Sontag. She had married a Sardinian 
nobleman, Count Rossi, and left the stage ; but, 
when misfortune overtook her husband through 
political affairs, she returned to the opera and 
came out as Linda di Chamounix at Her Majesty's 
in 1849. She was no longer in her first youth, 
and, coming directly after Jenny Lind, her suc- 
cess at first was not great ; but afterwards she 
appeared as Rosina in II Barbiere and carried 
everything by storm. In the duet " Dunque 
io son " with Signor Belletti, and in " Una 
voce " her vocalisation was perfect, and, to 
crown all, in the Lesson Scene she interpolated 
Rode's "Variations" (which were popular about 
that time) and created a great furore. The last 
variation is very difficult, consisting of arpeggios 
and chromatic scales, running up and down, 
which she executed with perfect ease, her face 
not betraying in the least that she was singing 
the most difficult phrases ; on the contrary, she 
warbled everything con amore. In fact, it was 
a real pleasure to look at her face, while singing, 
as she was still very pretty. Lumley had en- 
gaged her for six months, at the enormous 
salary of 6,000, although the season finished at 
the end of the summer, and he made her sing 
at concerts in the provinces during the winter, 
and also in Paris, to eke out the contract. 

I made my debut in London as a violinist in 


1848, when I played these very " Variations," 
at that time a very popular violin solo (reader, 
don't laugh !) at the Albion Hall, Hammer- 
smith. I felt very nervous, but got through 
the ordeal with considerable eclat. 
I find the following note in my diary : 

" Thursday, May ISth. I went with Mr. 
Milligan to Hammersmith, where he was giving 
a concert at the Albion Hall, and I played the 
Variations of Rode : I was applauded. I stayed 
the night at Milligan's and the next morning 
we drove back home by omnibus : he gave me 
a shilling." 

I did not continue to study the violin, pre- 
ferring to become a pianist. In those days 
people preferred the piano to the violin, and no 
young lady ever thought of learning it or carry- 
ing a violin-case about in the streets. Twenty- 
five years later all this was changed, chiefly 
through the beautiful playing of Madame Nor- 
man Neruda (Lady Halle), which gave young 
ladies a taste for taking up the violin, and even 
the 'cello and double-bass, and in many amateur 
orchestras you see ladies in great numbers play- 
ing all these instruments, which accounts for 
the fact that piano-lessons have become rarer. 

I often saw the great Duke of Wellington at 
Her Majesty's Theatre in a pit tier-box, with 
his daughter-in-law, the beautiful Marchioness 
of Douro, and I remember they were together 
at a soiree one evening at the Duchess of 


Buccleuch's, where I was accompanying my friend, 
Sir Michael Shaw-Stewart, in his songs. I used 
constantly to see the Duke riding his famous 
white charger in Piccadilly between Apsley 
House and the Horse Guards, wearing a blue 
coat and white trousers. His funeral cortege 
in 1852 was a sight never to be forgotten. 

Queen Victoria and the Prince Consort were 
often present at Her Majesty's, the Duchess of 
Kent sharing the same royal box. One after- 
noon, when the young Queen went to visit her 
uncle, the old Duke of Cambridge, who was 
lying ill in Cambridge House, Piccadilly, a 
madman sprang forward just as she was leaving 
the house and struck her on the face with a 
riding-whip. Fortunately he did her no real 
harm beyond the shock, and I vividly recall the 
great scene that evening when the Queen and 
Prince Albert appeared at Her Majesty's Theatre. 
The audience rose en masse and cheered her so 
enthusiastically that she had to bow time after 
time in acknowledgment of their cheers. 

Hitherto I have only spoken of the opera at 
Her Majesty's Theatre, because my father, like 
myself, was engaged there by Balfe, and our 
sympathies did not run with the rival Opera- 
house. I shall speak later of the opera at 
Covent Garden, where I often had an opportunity 
of hearing the splendid performances. Balfe was 
always most kind to me calling me " Gan- 
zino J> (little Ganz). The performances were a 


great lesson for me, and cultivated my taste for 
the best singing. I also played the piano at 
the chorus rehearsals, which were all under my 
father's direction. 

The ^celebrated pianist, Sigismund Thalberg, 
composed an opera called Florinda, which his 
father-in-law, Lablache, was most anxious to 
get performed. The director, Mr. Lumley, ac- 
ceded to his request, as Lablache was a most 
useful member of his company ; Madame Sontag 
and he took the principal roles, but the opera 
only made a succ&s d'estime and was quickly 

I remember Thalberg coming into the room 
where my father was holding the chorus re- 
hearsal of Florinda, at which I was playing the 
piano accompaniments ; but as soon as I saw him 
coming I rushed away, and he sat down in my 
place and played during part of the rehearsal. 
I listened from afar, and was at once charmed 
with his exquisite touch and beautiful playing ; 
so I crept back quietly and hung on every note. 
I had not heard him play before, and I at once 
realised that he was a great virtuoso. 

In the opera by Alary, Le ire Nozze, given the 
same season, Lablache afforded great amuse- 
ment by dancing a polka with Sontag : the rest 
of the opera fell rather flat, and it was soon 

About that period another great operatic star 
appeared, namely, Madame Alboni. Her greatest 


role was the leading one in La Cenerentola by 
Rossini. In the last act she sang the great 
bravura aria " Non phi mesta," executing the 
florid passages to perfection warbling the 
chromatic scales up and down in a most mar- 
vellous manner, as well as the arpeggios in the 
caballetta, by which she held the audience in 
thrall. She was a very stout woman, but had 
a very handsome face and wore her beautiful 
hair cut short, like a man, to suit the men's 
parts that she took in the opera. She certainly 
had the finest contralto voice I have ever 

Another of her famous roles was Orsini in 
Donizetti's Lucrezia Borgia. She made the 
Brindisi // segreto per esser felice popular, and 
she had to repeat it at every performance. It 
is a strange thing that, although Alboni was such 
a great singer, she never drew such a big audi- 
ence as a soprano of the same merit would have 
done. I ought to mention that the unusual 
range of her voice enabled her to sing the part 
of Zerlina in Don Giovanni. Her " Batti batti " 
with the violoncello obbligato played by Piatti 
was delightful. 

The part of Prince Ramiro, in Cenerentola, was 
taken by Signer Calzolari, who sang the florid 
music in a way I have never heard surpassed. 
He also excelled in the role of II Conte Almaviva 
in II Barbiere, when he had to sing no end of 
bravura passages, the aria " Ecco ridente " and 


other numbers in that opera winning a most 
favourable verdict from the audience. 

In the Exhibition year of 1851 performances 
were given almost every evening at Her 
Majesty's, while in previous seasons only three 
performances a week used to be announced, on 
Tuesdays, Thursdays, and Saturdays. One of 
the new operas performed was Auber's UEnfant 
Prodigue, in which the Parisian prima donna, 
Madame Ugalde, sang most charmingly, and M. 
Massol, the French baritone, also took a leading 
part. The scenery and dresses were magnificent, 
and, in fact, the opera was sumptuously mounted. 

I played the little bells in the orchestra, to 
imitate the bells of the camels in the Desert 
Scene. There was a Ballet Divertissement after- 
wards, representing the principal nations, in 
which Madame Cerito, Madame Carlotta Grisi, 
Madame Rosati, and Mile Marie Taglioni the 
niece of the great Taglioni took part. This 
was called the Pas de Quatre, but must not be 
confounded with the one in which the Taglioni, 
Carlotta Grisi, Cerito, and Lucille Grahn took 
part. At that period the ballet was at the height 
of its popularity, and took place after the opera, 
which was generally a short one. One of the 
most popular ballets was Esmeralda, of which 
the music was by Signor Pugni, in which Madame 
Carlotta Grisi and M. Perrot took part, dancing 
a duet called " La Truandaise," which created 

a great sensation. 


Another ballet, composed by Adolph Adam, 
called La Giselle, was a great favourite. It was 
performed at Covent Garden lately, in 1911, 
when the Russian dancers took London by 
storm, and made such a big success. This balJet 
in the old days ran for several months in the 
summer and autumn season, varying with the 
opera, on alternate nights, and now, after sixty 
years, it becomes again en vogue \ 

An old opera which pleased audiences very 
much was Auber's Gustave, ou le Bal Masque, in 
which Mile Duprez, daughter of the famous 
French tenor, Duprez, took part. The music of 
it is extremely pretty, the Ball Scene being par- 
ticularly fascinating. The story is the same as 
that of Verdi's opera II Ballo in Maschera. 

During the season of 1850, at Her Majesty's, 
the once celebrated soprano, Madame Pasta, re- 
appeared in her famous role of Anna Bolena in 
Donizetti's opera of that name. She was then 
fifty-three years old. The audience was full of 
expectation to hear this great artiste ; but, un- 
fortunately, she was quite passee, and sang flat ; 
so her reappearance turned out a fiasco. This 
was a great pity, when one considers that Bellini 
composed La Sonnambula in 1831, and Norma in 
1832 for her two of the finest operas ever 
written for a soprano. The first one is still a 
great favourite with the sopranos of the present 
day ; but since the time of Grisi Norma has very 
seldom been performed, except when Titiens 


sang the principal part. Richard Wagner al- 
ways thought very highly of this opera, and it 
may yet be revived. 

A new opera, specially composed for Her 
Majesty's, called La Tempesta, after Shakes- 
peare's Tempest, with music by Halevy and 
libretto by Scribe, was given for the first time 
in June 1850, under the direction of these two 
distinguished Frenchmen. Madame Sontag was 
the Miranda, Carlotta Grisi the Ariel her part 
being written only for her dancing and quasi 
flying about and Lablache the Caliban. The 
latter impersonated Caliban splendidly, his 
physique lending itself to the part. Arne's 
pretty melody, " Where the bee sucks," was in- 
terpolated into the music with good effect, and 
the opera proved a great success. HaleVy, with 
Scribe as collaborates, also composed La Juive, 
which made a great hit all over the world, and is 
still a favourite in Paris. His other popular 
operas are Les Mousquetaires de la Heine, La 
Reine de Chypre, and Charles VI. Scribe wrote 
nearly all his librettos ; it was a brilliant colla- 

In 1852 Benjamin Lumley temporarily gave 
up the direction of Her Majesty's Theatre, owing 
to a lawsuit which he had with Mr. Frederick 
Gye, the director of the Covent Garden Opera, 
on account of Mile Johanna Wagner the niece 
of Richard Wagner who was engaged, through 
some misunderstanding, by them both. The 


brilliant advocate, Sir Alexander Cockburn, 
afterwards Lord Chief Justice of England, gained 
the action for Mr. Gye, and Sir Frederick 
Thesiger, afterwards Lord Chelmsford, appeared 
for Mr. Lumley. My father was one of the 
witnesses in the case. 

Mademoiselle Piccolomini was brought out by 
Lumley at Her Majesty's Theatre in 1856. She 
was the first to sing the leading role in Verdi's 
La Traviata. 

She was a little woman, but rather handsome, 
with fine, even features. It used to be said that 
she would never succeed in being able to shake, 
although she worked very hard at this accom- 
plishment, and in this particular opera it was 
so necessary to sing a shake, the arias being full 
of trills as well as runs, chromatic scales, and 
brilliant bravura passages. However, she got 
through all these difficulties with much credit 
to herself. 

I remember well a certain evening on which 
she sang La Traviata, because Mr. Charles Bra- 
ham, son of the celebrated John Braham, took 
the part of Alfredo in that opera, which he had 
studied with me, and had previously studied 
in Italy, and it was his first appearance at the 
opera here. Naturally he felt very nervous, 
and so was his sister Frances, Countess of 
Waldegrave, who had previously asked me to 
remain with her on that memorable occasion at 
her house in Carlton Gardens until after the 


performance was over. The result was most 
favourable to Mr. Braham, and Lady Walde- 
grave was overjoyed, and presented Mademoiselle 
Piccolomini with a very handsome piece of 
jewellery as a mark of her gratitude for singing 
with her brother. 

Mademoiselle Piccolomini gave up her operatic 
career while rather young, as she married an 
Italian nobleman and lived afterwards in Rome. 

In 1862 Colonel J. H. Mapleson opened at 
Her Majesty's Theatre, beginning a new season 
with the following talented singers, who be- 
came great favourites with the English public, 
namely, Theresa Titiens, Trebelli, Giuglini, as 
well as a host of new operatic stars. Mapleson 
had the honour of introducing Gounod's Faust 
on June 12th, 1863, and Bizet's Carmen on 
June 22nd, 1878. Both operas met at once 
with the greatest success how different from 
their cold reception in Paris, when they entirely 
failed to please the Parisian public ! It is a 
curious comment on the suggestion that the 
English are not a musical nation that these 
famous operas were at once appreciated in this 

Titiens was engaged by Mapleson in rather an 
amusing way. She was singing in Vienna at 
the time. Gye and Mapleson had both heard of 
her success. Gye sent his manager, the father 
of the late Sir Augustus Harris, to interview 
her in Vienna and arrange terms. 


Mapleson, learning of this, started off post- 
haste to Vienna himself, interviewed her, and, 
with his usual address persuaded her then and 
there to sign a contract to sing for him for several 

To those who knew her, as I did later, as 
a most sympathetic and kind-hearted artiste, it 
was a surprise to learn that she at one time used 
to suffer from a bad temper ; and in these out- 
bursts she felt a strong desire to smash anything 
that came handy. Finding this a somewhat 
expensive amusement, her sister used from time 
to time to buy Is. 6d. worth of cheap china, 
which was placed on the mantelpiece and shelves 
ready for emergencies. She also related how at 
last she was cured of this failing. She was sit- 
ting at supper after a concert at a provincial 
town when the manager made some remark 
which annoyed her. As usual, she took the first 
thing that came to her hand, a soda-water bottle, 
and flung it at him. The manager was sitting 
at the table with his back to the window. The 
bottle missed him, smashed through the window, 
and nearly killed a casual passer-by. This, she 
says, gave her such a shock that she was com- 
pletely cured of her failing. 

I may here mention that when I first came 
to England I sometimes had, in the intervals of 
a busy life, an opportunity of hearing the per- 
formances at Covent Garden, and was particu- 
larly charmed with the singing of Madame G iulia 


Grisi and also of Signor Mario, who had the 
finest tenor voice I have ever listened to. There 
was something so suave in his voice, which was 
so mellow and thoroughly Italian in timbre 
that you could not resist being entranced when 
you heard him. His finest roles were Alma viva 
in // Barbiere, and Raoul in Les Huguenots, in 
which he sang with Grisi, who was superb as 
Valentine. I often played for him at private 
parties, at which he occasionally sang John 
Hatton's favourite ballad, " Good-bye, Sweet- 
heart," pronouncing the English words very 
well. I also used to accompany Madame Grisi, 
at various concerts. 

Mario was a fine and elegant-looking man, 
an Italian count by birth, his title being Conte 
di Candia. 

He was always a great attraction at the Royal 
Italian Opera, and created a perfect furore in 
such operas as Meyerbeer's Les Huguenots (in 
which he was associated with Madame Grisi, 
who became his wife), and the Barbiere di 
Seviglia, in which he sang the florid role of Conte 
d'Almaviva to perfection. His appearance bore 
out his nobility of birth, being both noble and 
dignified. In the dramatic part of Fernando 
in La Favorita by Donizetti, in which he took 
his farewell to the stage, he was magnificent 
both in voice and bearing. He was a most 
generous man, and gave very freely to all the 
people who served him : if a waiter brought him 


a cigar he would sometimes give him five 
shillings for it, and half a crown more for his 

So many years of professional association with 
Madame Grisi greatly helped his histrionic 
powers, as she was a great actress herself and 
gave lessons in the art. 

Grisi died in Berlin in 1869, on her way to 
St. Petersburg where Mario was engaged at 
the Imperial Opera, and he never saw her alive 
after their parting, much to his grief. He and 
Patti were the first to sing in Romeo et Juliette 
when that opera was first performed at Covent 
Garden in 1867. Mario had a golden wig made 
for the part of Romeo, but after the first per- 
formance he never wore it again, but returned 
to his own black hair with additional locks. 

At the close of his operatic career he went 
to live in Rome, where the King of Italy be- 
stowed on him a government appointment, 
which he filled until he died in 1883. 

Sir Michael Costa was the conductor at 
Covent Garden ; he was a strict disciplinarian, 
and the performances under his direction were 
very fine. On one occasion a member of his 
orchestra came late to a rehearsal, and Costa 
commenced to storm at him. " I am very 
sorry," said the frightened musician ; " but I 
could not leave home because my wife has just 
been confined." " All right," said Costa, " but 
mind you don't let this happen again." 


Later on, when Costa left Gye and went over 
to Her Majesty's Theatre under Mapleson's 
direction he had occasion to find fault with the 
slackness and inefficiency of the stage-manager. 
Mistakes having frequently occurred, Sir Michael 
told him that, if it happened again, he would 
have to ask Mapleson to dismiss him. Shortly 
afterwards there was a worse blunder, and Sir 
Michael stopped the rehearsal, called for the 
stage-manager and told him he must go ! The 
stage-manager, who was a man of striking ap- 
pearance, advanced to the front of the stage, 
made a magnificent deep bow to Sir Michael, 
and sang in a beautiful voice, " Good-bye, Sweet- 
heart ! '' and then retired, backwards, off the 

Costa lived in a fine house in Eccleston 
Square. The walls of his dining-room were 
covered with engraved portraits of the royal 
family, all of which were autographed. I used 
to visit him on Sunday mornings, and it was 
always delightful to listen to his animated con- 
versation. He used always to attend my orches- 
tral concerts later on. 

He conducted for many years the concerts of 
the Philharmonic Society, and also the Sacred 
Harmonic Society's winter concerts at the old 
Exeter Hall in the Strand, which is now de- 
molished and its site occupied by the Strand 
Palace Hotel. Patti, Lemmens Sherrington, 
Sainton Dolby, Patey, Sims Reeves, Weiss, and 


Santley used to sing the principal parts in his 
oratorios, Naaman and Eli. Eli was composed 
in 1851, for the Birmingham Festival, and 
Naaman in 1864. Unfortunately, they are now 
never performed, and are rapidly being for- 
gotten. He wrote them somewhat in the style 
of Handel, with fine choruses and melodious 
arias, but his greatest achievement was in the 
conducting of the celebrated Handel Festivals 
at the Crystal Palace. I am sure that nowhere 
in the world could finer performances have 
taken place than those held every three years 
at the Palace under the direction of Costa. The 
performers at these festivals numbered several 
thousands of singers and instrumentalists, and 
the effect of the volume of sound was simply 
overpowering. One could never forget the sub- 
lime "Hallelujah Chorus" in the Messiah, or the 
" Hailstorm Chorus " in Israel in Egypt. 

I used often to put some of Sir Michael's 
songs and concerted pieces into my concert 
programmes, such as his fine " Ecco quel fiero 
istante " and his trio " Vanne colei." He some- 
times came to my concerts to accompany some 
of his own music, such as a big soprano scena. 
Costa's compositions, like Benedict's, are now 
almost forgotten, although at one time it seemed 
likely that his oratorios would retain their popu- 

I attended a performance of Die Zauherflote 
at Covent Garden ? which was a special revival. 


Mario and Grisi both sang, the latter with 
delicious pathos. Mile Zerr was the best Queen 
of the Night I had ever heard. Madame 
Viardot Garcia took the part of Papagena and 
played it in the most vivacious way, and Ron- 
coni as Papageno was most entertaining. 

I also saw Madame Viardot Garcia' s impres- 
sive and unapproachable performance of Fides 
in Le Prophete, a thing never to be forgotten. 

I well remember the premiere of Verdi's 
Rigoletto on May 14th, 1853. The caste was very 
brilliant. Angiolina Bosio was an exquisite Gilda, 
and Mario, in his most mellifluous mood, brought 
down the house with La donna e mobile. As 
Rigoletto, Ronconi realised all the tragic pathos 
of the part. The basso Tagliafico was Spera- 
fucile, and the charming Madame Nantier Didiee 
Maddalena. She had studied the part with me. 
The great quartette in the last act was encored. 

In 1855 came the first performance of II 
Trovatore. I was asked to teach Madame Ney- 
Biirde, a prima donna from Dresden, the part 
of Leonora, which I did. She had a mag- 
nificent and powerful soprano voice. Madame 
Viardot Garcia was superb as Azucena, Signor 
Tamberlik was the Trovatore, and Signor Grazi- 
ani (the incomparable baritone) sang the part of 
the Conte di Luna. Tamberlik studied with me 
Meyerbeer's Le Prophete, and also the title-role 
in Hector Berlioz's Benvenuto Cellini. I was pre- 
sent at the first performance of the latter opera 


on June 25th, 1853. Berlioz conducted it him- 
self, but it had no success, and was withdrawn 
after the second performance. 

My disappointment was great, as I had also 
coached Madame Nantier Didie for the part of 
Ascanio. My diary says : 

" May 22nd. To Madame Didie. M. Ber- 
lioz there : tried over Madame Didiee's part for 
his opera Benvenuto Cellini, which is to be pro- 
duced at Covent Garden under his direction. 
He beat time and I accompanied this difficult 
music prima vista." 

In order to give Tamberlik his lesson I had to 
be out at Haverstock Hill, where he lived, by 
seven o'clock in the morning. I had to walk 
all the way because at so early an hour I could 
not get a cab, nor could I have afforded to pay 
for one in those days. He used to practise with 
me for some time although he was always 
hoarse in the morning and afterwards he had 
a fencing-lesson and then his breakfast. He 
was a fine artist, and was splendid as Jean of 
Leyden in the Prophdte, singing the aria " Re 
del Ciel," with its famous high C (better known 
as the Ut de poitrine) from the chest, with great 
effect. Tamberlik had not such a beautiful 
voice as Mario, but he had more power in his 
high chest-notes, and was, perhaps, also more 
dramatic in his acting. He had a fine, com- 
manding figure, and was what I should call a 


tenor e robusto. He was a good musician too, 
and had no difficulty whatever in learning the 
difficult role of Benvenuto Cellini though, after 
all, what is it compared with the tenor parts of 
Wagner's Ring ? 

M. Prevost, Tamberlik's fencing-master, pro- 
mised to instruct me in his art in exchange for 
my giving his little daughter piano-lessons. The 
little girl came regularly as clock-work twice a 
week, and I had to give the lessons, although I 
was very busy and really had not time to get in 
all my fencing-lessons. M. Pre"vost was a re- 
fugee ; he taught fencing to the Prince of Wales 
and the members of the French Royal Family. 

In 1850 a series of concerts called " The Grand 
National Concerts " were given at Her Majesty's 
Theatre under the directorship of Balfe. The 
orchestra was first-rate, containing the finest 
instrumentalists in London; Molique, a pupil 
of Spohr, was the leader. 

The programmes were well arranged, and 
classical music was made a great feature of, 
though the symphonies of Mozart, Beethoven, 
and Mendelssohn were intermixed with dance 
music under the direction of Herr Joseph 
Labitzky from Carlsbad. He had made himself 
a name as a composer of dance-music, and was 
a contemporary of the old Johann Strauss (not 
to be confounded with his son, Johann Strauss, 
the composer of the famous "Blue Danube" 
waltz, and of Die Fledermaus and a host of other 


popular operettas) and another dance-music 
composer named Lanner. 

These concerts were also memorable for the 
bringing over, at my father's suggestion, of the 
famous Berliner Domchor, the cathedral choir 
of Berlin, consisting of eighty boys and men, 
with Director Neithardt as the conductor. I 
never heard anything more beautiful as a com- 
bination of men's and boy's voices. 

A feature of these National Concerts was the 
d6but of the young pianist, Miss Arabella God- 
dard, who was then a girl of fourteen years 
of age, and played a fantasia by Thalberg with 
immense success. She became famous after- 
wards as the best English woman pianist of her 

Being a member of the orchestra at these 
concerts helped me a great deal to appreciate 
classical orchestral music, as well as other styles, 
and so did hearing the best instrumental soloists. 
The chairman of the committee, the Hon. 
Charles Hugh Lindsay, was no mean player of 
the cornet-a-piston. The cornet, which has now 
gone out of fashion, was then a great favourite 
as a solo- instrument. After he left the army 
he became Colonel of the St. George's Rifle 
Corps of Volunteers. At one of their concerts 
at St. James's Hall, Mr. Sims Reeves sang 
for the first time, " God bless the Prince of 
Wales " ; the composer, Brinley Richards, was 
at the piano with myself, and we played the 


accompaniment as a duet \ Benedict was the 
conductor, and there was a chorus to sing the 
refrain. Naturally the song, which has since 
become a National Hymn, was vociferously en- 
cored and repeated with still greater effect. It 
became most popular, and was always sung at 
public dinners after the Prince's Toast, and at all 
functions where the Prince of Wales was present, 
or his name mentioned. Mr. Cocks, the music 
publisher of New Burlington Street, bought the 
song from Brinley Richards for a low price ; but 
after it had such an immense sale he presented 
the composer with a cheque for one hundred 

I became a naturalised Englishman in 1856, 
and was enrolled as a volunteer in the St. George's 
Rifle Corps, which Mr. Richards and several 
other musicians had joined ; but I did not re- 
main very long in it, as I found carrying a heavy 
rifle made my arm too tired and was bad for my 
piano-playing. However, I well remember tak- 
ing part in the Review in Hyde Park with the 
Corps in 1863, when the Princess Alexandra, as 
a bride, made her entry into London in an open 
carriage by the side of the Prince of Wales. 
Colonel the Hon. Charles Hugh Lindsay was 
then the colonel of the regiment. 



English operas under Maddox in 1848 Anna Thillon Weiss, 
composer of " The Village Blacksmith " Louisa Pyne 
First performance of Lurline Sir Henry Bishop John 
Hatton " Goodbye, Sweetheart " Henry Smart Sir 
John Macf arren Sivori Jansa Jullien and his Promenade 
Concerts English country seats Orleans House and 
Nuneham Park Princess Mary of Cambridge I am 
capsized on the Thames I visit Lord Dufferin and Sir 
Michael Shaw-Stewart at Ardgowan My confirmation at 
the Savoy Lutheran Chapel French political refugees 
Orleans House and its habitues A musical party of the 

I RECALL a series of English operas which were 
given in 1848 at the Princess's Theatre in Ox- 
ford Street, under the direction of Mr. Maddox. 
Mr. Edward Loder was the conductor, and he 
engaged me to play the violin in his orchestra. 

The charming Madame Anna Thillon was 
the principal soprano, and sang in Auber's 
Crown Diamonds most brilliantly. She was a 
beautiful woman ; in fact, I never saw a prettier 
woman on the stage, and she was most fasci- 
nating into the bargain. 

She was married to a Frenchman, and I think 
had studied in Paris. Monsieur Thillon was the 
conductor of the Philharmonic Concerts at 



Havre. The part of Queen Catherine in Crown 
Diamonds is most difficult to sing, but Madame 
Thillon sang it with the greatest ease, and all 
its difficulty seemed to vanish with her superb 
rendering. Miss Louisa Pyne also excelled in 
it in later years. Mr. Allen was the tenor and 
Mr. Willoughby Weiss the bass. 

Mr. Weiss, who was the composer of that 
popular song " The Village Blacksmith," be- 
came in time a great favourite, singing Elijah 
in Mendelssohn's great oratorio at the provincial 
festivals, and appearing at the Sacred Harmonic 
Concerts at Exeter Hall under Costa, and at 
many other good concerts. 

Edward Loder, the conductor, was the com- 
poser of a very melodious opera, called The 
Night Dancers, which was produced in 1846 and 
revived in 1860. Altogether the season was 
most successful. 

Another great English singer at this period 
was Miss Louisa Pyne, whom I have already 
mentioned in connection with Crown Diamonds. 
I remember her singing Catherine in that opera, 
and her vocalisation was superb. She had 
a clever sister, Miss Susan Pyne, who sang 
duets with her. She was co-director with Mr. 
William Harrison (the original Thaddeus in 
Balfe's Bohemian Girl) at Covent Garden and 
they carried on English opera there for many 
years, producing a new opera by Balfe, such as 
The Rose of Castile, or Bianca, the Bravo' s Bride, 


every year. It was at one of their seasons that 
I heard the first production of Lurline, by Vin- 
cent Wallace on February 3rd, 1860, in which 
Charles Santley made his first appearance as an 
operatic singer, and created at once a great 

Wallace composed many operas, of which 
Maritana is the most popular ; it is full of 
melody, and is still a great favourite in the pro- 
vinces. He was, like Balfe, an Irishman, and 
first came out as a boy violinist. He asked me 
to give his sister some lessons, which I did. I 
remember Santley singing one of his songs, " The 
Bellringer," most splendidly. 

I firmly believe that if Balfe and Wallace had 
lived twenty years later they would have scored 
their operas more fully than they did in the 
same way as Verdi scored his Aida y Otello, and 
Falstaff, and his immortal Requiem. 

Among the English composers now almost 
forgotten, but whom I should like to mention, 
as I saw a good deal of him, was Sir Henry 
Bishop. I remember him as a tall, thin, elderly 
man, with very little hair on his head, wearing 
a stiff white cravat. I met him first at the 
house of Miss Sophie Messent, an English singer 
who used to have an amateur choir, which per- 
formed some of Sir Henry's compositions, with 
me at the piano. 

Miss Messent used to sing some of his songs, 
which are Shakespearian and thoroughly English 


in character, such as " Tell me, my Heart," 
44 Should he upbraid," " Bid me discourse," 
and " Lo ! here the gentle Lark " with flute 
obbligato. The latter used to be a great 
favourite with sopranos such as Christine Nilsson, 
and Sims Reeves made Bishop's " Pilgrim of 
Love " and " My Pretty Jane " exceedingly 
popular, and he had to sing them at every ballad 
and non-classical concert, especially " My Pretty 
Jane," of which the public never seemed to get 

At that period, which was fifty or sixty years 
ago, all his compositions were very popular, and 
Miss Messent's choir used to sing his glees, such 
as <4 Blow, gentle Gales," 4t The Chough and 
the Crow," and 44 Sleep, Gentle Lady." Al- 
though his compositions are not much thought 
of nowadays, I think his ballads are better than 
many one hears at the present time ; at all 
events, that is my humble opinion. 

Another English composer of those days was 
John Hatton ; he was full of talent, and his 
compositions were typical of English music. 
He composed an opera called Pascal Bruno for 
Vienna, and another, Rose, or Love's Ransom, for 
Covent Garden, and a large number of beautiful 
glees and songs which have become very popu- 
lar, such as 44 Goodbye, Sweetheart," which Sims 
Reeves sang constantly, and which was taken 
up by all the leading tenors, and also 44 To 
Anthea," with which Santley always made a 


great hit and had to repeat. He still sings it, 
and no other baritone could ever compete with 
him in the fire and energy he displayed in its 

Another composer I knew and admired in 
those days was Henry Smart, nephew of Sir 
George Smart, the friend of Carl Maria von 
Weber, who died in his house in 1826. Sir 
George Smart and Charles Kemble went to- 
gether to Germany to ask Weber to compose 
an opera for Covent Garden. This he did, and 
brought it to London in 1826. It was his 
famous Oberon, in which John Braham took the 
role of Huon. 

Henry Smart wrote a cantata called The 
Bride of Dunkerron, and many glees and songs, 
and was also a fine organist. He is now for- 
gotten, like many of his contemporaries. 

Sir George Alexander Macfarren, also a pro- 
lific composer, was another friend of mine. He 
composed Don Quixote and Robin Hood, the 
latter opera being performed in 1860, with 
Madame Lemmens Sherrington and Sims Reeves 
in the principal parts. One of his most popular 
overtures was " Chevy Chase," and a serenata 
of his entitled " The Sleeper " was performed 
at the National Concerts in 1850. 

Unfortunately, his eyesight began to fail, and 
he eventually became blind, but notwithstand- 
ing this calamity he continued to compose, dic- 
tating the music to a secretary. He was Cam- 


bridge Professor of Music, and became the 
Principal of the Royal Academy of Music, which 
post he held until his much-regretted death. 

Among the many great violinists I have 
known was the celebrated player, Signor Camillo 
Sivori, who was a pupil of Paganini. One of his 
most popular compositions was the " Carnival 
of Cuba," an imitation of the once popular 
** Carnaval de Venise," composed by Ernst, 
whom I accompanied on the Jenny Lind tour, 
when he played it himself so successfully. 
Sivori's playing was superb, and his execution 
faultless. He was a short, thin man, with 
bright black eyes and a narrow face, exceedingly 
modest and full of kindness. 

He once came to a supper-party at my house 
in Queen Anne Street very many years ago, 
when my friend, Madame Parepa, the singer, 
was also present, and sang comic songs in which 
we all joined. Sivori and the great contra- 
bassist, Bottesini, often used to play violin and 
double-bass duets together and seemed to enjoy 
playing ensemble ; it was a great pleasure to 
hear them. 

Herr Leopold Jansa, another well-known vio- 
linist, came over to this country from Vienna in 
1851, and was one of the musical judges at the 
exhibition in Hyde Park. He played at a con- 
cert in aid of the Hungarian political refugees, 
and on that account the Austrian Government 
cancelled his appointment at the Imperial Court, 


although he told me himself that he had for- 
merly taught the present Emperor, Francis 
Joseph, the violin. He settled here and became 
a much-respected teacher of the violin, his best- 
known pupil being Madame Norman Neruda 
(Lady Halle). Jansa was a contemporary of 
Beethoven, and I have heard him relate that he 
had often played in that great master's quartettes 
for the first time of their performance. Bee- 
thoven, he said, would stand in a corner with 
his arms folded, and occasionally spring forward 
to point out some error or make some correc- 
tion in the rendering. 

Jansa used to conduct the, music at the Bava- 
rian Chapel in Warwick Street, and he asked 
me to play the organ there, a thing I very much 
liked doing, as the beautiful masses of Haydn, 
Mozart, and Beethoven were constantly sung. 

I may here mention that when the new 
Catholic Church in Hatton Garden was built 
(the one now called the Italian Church), I was 
asked by the Rev. Bruno di Faa to conduct the 
music there. I engaged a very good orchestra 
and the solo-singers were Madame Rudersdorff 
(then a celebrity) as soprano, Miss Julia Elton as 
contralto, and Mr. Swift as tenor I have for- 
gotten the name of the bass. After a few weeks, 
the whole of the musical performers were dis- 
persed, including myself, because the clergy 
could not afford to keep up such an expensive 
choir and orchestra. 


I must now say something about Monsieur 
Jullien, who was the originator of the Promenade 
Concerts. They were always crowded to suffoca- 
tion, and the crowd in the pit where the audi- 
ence promenaded jostled each other and made 
a great row. 

The orchestra was built over the stage. I 
was engaged to play in it as one of the side-drum 
players. These Promenade Concerts only lasted 
a month, but they set the fashion of such enter- 
tainments. At the old Promenade Concerts, 
where the orchestra had often to play somewhat 
hackneyed marches and such-like music, they 
used to signalise the return of the leading 
theme by all rising in their seats, recognising, as 
it were, an old acquaintance. The effect was 
very funny. 

One of Jullien's most popular compositions 
was called " The British Army Quadrilles," in 
which the ordinary orchestra was reinforced by 
a military band and a number of drummers 
and big-drum players to imitate the cannon- 
shots. " Rule, Britannia ! " finished this extra- 
ordinary battle-piece with great effect, and at 
the conclusion the audience always cheered 
Jullien with the greatest enthusiasm. 

This composition survived him for many years, 
and became a standard work at similar enter- 

It really was a sight to see him conduct, waving 
his baton right and left. He always wore an 


embroidered shirt-front with a white waistcoat, 
open wide enough to show it off. I must do 
him the justice to say that he composed an 
opera called Pietro il Grande which had a fair 
amount of success when produced at Covent 
Garden Theatre on August 17th, 1852. I was 
at the first performance of it, and an old friend 
of mine, Mr. Whitworth (Jones), sang the part 
of Pietro. He had a fine bass voice and a good 
stage presence. He quitted the operatic stage 
upon inheriting a large fortune, left him by a 
relation upon the condition that he should give 
up his operatic career. I often accompanied 
him when he sang privately at friends' houses, 
and, later on, when he married, my family be- 
came very friendly with his wife and children. 
He often sang, at my request, some of the famous 
songs which he made famous. 

In 1851 I was invited to pay the first of my 
many visits to Nuneham Park, the Oxfordshire 
seat of Frances, Countess of Waldegrave and 
Mr. Vernon Harcourt, M.P. for Oxfordshire, to 
play the piano during some theatrical perform- 
ances and to accompany some of the amateurs 
of the house-party in their songs. There I 
made the acquaintance of Mr. John Braham, 
father of the Countess, and doyen of English 
tenors. He was then in his eightieth year, but 
he sang " Total Eclipse " from Handel's oratorio 
Samson in a way I shall never forget, and with 
an amount of pathos that touched my heart. 


He also sang the well-known song, " The Death 
of Nelson," which I had the pleasure of accom- 
panying, singing it with an amount of fire and 
energy which was extraordinary in a man of 
his age. His high chest-notes were as fresh and 
pure as those of a young man of twenty-four. 
Sims Reeves and many well-known singers, such 
as Edward Lloyd and Ben Davies, continued 
to sing "The Death of Nelson " at concerts, 
especially the former, who always scored tre- 
mendously with it. 

Braham earned a great fortune by his sing- 
ing in London. He created the tenor part of 
Huon in Oberon, singing the great song " Oh ! 
it is a glorious sight to see," which Weber speci- 
ally wrote for him. Braham, although so rich, 
could not refrain from speculating, and he built 
the Colosseum (a kind of Diorama of Rome, 
which is now demolished) in Regent's Park, 
and also the St. James's Theatre, which happily 
is in a flourishing condition, through Sir George 
Alexander's clever management, though in Bra- 
ham's time it was also an unfortunate specu- 
lation and spelt disaster and ruin. Fortunately 
he had his wealthy daughter, Lady Waldegrave, 
to fall back on, who supported him until the 
end of his days. He had several sons, two of 
whom I used to coach in their operatic parts. 
The eldest, Hamilton Braham, was a baritone, 
Charles was a tenor, and the third was Augustus 
Braham, who, however, only sang at concerts, 


and never went on the stage. Charles Braham 
was the father of the present Lady Strachie. 

At Lady Waldegrave's I had the honour of 
making the acquaintance of H.R.H. the Due 
d'Aumale, son of King Louis Philippe and his 
wife, the Duchesse d'Aumale. The latter be- 
came my pupil for the piano and singing, and 
I used frequently to go to Orleans House, 
Twickenham, where we had music in the even- 
ings. The Duchesse's mother was an Austrian 
Archduchess, who married the Prince de Saler- 
no, brother of the King of Naples, King Bomba 
as he was called, who was such a tyrant. She 
always used to speak to me in German, with 
an Austrian accent. 

The late Duchess of Cambridge and her 
daughter, the Princess Mary of Cambridge (the 
late Duchess of Teck) used often to dine at 
Orleans House. Princess Mary joined in the 
music, singing various songs, one of which I 
remember distinctly was Marras's " S'io fosse 
un Angelo " and also Mendelssohn's duets in the 
original German, with the Duchesse d'Aumale. 
I always accompanied them on these occasions. 
The Princess Mary had a beautiful and sonorous 
contralto voice. This amiable Princess became 
my pupil later on ; I often gave her lessons in 
singing at St. James's Palace, and sometimes 
the Countess Apponyi, wife of the then Austrian 
Ambassador, used to come and sing duets with 
her. The Countess was exceedingly musical, and 




could read off music at sight wonderfully well. 
On one occasion Queen Victoria came quite 
unexpectedly to St. James's Palace to hear her, 
as she had been told about her singing and 
wanted to listen to it. 

I also met at Nuneham Park H.R.H. the 
Duchess of Gloucester, the old Duke of Bedford, 
the Marquis d'Azeglio (Sardinian Minister), the 
Countess of Shaftesbury, the Earl of Clarendon 
(who was then Minister), the Minister of Foreign 
Affairs in Lord Palmerston's Government, Sir 
William Vernon Harcourt (a nephew of Mr. 
Harcourt), then a young man, who became many 
years later on a distinguished member of Par- 
liament and Chancellor of the Exchequer, also 
Mr. Chichester Fortescue, who, after Mr. Har- 
court 's death married Lady Waldegrave as her 
fourth husband, the two previous ones having 
been the Hon. Mr. Waldegrave, and, after his 
death, his cousin, the Earl of Waldegrave. 

Mr. Chichester Fortescue was created Lord 
Carlingford and became a Minister in Lord John 
Russell's Government. He was an exceedingly 
pleasant man, and, like the Countess Apponyi, 
always spoke to me in German. Among the 
guests at Nuneham were also Viscount Chelsea, 
father of the present Earl Cadogan, Lord 
Dufferin, who had such a splendid political 
career as Viceroy of India and Ambassador at 
Rome and Paris, and Sir Michael Shaw-Stewart, 
as well as a host of other notabilities. 


One evening Lady Waldegrave danced the 
Truandaise from Esmeralda with Sir Michael 
Shaw- Stewart amid enthusiastic applause. 
" General Post " was a game in which every- 
body joined, including the elderly Earl of 

When I was staying there in 1855, Meyerbeer 
was expected on a visit, and a room was pre- 
pared for him ; but he did not come. I was 
very disappointed, as I had just been coaching 
Miss Jenny Baur for the part of Catherine in 
his L'Etoile du Nord, which was produced at 
Drury Lane that year in English. 

The Crimean War was raging at the time, 
and I witnessed an extraordinary scene when I 
attended a performance of that opera at Drury 
Lane on March 2nd. After the first act Mr. 
Smith the director came out and announced that 
the Czar was dead. There was tremendous ex- 
citement in the house and " God save the 
Queen " and " Partant pour la Syrie " were 
loudly demanded by the public amid tremendous 
cheering. I doubted if the news was true, but 
hoped at least that the war was at an end. 

I remember, while at Nuneham, going one day 
to Oxford by river with some friends. Before 
I started Lady Waldegrave asked me if I would 
call at the post office to see if there were any 
letters for her, and, if so, bring them back. 

I got the letters, but on the way back, as we 
were returning by rowing-boat, our boat upset 


through some of the men getting up in it at the 
same time, and we were all thrown into the 
river. Fortunately, I caught hold of a man 
who could swim, and so managed to reach the 
bank, but arrived at the house drenched to the 
skin. Of course all the letters, which I had 
placed in a side-pocket, were simply saturated, 
but Lady Waldegrave and all the visitors made 
light of it and had a good laugh over our adven- 
ture, and when the letters had been dried before 
the fire they were none the worse. 

Lord Dufferin had often asked me to visit 
him at his country seat, Clandeboye, near Bel- 
fast, and in 1852 I accepted his invitation. The 
journey from London to Belfast took nineteen 
hours. Lord Dufferin's first words to me were : 
"Do you find Ireland a desert and the people 
barbarians ? " I remained there some weeks, 
and used to play to him in the mornings and 
afternoons for hours, while he studied usually 
Chopin, as he was particularly fond of that 
master's works. His mother and grandmother 
were among the guests, also Mr. Hardinge, son 
of General Hardinge. Lady Dufferin was, as 
all the world knows, a delightful poetess, and 
composed some charming songs, such as "The 
Bay of Dublin," and "Katie's Letter." She 
was one of the three beautiful Sheridans, grand- 
daughters of Richard Brinsley Sheridan, the two 
others being the Duchess of Somerset and the 
Hon. Mrs. Norton. I greatly enjoyed my visit 


to Clandeboye, and I heard afterwards that a 
hill on the estate had been christened Ganz's Hill 
a great compliment to me. 

When Lord Dufferin returned from his famous 
voyage in the Foam to Iceland and Spitz- 
bergen he asked me to come up one evening to 
Highgate. His mother, Lady Dufferin, and her 
sister, the Duchess of Somerset, were there, and 
his cousin, Captain Hamilton. 

Lord Dufferin was in wonderful spirits. He 
wanted to hear all about the new opera, La 
Traviata, which had been produced that summer 
and asked me to play some of the music. Then 
I had to play his favourite Chopin nocturnes 
and try over some Swedish and Danish songs he 
had brought with him from Copenhagen. 

He showed me several curiosities he had col- 
lected on his voyage, and talked for a long time 
about his interesting experiences in the Far 
North. He read me a quaint example of a Lapp 
love-ditty. The Laplander is hastening on his 
sledge to his beloved one : 

" Hasten, Kulnasatz ! my little reindeer ! 
long is the way, and boundless are the marshes. 
Swift are we, and light of foot, and soon we shall 
have come to whither we are speeding. There 
shall I behold my fair one pacing. Kulnasatz, 
my reindeer, look forth ! look around 1 dost 
thou not see her somewhere bathing ? ' : 

As it was then midnight he wanted me to stay 
the night, but I said my father would be anxious 


if I did not return, so he ordered a carriage to 
take me home. 

When Lord Dufferin was English Ambassador 
in Paris he asked me to visit him there ; but, 
unfortunately, I was not then able to accept 
the invitation. 

From Clandeboye I went to Scotland, to visit 
Sir Michael Shaw-Stewart, travelling by steamer 
from Belfast to Greenock and from thence by 
coach to Ardgowan. I was charmed with the 
Clyde, with its scenery, which has a beauty pecu- 
liarly its own, and the fair Isle of Arran in the 
distance. Ardgowan lies on its banks most 

Sir Michael Shaw-Stewart, like Lord Dufferin, 
was exceedingly musical, and sang Scottish 
ballads and also the French comic songs of 
Levasseur very charmingly, in which I accom- 
panied him, as I had previously done at his 
entertainments in London during the season. 
Whilst I was staying at Ardgowan there was a 
tenants' ball, and I saw for the first time the 
Highland reels and jigs danced by the native 
farmers and their wives, in which the guests 
staying in the house also joined. It was a real 
pleasure to see with what energy and excitement 
these people danced their national dances. 

Lady Octavia Shaw-Stewart, the wife of Sir 
Michael, was a daughter of the Marquis of West- 
minster (he was the father of the late Duke of 
Westminster, who was created a duke by Mr. 


Gladstone), and he and the Marchioness came 
on a visit to Ardgowan while I was there. The 
old Marquis was very fond of music, and par- 
ticularly of the septette from Les Huguenots, 
which I often used to play to him. 

I also made my first acquaintance here with 
grouse-shooting on the moors. The shooting 
season had just begun, and Sir Michael handed 
me a gun and made me have a try ; but, I am 
sorry to say, without any result ! It was at 
Ardgowan that I learned to know the mode of 
living in these Scotch country houses, and noticed 
how well everything was regulated and the per- 
fect order maintained in their households. I 
kept up my acquaintance with many of the 
people I met there and at Nuneham Park for 
years after. 

I often met Sir William Harcourt in after- 
years. I remember meeting him unfortunately 
for the last time at a reception given by the 
Marchioness of Londonderry, when he spoke to 
me of the old days at Nuneham adding that 
Nuneham now belonged to him. Alas 1 he was 
not long able to enjoy his new possession, for he 
died soon afterwards. 

I recollect, when I was staying at Orleans 
House, the Duchesse d'Aumale telling me that 
Her Majesty Queen Amelie, the exiled Queen of 
France, widow of King Louis Philippe, was 
coming to her in a few days to hear her play 
some duets for piano and harmonium with me, 


and we had several rehearsals. On the event- 
ful day the Queen arrived, with her entourage 
of the old French nobility, including the Due 
de Montmorency. She was a tall, stately wo- 
man, with a very dignified air. She compli- 
mented us both warmly on the music, and added 
a few gracious words to me. 

The picture-gallery at Orleans House con- 
tained a great many ancient and modern French 
pictures. Some of the walls were hung with 
the battle-pictures of the great Prince de Conde, 
for the Due inherited all his property. The pic- 
tures and other works of art were given by the 
Due when he returned to Paris, after the fall of 
Napoleon and the Franco-German War, to the 
museum at the Chateau of Chantilly for the 
benefit of the nation. The Due's two sons bore 
the historical titles of Prince de Conde and 
Due de Guise ; unfortunately, they both died 
young, the elder, who was consumptive, while 
on a voyage to Australia for his health. The 
younger, whom I recollect as a sweet boy, did 
not long survive his brother; their deaths were 
a great blow to their parents, who were thus 
left childless. 

When I first came to England the French 
Revolution was then going on, and my father 
told me that the French King, Louis Philippe, 
had just arrived as a refugee at the Brunswick 
Hotel in Jermyn Street. There was, at that 
time, an outbreak here as well, led by the 


Chartists, and Louis Napoleon acted as a special 
constable during the riots. I was staying with 
some friends at Brompton, who did not wish 
me to go home in the evenings by myself, 
in case something might happen to me en 

The Chartists smashed the large glass win- 
dows at Swan & Edgar's in Piccadilly Circus, 
and did a lot of other damage besides. 

At that time I was being prepared for con- 
firmation by the Rev. Dr. Schoell, second Pastor 
of the German Lutheran Church in the Savoy, 
of which old Dr. Steinkopff was the Rector. I 
used to go every morning at eight o'clock to Dr. 
Schoell for religious instruction, and was finally 
confirmed on Palm Sunday, 1848. My diary 
says : 

" Sunday, April 16th. Palm Sunday : I got 
up early to dress, as I am to be confirmed to- 
day. The church was at 10.30. We boys went 
in : I stood first. The first of the girls was 
Countess Reventlow, daughter of the Danish 
Minister : next to her stood Fraulein von Bun- 
sen, daughter of the Prussian Minister. They 
both had pretty white dresses on, with veils on 
their heads and kid gloves. Then next to them 
were three girls in dresses given by the Church, 
as there is no need, as with us at home, to sub- 
scribe towards clothing the poor. They had 
brown dresses on and were dressed anyhow. 
All wore hoods, as it is not the custom here for 
a girl to go bare-headed, but to wear a hat or 
a hood. They looked just like peasants at a 
wedding at home. ..." 


In 1852 I was appointed, in open competition, 
to be the organist at this church. 

Many notable people attended service there 
every Sunday about that time, including the 
Prince of Prussia, who had to leave Berlin during 
the Revolution, and the Duchesse d'Orleans, 
who also had to fly from Paris. She was a 
Protestant, and on that account, I believe, was 
disliked by the French people. 

On several occasions when the Due and 
Duchesse d'Aumale gave big receptions to their 
French and English friends, I saw the other 
exiled Princes the sons of Louis Philippe the 
Due de Nemours, the Prince de Joinville, and 
the Due de Montpensier, who married a Spanish 
Princess, the sister of Queen Isabella. They 
were all fine, tall men, very distinguished-look- 
ing. I generally conducted a small orchestra of 
good players on these occasions, and the recep- 
tions were always very gay and lively, notwith- 
standing the fact that the French people present 
were exiled from their beloved country. English 
society used to be well represented at these 
gatherings, ambassadors, ministers, and diplo- 
matists with their families being gathered there. 

I continued my career as a pianist and teacher 
of the piano and singing, and coaching up 
operatic singers in their parts, and got on re- 
markably well. I had many musical parties 
to arrange, engaging the best artists. At one 
soiree, given by the late Baroness Burdett- 


Coutts (then Miss Burdett-Coutts) I engaged 
young Santley and Miss Gertrude Kemble 
(granddaughter of the great actor, John Kemble) 
who afterwards became his wife. 

All the political world was present that night, 
including the Earl of Clarendon, then Foreign 
Secretary, Viscount Palmerston, Prime Minister, 
also Samuel Wilberforce, Bishop of Oxford, and 
many other celebrities truly a brilliant galaxy. 



Opera in English at Drury Lane Jullien and Berlioz Madame 
Dulcken's receptions Alfred Bunn Adolph Ganz and 
German Opera in London Cremorne The great Monte 
Cristo Row Berlioz at the New Philharmonic Balfe and 
the Pyne and Harrison English Opera season at Coveiit 
Garden Balfe's extravagance How he composed His 
popular songs Alfred Gilbert Story of the German Reeds 
and their famous entertainments Jenny Lirid's Concert 

MONSIEUR JULLIEN was the director of the Eng- 
lish Opera at Drury Lane when I arrived with 
my father in 1848, and my father often took me 
there. Hector Berlioz, the celebrated French 
composer, was the conductor. 

I heard many operas there in English, in- 
cluding Mozart's Le Nozze di Figaro, the night 
after my arrival, in which Miss Charlotte Ann 
Birch was the Susanna. She had a very fine 
soprano voice. Miss Miran, who had a lovely 
mezzo-soprano voice, sang "Cherubino"; un- 
happily she died while still young. Sims Reeves 
and many other well-known artists also ap- 

Balfe specially composed an opera called The 



Maid of Honour for Monsieur Jullien, but the 
season did not last long ; as a matter of fact, I 
think Jullien mismanaged it. I was, however, 
highly gratified at hearing these performances 
in the National Theatre, and seeing Berlioz con- 
duct. The orchestra was splendid, among the 
players being an old friend of my father's, Herr 
Goffrie, who was one of the first violins. In 
later years he started a series of chamber con- 
certs on his own account, called Les Reunions 
des Arts in the old Beethoven Rooms in Harley 
Street. He brought out many new foreign 
artists, and I remember my uncles being engaged 
to play at some of them. Herr Goffrie after- 
wards went to California, and settled at San 
Francisco. Alas ! no soirees of that convivial 
and artistic sort have since been established in 
London. During the usual interval tea and 
coffee were served to the audience, and they had 
an opportunity of mixing with one another and 
making the acquaintance of the artists ; so they 
enjoyed themselves thoroughly. The Reunions 
were always well arranged, and only the best 
music was performed. I used to be the accom- 
panist at them. 

I remember going with my father in March 
1848 on Sunday evenings to the musical recep- 
tions of Madame Dulcken, pianist to Queen 
Victoria, in Harley Street. She was the sister 
of Ferdinand David, professor of the violin at 
the Leipzig Conservatoire the intimate friend 


of Mendelssohn, who dedicated his Violin Con- 
certo to him. I find in my diary : 

" Sunday, March IQth. After tea went to 
Madame Dulcken, where I accompanied Steglich 
(the famous horn player) on the piano. Molique 
and Berlioz were there. She lives in a fine 
house ; there is a good piano in every room." 

It was at Madame Dulcken's house that all 
the most distinguished musicians assembled, 
especially those who left Paris owing to the 
French Revolution. There I first met and 
heard M. Kalkbrenner, a German pianist, who 
had settled in Paris, Mr. Charles Halle, who, 
as every one knows, became one of the most 
important musicians in England and settled here, 
and Mr. Wilhelm Kuhe, who died here in 
October 1912, after residing in this country for 
more than sixty years, and celebrating his 
eighty-eighth birthday the previous December. 
He became, unfortunately, totally blind, and 
used to play the piano by touch only, but would 
play every day of course, without music for 
several hfours. 

Hector Berlioz used often to go there, and also 
his wife, an Irish lady who was a great Shake- 
spearean actress, and before her marriage was 
Henrietta Smithson. Berlioz had a fine, big 
head and a Roman nose, huge forehead, and 
piercing eyes. 

Some of these pianists played during the even- 
ing receptions. Madame Dulcken often played 


Mendelssohn's Concerto in G minor with Quin- 
tette accompaniment, played by my father, Herr 
Goffrie, myself, and two other instrumentalists, 
whose names I have forgotten ; in fact, she was 
almost the first to make this lovely concerto 
known and popular it was really her cheval de 
bataille. She was a very brilliant player, and a 
charming woman as well. 

Many years later her house was taken by the 
celebrated throat specialist, Sir (then Mr.) Morell 
Mackenzie, and he and Lady Mackenzie enter- 
tained there right royally many distinguished 
people and operatic stars, including Christine 
Nilsson, Trebelli, and Valleria, and many great 
theatrical lights as well, such as Sir Henry 
Irving. Sir Morell Mackenzie was particularly 
kind to artists, and they often came to him for 
advice, to be restored to health, and to get rid 
of their throat troubles ; and to all of them he 
gave his services gratuitously. 

Many years later my son Henry decorated the 
staircase of this house for him in the Pompeian 
style, with four figures representing the arts on 
a terra-cotta ground, while underneath is a 
black dado with classic masks. 

The wife of Ignaz Moscheles, the celebrated 
pianist and composer, used also to give musical 
receptions at her house in Chester Place, Regent's 
Park. I remember hearing from my father 
that Madame Moscheles told him, on one occa- 
sion, that she was expecting Mendelssohn to 


come on a certain evening and asked him, as a 
great favour, to allow the chorus of the German 
Opera, of which he was the conductor, to come 
to her house and sing the choruses from Men- 
delssohn's oratorio (Edipus in Colonos as a 
surprise for the composer when he arrived. My 
father and the chorus stood in the inner hall of 
the house, and when Mendelssohn arrived they 
greeted him with the strains of his own lovely 
music. He was naturally very pleased with the 
kind attention of Madame Moscheles, and thanked 
her most warmly. Of course this happened long 
before I came to England. 

I must not forget to mention Alfred Bunn, 
who was director of the English Opera at 
Drury Lane Theatre for nearly twenty-five 
years. He was the librettist of Balfe's Bo- 
hemian Girl, and manager of the German Opera 
seasons, at which my father was the conductor 
in 1840-42. 

These seasons were held at the Prince's Theatre 
(now the St. James's) in King Street, Drury 
Lane Theatre, and Covent Garden, and as Ger- 
man Opera was still a rare event here, afforded 
Londoners the opportunity of hearing many 
masterpieces for the first time. The operas 
given included Mozart's Don Juan, Zauberflote, 
Marriage of Figaro, Titus and Die Entfuhrung, 
Beethoven's Fidelio, Weber's Freischutz, Oberon 
and Euryanthe, and Gluck's Iphigenia in Tauris. 
The singers were such fine artists as Madame 


Stoeckel Heinefetter, a dramatic soprano, the 
great tenor Tichatschek (who created the roles of 
Rienzi and Tannhauser at Dresden) and the 
noted baritone Staudigl. 

Staudigl, who settled here, I afterwards saw 
frequently. He dressed very shabbily, and wore 
a sort of Inverness cape and a slouched hat, and 
did not look at all like a distinguished singer ; 
but that did not matter, for his voice was most 
expressive and beautiful, and he never forced it. 
I first heard him at the New Philharmonic Con- 
certs in 1852. 

My father and the company also went to 
Manchester and Liverpool in 1841. 

My father told me that Bunn once said to 
him : " Mon cher Ganz, si je n'avais pas assez 
d'argent pour vivre en luxe, je prendrais un 
pistolet et je me tuerais." I think that was 

I well remember Cremorne, and at the begin- 
ning of my career I was engaged by Signer 
Bossisio, the conductor of the concerts held 
there, to play the violin in his orchestra. The 
gardens were always beautifully illuminated in 
the evenings, and dancing was kept up there 
after the concerts were over. I was obliged to 
walk home in those days to my lodgings near 
Golden Square, Regent Street, which took me 
nearly an hour, as I could not get an omnibus at 
night, and cabs were too expensive anyhow, it 
was a good experience in orchestral playing. 

Kiast Night but Four. 




H the boaor of announ<.-m 5 r. EXTRAORDINARY COMBINATION of TALENT, cou9i*tiD C o< 


Evening, FRIDAY, inly lith, 1841O, 

Will Le |.erformed frtirrf noie in this Country) GLUCK'S Opora, (in Four AelsJ tailed 


Madame M1CHALE81, 
' TK...S Herr STAUD1GL, 

Ivhigenia. Madame STO^KEL, HEINEFETTER, 

P,lade,Herr WOLF."" SM-Y^I of tl.Jlcmpl.. Hr KRUG, A Scythiai, Herr BENESCH. 
7 Firrt PriesUM, M>dm- CHRIST. Second Friestess. Dem. FBOMB.ACM, 

A Gre*k Female, Dem. SEELAND, 




OF wHiHi'v^ix Finnr.BAV MUSICIAN*. 
Directed by Herr GANZ. 

Final Arrangements of the Season i 

On Monday, (Last Night but Three; the Opera of JfjSSONDA. 
*0n Wed*esday, (Last Nijfht but Two; fFHIGENIA. 
On Thursday, (LtA Ni s ht but One) Mozart's TITUS- 
On Friday, f"by particular deiircj Weber'* 





When we first came here my father and I 
lodged for some time in Queen Street, Soho, at 
the house of a Mr. Aspa, a piano-tuner employed 
by Broadwoods. The old Mr. Hipkins, of that 
firm, used kindly to allow me when a boy to prac- 
tise on their fine pianos in Great Pulteney Street. 
Aspa came back one day from the country and 
told us of an adventure he had had. He was 
on a lonely road when a footpad came up to him 
in a threatening way. Aspa quickly pulled out 
a tuning-fork and pointed it at him. The man 
hesitated for a moment, then turned and fled. 

On one occasion my father was taken suddenly 
ill, and I went off to find a doctor living in 
Montague Street, Bloomsbury. In my ignorance 
I thought this name had a French sound, and I 
asked my way to " Mont-ague " Street. No one 
could understand me, and I had to return home. 

One day, in Hyde Park, I saw the beautiful 
Lady Blessington driving up and down in her 
famous green carriage with Count D'Orsay, the 
great beau of the period. 

I well recollect the death of the old Duke of 
Cambridge, the grandfather of Queen Mary, and 
made a note in my diary : 

" July 8th (1850). To-day the youngest son 
of George III, the good Duke of Cambridge, died. 
He was in his seventieth year. Father knew 
him in Wiesbaden ; he played quartettes with 
him and my uncles there. He played on 
Stradivarius instruments belonging to the Duke. 
He was a very kindly man, and very fond of 


music, and was the patron of most concerts here. 
. . . He was universally mourned, as he was 
very kind to the poor." 

In the troublous times of 1848 a French com- 
pany of actors came over from Paris to London 
to perform Alexandre Dumas's great drama, 
Monte Cristo. The English actors in those days 
were so jealous of the fact that a French com- 
pany should play at the English National 
Theatre that they would not allow the French 
actors to be heard, and the public present at 
least the greater number of them hissed, 
shouted, and whistled the whole evening, so that 
not a line could be heard. The feeling against 
everything French ran very high. No doubt 
most people remembered that Napoleon's ardent 
wish was to invade England. I recollect so well 
when I first came to England some boys called 
out after me, " There goes a French boy ! " 
because I was dressed differently from English 
boys; and they had no idea of my being a 
German, forgetting that there were other nation- 
alities ! But now all this feeling has entirely 
disappeared, the entente cordiale being thor- 
oughly established. 

To return to my Monte Cristo story. The 
French actors were splendid, the scenery was 
perfect, and, although I could not hear them 
speak owing to the noise, I could gather that 
they were first-rate. I was playing the violin 
in the orchestra at the time, and it was an 


odd experience. The managers of the troupe 
gave up the idea of continuing to perform at 
Drury Lane, and they migrated to the St. 
James's Theatre, where the play was performed 
in perfect peace, and thoroughly enjoyed by the 
audience, and I was again engaged to play in 
the orchestra. 

This incident reminds me that I had the good 
fortune to hear the great French actress Rachel 
as Andromache in Racine's play. I have never 
forgotten the impression this famous tragedienne 
made upon me. I was at the time playing in 
the orchestra, a member having asked me to 
deputise for him. Since that time I have often 
seen the great Sarah Bernhardt (who comes 
nearest as an actress to her in my opinion), 
Madame Ristori (the Italian tragedienne, whom 
I met in Rome), and other great foreign 
actresses ; but I must say that Rachel surpassed 
them all. I do not wish to make comparisons 
with our own great English actresses, such as our 
universal favourites, Ellen Terry, Lady Ban- 
croft, Mrs. Kendal, Mrs. Patrick Campbell, and 
others who are and have been such great orna- 
ments of the English stage. 

A memorable event in the spring of 1852 was 
the first series of orchestral concerts given by 
the New Philharmonic Society, which was formed 
by Dr. Henry Wylde with the special object of 
producing novelties and giving concerts of the 
best kind. Great eclat attended these concerts, 


as Hector Berlioz, after his triumphant tours 
throughout Europe, was specially engaged to 
conduct. The orchestra consisted of 110 per- 
formers, the leaders being all well-known solo- 
ists, such as Sivori, Jansa (violinists), Goffrie 
(viola), the great 'cellist Piatti, Bottesini, the 
famous contrabassist, Remusat the flautist, 
Barret the oboist, and Lazarus the clarinettist. 
I was fortunate in being engaged as one of the 
second violins, and was much gratified when, 
during the first rehearsal, Berlioz said, " Ganz, I 
want you to play the small cymbals with Silas 
in the scherzo" We were rehearsing his Romeo 
and Juliet symphony, which has a wonderfully 
light and fairy-like scherzo to represent " Queen 
Mab," and he had had two pairs of small antique 
cymbals made to give a particular effect in it. 
There were several orchestral rehearsals, which 
for England at that time was a really great in- 
novation. Every one was intensely enthusiastic, 
and anxious to please Berlioz, who was a wonder- 
ful conductor. His beat was clear and precise, 
and he took endless trouble to get everything 
right. I remember his asking Silas and me to 
come and see him in King Street, St. James's, 
just to try over the passage for the little cymbals. 
I mention this to show the care he took over 
every detail. 

As a result, the first concert proved a veritable 
triumph for him, and it was generally admitted 
that no such orchestral performance had ever 


before been heard in England. The hall was 
crammed, and the audience was absolutely 
carried away and cheered him to the echo. There 
were similar scenes at all the following concerts. 
Perhaps the finest was the fourth concert, when 
the hall was packed to overflowing for Bee- 
thoven's Choral Symphony. Up to then the 
work had never been properly given in England, 
as the old Philharmonic Society, although it 
owned the original score, would never give it 
more than their customary one rehearsal. In 
consequence it was still regarded as an unin- 
telligible work. We had five rehearsals, at 
which Berlioz was indefatigable. 

The performance at the concert was masterly, 
completely realising all the grandeur and beauty 
of the immortal work, and the effect on the audi- 
ence was electrical, Berlioz being called out again 
and again amidst perfect storms of applause. 
The singers in the symphony were Clara Novello, 
Sims Reeves, and Staudigl. It was at this con- 
cert that I first heard the beautiful and poetical 
playing of Mile Wilhelmine Clauss, in Mendels- 
sohn's Concerto, an artist of great charm, 
who, unfortunately, only paid rare visits to this 
country. Berlioz gave selections from his Faust 
at a later concert, which again roused immense 
interest and enthusiasm. I was also in the 
orchestra in 1855, when he came again and 
conducted his Harold in Italy. 

The concerts were most interesting and in- 



structive to me, not only on account of the great 
privilege I had of playing under Berlioz's baton, 
but also because in later years I was enabled, 
when I took over the New Philharmonic Con- 
certs, to bring his great works once more before 
the English public. 

Balfe composed a new opera every season for 
the Pyne and Harrison English Opera Season at 

the Lyceum or Covent Garden Theatres, one of 
which was Satanella. It contained a pretty song 
called " The Power of Love," which became very 
popular, when sung by Louisa Pyne, and it was 
taken up by all the leading sopranos of that 
time. Another of his operas was The Rose of 
Castille, in which was a muleteer's song, which 
Mr. William Harrison sang, striking his whip 
with great effect, which was always encored, and 


also a comic trio called "I'm not the Queen " : 
this also went well. A comic singer of those 
days was Mr. Honey, who always caused great 
amusement whenever he sang in concerted pieces 
like this trio. Miss Susan Pyne, sister of Louisa 
Pyne, also took part in these operas, such as 
Bianca, the Bravo's Bride, and The Puritan's 

Balfe used to sit up at night composing, and 
his devoted wife used to keep him awake by 
giving him strong coffee. I believe he got a 
thousand pounds for each opera from Messrs. 
Boosey & Co., but he generally spent his 
money pretty freely, and I remember he bought 
himself a carriage and launched out into other 
extravagances ; and he was about the only 
operatic composer I ever saw riding about on 
horseback. Unfortunately, he did not save up 
for a rainy day. He was a very pleasant and 
cheerful-looking man. In his early days he had 
studied singing in Italy, and had sung there on 
the stage ; so he spoke Italian fluently, which 
came in very useful when he became the con- 
ductor of the Italian Opera at Her Majesty's 
Theatre. He was a first-rate conductor, and did 
not only beat strict time, as some conductors do 
(and their beat is like the pendulum of a clock !) 
but he showed sympathy with the singers by 
allowing them tempo rubato and also ritardandos 
and accellerandos if they did not over-step the 
rules of music or sing out of tune. Being a 



singer himself, he knew exactly where to give 
way to singers. 

Composing gave him no trouble ; it came 
fluently to him, and he had the gift of melody, 
which, by the way, does not count for so much 
in the present day. He asked me to give some 
lessons on the pianoforte to his daughter Vic- 
toria, 1 and we also played some sonatas for 
violin and piano, I taking the violin part. 

At one of Balfe's soirees in 1848 in Bruton 
Street, I heard Herr Joachim play ; he was then 
quite a young man. Madame Balfe had been a 
singer herself, and had sung under my father's 
direction at the Theatre at Mainz. After Balfe's 
death in 1870 she did everything she could to 
keep his memory green, and had a tablet erected 
to him in Westminster Abbey. 

I have written so much about Balfe because 
he was not only an interesting figure in the 
musical world, but was also such a kind friend 
to my father and myself, and it was owing to 
him that we were able to make London our 
home. I am afraid his music is not much 
thought of by the musical world of to-day ; but 
some of his songs will always remain popular, 
such as " Come into the Garden, Maud," and 
" Good-night, Beloved," which Sims Reeves, 
Edward Lloyd, and Ben Davies have all sung so 

A friend of mine long associated with the 

1 She became Duchesse de Frias. 


musical world was the late Mr. Alfred Gilbert. 
He was for many years Professor of the Piano- 
forte at the Royal Academy of Music, and a 
Director of the Philharmonic Society. The 
famous sculptor, Alfred Gilbert, is his son. 

Alfred Gilbert's wife was a Miss Charlotte 
Cole, and she and her sister, Miss Susan Cole, 
used to sing the duets which in the early fifties 
were hardly ever sung except by the sisters 
Louisa and Susan Pyne before they were asso- 
ciated with the Pyne and Harrison English 
Opera Company, and the sisters Brougham, who 
made Balfe's duet, " Beware, she is fooling thee ! " 
so popular. I used to accompany the Misses 
Cole at the recitals of Alexandre Billet, a Rus- 
sian pianist, at the St. Martin's Hall, in Long 
Acre, which was built by John Hullah for his 
own concerts. 

It was at one of Billet's recitals that the late 
Miss Bessie Palmer sang John Hullah's popular 
songs " The Storm " and " Three Fishers went 
Sailing," which are still such favourites with 
Madame Clara Butt. 

Another of my early memories is of Mr. 
German Reed, who, with his clever wife, gave for 
many years an entertainment in the Gallery of 
Illustration in Regent Street, started in 1856, 
which was neither theatrical nor exactly musical, 
but a little of both. People went to it, thinking, 
no doubt, they were not going to a theatre, 
about which many faddists had scruples sixty 


years ago. This entertainment was always most 
successful, and a delight to children ; it took 
place in the afternoon. 

After St. George's Hall was built in Langham 
Place, Mr. and Mrs. German Reed migrated 
there, which suited them admirably, as there 
was a real stage built in the Hall and they could 
have plenty of good scenery. At the end of 
each performance Mr. John Parry sang a 
number of his own songs, which always created 
great amusement. He accompanied himself most 
beautifully, his execution being perfectly mar- 
vellous. After his death he was succeeded by 
similar entertainers. 

The German Reeds gave several original light 
operatic entertainments, which they commis- 
sioned various English composers, such as 
Frederick Clay, Alberto Randegger, and Arthur 
Sullivan (who was then hardly known as a 
musical composer) to write for them. They 
had a nice little company of singers to assist 
them, one of whom was a young protegee of my 
own, Miss Fanny Holland, with a lovely mezzo- 
soprano voice. She sang and acted well, and 
was very prepossessing in appearance. The late 
Arthur Cecil was also one of the company, his 
dry and clever humour charming everybody. 
After each entertainment, subsequent to John 
Parry's death, the late versatile Mr. Corney 
Grain gave one of his inimitable musical mono- 
logues, admirably accompanied by himself. He 


was a clever follower of John Parry, and for many 
years gave his amusing sketches most successfully. 

When Mr. German Reed had carried on his 
operatic entertainments for some time, he had 
an idea of establishing English opera in a small 
way, and asked me to be one of his conductors, 
to which I agreed without hesitation. He enr 
gaged all the necessary vocalists and a small 
orchestra. The performances took place at St. 
George's Hall in the evenings. A charming 
operetta, by Arthur Sullivan, called The Contra- 
bandista, which was conducted by Mr. German 
Reed, served as a lever de rideau. I believe it 
was not the first, but the second opera bouffe 
if I may call it so by this genial and prolific 
composer, the first being Trial by Jury, in which 
Sullivan's elder brother sang and acted, and 
which had such a stupendous success. 

The Contrabandista made a great hit, and 
was received with acclamation. Then followed 
Auber's melodious opera-comique L'Ambassa- 
drice, in which Madame Louisa Liebhart took 
the part of the Ambassadress, singing and acting 
it extremely well. Before she came to England 
she had been a prima donna at the Imperial 
Opera in Vienna ; she was therefore well qualified 
to sing a big part here, and she was able to sing 
it in English, having only a slight foreign accent. 
She was a good actress, and looked well on the 
stage. The other artists in L' ' Ambassadrice were 
Mrs. Ainsley Cook (nee Payne), contralto, Mr. 


Lyall, a very good tenor and an excellent actor, 
and Mr. Ainsley Cook, a bass buffo and first-rate 
comic singer. I was the conductor, and had 
only a small, though efficient orchestra, as there 
was no room for a larger one. 

The performances were artistically successful, 
but Mr. German Reed did not receive enough 
support from the public to continue them, and 
therefore gave up the speculation as a bad job. 
I was very sorry, because I enjoyed conducting 
operas, which really was no trouble to me, and 
my father praised my efforts in this direction. 
Even now, when I am writing this book, more 
than fifty years later, English opera is not yet 
established, though many attempts have been 
made by the Pyne and Harrison Opera Company 
and the Carl Rosa and Moody-Manners Com- 
panies, but these only gave short seasons in Lon- 
don, and Mr. Thomas Beecham's series of operas 
in English in 1910 only lasted a few months. I 
am afraid that, as long as our Government refuse 
to support a native opera, nothing can be done 
to advance the art of English operatic music. I 
shall mention Arthur Sullivan's comic operas 
elsewhere. In the meantime, light operas, such 
as The Merry Widow, The Dollar Princess, The 
Chocolate Soldier, and others of that calibre hold 
their own and make their managers' fortunes. 

I have already mentioned Jenny Lind's ap- 
pearance at Her Majesty's Theatre in 1848, when 
I heard her in her incomparable performances. 


The late Mr. John Mitchell arranged a Concert 
Tour for her, of several weeks, in 1856, through 
the principal cities in England, Scotland, and 
Wales, and engaged me as accompanist. 

The other artists beside Jenny Lind and her 
husband, Mr. Otto Goldschmidt, who was an 
accomplished pianist and first-rate musician, 
were Herr Heinrich Ernst, the Hungarian violin 
virtuoso, Signor Piatti, the finest 'cellist of the 
day, and Mr. Willoughby Weiss, of whom I have 
spoken previously, and who was a favourite 

Mr. Goldschmidt accompanied his wife in all 
her songs, and I accompanied the other artists. 
It was a glorious tour, never to be forgotten, and 
created a sensation wherever the concerts were 
announced. When travelling, Jenny Lind and 
her husband occupied a first-class railway com- 
partment, next to that of the rest of us, and I 
heard her constantly practising her runs and 
shakes while going along. To my mind she was 
not the born singer that Adelina Patti is she 
had always to practise steadily to keep her voice 
in order, and was always studying her songs, 
while Patti, even at the height of her career, was 
not obliged to practise constantly. 

Ernst and Piatti passed their time during 
the long journeys in playing chess, both being 
accomplished chess-players. At the various sta- 
tions big crowds assembled to catch a glimpse 
of the great prima donna, and some of the people 


used to be bold enough to touch her dress as 
she was getting into her carriage to drive to the 
hotel, which always annoyed Jenny Lind ex- 
tremely. In Yorkshire, where we halted inside 
some of the stations, the people gazed into her 
carriage, and she was obliged to pull down the 
blinds. At the various hotels large crowds 
waited to see her arrive and also to see her start 
for the concert, so that sometimes she had great 
difficulty in entering her carriage. In fact, I 
never witnessed such excitement at any of the 
tours of the world-renowned artists as at that 
of Jenny Lind people were simply mad to see 
her, even at the greatest disadvantage. I do 
not mean to say that other artists have not 
created as much enthusiasm inside the concert- 
halls, but the people were not so demonstrative 
outside, at the stations and hotels. 

The concerts on this tour were always crowded ; 
the prices of the tickets were one guinea and 
half a guinea. In those days there were only a 
few big concert-halls ; the Free Trade Hall at 
Manchester did not then exist, and Jenny Lind 
was obliged to sing in the small town-hall there. 
Perhaps the greatest enthusiasm was shown in 
the Potteries. The concert took place in the 
Market Hall, Hanley, before an enormous audi- 
ence of about 5,000 people. I heard that 2,000 
factory hands had paid 2s. 6d. each to hear 
Jenny Lind. Their applause was tremendous, 
and at the end they gave three cheers, upon 


which she waved her handkerchief and kissed 
her hand. 

At Leamington the public seemed very re- 
cherche and only applauded very little. 

Her singing was really superb, and created the 
greatest enthusiasm. I remember, at the first 
concert, standing with other artists at the side 
of the platform hidden from view, and we all 
applauded to the echo, which made her very 
angry ! She positively forbade us to do it again, 
so we had to remain quiet for the rest of the 
tour, much against our inclination. 

She sang that night a grand aria from Bellini's 
opera, Beatrice di Tenda, and "Mighty Pens" 
from Haydn's Creation, then a duet with Mr. 
Weiss, and finished her concert with her famous 
Swedish songs the echo in some of them being 
a wonderful accomplishment, the sounds dying 
away into a mere whisper. It used to be said 
that she did this echo by ventriloquism ; but 
that was utterly absurd. In addition to being 
a marvellous executant she sang with intense 
feeling. Her cadenzas in Bellini's aria were im- 
mensely difficult, but she warbled them off with 
the greatest ease. The cadenzas in " Ah non 
credea," " Ah ! non giunge," and " Come per 
me sereno " all from Bellini's La Sonnambula, 
which she sang at her various concerts and also 
in the opera, were unique and quite in character 
with the music. They were published in later 
years by Otto Goldschmidt. 



As Amina in the opera, she sustained a long 
note in a cadenza in " Ah non credea " most 
wonderfully when she dropped the flowers Elvino 
had given her, the note dying off pianissimo. 
Of course, in a concert-hall she sang equally 
wonderfully, but could not drop the flowers, 

which had added greatly to the effect, because 
she had none ; but the audience was still always 

Ernst and Piatti played their solos splendidly 
I am always glad to have had the privilege of 
playing their accompaniments. Often in after- 
life, when I have accompanied various violinists 


in Ernst's pieces, I have told them how he 
played them and given them hints. Ernst was 
a tall, thin man, and people used to say he was 
like Paganini ; he had piercing black eyes, and 
long black hair, which fell down in elf-locks. 
He was a very nervous man, very highly strung, 
and his playing in slow movements was most 

Every one remembers our old friend Piatti, 
who for so many years kept his position as one 
of the greatest living 'cellists. His tone was 
comparatively small, but he played with intense 
feeling, and his execution was perfect. 

Mr. Weiss sang " I'm a Roamer," by Men- 
delssohn, and his own popular song, " The Village 
Blacksmith," which was generally encored. 

Jenny Lind gave up concert-singing much too 
soon, as she was still in the zenith of her powers. 
She was of middle height, with handsome fea- 
tures and a bright expression. She wore her 
pretty blond hair in bandeaux. 


Her upper notes sounded like silver bells. 
The range of her voice was from C to D in alt. 

When I compare her with Patti I must repeat 
that all her success was through study and 
hard work, whilst Patti had genius and her voice 
was of more exquisite timbre than that of Jenny 
Lind. I mention these facts because I have 
often been asked which of the two artistes I 
prefer. I might as well reply that I prefer 
Raphael to Leonardo da Vinci, or vice versa. 
There is really no comparison. 

My readers must forgive me for raving so 
much about Jenny Lind. I am one of the very 
few musicians perhaps the only one living 
now who heard her in her prime, so my recollec- 
tions of how she sang and what, in my humble 
opinion, I thought of her, may be of interest. 

An audience is, perhaps, not inclined to remem- 
ber that their favourite singers, being mortal, 
sometimes have need of refreshment in the 
intervals of performing great vocal feats. A 
story is told of Jenny Lind that, at her first 
appearance in Vienna, there were loud calls for 
a repetition of the famous air in La Sonnambula. 
Exhausted by her previous efforts, the singer 
felt she could not respond until she had re- 
freshed herself. So she came forward and said 
to the audience, "Now just a few moments for 
a glass of lemonade." The respite was willingly 
given, and she then repeated the air with sur- 
prising eclat, to the delight of the house. 



I have seen an amusing incident of a similar 
kind at Covent Garden. In the Hall of Song in 
the second act of Tannhduser, where the singers 
are assembled for the vocal competition and 
each seeks to outstrip the other, a famous prima 
donna was seated on her throne next to the 
Duke. She had sung her address to the Hall 
of Song, and was now no doubt thinking of her 
coming intervention on behalf of Tannhauser and 
the vocal efforts to be demanded of her. So 
she seized the occasion, when the attention of 
every one was engrossed by Wolfram's medita- 
tion, to bend down and pick up and drink a glass 
of red wine which had thoughtfully been placed 
at the side of her throne. The permission of 
the audience was in this case dispensed with. 



My first London concert at the old Queen's Concert Rooms in 
1855 Ernst Reichardt " Thou art so near and yet so 
far " Leopold and Moritz Ganz My second concert 
Clara Novello Viardot-Garcia Moritz Ganz, the master 
of Offenbach I attend the marriage of H.R.H. the Princess 
Royal and H.R.H. Prince Frederick William of Prussia 
My succeeding concerts and matinees A brilliant galaxy 
of helpers Sir Julius Benedict Madame Lemmens- 
Sherrington Signer Bazzini Mr. Sims Reeves fails me 
George Perren to the rescue Why Reeves used to disap- 
point Louisa Vinning Charles Santley Miss Kemble 
Lindsay Sloper Madame Parepa Madame Liebhart Miss 
Emily Soldene Master Frederick Cowen Miss Louisa Pyne 
Signer Randegger A young contralto, Madame Patey 
Madame Monbelli Madame Norman Neruda Miss Edith 
Wynne Patey and Sainton Dolby sing at the same concert 
Vernon Rigby Joseph Wieniawski Adelina Patti 
Trebelli-Bettini Kontski Graziani Scalchi Signer Foli 
Madame Carvalho, the original Marguerite Mile Marimon 
Titiens Marie Roze Concert d6but of Albani Edward 
Lloyd Antoinette Sterling William Shakespeare. 

IN 1855 I thought the time had now arrived 
when I should give a public concert, as I had a 
good connection and many friends and pupils, 
having also made the acquaintance of many 
distinguished people at Lady Waldegrave's. 

I gave my first London concert at the old 
Queen's Concert Rooms in Hanover Square, on 
June 14th, and have given annual concerts ever 



since. The audience included Lady Waldegrave 
and many of the musical circle I had met at 

The concert was most successful, and at its 
close I received many congratulations. I played 
Weber's "Concert-stuck" with quartette accom- 
paniment and felt very nervous ; but it went off 
very well. Among the artists who assisted me 
were Herr Heinrich Ernst, the great violin vir- 
tuoso, and Herr Alexander Reichardt, the popular 
tenor from Vienna, whose pretty song, "Thou 
art so near and yet so far," became a great 
favourite with singers. Monsieur Paque, the 
'cellist, also played. 

My second concert was in June 1856, given in 
conjunction with my uncles, Leopold and Moritz 
Ganz, the Conzertmeister to the King of Prussia, 
who had come over from Berlin, and my eldest 
brother, Eduard Ganz, who was a pupil of 
Moscheles and Thalberg. 

At this second concert we had many artists 
of European reputation to assist, such as Madame 
Clara Novello, who had a beautiful, bell-like, 
soprano voice. For years people used to rave 
about her singing of " God save the Queen " at 
the opening of the great Exhibition in 1851. 
The last time I heard her was at her farewell 
concert in 1860, at which she sang in Benedict's 
cantata Undine. I do not remember any other 
English singer with such a beautiful voice, and 
she was a very handsome woman as well. 



Another of our artists was Madame Viardot 
Garcia, sister of the late Manuel Garcia and 
Madame Malibran. I shall never forget her vivid 
and dramatic rendering of Schubert's " Erl- 
konig " which she sang with such fire and depth 
of feeling that the audience applauded enthu- 
siastically and insisted upon her repeating it. 

She afterwards captivated every one by two 
characteristic Spanish songs. Herr Carl Formes 
also assisted us ; he was the great basso who came 
out with the German Opera Company at Drury 
Lane in 1849, and at once made a great reputa- 
tion as Mephistopheles in Spohr's Faust, and also 
as Sarastro in Die Zauberflote. My uncles played 
several soli, and some duets for violin and 'cello, 
for which they were famous in Germany and Russia. 
My uncle, Moritz Ganz, was considered the 
finest 'cellist in Germany, and his tone was won- 
derfully good and his execution marvellous. He 
told me he taught Jacques Offenbach, the 
famous opera-bouffe composer, and Julius Rietz, 
who became opera-conductor at Dresden. I 
recollect Hermann Levy, the great Wagnerian 


conductor at Munich, telling me, when he con- 
ducted a concert at the Queen's Hall on 
April 25th, 1895, that at one time he was a pupil 
of my uncle's. 

The concert was under the patronage of H.R.H. 
Prince Frederick William of Prussia, who married 
the Princess Royal in 1858, and afterwards be- 
came German Emperor. I well remember their 
marriage, at which I was present, through the 
kindness of the Countess Bernstorff, who gave 
me a ticket for a seat on a stand which was 
erected in one of the courtyards in St. James's 
Palace, where about seven hundred people were 
seated. I saw the various court processions and 
the bridal cortege pass, and heard the music 
which was being performed at the Chapel Royal. 
It was an unforgettable occasion. 

Sir Julius Benedict, then Mr. Benedict, was 
one of the conductors at this concert, and also in 
the following years. 

Madame Lemmens Sherrington sang at my 
concert in 1857. She was a charming singer, and 
her vocalisation was perfect. Signor Bazzini, 
the distinguished violinist and composer, also 
took part in it ; his composition " Ronde des 
Lutins " became famous in later years, and 
Madame Norman Neruda played it repeatedly 
at concerts; but I noticed she played it much 
faster than Bazzini did when I used to accom- 
pany him. Later on Bazzini became the director 
of the Conservatoire at Milan. 


On February 19th, 1859, I gave the first even- 
ing concert in the new St. James's Hall. I had 
engaged Mr. Sims Reeves to sing at it and com- 
posed a song specially for him to sing, entitled, 
" When thou wilt be my Bride," dedicated to 
my fiancee. He rehearsed it with me and liked 
it very much ; but, to my great disappointment, 
his daughter came to me a few days before 
the concert to say that her father could not 
sing for me, as he had caught cold. This was 
indeed a blow, as a great many people had 
bought tickets on purpose to hear him. I had, 
however, taken the precaution to send my 
song to a young tenor, Mr. George Perren, 
who was then fulfilling a concert engagement 
at Birmingham, and he at once returned to 
London and took Reeves's place, and sang it 
with fine effect. It is only fair to say, in justice 
to Sims Reeves, that his constant failures to 
appear were not due to any caprice of his own. 
He had a delicate throat, and did not like to risk 
his reputation by singing when he was not in 
good voice. 

At this concert Miss Louisa Vinning, who, 
when she sang as a child, used to be called " the 
Infant Sappho," sang a song of mine called 
" Sing, Birdie, Sing," which was encored, and 
Miss Stabbach sang another song composed by 
me called " The Murmuring Sea." In 1850 I 
had had a few lessons in harmony and com- 
position from Carl Eckert, the composer of the 


celebrated Echo Song, and I continued my 
studies with Carl Anschiitz, the conductor of 
the Wednesday Concerts at Exeter Hall. Mr. 
Santley gave me his valuable co-operation and 
sang with his future wife, Miss Gertrude Kemble 
(already mentioned in a former chapter as singing 
at Miss Burdett-Coutt's soiree), the duet " Crudel 
perche " from Le Nozze di Figaro. M. Remenyi, 
the remarkable Hungarian violinist, also appeared, 
as well as Signor Piatti, the incomparable 'cellist. 

At my concert in 1860, which I gave at the 
Hanover Square Rooms, Madame Catherine 
Hayes, the great Irish soprano, appeared. 
One of her songs was composed by a clever 
amateur, Miss Virginia Gabriel, and was called 
" The Forsaken." Madame Sainton-Dolby also 
sang ; she was a ballad singer par excellence, and 
was famous in oratorio, and Mendelssohn greatly 
admired her singing. Her husband, M. Sainton, 
the well-known violinist, also played at this con- 
cert ; he was for many years leader of the orchestra 
at Covent Garden, under Michael Costa. 

In 1861 I gave two matinees and a soiree at 
my house in Queen Anne Street. Among the 
artists who appeared were the sweet-voiced 
tenor Signor Gardoni, Signor Delle Sedie, and 
M. Jules Lefort (both baritones), Mr. Weiss 
(bass), and the clever pianist Lindsay Sloper, who 
accompanied the artists and also played a duet 
with me. About that time he and Mr. Benedict 
were the most popular accompanists of the day. 


At my concert in 1862, Madame Euphrosyne 
Parepa sang, among others, my song, " Sing, 
Birdie, Sing." She had an exceptionally high 
soprano voice and great facility in florid music, 
and made my songs very popular ; but I shall 
speak of that later on. 

In 1863 Louise Leibhart, prima donna from 
the Imperial Opera in Vienna, sang some German 
songs delightfully. She settled in London and 
became a great favourite. Miss Emily Soldene 
also sang at this concert ; she was a pupil of 
Mr. Howard Glover, the musical critic of the 
Morning Post, who recommended her to me, 
and asked me to let her sing. She sang after- 
wards in Offenbach's light operas, such as the 
Grande Duchesse and Genevi&ve de Brabant, with 
great success, and made a good reputation. She 
died last year (1912) at an advanced age. A 
Swedish singer, Mile Mathilde Enequist, also 
sang, and pleased the audience greatly with her 
Swedish folk-songs, into one of which she worked 
a lovely shake. 

In 1865 I gave a concert at Dudley House, 
Park Lane, kindly lent me by the Earl of Dudley, 
who was a great patron and lover of music, 
especially operas, and became my pupil for 
singing. He had a pleasant tenor voice and 
great taste in music generally. At this concert 
I played a duet for two pianos, an aria from 
Gounod's Faust arranged by G. A. Osborne, with 
Master (now Sir Frederick) Cowen. He was a 



protege of Lord Dudley's, who sent him to Berlin 
and Leipzig to finish his musical education. 

At my concert in 1866 Madame Parepa sang 
a new song of mine, called " The Nightingale's 
Trill," with enormous success. She was the wife 
of Carl Rosa, and a great oratorio and opera 
singer. She was a woman of great personal 
charm and truly sympathetic nature. The suc- 
cess which this song immediately attained was 
entirely due to her ; she had sung it for the first 
time at the Crystal Palace on March 14th, 1865, 
and that autumn had made it one of her chief 
songs during her American tour. The following 
triple acrostic appeared in the New York Express : 

EXPRESS," 1868 

E nchantress thou of song ! P hilomel, the gods thee 

sweet kee P ! 

U ndarken'd be thy sky, good A ngels guard and be ever 

nea R ! 

P ours from thy charmed B ill of song a rill, eay I, 
throat a 

H ow poor the term ! a flood, E oho hears, prolongs the 

and char M. 

B egina thou of hearts, and P aragon of art, true Prima 

Donn A, 

lympua greets its priestess, A polio wreaths doth blen D ; 

S ister of the Muses ! theirs B ealm where from us dost 

thy g ; 

Y et may'st Rose cMrie, with- rb to with us long re- 
in this mai N ; 

N oon splendid as thy voice, S yren, fate shine o'er thy 

oh, mortal spa N, 

E arth's chiefest bliss be thine ! A Imoner of Music's joys, on 

fair Parep A ! 


-*2*-"4- ~^nz 
~-&*^&^2^ X2^, 




The next winter Madame Parepa wrote and 
asked me to join her on tour in the United 
States. To my great regret, I was unable to leave 

The following year Madame Louisa Pyne, the 
famous prima donna, who was a co- director of 
the Pyne and Harrison English Opera Company, 
sang for me. Signor Alberto Randegger was 
one of the accompanists. He became a noted 
teacher of singing, and was for many years con- 
ductor of the Carl Rosa Opera Company, and 
afterwards at Covent Garden, where he princi- 
pally conducted the classical operas. Unfortu- 
nately, Randegger died, after great suffering, in 
January 1912. 

In 1868 a young contralto, Janet Patey, 
appeared at my concert. She had a beautiful 
mellow voice, and after Madame Sainton Dolby's 
death became the leading contralto at all the 
great London concerts and provincial festivals. 
From her first appearance onward she sang at 
all my concerts, and we became great friends. 
She could sing florid music, and shake extremely 
well, and her voice had a big compass. In great 
Italian arias and simple English ballads she was 
equally good. 

At my concert in 1869 Madame Monbelli from 
Paris appeared among the artists and sang with 
great charm the Cavatina " Come per me sereno " 
from La Sonnambula. At this concert Madame 
Norman Neruda, the fine violinist, who after- 


wards became Lady Halle, played in Mendels- 
sohn's D minor trio, in conjunction with M. 
Paque ('cello), and myself. Miss Edith Wynne, 
a first-rate Irish ballad-singer, pleased very 
much, and the two celebrated contraltos, Madame 
Sainton-Dolby and Madame Patey, also sang. 
At the present time it would hardly be likely for 
two such great singers of the same kind of voice 
to perform at the same concert, and I may con- 
sider myself very fortunate in never having 
had any difficulty in obtaining the kind ser- 
vices of the very best artists. 

I do recollect, though, that on one occasion 
an English contralto, who was announced to 
sing at one of my concerts at St. James's Hall, 
found fault because her name was printed on 
the bills in smaller letters than the names of 
the Italian opera-singers, who also sang for me 
on that occasion, and I had some difficulty in 
pacifying her and persuading her to sing. 

To return to my concert in 1869, Mr. Vernon 
Rigby, a tenor who imitated the style of Sims 
Reeves very well, also sang, and M. Joseph 
Wieniawski, brother of Henri Wieniawski, played 
the duet " Hommage a Handel," by Moscheles, 
with me. In those days it had great popularity, 
but now no one plays it, and it is quite forgotten, 
like many similar compositions. 

In June 1870 I gave a big concert at St. 
James's Hall, at which the greatest singer of 
the age, Madame Adelina Patti, sang the great 


aria " Bel Raggio " from S emir amide with em- 
bellishments and cadenzas specially written for 
her by its composer, Rossini, and also my song 
" The Nightingale's Trill." Needless to say, 
she created a great sensation, and was loudly 
encored in both. Later on I shall write a special 
chapter on this great artiste, who became from 
that time my staunch friend, and has continued 
so for forty-three years. This concert was re- 
markable for the galaxy of operatic stars who 
appeared, amongst whom was the fine contralto, 
Madame Scalchi, who sang Italian bravura arias 
as I had never heard them sung since Alboni. 

Madame Trebelli-Bettini, the famous con- 
tralto singer, Mile Carola (a German with an 
Italian name), Madame Orgeni, a soprano from 
the Royal Opera, Dresden, Signer Bettini, hus- 
band of Madame Trebelli, and Signor Graziani, 
whom I consider the finest baritone I ever heard, 
also assisted me, likewise Signor Foli, the Irish 
bass, whose name was really Foley, but who 
Italianised it in deference to the custom in 
those days among English singers. 

He was, at any rate, a good Italian scholar, 
and had studied in Italy. He was also an in- 
veterate gambler, and would bet on the number 
of flies on the ceiling ! He caught a severe cold 
going to Liverpool to see a musical friend off to 
America, from which he never recovered, al- 
though in outward appearance he was a very 
strong man. His favourite songs were, among 



others, " I'm a Roamer," Gounod's " She alone 
charmeth my Sadness," and especially Irish 
ballads, which he sang with a good Irish brogue, 
such as " Father O'Flynn " and " Off to Phila- 
delphia." He was a true friend to all beginners, 
and used to give them good advice. 

Many years afterwards I went on a tour, with 
Madame Trebelli and other well-known artists, 
through England, Scotland, and Ireland. 
Madame Trebelli was always in the highest 

spirits, and full of wit and humour, and we had 
many amusing supper-parties after the concerts. 
One day an enormous parcel arrived for Signor 
Foli, and he started unpacking sheet after sheet 
of brown paper. At last, amid roars of laughter, 
he came upon a small piece of brown fat, a 
delicacy to which he was specially partial ! 

Madame Trebelli had a curious fancy for col- 
lecting a plate from every hotel at which she 
stayed. These plates were used to decorate her 
drawing-room in Abbey Road, St. John's Wood. 


I always made a point of seeing the sights in the 
cities we visited, and the artists used chaffingly 
to say, " Now Ganz is off to see a cathedral." 

But to return to my concert. Among the in- 
strumentalists was the famous Polish pianist, 
Chevalier Antoine de Kontski, who played with 
me a duet of his own arrangement on airs from 
Les Huguenots. One of his compositions, which 
became famous all over the world, was a piano- 
forte piece called " Le Reveil du Lion." I be- 
lieve he was a pupil of the pianist Hummel, who 
was the conductor of the orchestra at Weimar. 
Once, when I gave a musical party at my house, 
he played a reverie of mine, called Vision du 
Passe, which he had only heard me play once, 
and he surprised me very agreeably by giving a 
new and improved version of it from memory. 
He was not only extremely clever, but full of 
fun, and very witty. 

His habit of wearing 'several foreign orders 
across his shirt-front and his being somewhat 
of a spendthrift earned him the sobriquet of 
" Der Ritter der Vier Kreutzer." He was al- 
ways anxious that his appearances on the plat- 
form should be signalised by every mark of 
popular favour, and at his recitals, even in the 
depth of winter, a large wash-basket would 
arrive full of wreaths and bouquets of flowers 
to be handed up to him after he had played. 
He would spend as much as 15 or 20 a con- 
cert on these " floral tributes." 


Signer Bevignani, conductor at Covent Gar- 
den, was one of my accompanists at this concert. 

As I am afraid it may weary my readers if I 
give too many details of my annual concerts, I 
will only add a few more of the names of cele- 
brities who assisted me at the succeeding ones. 
Among them at my concert in 1871 was the 
prima donna Madame Miolan Carvalho, the 
original Marguerite in Gounod's Faust when it 
was produced in Paris, who had a beautiful voice 
and brilliant execution; also Mile Grossi from 
Berlin, and the incomparable Madame Viardot 
Garcia, who had already appeared at my concert 
in 1856 and was over in England again, owing 
to the war between France and Germany. 

While speaking of Madame Viardot Garcia, I 
may add that in 1867 I was staying at Baden- 
Baden, then a resort of the most famous artists. 
At one of the concerts I attended at the Kursaal, 
Grisi, Mario, and Madame Viardot Garcia all 
sang. Madame Viardot invited my wife and me 
to visit her, and I well remember a certain 
matinee d'invitation which she gave at her house, 
where she had a beautiful music-room, with an 
organ. We heard delightful music, rendered 
by Mile Artot, Delle Sedie, and de Beriot. 
Madame Viardot accompanied almost every- 
thing herself, and also played the organ in 
Gounod's " Ave Maria." The Queen of Prussia 
was present, and praised all the artists. I 
noticed, among the guests, the famous Russian 


novelist Turgenieff a fine, tall man with a white 

Mile Mathilde Sessi, a brilliant soprano who 
was then singing at Covent Garden, also sang 
at my concert in 1871, one of her special roles 
being Ophelia in Ambrose Thomas's Hamlet. 
She had long and very beautiful natural fair 
hair, which was exactly suited to the part. She 
married Baron Ludwig von Erlanger, of Frank- 
fort, uncle of Baron Frederick d'Erlanger the 
composer, and soon after retired from the operatic 
stage. I had also exceptionally fine baritones, 
Herr Julius Stockhausen, the great singer from 
Frankfort who gave fine interpretations of Schu- 
bert's " Nachtstiick," and " Du meine Seele," 
by Schumann and Signor Cotogni from Covent 
Garden, the artist who excelled as Figaro in 
II Barbiere. Signor Tito Mattei, the popular 
pianist, was one of the accompanists. 

A remarkable concert took place in 1872. 
Among the artists who lent me their aid was the 
great Teresa Titiens, and also Miss Clara Louise 
Kellogg, an American soprano, and Mile Marie 
Roze. Mile Roze was a very pretty woman, 
and Auber wrote the principal part in his latest 
opera, Le premier jour de bonheur for her, which 
was produced at the Opera-Comique in Paris. 
She became very popular, and a great favourite 
at Her Majesty's Theatre. Signor Fancelli, the 
tenor, and Signor Agnesi, the baritone, also sang 
at this concert, but one of its sensations was the 


singing of the new tenor, Signor Italo Campanini, 
brother of Signor Cleofante Campanini, lately 
the principal conductor at Covent Garden, who 
created as great a furore on his first appearance 
at Drury Lane in 1872 as Cennaro in Lucrezia 
Borgia as Giuglini did at Her Majesty's Theatre 
in 1857. Mile Marie Marimon sang for me in 

My concert in 1874 was remarkable for the 
first appearance on any concert platform of 
the young Canadian soprano Mile Emma Al- 
bani. She sang the great scene and aria " II 
dolce suono " from Lucia, and " O luce di 
quest'anima" from Linda di Chamounix, and 
received a great ovation. Another of the items 
on the programme was Gounod's " Ave Maria " 
on Bach's Prelude, sung by Mile d'Angeri with 
violin obbligato by Signor Papini, piano by Sir 
Julius Benedict and harmonium by Signor 
Randegger a fine combination which pleased 
the audience greatly. Mr. Frederick Gye, 
director of Covent Garden, was present, as he 
was much interested in Mile Albani's platform 
dbut and wanted to see how she got on at a 
London concert. His son Ernest afterwards 
became her husband. She held for many years 
a distinguished position at the Opera, and no 
festival was complete without her assistance, 
nor the Royal Albert Hall Choral Society's con- 
certs, at which she was generally joined by the 
leading English singers, such as Madame Patey, 


Mr. Edward Lloyd, and Mr. Santley a splendid 
quartette ! 

Madame Essipoff, the Russian pianist whom I 
had introduced at the New Philharmonic Con- 
certs in 1874, played Schumann's duet with me 
on two pianos, and another item on the pro- 
gramme was a quartette for four performers on 
two pianos by Benedict played by the com- 
poser, Mile Marie Krebs, Frederick Cowen, and 

In 1875 I gave a matine'e and a soiree at my 
house in Harley Street, at which Edward Lloyd 
sang. This great artist is well remembered by 
the present generation. For years he was the 
leading tenor at all the provincial festivals. He 
took leave of the British public at his farewell 
concert at the Royal Albert Hall on Decem- 
ber 12th, 19QO, at which I was one of the con- 
ductors in conjunction with Dr. Hans Richter 
and Sir Edward Elgar. Lloyd was recalled 
again and again at the end of the concert, and 
I rushed to the piano and struck up " Auld 
Lang Syne," which was sung, with clasped hands, 
by Albani and the rest of the artists, who were 
Clara Butt, Evangeline Florence, Sarah Berry, 
Ben Davies, Santley, Kennerley Rumford, Lane 
Wilson, Plunket Greene, Johannes Wolff, and 
Gertrude Peppercorn. 

I consider that Lloyd retired too early, being 
still in his full powers, but he told me afterwards 
he wanted to retire while in his prime without 


waiting until he had lost his voice. He lives 
now at Worthing, where he cultivates the best 
music and gives concerts for the benefit of the 
inhabitants of Worthing as a labour of love. I 
think he has also built a concert-room there. 
Not long ago he paid me a visit at Brighton, 
when I was staying there, and he was looking 
very well and jovial. 

At one of my matinees in 1875 Herr Wilhelmj, 
the famous violinist, and M. Jules de Swert, first 
violoncellist at the Berlin Opera-house, also 
appeared, and Herr Auer, from St. Petersburg, 
played at my concert the next year. He came 
over to England, after an absence of thirty years, 
and played at a concert in 1907 given by his 
clever pupil, Mischa Elman, playing with him 
a duet by Spohr. I remember Leopold Auer's 
first visit to England when he was quite a young 
man, and I used to accompany him at Ella's 
Musical Union Matinees and other concerts, in 
the fifties. 

Madame Antoinette Sterling sang for me at 
my concert in 1877. This famous contralto 
made Sir Arthur Sullivan's song, " The Lost 
Chord," which he wrote for her, so popular that 
it is interesting to note that when he first brought 
it to her she did not like it ! Fortunately, how- 
ever, she changed her mind and the royalties 
she received from it must have been enormous. 
I should say there has never been another song 
that has sold so well. She also made Cowen's 


" Better Land " immensely popular, and when- 
ever she sang the old Scotch ditty " Caller 
Herrin " she used to bring the house down, for 
no one ever sang it as she did, and her Scotch 
pronunciation was simply perfect. At this con- 
cert a young French violinist, Mile Marguerite 
Pommereul, who was recommended to me by 
Anton Rubinstein, also played. She was very 
pretty, and a good artiste. The same year, at a 
concert I gave at Lord Dudley's picture-gallery, 
I introduced Brahms' beautiful Liebeslieder 
Walzer, the vocal quartette including my old 
friend William Shakespeare. 



The Earl of Dudley My concerts in his picture gallery Sarasate 
The Earl's 20,000 Sevres dinner-service His great 
generosity A sudden blow My subsequent concerts 
Joseph Hollman Mary Davies Minnie Hauk Alwina 
Valleria Maybrick " Nancy Lee " goes begging I accom- 
pany it for the first time of hearing Maude Valerie White 
" The Devout Lover " Joseph Maas Marian Macken- 
zie Tremelli Isidore de Lara Dudley House again 
Nordica Bottesini His double-bass Anecdote of Paganini 
Nikita Zelie de Lussan Ben Davies His engagement 

in Dorothy " The Daisy Chain " Emma Holmstrand 

Elizabeth Parkinson makes her d6but at my concert. 

IN 1878 my matinee took place at Dudley House, 
by kind permission of the Earl of Dudley. 
Madame Trebelli sang, and Senor Pablo Sarasate 
played, also joining me in Schumann's splendid 
Pianoforte Quintette. There is no occasion for 
me to sing his praises, for all the world knows 
what a great artist he was, and his much-re- 
gretted death in 1908, at the age of sixty-four 
years, left a gap which has never been filled. 

Lord Dudley's picture-gallery, where my con- 
cert took place, was hung with the most famous 
old Italian and Dutch masterpieces. He had 
just then bought several additional paintings, 



and he said to me, " Ganz, when the concert is 
over, ask your audience to look at the new pic- 
tures." These were hung next works by 
Raphael, Murillo, and other great masters, so 
the audience had a great artistic treat. 

Lord Dudley was genuinely fond of good 
music, vocal and instrumental, and often gave 
private concerts in his picture-gallery. He loved 
to get them up in impromptu fashion, and would 
say to me, " Ganz, I want to give a musical 
soiree to-morrow, and you must rush about and 
get the artists together." 

As there were no telephones in those days, 
my difficulties can be imagined ; but I invariably 
succeeded because most artists, even the opera- 
singers and first-rate instrumentalists, liked to 
appear at the house of such a patron of the Arts 
as Lord Dudley. At these soirees there was 
frequently a member of the Royal Family pre- 
sent, and everybody listened most attentively 
to the music. His programmes were always 
headed " II piu grand 5 omaggio alia musica e 
il silenzio ! " 

On one occasion Lord Dudley had a perform- 
ance of Gluck's Iphigenia, conducted by Charles 
Halle ; there was a small orchestra, and I was 
at the piano. Titiens sang the leading role and 
Halle had engaged a chorus ; so it was well given, 
and produced a great impression. 

Lord Dudley was not only a lover of music, 
but also of painting and sculpture, and he was 


particularly fond of china. He bought a blue 
Sdvres dessert-service at Prince Demidoff' s sale 
in Paris, for which he paid the enormous price 
of twenty thousand pounds, and he was so 
pleased with his new acquisition that he invited 
the Prince and Princess of Wales to a luncheon 
party at which it was used for the first time. 

Lord Dudley himself designed the famous ball- 
room with alcoves and had small tables placed 
in them at supper-parties. He told me that he 
was the first to institute small tables for supper 
in place of the long buffet which was formerly 
the fashion. 

I used to teach him singing, and gave him 
lessons three times a week on the tenor songs from 
the operas. He used to imitate Giuglini, who 
was the tenor then in vogue, trying to reach 
high C in falsetto. He studied some operatic 
duets with me from Carmen and other operas, 
which he afterwards sang with a good operatic 
soprano. He was very particular and thorough 
over his music, and dissected every phrase, and 
asked me about certain forms of the music, and 
translated the Italian and French texts into 
English to make the meaning of the words per- 
fectly clear to himself. He really sang with 
great taste and expression. 

After a soiree he used to say to me, " Ganz, 
bring your bill to-morrow," which I invariably 
did ; but when he looked at the artists' fees he 
would say they were too small, and write out a 


cheque for double the amount. In fact, he was 
very generous. I often used to ask him for a gift 
for some deserving charity, and he never once 
refused. I remember the late Mr. Hancock, 
the jeweller of Bond Street, used to go to Dud- 
ley House with packets of jewellery, which he 
displayed in the billiard-gallery after dinner. 
Lord Dudley used to select rings, brooches, 
necklaces, and so on, and present each lady 
staying in the house with a bit of jewellery, much 
to their delight. 

After one of our music-lessons he asked me 
whether I was going to hear Sarah Bernhardt, 
who was just then drawing all London. I told 
him I could not get any tickets, and he said : 
" Go to Mitchell's Library in Bond Street this 
evening and ask for some. I will tell him to have 
them ready for you." Presently, without any 
warning,, he swooned away, and did not wake 
up for at least fifteen minutes. When he had 
recovered he seemed quite himself, and when his 
secretary, Mr. Villiers, came into the room and 
said some one was waiting to see him, he did not 
appear to be aware that anything had happened. 
Then he got up and said good-bye to me, and I 
left the house. 

At seven o'clock I went to Mitchell's and 
asked whether Lord Dudley had been there; 
they said no, but that they had just heard that 
he was suddenly taken ill and had had a para- 
lytic stroke. I was thunderstruck, and felt 


much distressed on hearing this dreadful 

His illness lasted for some years, and Lady 
Dudley nursed him with great devotion. When 
he died I lost in him a great patron and kind 
friend, and he could ill be spared in the musical 
world, as he often helped young artists. His was 
the only house in those days where the best 
music and the best artists could be heard. 

He had lent me his gallery in 1879 for my 
annual concert, but, of course, owing to his 
illness, it could not take place there, so Lady 
Dudley, with great consideration, asked the Duke 
of Westminster to lend me Grosvenor House, 
and he consented. My concert took place in the 
famous Rubens Room, which in a general way 
the Duke only lent for charity concerts. M. 
Marsick, a well-known violinist from Paris, and 
M. Joseph Hollman, the 'cellist, who was then 
unknown, took part in it. 

At my concert in 1880, which I gave at my 
own house, Miss Mary Davies sang. She was a 
great favourite, and excelled in ballad-singing. 
M. Emile Sauret, the violinist, also assisted me. 

In 1881 I gave a concert at the Marlborough 
Rooms, Regent Street, which was honoured by 
the presence of the Duke and Duchess of Teck, 
and Princess Mary of Teck, our present Queen. 
One of the artists who sang was the charming 
Miss Minnie Hauk, who created the part of 
Catherine in Goetz's opera, The Taming of the 


Shrew, and was famous as one of the best Car- 
mens in Bizet's opera. She was an American 
by birth, and spoke several languages fluently, 
and also excelled in German Lieder. She 
married Baron W. Hesse de Wartegg, a dis- 
tinguished traveller and authority on inter- 
national law, and lives now at Lucerne, in the 
Villa Triebchen, where Richard Wagner once 
lived and where he composed part of Die 
Meister singer. 

Among the other artists were Signor del 
Puente, the well-known baritone from Her 
Majesty's Theatre, and M. Libotton the 'cellist. 

Apropos of Carmen and such emotional parts 
as Don Jose, there have been singers on the 
operatic stage who have been so carried away 
by the excitement of the role they were playing 
as to become really dangerous. A tenor in par- 
ticular in the last act of Carmen, when Don 
Jose, driven mad by jealousy, ends the scene by 
stabbing Carmen, used to give such a dig as to 
wound the lady playing the part. The husband 
thereupon informed the excitable tenor that 
he would stand in the wings at the next per- 
formance with a pistol, adding, " You hurt my 
wife I shoot ! ' : 

At my concert in 1883, Madame Alwina 
Valleria was the principal soprano. She was a 
pupil of Signor Lamperti and Signor Arditi, and 
became a member of the opera at Her Majesty's 
Theatre. She sang in most of the operas then 


in vogue, singing and acting brilliantly. Mr. 
Michael Maybrick (Stephen Adams), composer of 
" Nancy Lee " and other popular songs, also 
sang. I was the first to accompany him in 
" Nancy Lee," the song being then in manu- 
script, at a concert at Stratford in Essex, at 
which I had engaged him to sing. It seems 
strange that Maybrick, as he told me himself, 
offered it to one publisher after another, who all 
declined it, until at last he published it at his 
own expense, which was a very good move, for 
it sold in thousands, and he must have made a 
great deal by it. 

Edward Lloyd used to sing two of his best- 
known songs, " The Holy City " and " The Star 
of Bethlehem," with great success, and Lloyd 
told me that his share of the royalties amounted 
to about 1,500 for the half-year alone. 

Maybrick now lives permanently at Ryde, of 
which he has several times been the mayor. 1 

Madame Trebelli also sang at my concert, and 
so did my old friend, Charles Santley, as he had 
done on many former occasions. One of his 
songs was " The Devout Lover," accompanied 
by the composer, Miss Maude Valerie White, 
whose songs I greatly admire ; they are always so 
well written and artistic, and have such fine accom- 
paniments, which she herself plays to perfection. 

Among the artists who assisted me in 1884 
was Mr. Joseph Maas, who had one of the finest 

1 Mr. Maybrick died since these lines were in print. 


tenor voices of any English singer I have ever 
heard. He was a member of the Carl Rosa 
Opera Company for many years, and was also 
engaged during the Royal Italian Opera season 
at Covent Garden. Unfortunately, he died in 
the very zenith of his career, from a severe 
cold, caught while out fishing near Birming- 
ham, -which developed into pneumonia. In the 
scarcity of good tenors, he could ill be spared. 

At my concert in 1885 Chevalier Wilhelm 
Kuhe and M. Edouard de Paris assisted me with 
the accompaniments. Both were distinguished 
pianists, residing at Brighton at that time. 
Miss Marion Mackenzie and Mile Tremelli, from 
the Royal Italian Opera, also lent me their aid, 
and so did Mr. Leslie Crotty, a fine baritone 
from the Carl Rosa Opera Company. 

At my concert in 1886, given at my residence 
in Harley Street, Isidore de Lara, who was 
then the rage, sang one of his own popular 
compositions. He was the first singer to make 
a special feature of sitting down to the piano 
and accompanying himself at concerts. He used 
to gaze round the room when singing, and wear 
a very intense expression, which charmed his 
f air hearers. At the concert the year after Signor 
Paolo Tosti accompanied Mr. de Lara in two of 
his new songs, which was the only time I re- 
member that he stood up to sing. Although such 
a favourite in London, he settled in Paris, where 
he has composed several operas, some of which 


were successfully produced at Covent Garden 
and some at Monte Carlo. The inimitable 
George Grossmith gave one of his amusing 
sketches at this concert. This good friend sang 
for me for fifteen consecutive years. 

In July 1888 the Countess of Dudley was 
kind enough to lend me the picture-gallery in 
Dudley House. My concert that year was 
notable for the appearance at it of Madame 
Nordica, the great American prima donna, who 
carried everything before her on the operatic 
stage, especially in Wagnerian operas. Some 
years ago, when I was in Munich, I heard her 
there in the Festspiel Theater as Elsa in Lohen- 
grin, and greatly admired her beautiful singing 
and dramatic acting. Another celebrity at this 
concert was Signer Bottesini, the wonderful 
double-bass player, who played some of his own 
compositions, and joined me in a concerted num- 
ber. Nobody ever played that unwieldy instru- 
ment better than he ; it had only three strings 
instead of four, like an orchestral double-bass. 
He was a prolific composer, and I once heard an 
opera of his given at the Lyceum Theatre, when 
an Italian opera company came over here for 
a short season. I remember hearing him play 
a duo concertante with Signor Sivori, who was 
a pupil of Paganini. I often accompanied 
Sivori, and have referred to him in another part 
of this book. Apropos of Paganini, my father 
told me, when he conducted Paganini's concert 


at Mainz, which was given at the theatre there, 
he invited my father to dinner before the con- 
cert. At dinner he drank too much champagne, 
and after almost every piece he played he had 
to retire behind the scenes and be violently ill 
how he could have played under the circum- 
stances, feeling so uncomfortable, is a marvel to 
me, as it was also to my father, who always 
spoke of him with the highest praise and admira- 

But I am getting away from my own concerts. 
In 1889 Nikita, a young American soprano, 
appeared, and sang my song " Sing, sweet 
Bird " most brilliantly. M. Johannes Wolff, the 
violinist, played the " Andante Religiose " by 
Thome, and the " Polonaise " by Laub. I knew 
Herr Laub when he was in London in 1848. 
Balfe had engaged him to play the violin solo 
parts in the ballets at Her Majesty's Theatre in 
those days. 

In 1890 there appeared at my concert another 
young American soprano, Miss Zelie de Lussan. 
She sang at Her Majesty's the title-role of Carmen 
to perfection. At the same concert Mr. Ben 
Davies sang for me and made a great hit in 
Sullivan's " Come, Margherita, come " from 
The Martyr of Antioch. Ben Davies sang for 
some years in the Carl Rosa Opera Company, 
and after poor Maas's death and Edward Lloyd's 
retirement he remained the most sought-after 
tenor in the profession. From the beginning 


of his career we have always been the very best 
of friends. 

After he left the Carl Rosa Opera Company 
he was offered an engagement in Dorothy, which 
he hardly liked to accept, having been principal 
tenor in grand opera. However, when he men- 
tioned the facts to me I advised him to accept 
the offer, which I said would do him no harm 
as an artist, and he eventually did so and made 
a great hit. After the first year he received an 
increased salary, and remained for several years 
at the Prince of Wales' s. 

Ben Davies has always been very punctual at 
his numerous concert engagements, and never 
disappointed the public, and I can say the same 
thing of Sir Charles Santley, Madame Patey, 
and Mr. Edward Lloyd. 

" I seek for thee in every Flower," a tenor 
song of mine, has been frequently sung by 
Edward Lloyd and Ben Davies, as well as by 
singers not perhaps so well known to fame. It 
was one of these who, being asked what he was 
going to sing at a village concert, wrote that 
he had chosen " I seek for thee " (in A flat). 
In the programme it accordingly appeared as 
" Song' I seek for thee in a flat '-*W. Cans " ! 

At one of my concerts my daughter Georgina 
made her first appearance with success. She 
sang " La Partenza," by Rossini, " Adieux de 
1'hotesse Arabe," by Bizet, " Du bist wie eine 
Blume," by Rubinstein, and my own song, " I 


seek for thee in every Flower." Next day the 
Daily Telegraph gave her a very good notice. 

I have written these particulars of my various 
concerts in order to mention the names of the 
artists who so kindly assisted me with their 
valuable services, and also, I hope, to interest my 
readers. The concerts of the next few years 
included such names as Madame Nordica, Miss 
Margaret Macintyre, Miss Marie Engle, and the 
Sisters Ravogli, Madame Clara Butt, Eugene 
Oudin, M. Plancon, and Mr. (now Sir) Henry J. 
Wood accompanied at my concert in 1894. The 
Jubilee Concert I gave in 1898 was such an extra- 
ordinary one that I may be forgiven for writing 
of it in detail elsewhere. 

My concert in 1900 took place at the hand- 
some Empress Rooms at the Royal Palace 
Hotel, Kensington. A newcomer was Herr 
John Forsell, a Swedish baritone, from the 
Royal Opera, Stockholm, who made a successful 
appearance. He is a good-looking man, with a 
fine voice, and was engaged at Covent Garden, 
where he s'ang with great success in Don Gio- 

At my concert in 1901, amongst other items on 
the programme was a charming song-cycle called 
" The Daisy Chain," by the versatile Madame 
Liza Lehmann. It was sung by Miss Evange- 
line Florence, Miss Edna Thornton, Mr. Gregory 
Hast, and Mr. Richard Green, and pleased the 
audience immensely. Madame Blanche Marchesi 


and Miss Ada Crossley also sang ; Senor Rubio 
the 'cellist played. 

On June 28th, 1904, I gave my concert at the 
New Molian Hall in Bond Street, and a young 
Swedish singer named Mile Emma Holmstrand 
made a most successful appearance. In 1895 
my concert took place at the house of Mrs. 
Frederick Beer, in Chesterfield Gardens, and I 
had a wonderful array of singers, including 
Madame Clara Butt. 

This house contained many art-treasures, in- 
cluding Millais's fine early painting in the 
Preraphaelite style, " The Carpenter's Shop." 
I knew Millais well, and often visited his studio, 
as I did that of Lord Leighton. The last time 
I saw Millais was at a Levee ; he was almost 
unable then to speak, but he pointed to a medal 
at his breast and said, " This is the medal worn 
by Sir Joshua Reynolds when he was President 
of the Royal Academy." 

In 1903 a young American singer, Miss Eliza- 
beth Parkinson, made her first appearance at my 
concert, and had a most successful debut. She 
had been introduced to me by Madame Mathilde 
Marchesi, the eminent teacher, in Paris, whose 
pupil she was. I heard her first at my house, 
and was so pleased with her voice and style 
that I at once asked her to sing for me. 

On many occasions young artistes have been 
recommended to me by their lady friends, who 
were not the slightest good when I heard them, 


and if I had introduced them for engagements 
people would have said, " Ganz has sent me 
another of his protegees who has no claim what- 
ever to be heard," so I always took the precaution 
of first hearing them sing or play myself. In 
the case of Miss Parkinson I was delighted with 
her voice at once. She sang " Depuis le Jour " 
from Charpentier's Louise, which had not then 
been heard in London, and sang it most beauti- 
fully. Her voice is a very flexible, high soprano. 
She was afterwards engaged at Covent Garden, 
and changed her name to Parkina. 

My friend Sir George Alexander kindly gave 
some recitations at this concert, and in 1905 
I was assisted by the great French actress 
Madame Rejane. I remember that M. Planon 
was so carried away by his song, " The Two 
Grenadiers," that he forgot he was not on the 
stage, and at the end made a dramatic gesture 
with his arm to emphasise the devotion of the 
old veteran to his Emperor. 



John Ella, his great work for music His musical union con- 
certs at Willis's Rooms and St. James's Hall Joachim 
Madame Clara Schumann Sir Charles Halle He first hears 
Madame Norman Neruda play My quartette concerts First 
appearance of Madame Camilla Urso and Madame Conneau 
Sir Augustus Manns Carl Rosa and his opera company 
I become a director. 

I REMEMBER that in the first years of my resi- 
dence in London there was only one series of 
concerts of chamber music, given by the late 
Mr. John Ella, who was the originator and 
director of the Musical Union, founded in 1845, 
at which the most celebrated instrumentalists 
appeared, such as Madame Clara Schumann, 
Ernst, Vieuxtemps, Joachim, Henri Wieniawski, 
Halle, Rubinstein, Piatti, and many others, who 
thus had an opportunity of being heard in 
London to the best advantage by an artistic 

John Ella was the first concert-giver to intro- 
duce analytical programmes, in which he gave 
biographical and other notes about the various 
players. These programmes were an excellent 
guide to the listeners, as the various movements 



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B ^ 

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!3 T3 
^3 C 


of the concerted numbers were also explained 
and extracts from the music given, as they are 
to-day in the Queen's Hall programmes. At his 
own annual matinee Ella always had Bee- 
thoven's Septette for strings and wind instru- 
ments performed and HummePs Septette for 
piano, strings, and wind instruments, for the 
latter of which he generally engaged some cele- 
brated pianist. He also included some vocal 
music, and engaged me to accompany the singer. 
It is a pity that HummePs Septette is so rarely 
performed now, for it is full of melody and quite 
a show-piece for pianists. 

The Musical Union concerts were first held 
at the Old Willis's Rooms in King Street, St. 
James's, and when St. James's Hall was built in 
1858 they were removed there and carried on 
until they ended. The piano stood in the 
middle of the room and the rest of the players 
sat by in a sort of square ; the honorary com- 
mittee, mostly members of the aristocracy, sat 
in the front rows, in front of them being a kind 
of throne on which Ella sat, smiling to right and 
left of him at the distinguished people and 
applauding the performers. Truth to tell, they 
generally rather laughed at him, but he really 
did an immense amount of good by making 
classical music popular. 

I accompanied the artists at several of these 
concerts, and I well remember the first time I 
had the honour of playing for the great violinist 



Joseph Joachim. On the morning of the concert 
I went to him at 8.30 and rehearsed Beethoven's 
Romance in G with him, before breakfast. I 
find he wrote in my album at that time : 

The prices at Ella's subscription concerts 
were rather high, and they were not supported 
by the general public. When Arthur Chappell 
came on the scene and started the Saturday and 
Monday Popular Concerts he was anxious to get 
many of the artists who had been for so many 
years associated with Ella and these all left 


Ella and accepted engagements with Chappell 
Ella complained bitterly to me of their " ingrati- 
tude," as he called it. They were Madame 
Schumann, Madame Arabella Goddard, Joachim, 
and Charles Halle who, as Ella told me, had 
played sixty-six times for him. - So, as these 
artists were not allowed by their contracts to 
play for him any more, Ella retired from active 
operations in a year or two and never resumed 
them again. His idea of having analytical pro- 
grammes, however, has ever since been utilised 
for most of the Chamber Concerts given in this 

Ella's inscription in my album is : 

Mr. J. W. Davison wrote the Books of Words 
for ChappeU's Concerts, more musical extracts 
being given, and after his death they were 
written by Joseph Bennett. The Chappell con- 
certs encouraged the taste for instrumental 
chamber music, and were carried on for many 
years with the greatest success. Many famous 
artists appeared at them ; Madame Norman 
Neruda, who became Lady Halle, was one of 



their mainstays. I used to call her " the Madame 
Schumann of the violin." 

I was often at the Popular Concerts when 
Madame Schumann played, and when she re- 
tired from the platform the audience used to 
throw so many bouquets at her that she stood 
among a mass of beautiful flowers to bow her 
acknowledgments. Sir Julius Benedict acted as 
conductor for many years. 


It was always a delight to me to hear Madame 
Clara Schumann play ; her reading of Beethoven 
was emphatically " masculine," and at the same 
time full of expression and refinement. 

She was the devoted exponent of her hus- 
band's music, and I shall never forget the im- 
pression she made on me in his splendid quintette 
in E flat with Joachim, Piatti, Riess, and Howell, 
nor the " Carnival " and " Kriesleriana," and, 


above all, her wonderful performance of his 
Pianoforte Concerto in A minor. 

She had beautiful blue eyes and very expres- 
sive features, and sweetness showed in every 
line of her face. In her latter days she was 
slightly deaf, but could hear music very well, 
and had no difficulty in joining in concerted 
numbers. She lisped slightly in her speech. 

In England and Germany she was constantly 
associated with Joachim, and their playing of 
the "Kreutzer Sonata" was a tour de force. I 
first knew Joachim when I was a boy of sixteen ; 
I met him at a soiree given by Balfe at his house 
in Bruton Street. I remember that, on one 
occasion, when he played the " Kreutzer Sonata " 
with Anton Rubinstein, at one of Ella's Musical 
Union Matinees, he was very angry with Rubin- 
stein for taking the last movement at such a 
terrific rate, and said he would never play it 
with him again. I was present at the time, and 
I think Joachim was quite right. Rubinstein 
was of such an exuberant disposition that he 
really could not help himself, and was carried 
away by his enthusiasm. 

Joachim was always kind to young students, 
and gave them encouragement and advice. He 
was a pupil of Spohr, and played his master's 
concertos and salon pieces, which have now gone 
out of date. 

I recollect that, when rehearsing Maurer's 
Concerto for four violins, which I was accom- 


panying, he stopped the rehearsal and said he 
would not play it, as it was too trivial ! 

He was the first to play Mendelssohn's Violin 
Concerto at one of the Philharmonic Society's 

Sir Charles Halle, like Benedict, was a very 
active and industrious man, who, besides play- 
ing the works of the classical masters, such as the 
whole of Beethoven's Sonatas by heart, con- 
ducted the celebrated Free Trade Hall Orchestral 
Concerts at Manchester. He did a great deal to 
cultivate musical taste in that town, giving his 
audiences the best singers and instrumentalists, 
and also did fine work through his various tours 
with his orchestra in the provinces. No foreign 
artist of note came to England without re- 
ceiving an engagement from Halle to appear at 
his concerts, and as a pianist he excelled in 
Beethoven, Mozart, and Schubert, and made 
the compositions of Stephen Heller known in 

In 1869 he sat next to me at one of the Phil- 
harmonic Concerts among the audience in St. 
James's Hall, when Madame Norman-Neruda 
played a violin concerto in place of M. Henri 
Vieuxtemps, who was prevented by illness from 
playing, and he recommended her to the direc- 
tors as his deputy. She was so successful that 
poor Vieuxtemps had no chance of appearing 
again at those concerts that season. Halle had 
not heard her before, and was charmed with her 


playing. As every one knows, she afterwards 
became his wife. 

Madame Neruda had already appeared in 
London as a child, in 1849. She made a great 
name, not only in London but all over the 
country ; she was a great favourite at Chappell's 
Saturday and Monday Popular Concerts, and 
sometimes played duets by Spohr with Joachim. 
She died in Berlin, where she had settled, in 
1911, and by her death the world lost a great 

Halle asked me some years ago to teach his 
son Clifford the piano, which I did. 

In 1872 I felt the want of quartette concerts 
on Saturday evenings, although we had the 
famous Saturday and Monday Popular Concerts, 
so I thought it might be a good opportunity to 
give six Chamber Concerts, under my own direc- 
tion. The first took place on February 24th, 
1872, at St. George's Hall. My quartette con- 
sisted of Messrs. Joseph Ludwig, Jung, Hann, 
and Paque. I was the pianist and played in 
conjunction with these artists except Jung, 
who was not required -Weber's rarely heard 
Quartette in B flat, Op. 5, which was much 
appreciated by my audience, as well as other 
vocal and instrumental music. At my second 
concert an Italian violinist, Madame Camilla 
Urso, who had been recommended to me as a 
clever player, made her first appearance in 
England and made a very favourable impression, 


on the strength of which I engaged her again 
for the third concert, at which a charming 
French vocalist, Madame Conneau, made her 
debut. She sang a cycle of beautiful songs in 
manuscript, composed expressly for and dedi- 
cated to her by Rossini, entitled, " Regatta 
Veneziana," and also a song called " Le Prin- 
temps," composed expressly for her by Gounod 
of course by now everybody knows this charm- 
ing song, which is a favourite still. The Empress 
Eugenie was a great friend of this singer, her 
husband being Dr. Conneau, Physician to the 
Emperor Napoleon III. She sang with great 
taste, and was an extremely handsome woman. 
On this occasion M. Edouard de Paris, an 
esteemed professor of the piano at Brighton, was 
the pianist, and played in Schumann's Quartette 
in E flat, which pleased enormously. 

For the fifth concert I engaged Herr Professor 
Hugo Heermann, from Frankfort, as violinist, 
and he led the quartettes with great distinction. 

The last concert of the season took place on 
March 30th, Mile Carola, a very gifted soprano, 
being one of the singers. Signor Randegger 
conducted, as he had done before on several 
occasions. I played, with young Frederick H. 
Cowen, Schumann's " Andante con Variazioni," 
a pianoforte duet for two pianos. 

These concerts were thoroughly successful 
from an artistic point of view, and I had intro- 
duced as much new talent as possible ; but, owing 


to the want of financial support, I could not 
carry them on. This only proves that musical 
people must not speculate in concert-giving, but 
leave it to music-sellers, or other speculators, 
who have a large capital to work on and so can 
carry on their concerts for many years. 

When I first saw Sir Augustus Manns (then 
Mr. A. Manns) he was a member of the Crystal 
Palace orchestra, conducted by Herr Schallehn, 
wearing a uniform, and the band played under 
a stand in the open air. Manns helped the con- 
ductor by arranging his compositions for the 
orchestra which Herr Schallehn put on the pro- 
grammes as his own. Later on Manns became 
the conductor himself, and after a little while he 
and the members of his orchestra were allowed 
by the directors to discard their uniforms for 
ordinary civilian dress. It was then that Manns 
instituted the celebrated Saturday afternoon 
concerts, which he conducted with so much zeal 
and ability for so many years. He first brought 
out the orchestral works of Arthur Sullivan, 
Frederick Cowen, Alexander Mackenzie, Hubert 
Parry, Sir George Macfarren, Frederick Corder, 
Edward German, Villiers Stanford, Max Bruch, 
and many others. All the best pianists and 
violinists of the world appeared at these concerts, 
and the symphonies of Beethoven, Mozart, 
Schubert, Schumann, Mendelssohn, Raff, and 
Brahms were often heard there. 

A great guide to the public were the analytical 


programmes, written in masterly style by the 
late Sir George Grove, of The Musical Dictionary. 
He it was who discovered Schubert's " Unfinished 
Symphony " in Vienna. 

Manns worked for the music at the Crystal 
Palace with untiring energy and absorbing in- 
terest for fifty years. When Sir Michael Costa 
died he was appointed conductor of the Han- 
del Festivals, which he directed with his accus- 
tomed ability. Probably nowhere else in the 
world were finer performances given of Handel's 
oratorios, Mendelssohn's Elijah, and Haydn's 
Creation than those at the Crystal Palace, but 
I have spoken of them already in my remarks 
about Sir Michael Costa. 

It was. in the seventies that my great friend, 
Carl Rosa, by a rare combination of musical 
gifts with energy and enthusiasm, established the 
reputation of the opera company to which he 
gave his name. Besides the work of manage- 
ment, he also conducted the operas himself with 
real sympathy and ability. After a season at 
the old Princess's Theatre in Oxford Street in 
1875, he opened in the following year at the 
Lyceum, when the chief feature was the English 
production of The Flying Dutchman with Charles 
Santley in the title-role and Mile Torriani as 

Carl Rosa was the first to give real encourage- 
ment to English composers, and in the same year 
produced a new opera by young Frederick Cowen 


called Pauline. In 1883, at Drury Lane Theatre, 
he produced Esmeralda, a charming work by 
Goring Thomas, which he had commissioned him 
to write, and thus gave this musical genius his 
first opportunity of being heard. This opera has 
been revived since, and has always captivated 
those who heard it. The same year saw the 
production of Colombo,, an opera by Alexander 
Mackenzie, with that gifted artist Madame 
Alwina Valleria in the chief part. In 1885 she 
created the part of Nadeshda in the opera 
by Goring Thomas, which again exhibited his 
brilliant talents. Villiers Stanford's Canterbury 
Pilgrims, Mackenzie's Troubadour, and Corder's 
Nordisa were other new works produced by him, 
while he gave the first performances in English 
of Wagner's Rienzi, Tannhduser, and Lohengrin, 
and Verdi's A'ida. 

Carl Rosa used often to discuss his plans 
and consult with me on the introduction of 
novelties. Among the artists introduced to the 
English operatic stage by Carl Rosa were Minnie 
Hauk, who was a remarkable Katherine in 
Goetz's Taming of the Shrew, Marie Roze, who 
became a great favourite, and Julia Gaylord, a 
sympathetic Mignon, Clara Perry with a charm- 
ing voice (she later became Mrs. Ben Davies), 
and Mile Zelie de Lussan. 

Mile Zelie de Lussan, who became a great 
star in the company, made a brilliant success as 
Carmen, and as Maria in The Daughter of the 


Regiment. She is one of the most versatile 
operatic artists on the English stage, and an 
excellent linguist. I know that she has sung 
Carmen in three different languages, and Mar- 
guerite in Faust in Italian and English, with 
equal effect. 

The castes were also very strong on the men's 
side, including such names as Joseph Maas, the 
lamented tenor, whose career was, alas, so short, 
my valued and esteemed friend Ben Davies, 
Barton McGuckin, Leslie Crotty, and 'William 

To show the interest Joseph Maas took in his 
stage work, I remember that he shaved off his 
moustache to sing the part of des Grieux in 
Manon when it was first given here. Shortly 
afterwards, at an At Home given by Sir Charles 
Halle, the host said to my wife, " Who is that 
gentleman over there standing in the door- 
way ? " and when she told him it was Joseph 
Maas he was astonished, and said, " Oh, I didn't 
know him ! ' 

It was a real tragedy that poor Carl Rosa 
was cut off in the prime of life, but English 
people will never forget the debt they owe him. 
In 1891, two years after his lamented death, I 
joined the Board of Directors and worked very 
hard for the company, endeavouring to bring 
out new operas and get the best artists possible. 
We gave Hamish MacCunn's Jeanie Deans in 
Edinburgh, and at a special season at Daly's 


Theatre, London, in 1894, Humperdinck's master- 
piece Hansel and Gretel, was produced in English 
and won immediate recognition by its exquisite 
charm and musicianship. Mozart's youthful 
opera Bastien and Bastienne was given each 
evening with Hansel and Gretel. 

I was instrumental in having Puccini's La 
Boheme first performed in England (in English) 
at Manchester, where the company remained 
several weeks ; also some of Wagner's later operas, 
such as Siegfried, The Meister singer, and Tristan 
and Isolde, and Verdi's Otello, in which Madame 


Ella Russell created the part of Desdemona. 
All these difficult operas were splendidly per- 
formed, and they were highly appreciated by the 
provincial public. I was always on the look- 
out for new artists, and engaged Madame Saville, 
who was a fine soprano, and Mr. Hedmont, who 
took some of the principal tenor parts, especially 
in the Wagner operas. Of course there were 
plenty of parts left for the popular tenor Barton 
McGuckin. Miss Alice Esty also won her first 
successes with the company. The chief con- 
ductor of late years was Herr Eckhold, who 
performed his duties admirably. 

In 1891 we organised a special tour for Marie 
Roze's farewell and engaged Henry J. Wood to 
conduct the orchestra. 

The company used to give a season of several 
weeks at the Court Theatre, Liverpool, which 
was at that period its own property, and visited 
Glasgow, Edinburgh, Dublin, and other big 

Mrs. Carl Rosa, who was also a director, worked 
indefatigably for the company. 



I take over the New Philharmonic Concerts The first concert, 
April 18th, 1874 Mile Marie Krebs John Francis Bar- 
nett's " A Winter's Tale " First appearance of Madame 
Essipoff Her beauty " Dear Mama Ganz, I am simply 
famished " Titiens Her compliment to me Trebelli 
Jean de Reszke appears as a baritone Von Billow 
Rubinstein plays his own Concerto Braga Rosavella n6e 
Roosevelt Janotha Sarasate Wagner's " Waldweben " 
First appearance of Saint-Saens Wieniawski Berlioz's 
Harold The Duke and Duchess of Edinburgh come to 
hear " Egmont " New overture by Alice Mary Smith 
Ganz's Orchestral Concerts Sauret Marie Roze Mon- 
tigny-Remaury First appearance of Herbert Reeves Sims 
Reeves's offer to me His wonderful singing at my concert 
First appearance of Sophie Menter First performance 
of Berlioz's Symphonie Fantastique Berlioz's Romeo and 
Jtdiet Gluck's Orpheus Menter's eccentricity Her cat, 
" Klecks " First performance of Liszt's Dante First ap- 
pearance of Agnes Huntington First appearance of Vladimir 
de Pachmann End of the concerts My difficulties. 

I NOW come to a stage in my career which I 
may be forgiven for regarding as the proudest 
period of my association with music in England. 
At the beginning of December 1873 there 
was a meeting of the Council of the New Phil- 
harmonic Society, of which I was a member, at 
Dr. Wylde's residence, when he informed the 
meeting that he wished to give up the New 



Philharmonic Orchestral Concerts, as he had 
carried them on long enough and wished to retire 
from the direction. 

I thought over this matter and next day 
called on Dr. Wylde and asked him what he 
wanted for the title, and whether he would let 
me have the concerts, and also about particulars 
of subscription. I knew I had it in me to con- 
duct them, but Dr. Wylde was undecided about 
giving them to me ; so I called repeatedly on 
Dr. Frederick Davison, the hon. treasurer, and 
he had several interviews with Dr. Wylde and 

At last, on December 19th, we came to an 
agreement which was signed by Dr. Wylde and 
myself and by Frederick Davison as a witness, 
for us to carry on the concerts conjointly under 
the following conditions. Dr. Wylde was to 
conduct the symphonies and I the overtures, 
the vocal music and the instrumental concertos. 
The agreement was for six years, commencing 
from the season 1874. On December 20th there 
was a meeting of the society at St. George's 
Hall, and Dr. Wylde announced that the con- 
certs would be carried on by us both, and on 
December 22nd the first advertisement appeared 
in the Times of the New Philharmonic Concerts, 
with the names of the conductors, Dr. Wylde 
and Herr Ganz. 

On Saturday, April 18th, 1874, the first con- 
cert took place at St. James's Hall. I conducted 


the overture to Weber's Euryanihe, the C 
minor pianoforte concerto of Beethoven played 
by Mile Marie Krebs (she was the daughter of 
Kapellmeister Krebs, of the Dresden Opera, and 
a very fine player), and the " Friedensfeier " 
overture by Reinecke, the conductor of the 
famous Gewandhaus Concerts at Leipzig, besides 
conducting the charming vocal pieces by Mile 
Marimon and Mile Scalchi, both from Covent 
Garden. Dr. Wylde conducted one of Bee- 
thoven's symphonies. Everything went without 
a hitch and I received kind congratulations from 
everybody, and was more than glad of the 
opportunity of conducting such a fine band of 

At the second concert I began with the 
" Egmont " overture. Sir Julius Benedict's new 
symphony in G minor was performed with suc- 
cess, and Mile Krebs gave a fine rendering of 
Schubert's Fantasia orchestrated by Liszt. 

At the third concert M. Duvernoy from Paris 
was the pianist, and at the next Mile d'Angeri, 
a fine soprano from Vienna and at that time at 
Covent Garden, was the singer. Her real name 
was Angermayer, but she had Italianised it so 
as to sing in Italian Opera. 

At the fifth concert I conducted the fine 
overture called " A Winter's Tale " by John 
Francis Barnett, which pleased the audience very 
much. I was at Barnett's de"but when he came 
out, almost as a boy, at the New Philharmonic 


Concerts then conducted by Dr. Wylde and 
played Mendelssohn's Pianoforte Concerto in 
G minor. He was then a student at the Royal 
Academy of Music, and one of Dr. Wylde's own 
pupils. He has composed a great many works, 
one of which is a cantata called The Ancient 
Mariner, which was, I believe, written for one 
of the Birmingham Festivals, and has been per- 
formed all over the country. 

The particular star at this concert was the 
celebrated pianist, Madame Annette Essipoff, 
who then made her first appearance in England 
and achieved a stupendous success in Chopin's E 
minor Concerto. She was recommended to me 
by Dr. Hans von Biilow, from St. Petersburg, 
as a " she star," and on that recommendation 
I engaged her at once. She was a pupil of Pro- 
fessor Leschetizsky of St. Petersburg, and became 
his wife. Her playing was delightful ; rarely 
have I heard better, and she played with intense 
feeling. The audience were delighted, and I 
engaged her at once for the next concert. She 
was a most attractive-looking woman, with a 
beautiful complexion and very sweet smile in 
fact, I hardly ever saw a more fascinating-look- 
ing pianist. She had only one fault if it is a 
fault and that was that she was always hungry. 
She often came to us, at 12 o'clock at night, 
after having been previously to a dinner-party, 
saying to my wife, " Dear Mama Ganz, I'm 
simply famished have you got something to 


eat?" The servants had long gone to bed, so 
my wife had to run down to the kitchen and 
fetch up some provisions to appease the appetite 
of Madame Essipoff. It was a great joke be- 
tween us all. 

Leschetizsky has now settled at Vienna. He 
was the teacher of Paderewski and of manv 


other great pianists, and pupils go to him from 
all parts of the world. He once told me that he 
taught Paderewski gratis, and the young pianist, 
in gratitude, gave him a gold watch. I met him 
frequently in London. He was a contemporary 
of Liszt and all the musical celebrities of the 
century, and is full of anecdotes. He was a 
great favourite here, having often played at 
John Ella's and other concerts. 

At the sixth concert Madame Regan- Schimon 
was the vocalist and sang " Lieder " by Schu- 
bert in beautiful style. Madame Essipoff made 
her second appearance and played Rubinstein's 
Concerto in D minor, achieving another triumph. 
Since Rubinstein played this concerto at one of 
these concerts no one has ever had such a suc- 
cess in it as she had. She also played Liszt's 
"Hungarian Fantasia," then little known here, 
with great fire and brilliance. After Madame 
Essipoff had left England she wrote me a letter 
in German, in which she said : 

" Last night, at half- past twelve at night, I 
knocked and rang for a long, long time at your 


door, but it would not open to me any more. I 
am very sorry not to have seen you again before 
going away. ... A thousand heartfelt thanks 
for your friendship for me ; I know how to ap- 
preciate it." 

Madame Marie Roze and Signer Foli were the 
singers. Madame Roze came from the Opera- 
Comique in Paris, where she was a great favourite, 
and Auber wrote one of his last operas, Le 
Premier Jour de Bonheur, for her. Being a very 
handsome woman, whenever she appeared in 
public she captivated her hearers. 

At the seventh concert I conducted Signor 
Schira's overture to his opera, The Lord of 
Burleigh. Apart from being a successful com- 
poser, he was one of the most sought-after sing- 
ing professors. Frederick Cowen's "Festal Over- 
ture " was also performed under my direction, 
and Alfred Jaell, a distinguished pianist of im- 
mense girth but with an exquisite touch, played 
Schumann's Concerto in A minor. Mile Titiens 
sang the aria " Non mi dir " from Don Giovanni 
with overpowering effect, and on leaving the 
platform she said to me in German, " Mit Ihnen 
braucht man nicht zu probieren " (With you it 
is unnecessary to rehearse) as we had not had 
a rehearsal. I thought this a great compliment, 
and felt very proud of it. 

At the eighth concert Madame Trebelli-Bettini 
sang, and so did Signor de Reschi, who my 
readers will know better as M. Jean de Reszke. 


He was then a baritone, and sang the aria " Sei 
vendicata " from Dinorah, and the duet " In 
questo suolo " from La Favorita with Madame 
Trebelli-Bettini. She was the wife of Signer 
Bettini, a good tenor who sang at the opera with 
Mapleson at Her Majesty's Theatre. De Reszke's 
change from a baritone to a great and popular 
tenor I have alluded to elsewhere. 

At the second concert of the following season 
(1875), Dr. Hans von Billow played the C minor 
Concerto of Bach, for two pianos, with Mrs. 
Beesley, a gifted pupil of his, and also Schumann's 
Andante con Variazioni duet for two pianos, 
which pleased the audience very much. I speak 
of him in a later chapter. 

Herr Wilhelmj, the great violinist, played at 
the concert on May 22nd. He was the leader 
at the first Wagner Festival at Bayreuth, and the 
Belgian violinist, M. Jules de Swert, played on 
June 5th. On June 19th Charles Santley sang 
and Alfred Jaell gave a superb performance of 
Brahms' glorious Concerto in D minor, which 
he had helped to make famous abroad. 

A noteworthy event of the season of 1876 
was the first appearance at these concerts, on 
May 27th, of the great pianist Anton Rubinstein, 
who played his own Concerto in D minor with 
enormous success. Mile Thekla Friedlander 
and Mile Redeker sang some pretty duets by 
Rubinstein. Mile Redeker had a beautiful con- 
tralto voice, and later on she settled in London 


and got on very well, being much in request 
in fashionable circles. She married Dr. Felix 
Semon, the eminent throat specialist. The 
'cellist and composer, Signer Gaetano Braga, 
appeared at another concert. He is principally 
known to fame through his notorious " Sere- 

In the next season (1877) I performed the 
overture to Wagner's Meistersinger and his 
Huldigungs Marsch, which he dedicated to King 
Louis of Bavaria. These works were not then 
much known in London and they attracted a 
large audience. Herr Arnim von Bcehme, from 
Dresden, sang " Siegmund's Liebeslied " from 
Die Walkiire, and a young English singer, Miss 
Elene Webster, " Elizabeth's Prayer " from 
Tannhduser. I also gave the Flying Dutchman 
overture. I relate in a subsequent chapter how I 
met Richard Wagner at Schott's music-shop at 
this time and showed him the concert-bills. 

That fine artist, Herr George Henschel, sang 
at one of the concerts, and at another I was 
pleased to introduce the violinist, M. Paul Viar- 
dot, son of Madame Viardot Garcia. 

M. Joseph Wieniawski, brother of the great 
Henri, played Litolff's Pianoforte Concerto in 
E flat with great brilliancy of effect. This 
concerto was the favourite show-piece of most 
continental pianists, but it never found favour 
with the English press ; in fact, when Von Biilow 
came out at one of the New Philharmonic Con- 


certs, though he played it magnificently, it did 
not find favour, and has never been played in 
later years. Mile Rosavella made her first 
appearance in England and sang an aria by 
Mozart and some German songs extremely well. 
She was considered a beauty, and her real name 
was Roosevelt. She was related to the American 
President. Lord Dudley, who thought it would 

^*~ * f*' 

be to her benefit to sing at these concerts, intro- 
duced her to me. She gave up singing in later 
years and took to literary work. The violinist, 
Herr Auer, also appeared. 

In 1878 Senor Pablo Sarasate played Men- 
delssohn's Violin Concerto, and the " Rondo 
Capriccioso " by Saint-Saens. The last move- 
ment of the Mendelssohn Concerto he played at 


lightning speed, but every note came out most 
clearly. Sarasate was a most modest man, and 
gave himself no airs. His playing was always 
a great treat to listen to, and at this concert it 
was received with the greatest enthusiasm. 

On May 18th a young Polish pianist, Mile 
Janotha, a pupil of Madame Schumann, played 
Mendelssohn's Concerto in G minor with rare 
intelligence and power. It was her first appear- 
ance in England. She showed the influence of 
the style of her distinguished instructress. At 
the same concert M. Marsick played the beautiful 
Violin Concerto in G minor by Max Bruch, who 
was over here at the time and attended my 

Sarasate was again the violinist at the next 
concert, when he played Beethoven's Concerto. 
He was rather reluctant to play it, and, when I 
asked him the reason, said that, as Joachim was 
in London and had played it lately, he did not 
wish to compete with him ; but I over-persuaded 
him, and he played it superbly. The only change 
in tempo from the beaten track was that he took 
the last movement quicker, in which his ex- 
ceedingly light bowing was a revelation of fairy- 
like delicacy. He also played his own effective 
Faust Fantasia. Our great English contralto, 
Madame Patey, was the singer on that occasion, 
and I conducted a new overture by the Hun- 
garian composer, Baron Bodog D'Orczy, from 
his opera The Renegade. It is a line composition, 


written quite in the modern style. His little 
daughter Emma was often with him ; she has 
since attained great popularity as the authoress 
of The Scarlet Pimpernel. 

I also included Wagner's then little-known 
work, the exquisite " Waldweben " from Sieg- 
fried, in the programme. I remember at the 
rehearsal, on going through it with the orchestra, 
there were some difficult passages for the reed 
instruments, in imitation of the notes of the bird, 
which have to be played in time against f 
of the rest of the band. As they did not get 
them right, I took up Mr. Pollitzer's violin and 
showed them how the passages ought to go, and 
they all applauded me. 

The concert on June 15th was most interest- 
ing, for it was the occasion of the first appear- 
ance in England at an orchestral concert of the 
celebrated French composer and pianist, M. 
Camille Saint-Saens. I had engaged him to 
come over from Paris and play one of his own 
concertos, not previously heard here, the now 
well-known one in G minor, No. 2, which was 
afterwards to become a favourite piece of all the 
great pianists at home and abroad. Needless to 
say, the audience was enchanted. 

I was thus the first to have given Saint-Saens 
the opportunity of playing one of his con- 
certos here, and I continued to engage him for 
three consecutive seasons. None of the London 
Orchestral Societies gave him the chance of 


being heard at their concerts, and I am therefore 
very proud of having brought him before the 
public. I have alluded elsewhere to him, and I 
much treasure a valuable breast-pin which he 
presented to me. 

At the request of Madame Jenny Lind Gold- 
schmidt, I engaged a young Swedish singer, 
Mile Riego, to sing for this concert. Madame 
Jenny Lind selected the songs for her herself, 
as she was her pupil, and wrote me : "I know 
you will be kind to her, dear Mr. Ganz, and 


follow her well. She can, however, sing in 

On June 29th another great artist, the Polish 
violinist, M. Henri Wieniawski, played one of 
Vieuxtemp's concertos in his own inimitable 
way. He was a delightful and unassuming man, 
and held the post of principal violin professor 
at the Brussels conservatoire. His compositions 
are now well known, being played by all the 
leading violinists. I remember that in Vieux- 
temps' " Air Varie " the last variation has to be 


played staccato, with up-and-down bowing, and 
he played it better than the composer. I know 
this from having accompanied him in it and 
having previously heard Vieuxtemps play it. 

I gave Wieniawski one of his last engagements 
at a private party, where he played Mendelssohn's 
D minor Trio with De Swert, the 'cellist, and 
myself. He died very soon afterwards ; but his 
widow, who is an English lady, the niece of 
George Osborne, the pianist, is still alive and 
lives in this country. But to return to the 
concert, I also conducted Wagner's Tannhauser 
Overture, and I remember with pleasure that 
Mr. Hughes, a member of the Covent Garden 
Orchestra, and the acknowledged best player 
living of the " ophicleide," paid me the great 
compliment of saying he had never heard it 
better performed. 

I can well remember the first performance in 
England of this overture at a New Philharmonic 
Concert on May 1st, 1854 : I was playing in the 
orchestra. It is usually stated that it was first 
given at an Old Philharmonic Concert in 1855 
under Richard Wagner's direction, which is 

In 1879, as Dr. Henry Wylde wished to retire 
from the enterprise, I decided to continue by 
myself. I now became sole director and con- 
ductor, and I made various alterations in the 
orchestra, increasing it to eighty-one performers, 
and I engaged a number of distinguished first 


violins, some of whom were soloists: Mr. Pol- 
litzer had been the leader for many years and I 
retained him in the same position. He was a 
first-rate leader in every way. I was deter- 
mined to carry on the concerts with as much 
energy and perseverance as my health would 
allow. It was a hard task, as they were hardly 
a financial success either in Dr. Wylde's time or 
from the time I became associated with him. 

As Berlioz's music had been neglected for 
many years in concert programmes, I wished to 
revive the interest in the works of this wonder- 
ful composer, and I performed his symphony 
Harold in Italy at the first concert on 
May 26th ; it made a great sensation, and the 
Press spoke most favourably of the work and 
praised the performance. I first heard it under 
the direction of the composer at these concerts 
in 1855 at Exeter Hall, when I was playing the 
violin in the orchestra, and it then made a deep 
impression on me. I remember seeing Meyer- 
beer sitting in the audience at this concert. He 
was a small, slight man, with a very interesting 
face, and attracted a good deal of attention. 

At my concert in 1879 Herr Joseph Strauss 
played the viola obbligato part which had been 
played by Ernst in 1855. The Duke and 
Duchess of Edinburgh honoured the concert 
with their presence ; the Duke had previously 
told me that he would go anywhere to hear 
Beethoven's Overture to Egmont, with which 


I opened it. Another attraction at this concert 
was Beethoven's Pianoforte Concerto in E flat, 
the " Emperor," which was magnificently played 
by Charles Halle. When I escorted the Duke 
and Duchess of Edinburgh to their carriage at 
the end they spoke to me in German in most 
complimentary terms. I had beforehand given 
the Duke a pianoforte score of the Symphony 
to enable him to follow it with greater interest. 

As I attached great importance to the ana- 
lytical programmes for my concerts, I asked 
Dr. W. A. Barrett, the accomplished critic of the 
Morning Post, and Vicar Choral of St. Paul's 
Cathedral, to write them. They were much more 
explicit than most programmes in these days ; 
the words of the foreign songs were carefully 
translated, and they were a complete guide to 
the audience. 

On May 10th, 1879, Madame Essipoff made a 
welcome reappearance and delighted my audi- 
ence in the highest degree, playing Rubinstein's 
"Caprice Russe" for the first time in England 
and Chopin's Concerto in F minor. I also in- 
troduced to London Frederick Cowen's entr'acte 
and dance of Almas from The Corsair. 

The concert on May 24th was remarkable for 
the appearance of both Saint-Saens and Sarasate. 
One would have expected such a combination to 
draw a huge crowd, but such was not the case. 
When Sarasate gave recitals on his own account 
they were always crammed, which shows that 


the public wished to hear one artist, by himself, 
at the whole concert. There were two novelties 
by Saint-Saens, his C minor Concerto and his 
Symphony in A minor, which I asked him to 
conduct. A manuscript overture by G. A. Osborne, 
called " The Forest Maiden," was performed ; 
it was written expressly for my concert, and 
the composer was present and expressed himself 
pleased with the performance. 

On June 7th a new overture by Alice Mary 
Smith (wife of Judge Meadows White) was 
performed, called " Jason, or the Argonauts 
and the Sirens." This lady had written many 
charming songs, and I was glad to bring her 
overture before the public, as I have always 
included works by English composers as often 
as possible, and my efforts in this direction have 
always been appreciated. Alfred Jaell played 
Beethoven's C minor Concerto, and I conducted 
the Eroica. 

When the next season (1880) commenced, as 
Dr. Wylde would not allow me to make use of 
the title New Philharmonic Concerts, without 
paying him for it, I decided to discard it and to 
call them " Ganz's Orchestral Concerts." 

On April 17th M. Emil Sauret played Hein- 
rich Ernst's F sharp minor Concerto, consisting 
of one movement called Allegro Pathetique. I 
had engaged him specially from Berlin to play 
for me, and he acquitted himself splendidly. 
For this concert I had also engaged Madame 


Marie Roze, who sang Gluck's air from Alceste, 
" Divinites du Styx," and the aria " L'amer6 
saro constante " from II Re Pastor e, by Mozart, 
with violin obbligato by Sauret. I suggested 
this beautiful song to Madame Roze because I 
had first heard it sung by Jenny Lind on her 
musical tour in 1856 to Ernst's obbligato, and 
was always so charmed with its beauty and the 
way she sang it that I had never forgotten it. 
Rubinstein's Symphony in F major was given 
as a novelty. 

On May 1st M. Saint-Saens played his D 
minor Concerto for the first time in England 
with all his customary brilliancy, and another 
novelty was Goldmark's Penthesilea Overture. 
I had also engaged Mr. Sims Reeves, but this 
was one of the occasions when he disappointed. 

At the concert on May 29th the distinguished 
French pianist, Madame Montigny-Remaury, 
played Weber's "Concert-Stuck," and an Intro- 
duction and Rondo by Benjamin Goddard, which 
he had specially composed for these concerts. 
She was sister-in-law to Ambroise Thomas, 
director of the Paris Conservatoire and com- 
poser of Mignon, Hamlet, etc. I also produced 
Svendsen's Romeo and Juliet fantasia. 

The concert on June 12th was noteworthy 
for the first appearance of Herbert Sims Reeves, 
son of the famous tenor. When he came on 
the platform there was such a storm of applause, 
lasting for at least five minutes, that it quite 


unnerved him. However, he pulled himself 
together and sang his first song, which w r as the 
recitative " Nel fragor della festa," and the aria 
" Alma soave," from Donizetti's Maria di Rohan. 
He sang it extremely well, and was several times 
recalled, but one could see he was very nervous 
at the ordeal. His second song was Schubert's 
" Ave Maria," and his third " Refrain thy Voice 
from Weeping," from Sullivan's Light of the 
World, which the composer kindly conducted to 
give eclat to young Reeves's singing. Herbert 
Reeves is the image of his father, though some- 
what smaller, being short and slender. He had 
a small tenor voice, but sang with great taste, 
and, having been well taught in Italy, pronounced 
his words clearly and well. His debut at my 
concert was arranged in the following manner. 

At the beginning of the season his father had 
asked me to give him a call at his London ad- 
dress, when he asked me to let his son, Herbert, 
come out at one of my Orchestral Concerts, 
adding that, out of gratitude, he would sing for 
me at these concerts for a reduced fee, namely, 
fifty guineas for each concert instead of a 
hundred. I at once accepted this generous 
offer, but, unfortunately, Mr. Sims Reeves failed 
me at two of the concerts, sending word that he 
was not well. However, he sang at the third, 
being the last of the series, in 1880. I had an- 
nounced him in the usual way in all the adver- 
tisements, when he again called off. On the 


day before the concert, however, he sent word 
that he felt better and would sing. I immedi- 
ately rushed off to the newspaper offices to get 
his name inserted in the next morning's adver- 
tisements ; but it was rather a late announcement 
to make, and the public did not come forward 
in the same way as if they had had a longer 
notice. There was also a dreadful thunderstorm 
before the concert began, and I was in doubt 
whether Reeves would venture to come all the 
way from Upper Norwood in such fearful 
weather. However, he did turn up and sang 
the following items most beautifully : " If with 
all your Hearts " from Elijah, and " Adelaide " 
by Beethoven, in which I accompanied him. 
No one ever sang this beautiful aria which he 
sang in Italian better than he, or with more 
intense feeling. But I have digressed too long 
from the concert at which his son Herbert 

Herr Hugo Heermann from Frankfurt played 
Goetz's fine Violin Concerto, which had not been 
heard in London before. I ought to have men- 
tioned that at the concert at which Sims Reeves 
appeared I had an orchestral prelude from 
Saint-Saens's cantata Le Deluge ' performed. 
This was played by the orchestra, the violin 
obbligato being played by the Belgian violinist, 
M. Ovide Musin, and it was kindly conducted 
by the composer, as it was the first performance 
in England. M. Alphonse Duvernoy was the 


pianist on this occasion, and played Mendelssohn's 
Concerto in G minor with good effect. 

The concert on April 30th, 1881, was remark- 
able for the first appearance in England of the 
celebrated pianist, Madame Sophie Menter. I 
had engaged her to come over expressly, and 
went to meet her at Charing Cross Station. 
She had her secretary with her, and also her 
favourite cat, " Klecks," which was carefully 
stowed away in a large basket. It was a huge 
cat, and she was simply devoted to it. She 
called it "Klecks" (ink-spot) because it was jet 

Madame Menter was Liszt's favourite pupil, 
and she played his Concerto in E flat (No. 1) as 
no one had played it since Liszt gave up playing ; 
her power was prodigious and her playing re- 
minded me of Anton Rubinstein's. She was 
very good-looking, wore magnificent diamonds, 
and dressed beautifully much better than the 
majority of lady pianists. Her solo pieces were 
" Pastorale " and " Capriccio " by Scarlatti, a 
transcription of Mendelssohn's song, " Auf 
Fliigeln des Gesanges " by Tausig and the 
"Tarantella" from Auber's Masaniello, tran- 
scribed by Liszt. This concert was also note- 
worthy for the first performance in England of 
Berlioz's Symphonie Fantastique, Episode de la 
Vie d?un Artiste, Op. 4. Single movements 
had been previously performed here, but the 
Symphonie had not been played in its entirety 

except by me. The work created a veritable 
sensation. It required an augmented orchestra 
and the following extra instruments : one flute, 
two bassoons, one contra-fagotto, two cornets, 
one ophicleide, one tympani, two large bells 
(which I had specially cast), and four harps 
(in my opinion the proper effect cannot be 
obtained with a less number), making a grand 
total of ninety-two orchestral performers. The 
second movement, a sc&ne du bal, a charming 
waltz movement for which I engaged four 
harpists who came in with brilliant effect, was 
enthusiastically encored. 

It is not for me to attempt a description of 
this, perhaps the most characteristic work of 
Berlioz, and I can only hope that all my readers 
have heard it since then. To show the general 
interest the performance aroused I append an 
extract from Punch at the time. 


He. We are very late, but we are in time for 
the Fourth Part of this marvellous Symphonic 
Fantastique. A wonderful man is BERLIOZ. 

She. Oh, charming ! So original ! I hope 
he'll write many more Symphonies. 

He (with a vague idea that BERLIOZ is no more). 
Yes, yes ! He was a Russian, wasn't he, by 
the by ? 

She (equally jogged). It is a very Russian 

He (looking at programme). Now for it ! Ah ! 
(pretending he knows it by heart) this move- 


ment illustrates a deep sleep accompanied by 
the most horrible visions. How admirably those 
loud sounds of the violoncello express one's idea 
of a deep sleep ! 

She (not to be outdone at this game of " Brag "). 
Yes, yes ! Listen ! Now he thinks he is being 
led to the scaffold to the strains of a solemn 
march. How gloomy, how awe-inspiring are 
those pizzicato touches on the violins ! 

He (having got another bit by heart). Grand ! 
Grand ! Just hearken to the muffled sounds of 
heavy footsteps ! It is finished ! Oh, massive ! 
Oh, grand ! Like a reverie in some old cathe- 
dral ! 

She. It almost moved me to tears. Nothing 
more exquisitely doleful have I ever heard ! 

Third Party (leaning over). How do you do? 
How are you ? I saw you come in. How late 
you were ! But you were in time for that third 
lovely movement. 

He and She. Oh, grand ! Magnificent ! Su- 
perb ! Solemn 1 

Third Party. The light rustling of the trees 
moved by the wind was so wonderfully ex- 
pressed ! 

He (amazed). Eh ? 

Third Party. Yes, you noticed it, of course. 
Did it not conduce to bring to your heart an 
unaccustomed placidity, and to give to your 
ideas a more radiant hue ? 

She (confounded). What ? 

Third Party. Why, the Third Part. 

He and She. Oh, the Third Part ! 

Third Party. Yes ; and now you'll hear the 
Fourth Part. Now you will hear a deep sleep 
accompanied by the most horrible visions. Ta ! 
ta ! [Exit, and their enjoyment is gone for the 




Although some critics gave the work a favour- 
able notice, several papers, and one in particular, 
cut the Symphony to pieces. This, however, 
did not affect me, and I repeated it at the next 

Berlioz had a hard fight in Paris to get his 
works performed, and it was only after his 
death that he was fully appreciated by his 
compatriots. Without being egotistical, I must 
confess to feeling proud of having brought his 
Symphonic Fantastique before the English public. 

On May 28th I performed another of Berlioz's 
great symphonies, his Romeo and Juliet, which 
had not been given here for some time so I 
revived it. I took great pains to give it ade- 
quately, as it requires two singers and a chorus, 
which I had to provide. One of the movements, 
a scherzo, is called Queen Mob, in which two 
cymbales antiques (little antique cymbals) are 
used. This reminded me of the time when the 
work was performed for the first time in Eng- 
land under the direction of the composer at one 
of the New Philharmonic Concerts in 1852, 
then started by Dr. Wylde, when Berlioz asked 
me to play one of these little instruments in 
conjunction with Edouard Silas. 

Well, this symphony, under my direction, was 
well received it is a fine work and most 
poetical. The Queen Mob scherzo is very diffi- 
cult to play, as the composer has indicated the 
tempo prestissimo, but it went well. Miss Ellen 


Amelia Orridge and Mr. Faulkner Leigh were 
the singers who took part in it poor Miss 
Orridge, who had a fine contralto voice, unfortu- 
nately died soon after, in the height of her career. 

At the fourth concert, on June llth, I per- 
formed Gluck's Orpheus, which the public were 
most anxious to hear, as it had rarely been 
given, and they crowded St. James's Hall. I 
had a splendid cast. Madame Patey took the 
part of Orpheus, which she sang admirably, 
especially " Che Faro," and Miss Carlotta Elliot 
was Eurydice. The chorus did justice to their 
various numbers. Many years afterwards the 
opera was staged at Covent Garden, when the 
Sisters Giulia and Sophia Ravogli made such a 
deep impression in it. 

The last concert of the season took place on 
June 25th, at which Madame Sophie Menter 
made her second appearance and played Schu- 
mann's Concerto in A minor magnificently, 
bringing out all its poetical beauty. She did 
not practise in the daytime, but during the 
night, and it must have been a real infliction to 
have had rooms near hers. Once when I visited 
her at her lodgings I had the privilege of meet- 
ing Klecks, who sat at the table with the free- 
dom of a child and ate the same food that we 
did. In fact, Menter was perfectly fascinated 
by the animal in a way I have never seen 
equalled, and she dragged it about with her 
wherever she went. 


Another interesting item at the last concert 
was a new song, " Kennst du das Land ? " by 
the young English composer, Goring Thomas. 
This was its first performance, and it was beauti- 
fully sung by Madame Marie Roze. I have 
already alluded to Esmeralda, the fine opera of 
this talented composer. He was a man of great 
charm and refinement of character, whose career 
was, unhappily, too short a one. He was 
always a hard worker, and in a letter he wrote 
me says : 

" The days ought to be twenty-four hours, in- 
stead of twelve, to get in all one has to do." 

The season of 1882 began on April 22nd, 
when I gave the first performance in England of 
Liszt's great Symphony founded on Dante's 
" Divina Commedia " which he dedicated to 
Richard Wagner. It is, of course, a very diffi- 
cult work, and in the last movement a chorus 
of women's voices is required, and also an organ. 
There are three movements in all : (1) Inferno ; 
(2) Purgatorio ; (3) Paradiso (Magnificat) ; and 
besides the usual full orchestra I had again to 
engage several additional instrumentalists, which 
brought the number of players up to ninety-four. 
I don't think the audience grasped the beauties 
of the work, with its sublime last movement, 
when the female voices come in, and it did not 
have a good reception with the English Press, 
save for such enlightened critics as Dr. Francis 


Hueffer of the Times and a few more, but I was 
bound to give novelties and not continue to 
perform humdrum works, and I was justified 
in following this policy. I should like to put on 
record that I owed much valuable counsel and 
advice to my friend, Francis Hueffer, who will 
always be remembered for his strenuous advo- 
cacy of the claims of Wagner, Berlioz, and Liszt. 
Herr Ondricek, a new Hungarian violinist, 
played Mendelssohn's Concerto in E minor with 
good tone and masterly execution. 

At the second concert I performed Schubert's 
Symphony in C major, and Miss Agnes Hunting- 
ton, the American contralto, made her debut. 
She sang the aria " Non piu mesta " from 
Cenerentola, and made an instantaneous hit. 
She also gave two German songs by Hartmann 
and Schubert. Some years later Carl Rosa 
engaged her for the title-role of Paul Jones, 
which she sang for many months with much 
success at the Prince of Wales's Theatre. 

On May 20th I repeated Liszt's Dante Sym- 
phony, when I think it was better understood 
by the public. Previous to this concert I had 
seen in the Times that a new Russian pianist, 
M. Vladimir de Pachmann, had made a great 
sensation at a concert in Paris at the Salle 
Erard. I wrote at once to Messrs. Erard to 
offer him an engagement at this concert, which 
he accepted, and made his first English appear- 
#nce under my direction, He playec} Chopin's 


Concerto in F minor splendidly, and some solos, 
and at once established his reputation as a 
Chopin player par excellence. 

Since he first played at my concerts he has 
acquired certain mannerisms which amuse the 
public and do no harm. When I spoke to him 
about them he said he wished to imitate Von 
Billow, who was his beau ideal. I have men- 
tioned Von Billow's curious mannerisms in an- 


-t-'tf^?t^~~ jfti^' 

other part of this book, and explained that they 
are due to short sight, and partly to his being 
overcome by his feelings. In fact, he does not 
know what he is doing, but Pachmann does 
know, and, I think, looks about him and con- 
verses with the audience for the fun of the thing. 
But I may be wrong, and my readers will have 
their own opinions. Anyhow, he is a very great 
artist anfl a magnificent player, 


At the fourth concert, on June 3rd, I repeated 
Berlioz's Symphonic Fantastique. The scherzo 
was again encored ; the Symphony seemed to 
fascinate the audience, and I was called on at 
the end of the performance and had to bow my 
acknowledgments. I had again engaged my 
friend, Madame Patey, and she sang the arietta 
" Lungi dal caro bene " by Sarti, and a new 
song by Blumenthal. Madame Montigny-Re- 
maury was the pianist, and played Beethoven's 
Concerto in C major, and introduced Saint- 
Saens's Minuet and Gavotte, from his Septuor. 

The fifth and last concert of the season took 
place on June 17th. I had engaged M. de 
Pachmann again and had selected Beethoven's 
Concerto in G major for him to play, and he 
again played some Chopin most beautifully. I 
had also arranged to play a duet with him, on 
two pianos variations on the Gypsy March 
from Weber's Preciosa, arranged by Mendelssohn 
and Moscheles, which pleased immensely, and 
we were both recalled. The orchestral accom- 
paniments were conducted by my leader, Herr 
Adolph Pollitzer. " Der Freischiitz " overture 
concluded the programme. 

This, alas ! was the last of my Orchestral 
Concerts, for I could not carry them on for want 
of financial support adequate to the enormous 
expenses involved, though they had great artistic 
value. During the nine years I carried them 
on I performed many new and unknown 


orchestral works, and introduced many new 
artists, who have since made great reputations. 
Unfortunately, the public was not then ripe for 
orchestral concerts, but nous avons chang& tout 
cela ! Orchestral Concerts are now en vogue, and 
such conductors as Nikisch, Henry J. Wood, 
Landon Ronald, and others, attract the London 
public. During my concert season I had great 
difficulties in keeping my orchestra together 
for the rehearsals. I generally began these at 
9.30, and at 12 o'clock their instruments were 
fetched away for the rehearsals at Covent 
Garden, and I had to finish my own rehearsal 
with half an orchestra. In those days wind and 
brass instruments were very scarce, and I was 
obliged to share them with Covent Garden. 



My first visit to Paris I see the troops pass before Napoleon III 
and the Empress Eugenie I visit the gala performance at 
the Opera Nicolini Rossini The three occasions on which 
I have played before Queen Victoria The Prince Consort and 
the Great Exhibition of 1851 Meyerbeer My pupils Three 
Viceroys The Ladies Spencer Churchill The Countess of 
Warwick and Lady Algernon Gordon Lennox Miss Braddon. 

IN August 1859 I visited Paris for the first 
time, when on my honeymoon, and was en- 
chanted with that wonderful city. We saw the 
entry of the French troops, after the Italian- 
Austrian War, when 80,000 soldiers passed 
before Napoleon III, who was on horseback at 
the corner of the Rue de la Paix, surrounded by 
a brilliant staff. It took from ten in the morn- 
ing till six in the evening for them to pass. It 
was a splendid sight, but it had its mournful 
side, because many of them were wounded and 
had their heads bandaged and their arms in 
slings. It was very interesting to see the 
Vivandieres, in the uniforms of the various regi- 
ments, pass by, and they were tremendously 
cheered by the public. I had hired two seats 
near where the Emperor stood, in the Rue de 


la Paix, and could see everything perfectly 

In the evening there was a gala performance 
at the Opera, and Guillaume Tell was performed. 
As this masterpiece of Rossini's is very seldom 
performed in England, I venture to say that, 
being French in character and style, it will live 
with II Barbiere, which is thoroughly Italian in 
character, for many years to come. This was 
the old Opera-house in the Rue Lepeletier. 
The Emperor and Empress were present, and 
the doors of all the private boxes were left open 
and guarded by gendarmes, which was done in 
case some maniac should fire a shot at the 
Emperor or Empress ; but, fortunately, nothing 
happened. During the entr'actes I saw the Em- 
peror and Empress visit some of their relatives, 
who sat in the middle boxes of the grand circle. 

The performance was very fine, and the 
scenery splendid ; but, unfortunately, I cannot 
remember the names of the principal singers. 

When we left the opera we found ourselves in 
fairyland. The Jardin des Tuileries, and the 
Champs Elysees, as far as the Arc de Triomphe, 
were brilliantly illuminated with coloured lamps, 
and the streets were thronged with sight- seers. 

Napoleon was then at the height of his power. 
I remember, the night before the gala perform' 
ance, when we were driving in the Bois de 
Boulogne, he and the Empress passed us in an 
open carriage drawn by six horses with out- 

riders, coming from the palace at St. Cloud. 
All this pomp and glory was swamped eleven 
years later, when Germany conquered France, 
and some of the victorious troops entered Paris 
by the Arc de Triomphe, headed by the Uhlans 
of the Prussian Army, and Napoleon and the 
Empress had to take refuge in England, where 
they were hospitably received, and where the 
Empress is still living as a welcome guest and an 
intimate friend of the royal family. But this is 
a matter of history. 

While in Paris in 1859 we often saw Madame 
Nicolini, who was very kind to us in showing us 
round. I had known her and her son Ernesto 
before ; in fact, we were boys together and kept 
up our friendship till he died. When I first came 
to London I became acquainted with his parents, 
and, as Ernesto was studying the piano at the 
Paris Conservatoire, where he gained the first 
prize in 1855, he often came over to visit his 
parents ; and thus I met him, and we used to 
amuse ourselves by playing pianoforte duets. 

Some years later he found out that he had a 
good tenor voice, and he then studied hard at 
singing. He was first engaged at the Salle 
Ventadour in Paris, where he made his debut in 
1862. He came to England in 1866, and was 
engaged at the Royal Italian Opera, Covent 
Garden, where he remained for many years as 
one of the principal tenor singers, and had 
always a great success, especially in such parts 


as Almaviva in II Barbiere, singing the florid 
music to perfection ; as Edgardo in Lucia, as 
Rhadames in A'ida, as Alfredo in La Traviata, 
and as Faust. He was the first to sing the part 
of Lohengrin in Wagner's opera when it was 
produced here. He sang every season at Covent 
Garden Theatre, where he was very popular in- 
deed. He was a very good-looking man, and 
many people said he resembled Mario, with which 
I quite agreed. He told me that singing Lohen- 
grin displaced his voice, and therefore he gave 
it up, although he sang it most beautifully ; but 
he never sang Tannhauser. His acting was excel- 
lent. His death occurred in January 1898. 

We thoroughly enjoyed our stay in Paris, 
visiting the museums, theatres, the Champs 
Elysees Gardens, where Musard's famous band 
played, and Versailles, where we saw the foun- 
tains play. We also went to Fontainebleau, 
where the great Napoleon signed his abdication 
and drove through the beautiful park there. 

When I was in Paris in the Exhibition year 
of 1867 I visited Rossini at Passy, on the out- 
skirts of Paris. He received me very kindly, 
and, in looking over my album containing the 
autographs of many celebrated musicians, he 
signed his name at my request, under the signa- 
ture of Thalberg, whom he greatly admired. In 
looking through the names he spoke of many 
of the artists and composers, whom he had 
known personally, in very flattering terms. I 


had a letter of introduction to him from a 
mutual friend, Madame Puzzi. 

We had a talk about musical doings. I told 
him various bits of news connected with his 
operas, which were being performed in London 
during the season, and he seemed much in- 
terested. I was always glad to have had this 
interview with him, though, as it took place so 
long ago, I cannot remember his exact words, 
but only the gist of what he said. 

In describing my future visits to Paris I shall 
have something to say of my musical impres- 
sions there. 

I have had the honour of playing before Her 
Majesty Queen Victoria on three different occa- 
sions. On the first occasion I accompanied 
Madame Marie Roze at Balmoral in 1885. I 
drove with this artist from Ballater to the 
Castle, but it was too dark to see the beautiful 
scenery on Dee side. The Queen spoke to me 
in German and asked me whether I was related 
to the Conzertmeister Leopold and Moritz Ganz, 


who had played before her at Windsor many 
years before. I replied they were my uncles. 
On referring to my diary I find this happened on 
June 10th, 1856, twenty-nine years before ! I 
well remember taking my uncles down to Wind- 
sor and having great difficulty in finding rooms 
at an hotel, as it was Ascot week. I went with 
the mand the other artists to the Castle and 
listened to the concert in the next room. The 
Queen seemed pleased with Madame Roze's 
singing ; I remember that the .Duke of Con- 
naught was there, dressed in Highland dress, as 
were also some of the other men present, and I 
had to sign the Queen's visitors' book. 

The drawing-room in which the music took 
place was hung round with a number of en- 
gravings of the Royal Family, and the furniture 
was upholstered with Scotch plaid. Every- 
thing was very simple and unceremonious. 
When all was over, one of the gentlemen-in- 
waiting handed me, in the name of the Queen, 
a cat's-eye breast-pin set in diamonds, which 
could also be worn as a stud. Supper was then 
served to us, and we drove back to Ballater, a 
distance of eleven miles. 

The second occasion was at Osborne House, 
Isle of Wight. I went with M. Johannes Wolff 
and M. Joseph Hollman in 1889 to play there 
before the Queen. We played part of Men- 
delssohn's Trio in D minor I remember the late 
Prince Henry of Battenberg turning over the 


leaves for me, and telling me that he often played 
the 'cello. The Queen gave me a pair of gold 
sleeve-links, with a diamond in the middle of 
each. Just as at Balmoral, it was nearly dark 
when we arrived at Osborne, and I had no 
opportunity of seeing the natural beauties of 
the place. 

The third occasion was at Windsor Castle in 
1894, when I accompanied Madame Adelina 
Patti in all her songs. She had come specially 
from her castle in Wales to sing to the Queen, 
and had asked me to come to Windsor to play 
for her. Naturally I looked forward to a very 
interesting evening, as it indeed proved to be. 
The Queen sat about twenty feet from the piano 
and used an opera-glass in looking at Madame 
Patti, who sang a number of songs. During 
" Home, Sweet Home " I noticed the Queen 
wiped the tears from her eyes. 

When Madame Patti had finished her first song 
Princess Christian, who sat by the side of the 
Queen, called to me in German, "Herr Ganz, the 
Queen wishes to speak to you." I rose immedi- 
ately and advanced towards the chair where 
the Queen sat. Her Majesty spoke to me in 
German, in a lovely melodious voice, asking me 
what other songs Madame Patti would like to 
sing. She had a list in her hand, so I named 
some of them which I thought Her Majesty 
would like. Among other songs Madame Patti 
sang one by Princess Henry of Battenberg, who 


was present with Prince Christian of Schleswig- 
Holstein and a number of court officials, both 
ladies and gentlemen. At the end of the con- 
cert the Queen spoke for some time with Madame 
Patti, then rose, and bowed very graciously to 
Madame Patti and myself and the rest of the 
company. We then adjourned to a room where 
supper was served, and Sir William Carington, 
Comptroller of the Household, handed me, in the 
name of the Queen, a crocodile leather cigar- 
case, mounted in gold, with the royal crown and 
the Queen's initials. I spoke to Lady Ponsonby, 
one of the ladies-in-waiting, wife of Colonel Sir 
Henry Ponsonby, Private Secretary to the Queen, 
whom I had known as Miss Bulteel at Lady 
Waldegrave's at Nuneham Park, and she said 
she was very much pleased to renew my acquaint- 

Next morning I was shown over the State 
Apartments at Windsor Castle, and saw the 
various collections of art-treasures. 

When Madame Patti left the Castle that morn- 
ing the Great Western express was specially 
stopped for her at Slough by Royal Command, 
so that she could get back to Craig-y-nos that 
day. On her arrival home she received a gracious 
telegram from Queen Victoria hoping she had 
had a comfortable journey, and later a signed 
photograph. My daughter Adelina, who was 
staying at Craig-y-nos, and travelled with her, 
told me that, although tired from her early start, 


she insisted on keeping awake the whole journey 
in case sleeping should affect her voice, as she 
considers sleep before singing injurious to the 

I often remember seeing the Prince Consort 
in former years. He was a tall, handsome man, 
and, as everybody knows, a great patron of the 
arts, and the originator of the first Great Ex- 
hibition held in Hyde Park in 1851. I went to 
the Exhibition the last few days before it closed, 
and more than a hundred thousand people were 
present the crowds were so great that one 
could scarcely walk about. It was a gay scene, 
and the picture and sculpture galleries were 
splendid, one of the great attractions being a 
statue called " The Greek Slave," by Gibson. 
It was the first time, too, that the public had 
seen machinery in motion. I have been to a 
good many exhibitions since then the one in 
1862, also held in Hyde Park, and the 1867 Paris 
Exhibition, but none came near the Great 
Exhibition of 1851 in picturesqueness. Another 
of the attractions there, I remember, was a 
crystal fountain, which stood in the transept 
and is now in the nave of the Crystal Palace. 

Meyerbeer came to London for the Exhibition 
of 1862 in Hyde Park, for the opening of which 
he had composed an overture, in the form of a 
kind of march. 

My father had known him personally for many 
years, and he took me to see him at the York 



Hotel in Albemarle Street. Of course I was 
very anxious to see him, and wondered what he 
was like. He was a little man, dark-haired, with 
a most intelligent face. My father asked him to 
write something in my musical autograph book, 
which he did at once. He asked my father to 
get him a metronome to mark the tempi of his 
new overture, and my father succeeded in 
obtaining one for him. 

I often saw him during the rehearsals of 

Dinorah at Covent Garden, when the title-role 
was sung by Madame Patti. He constantly in- 
terrupted the rehearsals by showing Costa and 
the artists what to do ; but, although he corrected 
them constantly, he was at the same time most 
polite, and never hurt their feelings. 

He belonged to a rich Jewish banker's family 
in Berlin, which enabled him to have his operas 
first performed at the Opera-house in Paris, 
where innumerable rehearsals took place, last- 
ing several months. Meyerbeer, I have often 


been told, defrayed some of the heavy expenses 
connected with their production out of his own 

When any of his operas succeeded, as they 
generally did, they were given in Berlin and 
other cities on the Continent, and in London, 
where they were always well received. I re- 
member being present at the production of 
L'Africaine on July 22nd, 1865, in which Pauline 
Lucca took a brilliant part. The prelude of 
the last act was played by the violins unisono, 
on the fourth string, and created a great im- 
pression. On future occasions it was always 

Meyerbeer had the title of General Musical 
Director bestowed on him by the King of Prussia 
at Berlin and conducted the state performance 
at the Royal Opera and also the State Concerts, 
and when a royal prince or princess was about 
to be married he composed a " Fackeltanz," 
which was a sort of Polonaise, in which the bride 
and bridegroom, as well as the King and Queen 
and other court personages, walked in proces- 
sion to the music. This custom always took 
place the evening before the wedding, everybody 
who walked in the procession holding a lighted 
torch in his hand. 

Meyerbeer, like many other good composers, 
was not a good conductor, the reason, I think, 
being that when he was conducting his own 
works he was very nervous. 


He had one great terror, and that was of 
being buried alive, and he left directions in his 
will that, after his death, several days were to 
elapse before his burial. I heard it said, but 
cannot vouch for the fact, that when Gounod 
made such a success with his Faust, Meyerbeer 
simply collapsed, realising that his day of being 
the only successful operatic composer in Paris 
at that time was at an end, and he died soon 
after its production. Anyhow, he had had his 
day. No modern composer has had such com- 
plete success with his operas. He was also able 
to select the best singers, and to finance his pro- 
ductions if it is true that he did so. Poor 
Richard Wagner, in his earlier days, had the 
greatest difficulty in getting his operas per- 
formed in Paris, or even his own native country, 
and had no money to offer towards their ex- 
penses. Nevertheless, he succeeded in after- 
years, and has drawn larger audiences together 
than any other modern composer. 

It was, perhaps, a unique coincidence that I 
had three Viceroys as my pupils, one of whom 
was the present Earl of Cadogan, a former 
Viceroy of Ireland. I gave him lessons as an 
Eton boy, when he came home for the holidays 
to the old Cadogan House in Cadogan Place, 
where, since he inherited the title, he has built 
a magnificent mansion. His father was Viscount 
Chelsea (the old Earl Cadogan was then still 


The next one was the late Earl of Derby, who 
had lessons from me in St. James's Square, 
where his parents lived, when he was still the 
Hon. Frederick Stanley. He honoured me with 
his friendship until his death, and often invited 
me to his political parties, and was a most 
amiable man. About that time his mother, the 
Countess of Derby, asked me to arrange a 
musical party for her. At her request I had 
engaged a Viennese singer, Madame Wildauer, 
from the Imperial Opera, but before the soiree 
took place she was suddenly taken ill. I then 
remembered that my friend, Madame Viardot 
Garcia, was here for the season, so I went to see 
her to beg her to sing, as I only heard of Madame 
Wildauer's illness the very day of the concert. 

She asked me why I had come, and when I 
said that I wanted her, as a favour, to kindly 
fill Madame Wildauer's place, as she was ill, she 
at once expressed concern and said she would 
fill the gap, which, for so great a singer, was most 
considerate. Herr Alexander Reichardt, the 
tenor, I had already engaged. The old Duchess 
of Cambridge was present, with her daughter 
Princess Mary, and Lady Derby introduced me 
to the Duchess, who said some kind things to 
me in German, praising the artists and the 
programme. The great Earl of Derby, called 
*' The Rupert of Debate," was, of course, present. 

The last time I saw my pupil, the late Lord 
Derby, to speak to, was at a public dinner to 


the Colonial Premiers in 1902, at which the 
Duke of York our present King presided. 
Lord Derby conversed a long time with me and 
asked me about my professional doings. 

The third Viceroy was the present Earl of 
Dudley, whom I taught as a boy at Dudley 
House. None of these boys, when they grew 
up, had time to keep up their music, as they have 
all had great political careers. 

As Professor of Music I have had innumer- 
able pupils, too many for me to name ; but I may 
mention that among them were the daughters 
of the late Duchess of Marlborough, whose hus- 
band was also a Viceroy of Ireland in 1874. 
I used to go three times a week to their house 
in St. James's Square, which was afterwards the 
Devonshire Club for some years. They were 
Lady Cornelia Spencer-Churchill, who became 
Lady Wimborne, Rosamond (now Lady de 
Ramsey), Lady Anne, who became Duchess of 
Roxburghe, and their aunt, Lady Clementina, 
afterwards Marchioness Camden, and the late 
Lady Fanny, who became Lady Tweedmouth, 
They were all very clever players, and took a 
great interest in their lessons. The Duchess of 
Marlborough used sometimes to come into the 
room to listen to their playing ; but whenever 
she came they were so nervous that they could 
never do themselves justice. The Duchess was 
herself a first-rate pianist, and I often gave her 
lessons. I dedicated one of my compositions to 


her a difficult transcription of the Neapolitan 
air " Santa Lucia," which she read off at sight 
with ease. 

Lord Randolph Churchill used to rush in, like 
a whirlwind, while I was teaching his sisters, 
and speak very loudly to them, and his eldest 
brother, the Marquis of Blandford, did the same. 
Later on Lady Georgiana Spencer-Churchill, 
afterwards Lady Howe, and Lady Sarah Spencer- 
Churchill, who married Colonel Wilson, also 
took lessons from me, and, more recently, the 
daughters of the Duchess of Roxburghe so I 
taught three generations of the family. 

I also taught all the daughters of the late 
Lady Mildred Beresford-Hope, sister of the great 
Marquis of Salisbury, and many others, among 
whom were the Countess of Warwick and her 
sister, Lady Algernon Gordon Lennox, before 
she was married, but Lady Warwick also had 
lessons from me after her marriage. I never 
had any fault to find with these pupils, as they 
always prepared their lessons to my satisfaction ; 
they were all talented, and some read splendidly 
at sight. 

At the various schools where I taught I used 
to notice how much the pupils enjoyed study- 
ing Beethoven, Mendelssohn and Schumann, 
which many of them played by heart. At the 
present time there are few private pupils on 
account of the numerous musical institutions, 
such as the Royal Academy of Music, the Royal 


College of Music, the Guildhall School of Music, 
and Trinity College where, through the spirit 
of emulation, they make great progress, and 
where also the tuition is much less expensive 
than formerly, when the fee was one guinea 
for each private lesson. Before leaving the 
subject of my pupils I ought to mention two 
more interesting ones, namely, Lady Elizabeth 
Pringle, sister of the Marquis of Breadalbane, 
who was, I think, nearly eighty years of age 
when I taught her, in spite of which she studied 
the longest and most difficult sonatas by Bee- 
thoven with me and also Mrs. Maxwell (Miss 
Braddon, of Lady Audley^s Secret fame), who 
studied with me as recently as four years ago, 
with great earnestness, and practised for me 
diligently between each lesson. She lately wrote 
a novel into which she introduced me under a thin 
disguise. The old-fashioned courtesy and reti- 
cence which made her write, " I did not feel at 
liberty to give even a hint of your personality 
in my book without submitting the proof to 
you," might afford an example to the indiscreet 
novelists of to-day. 



I first meet Wagner He conducts at the Albert Hall I attend 
the Third Cycle of The Ring at Bayreuth King Louis of 
Bavaria I attend a reception at Wagner's house " Wahn- 
fried " Wagner's performances in Paris " Bravo les 
chiens ! " I hear Tristan and Isolde at Munich The Prinz 
Regenten Theater. 

I HAD the privilege of meeting Richard Wagner 
at Schott's music-shop in Regent Street, in 
1877. He had come over from Bayreuth to 
conduct the Wagner Festival given at the Albert 
Hall to collect funds for the Wagner Festspiel 
(Wagner Festival performances) at Bayreuth, 
and Mr. Wolff, the manager of Schott's, intro- 
duced me to him. He wore felt shoes, as he 
was then suffering from gout. I had my little 
daughter Georgina with me, and he stooped 
down and talked to her and gave her a kiss. I 
showed him some bills of my Orchestral Con- 
certs, which were hanging up in the shop, and 
contained the names of some of his own orchestral 
works which I was going to perform. When I 
pointed this out Wagner said, " I am very 
glad indeed of that, as we badly want money." 
He meant to carry on the Ring des Nibelungen, 



The Wagner Concerts at the Albert Hall 
were composed entirely of his works, and he 
conducted the first part of the programme him- 
self. Unfortunately, he was no longer at his 
best, and had lost something of his great skill 
as a conductor. 

The second part of the Wagner programme 
was conducted by Dr. Hans Richter, who, when 
he mounted the conductor's desk, was received 
most enthusiastically by the members of the 
orchestra. That was Richter's first appearance 
in London, and everybody knows what a won- 
derful career he has had during so many years 
of activity, and how greatly he has improved 
orchestral concerts not to mention his number- 
less performances of Wagner's operas at Drury 
Lane Theatre and Covent Garden. 

The singers engaged for this festival were 
principally those who sang in Wagner's operas 
in Bayreuth. They were Frau Materna, Herren 
Scaria, Grimm, Schloesser, Unger, and others. 
I remember giving a supper-party at my house 
at which Materna sat next to me, and several 
more of these great artists were also my guests, 
and so was our well-known German doctor, Carl 
Harrer. The latter was himself a great Wagner 
singer, although only an amateur, but he could 
have become a first-rate opera-singer had he 
not entered the medical profession. We were 
all lively, and passed a most pleasant evening. 
Wagner, when in London, stayed at the house 


of his young friend, Edward Dannreuther, 12, 
Orme Square, Bayswater. Before he left Eng- 
land Dannreuther gave a reception in his 
honour at which no end of musical people were 
present, and to which I was also invited. 
Madame Albani was among the guests and she 
asked me to introduce her to Wagner, which I 
did, and they had a very animated conversation 
together. I wonder whether Wagner knew that 
the lady he was talking to had so often sung his 
Elizabeth, Elsa, and Senta with great credit to 

In the year 1876 I went to Bayreuth and 
heard the Ring. On the way there a very 
agreeable coincidence happened. Starting from 
Charing Cross Station, my neighbours in Harley 
Street, Dr. Critchett (father of Sir Anderson 
Critchett), and his daughter, Mrs. Boursot, sat 
next me by accident in the railway carriage, 
and we travelled together all the way to Bay- 
reuth, which was a very pleasant occurrence. 
What was still more strange was that my 
seat was near theirs at the Bayreuth Theatre, 
although we did not buy our tickets to- 

In those days the seats were very expensive 
-I paid 15 for mine, buying them at Schott's 
now you can get them for twenty-five shillings for 
each performance, 5 for the whole series of four 

Dr. Critchett was a great admirer of Wagner, 


and when The Flying Dutchman was performed 
at the Lyceum, he went to hear it every night 
during the season. 

The First Cycle at Bayreuth commenced on 
August 13th, and the third, which I attended, 
was given from the 27th to the 30th. I had a 
very nice lodging in the house of the verger, 
just behind the church, and I was most com- 
fortable there. On the first evening, in Das 
Rheingold, the following singers appeared : Betz, 
from Berlin, as Wotan he was a native of 
Mainz, where I was born Frau Griin Sadler as 
Fricka, Schloesser as Mimi, Herr Gura from 
Munich as Donner, Vogl as Loge, Hill from 
Schwerin as Alberich. 

Fraulein Johanna Wagner, a niece of Wag- 
ner, took the part of Erda. She was a rather 
tall woman, with a resonant contralto voice. 
Fasolt and Fafner were taken by Eiler and Von 

I was present at Her Majesty's in 1856 when 
Johanna Wagner made her debut as Romeo in 
Bellini's opera, a part which suited her ad- 
mirably. Afterwards I met her with her father, 
Albert Wagner, the eminent tenor, at a soiree 
at Countess Bernstorff s, when he asked me to 
accompany her in three songs : she was par- 
ticularly charming to me. 

In Die Walkure the Siegmund was Herr 
Niemann from Berlin ; a tall, handsome man, 
with a fine figure, he had light blond hair and 


wore a big beard. He certainly had one of the 
finest tenor voices I have ever heard I mean, 
among the German artists, for I don't wish to 
compare him with Mario, Giuglini, and other 
Italian tenors. I remember first hearing him at 
the Royal Opera in Berlin, in 1858, when he 
sang the Prophet in Meyerbeer's opera most 
splendidly. The Sieglinde was Fraulein Schef zky, 
and Briinnhilde was sung by the incomparable 
Madame Materna. 

In Siegfried the leading role was sung by Herr 
linger, and in Die Gotterdammerung Gutrune 
was Fraulein Weckerlin ; Hagen, Herr Scaria ; 
Briinnhilde, Madame Materna ; and the Rhein- 
maidens, Fraulein Lilli and Marie Lehmann 
(from Berlin) and Fraulein Lammert. 

Of all the great moments in this music drama 
I shall never forget the impression the Trauer- 
marsch made upon me. I had no difficulty in 
following any of the music, and the various 
Leitmotifs with which each opera was inter- 
woven came out perfectly clear to me. 

The theatre, which was built from designs 
given by Wagner, was so arranged that one 
could see quite well from every seat in the stalls. 
There was no pit, only rows of gradually ascend- 
ing stalls, and at the end of every few rows 
there were doors of exit. There was only a 
small gallery or circle, in the middle of which 
was placed the royal box, and also several 
smaller boxes. The gaslights were lowered 


during each performance of course, electric 
light was not then invented. 

When Wagner appeared, walking across the 
stalls during the entr'actes, he was cheered to 
the echo. King Louis of Bavaria attended the 
four performances, and before the beginning of 
each opera a fanfare of trumpets was sounded, 
giving a few bars of a Leitmotif. I remember 
quite well seeing the King drive up to the 
theatre. The theatre stands at the top of a 
hill. The King drove up in a carriage with 
four horses. The horses were most beautifully 
caparisoned, the harness being exquisitely deco- 
rated with silver most artistically wrought. 

The King, on the carriage drawing up at the 
centre entrance, which is reserved now for 
special royalties, jumped hastily from the car- 
riage, and with a stride or so was within the 
doors, which shut immediately behind him, as 
he was anxious not to be seen. At the end of 
the performance the door opened and the King, 
with the same hurried stride, practically leaped 
into the carriage and was drawn at full speed 
back to the palace in the town. The beautiful 
harness which he had had made, I believe by 
Bavarian artists, is still to be seen on the first 
floor of the magnificent stables in Munich. 
After the close of the Gotterddmmerung all the 
lights were suddenly turned up and the whole 
house rose and cheered the King, who had to 
bow, very much, I fear, to his own dislike. He 

was a tall, handsome man, with a fine head 
covered with thick black hair. I noticed that 
he looked rather melancholy, and he evidently 
hated the public notice ; but on this occasion he 
could not help himself. 

Wagner did not allow any of the artists to 
bow their acknowledgments at the end of each 
act ; he allowed it only when the opera was 
finished (I think quite rightly too), and it was 
but natural that when they did appear the 
audience applauded them enthusiastically. I 
also remember that, in the intervals between the 
acts, the principal male singers sat in their cos- 
tumes outside the stage door, at the back of the 
theatre, refreshing themselves with Bayrisches 
Bier (Bavarian beer) a very curious sight ! 

The audience also had a chance of refreshing 
themselves during the intervals, which were very 
long, lasting one hour. Special restaurants were 
built in the grounds of the theatre; they were 
thronged by a hungry and thirsty crowd, and one 
had great difficulty in being served. Dr. Hans 
Richter conducted the Trilogy, and he performed 
a great feat in conducting them without having 
the score before him, entirely from memory, 
such a thing having never been done before in 
the musical world. I have already mentioned 
that my father conducted the classical operas 
by heart, but this was child's play compared 
with Dr. Richter's accomplishment of conduct- 
ing the difficult and complicated music, vocally 


and instrumentally, of the Ring, and in those 
days it was extraordinary that a work so in- 
tricate and difficult should be memorised by 
one man. 

Dr. Richter, like the members of the orchestra, 
was in his shirt-sleeves as the heat was so great. 

Wagner was the first to conceal the orchestra, 
by sinking the floor and thus placing them 
below the stage and stalls, screening them 
from the audience, who thus had an uninter- 
rupted view of the stage. Wilhelmj, the great 
violinist, was the leader, and he told me that 
Wagner had asked him to alter some of the 
violin passages many of which were almost 
unplayable and extremely difficult and to 
make them more playable. As the orchestra 
was placed underground and not seen by the 
public, the poor fellows could see nothing of the 
stage or the artists. Wagner's idea has now 
been adopted at the continental theatres and in 
the various opera-houses in this country, and 
I suppose also in America and other countries. 
In consequence of it the various scenes look 
more like a series of pictures, as nothing inter- 
venes between stage and audience it also 
concentrates the volume of sound more effectu- 
ally. Many new instruments were used, such 
as the saxophones, which were specially manu- 
factured for Wagner's operas. 

On the next evening a reception was given 
by Frau Wagner at "Wahnfried," as Wagner's 


house was called. It was a most interesting 
soiree. All the principal singers whom Wagner 
adopted as his children and addressed as " du " 
were there. They, on their part, venerated 
and loved him, calling him " Meister." A 
number of foreign visitors from all parts of the 
world were also present, among whom were the 
most celebrated composers and instrumentalists. 
I had the honour of being invited, with Dr. 
Henry Wylde and my fellow-townsman, Herr 
Sigismund Lehmeyer, the pianist. 

An amateur tenor, M. Robsart, from Brussels, 
was asked to sing Siegmund's "Liebeslied," and 
as neither Richter nor Herr Rubinstein (the usual 
accompanist of the opera) was present, I had to 
play the accompaniment, and as the song is 
extremely difficult, I was perhaps a little timid 
at being asked to do so in the presence of its 
great composer. But it went off well, and the 
singer was greatly applauded. 

" Wahnfried " is a splendid house, with large 
reception-rooms on the ground-floor. At the 
back of the drawing-room there is a large library 
with many volumes of bound music. Looking 
through them, I noticed that the only composers 
omitted from the walls of the great master were 
Mendelssohn and I believe Meyerbeer. 

I fancy that Wagner did not like Jewish com- 
posers, especially as these two I have named 
belonged to rich families, and Wagner was poor 
and had constantly to fight for his living, and 


was often, as one reads in his Life, obliged to 
borrow money, until King Louis took him up 
and helped him to make his fortune and a great 

Mendelssohn, by the way, was not a Jew, 
though he belonged to a Jewish family. Wagner 
wrote a brochure called Das Judenthum in der 
Musik, in which he speaks against Jewish 
composers, theoretically only, for he had many 
staunch friends amongst them. It created a 
great sensation at the time, and he sent a copy 
to Offenbach, who, after reading it, wrote to 
him : 


" You had better stick to music." 

Wagner thereupon sent Offenbach a copy of 
the score of the Meister singer, and a few days 
later had the following : 


" I think you had better stick to writing 

At Frau Wagner's reception refreshments 
were served at several buffets, and I remember 
that, while I was partaking of some in one of 
the back rooms with some of my friends from 
London, Wagner came up to where we stood 
and said jokingly, " Darf ich nicht auch etwas 
zu essen bekommen ? " (Am I not going to 
have anything to eat ?) We all made room for 


him at once, and were highly pleased that he 
came amongst us. 

Perhaps the following incidents may interest 
my readers ; they happened during the first 
three performances of Tannhduser in Paris, the 
first of which was on March 13th, 1861, now fifty- 
two years ago. 

The Emperor Louis Napoleon and the Empress 
Eugenie were present on the first night, and the 
opera was received in cold, significant silence. 

On the second night the audience, from the 
second act onward, made a great row, fighting 
among themselves and disturbing the singers. 

On the third night there was a terrific noise, 
and no member of the audience could hear a 
note of the music the whole evening, but the one 
success of the opera was the appearance of the 
sporting dogs, which the Emperor had specially 
lent from the royal kennels. One of my friends 
played the part of the page who had to lead 
the dogs on the stage towards the end of the 
first act, and he told me recently that the 
audience cheered them and called them before 
the curtain, shouting, " Bravo les chiens ! " 
" Bis les chiens ! on vous rappelle ! l! But the 
page would not comply with their sarcastic 

Now all this has been changed, and whenever 
Wagner's operas are performed in Paris the 
house is crowded, and even the Ring has become 
very popular. Naturally, the operas were splen- 


didly given in Paris and the scenery could not 
have been surpassed. At the Lamoureux and 
Colonne orchestral concerts extracts from his 
operas were constantly given and received with 
acclamation by an enthusiastic audience. 

It was at Munich that I first heard Wagner's 
Tristan and Isolde, which was then a compara- 
tively unknown work : I was very much impressed 
and deeply moved. Herr and Frau Vogl sang 
the title-roles. I heard them both later at 
Bayreuth. Musicians came from far and near 
to hear the performance, which created a great 
sensation. Munich has always been celebrated 
for its performances of Wagner's operas, and 
has had excellent conductors, such as Von Billow, 
Hermann Levi, Richard Strauss, and Mottl. 
The last time I was there was in 1901, the year 
of the opening of the Prinz Regenten Theater, 
the new Festspielhaus, which had been built a 
little way out of the town in the same style as 
the theatre at Bayreuth. 

The performances of Wagner's operas, which 
included Tristan and Isolde., Die Meister singer, 
Tannhduser, and Lohengrin, were some of the 
finest I have ever heard. Ternina's perform- 
ance as Isolde I had already known and admired 
in London. She sang with all her wonted beauty 
of voice and rose to the greatest heights of 
dramatic intensity. In the Meistersinger I was 
particularly struck by the perfection of the en- 
semble, and the sunken orchestra added greatly 

to the unity of the general effect. Gura, the 
great baritone, made one of his last appearances 
as Hans Sachs, and was superb. The perform- 
ance of Lohengrin was remarkable for the fine 
singing of the choruses, which are always cut in 
London, so as to alter the whole balance of the 
opera. Madame Nordica gave a beautiful ren- 
dering of the part of Elsa. 

One evening I went to see an excellent per- 
formance of Mozart's Cosi fan tutti in the little 
rococo Residenz Theater, a charming setting 
for the gay and spontaneous opera. Another 
feature was the small orchestra and the rapid 
succession of scenes arranged on the revolving 
stage. I used to meet some of the artists after 
the performances at supper : they were all de- 
lightful companions. 



I meet the Abb6 Liszt, at Bayreuth and in London Gounod at 
Tavistock House Mrs. Weldon Romto et Juliette in 
Paris I attend the special performances An annoying 
incident Gounod chez lui I accompany his son to a con- 
cert at the Conservatoire Ambroise Thomas Leo Delibes 
Madame Patti's Christmas-tree Two great pianists 
Rubinstein Hans von Billow His grimaces while playing 
Story of a pupil. 

WHEN I was introduced to Liszt, who was stay- 
ing with Wagner, he said he knew my name on 
account of my uncles in Berlin. He was dressed 
in the clerical garb of an Abbe, and was a very 
tall man, but stooped a little and spoke very 
gently. His long, white, silky hair hung down 
picturesquely, and he was very affable to me 
and had most charming manners. I saw him 
every day whilst I stayed at Bayreuth. Liszt 
was one of the greatest friends and warmest 
admirers of Wagner and his operas, and he was 
the first to bring out Lohengrin the premiere 
of which took place at Weimar in the year 
1850, with Liszt as conductor. I met Liszt 
again in London on Saturday, April 3rd, 1886, 
when he came over to England as the guest 
of Mr. Henry Littleton, head of the firm of 



Novello & Co. Liszt arrived at Westwood House, 
Sydenham, very late in the evening and very 
tired, and was received by a distinguished com- 
pany of between three and four hundred people 
who had been specially invited to meet him. 
He had come over to hear his oratorio, Saint 
Elizabeth, performed at St. James's Hall on 
April 6th under the direction of Sir Alexander 
Mackenzie. I went to hear the performance, and 
noticed that Liszt occasionally fell asleep, but 
woke up at hearing the great applause that 
came at the end of each important part. 

I also saw him one Sunday morning at the 
house of my old friend the late Mr. Beatty 
Kingston, in St. John's Wood, where he had 
been invited to lunch. A song composed by his 
host's daughter was sung, and immediately after- 
wards Liszt sat down at the piano and ex- 
temporised beautifully on the theme of the song, 
never having heard it before. 

A brilliant reception was also given in his 
honour, arranged by his pupil and friend, the 
late Mr. Walter Bache, at the Grosvenor Gal- 
leries in Bond Street, where I had the good 
fortune to hear Liszt play. He was then 
seventy-five years old, having been born on 
October 22nd, 1811, so one could hardly expect 
that his playing would have been so astonishing. 
He still had wonderful fire and technique, and 
one could easily imagine his former greatness, 
as the first pianist of his day. He may be said 

LISZT 185 

to have created a new school of pianoforte play- 
ing, and now his works are constantly being 
performed at all the recitals given by modern 
pianists, and his orchestral works, such as his 
symphonies and symphonic tone-poems, are 
in the programmes of most of the orchestral 
concerts in London and the provinces. I have 
already mentioned that I gave the first per- 
formance in England of his " Divina Commedia " 
Symphony at my Orchestral Concerts in 1882. 

After Liszt's death I stayed at Weimar and 
saw the houses where Schiller and Goethe and 
other great German poets and writers lived. 
There they have a Liszt Museum of his presents, 
testimonials and portraits, etc., and his old 
housekeeper showed me over it. She pointed 
out a lithograph portrait of Beethoven, and said 
that Liszt had always spoken of it as being 
the best likeness of him. Liszt, when a boy of 
twelve, had played before Beethoven. 

In 1870, when the Franco-German War broke 
out, Charles Gounod, like many other Parisians, 
came over to England to get out of the war. 
He lived at Tavistock House, with Captain 
and Mrs. Weldon, where Charles Dickens once 
resided, near Euston Square. Georgina Weldon 
used to receive her friends, including a number 
of distinguished artists, on Sunday afternoons, 
and on those occasions Gounod used to accom- 
pany her in some of his newest songs, many of 
which he had dedicated to her. She had a 


lovely high soprano voice, and was, in those 
days, a great beauty. She used to call Gounod 
" Papa." 

Gounod also sang his own songs, such as 
"Maid of Athens," with perfect charm. He 
had only a small voice, but he sang exquisitely, 
every word being distinctly heard, and of course 
he played his own accompaniments to perfec- 
tion. I used to go with the 'cellist, M. Paque, 
to these Sunday Reunions, and accompanied 
him in a fantasia which he had composed on airs 
from Gounod's Faust. 

It was about this time that Gounod had 
organised a series of orchestral concerts, con- 
sisting of his own new works. These concerts, 
which were most interesting, were given at St. 
James's Hall, and he had engaged a fine 
orchestra. Several new works were performed, 
such as " The Funeral March of a Marionette." 
Mr. Edward Lloyd made a successful first ap- 
pearance as a young English singer at these 
concerts. I remember complimenting him on 
his singing after the concerts had finished, and 
he seemed very pleased at my praise. 

Gounod always admired English choral sing- 
ing, and his famous oratorios, The Redemption 
and Mors et Vita, were both written for Birming- 
ham Festivals. I was present at the rehearsal 
of The Redemption at St. George's Hall, Lang- 
ham Place, when Madame Albani, Madame 
Patey, Edward Lloyd, and Charles Santley were 


among the singers. Gounod conducted it him- 
self, most splendidly. 

When the Franco-German War was over he 
returned to Paris. The Parisians had been 
clamouring for his return, and complaining that 
he had been so long kept away from them. They 
even twitted him with having become an Eng- 
lishman, to which he replied, " If I were not a 
Frenchman, I should like to be an Englishman." 
Many years afterwards, in December 1888, I 
visited him in Paris and renewed my acquaint- 
ance with him under the following circum- 

Gounod and the directors of the Paris Grand 
Opera wished to give some special performances 
of Romeo et Juliette, and one of the directors, 
M. Gailhard, came over to England and travelled 
west to Craig-y-nos Castle to invite Madame 
Patti to go over to Paris and sing, and she kindly 
consented to do so. Signor Nicolini invited 
the late Mr. Augustus Spalding, Mr. Percy 
Harrison, the late Mr. N. Vert, and myself to 
go over to Paris and hear the performances. 
We four, accordingly, travelled over to Paris 
and stayed at the Hotel Meurice in the Rue de 
Rivoli. Romeo et Juliette was a brilliant success, 
and was sung to packed houses. Madame Patti 
surpassed herself as Juliette, M. Jean de Reszke 
was Romeo, and M. Edouard de Reszke Friar 
Lawrence, and the opera was well conducted by 
M. Taffanel, who used to play the flute in the 


orchestra Gounod only conducting the first of 
the four performances. 

We had seats in a box in one of the upper 
tiers that night, and for the next three perform- 
ances had very good seats in the stalls. The 
mise-en-scene was very fine, the choruses excel- 
lent, likewise the ballet. The Ball Scene, where 
Juliet faints through the effect of the potion 
given her by Friar Lawrence in the second act, 
is always omitted at Covent Garden, but it 
was given in Paris, and altogether it was a 
memorable occasion. This was the first time 
I had seen the New Opera-house, with its grand 
staircase and superb joyer. The only thing 
which threw a kind of damper on my enjoyment 
was that I lost my pocket-book in the crush 
while trying to get my overcoat at one of the 
cloak-rooms connected with that part of the 
stalls where we sat. There were a great many 
other people trying to get their coats, and I felt 
a man pressing against me who, I suppose, was 
the one who stole my little book. Fortunately 
it contained no money, only my return-ticket 
to London, and, what I regretted most, a card 
from Gounod introducing me to Ambroise 
Thomas, in which he was kind enough to call 
me his confrere. I advertised and offered a 
reward, but nothing came of it. 

On the Saturday morning following I called 
on Gounod at his house in the Boulevard 
Malesherbes and found him at home, sitting in 




his study on the first floor, dressed still in 
neglige and wearing his velvet cap. He re- 
ceived me most kindly, and, as Mr. Vert was 
waiting in the carriage outside, I asked M. 
Gounod whether I might bring him up and 
introduce him, and he at once said " Yes," and 
greeted Vert most affably. He talked a great 
deal about music in England, and said he re- 
gretted the cause which prevented him from 
coming over to England again and conducting 
some orchestral concerts of his own works, 
which he would have dearly loved to have done. 
This cause was a lawsuit, which he had lost in 
London and had been condemned to pay a 
heavy fine, and had he returned to England he 
would have had to settle it. 

I asked him to write something in my auto- 
graph album, which he did, and I begged him 
to give me a piano-score of Romeo et Juliette 
signed with his name. He went to look in his 
library and returned, saying : "I am very sorry, 
but I have not a single copy left. People come 
to visit me, and take away all the piano-scores 
of my operas from my shelves." 

In looking over my album he noticed the title 
and also a phrase of one of his own arias, " She 
alone charmeth my sadness," from his opera, 
La Reine de Saba. I told him that Signor Foli 
had made it very popular in England, but, 
strangely enough, he did not seem to recollect 
the song at all ! 


Gounod asked me if I would like to go to the 
Conservatoire Concert next morning, and of 
course I said " Yes " : he then offered to fetch 
me from my hotel and take me there with 
him. Unfortunately, he was taken ill, so could 
not go, and his son came in his stead and we 
went together to the concert, which took place 
in the Salle du Conservatoire. It was con- 
ducted by M. Taffanel, and was a wonderful 
performance. The orchestra is celebrated all 
over Europe, and I must say I never heard a 
finer performance of Beethoven's Eroica. It 
was a revelation to me, and " The Funeral 
March " affected me to tears. Choruses from 
Gluck's Armida and Iphigenia in Aulis were 
also given. 

In the afternoon I attended a reception given 
by the director of the Conservatoire, M. Am- 
broise Thomas, in his rooms at the Conservatoire, 
and renewed acquaintance with Madame Thomas, 
who had known me in London when she came 
over with her sister, Madame Montigny-Remaury, 
the celebrated pianist, who had played several 
times at my orchestral concerts, and both sisters 
had visited my house. A great many artists, 
principally French, and other distinguished per- 
sons were present at the reception. Ambroise 
Thomas was very tall, and had a commanding 
presence ; he was most sympathetic, and made 
everybody feel at home. 

During the siege of Paris, Ambroise Thomas 


was much troubled about the fate of his villa 
at Argenteuil, and as soon as he could leave 
Paris he hastened there. To his surprise, 
amidst the surrounding ruins of the place, he 
found his villa " Elsinore," with its garden, un- 
touched. On opening the door of his house, 
he found the explanation. A visiting-card was 
lying there bearing the name " Lieutenant 

," and underneath in pencil was written, 

" nephew of Meyerbeer." 

Later in the evening I visited Monsieur Leo 
Delibes in his rooms at the Rue de Rivoli. I 
found him at home and told him that Madame 
Patti had sung his " Bell Song " from Lakmt 
at the Albert Hall, under my direction, with 
immense success ; in fact, she had to repeat the 
last quick movement. I asked him to put his 
autograph on my orchestral score of this song, 
which I had brought with me, which he did, 
and we had a most interesting chat. He died 
soon afterwards, on January 16th, 1891, when 
only fifty-four years old, and by his death the 
musical world lost a genius who could ill be 
spared. His grand Opera Ballets, Sylvia and 
Coppelia, alone will never let his name be forgot- 
ten, to say nothing of his many charming songs. 

Madame Patti invited me to remain as her 
guest over Christmas, saying that she would 
have a Christmas-tree in her apartments in the 
Hotel Meurice ; but I could not accept her 
invitation, as I knew my wife and children would 


be disappointed if I were away on such a family 
festival ; so I thanked Madame Patti and her 
husband for the great treat I had had in hear- 
ing the festival performances of Romeo et Juliette, 
and we said " good-bye " for the time being. 

The greatest pianist I have ever heard was 
Anton Rubinstein. He was a veritable giant in 
his playing. He used to come over from Russia 
in the summer, and I heard him at John Ella's 
Musical Union Concerts. He was a man of 
extreme artistic sensitiveness, and very moody, 
and was noted for his playing of rapid and 
spirited movements. 

I also heard his opera 77 Demonio, which was 
performed here by a Russian company and made 
a great impression. 

In 1881 he gave a series of historical recitals 
in chronological order at St. James's Hall, and 
gave me two tickets for each concert. Seats 
were a guinea each, an unheard-of price in those 
days, and after each concert he used to invite 
his friends to a reception at the Hotel Dieudonne 
in Ryder Street, to which I also received an 

Rubinstein had a fine head, and people thought 
him like Beethoven. One evening I was invited 
by Carl Rosa to dine, to meet him and his agent, 
Mr. Wolff. We played whist afterwards, but 
not for money. Rubinstein was very fond of 
gambling, and lost lots of money at the roulette- 
table at Baden-Baden and other watering- 


places. Sometimes he lost so much that the 
Russian Grand Duchess Helene had to send him 
his travelling expenses so that he could get back 
to Russia. He was, all the same, a very generous 
man and never minded what he gave away. 

A young girl I know was once taken to see 
Rubinstein, and he asked her to sing to him : 
she chose his " Du bist wie eine Blume." When 
she had finished his comment was, " Too much 
Belgrave Square ! " He put his hand on her 
heart and said, " Any Army or Navy there ? ' 

It was a long time before the great pianist, 
Hans von Biilow, was properly appreciated in 
London, for people, instead of listening to his 
playing, only seemed to notice his mannerisms. 
He was, as a fact, very short-sighted, and when 
he played he took off his spectacles and moved 
his head about rather grotesquely ; but this was 
not affectation, it came naturally to him. He 
was always entranced in the music, and really 
could not see his audience at all without spec- 
tacles ; but his gestures and apparent grimaces 
used to amuse them. 

I call to mind one day meeting Arthur 
Chappell in Bond Street, when he asked my 
opinion about Biilow, which I gave him, lauding 
the pianist up to the skies ; but Chappell did not 
agree with me. Biilow had only been a short 
time in England then, and I fancy Arthur 
Chappell changed his mind, for he engaged him 
to play at his popular concerts. 



Billow, apart from being such a great player 
and musician, was also a distinguished literary 
man, and wrote pamphlets on musical subjects. 
He was a clever composer as well, and a first-rate 
orchestral conductor, of which he gave proof 
when he was Kapellmeister at Munich and con- 
ducted Wagner's operas there. He also con- 
ducted orchestral concerts here, and used to give 
piano recitals at St. James's Hall, at one of 

which he performed the last four Sonatas of 
Beethoven, which, as everybody knows, are 
immensely difficult ; but he played them so 
clearly, especially the fugues, that it was a 
great treat to listen to him. You never heard 
a wrong note, and what I particularly admired 
was the feat of playing these difficult works by 
heart. At the present day all the great pianists do 
the same thing, and nobody thinks it at all extra- 
ordinary ; but in those days it was a tour de force. 


As everybody who takes an interest in mu- 
sicians knows, Frau Cosima Wagner was the 
wife of Biilow before she married Wagner, and 
the daughter of Franz Liszt. 

Biilow was a little man, thin and wiry, and 
full of wit and sarcasm. He was very sensitive 
about his slight build, and on one occasion, 
when he was conducting a concert at Berlin, he 
wrote and asked my uncle the Conzertmeister 
whether he couldn't come to his aid, saying : 

" Muss ich, bei meiner anti-Murphy Statur, 
Madame Clara Novello vorfuhren? Oder wird 
sich nicht ein besserer Cavalier zu dieser Re- 
prasentation auftreiben lassen ? ' (Must I, with 
my anti-Murphy stature, lead on Madame Clara 
Novello, or cannot a better cavalier be raked up ?) 

Murphy was a well-known Irish giant of the 

A young English pupil of Billow's told me 
a characteristic story of him. Biilow always 
impressed upon him the importance of the serious 
study of musical form and structure. Happen- 
ing to come into the room one day, he heard his 
pupil playing Mendelssohn's Lieder ohne Worte. 
Biilow remarked, " Mendelssohn ! Das 1st eine 
Krankheit fur die Jugend ! " (which might be 
liberally translated : " Mendelssohn ! A malady, 
like measles, to be got over in youth ! ") No 
one, except perhaps Liszt, worked harder for 
Wagner's fame in which he certainly succeeded. 



Her wonderful career Enthusiasm at Swansea " A Royal 
Progress " Annual charity concerts at Swansea, Brecon, and 
Neath Life at Craig-y-nos A kind chatelaine Her Bijou 
Theatre The Albert Hall concerts How Patti practised 
Her marriage with Baron Cederstrb'm Sir George Faudel- 
Phillips's joke Patti's many escapes from death Her 
wonderful sang-froid Her dresses and jewellery Some 
musical amateurs I have known. 

I HAVE already mentioned that Madame Adelina 
Patti sang at my concert at St. James's Hall in 
1870 (see page 86). I cannot refrain from say- 
ing a few words about this charming lady, who 
has been my staunch and valued friend for 
forty- three years, since I first met her in 1870. 
Everybody knows her wonderful career, which 
began in 1850, when she was only seven years 
old, and appeared at Tripler's Hall, New York. 
She then sang " Casta Diva " from Norma, 
Eckert's "Echo Song," and "Home, Sweet 
Home," evoking the greatest enthusiasm. Her 
first appearance on the operatic stage took place 
when she was not yet seventeen years of age, 
at the Academy of Music, New York, in 1859, 
when she sang the title-role in Donizetti's opera 





Lucia di Lammermoor, and carried everything 
before her. 

She came to London with her father, and on 
May 14th, 1861, she made her debut at Covent 
Garden in Bellini's opera La Sonnambula, when 
her success was phenomenal, and from that day 
she became the reigning favourite at the Opera, 
where she sang, for twenty-five consecutive 
years, twice a week. She told me herself that 
she had a repertoire of thirty-nine operas, and 
knew them by heart, the text and all the 
changes, with the various embellishments and 
cadenzas. Her memory is prodigious ; no other 
singer in the world can show such a wonder- 
ful record. Her teacher was her half-brother, 
Ettore Barili. 

She first invited me to her beautiful castle in 
South Wales, called Craig-y-nos (the Black 
Mountain or Mountain of the Night), to assist 
at a charity concert, which she gave for the 
Swansea Hospital in the eighties. The distance 
from her home was about twenty miles by rail, 
and all along the embankments crowds of miners 
stood with their wives and children, watching 
the train go by, and cheering her and waving 
their caps and handkerchiefs as she passed 
along. On her arrival at Swansea she was re- 
ceived by the Mayor and some members of the 
corporation, and a company of the local volun- 
teers with their bands playing. She drove in 
an open carriage with her husband, and other 


carriages followed with the rest of the artists 
and her friends staying at the castle, through 
the streets to the Albert Hall. The ships in 
the harbour were decked with flags, and on 
each side of the way, bunting with such mottoes 
as " God bless the Queen of Song," " Welcome," 
" Long live Adelina Patti," etc., decorated the 
route. From the house windows the inhabitants 
cheered, and likewise the crowds of people in 
the streets. 

The Albert Hall at Swansea was crowded to 
suffocation. She sang several of her favourite 
songs, and ended with the ever-popular " Home, 
Sweet Home," which made many of the audi- 
ence shed tears. Numerous floral offerings which 
consisted of the choicest flowers were handed to 
her on the platform. At the end of the concert 
the Member of Parliament for Swansea made an 
eloquent speech, in which he thanked her for 
her generosity and kindness in coming so far to 
help the hospital. A suitable reply was made 
for her by a friend. Our return to the railway 
station was again a scene of enthusiasm and 
deafening cheering, her castle being reached in 
time for dinner, and the Diva was happy in 
having done such good work for the suffering 

These concerts took place every year in rota- 
tion, viz. at Swansea, at Brecon, and at the 
Gwyn Hall, Neath, with the same result, and 
at each she was received by the Mayor and local 


authorities. At these annual concerts the Diva 
was assisted by distinguished artists, who also 
gave their services, and I had the honour of 
being the conductor at them all. At the con- 
clusion of our stay Madame Patti always pre- 
sented handsome gifts of jewellery to all the 
artists as a souvenir of the occasion. 

Craig-y-nos Castle occupies a beautiful position, 
three hundred feet above the level of the 
River Tawe ; it stands in a lovely valley sur- 
rounded by high mountains. The reception- 
rooms are large and beautifully furnished. In 
the billiard-room there is a big orchestrion, 
which has a repertoire of all the popular operas, 
a large number being those of Wagner. Madame 
Patti generally joins in these airs, singing them 
while they are being played. She told me that 
Wagner asked her repeatedly to sing the soprano 
parts in Lohengrin and Tannhduser, but she 
always declined his request. She would have 
made a splendid Elsa, but she was afraid that 
Wagner's operas might hurt her voice, particu- 
larly in the dramatic parts. The orchestrion is 
generally wound up to play after dinner, to the 
delight of the Diva's guests. There is a large 
Winter Garden with an electric fountain, which 
is lit up in various colours, and makes the coup 
d'ceil a fairy place. The gardens are large, with 
a great number of hot-houses. There are two 
artificial lakes filled with fish, and wild-duck 
fly about everywhere. 


Many years ago, when Madame Patti was 
looking out for a place to purchase, she was 
advised to consider the claims of a castle and 
estate near Turin called Casa di Val di Casotto. 
One of the attractions which it possessed was 
that the purchaser would be entitled to assume 
a title connected with the place. " When I 
was told I could call myself Duchessa di Val di 
Casotto," said Patti, " I replied that I preferred 
Risotto \ " 

I have always found it a real pleasure to be 
her guest, for as a hostess she entertains her 
friends in the most charming and hospitable 
manner. Madame Patti has an enormous corre- 
spondence, having friends all over the world, 
and this generally occupies her time the greater 
part of the morning. In the afternoon she, 
with her husband and guests, takes long drives, 
and it is a sight to see how the villagers turn 
out of their cottages with their little children 
to salute and bow to her as she passes along. 
In the winter time she provides the poor of the 
neighbourhood with coals and blankets, and 
gives them winter clothes. Her accomplish- 
ments do not end with her beautiful singing ; 
she plays the piano perfectly, as well as the 
harmonium, the guitar, the mandoline, and the 
zither. She speaks and writes Italian, Spanish, 
Russian, Portuguese, German, French, and Eng- 
lish perfectly. She does the finest embroidery, 
and has painted some charming little sketches 


in water-colour. She is a courageous horse- 
woman, and drives splendidly, and delights in 
playing croquet. 

She has had a pretty little bijou theatre built 
in the castle, which seats over three hundred 
persons, and where she often performs little plays 
and pantomimes. On one occasion she asked 
me to arrange a performance of La Traviata, as 
her husband, Baron Rolf Cederstrom, had never 
seen her on the stage. I had engaged some 
singers from London, and a small orchestra from 
Swansea, which I conducted. It was a memor- 
able performance, and I never heard her sing 
better, nor with more pathos, than in the last 
act, in the dying scene, when everybody was 
moved to tears and felt as if, in the death of 
Violetta, they had lost a personal friend. 

The audience consisted of her friends staying 
at the castle, and the rest of the stalls were filled 
with the families of her neighbours, while the 
little gallery contained her personal attendants 
and tenants. Of course the applause of the 
audience was most enthusiastic. A performance 
of Grand Opera in a private house, under such 
circumstances, was most interesting. 

For many years Madame Patti was engaged 
by Mr. Percy Harrison of Birmingham, for con- 
cert tours in England, Scotland, Ireland, and 
Wales, in which I acted as conductor. The 
concert-halls were crowded to excess, and the 
enthusiasm of the audience was so great that 


she was obliged to accept encores to all her 
songs. The concerts at the Albert Hall given 
by the late Wilhelm Kuhe, the late N. Vert, and 
afterwards by Percy Harrison, must be remem- 
bered by all who had the good fortune to be 
present on these occasions, at which I both con- 
ducted the orchestra and accompanied on the 

Madame Patti has always found her audiences 
insatiable in the matter of encores ; and while 
she has never been unwilling to comply with the 
fair requests of her enthusiastic admirers, she 
found that, after all, there must be some limit 
set to them. Of late years she found a subtle 
way of indicating to the house that they should 
not ask for more. After " Home, Sweet Home," 
or " Coming thro' the Rye," she would retire, 
and then, in response to continued applause, 
return to the platform with a scarf on her 
shoulders, thus making it clear that it was really 
" good-night." 

I have already mentioned Madame Patti sing- 
ing to Her late Majesty, Queen Victoria, at 
Windsor Castle. Later I referred to the wonderful 
concert given by the Marchioness of Lansdowne 
at Covent Garden on February 22nd, 1900, in 
aid of the officers' widows and families, in con- 
nection with the South African War. 

It may be interesting for students of the vocal 
art to know that Madame Patti, at the beginning 
of her career, practised the fugues of Bach, which 


are not only very difficult to play, but even 
more so to sing, as she herself told me, and also 
the " Rondo Capriccioso " of Mendelssohn. Her 
voice is a soprano of the purest quality ; her 
roulades come out of her mouth like pearls, and 
her shake is exquisite and the finest I have ever 

The practice of introducing new cadenzas 
and making alterations in the music without the 
composer's approval has always been disapproved 
of by Madame Adelina Patti. She has told me 
that Rossini strongly objected to the liberties 
which singers used to take with his music, and 
that when M. Maurice Strakosch, her brother- 
in-law and teacher, introduced certain staccato 
notes into an aria, Rossini remarked, " Ce sont 
des Strakoschonneries ! " 

The very brilliant cadenzas to " Bel Raggio," 
which Madame Patti used to sing, were specially 
composed and written out for her by Rossini 
himself. He had a great admiration for her 
singing, and asked to come and hear her practis- 
ing her solfeggi, and would not listen to her 
objections. He would come upstairs in the 
hotel where they were staying and stand out- 
side the door of the room while she was 

I attribute the miraculous manner in which 
Madame Patti has kept her voice to the way in 
which she has spent her life in actually living 
for her art, to a degree never exercised by any 


other singer. She can actually count on her 
fingers the times she has disappointed in her 
singing career. In her desire to keep faith with 
the public and not to fail in her appearances 
through any cause avoidable by herself, she was 
most careful in her diet, never overtired herself, 
keeping early and regular hours ; after singing 
she would only take a light supper. So con- 
scientious was she before her engagements that 
I know of many pleasures she has voluntarily 
given up. Now that she has retired she is able 
to enjoy visits to Bayreuth or Munich, where 
she constantly goes to the festivals, or to Paris, 
where she has so many old friends, including M. 
Jean de Reszke and his wife, and when staying 
in London she is a great theatre-goer. 

It will not be out of place if I mention 
that her marriage with Baron Rolf Cederstrom 
took place at Brecon in January 1899, and 
after the ceremony a special train took the bride 
and bridegroom, with their guests, including my 
wife and my daughters, Georgina and Adelina, 
and myself, and many friends and relations, 
to London. The wedding breakfast was served 
in the train, and Sir George Faudel-Phillips pro- 
posed the health of the bride and bridegroom 
in felicitous terms, and jokingly said that he had 
made speeches before in curious places, but he 
"had never before made one in a tunnel," as we 
were passing through the Severn Tunnel at that 


Madame Patti has had several narrow escapes 
from death. On one occasion, when she was 
about sixteen years of age, she was singing the 
Mad Scene in Lucia, when the sleeve of her dress, 
which was very long and of some light, flimsy 
material, caught fire in the footlights. Tearing 
it off with her hand, she extinguished the flames, 
only stopping singing for a few moments, and 
then caught up the flute obbligato exactly where 
she left off. There were thunders of applause 
at her plucky action. Another time, in America, 
when she was singing in opera, an assassin threw 
a bomb at a man in the stage box. Madame 
Patti had taken several calls from the right- 
hand side of the stage, and was going to appear 
again to bow from that side, when something 
seemed to tell her to go to the left-hand side 
instead. It was well she did so, for just then 
the anarchist threw his bomb, which missed the 
stage box and fell on the stage at the exact spot 
where she had just been standing. Fortunately 
it did not explode. 

On another occasion, when she was a young 
girl, a messenger left a pair of gloves at her 
house, with a note asking her to accept them, 
as the sender wished to call them the " Patti 
gloves." Her father looked at them and thought 
they had a suspicious appearance and smell, so 
he took them to a chemist, who analysed them 
and found they had been steeped in a most 
deadly poison. 


Once, when Madame Patti returned to the 
artists' room after singing, she helped herself 
to a glass of water from the carafe provided for 
her ; but the moment she tasted it she found it 
had such a strange flavour that she would not 
drink it. It was afterwards discovered that a 
box of matches had evidently been soaked in 
the water to poison her, for it was found to be 
full of brimstone. 

Even at an early age she was entirely fear- 
less. When a little girl she toured in Porto 
Rico with her father, riding on a white horse, 
and met with all sorts of adventures. She 
never seemed to know what danger meant. 
When she was only ten years old she was singing 
at a place called St. Thomas, in America, when 
an earthquake took place, and the building in 
which the concert was held began to rock 
ominously. Of course everybody proceeded to 
rush away, but little Adelina called out from 
the platform : " Why do you all run away ? 
I am not running away," and started singing 
an extra " Home, Sweet Home," which prevented 
a panic. She did a similar thing when an 
overcrowded gallery threatened to give way 
and the people were terrified by the sinister 
cracking of the boards. 

Once when Madame Patti was singing in 
Traviata, during the duet " Parigi o Cara " the 
tenor, by mistake, began to sing the soprano part. 
Quite undaunted, Patti immediately rose to the 


occasion, and dropped into his part quite natur- 
ally. " When he was kind enough to let me," 
she says, in telling the story, " I took my 
own part back again." Nobody noticed the 
mistake, and the tenor afterwards thanked 
Patti, with tears in his eyes, for saving the 

When Patti was on a concert tour up the 

Mississippi River, she used to leave the boat, 

sing at some concert-hall, and then continue the 

journey. On one occasion she got out at a 

place called Baton Rouge, but, not feeling well 

enough to sing, was obliged to disappoint the 

audience by not appearing. While she was 

resting in the hotel she heard a child crying 

bitterly in one of the rooms, and, in her kindly 

and impulsive way, went to see what was the 

matter. She found a little girl sobbing because 

" mother had gone to hear the great Patti 

sing and she was left behind." Patti soon 

cheered her by singing " Home, Sweet Home," 

and " Kathleen Mavourneen," and when the 

mother came back, very disappointed, from 

the concert, the child exclaimed, " I've heard 

her ! I've heard her ! " " What do you 

mean ? " said the mother, and her feelings can 

be imagined when she learned what she had 


As an instance of Patti' s interest in the opinion 
of the humblest of her hearers I may mention 
that once, when a mutual friend of ours was 


coming out of the Albert Hall after a concert 
with Madame Patti, she said to her : "I have 
just heard a policeman going into raptures 
about your singing ! " " What did he say ? 5: 
said Patti, intensely pleased, "I do want to 
know what he said." It was characteristic of 
her that, with the plaudits of the whole Albert 
Hall audience still ringing in her ears, she was 
eager to hear what a policeman on duty there 
had thought about her voice. 

I have not said half enough in praise of 
Madame Patti, but words fail me to give expres- 
sion to the admiration I have for her as a friend, 
artiste, and woman. She has given pleasure 
to more people all over the world than any 
other living singer, and it is to be regretted 
that, being still in full possession of her powers, 
she has given up her public career ; but, after 
all these many years of arduous work, singing 
in operas and concerts, and travelling thousands 
of miles nearly all over the world, she deserves 
her well-earned rest. 

In former years, when she was still active in 
her profession, she never had an opportunity of 
visiting various cities (where she was not sing- 
ing), visiting theatres, museums, and other 
places of entertainment, or artistic instruction, 
because she never had any time to give to these 
sights. She was always so devoted to her pro- 
fession. Her husband, however, is himself a 
great admirer of art, and encourages his wife to 


visit the fine museums, and they generally spend 
a few months every winter in Rome. 

She did not formerly accept any invitations 
to dinners or receptions, as she was afraid of 
catching cold, and of disappointing not only the 
public, but also her managers. 

She is the soul of punctuality, always arriving 
in ample time for her engagements. The method 
and order observed in her castle are very charac- 
teristic of her. 

She is very fond of animals, and cannot bear 
to see them in pain. Often when driving along 
the country roads she will stop to see why a 
lamb is bleating or a dog whining. Once, when 
a thrush knocked against her window and fell 
stunned she went out to pick it up, nursed and 
revived it and then let it go. 

She is adored by her servants, Welsh, Eng- 
lish, German, and Italian, and her sympathetic 
kindness to her old retainers is the admiration 
of every one. 

When staying at her house it was a sight to 
see her coming down to dinner dressed mag- 
nificently. She varied her jewellery according 
to the dress she wore diamonds and rubies, 
pearls and emeralds. Her toilettes are elegant, 
and never over-elaborate. I have mentioned 
these particulars as I thought they would in- 
terest my lady readers, and I may add that the 
Baroness Cederstrom has been kind enough to 
work a waistcoat for me. 


Shortly after one of Patti's concerts, at which 
I conducted the orchestra, Puck had an excel- 
lent cartoon with the following verses : 




'Tis said that Hector Berlioz once wrought 

A novel version of an ancient adage, 
And clothed in words expressing modern thought 

One of the grimmest notions of a sad age. 

" Oportet pati " was the monkish text 

He dealt with, saying, "It is meet to suffer " 

Was its translation by some dull, unsexed, 
Monastic, gloomy, superstitious duffer. 

Next came a cheerfuller interpretation 

Ingeniously excogitated by 
A French gourmet of world-wide reputation, 

Who vowed the axiom meant " Bring up the Pie ! " 

The rendering by Berlioz devised, 

Was the most graceful, sympathetic, natty ; 

He gave it thus : " Correctly modernised, 
' Oportet pati ' means ' We all want Patti.' ' 

Our version of the Latin saw shall be 

The same as that of France's great musician ; 

" We all want Patti." Ever fain are we 

To court the song-spells of that sweet magician. 

See ! PUCK has drawn her nestling in a pie 

A mimic pate, pasty architectural ; 
The Nightingale is just about to fly, 

No longer her departure is conjectural. 

She leaves her island home and friends to reap 

A golden harvest on a foreign shore ; 
Heaven guide her safely o'er the storm-toss'd deep ! 

Good luck, dear Queen of Song, and " Au revoir." 


O S 


The late Duke of Edinburgh, throughout his 
life, retained his love for the violin, and when he 
founded the Royal Amateur Orchestral Society 
he himself led the orchestra. The early meetings 
of the Society were held in private at Metzler's, 
in Great Marlborough Street, and there was no 
audience. I joined as a violinist, and I re- 
member one occasion when the Prince of Wales 
was present. In conversation with me he asked 
if I knew the Duke of Edinburgh, and, when I 
replied that I had not that honour, he took me 
by the arm up to the Duke and introduced me. 

I have known many charming lady amateurs 
in my time, all skilled in the art of music. Lady 
Augustus Hervey used to sing duets with Lord 
Dudley, and Lady Rumbold is an admirable ex- 
ponent of the bel canto. Lady Arthur Hill has 
written many favourite songs, such as "In the 
Gloaming," and made a melodious setting of the 
hymn " O perfect Love," which was sung at 
her daughter's wedding. Mrs. Arkwright sings 
cleverly to her own guitar accompaniments, and 
Lady Parkyns, a true musician, has composed 
some beautiful lyrics. 

Lady Folkestone once arranged a performance 
of Romberg's Toy Symphony, and invited all the 
best-known musicians of the day to take part. 
It was given at a charity concert on May 14th, 
1880. We all chose instruments we had not 
played before. Charles Santley played the violin 
and I the viola. Benedict took the bells, and 


Arthur Sullivan amused us all with his imitation 
of the cuckoo. Henry Leslie wielded the baton 
with great skill. 

While I am speaking of musical amateurs, I 
must not omit to refer to my friend the late 
Mr. John Woodford. He was the son of Field- 
Marshal Sir Alexander Woodford, Governor of 
Chelsea Hospital, and was for forty years in the 
Foreign Office. He never failed to be at the 
Opera when Mario was singing, and he imitated 
his style to perfection. His pronunciation of 
Italian could not have been surpassed. He 
was a great favourite in society, not his least 
attraction being his good looks. He used to help 
me when I had my Amateur Vocal Reunions 
in 1858, and we continued our friendship until 
he died. Since then I have kept up the friend- 
ship with his charming widow and daughter. 

Another great friend of mine, an amateur 
tenor, was the late Mr. George Gumbleton, 
familiarly known as " Gumby." He sang Irish 
national songs to perfection, accompanying him- 
self faultlessly on the piano. He could con- 
verse in four different languages. It was a 
pleasure to listen to him in songs of Schubert 
and Schumann, which of course he sang in the 
original German. Apart from " Salve Dimora " 
in Faust (in Italian) he also excelled in Gounod's 
songs, such as, " Ce que je suis sans toi," 
"Medje," and " Quand tu chantes." 

He was very clever in his profession as a 


barrister, and a very versatile man. I remem- 
ber his writing some Greek verses on the present 
German Emperor. 

I was put in rather an awkward predicament 
by a present he made me at the time of my 
Orchestral Concerts. It was a black ebony 
silver-mounted conducting-stick, a beautiful 
thing in itself, but quite unpractical. I always 
used a white stick, so that the orchestra could 
see my beat. In order not to offend him I took 
both sticks with me to my desk at the next 
concert and used his for a piece where I thought 
I could safely take the risk. 

The late Mr. Augustus Spalding was a notable 
figure at the Opera, and for very many years 
could always be seen sitting in his corner seat 
in the stalls close to the stairs leading to the 
exit by the orchestra. A confirmed admirer of 
the old school of Italian Opera, it was only by 
slow degrees that he became accustomed to and 
learned to appreciate the beauties of Wagner's 
operas. I remember his telling me that his 
special abhorrence was the beginning of the 
second act of Lohengrin. 

The magnificent music of Ortrud and Telra- 
mund, so interesting as the forerunner of 
Wagner's later style, had no charms for him. 

He used to explain how convenient it was for 
him to slip out at his usual dinner-hour and 
return to the Opera-house when the dawn 
breaks in the middle of the second act ! 



My first guinea Lord Cardigan The Balaclava Charge Music 
at Lady Rothschild's Private concerts at Mr. Alfred de 
Rothschild's The Prince of Wales and other guests 
Madame Patti and a fee of 1,000 M. Jacoby Mr. 
Charrington's private concert Story of three prima donnas 
Baroness de Reuter's receptions Music at Lord and Lady 
Randolph Churchill's Mentmore I meet Disraeli A re- 
collection of the Rt. Hon. W. E. Gladstone Tring Park 
Sir Alexander Cockburn. 

I HAD already begun playing at private parties 
when I was fifteen, and used to get a fee of half a 
guinea. The next year I earned my first guinea 
under rather curious circumstances, which I 
described in my diary at the time : 

" Saturday. To-day Miss Messent sent for me, 
and said that she was to sing to the Duchess of 
Somerset, and would I oblige her by playing her 
accompaniments. If she pleased the Duchess, she 
was to sing at her party that evening, and I was 
to go too. As we had to be there at 4 o'clock, 
I went home quickly, flung on my 'gala,' and 
drove with Miss Messent to the Duchess of 
Somerset's, 1, Park Lane, Hyde Park. The 
Duchess had asked this morning at Mitchell's 
Library for a singer, and he had suggested Miss 
Messent, and that is how it happened. We 


pulled up at the ' palace,' and a liveried servant 
with powdered hair opened the door. We went 
through a splendid hall to the first floor to await 
the Duchess. The room, or rather ' salon,' 
where I now found myself was more beautiful 
and splendid than any I had yet seen. The 
carpets, mirrors, and furniture were all very fine. 
Suddenly the door opened, and a stout, elderly 
lady came in, and we bowed deeply, for we thought 
it was the Duchess, as it really was. She asked 
Miss Messent some questions, and what her fee 
was for a soiree, and finally asked about me. 
Miss Messent sang something and I accompanied 
her. After this I was asked by Her Grace (the 
title for the Duchess) to play a pianoforte solo, 
and I played a short piece. To her inquiry as to 
what I asked for the evening I said, quite un- 
abashed, ' A guinea ! ' She smiled, for she 
considered it very cheap. To Miss Messent she 
said that, for this evening, it would not be,, pos- 
sible for her to sing, as chiefly Ambassadors were 
coming, and they would talk so much about 
politics that they would not listen to singing. 
So that I was to come and play some little solos, 
and be there at 10 o'clock that evening. I was 
very pleased to play for such a high personage, as 
I had not expected it. I drove back again with 
Miss Messent, who probably was very much 
annoyed that I had cut her out. . . . This 
evening I flung myself into my ' best state ' 
(clothes) and drove up to the house in a cab. 
In the entrance-hall were some five servants, 
and everything was lit up. I was then shown 
into a side-room by a servant in black clothes, 
and there I had tea. At 10 o'clock I was 
announced to the Duchess. I was, however, im- 
mediately told that I could not play at present, 
as the French Ambassador had suddenly been 


taken ill I was to wait. The servants said, in 
fun, that the Ambassador had dined too well. 
The wife of the late Duke of Sussex (an English 
Prince) was there, also the Russian, Turkish, 
Danish Ambassadors, and also many lords and 
ladies and others whom I did not know. The 
Duchess was covered with diamonds, and told me 
herself that I could not play yet. I also saw her 
husband, who was simply in evening dress with 
a star. After waiting for two hours, a servant 
came to me and said that he had been requested 
to give me a guinea, and that it was not neces- 
sary for me to play to-day, and I could go home ; 
the Duchess would engage me another time. He 
paid me the guinea (12 florins) for nothing, and 
also 25. for the cab, and I went home doubly 
pleased. It was the first guinea that I had 
earned, and I went to bed with a happy heart 
and soon fell asleep." 

In January 1857 I was engaged to go down 
for the night to play at Deene Park, the North- 
amptonshire seat of Lord Cardigan, the hero 
of Balaclava. In the fine oak-panelled hall with 
rich carvings I saw the diplomas presented to 
him on his return from the Crimea, and a large 
oil-painting of the famous charge. There was 
music in the evening in the hall. Verdi's new 
operas were much en vogue, and Lord Cardigan 
asked me to play something from Rigoletto. 
A handsome, tall man, he wore court dress with 
black silk stockings, and I noticed he had on his 
orders and stars. He spoke to me in French, 
and was particularly affable. 

He asked me to stay on for a week, and send to 


London for my things. Unfortunately, I could 
only stop two days, as I had to be back in town. 

While we were talking, the Earl of Westmor- 
land came up and spoke to me. Lord Cardigan 
said, " Ah, vous connaissez Monsieur Ganz ? " 
"Mais oui, et ses parents. Ses oncles etaient 
mes premiers violon et violoncelle a Berlin." 
Lord Westmorland, who had been English 
Minister in Berlin, was one of the most distin- 
guished musical amateurs of the time. He 
composed operas and cantatas, and founded our 
Royal Academy of Music. His grand-daughter, 
the present Lady Londesborough, was a pupil of 
mine. As he was going away Lord Westmorland 
said, " I live only five miles from here, and would 
be very happy to see you if you will come over." 

There were many distinguished guests there, 
including Count Pourtales, Lord and Lady 
Ernest Bruce, the Earl and Countess of Jersey 
and their daughter, the beautiful Lady Clemen- 
tina Villiers. The day after we had music in the 
afternoon, and I played to Lady Clementina, and 
she played some Chopin Valses and other pieces 
to me very beautifully. Mrs. Dudley Ward, a 
pupil of mine (afterwards Mme de Falbe), sang 
the same evening. While the party were out 
hunting, I went over the beautiful garden and 
visited the splendid stables. 

I was there shown the actual charger which 
Lord Cardigan rode when he led the Charge of 
the Light Brigade at Balaclava. As I had to 


leave, I suggested to Lord Cardigan sending some 
one to take my place. He said, " Cela ne vaut 
pas la peine : ce n'est pas comme vous." I heard 
that an artist who had been there before me had 
given offence by playing something other than 
sacred music on a Sunday, and Lord Cardigan 
did not ask him again. 

I remember, many years ago, attending a 
musical party given by the late Baroness Lionel 
de Rothschild, mother of Lord Rothschild, at 
her country house in Gunnersbury Park, near 
Kew. I accompanied a young Italian singer, 
Mile Finoli, and played some piano pieces, one 
of which was a fantasia on airs from La Tra- 
viata, which I had arranged and wished to 
dedicate to the Duchesse d'Aumale, who was 
present. I had written to her a day or two 
previously about it. When I had played it she 
sent word to me that she would be very pleased 
to accept the dedication, and when I went to 
Orleans House, later on, she presented me, as a 
recognition of it, with a set of coral studs set 
in diamonds. Another French royal lady, the 
Duchesse d'Orleans, was also present at the 
party, and among the guests were Cardinal 
Wiseman, in his full ecclesiastical dress, also 
the Bishop of Oxford (Bishop Wilberforce), and 
Lord Clarendon, the then Minister of Foreign 
Affairs. It seemed strange, at that time, that 
at the house of the Rothschilds the representa- 
tives of many religions should have been present. 


This was as it should be, in my humble opinion, 
as it showed that religious susceptibilities were 
wearing off, and that the representatives of all 
creeds could meet amicably together. 

I was once asked by Herr Leopold Auer to 
accompany him at a soiree given by Count 
Schouvaloff, the Russian Ambassador, at the 
Russian Embassy, in Chesham Place. When he 
and I walked in, the Princess of Wales, after- 
wards Queen Alexandra, was sitting at the 
piano, accompanying Madame Christine Nilsson. 
Her Royal Highness got up at once from the 
piano when she saw us enter, not without my 
having noticed her beautiful touch. Then the 
men guests came in from the dining-room, 
among them being our late King Edward and 
the young Prince Louis Napoleon, who met 
with such a tragic end in the Zulu War. 

When the concert was over, a Hungarian band 
played, and after twelve o'clock dancing began 
in one of the salons and was kept up with great 
spirit. I noticed that Prince Napoleon danced 
with one of my pupils, Lady Augusta Rous, 
daughter of the Countess of Stradbroke. 

I used also to arrange the musical parties 
given by Baron Ferdinand de Rothschild, at 
which the Duchess of Edinburgh and the Duke 
of Cambridge were often present. I remember 
being rather amused, on one occasion, to see, on 
entering the house, Disraeli and Lord Granville 
walking arm in arm up the staircase. It showed 


that, though political opponents, they were 
friendly enough in private life. A foreign lady 
singer, who had been recommended to the 
Baron, sang that night, and also Mr. Edward 

At one of the musical parties that I arranged 
for Lady Rothschild Madame Melba sang, and 
M. Pugno, the well-known French pianist, and 
M. Hollman, the 'cellist, played. The house is 
really magnificent, and the acoustics, from a 
musical point of view, most excellent. 

The private concerts I have arranged and 
conducted have been many and varied in 
character. At the annual soirees given by Mr. 
Alfred de Rothschild at his beautiful house in 
Seamore Place, Park Lane, Madame Adelina 
Patti always sang for him and was supported 
by artists I engaged from Covent Garden, such 
as M. Alvarez, M. Plangon, and Mile Scalchi, 
by Mr. Ben Davies, and Mr. Charles Santley. 

Mr. Alfred de Rothschild took great interest 
in arranging the programme with me, and I had 
to see him frequently beforehand at his house 
in the mornings. King Edward (then Prince of 
Wales) honoured all these soirees with his pre- 
sence, and after the music he would speak to 
me very graciously, saying in German, " Sie 
haben sehr schon begleitet " (You accompanied 
beautifully). Well-known figures in London 
society were always there, and it was a fine sight 
to see the magnificent toilettes and rare jewels 


of the ladies in the glittering light of the white- 
and-gold drawing-rooms, their walls hung with 
the masterpieces of Gainsborough. 

The music generally began about a quarter 
past eleven and ended at one o'clock. Then 
supper was served, and the Prince of Wales 
generally escorted Madame Patti to thfc supper- 
table. Later on dancing took place, the late 
M. Jacoby conducting the band. 

Jacoby was for many years conductor at the 
Alhambra, for which he composed a number of 
ballets. He was a German, and as a boy lived 
with his parents in Berlin, where my eldest 
brother, Eduard, taught him the violin, and he 
always spoke of him to me with the greatest 
gratitude and respect. His father afterwards 
settled in Paris, and then young Jacoby came 
over here and made his home in London, and 
also his reputation. 

I remember once being asked by a very rich 
gentleman to engage Madame Patti for a pri- 
vate concert he intended to give, for which he 
said he would pay her a fee of a thousand guineas 
if she would consent to sing. I told him at 
once that she would not sing anywhere privately, 
as she never accepted such engagements, and 
that I could not, on any account, try and per- 
suade her to sing for him, as it would be quite 
useless. So that finished the matter. 

At one of the soirees at Mr. Rothschild's, at 
which Madame Patti sang, I had engaged three 


remarkable artists from the Opera, namely, M. 
Alvarez, Signer Ancona, and M. Pla^on, to sing, 
besides their songs, the Trio from Faust ; but 
when it was over the Prince of Wales, who sat 
close to the singers in the front room, said to 
me : " Ganz, the singers sing as if they thought 
they were in Covent Garden ; it is much too 

I am bound to say he was right, but it was 
magnificently sung all the same. We did not 
have a trio next year. 

On one occasion I arranged a private concert 
for Mr. Charrington, at his house in Pont Street, 
for which, at his desire, I engaged three prima 
donnas, Madame Calve, Madame Emma Eames, 
and Mile Marie Engle. I had fixed upon some 
concerted music for this soiree, one item being 
the Quintette from the Meistersinger, and I had 
arranged to have a rehearsal for the concert at 
my own house. One of the ladies objected to 
rehearsing, saying that the pitch of my piano 
was much too high ; but I told her that I should 
order a French-pitch piano for the soiree, and 
after some persuasion I got her to rehearse. 
When the evening came this lady, instead of 
singing a grand aria, elected to sing a little 
American ballad, while another wanted to take 
Pla^on's place in the programme, saying, " Je 
dois chanter demain devant la reine Victoria a 
Windsor, et il faut que je parte aussi vite que 
possible " (I am going to sing to Queen Victoria 


at Windsor to-morrow, and must get away as 
quickly as possible), but Plancon would not give 
way, saying to her, " Mais, madame, vous avez 
deja chante une fois et je ne peux pas vous 
donner ma place" (But, Madame, you have 
already sung once, and I cannot give you my 
place). She reluctantly consented to remain un- 
til her turn came to sing her last song. I tried 
to smooth things over and pacify these exacting 
artists, in which I succeeded. The concert 
took place in a large music-room and afterwards 
Mr. Charrington presented each lady artiste 
with a beautiful bouquet. The united fees of 
the artists on this occasion were over 1,100, 
and the programmes were printed on white satin. 

The late Baroness de Reuter used also to give 
receptions at her house in Kensington Palace 
Gardens, where many unknown young artists 
had the chance of appearing before a distinguished 
audience. These receptions took place in the 
afternoon ; the big salons were on the ground- 
floor and attached to them was a spacious con- 
servatory, containing choice flowers and marble 

On one occasion I engaged a small orchestra, 
which I conducted, and Madame Christine 
Nilsson sang and won the hearts of all her 
listeners. The other artist was Herr Alex- 
ander Reichardt, the Viennese tenor, who sang 
German Lieder with exquisite taste. 

Baron de Reuter was a clever and charming 


man. It was he who succeeded in laying the 
first Atlantic cable to America, by the Great 
Eastern steamship, which was the largest steamer 
then built. He was also the founder of Reuter's 
Telegraph Company, which gives the news to 
this country from all parts of the world and has 
made the name of Reuter famous. We used to 
chaff each other, and the Baron would often say 
in fun : " Ganz, I have composed a wonderful 
new opera, which will be performed very 

When I first knew the Reuters they were 
then Mr. and Mrs. Reuter, and lived in a small 
house in Doughty Street, Mecklenburg Square. 
Through his energy and good luck in organising 
the telegraphic service during the Franco-Prus- 
sian War in 1870-71, he became a well-known 
man and was created a baron by the late Duke 
Ernest of Saxe Coburg-Gotha. This Duke was 
the brother of Prince Albert of Saxe Coburg- 
Gotha, and composed several operas, one of 
which, called Casilda, was performed at Her 
Majesty's Theatre. 

At another private concert I had engaged a 
good number of artists, and the lady who was 
giving the concert wanted some concerted music 
performed, and I had therefore to engage two 
prima donnas. One of them, when she saw the 
list of artists, complained that I had engaged 
too many and made the programme too long. 
I assured her that I was obliged to do so, and 


told her the reason, and said it would not be 
fair to ask her to sing too often. Anyhow, I 
had arranged a splendid programme, and all the 
items went well ; but I mention this to show 
how extremely difficult it is to please everybody 
especially prima donnas I 

Mrs. Mackintosh of Mackintosh is another 
hostess who gives concerts at which such artists 
as Madame Calve, Madame Emmy Destinn, 
Madame Clara Butt, Mr. Ben Davies, and M. 
Plan9on are heard. The playing of The Mackin- 
tosh's piper in full highland dress during supper 
always interests the foreign artists. 

I remember accompanying at a small musi- 
cal party given by Lord and Lady Randolph 
Churchill at their house in Connaught Place, at 
which King Edward, then Prince of Wales, was 
present. Mile Sigrid Arnoldson, a Swedish oper- 
atic vocalist, who had a high, fresh soprano voice, 
sang most beautifully, while Miss Nettie Carpenter 
played the violin. When Miss Carpenter entered 
the drawing-room the Prince beckoned me to 
him and asked me all about her and whether she 
played well. Of course I replied in the affirma- 
tive, and told His Royal Highness that she was 
an American girl, who had studied at the 
Conservatoire in Paris, where she had gained 
the premier prix. 

When the little concert was over, everybody 
adjourned to the billiard-room, which was on 
the same floor, where we all had supper. During 


a conversation I had with Lord Randolph I 
asked him whether he ever felt nervous when 
addressing the House of Commons, and he said, 
" Yes, always, at the beginning of my speech ; 
but when once I am warmed up I get on all 
right." It was a very enjoyable and uncere- 
monious evening ; several of the host's married 
sisters, who had been my pupils, were present. 
I noticed on the staircases no end of addresses 
to Lord Randolph some being from his con- 
stituents. The house was beautifully appointed 
and full of objets d'art. 

Many years ago I stayed at the country seat 
of Baron and Baroness Meyer de Rothschild at 
Mentmore, near Leighton Buzzard. That fine 
mansion had not long been finished, and Baron 
Ferdinand de Rothschild and his bride, Baroness 
Evelina de Rothschild, daughter of Baron Lionel 
de Rothschild, M.P. for the City of London, 
were staying there at the same time on their 
honeymoon. The Baroness Evelina had a good 
mezzo-soprano voice, and sang occasionally in 
the evenings, and I accompanied her. She died 
within a year of her happy marriage, to the 
great grief of her husband, who founded the 
Evelina Hospital for sick children at Southwark 
in memory of her. 

Among the visitors staying there at the same 
time was Benjamin Disraeli, who had his secre- 
tary, Mr. Montague Corry, afterwards Lord 
Rowton, with him. I sat next Mr. Disraeli at 


dinner sometimes, but was always too timid in 
those days to address him he used to come into 
the drawing-room to listen to my playing, and 
would stand by my side, holding his little eye- 
glass to his eye ; but he never uttered a word. 

Mr. Corry knew me well, as I used to teach 
his sisters, and he would willingly have intro- 
duced me to Disraeli, but I fought shy of him. 
Other guests were the Count and Countess 
Bernstorff ; the Count was then Prussian Am- 
bassador. The Countess was a pupil of mine, 
and had a fine contralto voice, excelling in 
Schubert's songs, which she often sang. Then 
there was the Hon. Monckton Milnes, afterwards 
Lord Houghton, father of the present Marquis of 
Crewe. He was, as everybody knows, a fine 
poet, and his lyrics were often set to music 
One of them, " The Beating of my own Heart," 
was set by Sir George Macfarren, and Madame 
Clara Novello sang it into popularity. In later 
years my daughter Georgina sang it a great deal 
at country houses where she stayed, and the 
melody was so infectious that people used to 
hum it all over the house. 

I thoroughly enjoyed my visit to Mentmore, 
and meeting so many distinguished people. 
Before the present mansion was built I used to 
stay at Mentmore Cottage and gave a few 
singing-lessons to Miss Hannah de Rothschild, 
who married the present Lord Rosebery. 

The Bernstorffs were great favourites of Queen 


Victoria and Prince Albert, and I remember that 
the Prince Consort was godfather to one of their 
sons. I used to teach two of their children the 
piano, Count Andreas and Countess Teresa. 
They often gave evening parties at their fine 
house in Carlton House Terrace, which lent 
itself well for big entertainments. Many German 
artists appeared there, who thus had an oppor- 
tunity of being heard by the best English 
society. Some of them the Countess intro- 
duced to me, and I did all I could to be useful 
to them. After Count Bernstorff left he was 
succeeded by Count Munster, who was very 
fond of music, and often asked me to arrange 
musical parties for him. He was a widower, 
and his daughter, the Countess Marie, did the 
honours for him. The present German Emperor 
created him a Prince. 

Count Miinster was always most affable and 
friendly to me. I remember, one evening, Joseph 
Joachim and I were invited to dine with him. 
After dinner he asked Joachim to play some- 
thing, but he had not got his violin or any 
music with him. I suggested the Kreutzer Sonata, 
and Joachim sent a messenger to fetch his violin 
and music, and we played the sonata together. 
Joachim afterwards made appreciative remarks 
to me which pleased me very much. 

Although these reminiscences are supposed to 
be only connected with music and musicians, I 
cannot refrain from mentioning my several 


interviews with the late great " Tribune of the 
People," Mr. William Ewart Gladstone, as it 
was principally at musical entertainments that 
I met him. 

On one occasion the " grand old man " was 
staying on a visit at Lord and Lady Rothschild's, 
at Tring Park, Hertfordshire, with Lord Redes- 
dale, Mr. John Morley, M. de Staal, the then 
Russian Ambassador, and other distinguished 
guests. Of course Lady Rothschild did the 
honours, assisted by her daughter and her son, 
Mr. Walter Rothschild. We used to have music 
in the evenings, M. Joseph Hollman playing the 
'cello and I accompanying him. One evening 
I sat next Mr. John Morley at dinner, and in 
the course of conversation spoke to him about 
becoming a Cabinet Minister again. This, he 
assured me, would never happen ; but of course 
it did, for Mr. Gladstone soon became Prime 
Minister again, and Mr. Morley entered his 
Cabinet, and in later years was created Viscount 

In conversation with Mr. Gladstone I asked 
him whether he did not feel very tired after 
addressing his constituents for so many hours 
at a time at the Corn Exchange in Edinburgh ; 
but he said no, and added that, to moisten his 
throat, he took the yolk of an egg beaten up, and 
that made it all right. 

I asked him to be so kind as to favour me 
with his autograph, and he said : " Give me a 


little time, and let me have your address, and I 
will attend to it." He did not forget his 
promise, for one cold day in March, not long 
after, he drove up in a victoria to my house in 
Harley Street while we were at lunch. When I 
saw him drive up I went to the door and his 
footman handed me a large envelope. I knew 
what it was, and walked out to the carriage and 
thanked Mr. Gladstone, who said he had pre- 
ferred to bring the packet to me himself instead 
of sending it by post, so that the photograph 
inside it might not be damaged ; and I thanked 
him again for his kindness. It was a large 
photograph signed by himself. I had it specially 
framed, and it now graces one of the walls in my 

Mr. Gladstone was particularly fond of music, 
and used to sing in his younger days. Unfortu- 
nately, I never heard him ; but I remember the 
late Countess of Bernstorff, who had heard him, 
telling me about his singing. He went one 
evening to the Music-hall in Great George 
Street, Edinburgh, when Madame Adelina Patti 
sang and I was conducting. During the interval 
he came round to the artists' room to speak to 
Madame Patti, addressing her in Italian. But 
when he found she spoke English quite perfectly 
he continued the conversation in that language, 
and offered her his congratulations on her 
superb singing. 

Mr. Gladstone at one time had a house in 


Harley Street close to where we then lived, and 
I remember, one Sunday afternoon, walking 
down our usually quiet street and seeing a 
cordon of police drawn across the road to pre- 
vent people approaching Mr. Gladstone's house. 
It was at the time of the " Jingo " excitement, 
and his windows had been broken by a mob. 

At that time Harley Street was not merely 
a street of doctors (" Pill-box Lane " it has 
sometimes been called), but my neighbours and 
friends included, besides Sir Richard Quain, the 
great diner-out, who was always amusing, and 
Sir Morell Mackenzie, the Kendals, the Chappells, 
who gave famous musical parties, Mr. Gully, 
afterwards Speaker of the House of Commons, 
Sir Charles Russell, Mr. F. Wootton Isaacson, 
M.P., Mr. Weedon Grossmith, and Sir Francis 
and Lady Jeune, at whose parties one met all 
the celebrities of the day. 

Some most artistic private concerts were given 
by the late Lord Chief Justice, Sir Alexander 
Cockburn, at his house in Hertford Street, and he 
did me the honour of asking me to arrange them. 
Joachim generally played at these soir6es, and 
so did Piatti, and some distinguished artist 
always sang, one of these, I remember, being the 
beautiful Mile Belocca, of Her Majesty's Theatre. 
People listened most attentively, and there was 
no talking to disturb the performers, as often 
happened at other houses, where pianoforte- 
playing was usually the signal for general con- 


versation to begin. While on this subject I 
may mention what happened once at a musical 
party given by Mrs. Dudley Ward, sister-in-law 
of the late Earl of Dudley, which I helped to 
arrange and at which I played all the accom- 

It so happened that the great Madame Schu- 
mann was engaged to play some pianoforte 
solos, and she began by playing Chopin's 
Polonaise in A flat. But, alas ! during the 
whole time she was playing the people talked 
incessantly. Knowing what her feelings would 
be, I stood by her side and condoled with her ; 
but I don't think she ever played at any private 
party in England again. 

The fact was that the great attraction that 
night was Giuglini, who had then not long made 
his first appearance at Mapleson's opera, as 
Arturo in I Puritani, and became at once the 
idol of the British public. Of course, a few 
years afterwards, when Madame Schumann be- 
came a leading attraction at the Popular Con- 
certs, she was always received with acclamation, 
and I have seen the audience in the stalls 
throwing flowers at her ; but on the night of 
Mrs. Dudley Ward's party she could not get a 

To return to the soiree at Sir Alexander Cock- 
burn's, among the audience used to be a good 
many judges, the confreres of the host. Sir 
Alexander was a very charming and fascinating 


man ; he was particularly fond of Beethoven, 
and I remember that, after attending some of 
my Orchestral Concerts at St. James's Hall, 
where I performed some of Berlioz's symphonies, 
he told me that he did not care for Berlioz, but 
preferred the old classical masters. He had a 
very melodious voice, and always spoke to me 
in German, which he had learnt fluently at the 
University of Jena, where he studied, and he 
also spoke French and Italian perfectly. He was 
the English representative at the Court of 
Arbitration that dealt with the Alabama dis- 
pute, and of course presided for many months 
at the Tichborne Trial, which was so sensational, 
and ended in a verdict approved by all sensible 

He once asked me to join him at dinner one 
Sunday at Richmond ; but I told him I had 
already accepted an invitation to dine with Mr. 
J. M. Levy (proprietor of the Daily Telegraph). 
I said I would, however, explain matters to Mr. 
Levy, who I knew would excuse me. 

"Don't do that," said Sir Alexander; "as 
Mr. Levy can be much more useful to you than 
I can, we will arrange for another Sunday " ; 
which he did. He was always most considerate, 
even in small matters. 

He told me that his grand piano at Hertford 
Street was wearing out, and I suggested his 
buying a new Erard grand ; so we fixed a day 
to go to Erard's in Great Marlborough Street 


to select one. I tried several pianos and he 
chose one he liked, but did not purchase it, and 
when we got outside he told me the reason. He 
said rather despondently that, after all, he would 
rather not buy a new instrument, as he might 
be dead the following year ; and so it really 
happened, for he died suddenly November 20th, 
1880. I have often thought since of his curiously 
prophetic words, and of his strange premonition. 

He was full of eloquence, combined with great 
learning and sound judgment, and was a great 
loss to the musical world. 

At one of his soirees Madame Sembrich, the 
new prima donna from Covent Garden, sang. 
She was an extraordinary woman, not only a 
great singer but a splendid pianist and violinist. 
She showed all three talents at a concert she 
appeared at given at the Albert Hall by Sir 
Julius Benedict, where she roused the large 
audience to great enthusiasm. At Sir Alex- 
ander Cockburn's soiree she surpassed herself. 
There were a great many distinguished people 
present, amongst whom was the handsome 
Countess Grosvenor. 

Other eminent personages in the law I have 
known have shown a cultivated taste for things 

The late Lord Chancellor, Lord Herschell, 
was a proficient performer on the violoncello, 
and often of an evening he used to arrange trio 
parties, in which he took part and played classical 


works. The present Lord Chief Justice, Lord 
Alverstone, has a baritone voice and may often 
be heard taking part with the choir in the sing- 
ing at St. Mary Abbot's, Kensington. 

But not all eminent judges have the same 
partiality for good music. One of them had 
been invited by a friend to go with him to a 
concert devoted to the works of John Sebastian 
Bach. When the concert was over, and he was 
asked what he thought of it, he replied, " I had 
rather hear Offenbach than Bach often ! " 



I attend the first performance of Mascagni's I Rantzau in 
Florence My notice of it in the Daily News Rome 
Clement Scott and I continue the journey A dinner-party 
of celebrities Cardinal Rampolla Madame Ristori Naples 
Scott goes on to Egypt and India Pisa Genoa Paga- 
nini's violin I visit Verdi at the Palazzo Doria His 
Falstaff Nice Monte Carlo Cannes Turin Milan 
Signer Ricordi and his great publishing house Venice 
Farewell performance at the Teatro Rossini to Tamburlini 
His triumph The audience sings with him. 

IN 1892 I was asked by my co-directors of the 
Carl Rosa Opera Company to go to Florence to 
hear the first performance of Mascagni's new 
opera, / Rantzau, and to report on it for possible 
production by the company. My travelling 
companion was the late Mr. Eugene Ascherberg, 
the music-seller, who purchased the rights of 
Mascagni's Cavalleria Rusticana, and Leon- 
cavallo's / Pagliacci ; he also wanted to hear 
the new opera, to see if it was worth his while 
to publish it in England. Thanks to him, I 
made the acquaintance of Signor Sonzogno, 
Mascagni's publisher, through whom I was in- 
troduced to Mascagni, who conducted the per- 
formance at the Pergola Theatre, which is very 



large and has six to eight rows of boxes, but 
no gallery. Signor Ferraris, the ordinary con- 
ductor* had a splendid orchestra and fine chorus. 
Madame Darclee, a Roumanian soprano, took 
the part of Luisa. De Lucia, whom I remem- 
bered hearing at Covent Garden, was the tenor. 
The most prominent artist in the cast was the 
great baritone Signor Battistini, whom I visited 
during the interval in his dressing-room and 
asked him why he never came to England. He 
replied that he would like very much to come, 
only had not yet had any offers of an engage- 
ment. But I think Sir Augustus Harris had 
wished to engage him, only that his terms were 
so high. The fact was that Battistini was a 
great favourite in Russia, and got high fees 
there. In Russia a baritone was a draw, in 
England not at all even the former great 
baritones, Ronconi and Graziani, never drew 
crowded houses. 

The great Russian, Chaliapine, has now come 
here to prove that this is no longer the case. 

Battistini was engaged in 1905 at Covent 
Garden, to sing Don Giovanni and other parts, 
and he pleased very much. 

But to return to our journey. We left Lon- 
don the morning of November 8th, and travelled 
to Paris, and thence direct to Florence, via 
Dijon, Chambery, Mont Cenis, Turin, Genoa, 
and Pisa. We reached Florence on the morn- 
ing of the third day and had already engaged 


rooms in the Kraft's Hotel, which had been 
formerly an Italian nobleman's palace. 

I am sorry to say that / Rantzau was a 
failure, notwithstanding the thunderous ap- 
plause the audience bestowed upon the composer 
and the singers. Mascagni was recalled twenty 
or thirty times. Entre nous, I suppose the 



/l/U JA/U-O^ 

1 1 

claque had something to do with it. The ladies 
in the audience were presented with fans 
made of fancy straw, each one having a photo- 
graph of Mascagni and some roses attached 
to it. 

I had been asked by my friend, Mr. Percy 
Betts, to write a notice of the opera for the 

ST. PETER'S 239 

Daily News. The performance did not finish 
until very late, and at about one a.m. I went to 
the post office and wrote a notice of 841 words, 
which I telegraphed to the Paris Office of the 
Daily News. It cost me 5, but was worth it, 
for my notice filled two columns of the London 
Daily News next morning. When the other 
English critics saw me writing and sending off 
my copy they wondered for whom I was doing 
it, as they had never seen me do such a thing 
before ; but I did not give them any information. 
I heard them remark to one another, " What 
is Ganz doing here ? " and I must say it amused 
me to see their curiosity. 

Mr. Ascherberg soon went back to England, 
telling me before he started that he was not 
going to buy the English rights of Mascagni's 
opera. I stayed on and saw Sonzogno very often, 
and also Mascagni, at whose house I visited and 
made the acquaintance of his wife and children. 
I went from Florence straight to Rome. 

I know that many of my readers have already 
seen " The Eternal City " of Rome, but I hope 
they will forgive me for adding my impressions 
of it. I arrived in the evening and stayed at 
the Hotel Quirinale in the Via Vittorio Emanuele. 
At the table d'hote I had a pleasant surprise, 
for who should I see sitting opposite me but my 
old friend Clement Scott, the eminent writer 
and critic of the Daily Telegraph. 

I went to the Church of St. Peter's, built by 


Michael Angelo, every day during the ten days 
I was in Rome. I had to drive there as it was 
a long way from my hotel. The first time I 
entered St. Peter's I am ashamed to say I felt 
disappointed. The fact was I could not grasp 
the grandeur of this magnificent building all at 
once ; but every day it grew on me more and 
more, and I visited over and over again the fine 
chapels with the kneeling statues of the various 
popes in marble, and admired the wonderful 
sitting statue of St. Peter, whose toe millions 
of people have kissed, and gazed up to the 
summit of the dome, with its gallery, and the 
magnificent High Altar, above which is the 
loggia of the Pope. 

I also went up the famous winding staircase, 
upon which one can ride on horseback, to the 
top of the principal tower, from which I had a 
splendid view over Rome and the Campagna, 
with the mountains in the distance. 

One evening I went to the Constanza Theatre, 
when a new opera by a to me unknown com- 
poser was given, through the influence of Signor 
Tamagno, who played the leading tenor role. 
Notwithstanding the efforts of this great singer, 
it did not meet with much success. In Italy 
no end of new operas are given during the 
season, but the greater number of them are 
failures, and never reach other countries. 

Another evening I was invited to a most 
interesting dinner party given by Signor Angelo 


Basevi, a friend of Signer Tosti's, who had 
introduced me to him. There I met Targioni- 
Tozzetti, part author of the libretti of Mascagni's 
operas, and also Count Sacconi, architect of 
the colossal monument to Victor Emanuel, 
which was then being erected. Mascagni was 
also there, and played and sang extracts from 
/ Rantzau to Sgambati, and told us he was re- 
ceiving seven or eight hundred letters a day 
asking for his autograph. We were all very 
jovial, and passed a delightful evening. 

I was much impressed by the ruins of the 
Colosseum, and I also visited the Church of S. 
Paolo fuori le Mura, a few miles outside the 
city a splendid building, with marble columns 
on each side, which I could not help thinking 
would have made a fine concert-hall. As I was 
leaving, I saw a priest kneeling at his devotions 
in one of the side-chapels, evidently some im- 
portant personage, as his attendant, dressed in 
black, was in the corner waiting for him ; so I 
went up to the attendant and asked who he was. 
He replied that it was His Eminence Cardinal 
Rampolla, Secretary of State to the Pope. 
When the Cardinal rose from his prayers and 
walked out he passed me, and I bowed to him, 
and he returned the salutation with a gracious 
smile. He was tall and commanding-looking, 
and extremely dignified and handsome. He 
entered his carriage and drove off. 

When Pope Leo XIII died, Rampolla had 


to vacate his official position at the Papal 
Court. In former years, of course, the Cardinals 
drove about in magnificent state, with gorgeous 
liveries, and I contrasted this with the plain 
carriage and unostentatious appearance of Car- 
dinal Rampolla, who, great man as he was, 
went about with no pomp or ceremony. 

On one of my visits to St. Peter's, on a Saint's 
Day, I heard a mass the music of which was 
most trivial. It was said by a Cardinal, but 
was not impressive, and the singing was not 
at all out of the ordinary. 

One day I visited the celebrated actress, 
Madame Ristori, who in private life is the 
Marchesa del Grillo, to whom I had brought a 
letter of introduction from my friend, Paolo 
Tosti. She received me most kindly and intro- 
duced me to her son, the Marchese del Grillo. 
She is a madonna-like woman, with wonderful 
eyes ; very queenly in bearing, and of striking 
appearance. I told her I had had the pleasure 
of seeing her in London as Maria Stuart in 
Schiller's play. She regretted that Tosti never 
came to Rome, and we talked about London 
and music and a variety of subjects. Before 
leaving she handed me these beautiful lines : 

" L'Arte e un grande inesorabile riposo 
dello spirito. 


" Al gentilissimo Wilhelm Ganz, Roma, 18 Nov. 


I found her a most charming hostess, and am 
always glad I had the opportunity of meeting her. 

It was once suggested that Macbeth should be 
translated and so cut down as to give greater 
prominence to Lady Macbeth. Ristori ex- 
claimed, " What ! cut Shakespeare ? God 
forbid that I should commit such a sacrilege ! " 

Before leaving Rome I visited the King's 
palace, and also the Conservatoire, where I was 
introduced to the director, Signor Marchetti, by 
Signor Sgambati, who was one of the professors 
there. I went into the various class-rooms, and 
was much interested in the different arrange- 
ments. Marchetti's opera, Ruy Bias, was per- 
formed at Her Majesty's many years ago, with 
Mile Salla and Mile Belocca in the caste, and, 
as I told him, I was present at the first perform- 
ance. Signor Sgambati had also frequently been 
in England, and has played at London concerts. 
He told me that, during the winter months, he 
went every Monday evening to the Palace to 
play to Queen Margherita. She was very fond 
of Beethoven's music, and he played most of the 
sonatas to her and arranged performances of 
the trios and quartettes. 

After leaving Rome I went with Clement 
Scott to Naples, where we took our rooms at 
the Hotel Vesuvius, which stands on the long, 
beautiful esplanade facing the bay. The mana- 
ger, who knew Scott from having been manager 
of the " Greyhound " at Hampton Court, was 


much pleased to see him, and very attentive to 
us. We drove together to Sorrento, which lies 
in the Bay of Naples a little way from the town, 
and had our lunch at a restaurant, sitting at 
the open window, to the accompaniment of some 
mandoline players, who sang Tosti's songs and 
folk-melodies and made us feel quite happy and 
contented. Before us was the Bay of Naples, 
with Vesuvius in the distance and the beautiful 
Island of Ischia. Scott was enchanted, and 
said he would like to live there for ever. After 
lunch we sipped our coffee and smoked our 
cigars, and then drove along the coast to 
Pausilippo, passing some picturesque villas, the 
property of old Lablache, who had bought land 
there, and saw the house where Thalberg, his 
son-in-law, lived. 

Next day we parted company, Scott going on 
to Egypt and India and other distant parts of 
the world to write an account of his travels 
for the Daily Telegraph. After he had left I 
visited Pompeii, driving there in a small one- 
horse carriage through Portici, and saw the 
wonderful ruins. 

I remained a few days longer in Naples and 
then travelled back to Rome without stopping 
anywhere en route., and then went on to Pisa, 
Turin, Nice, and Monte Carlo. At Pisa I stayed 
at an old-fashioned, rather small hotel, called 
the " Arno," and while there visited the famous 
Campo Santo, where so many distinguished 

VERDI 245 

Italians are buried, and saw the Cathedral and 
the Baptistery. Of course I also ascended the 
wonderful leaning-tower, but was disappointed 
with the view from the top of it. 

Next day I travelled to Genoa, where I arrived 
on November 26th, and took my room at the 
Grand Hotel du Pare. I was most anxious to 
see Verdi, so I called at his home, the historical 
Doria Palace ; but his servant told me he was 
at the opera, rehearsing his new opera, Falstaff, 
and asked me to call again the following morn- 
ing, when he would receive me. 

I then went to the Palazzo Municipale and 
saw Paganini's "Guarnieri" violin, which was 
locked up in one of the cupboards. Sivori, who 
lives in Genoa, is sometimes permitted to play 
upon it. As I knew Sivori, having often accom- 
panied him at concerts, I called to see him 
and asked him to give me an introduction to 
Verdi, which he did, writing some lines on his 

I went to see the world-renowned Campo 
Santo at Genoa, which, like that of Pisa, is filled 
with the graves of Italy's famous men and con- 
tains a very fine monument to Mazzini. The 
next day, which was Sunday, I went to the 
Palazzo Doria to visit Verdi my appointment 
being for eleven. I gave the servant my card, 
and that of Sivori, and was shown into a very 
elegantly furnished salon, where I noticed a 
large glass cabinet containing Verdi's orders 


and various laurel wreaths, with one of gold, as 
well as a conductor's baton. 

Presently Verdi himself appeared, a fine, hand- 
some man, with a high forehead and grey hair, 
and beard, who received me most amiably. I 
mentioned to him that this was my first visit to 
Italy, and showed him some of the programmes 
of the Carl Rosa Company's Opera performances 
of A'ida and Otello, giving him all particulars 
about the first performance of Otello in English, 
and reminding him that the directors, including 
myself, had wired him to Busseto an account 
of its great success. He said our cable had 
never reached him, and that in future we were 
always to address him at Genoa. I left him the 
programmes, and told him what Carl Rosa had 
done for English Opera, and of his wife, the 
charming Euphrosyne Parepa. He asked me 
how long the company had existed, and how 
often they performed his operas, and seemed 
very much interested in every detail. 

I next spoke to him about Madame Patti, and 
he asked me where she lived and where she was 
at the present time ; so I said she was at her 
castle in South Wales, called " Craig-y-nos," and 
described it to him, with its beautiful surround- 
ings, and showed him a programme of the Albert 
Hall Concert I had conducted, at which Patti 
had sung his aria " Ernani Involami " from 
Ernani. He also asked whether Nicolini still 
sang, and I said yes, but very rarely, adding 

VERDI 247 

that he had sung Verdi's famous " La Donne e 
mobile " a short time before at a charity con- 
cert organised by Madame Patti. I told him 
Patti knew all her operatic roles by heart, and 
he said charming things about her and asked 
me to remember him to her when I returned to 

Verdi heard Madame Patti again in 1893 in 
his opera La Traviata at the Scala, Milan : 
she wrote me an interesting letter about the 

"January 1893. 


" I must send you a line at once, to tell 
you of the enormous success I had last night 
in the Traviata. The place was packed full, 
and when I came on the reception was so great, 
all the people standing up, that I know, had 
you been there with that big heart of yours, 
you would have cried your poor eyes out, just as 
Verdi did. I am told that throughout the per- 
formance he did nothing but sob, he found that 
my phrasing was so pure and touching. At the 
end of the Farewell Scene, just as I was rushing 
off, my foot caught in the lace of my skirt, and I 
fell right down on the floor. ' Dieu Merci,' I 
did not hurt myself much. ... It is a real pleasure 
to sing to these Italians, they do so well appre- 
ciate each phrase, to the highest degree ; and then 
their 4 Brava ' always comes in just at the right 
moment. You could have heard a fly, so quiet 
they were, and took everything in, and at the 
end the enthusiasm was glorious oh ! ! ! 

" I love to sing to them ; ' Cela fait un vrai 


plaisir,' and a real success here is something 
worth having. 

" Now I must close, as Verdi has just come 
to see me. Love to all your dear family, not 
forgetting your dear self. Always affectionately 


I recalled to Verdi that I was present at the 
Royal Albert Hall when he had conducted his 
famous Requiem, sung by Madame Stoltz, 
Madame Waldmann, and other great artists. He 
then asked whether Signor Randegger was still 
in London, and I told him yes, and very active 
into the bargain. 

In reply to my question as to whether he had 
finished Falstaff, he said : "It will be given in 
Milan at the end of January. Are you coming 
to the first performance ? ' I told him I much 
regretted it was impossible. He said there were 
a great many roles in it and the tenor had 
the lover's part, " which," he added, " is very 
sweet." He went on to say, " For a long time 
I have wanted to compose a comic opera, but 
I could not find a suitable libretto; but I did 
once write a comic opera." He paused, and 
did not tell me its name. Evidently the thought 
crossed Verdi's mind of the tragic bereavement 
he sustained over fifty years before, when he 
lost his wife and his two only children within 
a few months, and, though stunned by the blow, 
had to complete a comic opera called Un giorno 


VERDI 249 

di Regno which he had been commissioned to 
write. He had already engaged the soprano and 
tenor for his Falstaff when I saw him. 

He told me he enjoyed composing, which gave 
him real pleasure, and that he hoped he would 
live long to continue to write. He spoke about 
Sivori, as if he thought him very old ; but I re- 
minded him that the latter still played the 
violin and was by no means past work. 

I asked Verdi for his autograph, and before 
writing it he said : " What is the date of to- 
day ? ' : and added the date then gave it to 
me. I noticed that he had not put my name 
down, so he took the trouble of going back to 
his study and bringing it back with my name 
on it. I mention this because Verdi is, as a 
rule, very chary about giving his autograph ; so 
I considered it a great compliment. 

I then said good-bye to him, and thanked him 
for his very kind reception, for I had remained 
with him about an hour. I may add the fol- 
lowing characteristic story of him. A friend 
who went to see Verdi when he was staying in a 
villa at Moncalieri found him in a room which, 
Verdi said, was his drawing-room, dining-room, 
and bedroom combined, adding, " I have two 
other large rooms but they are full of things 
that I have hired for the season." Verdi threw 
open the doors and showed him a collection of 
several dozen piano-organs. 

"When I arrived here," he said, "all these 


organs were playing airs from Rigoletto, Trovatore, 
and my other operas from morning till night. 

" I was so annoyed that I hired the whole lot 
for the season. .It has cost me about a thousand 
francs, but at all events I am left in peace." 

I then took the twelve-ten train on to Nice, 
where I arrived in the evening and engaged a room 
at the Hotel des Anglais, facing the sea. Next 
morning I called on my old friend, Signor Tagliafico, 
but found him busy teaching singing, so did not 
interrupt him. Then I called on an old friend 
belonging to the Royal Somerset House Lodge 
in London, who invited me to dinner, and he 
and his wife took me for a long drive through 
the town of Nice. We drove along the sea- 
shore to Beaulieu, where we visited a London 
friend, Mrs. David, who is also a friend of 
Madame Patti's. 

Next day I went by rail to Monte Carlo, where 
I visited the Casino and went to an orchestral 
concert conducted by M. Jehin, whom I had 
known in London when he was conducting at 
Covent Garden, and who conducts concerts at 
Monte Carlo, where the most admirable artists 
appear. I chatted with several English friends 
at the rooms and in the gardens and then re- 
turned to Nice. In the evening I went to the 
Municipal Theatre. 

Then I went on to Cannes, and saw the little 
English Chapel and the villa where Prince 
Leopold, Duke of Albany, lived and died. The 


sea was perfectly smooth and blue, and the 
beautiful scenery of the Riviera appealed greatly 
to me. While at Nice I saw Miss Minnie 
Tracy by appointment, and engaged her as 
soprano for the Carl Rosa Company. Signer 
Vianesi, a former conductor at Covent Garden, 
called upon me to introduce a young singer 
who was one of his pupils. I heard her sing, 
but was not sufficiently struck by her capa- 
bilities to recommend her for an operatic en- 

During the four days I was at Nice I met 
General Stevens, Adjutant to the late Duke of 
Cambridge, a friend from London who is an 
amateur violinist. He is very fond of music, 
and we often played duets together ; therefore he 
was sorry when I left and wanted me to stay 
longer, but I was obliged to go on to Turin. It 
was a long journey, and the weather was rather 
cold as we entered Italy. At Turin I stayed 
at the Hotel de 1'Europe, which stands in the 
large Square. I saw the Royal Palace, the 
fine armoury, and the Teatro Regio, where I 
witnessed a performance of which I cannot 
remember the name, but I fancy it was the 
ever-popular Cavalleria. 

On December 3rd I travelled from Turin to 
Milan. Of course I saw all the " sights " and 
thought the Duomo one of the most wonder- 
ful churches in the world, the summit having 
small marble towers so finely decorated as to 


give the effect of embroidery. I went to the 
top and found it difficult to walk about up there, 
the stone paths being so intricate. 

I was greatly struck with the Brera Picture- 
gallery, and I saw the world-renowned and 
almost obliterated " Last Supper " by Leonardo 
da Vinci, which is painted on a wall of the 
Refectory of Santa Maria delle Grazie. It seems 
a pity that nothing could have been done to 
preserve this masterpiece from fading. 

One evening I heard a performance, of course 
well given, of the Cavalleria at the Teatro dal 
Verme, and I also went to see the celebrated 
Opera-house, La Scala ; but, as it was holiday- 
time, there were unfortunately no performances 
there. However, I went on the stage, which is 
enormous, the house being much larger than 
Covent Garden, and there are reception-rooms 
at the back of each box. 

I made a point of going to see my old friend 
Bazzini, the eminent violinist and composer, 
who played for me in 1857, and was glad to find 
him looking so well after his long and strenuous 
career. He talked of his visits to London, 
where I often accompanied him at concerts, 
and his duties as director of the Milan Con- 
servatoire, which, he regretted, prevented him 
travelling as he had done formerly. 

Bazzini was one of the many great artists 
who appeared at the concerts of the Musical 
Union : he will be seen standing first on the left- 


hand side of the picture reproduced on an earlier 
page. I accompanied him there in 1853, when 
his beautiful tone and finished execution as- 
tonished everybody. 

Both music publishers, Signer Ricordi and 
Signor Sonzogno have large establishments at 
Milan ; Ricordi has bought the whole of Madame 
Lucca's (the former rival of Ricordi) musical 
stock, containing all the old operas of Rossini, 
Bellini, Donizetti, and the earlier operas of 
Verdi. He invited me to visit his music-print- 
ing, engraving, and publishing works, where he 
showed me the proof-sheets of Verdi's Falstaff. 
He is the publisher of Puccini's operas, and has, 
I believe, the largest musical publishing-house 
in Europe. All my own compositions are pub- 
lished by Ricordi, although, in connection with 
the above-mentioned great composers, my small 
name ought not to appear ; but I state the fact 
because Madame Lucca bought the copyright 
of my little works, and they were transferred to 

Ricordi's great opponent in the musical trade 
is Sonzogno, who buys the rights of all Mascagni's 
and Leoncavallo's operas ; but all the same I 
don't think he does Ricordi any harm. He is 
also the publisher of the Italian newspaper II 

From Milan I travelled to Venice, and on 
arriving at the station was shown into a gondola 
steered by two boatmen, in which I traversed 


several canals and finally arrived at the Hotel 
Britannia. Next morning I was awakened by 
loud knocking. Some workmen were driving 
big wooden posts into the sandy earth and 
singing all the time. After breakfast I walked, 
by way of very small streets and alleys, to the 
Piazza to see San Marco, the King's Palace, the 
Campanile, and the Palace of the Doges. I 
went through the royal palace and up the 
Campanile, and then visited the Doges' Palace, 
with its grim inquisition-chamber, and admired 
the splendid paintings by Paul Veronese and 

I then took a gondola on the Grand Canal 
and passed the house where Wagner lived and 
died, and saw the Bridge of Sighs and the other 
wonderful sights of the city. In the evening I 
went to the Teatro Rossini and heard Boito's 
fine opera, Mefistofele. It was being given as a 
farewell performance to Signer Tamburlini, who 
had quite an ovation, being called and recalled 
many times, and was not only presented with a 
great many bouquets, but with a small statue 
of himself. In the last act the audience in the 
gallery joined Tamburlini in his singing, and 
altogether it was a most impressive performance. 
The theatre is rather small, but the orchestra 
and chorus were good and the principal singers 
quite acceptable. 

I was very much impressed by the excellent 
operatic conductors they had at the Italian 


theatres I visited, and the tenors and baritones 
were splendid artists ; but I did not care for the 
female singers, who were rather mediocre. In 
nearly every theatre I visited I heard Caval- 
leria, which, as I said before, seemed to be 
the rage. 




Sir Julius Benedict Edouard Silas Sir Arthur Sullivan He 
pays me a compliment M. Camille Saint-Saens I arrange 
a concert for him Four composers at Cambridge I meet 
Tschaikowsky Leschetizky Some of his stories His dog 
" Solo " Paderewski Richard Strauss. 

FOR many years I had the good fortune to be 
honoured with the friendship of Sir Julius 
Benedict. It was a real pleasure to be in his 
society, he was so full of information of every 
kind, musical and social. 

Benedict settled here in 1835, and became a 
famous teacher of the pianoforte, he himself 
having been a favourite pupil of Carl Marie von 
Weber, the composer of the immortal operas 
Der Freischiitz and Oberon. I never knew such 
a hard worker as he was ; he was up early 
teaching and out late at musical soirees and 
other entertainments, which he arranged during 
the season, and frequently during the night he 
would, like Balfe, be busy composing. He wrote 
and brought out several English operas, one of 
which was The Lily of Killarney, founded on 
Dion Boucicault's Colleen Bawn, which was 
produced at Covent Garden under the direction 



of the Pyne and Harrison Company in 1862, 
and had a great success, and is still " running." 
Benedict had quite caught the spirit of Irish 
music, and his opera is full of melody. Louisa 
Pyne sang the Colleen Bawn, William Harrison, 
Myles-na-Coppalean, and Santley, Danny Man. 
One of the songs in the opera, " Eily Mavour- 
neen," became a great favourite with tenors. I 
was at the first performance. 

Benedict would have filled any position with 
eclat, especially that of a diplomatist, being not 
only a great administrator, which was so neces- 
sary in arranging the productions of opera (not 
his own only) and concerts here and in the pro- 
vinces, but he was a man full of savoir faire and 
energy and had great tact. He made friends 
with most of the people he was associated with, 
and, what is more, kept their friendship. He 
spoke not only English, but French and Italian 
perfectly, and of course his own mother-tongue, 
German. He was born at Stuttgart. He not 
only spoke these languages, but wrote them 
with equal fluency. 

He often conducted operas, and for some years 
the Philharmonic Concerts at Liverpool, for 
which he wrote the analytical programmes. 
After a long day's work in London he would 
travel at night to Liverpool, hold a rehearsal 
there in the morning and conduct the same 
evening, giving piano lessons in between. He 
was an excellent pianist, and had a prodigious 


memory. I call to mind a lecture he gave on 
Weber at the Royal Institution in Albemarle 
Street, at which I played some pianoforte duets 
with him. 

I have made it a rule, all through my profes- 
sional life, to do what I could in a small way to 
honour and foster the interests of my musical 
friends by getting their compositions performed, 
in addition to the public performances of them. 

In the sixties I arranged a series of amateur 
vocal Reunions at my house, at which cantatas, 
oratorios, and scenas were performed, one of 
which was Benedict's St. Cecilia. I had prac- 
tised it with my choir for some time, and when 
I considered it to be perfect, and ready for 
production, I gave an evening performance of 
it. I invited Benedict to conduct, and asked 
a number of friends to come and listen, and I 
played the piano accompaniments. The per- 
formance went off exceedingly well, and every- 
body was charmed with this beautiful and 
melodious work. Benedict, who conducted, was 
very pleased, and when it was over he made a 
little speech, thanking me and the choir and the 
soloists, to which I made a suitable reply. 

His annual concerts at St. James's Hall were 
always a feature of the London season, for he 
engaged a galaxy of stars, among whom were 
the best opera-singers. He used to wait 
anxiously at the top of the staircase leading to 
the artists' room to see them arrive so as to be 


able to begin the concert. One of them was 
Sims Reeves, who once, after keeping Benedict 
on the tip-toe of anxious expectation, relieved 
his mind by turning up, accompanied by his 
wife and all their children and various friends ! 
In those days Reeves was a great attraction, and 
sang at all Benedict's concerts. The programme 
generally consisted of forty items, and very often 
lasted from one-thirty till six-thirty. They were 
particularly interesting to people who had no 
opportunities of hearing the great artists with- 
out going to the opera and paying for expen- 
sive seats. The prices at Benedict's concerts 
ranged from one guinea to one or two shillings 
in the gallery. I generally helped with the 
accompanying, sometimes taking part in the 
pianoforte quartettes, for four performers, which 
Benedict composed for these occasions. It was 
a great pleasure to me to visit him at his house 
in Manchester Square on Sunday mornings and 
hear all the news of the day, especially the 
musical gossip. So far as I know, he composed 
only one oratorio, St. Peter, which was composed 
for the Norwich Festival, of which he was con- 
ductor for many years. 

I remember a cantata of his called TJndine, in 
which Madame Clara Novello took her farewell 
of the British public. It was performed at St. 
James's Hall, and she sang, as always, most 
beautifully, and her voice seemed as fresh as 
ever ; but, as she had married an Italian Count, 


and was well off, there was no need for her to 
remain any longer in the profession. I was 
present at this interesting concert and heard the 
great ovation accorded to this most charming 
singer, who had to bow repeatedly to the audi- 
ence before they would let her go. 

Benedict still followed his profession when 
he was well over eighty years of age. He had 
married, as his second wife, Miss Fortey, a clever 
pupil of his. The son of that marriage was a 
god- son of King Edward, then Prince of Wales, 
and also of Lord Lathom, who was a great 
friend of the Benedicts, and himself a generous 
patron of music and musicians. Mr. A. E. Bene- 
dict is now on the stage. 

I am reminded that, at our silver wedding in 
1884, Sir Julius was present and, in responding 
to his health at dinner, said he hoped to be 
present in 1909 at our golden wedding. He was 
then eighty. 

Benedict died in 1885, and Lady Benedict 
afterwards married Mr. Frank Lawson. She 
was a great friend of mine, and of my family, 
and was a most charming and accomplished 
lady, who not only played the piano extremely 
well but also composed. 

Not so very long ago she invited my wife 
and me to luncheon at her house in Cromwell 
Place, and then seemed quite well and very 
bright, and in good spirits ; but a week or two 
afterwards I heard, to my great regret, that she 

"Jc&t. ** tfa, trf h 


I $ **~ fartsLt&'SZrwti.^Ar- 



was dead. A few months before the sad event 
I spoke to her of these reminiscences, and told 
her I had written something about her first 
husband, and read the above lines aloud to her. 
She was much pleased, and said, " I thank you 
for helping to keep the memory of Benedict 

Edouard Silas was another gifted musician 
resident here, whom I have known almost from 
the time of my coming to England. He was 
wonderfully prolific, producing compositions in 
every form, perhaps his best-known work being 
a Gavotte in E minor written in the old style. 
An admirable pianist and all-round musician, it 
always seemed to me that he ought to have 
achieved the wider recognition due to his talents. 
It was, perhaps, his incurable habit of seeing the 
funny side of things which stood in his way. 
Most of his time in later years was devoted to 
giving lessons in harmony, the lessons being 
always popular owing to the witty and amusing 
way he had of dealing with things musical. His 
pupils were always convulsed with laughter. I 
remember, after he had given my daughter some 
lessons in harmony, he sent me his account with 
the characteristic note, introducing the first bars 
of the Wilhelm Tell overture. 

Sir Arthur Sullivan has done more for English 
music than any other English composer. It is 
needless for me to enlarge on his light operas, 
which were so successful, beginning from the 



eighties, at first at the Royalty Theatre and 
then at the Savoy, which was built by the late 
Mr. D'Oyley Carte for the purpose of making a 
home for them. Of course I was one of his 
fervent admirers, and went to see all his operas, 
not only at the Royalty but also at the 

Sullivan is dead, but his music will live on, and 
help to make the world brighter. 

Sullivan once paid me a very high compli- 
ment at the old Hanover Square Rooms, where 
he and I had both been conductors. He walked 
up to me in the artists' room after a concert, 
and said, " Ganz, where did you get that 
melody from ? " (meaning my first song, " Sing, 
Birdie, sing "). I did not tell him that I had 
composed it in an omnibus ! 

He went on to praise the song very much, and 
because he did so (and not from pride), I here 
subjoin a few bars. 


M. Camille Saint-Saens I have always re- 
garded as one of the most wonderful men whose 
friendship I have been privileged to enjoy. His 
many-sided genius, his amazing versatility, have 
always filled me with intense admiration. I am 
therefore naturally proud to have been the first 
to enable him to play his splendid concertos 
in England. I have already spoken of this in 
dealing with my Orchestral Concerts. I want 
now to refer to a unique concert which took 
place in June 1887, the year of Queen Victoria's 
Jubilee. Saint-Saens asked me to arrange an 
orchestral concert for him at St. James's Hall, 
and on that occasion he played his four con- 
certos, one after another, which was a wonderful 
feat. He played them all by heart, and when 
he had finished seemed as fresh as if he had 
done nothing at all. I had engaged a first-rate 
orchestra, which I conducted. Unfortunately, 
the hall was not very full, and Saint-Saens lost 
heavily, but he apparently did not mind in the 
least. The concert was given on a Saturday 
afternoon and at that period Saturday was not 
popular as it is to-day for concerts and matinees. 
It was also an unfortunate time to give a con- 
cert, as people were full of the Queen's Jubilee 
and had no time for concerts. Since then Saint- 
Saens' popularity has so much increased that 
I am sure that, if it were ever announced that he 
would play his four concertos in one programme, 
the house would be crammed. I may mention 




that he also played at one of the Brinsmead 
Symphony Concerts in 1885 which I conducted. 
He later composed a fifth concerto, and his 
famous opera Samson et Dalila, after being de- 
barred for years from having a hearing here, 
on account of its Biblical story, is now repeatedly 
performed at Covent Garden with stupendous 
success. In 1893 I endeavoured to arrange for 
the production of one of his operas by the Carl 
Rosa Company, of which I was a director. He 
wrote me saying : 

" J'ai le plus grand desir que 1'on joue mes 
operas en Angleterre, mais jusqu'a present c'est 
un desir que 1'Angleterre n'a pas paru partager; 
si vous arrivez a modifier cette situation, soyez 
sur que je vous en serai tout a fait reconnais- 
sant." (I am very anxious that my operas 
should be performed in England, but up to the 
present it is an anxiety which England does not 
appear to share : if you can manage to modify 
the situation, you may be sure that I shall be 
very grateful.) 

Saint-Saens is a most charming man, and 
speaks English perfectly. In French he talks 
so quickly that it is difficult to follow him. 
Some years ago, at Dieppe, his native town, I 
attended an afternoon concert of his works at 
the Casino, and, when he came out of the artists' 
room, accompanied by several friends, and saw 
me, he was astonished and asked whether I had 
left England for good. I told him I was only in 
Dieppe for a holiday, and we had a chat. He 


is a great traveller, and often visits Algiers and 
the Orient, and gives you vivid descriptions. 
The Square in which the Dieppe theatre stands 
is called the " Place Saint-Saens," in honour of 
its distinguished townsman. As is well known, 
he is a most prolific composer, and, besides his 
piano concertos, has also written concertos for 
the violin and 'cello, one of which, his violin 
concerto, is one of the most beautiful composi- 
tions of its kind, and is constantly played by 
Ysaye, Kreisler, Mischa Elman, and other great 
players. His symphonic poems, such as " Le 
Rouet d'Omphale," his " Danse Macabre," and 
his opera Henry VIII, which has been per- 
formed at Covent Garden, have all added to his 
fame. Knowing what a brilliant pianist he is, 
I was much struck by his telling me once that he 
hardly ever practises. 

His powers of improvisation are remarkable, 
and he has often, when I have been with him 
and other artists, sat down to the piano and 
astonished us by his skilful handling of a theme. 
His literary works are fine examples of musical 
criticism, and in conversation he shows the 
same keen perception and incisive wit. It is a 
real pleasure to be in his company. He amused 
me once by beginning the conversation with 
the remark, " Ne me parle pas de la musique : 
9a ne m'interesse pas du tout." It was not for 
long, however, that the subject was barred. 
He wrote me a letter in 1886 which is a good 


example of his pointed literary style. The draw- 
ing which accompanied it is also characteristic. 


" J'ai examine les analyses de M. ; 

je les trouve plus qu'insuffisantes. II ne parait 
pas avoir compris les morceaux qu'il a analyses. 
II donne des citations inutiles et ne met pas des 
choses indispensables. Le theme du Final de 
mon Concerto en TJt est rendu me"connaissable ; 
il a copie une partie de Fhautbois sans s'aper- 
cevoir qu'elle etait tantot partie principale et 
tantot partie intermediate ; c'est le comble de 
1'etourderie et du ridicule. 

"Mieux vaudrait pas d'analyses du tout que 
des choses pareilles qui ne peuvent servir qu'a 
egarer 1'auditeur. 

"Tout a vous, 



46 1 have examined the analyses of Mr. 
I find them more than insufficient. He 

does not appear to have understood the pieces 
which he has analysed. He gives useless cita- 
tions and omits things which are indispensable. 
The theme of the Finale of my Concerto in C 
minor is made unrecognisable : he has copied 
an oboe part without noticing that it is at one 
time a principal and at another an intermediate 
part : it is the acme of stupidity and absurdity. 
" Far better no analysis at all, than such 
things which can only help to confuse the 

" Yours, 


On June 12th, 1893, my son Albert, an under- 


graduate at the time, asked me to come on a 
visit to Cambridge : a concert was to be given 
by the Cambridge University Musical Society, 
of which he was a member, in honour of Max 
Bruch, Boito, Saint-Saens, and Tschaikowsky. 
All four composers took part in the concert at 
the Guildhall, Max Bruch conducting a scene 



from his Odysseus, Boito " The Prelude in 
Heaven " from his Mefistofele, and Tschaikow- 
sky his Francesco, da Rimini. Saint-Saens played 
his fantasia Africa, and Stanford's East to West 
was also given. The members of the Musical 
Society sang the choruses, and they gave the 
composers a tremendous welcome. After the 
concert was over I met my boy, who was 


quite hoarse from singing and cheering, and 
we went down to the river to see the boats 
" bumping." That evening there was a reception 
at the Fitzwilliam Museum, and I had a long 
talk with Max Bruch, whom I had not seen since 
18T8, and chatted with Boito and Saint-Saens. 
Seeing Tschaikowsky standing alone, I went up 
and spoke to him. He was most affable. On 
my referring to the frequent performances of 
his works in London at that time he said, " Je 
ne demande pas mieux." The next day the 
composer received honorary degrees from the 

Of Leschetizky's greatness as a teacher of 
the pianoforte, of the enthusiasm with which 
he inspired his pupils, there is no need for me 
to speak. But I remember his telling me of 
Paderewski's coming to him for the first time. 
The young Pole played to him in a manner 
which at once arrested his attention. There was 
a strangeness and fire about his playing which 
betokened the great artist, as yet unable to 
express himself : the technical finish was want- 
ing, and the just balance of his powers. These 
qualities Leschetizky was able to educate in 


such a way that his pupil should lose none of 
the natural poetry and charm in his playing. 
Paderewski always acknowledges the great debt 
he owed to Leschetizky, who speaks of him as 
one of the most lovable artists he has known. 
Leschetizky's memory goes back a long time, 
and he told me that, when a boy, he played to 
Marie Louise, the widowed Empress of Napoleon, 
and mother of the Due de Reichstadt (L'Aiglon). 
He has an inexhaustible fund of good stories, 
which he will relate to you after dinner till 
late hours. He once told me of a young lady 
who asked Moszkowski to write something in 
her birthday-book. He turned over the leaves 
and found a page upon which Hans von Billow 
had written : " Bach, Beethoven, Brahms, et 
tous les autres sont des cretins." Moszkowski 
wrote underneath : " Mendelssohn, Meyerbeer, 
Moszkowski, et tous les autres sont des Chretiens." 

Leschetizky speaks of the curious questions 
which are sometimes put to him. " An Ameri- 
can lady once asked me," he said, " which com- 
poser I liked best, Wagner or Brahms ; to which 
I replied * Tschaikowsky.' ' 

Of an old professor who still thought himself 
a capable performer on the concert platform he 
remarked, "Er spielt die leichteste Sachen mit 
der grosster Schwierigkeit " (He plays the easiest 
things with the greatest difficulty). 

A charming trait in his character is his affec- 
tion for his dog, "Solo." " My dog is a faithful 


and true friend to me," he says ; "he is always 
sympathetic, and when I'm sitting at the piano 
composing and cannot think of a second subject 
for my piece, my dog pities me." 

Talking of the fortunes which are made by 
piano manufacturers, he remarked " Chi fa piano, 
va sano ! ' : 

His energy and vitality are amazing, and it 
is extraordinary, to me, to think of the amount 
of work he is still able to get through. When 
he was over here a few years ago I was de- 
lighted to hear him play again. He had kept 
all his old fire and unerring sense of rhythm. 
He used often to come and see us, as he was 
living close by in Duke Street, Portland Place. 
One Sunday evening I had asked him to come 
to supper, but suddenly a thick fog came on so 
that it was impossible to see a yard in front of 
you. My son went round to see if he was 
coming. Of course he was, and thought it a 
great joke groping his way across Portland 

Since the advent of Richard Wagner, no 
composer has created such a sensation or aroused 
such controversy as Richard Strauss. I remem- 
ber being present at the first concert which he 
conducted here : it was at the Queen's Hall 
one evening in December 1897. From the out- 
set there was no mistake about his gifts as a 
conductor. He had the lights lowered in the 
hall when he began Mozart's " Eine kleine 


Nachtmusik," and it was a real pleasure to note 
the sympathy he showed for the music and the 
beautiful balance and phrasing of the orchestra. 
There was immense Schwung, as the Germans say, 
about the performance of his fine tone-poem, 
" Tod und Verklarung " ; everything was made 
beautifully clear and understandable. It was 
apparent that another great figure had arisen 
in the musical world. There was great en- 
thusiasm, and Mr. Leonard Berwick, who hap- 
pened to be sitting next to me, was also full of 
praise for Strauss's work. I attended several of 
the concerts of the Richard Strauss Festival in 
1903 at the St. James's Hall, for which Herr 
Mengelberg brought over his splendid orchestra 
from Amsterdam. The public showed com- 
paratively little interest in these fine concerts. 
At one of them Herr von Possart, the well- 
known director of the Hoftheater in Munich, who 
was also a most distinguished actor, appeared 
and declaimed Tennyson's "Enoch Arden," 
giving this fine poem in German and from 
memory, whilst Strauss played the incidental 
music, which he had composed on the piano. 
There was, unfortunately, only a very small 
audience, but it was a most appreciative one, 
and cheered both artists to the echo. Neither 
of them was at all well known in England at 
that period. I paid them both a visit in the 
artists' room, as I knew them personally. They 
seemed quite satisfied, and did not mind having 


performed to an empty hall. Strauss also 
accompanied his wife on the piano most beauti- 

Very few years later public interest was at 
last aroused by Sir Henry Wood's and Mr. 
Thomas Beecham's performances of Strauss's 
works at the Queen's Hall, and at the first 
performance of Ein Heldenleben, which I at- 
tended, the hall was packed. A young Strauss 
enthusiast, who was sitting next to me, said, 
" I was in the Rocky Mountains when I read 
that Heldenleben was to be given in London, 
so I packed up and came straight back." 

The climax came with the production of Elektra 
at Covent Garden under the enterprising direc- 
tion of Mr. Thomas Beecham. I went to the re- 
hearsals of the opera, so as to get to know the 
music, and at the first performance on Febru- 
ary 19th, 1910, as I could not get a seat, I 
stood for the whole of the performance not 
bad for a man of my age ! 



Lord Dupplin's dinner-party My Masonic jubilee King 
Edward at Warwick Castle His joke about Madame Clara 
Butt and myself Sir Augustus Harris The New Meister- 
singers' Club Maurice Farkoa's first appearance I engage 
Miss Pauline Joran " Westminster Bridge " The Mar- 
chesis " Mamma Puzzi " A telegram after midnight A 
scare at Manchester. 

I FIRST had the honour of meeting our late 
King at the house of my pupil, Viscount Dupplin, 
son of the late Earl of Kinnoull. He gave a 
dinner-party in honour of King Edward (then 
Prince of Wales) at his house in Albert Gate, 
Hyde Park. I had arranged that Signer Gar- 
doni, the tenor from Her Majesty's Theatre, 
should sing my new National Anthem, " God 
save the Prince of Wales," and when dinner was 
over he sang it, the whole of the company, in- 
cluding the Prince, rising to their feet and 
remaining standing. Later on in the evening 
Lord Dupplin introduced me to the Prince, who 
asked me how long I had been in England and 
all about my career. He also wanted to know 
whether I knew Mr. Halle, and when I said yes 
he remarked that he himself had had violin 



lessons, but did not get on well with them, so 
gave them up. All the same, he was a great 
lover of music, which he showed by going often 
to concerts and the opera, and I also recollect, 
when Director Neumann brought over a German 
Opera Company, in 1882, to perform the Ring at 
Her Majesty's Theatre, the Prince went to all 
the performances, some of which began at 5 or 
6 p.m., and remained until the end. He also 
went several times to Bayreuth to hear the 
operas there. 

That same evening at Lord Dupplin's I asked 
him to allow me to dedicate my song to him, 
and he at once graciously gave me permission. 
I had composed it after the Prince's recovery 
from his serious illness. This song of mine had 
no chance of becoming popular, because Brinley 
Richard's song, " God bless the Prince of Wales " 
had already been taken up as the national song 
for the Prince. 

Lord Dupplin was a thorough musician by 
nature. He had not studied music, but ex- 
temporised most wonderfully and played and 
sang beautifully. I used to teach him, when 
he was in the Life Guards, at Knightsbridge 
Barracks. His uncle, the late Duke of Beau- 
fort, was a great patron of music, and was 
President of the Glee and Madrigal Society. 
He sometimes invited me to be present at their 
meetings, which I always enjoyed very much. 

I have been for many years an active Free- 


mason, and celebrated my Masonic Jubilee in 
1906. All my various lodges presented me with 
handsome presents on that occasion, consisting 
of silver vases, entree dishes, and vegetable 
dishes, as well as an ebony conductor's baton 
with an inscription on a silver plate, and a hand- 
some dinner-service. 

I was elected Grand Organist of the Grand 
Lodge of England in 1871, and when I walked 
up to the dais of the Grand Lodge, where the 
Pro-Grand Master, the late Earl of Carnarvon, 
presided, the whole Masonic company assembled 
in the beautiful Temple of the Fraternity in the 
Freemason's Hall cheered me, and Lord Car- 
narvon, in investing me as Grand Organist, re- 
marked that he could tell by their cheering that 
my appointment was a very popular one. I 
held that post for three years. 

My friend Sir Edward Letchworth, the 
secretary of the Grand Lodge, is a universal 
favourite with the craft. 

Everybody knows the vast amount of good 
this Society does, all over the world, and especi- 
ally in England, with their Boys' and Girls' 
Schools and Home for aged men and women. 
The Masonic Boys' School is in Bushey Park, 
and the Girls' School at S. John's Hill, Wands- 
worth ; both schools educate many hundreds of 
children. I remember, on one occasion, when 
I had arranged a concert for the Countess of 
Warwick (who had been one of my pupils before 


and after her marriage) at Warwick Castle, the 
late King Edward, then Prince of Wales, was a 
guest there. It was soon after the event of the 
centenary of the Royal Masonic Boys' School 
took place at the Albert Hall, followed by a 
grand banquet at which the Prince had presided 
and the enormous sum of 141,203 was sub- 
scribed. I took the liberty of congratulating 
H.R.H. on the success which had been achieved 
under his presidency, and he seemed much 
pleased by my remarks, and took them very 

I had engaged Miss Clara Butt for the concert 
at Warwick Castle, and when it was over the 
Prince of Wales called me and said, " Mr. 
Ganz, Miss Clara Butt is ready to take you under 
her mantle when you go away ! " Everybody 
laughed at this, Madame Butt being immensely 
tall and I rather a small man ; so I walked up 
to her, but she did not take me under her mantle. 
We drove back to Leamington to the hotel, as 
the castle was full of guests and there was no 
room for the artists. 

I have stayed several times at Warwick 
Castle, and arranged musical parties there for 
Lady Warwick. It is, as everybody knows, a 
magnificent old place, full of art-treasures, well- 
known to connoisseurs in this country, and often 
exhibited at the Winter Galleries in London. 

My wife and I received invitations to the 
Royal Garden Party, at Windsor Castle, in 


1908. Thousands of well-known people were 
there, and it was most enjoyable. At about 
five o'clock King Edward and Queen Alexandra, 
and other members of the Royal Family, with 
their special guests, walked down from the 
castle terrace in a procession to the tents, where 
they partook of tea, next to the royal tent being 
one in which were the Indian Rajahs and foreign 

Later on the Queen walked in the garden, 
near to where I was standing, and when she 
saw me she stopped and shook hands with me 
and said how sorry she was that she could not 
come to my Jubilee Concert (which had taken 
place the previous May), but she had heard how 
well it had gone off. Then the King saw me 
and beckoned me to him and said, in German, 
that he was very glad to hear that my concert 
had been such a great success and congratulated 
me on the event. 

The following year I met His Majesty again, 
at Stafford House, when, in passing me, he 
graciously shook hands with me and said, " Wie 
geht es Ihnen?" (How do you do?) That, alas ! 
was the last time I saw the King to speak to ; 
he looked the picture of health, and no one 
could have imagined that he would die the 
following year, to the great grief of the whole 
nation, by whom he was universally beloved. 
The occasion on which I met him at Stafford 
House was when the Duchess of Sutherland, 


now Duchess Millicent, held her annual ex- 
hibition of Scotch homespuns. That afternoon 
the King and Queen had a children's party at 
Buckingham Palace to celebrate the birthday of 
one of the young Princesses ; but King Edward 
would not disappoint the Duchess, and with 
characteristic kindness of heart came to her 
garden party before his own. 

Before Sir Augustus (then Mr.) Harris became 
manager of the Covent Garden Theatre, he 
started Italian Opera at Drury Lane. That was 
in 1886, and I remember one evening on which 
a grand opera (I think it was Faust) was given, 
at which I was present, when Ella Russell, Jean 
and Edouard de Reszke, and other good artists 

Harris was sitting in the stalls immediately 
in front of me, and, turning round, said to me 
in a despondent way : " Ganz, look at this empty 
house 1 " 

With such good singers he felt quite dis- 
couraged, but he had his reward later on. 
After Signor Lago, who was then the director of 
Covent Garden Opera, had given up its manage- 
ment, Harris stepped in and became the director 
of the Royal Italian Opera, which title he 
changed and called it the Royal Opera. Then 
Jean de Reszke became one of the greatest 
favourites of the season, creating a sensation as 
Faust, Romeo, and Siegfried, and he and his 
brother Edouarcl drew splendid hpuses, Harris 


was the first to break with old traditions and 
give operas in the languages in which they were 

It was many years, however, before the fashion 
of giving all operas at Covent Garden in the 
Italian language was finally abandoned. The 
Meister singers in the nineties was usually played 
in Italian (certainly with great advantage from 
the vocal point of view, with such artists as the 
two de Reszkes and Lassalle). There was a 
transitional stage when the leading parts in 
German Opera were sung in German, while the 
chorus still relied upon their native Italian. In 
the first act of Lohengrin one heard cries of 
" Der Schwann!" intermingled with "II Cygno ! " 

Sir Augustus Harris engaged the best artists, 
such as Melba, Calve, and Emma Eames, and I 
ought not to omit to mention that he persuaded 
Madame Patti, after her retirement from the 
operatic stage, to sing in several of her favourite 
operas the roles which she sang with so much 
charm. They were La Traviata, and Rosina in 
the Barbiere di Seviglia, and Zerlina in Don 
Giovanni, all of which were exquisitely sung by 
this great singer, and created the same furore 
as they did in former years. 

Another prima donna followed Patti in sing- 
ing La Traviata, Madame Sembrich, who had 
come fresh from her American triumphs ; but she 
could not eclipse Madame Patti, notwithstand- 
ing her fine singing. 


Harris produced Pagliacci and many other 
favourite operas. He did his best to give the 
best performances, and he succeeded. He was 
also a genius in theatrical matters, and carried 
on the pantomime and Drury Lane dramas in 
a sumptuous manner, in which he has been 
worthily succeeded by Mr. Arthur Collins. He 
also originated the annual receptions on the 
stage on Twelfth Night, when the Baddeley Cake 
is cut. 

I was on the stage one morning during a re- 
hearsal when Harris lost his temper, and, turn- 
ing to me, said in great wrath, " These prima 
donnas drive me absolutely mad ; but you'll see, 
I shall be a tyrant." Of course he was nothing 
of the sort, being a most kind, good-natured 
man ; but he had a quick temper. 

Poor " Druriolanus ! '' He died comparatively 
young, and had done a great deal for music 
during his life. His widow became the wife of 
the popular actor, Edward Terry. 

Some years ago I became a member of the 
New Meistersingers' Club, in St. James's Street, 
and arranged the musical soirees, for which I 
generally engaged a good number of artists, 
and at which I introduced some debutantes who 
had been specially recommended to me, one of 
these being Miss Pauline Joran. She played 
some violin solos very well, and a few days later 
I examined her voice and discovered that she 
possessed a lovely soprano ; so I suggested to her 


that she should give up her violin-playing and 
take to the operatic stage, especially as she was 
very good-looking and had a beautiful figure. 

She followed my advice, and, through my re- 
commendation, was engaged by the Carl Rosa 
Company for the role of Beppo in L'Amico 
Fritz, in which she had to sing and play the 
violin at the same time ; so her violin-playing 
came in very useful. She had a great success, 
and, later on, was engaged by Sir Augustus 
Harris as one of his prima donnas, at Covent 
Garden, where she appeared as Margherita in 
Faust, as Carmen, and in other operas. She 
married Baron de Bush, and consequently gave 
up her operatic career. Unfortunately, the 
Baron was killed by falling out of a railway 
carriage while going to Scotland, and thus ended 
the happy married life of poor Pauline de Bush, 
who has, however, a sweet little daughter, also 
named Pauline, left to comfort her. 

Another debutant I engaged for the soirees 
of the Meistersingers' Club was M. Maurice 
Farkoa. He sang French songs which pleased 
the audience immensely. Later on he went on 
the stage, and sang humorous songs, which he 
does to perfection, both in French and English, 
and he has become a great favourite in society 
and at the theatre. 

At the opening of the Meistersingers I gave 
an orchestral Wagner Concert, and engaged a 
good band. We performed the Meistersinger 


overture and other extracts from Wagner's 
works. Unfortunately, the club did not pay 
expenses, and its proprietor and manager, Colonel 
Wortham, was obliged to close its doors. This 
was a great pity, because it was a pleasant 
rendezvous for artists and their friends, especi- 
ally on Sunday evenings, when they could gather 
at the Club and listen to the concerts. The 
building is now called the Royal Society's Club. 

Speaking of clubs, I was also a member of the 
Arts Club in Hanover Square for many years, 
Henry Leslie having proposed me ; but I found 
it dreadfully dull, as hardly any musical people 
belonged to it except Signer Randegger and Mr. 
Sutherland Edwards, the litterateur and musical 
critic, and Mr. Stanley Lucas ; so eventually I 
left it. 

A much-esteemed friend of mine is Sir 
Frederick Bridge, who now conducts the Oratorio 
Concerts of the Royal Choral Society at the 
Royal Albert Hall " Westminster Bridge," as 
he is playfully called by his brother musicians 
the worthy successor of the late lamented Sir 
Joseph Barnby, who, unfortunately, died in the 
prime of life, and at the height of his musical 

In the Coronation year (1911) Sir Frederick, 
although very busy, paid me a lengthy visit, 
telling me all his arrangements about the 
Coronation music, his difficulties with some of 
the officials which he happily smoothed over 


and the proposed programme, in which he gave 
some of the best English composers an oppor- 
tunity of being performed. He also told me 
about his own compositions, and how he had 
introduced Luther's hymn, "Ein feste Burg ist 
unser Gott," into one of his anthems. 

He said he would send me an invitation to 
hear the rehearsal at St. Margaret's Church, 
which he did ; but, unfortunately, I could not 
avail myself of his kindness, as I was not well 
enough to go. Bridge had invited no end of 
artists to supplement the choir, amongst whom 
was Edward Lloyd, who, of course, had retired 
from public life, but who sang a small solo. He 
told Bridge that, as he began his musical career 
as a choir-boy at the Abbey, he wanted to finish 
it in the same holy building. 

Madame Mathilde Marchesi was, without doubt, 
the greatest lady teacher of singing during the 
last century. Her pupils who have become fa- 
mous include Melba, Calve, Nevada, Gabrielle 
Krauss, Marie Duma, Esther Palliser, Emma 
Eames, Susanne Adams, Frances Saville, Sybil 
Sanderson, and Etelka Gerster. I knew her 
when she was in London in the fifties, and her 
name then was Fraulein Mathilde Graumann, 
and I often accompanied her at concerts at 
which she was singing. She had a mezzo- 
soprano voice. She married the Marquis Salva- 
tore (Castrone), who sang here in English opera, 
and he was the first to sing " Mephistopheles " 


in Faust, and became very famous in operas, as 
well as a concert singer. They settled after- 
wards in Paris, where Madame Marchesi followed 
her profession of singing-teacher, till recently. 
Her husband died in 1908. 

She has a worthy representative in her daugh- 
ter, Madame Blanche Marchesi, who has fol- 
lowed in the footsteps of her distinguished 
mother, and has become one of the most popu- 
lar teachers of singing in London. She is a 
most versatile artist, and speaks ever so many 
languages. Her greatest successes have been 
gained in the dramatic parts of Wagner's 
operas, which she has sung in England and on 
the Continent, causing quite a sensation. 

Her vocal recitals here are most interesting, 
and she has brought to light old forgotten classi- 
cal songs. She excels in all styles, and it is a 
great pleasure to watch the changing expression 
of her face when singing songs of many different 
characters. She married a Corsican nobleman, 
the Baron Caccamisi, who is a great lover of art, 
and their charming house at Kilburn contains 
a wonderful collection of souvenirs of all the 
great artists of bygone and present days, such 
as composers, singers, instrumentalists, and 
other distinguished personalities, and also some 
splendid engravings of famous singers in their 
various operatic roles. 

Madame Mathilde Marchesi has now left 
Paris and has settled here. 


I must not forget to mention Madame Gia- 
cinta Puzzi, generally known by her Italian 
friends as " Mamma Puzzi." She was an emi- 
nent teacher of the old Italian operatic school 
of singing, and her house was the rendezvous, 
and second home, of all the Italian operatic 
stars over here. She was always ready to give 
them good advice in their difficulties with their 
managers, and generally smoothed things over 
by her tact and savoir-faire. 

On Sunday afternoon the drawing-room was 
full of musical celebrities, and it was also very 
pleasant to meet all the new operatic arrivals 
at her house. For many years she and her 
husband, Signor Giacomo Puzzi, made the 
engagements for Benjamin Lumley, the director 
of Her Majesty's Theatre, among these being 
Mile Piccolomini and Signor Giuglini. Their 
three daughters, Emilia (Bini), Fanny, and 
Giulia, helped their mother to keep open house 
after their father's death, and to entertain the 
numberless visitors. When I felt out of sorts 
I used to go there, and very soon regained my 
equilibrium and felt happy and contented once 
more in their congenial society. 

" Mamma Puzzi " was an extraordinary woman, 
full of high spirits and cheerfulness. Since her 
death there has been no one in the musical 
world who can quite fill her place. She often 
spoke of the old times when she heard such 
great stars as Pasta, Persiani, Rubini, Tarn- 


burini, and Malibran, and to me it was always 
most interesting to hear her memories of these 
giants of bygone days. 

One is perhaps sometimes rather heedless in 
expressing an interest in a forthcoming appear- 
ance of an artist at a concert in the provinces. I 
remember one singer who showed her gratitude 
by sending me a telegram from Manchester 
after the concert, which was delivered at my 
house long after midnight, and contained this 
interesting information : " Grosse succes. Halle* 
entziickt " (Great success. Halle delighted). 

The late Dr. Francis Hueffer, critic of The 
Times, told me that, on one occasion, he was 
knocked up by a special messenger at his house 
in Brook Green at two o'clock in the morning. 
After paying a special fee for the telegram, which 
had been brought from the General Post Office, 
he opened it to find : " First act of the opera just 
over ; had immense success. Will telegraph to 
you again at the end of the opera." He hastened 
to inform the messenger that he needn't bring 
him any more telegrams that night, as he would 
not take them in. 

Singers, conductors, and accompanists need 
plenty of sang-froid when they are on the plat- 
form. I remember once, when I was at Man- 
chester on the occasion of the opening of the 
New Victoria Music-hall, an incident happened 
which illustrates this. Madame Parepa, one of 
the artists, was singing ' T On Mighty Pens " from 


the Creation, when, all of a sudden, there was 
a loud crack like the firing of a pistol, and some- 
one shouted out " Fire ! " Up jumped the large 
audience, and there was a sudden stampede, the 
occupants of the pit and stalls trying to reach 
the stage over the orchestra. I got up from the 
piano, where I was accompanying, and rushed 
to Madame Parepa, holding her arm so that she 
could not move, and waved my other hand to 
the audience to keep them back. Seeing us both 
still on the stage, they hesitated and remained 
quiet, and so a panic was avoided ; but had we 
both left the platform many would have been 
crushed in their frantic endeavours to gain an out- 
let from the hall. There was no fire ; what had 
really happened was only the cracking of a long 
wooden bench on which some people were stand- 
ing, and which gave way. After that excitement 
the concert went calmly on, and we congratulated 
ourselves that no misfortune had happened. 

Accompanists must, of course, be ready to 
transpose music and read anything at sight, and 
I have found my knowledge of foreign lan- 
guages is also most valuable in order to be able 
to follow singers when they lose their places. 
Accompanists should remember that they will 
probably be assumed to be at fault if anything 
goes wrong. I remember, once, when a well- 
known violinist skipped a whole page in a 
Handel sonata ; I at once picked him up, and 
he wasn't even aware of what had happened. 



Royal concert for the restoration of Kew Church H.R.H. Prin- 
cess Mary, Duchess of Teck An array of stars Concert at 
the German Embassy The Crown Prince Frederick William's 
thoughtfulness Lady Lansdowne's concert I go to Paris 
to get M. Alvarez A " kidnapped " singer Charity 
dinners The German Hospital dinner Royal General 
Theatrical Fund Dinners Middlesex Hospital The Throat 
Hospital The Newspaper Press Fund My foreign orders 
Mr. Bernal Osborne, M.P. False hopes Some curious 

THIS is a great country for charity in all its 
phases ; there is no other country in the world 
where so much money is subscribed for good 
causes, and in my long career I have assisted 
at a great many charity concerts. My first ex- 
perience of a London charity concert was at 
Drury Lane Theatre on March 17th, 1853, St. 
Patrick's Day, when an entertainment was 
given in aid of the London District Letter 
Carriers' Pension and Widows' and Orphans' 
Annuity Society. 

I give this interesting play-bill of a charitable 
entertainment in which I took part in the year 
1853 which I must value. It was, as I said, in 
aid of the funds of the London District Letter 



Carriers' Pension and Widows' and Orphans' 
Annuity Society. 

The programme was a very long one. First 
came Tobin's comedy The Honeymoon, played 
by Her Majesty's servants, including Mr. Daven- 
port and Miss Fanny Vining. This was fol- 
lowed by a grand concert in which Miss Poole 
and Miss Messent sang English songs, and Signor 
and Madame Lablache operatic excerpts. I 
was announced, in the quaint phrase of the day, 
" Herr W. Ganz will preside at Kirkman's Grand 
Piano Forte." Then came the clou of the enter- 
tainment : 


As Demonstrated by him at the New York Amphitheatre. 





The Entertainment concluded with an Oriental 
Spectacle, entitled, The 


The characters in which were Abdallah, Selim, 
Scamp, Captain Tandem, Loo-loo, Shireen, and 
Bustle. In the course of the Spectacle, a 




By Mademoiselle JULIE and the whole of the 
Corps de Ballet. 

All this was to be seen at 


Stalls, 4s. Dress Boxes, Ss. Pit, 2s. Gallery, Is. 

Upper Gallery, Qd. 

Second Price Boxes, Is. Qd. Pit, Is. Lower Gallery, Qd. 
Private Boxes, l Is. and 2 2s. 

No Second Price to Stalls or Upper Gallery. 


The " Great Antipodal Experiment " was, I 
rather think, the chief attraction 1 

In 1883 I was asked by H.R.H. the late 
Duchess of Teck to help her in getting up a 
concert for the restoration of Kew Parish 
Church, and it took place at St. James's Hall 
on May 31st. 

The Duchess herself wrote to most of the 
artists and lady patronesses, and worked day 
and night for the concert. She frequently came 
to my house in Harley Street to attend the 
committee meetings, and my wife always pro- 
vided tea for her. She greatly enjoyed the tea, 
.especially the brown bread and butter, which 


she told me she liked immensely, and she took a 
great fancy to one of my arm-chairs, a low, com- 
fortable one, and always sat in it during the 
meetings, and was delightfully unceremonious. 

I often visited her at Kensington Palace, where 
she was then living, and she complained to me 
of the way in which the Government made her 
pay for coals and other necessities, which I sup- 
pose had in former years been freely granted to 
her. We also had a committee meeting at 
Devonshire House, under her presidency, at 
which the Duchess of Devonshire, the late 
Countess of Rosebery, and other lady patronesses 
were present, and I was much struck by the 
splendid, business-like way in which these ladies 
carried out every detail. On that occasion the 
Duchess read aloud a letter from Queen Victoria, 
in which the Queen addressed her as " Dearest 
Mary," and said she would take some tickets 
and wished the concert every possible success. 

This wish was fulfilled, for it realised over 
1,100, and the agents and some artists told me 
afterwards that it spoilt the other concerts of 
the season by taking away so much money ! 
What would these fault-finders have said in 
these days, when so many charity concerts are 
constantly being arranged, and large sums 
collected ? 

The concert was under the patronage of the 
Queen, the Prince and Princess of Wales, and 
other members of the Royal Family, most of 


whom were present, and the following great 
artists took part : Madame Albani, Madame 
Trebelli, Madame Alwina Valleria, Madame 
Patey, Madame Christine Nilsson, Miss Agnes 
Larkcom, Mr. Sims Reeves, Mr. Edward Lloyd, 
Signor Foli, Mr. Bernard Lane, Mr. Barrington 
Foote, and Mr. Frederick King. The instru- 
mentalists were : Madame Norman Neruda, Mr. 
Charles Halle, and Mr. Franz Neruda, the 
brother of Madame Neruda. Signor Tosti ac- 
companied one of his popular songs, and apart 
from this great array of artists we had an 
additional attraction in Sir Henry (then Mr.) 
Irving, so no wonder the hall was crowded, and 
nearly the whole of the hundred and four patro- 
nesses were present. I conducted the whole 
concert, and received the gracious thanks of the 
Duchess, who was delighted with the result. 

Another great charity concert with which I 
was associated took place at the German Em- 
bassy, in Carlton House Terrace, and was 
arranged by me for the late Prince (then Count) 
Minister, who was then German Ambassador. 
It was in aid of the families of the officers and 
sailors of the German battleship, Der grosse 
Kurfiirst, which foundered off Dover with all 
hands on board, and it took place in the year 

The Crown Prince Frederick William and the 
Crown Princess of Prussia, the Princess Royal of 
England, were present, and when the Imperial 


visitors arrived and walked through the corridor 
leading to the concert-room Count Minister 
introduced me to the Crown Prince, who said in 
German, " Sie sind wohl gar ein Berliner Kind ? " 
(You are, no doubt, a Berlin child ?) and I replied 
that I was not, but came from Mainz. He said 
he knew my name through my uncles, Leopold 
and Moritz Ganz, in Berlin. 

Just as the concert was about to begin the 
Crown Prince noticed that, as I sat at the piano, 
the sun was shining into my face through the 
window, and thoughtfully pulled down the blind, 
and, later on, when I was opening the top of 
the grand piano he got up immediately and 
came and helped me. The following artists 
assisted on this occasion : Madame Etelka 
Gerster, Madame Trebelli, Herr Henschel, Wil- 
liam Shakespeare, and Charles Halle. 

Another memorable charity concert took place 
at Covent Garden Theatre on February 22nd, 
1900, in aid of the widows and families of the 
officers who fell in the Boer War. The concert 
was organised by the Marchioness of Lans- 
downe, whose husband was then the Secretary 
for War. Mr. Alfred de Rothschild took an 
active part in the arrangements, and asked 
Madame Patti to give her services, which she 
at once did. He consulted with me about 
everything, and, as we wanted a good operatic 
tenor, and there was none available, he suggested 
that I should go to Paris and see if I could obtain 


the help of M. Alvarez. I accordingly went to 
Paris the following morning, and in the evening 
went to the opera, where Faust was being per- 
formed, and was shown into the director's box, 
where I met M. Gailhard and M. Capoul, whom 
I had known from meeting them in London. 
M. Jean de Reszke, whom I knew well, was also 
in the box. During the interval I spoke about 
Alvarez, and M. Gailhard said he had no objec- 
tion to his singing, and I had better telegraph 
him to New York, where he was then singing. 

I accordingly sent Alvarez a long wire asking 
him to appear in a scene from Romeo et Juliette 
with Madame Patti, and asked his terms. The 
same evening I received a wire from him in 
which he said he would be most happy to sing 
without any fee, as the English public had 
always been very kind to him. 

Next day I showed the wire to M. Gailhard, 
who, however, made some objection to Alvarez 
singing in London, as the Parisian public wanted 
him first when he returned from America. I 
wrote to Mr. Alfred de Rothschild telling him 
the difficulty, and when I saw him in London on 
my return he said he would send a confidential 
clerk to "kidnap " Alvarez and bring him over to 
London, which he succeeded in accomplishing ! 

I had engaged a very good orchestra, which I 
conducted. The scene from Romeo et Juliette 
with the "Alouette" duet, was the clou of the 
evening, and everything went off well. The con- 


cert was a huge success ; all the tickets were 
sold and the boxes fetched as much as a hundred 
guineas, and the stalls ten guineas. The sum- 
total was 11,000 : such a large amount has never 
been collected through any other single concert. 

When it was over supper was served in the 
foyer of the opera. A large round table was 
reserved for the Prince of Wales, at which he 
graciously invited M. Alvarez and me to sit. 

Lady Lansdowne afterwards presented me 
with a gold cigarette-case, with a diamond star 
in the corner, inscribed as follows : 



Given on the 22nd Feb., 1900 






S. A. WAR 

General Herbert Eaton told me afterwards 
that, while Madame Patti was singing, the soldiers 
on the stage cut holes in the drop-scene in order 
to peep through and see her. 

The National Anthem was sung by Madame 
Patti and Mr. Edward Lloyd, and the orchestra 
and a military band accompanied the chorus. 

Another big concert which I arranged was 
given in the summer of 1890 for the benefit of 


the Society for the Prevention of Cruelty to 
Children ; a society in which Princess Mary, 
Duchess of Teck, took a great personal interest. 
As a result of the concert a sum of 876 5s. 3d. 
was handed over to the Executive Committee. 

I also arranged a great entertainment in 
July 1904 in aid of the Ophthalmic Hospital 
of the Order of St. John at Jerusalem, at His 
Majesty's Theatre. Among the artists were 
Madame Albani, Ben Davies, Kubelik, and 
Madame Ada Crossley. 

Then there are the charity dinners, at which 
large sums of money are collected. I have 
assisted with musical entertainments at many 
of them ; for instance, the annual dinners in aid 
of the German Hospital at Dalston, of which 
the late Duke of Cambridge was President for 
many years, and presided at the annual dinners 
every second year. 

I have had no difficulty in getting the assist- 
ance of first-rate English and foreign artists. 
At these dinners I always had books of the 
words, with full programmes, which is often a 
troublesome affair, as it is difficult to get the 
titles and words of the songs beforehand from 
the artists. I have arranged the music at these 
dinners for at least fifty years, twenty years 
with Sir Julius Benedict, and afterwards alone, 
and one of the standing toasts given by the 
chairman is to the health of the artists, with 
best thanks for their kind services and coupling 


my name, to which I have always had to make 
a suitable reply. 

Another annual dinner is that in aid of the 
Royal General Theatrical Fund, at which all the 
well-known actors, such as Irving, Toole, Ban- 
croft, Hare, and Alexander have presided, as 
well as politicians and other friends of the 
theatrical profession. For many years I have 
arranged the music at these dinners, and also at 
those of the Newspaper Press Fund (of which 
Lord Glenesk was president and was succeeded 
by Lord Burnham), and the German Society of 

The dinners given in aid of the Middlesex 
Hospital I often attended, and gave them a 
good musical entertainment, and for several 
years I helped at the dinners given by Sir Morell 
Mackenzie in aid of the Throat Hospital in 
Golden Square, which he built and equipped, 
where we generally had a galaxy of singers. I 
also frequently assisted in getting up the musical 
soirees of the Austro-Hungarian Franz Joseph 
Institute, at which Count Mensdorff always 

I have received several Orders from foreign 
sovereigns, one of which is the Order of the 
Crown of Prussia, bestowed upon me by the 
Emperor 'Wilhelm I, on December 12th, 1881, 
as a recompense for the work I had done for the 
German Hospital and the German Society of 
Benevolence by arranging the music at their 


dinners for so many years. Count Minister, the 
German Ambassador, presented it to me. 

Then I received from the present Emperor, 
Wilhelm II, the Prussian Order of the Red 
Eagle, Fourth Class, presented to me by Count 
John Bernstorff, who represented the German 
Ambassador after the death of Count Hatzfeld. 

The Austrian Emperor, Francis Joseph, hon- 
oured me by giving me the Franz Joseph Order, 
presented to me by His Excellency Count Mens- 
dorff, the present Austro-Hungarian Ambassa- 
dor, and King Oscar of Sweden presented me, 
through his Minister, Count Lowenhaupt, with 
the Order of Wasa, First Class. 

The late Duke Ernest of Saxe-Coburg gave 
me the Order of the Ernestiner-Sachsischer 
Family House Order of Saxe-Coburg and Gotha 
of the high rank of First Class, and I am very 
proud of being the possessor of these distinguished 

A well-known politician I used to meet occa- 
sionally was the late Mr. Bernal Osborne, M.P., 
a popular wit of his day. I remember urging 
him to propose a vote of money for the Royal 
Academy of Music and kindred institutions, but 
he said the English were not sufficiently musical 
to be encouraged by Government support. We 
had a hot argument, as I held quite contrary 
views, and I flatly contradicted him and gave 
him my reasons, which I need not specify here. 
Many years ago I had the same argument with 


the Right Hon. Robert Lowe, of " Lucifer 
Matches " fame, who was then Chancellor of the 
Exchequer. In both cases my plea came to 

I had another talk with Bernal Osborne at 
Mrs. Ronalds's on musical subjects, and he still 
maintained, as he always did, that the English 
are not a musical nation, and we had another 
argument about it. As a case in point, when 
Patti, Titiens, Nilsson, Trebelli, and the latest 
star, Tetrazzini, appeared at the opera here for 
the first time, they were always at once appre- 
ciated, without preliminary puffs. The English 
orchestral players read music at sight better 
than their confreres on the Continent, and 
abroad, when a new opera is produced, no end 
of rehearsals are needed before it is ready for 
production ; while here only a few orchestral re- 
hearsals are required to obtain a good result. 
I find the following note in my diary, apropos 
of the chorus at Her Majesty's in 1851 : 

" The chorus is very strong. The women, 
mostly English, read excellently at sight, and the 
men are German, Italian, French and English, 
the last of whom could be reckoned the best 

When Faust and Carmen were first produced in 
Paris they were a failure, and Gounod had the 
greatest difficulty in getting a publisher to buy 
his Faust for the English copyright. When both 
these operas were performed here under Gye 


and Mapleson at Covent Garden and at Her 
Majesty's Theatre they were an instantaneous 
success. So who can say the English are not a 
musical nation ? 

Mrs. Ronalds's musical parties on Sunday 
afternoons at her pretty house in Cadogan 
Square are well known, and she is a true friend 
to musicians. I first met her at Witley Court, 
Lord Dudley's house, where she sang most 
beautifully, having a very fine soprano voice. 
Sullivan composed and dedicated his " St. Agnes 
Eve " to her, and I accompanied her in it, and 
in all the rest of her songs. At her Sunday 
musical parties some of the best artists from the 
opera are frequently heard, and she also gives 
the chance of a hearing to young American 
artists (she being herself an American) and other 
promising singers. 

I often regret the musical receptions given by 
Sir Julius Benedict and Sir Charles Halle, where 
musical people had an opportunity of meeting 
one another. There is nothing quite like them 

I have before referred to the fact that the 
musical schools and academies, with their good 
and inexpensive teaching, have almost done 
away with private pupils. This brings me to 
the change in the style of vocal music taught at 
the present day. 

Formerly, artists sang mostly Italian cava- 
tinas and songs from Italian, French, and Ger- 


man operas ; but now these are seldom heard. 
One very seldom hears trios and quartettes from 
Italian or other operas, or concerted music at 
soirees and "At Homes," with the exception of 
the ever-popular quartette from Rigoktto. 

I have asked concert singers who have come 
to me for engagements whether they knew this 
or that duet or trio, and their reply is generally 
in the negative. 

I have often been asked to hear young singers 
and be useful to them, and, in examining them, 
I have found out that hardly any of them are 
capable of singing scales or shakes. 

Not long ago a lady came to me to hear her 
voice. When she entered my study I could not 
help noticing her appearance ; she was short 
and stout, and not at all prepossessing in any 
way. That would not have mattered if her 
voice had been good, or she had sung well. I 
heard her sing a few ballads, which she sang 
wretchedly. She said she was forty-two, and 
that she wanted to enter the musical profession. 
She added that she had been for four years 
under a master, who had told her she could 
easily earn four pounds a day by concert singing. 
I at once disillusioned her and told her she had 
better give up all idea of singing in public ; and 
then she departed, very despondently. Poor 
woman ! it was a nasty task to have to disap- 
point her ; but it would have been far more 
cruel to have raised her hopes. 


I have often had to disappoint young artists 
by telling them their voices were not what they 
thought them contraltos saying they were 
sopranos, and baritones calling themselves tenors. 
Their professors had humoured them by falling 
in with their ideas. 

This reminds me that a young lady once 
came to me bringing me the usual letter of 
introduction and sang the air, " With Verdure 
Clad," from the Creation. Her high notes were 
very flat, and she said they made her throat 
sore. I at once knew the cause, and asked her 
to sing a scale very slowly, singing downward 
and finishing at the low G. As she sang, the 
lower notes, beginning from the middle register, 
were perfect notes from the chest, and really 
beautiful. I then told her she w r as a con- 
tralto, and that her voice was of true con- 
tralto timbre certainly not a high soprano, to 
which category " With Verdure Clad " belonged. 
I advised her to go on studying as a contralto, 
and she accepted my advice and later on became 
a well-known artiste. 

It has so often happened, too, that " tenors " 
who came to me could not reach the high notes 
properly, because, being really high baritones, 
they forced their voices and sang flat, as well as 
getting their throats constantly out of order. 

Nowadays English artists do not change 
their names as they did formerly by Italianising 
them, as, for instance, Signer Foli did, his real 


name being Foley. Now they are proud of their 
nationality. Voice- training is taught on sounder 
lines, and although there is not much evidence 
of the traditions of the " bel-canto " school, 
yet our methods tend to bring out any charm 
there is in the pupil's voice. At the same time, 
there are always drawbacks. It is unfair to 
expect professors to give a satisfactory lesson in 
twenty minutes, which is the usual length of 
the lessons at some of the academies. Again, 
vocal students are led away by such tricks as 
singing on a particular tone, or singing a scale 
with interludes of counting between the notes 
to take breath, or lying down flat on the floor 
to learn breathing. All these tricks tend to 
ruin the young voice, and I must caution young 
singers against having their upper notes forced. 
Besides, they ought to be trained from the be- 
ginning to learn the ABC of the art, the 
scales and intervals. Far be it from me to 
suggest that the tricks I have mentioned are 
learnt at the academies ; but they are too often 
taught by private masters. 

I remember a young singer who had a beau- 
tiful production and method of singing, telling 
me that when he first came over from abroad he 
found great difficulty in getting anything to 
do, until, one day, he called upon a fashionable 
teacher of singing, who no sooner heard him 
than he said, " Will you be my show pupil ? 
I will give you 3 a week." 



My Jubilee Concert in 1898 Dinner at Lord Blyth's My 
Diamond Jubilee Concert Lady Bancroft's speech Signa- 
tures in the autograph album Recollections of Charles 
Kean Other great English actors. 

I GAVE a Jubilee Concert to celebrate my fifty 
years' residence in England. It took place at 
the Queen's Hall, June 7th, 1898, and was a 
tremendous success. 

When first the idea struck me that I might 
venture to give such a concert I thought I 
would ask my dear friend, Madame Adelina 
Patti, to assist me, and I therefore called on her 
at the Hotel Cecil and told her about the con- 
cert. She at once consented to sing, and I was 
overjoyed at her generosity. 

The Prince and Princess of Wales and the 
other members of the Royal Family gave their 
patronage to the concert, and a representative 
honorary committee was formed. My brother 
and sister artists all came forward to show their 
friendship for me. 

The morning of the concert I visited Madame 
Patti at her hotel and brought her a silver vase, 



which made her shed tears of emotion, and to 
commemorate the occasion she gave me a silver 
paper-knife, and her two faithful attendants, 
Karo and Patro, also gave me silver presents, 
which I greatly appreciated. 

The hall was crowded, and all the tickets were 
sold. There were so many wonderful hats worn 
by the ladies present that the hall looked like 
a garden of roses. The concert began with an 
organ solo, played by Mr. Tonking, and Madame 
Patti had a great reception. Being in mourning, 
she wore black, with beautiful diamonds. She 
first sang " Bel Raggio " from S emir amide, and 
her second song was my " Nightingale's Trill,'* 
and then, as an encore, " Home, Sweet Home," 
followed by " Comin' thro' the Rye.' 5 Mile 
Marie Engle, from Covent Garden, sang my 
song " Sing, Sweet Bird," and had to repeat it, 
and also the duet " SulParia" from Le Nozze di 
Figaro, with my daughter Georgina, which was 
encored. Miss Clara Butt had met with a car- 
riage accident a short time before, and although 
not quite recovered she was determined to sing 
for me, and gave my song " Forget me not," 
which she had to repeat. Unfortunately, she 
was so overcome by the exertion that she fainted 
when entering the artists' room ; but so far 
recovered that later on she sang " Oh that we 
two were Maying," with Mr. Kennerley Rumford. 

Miss Ada Crossley sang " Caro mio ben " to 
perfection, and Madame Blanche Marchesi sang 

CONCERT IN 1898 307 

three songs in her own incomparable way. 
Madame Alice Gomez, Madame Giulia Ravogli, 
Signor Ancona, Mr. Edward Lloyd, Mr. Ben 
Davies, and my old friend Santley also sang, 
and I played Mendelssohn's concert in G minor 
with quintette accompaniment by M. Johannes 
Wolff, Mr. Lewis, Mr. Emil Kreuz, M. Hollman, 
and Mr. Haydn Waud. Sir Charles Wyndham 
and Miss Mary Moore, Mr. Cyril Maude and Miss 
Winifred Emery recited, and my son Charles 
sang the serenade from Tschaikowsky's Don Juan. 
My old friend, George Grossmith, gave some of 
his musical sketches, and at the end of the 
concert I had to make a speech, in which I 
thanked Madame Patti and the other artists for 
their generous help, and said I felt deeply 
grateful to the English people, who, during a 
period of fifty years, had been so kind to me 
in my musical undertakings. After this little 
speech I played two pianoforte pieces of my own. 

I don't think there was ever a concert in which 
so many world-renowned and celebrated artists 
took part, and I must not forget the conductors 
and accompanists, Signor Alberto Randegger, Mr. 
Wilhelm Kuhe, Mr. Sewell, and Mr. Bendall. 

Lord Blyth (then Sir James) gave two dinner- 
parties at his house, 33, Portland Place, in my 
honour on that and the following evening, at 
which Madame Patti, all the artists, and a most 
distinguished company were present, the guests 
numbering forty at each dinner. 


When I had resided sixty years in this country 
I celebrated the event by giving a Diamond 
Jubilee Concert, and again Madame Patti most 
generously consented to sing. I also obtained 
the kind services of Madame Donalda, Miss 
Evangeline Florence, Madame Ada Crossley, 
Mr. Ben Davies, Mr. Gregory Hast, Mr. John 
McCormack, M. Edouard de Reszke (who, un- 
happily, was ill and not able to appear), Mr. 
Hamilton Earle, Mischa Elman, Miss Irene Van- 
brugh, Mr. Lewis Waller, Miss Margaret Cooper, 
and Mr. George Grossmith. My son Charles 
also sang for me. The conductors were Mr. 
Hamilton Harty, Mr. Adolph Mann, and myself. 
Her Majesty Queen Alexandra and the rest of 
the Royal Family gave me their patronage, and 
H.R.H. Princess Henry of Battenberg was present. 
Madame Patti sang " Voi che sapete " and "Pur 
Dicesti," and when I began the first few familiar 
bars of " Home, Sweet Home," the whole audi- 
ence rose and thundered their applause. I 
played the first movement of Beethoven's C 
minor Concerto with quintette accompaniment 
and at the end of the concert my new " Adelina 
Valse," which I had just written and dedicated 
to Madame Patti. 

Between Part I and Part II Lady Bancroft 
came forward with Madame Adelina Patti, all 
the artists, and the members of Executive 
Committee, and presented me with an album 
of autographs. 



She began, " I am not going to make a 
speech, but will read you a letter." 


Here Lady Bancroft paused, and, looking up 
at the grand circle where my wife was sitting, 
said, " Don't be jealous, dear," and then con- 
tinued : 

" I am here to perform a most delightful 
duty. I have to congratulate you on your 
Diamond Jubilee, and to present to you, on 
behalf of the committee, a beautiful album, 
which contains the autographs of distinguished 
sincere admirers and affectionate friends. 

"It is a tribute to you, not only as an artist 
who has lived amongst us for sixty years in 
this, your adopted country, but as a man who 
has won the hearts of every one by a kind and 
genial nature. 

" In the midst of your own hard work you 
have never been unmindful of the necessity of 
others. You have never been deaf to the calls 
of charity. You have ever been ready and 
anxious to lend a helping hand I may say, 
two helping hands and with your whole heart 
you have contributed your talent when a good 
cause presented itself. 

" Your gifted and sweet old friend has come 
from her retirement to give you a tribute of her 
affection I mean, of course, Madame Patti, our 
.well-beloved and never-to-be-forgotten Adelina. 

" You have been her companion in art for so 
many years that to see one without the other 
on the platform would have made one wonder. 
The nightingale and its attendant bird. I my- 


self have often heard you speak of her with 
adoration, and I know her love for you will 
endure whilst memory holds a place. 

" This will be a red-letter day in your re- 
membrance, and this book will be to you a 
treasured possession. It contains the autographs 
of most distinguished personages, celebrated ar- 
tists, many of whom are here to-day to do you 
honour, and all good friends and well-wishers. 
It will be a joy to you to read it in years to 
come, and will be a proud inheritance for your 
family. And now let me offer you, in addition, 
my love, and God bless you. Auf Wiedersehen. 
And, in the words of Rip Van Winkle, 'Here's 
your good health,' and your family, and may 
you live long and prosper. 

" Believe me to be 

" Your affectionate old friend, 


Naturally I felt quite overcome. Madame 
Patti, noticing this, came forward and kissed me 
on the cheek and placed a laurel wreath on my 
head, and Lady Bancroft also kissed me. I 
could only say a few words of thanks in reply. 

The audience cheered and sang " He's a jolly 
good fellow." 

The album was signed by King Edward and 
Queen Alexandra, the present King and Queen, 
and all the members of the Royal Family, the 
Ambassadors, the Prime Minister (Mr. Asquith), 
Mr. Arthur Balfour, Lord Lansdowne, Lord 
Rosebery, the Speaker (Mr. Lowther), Lord 
Londonderry, Carrington, Cadogan, Derby, 
Selby, Alverstone, Cawdor, Dunraven, Mr. Henry 


Chaplin, Mr. Lewis Harcourt, Mr. George Wynd- 
ham, Mr. Herbert Gladstone, Mr. Alfred Emmott, 
Field-Marshals Lord Roberts, Lord Grenfell, Sir 
Evelyn Wood, and Sir John French, the Duke 
of Devonshire, the Duke of Sutherland, Lords 
Londesborough, Kintore, Plymouth, Lonsdale, 
Esher, Howe, Blyth, Claud Hamilton, Arthur 
Hill, Burnham, Rothschild, and Mr. Alfred and 
Mr. Leopold de Rothschild, Lord Strathcona, Sir 
Ernest Cassel, Sir Frederick Milner, Sir Horace 
Rumbold, Sir Charles Mathews, Sir George 
Faudel Phillips, Baron F. d'Erlanger, Baron 
Schroeder, Sir Henry Mackinnon, Sir Robert 
Baden-Powell, Drs. Saint-Saens, Max Bruch, 
Nikisch, W. H. Cummings, and Hans Richter, 
Sir F. Bridge, Sir Frederick Cowen, Prof. 
Leschetizky, Sir Douglas Powell, Sir William 
Church, Mr. Justin McCarthy, Sir F. Burnand, 
Mr. Anthony Hope, Sir Luke Fildes, Sir F. 
Carruthers Gould, Sir Douglas Straight, Sir W. S. 
Gilbert, Sir Arthur Pinero, Sir Charles Wynd- 
ham, Sir John Hare, Sir Squire Bancroft, Sir 
George Alexander, Sir H. Beerbohm Tree, and 
others too numerous to mention, as well as the 
artists who took part in the concerts. 

I have spoken of the great musical geniuses I 
have met since 1848. I ought also to mention 
some of the actors. 

I had the good fortune to be engaged in the 
orchestra at the Princess's Theatre in Oxford 
Street when Charles Kean was the lessee and 


manager. I say good fortune, because it gave 
me the opportunity of seeing Kean act. He 
was, as all the world knows, a short, high- 
shouldered man, and he spoke a little through 
his nose ; but his acting was so wonderful that it 
overshadowed these defects. 

His wife, Mrs. Charles Kean, was, on the con- 
trary, a fine, tall woman, with a glorious and 
melodious voice, and her Lady Macbeth was, of 
course, historical. 

I remember a performance of King John in 
which Mr. Terry and his daughter Kate (sister 
of Miss Ellen Terry) took part ; she played the 
part of little Prince Arthur most pathetically. 
In those days The Corsican Brothers, by Dion 
Boucicault, had made a great sensation, and all 
London rushed to see it. The incidental music 
was composed by M. Robert Stoepel, and there 
was one air in it the " Ghost Melody " that 
had a great effect when played pianissimo on 
the strings. Charles Kean played the double- 
role of the brothers, Mr. Alfred Wigan the Mar- 
quis de Chateauneuve. Wigan was a fine actor, 
and in the Duel Scene he was splendid. The 
handsome Miss Murray was also in the cast. 

In Kean's company was also Miss Agnes 
Robertson, who acted in Boucicault's plays and 
became his wife. She was the original Colleen 
Bawn in his play of that name. Other members 
were the beautiful and clever Miss Carlotta 
Leclercq, Mr. John Ryder, Mr. Paul Bedford, Mr. 


Harley, and Dion Boucicault. The incidental 
music for the Shakespearean dramas was com- 
posed by John Hatton and others. 

Kean used to arrange theatrical performances 
for Queen Victoria at Windsor ; but he gave 
them up eventually. I believe I am the only 
person outside the theatrical world who remem- 
bers Kean's splendid season of Shakespeare at 
the Princess's. He was followed by Sir Henry 
Irving and Sir Herbert Tree, whose productions 
of Shakespeare's works have certainly eclipsed 
all that have gone before them. 

I have seen on the stage, about 1848, the 
wonderful Madame Vestris and Mr. Charles 
Mathews. I knew Mathews personally ; he was 
a great genius, and, curiously enough, acted in 
French both here and in Paris without being 
able to speak that language. I know this for a 
fact. In some of his own pieces, such as Chatter 
versus Patter he spoke at an extraordinary rate. 

I also remember Fechter, who had a fine figure 
and resonant voice, and spoke English well, 
with only a slight French accent. I also saw 
Mr. and Mrs. Keeley, Mr. Wright as Paul 
Pry, Mr. Sothern as Lord Dundreary, Mr. Ben- 
jamin Webster, father-in-law of Lord Burnham, 
Madame Celeste in the famous play Green 
Bushes^ Mrs. Robson at the Olympic, and many 
others. I must not forget to mention my old 
and personal friends, Sir Squire and Lady Ban- 
croft ; at the time of which I am writing Lady 


Bancroft was Miss Marie Wilton, and brought 
out all the well-known and popular comedies 
written by Tom Robertson, such as Ours, Caste, 
School, and many others. She carried them on 
for many years at the Prince of Wales's Theatre, 
Tottenham Court Road, with her husband, Mr. 
Bancroft, and afterwards they took the Hay- 
market Theatre, where they remained until they 
retired. Sir Squire has made a great feature 
of his Dickens readings for charity, which have 
realised an immense sum. They have a charm- 
ing house at Sandgate, facing the sea, where 
they welcome their friends on Sunday after- 

I recollect Madame Genevieve Ward (who 
was famous in a play called Forget Me Not), 
coming out as a dramatic singer in Bellini's 
Puritani in 1862. She continued on the operatic 
stage for some years under the name of Madame 
Guerrabella. She last acted, I believe, in Rudolf 
Besier's Greek play, The Virgin Goddess, and 
now lives in retirement at St. John's Wood. 
Mr. and Mrs. Kendal I have often seen play, 
and I must not forget my dear old friend, 
Johnny Toole. In his own time none could 
surpass him, and he had a heart of gold. 



Jean de Reszke comes out as a baritone I introduce Madame 
Melba to the English public Carl Rosa forgets an appoint- 
ment Tetrazzini Destinn Calve Nordica Kirkby Lunn 
Ada Crossley Clara Butt Ruth Vincent Maggie Teyte 
Aino Ackte Huge fees paid to modern singers Modern 
violinists Ysaye His " quick change " Kreisler Elman 
Modern 'cellists Hollman Casals Gerardy Modern 
pianists Paderewski Eugen d' Albert Godowsky Busoni 
Madame Carreno Her Jubilee Robert Hichens as 
musical critic Conductors, past and present Richter His 
wonderful memory Thomas Beecham An interesting letter 
from him Nikisch He pays me a visit Henry J. Wood 
Landon Ronald Sir Edward Elgar Sir Hubert Parry 
Sir Charles Villiers Stanford Norman O'Neill Dr. Vaughan 
Williams Walford Davies and the Temple Church. 

IT is a strange fact that M. Jean de Reszke 
first came out in London as a baritone. He 
sang, under my direction in 1874, at one of the 
New Philharmonic Concerts, the aria " Sei 
Vendicata," from Dinorah, and his first appear- 
ance at Covent Garden was in the opera Les 
Huguenots, in which he played the role of 
the Count de Nevers a baritone part. Signer 
Cotogni, who was in the same opera, helped him 
to dress and make up, and gave him some good 
advice about the part, little thinking that in 


316 MELBA 

after-years he would become the great tenor who 
would captivate all his hearers not only by his 
marvellous voice, but by his clever and most 
intelligent acting. His brother, Edouard, has 
also been a great favourite hardly any one else, 
except, perhaps, Pla^on, could sing and act the 
part of Friar Laurent in Romeo et Juliette as 
well as he could, and his fine, commanding pre- 
sence and magnificent basso-profundo made him 
greatly esteemed. Both brothers have long 
since retired from the operatic stage. M. Jean 
de Reszke has now settled in Paris, where he 
has become famous as a teacher of singing, and 
many young aspirants study grand opera with 

I pride myself on being the first to introduce 
Madame Melba to the English public. She 
came to me soon after her arrival from Australia 
in 1886, and brought me a letter of introduc- 
tion from a friend in Melbourne. I asked her 
whether she had brought any songs for me to 
hear, and she said " Yes." So she sang the 
grand aria " Ah ! fors' e lui " from La Traviata. 
I was delighted. It could not have been better 
sung ; the vocalisation was perfect, and she 
warbled her runs and shakes without any effort. 
When I asked her to sing something else, she 
pleased me very much with her rendering of 
my song, " Sing, Sweet Bird," and she told me 
she had sung it a great deal in Australia and 
made it popular there. 




After hearing her, and being satisfied that she 
would be very successful in public, I said that 
I Would like her to sing at Prince's Hall in 
Piccadilly (now demolished and changed to 
Prince's Restaurant), at a concert given by a 
pupil of the late Chevalier Emil Bach. I con- 
ducted the concert, and had a small orchestra, 
and Madame Nellie Armstrong (that was her 
real name in those days, as she adopted the 
name of " Melba " later on when she appeared 
in opera in Brussels and at Covent Garden) sang 
the two songs which I had heard at my house, 
and she was encored in both of them. 

A few days afterwards I told her that I was 
arranging the music at the dinner of the Royal 
Theatrical Fund at the Freemason's Hall, when 
the late Sir Augustus Harris (at that time Mr. 
Augustus Harris) took the chair, and I asked 
her to help for this good cause, to which she 
consented. One of her songs was Gounod's 
" Ave Maria," with Mademoiselle Anna Lang's 
violin obbligato. It created a great sensation, 
and Augustus Harris, who had never heard this 
beautiful song before, was charmed with it. At 
the conclusion of the entertainment Mrs. Arm- 
strong, with the rest of the artists who had 
assisted, remained to a convivial supper, at 
which I presided. 

When I met Mrs. Nellie Armstrong again I 
suggested that she should become the prima 
donna of the Royal Carl Rosa Opera Company, 

318 MELBA 

and she replied that she would be glad to accept 
an engagement for that English opera company. 
I told her that I knew Carl Rosa very well, and 
should ask him to come to my house to hear 
her. I fixed the interview for the following 
Tuesday afternoon at three o'clock at my house, 
and called on Mr. Carl Rosa. He said he would 
come, and wrote the appointment in pencil on 
his shirt-cuff. Well, on the appointed Tues- 
day Mrs. Armstrong punctually came at three 
o'clock, and waited a whole hour for him ; but, 
unfortunately, he never came. He told me 
afterwards that he had forgotten all about the 
appointment ! That was very unfortunate for 
him, because I am convinced that, if Rosa had 
heard this Australian singer, he would have 
engaged her then and there for a number of 
years and the company would have made a 

I asked Mrs. Armstrong to come on another 
day to meet Rosa, but she would not hear of it. 
She then told me that she was going to study 
with Madame Mathilde Marchesi, and was going 
at once to Paris for that purpose for eight or 
nine months. I said to her that I thought it 
was hardly necessary for her to do so, as her 
singing was then already so perfect. Shortly 
afterwards she wrote me the following letter : 


" I am so sorry I was unable to come and 

MELBA 319 

see you before I left London ; but I was so busy. 
I had no time, and we left a day sooner than we 
intended. Have you heard of any possible 
engagements ? I am so anxious to get on, I 
hope you will put in a good word for me when- 
ever you can. Were there any notices in the 
papers about either entertainments ? I did not 
see any. Do you think I could get an engage- 
ment at any of the Patti concerts ? I would 
not mind singing there, for then I should have 
a chance of singing before a big audience. What 
beautiful weather we are having, quite a treat 
after all the rain. 

" Give my love to Mrs. and Miss Ganz. 

" Hoping you are all well. 
" Yours sincerely, 


She went, however, and made her first appear- 
ance in grand opera in Brussels, afterwards in 
Paris, and then at Covent Garden, where she 
appeared for the first time in 1888, as Lucia, 
under Sir Augustus Harris's management. I 
was present on that occasion. Everybody knows 
the brilliant career which she has had ever since 
in this country, on the Continent, in America, 
and Australia and New Zealand. 

I ought here to mention that about the same 
time she called upon me she visited also Sir 
Arthur Sullivan and Signor Alberto Randegger, 
and sang to them with the object of getting 
engagements from the former and receiving 
lessons from the latter. Sir Arthur put her off 
by saying that he would give her a part in his 


Mikado in a year's time, and the latter told her 
that he had no time to give her lessons. She 
has mentioned these facts in a book of her 
musical career in which she states that " the 
only musician who gave her encouragement was 
Mr. Wilhelm Ganz." In after-years, when she 
became famous here and met these two musical 
gentlemen, she and they had a good laugh on 
these, to them, unflattering events. 

Curiously enough, when Madame Tetrazzini 
first appeared in Lucia di Lammermoor, the tenor, 
Signer Carpi, who took the part of Edgardo, 
asked me, a few days before the performance, 
whether I would come and hear him in the 
opera. I told him I had heard Lucia so often 
that I should be glad if he would excuse me. 
He had not mentioned that there was a new 
prima donna making her first appearance, or I 
should have gone. 

The next morning the papers were full of 
Tetrazzini's great success. There had been no pre- 
vious announcement of her remarkable powers, 
and the public were taken by surprise and 
highly delighted, and I felt sorry I had not 
gone to hear her, even for a short while ; but I 
managed to do so later on, and was charmed 
with her singing. The house had been sold out 
the nights she appeared, and I had the greatest 
difficulty in even getting standing room to hear 
her. There is no need for me to dwell upon the 
beautiful quality and exceptional compass of 


her voice and her brilliant powers of execution. 
In the great Mad Scene she brought down the 
house with thunders of applause. The revival 
of interest in the old operas of Rossini, Bellini, 
and Donizetti is largely due to Tetrazzini. 
These florid operas exactly suit her style, and 
she has brought them again into vogue, such as 
La Sonnambula, II Barbiere, and Lucia, and I 
will also include Verdi's Traviata, though it is not 
such an old opera as those I have mentioned. 

Of course it requires a great artiste of excep- 
tional powers to sing these old operas. I have 
been present in the staUs at Covent Garden when 
Tetrazzini was singing and noticed the delight 
in people's faces when they heard all the old 
familiar melodies, notwithstanding the fact that 
they were constantly hearing the Wagner operas, 
and those of Puccini and Richard Strauss, and 
the later operas of Verdi, such as A'ida, Otello, 
and Falstaff. 

To conclude my impression of Madame Tetraz- 
zini, I should like to add how wonderfully she 


finished the Cabaletta in Lucia, commencing 
a shake on B flat and finishing her cadenza on 
the high E flat in Alt. 

Soon after this I made the acquaintance of 
the gifted artiste and found her most charming 
and unassuming. One day when I called on her 
she asked me to try over some English songs 
with her, which she has since sung at con- 
certs. When I gave my Diamond Jubilee Con- 
cert in 1908 she insisted on buying tickets for 
it, as she was very anxious to hear Madame 
Patti, whom she had never heard sing. She 
was, of course, enchanted with the great Diva, 
and spoke most enthusiastically of Patti' s 
singing, and was full of veneration for her. 
When we gave a reception in honour of Madame 
Patti we specially invited Madame Tetrazzini 
to meet her, when I introduced them to one an- 
other, and they became the greatest of friends. 

The splendid impersonations of Mile Emmy 
Destinn in La Tosca, Madama Butterfly, and 
Aida, won for her immediate recognition as a 
dramatic soprano of incomparable powers and 
the highest artistic gifts. In such roles as Tess 
in Baron Frederic d'Erlanger's fine opera, she 
has the voice and personality that transfigure 
the part and move her hearers to tears. She 
is a native of Prague, and before she came to 
England was engaged at the Royal Opera in 
Berlin. Every winter she appears at the Metro- 
politan Opera-house in New York. Apropos 



of her assumption of the part of Madama 
Butterfly, when it was first performed at Covent 
Garden, I heard a Japanese gentleman remark 
that it was the only truthful presentment of 
Japanese life on the stage that he had seen since 
he came to Europe. 

My readers who have in years past had 
the advantage of hearing Signor Graziani, the 

greatest foreign baritone of his time, will re- 
member his luscious voice and the wonderful 
delivery of his Italian method. He has now a 
worthy successor in Signor Sammarco, the most 
admired baritone at Covent Garden. I shall 
never forget the first time I heard Sammarco's 
splendid singing of the prologue in Leoncavallo's 
Pagliacci, as his voice reminded me so much 
of Graziani' s, and I do not wonder he has 

824 CALVE 

become such a great favourite in England and 

Madame Calve's vivid presentment of the char- 
acter of Carmen is still fresh in our recollection. 
Although she is a dramatic soprano, her voice is 
particularly sweet in the upper register and in 
florid music where her coloratura and her lovely 
shake show off to perfection. She revived the 
charming Barcarolle from Offenbach's Conies 
d'Hoffmann, and another of her most attractive 
songs is " Les Couplets de My soli," by Felicien 
David, with flute obbligato. 

Madame Nordica, the well-known and much 
admired American prima donna, has often sung 
her Wagnerian roles at Bayreuth and at the 
Prinz Regenten Theater at Munich, while she 
is also a very fine concert singer. To my mind 
her greatest part is that of Isolde in Wagner's 
Tristan. I have already spoken of Madame 
Emma Eames on a previous page, and also 
of Madame Sembrich. Both these artistes have 
of late years sung principally at the American 
Opera-houses, where they are great favourites. 
Madame Kirkby Lunn, the great English con- 
tralto, first came out as Norah in Stanford's 
Shamus O'Brien in 1896, then joined the Carl 
Rosa Opera Company at Manchester, and then 
sang with great success at Covent Garden, 
where she created the part of Dalila in Saint- 
Saen's opera. How can we ever forget her 
delivery of the beautiful aria " Mon Cceur 


s'ouvre a ta voix," or " Printemps qui com- 
mence " ? She is also great as Amneris in A'ida, 
and as a concert singer she is simply perfection. 
I have heard her sing at most of her recitals 
and her voice reminds me very much of Alboni's. 
I cannot pay her a greater compliment than 
this. She is always accompanied by that ac- 
complished musician, Mr. Percy Pitt, whose 
song, " Love is a Dream," she sings to per- 

Another splendid contralto is the Australian 
singer, Madame Ada Crossley. I was not sur- 
prised to hear that on a recent tour in her 
native country the horses were taken out of 
her carriage and it was dragged by young 
Australians to her hotel. She is a fine musician 
and a universal favourite, and was chosen to 
sing the National Anthem when King George 
laid the foundation-stone of the Australian 
Commonwealth building in the Strand the other 

England may certainly be proud of being the 
native country of Madame Clara Butt, who has 
made a great name for herself not only in Great 
Britain, Australia, and South Africa, but also in 
Germany, where she has sung in German before 
the Emperor and Empress. She excels in such 
songs as Liddle's " Abide with me," and in 
Frances Allitsen's " Song of Thanksgiving," 
and Elgar's " Sea Pictures," and is equally at 
home in oratorio. Her commanding presence 


she is over six feet in height always creates an 
impression wherever she sings. 

Madame Butt is ably assisted by her husband, 
Mr. Kennerley Rumford, in her various tours 
and over-sea engagements. He is the possessor 
of a very attractive baritone voice, and is a 
thoroughly good artist. It is a pleasure to hear 
him sing duets with his wife, such as the " Night 
Hymn at Sea," which they sang at my Jubilee 
Concert. They are both such favourites that 
whenever they announce a concert they are 
always sure of a full house. 

I should like to mention another English 
singer, Miss Ruth Vincent, who has made a 
good reputation for herself. One of her first 
successes was the part of Veronique, in Mes- 
sager's charming opera, and it was chiefly owing 
to her singing and acting that it had such a 
long run. Since then she has been one of 
Beecham's prima donnas at Covent Garden, sing- 
ing the leading roles in Hansel und Gretel and 
Conies d'Hoffmann. She has an extensive com- 
pass, and her upper notes are specially good. 
As prima donna in The Grand Duchess at the 
Savoy she was exceedingly popular, and by way 
of contrast she has sung in Handel's Messiah 
with great success. 

A young and rising artiste is Miss Maggie Teyte, 
whose debut at Covent Garden as Marguerite 
in Faust at once brought her into the front rank 
of singers. She created the part of Melisande 


in Debussy's Pelleas et Melisande, and has been 
very successful at the Opera-Comique in Paris, 
singing French like a native. 

All these modern singers I have mentioned 
have often sung at my annual concerts, and I 
have accompanied them all, with the exception 
of Miss Maggie Teyte, who sang at my benefit 
concert at the Royal Albert Hall (of which I 
will write fully later on), when through my 
accident I was not able to be present, as did also 
Madame Amo Ackte, one of the most distin- 
guished singers who have appeared during this 
century. Her success as Salome in Strauss's 
opera is known to everybody, and she is a mag- 
nificent singer and actress in the most difficult 
roles. She was born in Finland and made her 
first appearance in London in January 1907. 

Things have moved very rapidly of late years. 
It was only in 1904, I remember, when Massenet's 
opera Herodiade was given at Covent Garden 
for Madame Calve, that the management were 
compelled by the Censor to change the title of 
the opera. The title chosen was Salome, as 
likely to give less offence to public prejudice! 
Herod was renamed Moriame, roi d'Ethiope, 
and Herodias was also renamed. But it 
was difficult to make the illusion complete. In 
the scene in the Temple the seven-branched 
candlestick was seen, and Madame Calve led 
a procession of girls carrying palms and singing 
" Hosanna." When the Roman prefect ap- 


peared and began his address to the Ethiopian 
crowd, he mistook their nationality and ad- 
dressed them as " Peuple juif " ! 

Talking about modern singers reminds me of 
the enormous fees which they principally the 
sopranos receive for singing at private parties, 
sometimes as much as 300, 400, and 500 guineas, 
while in former years such great artists as Grisi, 
Mario, Bosio, and the old Lablache only received 
15 or 20 guineas for each entertainment. It is 
therefore difficult for hostesses to keep up the 
former custom of opening their salons to their 
friends and having the most renowned artists 
to sing for them. Unless they have an exor- 
bitantly expensive star to attract their guests 
in the height of the London season they cannot 
give these private concerts. The guests who are 
invited to musical parties try to find out, be- 
fore accepting, who is going to sing, and unless 
it is some great singer they stay away, which 
is very hard on hostesses who cannot afford to 
pay these high prices. 

During my long musical career I have known 
many great violinists, and have already alluded 
to the famous ones of past days. In the present 
time M. Ysaye is, of course, one of the very first. 
I remember, on one occasion, he gave a concert 
at Queen's Hall and played a Concerto by 
Vieuxtemps and the ever-popular Mendelssohn 
Concerto, which were so greatly applauded that 
he gave, as an encore, Saint-Saens' " Rondo 


Capriccioso." It was five o'clock, and he had 
to play the same evening at Birmingham, and 
was obliged to change into his evening clothes in 
the artists' room, so as to catch the six o'clock 
train. This was quick work, and artists, years 
ago, would not have dared to do such a thing, 
as they always rested hours before playing at 
a concert, and kept thoroughly quiet. Now 
they rush about, and if on tour where they have 
to sing or play every night in a different town, 
they sometimes arrive just as the concert begins, 
and I have known cases where they arrived so 
late that they had no time even to dress suitably 
beforehand, but had to appear in travelling 
dress, owing to their trains being delayed. 

In recent years Herr Fritz Kreisler has main- 
tained his great reputation here by introducing 
Elgar's First Violin Concerto to the public, 
which he plays magnificently. Mischa Elman, 
who came here from Russia as a boy, and is a 
most marvellous player, has the most faultless 
expression and fine technique. He is a real 
genius, and his career has been one long triumph. 
I have reason to be particularly grateful to 
him, as he played for me at my Jubilee Concert 
in 1908, and my benefit concert in 1911. 

Of the 'cellists in the present day my old 
friend, M. Joseph Hollman, is one of the most 
popular. He plays here every season, and is 
in great request at private musical soirees. His 
tone is grand, and his execution splendid. He 


has composed concertos for his own instrument v 
and his Morceaux de Salon are charming and 
full of melody. He has assisted me at my 
annual concerts for a great many years. He is 
a great favourite at At Homes. I remember, 
on one occasion, when he was playing, a foot- 
man entered the room bearing a tray with cups 
of tea. Seeing Hollman seated in the middle 
of the room playing his 'cello he walked up to 
him and offered him some. Hollman at once 
laid down his 'cello, drank off the tea, and then 
resumed his piece where he had left off. That 
fine 'cellist, Senor Casals, has proved himself 
one of the greatest living artists. M. Jean 
Gerardy, who came over from Liege and played 
on Madame Patti's concert tours, when I always 
accompanied him, already made his name here 
as a boy. 

Among the modern pianists M. Paderewski 
continues to hold his high place as an artist of 
rare charm and poetical feeling. 

Then there is Mr. Eugen d'Albert, the great 
Beethoven player, who reappeared here this 
summer, but rarely comes over since he settled 
in Berlin. I am told he does not like to be 
reminded that he was born in Great Britain. I 
knew his father when he lived at Newcastle, 
where he wrote popular dance-music in the 
fifties. Eugen d'Albert now goes in for com- 
posing operas, one of which Tiefland was 
lately performed at Covent Garden with 


siderable success. His operas are very popular 
in Germany, the land of his adoption. 

It is unnecessary for me to do more than 
mention the brilliant Chopin playing of Godow- 
sky, Busoni's development of pianistic tone- 
painting, and Moritz Rosenthal's phenomenal 
feats of execution. 

I have known Madame Teresa Carreno for 
many years, and we have always kept up our 

friendship, ever since she first came over here. 
On my recent birthday she sent me two big 
bouquets of flowers and her signed photograph. 
She has travelled all over the world, and de- 
lighted many thousands of people with her 
playing, which is remarkable for its wonderful 
power. Carreno is full of charm, and a brilliant 
conversationalist. She has a beautiful smile, 
and speaking dark brown eyes. It is hard to 
believe that she has been fifty years before the 


public and announced her Jubilee Recital last 

One of the most brilliant critics I ever knew 
was Robert Hichens, the novelist, who for some 
years in the nineties used to contribute a weekly 
article in The World which was a wonderful 
medley of scintillating wit and humour and 
keenly appreciative. I recall such phrases, 
apropos of a pianist of the ultra- strenuous type 
who shall be nameless, " He will even hit a 
piano when it's down ! " and of a modern 
string quartette of continuous arpeggios " It 
seems as if the arpeggios would go on till 
the last trump turned the quartette into a 

He also told me that his original intention in 
early life was to become an organist, and that 
he had studied with George Riseley at Bristol. 
" I never was able to master the organ. When 
sitting there, it always seemed so aloof, so far 
away. I never could get into any personal 
relation with it." 

Of conductors I have known many, one 
of the greatest being undoubtedly Dr. Hans 
Richter, who has worked hard here for many 
years as conductor of the Charles Halle Man- 
chester Concerts and Liverpool Philharmonic 
Concerts, and, above all, Wagner's musical 
dramas at Covent Garden. For many years he 
gave orchestral concerts at St. James's Hall, 
where he excelled in Beethoven's Symphonies, 


all of which he conducted from memory. I have 
already referred to him in writing of the first 
performances at Bayreuth, which he also con- 
ducted from memory ; indeed, it is always said 
of him that, if all the Wagner scores were to 
be burnt, Richter could write them out from 
memoiy ! 

He has now retired into private life, and his 
many friends and admirers will wish him to 
enjoy his well-earned rest in good health, peace, 
and contentment. 

In a letter he wrote me shortly after he had 
conducted The Ring at Covent Garden in 1903, 
he says : 

" Fur mich war das Schonste und Erfreu- 
lichste das Publicum ; welche weihevolle Stille 
wdhrend und welcher Enthusiasmus nach den 
Akten ! Wenn man Wagner-Ehrungen erleben 
will, muss man wahrlich in's Ausland gehen. 
Noch immer werden die Schiiler der Berliner 
Musikschule vor dem Besuche der Wagner'schen 
Werke gewarnt ; selbst in der Zeit der tiefsten 
Verkennung Berlioz's hatte es kein Professor oder 
Director des Pariser Conservatoire gewagt, die 
Schiiler von dem Besuche Berlioz'scher Auffiih- 
rungen abzureden ; aber in Deutschland ist es 
noch heute 20 Jahre nach des Meisters Tode 
moglich, unehrerbietig iiber Richard Wagner 
reden zu horen. Ich bin froh, dass ich diesen 
unerfreulichen Verhaltnissen entronnen bin, und 
diese letzten Auffuhrungen haben es mich recht 
fiihlen lassen, wie richtig es war, mein Heim in 
England zu suchen und auch zu finden, darf ich 


(" For me the finest and most delightful thing 
was the Public ; what a solemn stillness during 
the acts, and what enthusiasm afterwards ! To 
experience what honouring Wagner means one 
must really go abroad. The pupils of the Berlin 
Music-school are still warned against attending 
performances of Wagner's works ; even in the 
time of the worst misjudgments of Berlioz, no 
Professor or Director of the Paris Conservatoire 
would have dared to warn the pupils against 
going to Berlioz performances ; but in Germany 
it is still possible twenty years after the Master's 
death to hear disparaging remarks about 
Richard Wagner. I am happy that I have seen 
the last of this unhappy state of things, and 
these last performances have made me really 
feel how right it was to seek, and, if I may add, 
to find my Home in England.") 



Of the conductors at Covent Garden, Signor 
Campanini in Verdi's and Puccini's operas 
proved himself as great as any of his Italian 
confreres, where previously my old friend, Luigi 
Arditi, composer of "II Bacio," which Madame 
Patti has rendered so popular, Alberto Ran- 
degger, and Mancinelli were famous names, and 
Utterly we had Thomas Beecham, who con- 



ducted Richard Strauss's Elektra and Salome 
splendidly. The incomparable Arthur Nikisch 
won fresh laurels this year as conductor of 
Wagner's Ring at Covent Garden. 


I was deeply touched by a visit he paid to me 
recently. He came quite unexpectedly and stayed 
a long time. He knew all about the musicians 
from abroad I had known in earlier days, and 
talked about their various characteristics. When 
I showed him the programmes of my orchestral 
concerts with the performances of Berlioz's 
Symphonies and Liszt's Divina Commedia, he 
compared the difficulties I must have had in 
those days, when there were no permanent 


orchestras, with the present time, when there 
are several, and spoke of my courage in giving 
those works over thirty years ago. I told him 
I remembered attending an afternoon concert 
in Queen's Hall, when he made his first ap- 
pearance here and electrified every one by 
his rendering of Tschaikowsky's Fifth Sym- 
phony in E minor, then still a little-known 

Among concert conductors of the front rank 
is Sir Henry J. Wood, who has made the Queen's 
Hall Symphony Concerts so popular, and is 
acknowledged to be the greatest English con- 
ductor. Sir Edward Elgar has only recently 
entered the ranks of conductors. The youngest 
conductor of the present time is Mr. Landon 
Ronald, son of my dear old friend, the late 
Henry Russell. He has established some sym- 
phony concerts with a new orchestra of his own 
creation, and conducts at the Sunday Concerts 
at the Royal Albert Hall. 

One day Mr. Henry Russell brought his little 
son to me and said he wished me to hear him 
play, and give my opinion about his talent. The 
boy played the " Moonlight Sonata " to me, and 
when he had finished I played it to him to 
correct some of his faults. I told his father 
that he had great gifts, and should continue to 
study under a good master, and he was quite 
satisfied with what I said. Many years after- 
wards, when Landon Ronald had risen to fame, 

ELGAR 337 

he spoke of the circumstance to me, and said 
he would never forget it. He has now become 
a first-rate accompanist and clever conductor, 
and has been engaged to conduct some of the 
symphony concerts in the principal cities on 
the Continent, while his songs and orchestral 
compositions have become very popular. He is 
now Principal of the Guildhall School of Music, 
the " right man in the right place." 

Among the modern English composers whose 
name stands in the first rank is Sir Edward 
Elgar, who quickly rose to fame by his oratorios 
Gerontius and The Apostles, and by his First 
Symphony. Since then he has gained fresh 
laurels by his new Violin Concerto, which 
Herr Fritz Kreisler has played so often with 
enormous success, and which is a monumental 
work of its composer, and his Second Symphony, 
which has also been so much admired, and his 
charming " Sea Songs," which Madame Clara 
Butt sings at nearly all her concerts. England 
may well be proud of him, for his orchestral 
works are performed with great success and 
much appreciated on the Continent. 

Well-established favourites among English com- 
posers are also Sir Hubert Parry, Director of 
the Royal College of Music, and Sir Alexander 
Mackenzie, Principal of the Royal Academy of 
Music, to whose operas and their performance 
by the Carl Rosa Opera Company I have alluded 
in a previous chapter. His cantata, The Rose 


of Sharon, is a splendid work, and his "Bene- 
dictus " for the violin has been performed by 
all the leading violinists. It may not be gener- 
ally known that Alexander Mackenzie settled 
some time ago in Florence, but returned at the 
instigation of the late Dr. Francis Hueffer, who 
advised him to come over to England, and 
recommended his opera Columba to Carl Rosa 
for production. 

Another favourite British composer is Sir 
Charles Villiers Stanford, to whose well-known 
opera, Shamus O'Brien, written quite in the 
Irish style, I have also previously alluded. His 
symphonies and other works have had well- 
deserved success. Then I come to my old 
friend, Frederick Cowen, on whom King George 
has now bestowed a knighthood, that honour 
being highly deserved and much appreciated by 
his numerous friends and admirers. His com- 
positions of all kinds are voluminous, including 
his many songs and symphonies. " The Better 
Land," his most popular song, was one of the 
favourites of Madame Antoinette Stirling, and 
" The Swallows " is sung by Miss Evangeline 
Florence. His latest cantata, The Veil, which 
was written for the Cardiff Musical Festival, was 
performed with great success. 

I am glad that my friend Arthur Hervey has 
found more leisure since his retirement from his 
duties of musical critic to continue composing 
so admirably. 


One evening, many years ago, I went to see 
Richard Mansfield, the American actor, in his fine 
performance of Richard III. He was, I believe, 
a nephew of Alberto Randegger. I was much 
struck by the incidental music, and went to ask 
one of the band, whom I knew, about the 
composer who was conducting. It was Edward 
German, who afterwards attained such great 
popularity with his charming music to 
Henry VIII. 

I must also mention Mr. Norman O'Neill, a 
young composer who writes incidental music to 
dramas, his music for Maeterlinck's Blue Bird 
being specially delightful, and Mr. Roger Quilter 
and Mr. Cyril Scott, who have composed many 
charming songs as well as more ambitious works. 
Mr. Balfour Gardiner is also a rising young 
composer, and so is Mr. Joseph Holbrooke, whose 
opera, The Children of Don, to the libretto of 
Lord Howard de Walden, was performed under 
Mr. Hammerstein's management at the New 
Opera-house ; Herr Nikisch conducted two 
performances of it, and the composer conducted 
the third. Dr. Vaughan Williams has won a 
high place by works representing the best 
tendencies in modern English music. I have 
followed his career with interest since his under- 
graduate days at Cambridge. 

The works of Dr. Walford Davies are well 
known, and considered very fine, and apart 
from this he is a wonderful organist, being 


attached in that capacity to the Temple Church., 
where he has trained the choir to a high pitch 
of perfection, as I have noticed when at- 
tending services there, if it is permissible to 
say so. 



Our golden wedding Wilhelm Kuhe Benefit concert at the 
Albert Hall. 

I THINK I ought to mention our golden wedding 
day, which took place on August 3rd, 1909. 

My wife and I had no end of handsome pre- 
sents and telegrams from relations and friends, 
as well as bouquets of flowers and gilded laurel 

In the afternoon we had a garden party in the 
grounds opposite our house, and snapshots were 
taken of us and our children as well as photo- 
graphic groups. In the evening we had a 
family dinner-party and some music afterwards, 
during which Madame Blanche Marchesi and 
Madame Zelie de Lussan charmed us and our 
friends with their singing. We spent a most 
delightful evening (though as host I ought not 
to say so !) ; and it was twelve o'clock when the 
festivities of this glorious day finished. 


" The worst that anybody ever said of Mr. 
Wilhelm Ganz was that he was a German adverb 



of emphasis ; but that was in a humoursome 
speech proposing the toast of his health many 
years ago. To-day everybody is toasting Mr. 
and Mrs. Ganz with emphasis on the occasion of 
their golden wedding, and wishing them many 
more years of happiness. The man who has 
accompanied Madame Patti's songs for more 
than half a century needs no reminder that he 
is over seventy years of age, and has filled a 
busy life with many professional triumphs. 
But these achievements of his have been so 
varied that half of them are possibly forgotten, 
even by the genial impresario himself. His 
compositions include many favourite lyrics, and 
his pupils, at the Guildhall School of Music and 
elsewhere, include many famous professionals 
and amateurs. Few men have crowded so much 
music and friendship into the limits of an active 
public career, or have won and retained so many 
golden opinions from all sorts and conditions of 
men and women. Doubtless those who have 
known him longest w r ill remember him oftenest 
as a courtier of the old school, leading the great 
Diva on to the platform amid thunders of ap- 
plause ; and then, with a touch of the piano, 
leading her off again into an ecstasy of song that 
left ineffaceable memories with all who heard it. 
To-day, the lady that Mr. Ganz leads down to 
the footlights of public acclamation is his life's 
partner his own best ' accompanist ' and the 
song is ' Home, Sweet Home.' : 

I cannot conclude my Reminiscences without 
giving an account of the wonderful concert 
which Madame Patti so generously gave for my 
benefit on Thursday, June 1st, 1911. 

Some weeks previously Madame Patti asked 



A Souvenir of the Concert. 


my daughter Georgina to call on her, when she 
told her how concerned she was about my 
accident, which had quite incapacitated me from 
following my profession, and said that she in- 
tended that I should have a benefit concert, at 
which she would sing for me, in spite of the fact 
that she had already retired into private life. 

Soon after she called, with Baron Rolf Ceder- 
strom, to see me, and told me what she proposed 
to do. She said she had written a letter to 
Lord Blyth asking him to interest himself in 
the concert and assist her in getting it up, which 
he had kindly consented to do. 

Lord Blyth formed an honorary committee, 
including many notable names. Their Majesties 
the King and Queen, Queen Alexandra, and the 
whole of the Royal Family gave their gracious 

All the great artists who were asked by the 
committee to give their services at once com- 
plied. Madame Ai'no Ackte, who had only a 
short time before arrived in England, promised 
at once to sing ; also Miss Maggie Teyte, Mr. 
Ben Davies, Mr. Gregory Hast, and Mr. Robert 
Radford. Mischa Elman, who had only the 
previous day returned from America, said he 
would play. Mr. Harold Bauer came specially 
from Paris, and M. Jean Gerardy from Brussels. 
Miss Ellen Terry, Miss Cecilia Loftus, Mr. George 
Alexander, and Mr. Henry Ainley consented to 
recite, and the conductors were Messrs. F. A. 


Sewell, Adolph Mann, Percy Kahn, and Alfredo 
Barili, Madame Patti's nephew. With such a 
splendid array of distinguished artists the suc- 
cess of the concert was assured. Much to my 
regret, I was compelled by my doctor's orders 
to stop at home ; but I was not alone, as I had 
asked my old friend, William Kuhe, to come and 
take tea with me. He arrived, and we chatted 
pleasantly together, when presently my daugh- 
ter Georgina, who had gone to the concert, 
arrived in a taxi to tell me the news that Madame 
Patti had just finished her last song and that 
she was in wonderful voice. Her reception by 
the enormous audience, said my daughter, was 
something to be remembered ; they kept cheer- 
ing and applauding for at least five minutes, 
and Madame Patti was quite overcome by the 
ovation. She sang in the first part Mozart's 
"Voi che Sapete," with Lotti's " Pur Dicesti" 
as an encore, and in the second part Tosti's 
" Serenata," and for the encore " Home, Sweet 
Home." Many people had tears in their eyes, 
for nobody has ever sung this simple ballad with 
greater pathos than Madame Patti, and every 
syllable was distinctly heard by the vast as- 
sembly. Even the wife of the composer, Sir 
Henry Bishop, who sang it often to my accom- 
paniment many years ago, could not equal 
Patti in the singing of it. 

The Diva received numerous bouquets, and I 
sent her a large laurel wreath, with the dates 


1861 and 1911 on satin streamers, as a remem- 
brance of her first appearance at Covent Garden 
fifty years before. She has indeed had a won- 
derful career, and has kept her voice as fresh 
and beautiful as when she first carried Londor* 
by storm. 

William Kuhe had known many great artists 
in his time, and it was always a delight to me 
to hear him speak of the golden days of fifty or 
sixty years ago, telling me stories about them. 
He had heard Chopin play at a concert he gave 
in Eaton Place, when he (Chopin) was so weak 
that he had to be carried up into the drawing- 
room to the piano, and yet his playing was 
unique and unforgettable. He had also heard 
Thalberg, Hummel, Rubinstein, Von Bulow,, 
Madame Pleyel (whom I had heard frequently 
in 1852), and Moscheles, Mendelssohn, Madame 
Schumann, and many celebrities of bygone days. 
All these pianists I had heard play and knew 
them personally, with the exception of Men- 
delssohn, Chopin, and Hummel, who died before 
my time. Kuhe had also heard all the great 
singers, such as Jenny Lind, Sontag, Persiani, 
Patti, Grisi, Nilsson, Alboni, and a host of others, 
whom I had also heard and accompanied, and 
knew personally ; so we could both talk about 
these stars and musical matters in general. We 
exchanged our impressions, and it was a special 
pleasure to me to be with my old friend. When 
he was alive I think he and I and John Thomas.,, 


the harpist, and Alberto Randegger were the 
oldest musicians living in London. 

So anxious was Madame Patti to sing her best 
for me and not to disappoint the public that, 
as I heard afterwards, for weeks she had taken 
care of her voice and health, not even going 
out of doors, to avoid risking a cold, and when 
she arrived in London, although invited out to 
innumerable dinners, etc., she would not accept 
any invitations, nor would she attend any theatres 
until the concert was over. 

A striking incident occurred when Madame 
Tetrazzini left her seat to ascend the platform 
and present Madame Patti with a large bouquet 
of flowers. The two prima donnas embraced 
coram populo amid scenes of enthusiasm. 

It will be news to my readers to hear that 
Madame Patti always felt very nervous before 
going on the platform, and has often said to me : 
" Ganz, what shall I do ? I feel so dreadfully 
nervous ; my heart is palpitating terribly." I 
always tried to reassure her, but as soon as she 
got on the platform and began to sing she 
forgot everything. This was also the case with 
Sims Reeves, Edward Lloyd, Thalberg, and other 
great artists. 

Between the first and second parts Sir Herbert 
Tree addressed Madame Patti and the rest of 
the distinguished artists, and thanked them in 
my name for their valuable assistance, and said 
lie hoped I would soon be well again. 



He almost wished, he said, they had left 
the building with the sweet tones of that dear 
and wonderful lady ringing in their ears. But,, 
alas ! he had a duty to perform which must be 
done. He would be lacking in gratitude to 
Madame Patti if in the name of the committee 
he did not thank her for her generous thought 
in getting up this concert for her dear friend, 
Mr. Ganz, who, as they knew, was her faithful 
friend and accompanist. It was appropriate, 
for he had in his entire career done many acts of 
kindness for his comrades, and it was right 
that that great lady should show that act of 
friendship in which they joined that day. 

Madame Patti had just celebrated her fiftieth 
anniversary. On May 14th, 1861, Madame 
Patti made her first appearance in La Sonnam- 
bula in Covent Garden Theatre. It remained 
for him to thank the artists. 

" We all regret," he continued, " that Mr. 
Ganz, through ill-health, is sitting in * his sweet 
home ' with tears in his eyes, thinking of the 
friendship of Madame Patti to-day and the 
echoing shouts. He is not in the building, but 
we wish him many golden days to enjoy the 
golden proof of the esteem of the public and 
the esteem of his friends. It is a delight to- 
them to see the great audience assembled on 
this occasion." 

During the day I received no end of sym- 
pathetic letters from friends and relatives, and 
also many bouquets of beautiful flowers, one of 
which was sent by my sister, Marie Ganz. 
Madame Clara Butt and her husband, Mr* 


Kennerley Rumford, sent me a wire from South- 
ampton, and said how much they regretted not 
having been able to sing at my concert. Madame 
Kirkby Lunn also sent me her regrets at not 
being able to sing for me. 

As I close these pages I am filled with a feel- 
ing of gratitude for the kindly thought which 
prompted Madame Patti to offer me yet another 
and most striking testimony of her valued 
friendship and affection, and I am no less proud 
to remember the loyal artists who rallied round 
.her and all who helped to make the concert a 

In placing on record these memories of musical 
events that have happened during my long 
career it has been a great pleasure to me to 
recall the many kindnesses that I have always 
received from my brother and sister artists, 
which will remain amongst the happiest of my 



Adelina Valse. 

Aliens Vite ! Galop. 

En avant. Galop. 

Grande Valse brillante. 

Je me souviens. Melodic. 

La Ballerina. Mazurka. 

La Vivacite. Polka. 

Le Bonheur supreme. 

Paroles d'amour. Romance. 

La Voglia. Mazurka. 

Qui Vive. Galop ; 

Souvenez-vous ? Melodie chantante. 

Souvenir de Wrest. Mazurka. 

Souviens-toi ? Melodie chantante. 


Vision du passe. Reverie. 


Adelina Valse. 

Allons Vite ! Galop. 

La Vivacite. 

Qui Vive ! Galop. 

Souvenir de Wrest. Mazurka 

En avant. Galop. 




A Damsel Fair was singing. 

Camelia and Rose. 

Dear Bird of Winter. 

Forget me not. 

Faithful Echo. 

God save the Prince of Wales. 

I seek for thee in every Flower. 

Kindred Spirits. 

Love shall never die. 

Love hailed a little Maid. 

My Mother's Song. 

Since Yesterday. 

Sing, Birdie, sing. 

Sing, Sweet Bird. 

The Fisherman's Wife. 

The Mountain Flower. 

The Murmuring Sea. 

The Nightingale's Trill. 

When thou wilt be my Bride. 

When we went a-gleaning. 

When the Thrush sings. 



Ackte, Madame Aino, 327, 343 
Ainley, Mr. Henry, 343 
Albani, Madame, 92, 172 
d' Albert, Mr. Eugen, 330 
Alboni, Madame, 13 
Alexander, Sir George, 109, 343 
Alexandra (Queen), 29, 219, 278, 

305, 308 
Alvarez, M., 295 
Alverstone, Lord, 235 
Amelie of France (Queen), 46 
Ancona, Signor, 307 
Apponyi, Countess, 40 
Ardgowan, tenants' ball at, 45 ; 

grouse-shooting at, 46 
Arkwright, Mrs., 211 
Armstrong, Madame Nellie. See 


Arnoldson, Mile Sigrid, 225 
Arts Club, The, 283 
Ascherberg, Mr. Eugene, 236, 239 
Auer, Herr Leopold, 94, 133 
d'Aumale, Due and Duchesse, 40 

46, 49, 218 
Autograph Album, 310 

Bache, Mr. Walter, 184 
Balfe, Michael, 4, 7, 12, 27, 31, 32, 
63, 64, 65 

Miss (Duchesse de Frias), 65 
Ballet, The, 15 

Bancroft, Lady, her speech at the 
author's Jubilee Concert, 309 ; 
in Robertson's plays, 314 

Sir Squire, 313 
Barili, Ettore, 197 

Alfredo, 344 
Barnett, John Francis, 127 
Barrett, Dr. W. A., 139 

24 361 

Battenberg, Prince Henry of, 159 

Battistini, Signor, 237 

Bauer, Harold, 343 

Bazzini, Signor, 252 

" Beating of my own Heart, The," 


Beaufort, Duke of, 275 
Beecham, Mr. Thomas, 273, 334 
Beethoven, 36 
Benedict, Sir Julius, 80, 82, 211, 

256 et seq., 297, 301 

Mr. A. E., 260 
Beresford-Hope, Lady Mildred, 

Berlioz, Hector, 4, 26, 51, 53, 61, 

62, 138, 144, 147 
Bernhardt, Sarah, 60 
Bernstorff, Count and Countess, 


" Better Land, The," 95, 338 
Birch, Miss Charlotte Ann, 51 
Bishop, Sir Henry, 32, 344 
Blessington, Lady, 58 
Blyth, Lord, 307, 343 
Boito, 268, 269 
Berwick, Leonard, 272 
Bottesini, 35, 104 
Boucicault, Dion, 312 
Braddon, Miss (Mrs. Maxwell), 169 
Braham, Augustus, 39 

Charles, 18, 39 

Hamilton, 39 

John, 18, 34, 38, 39 
Brahms, 95, 131 
Bridge, Sir Frederick, 283 

" British Army Quadrilles," 37 
Bruch, Max, 134, 268, 269 
von Biilow, Dr. Hans, 128, 131, 
151, 193, 195 



Hill, Lady Arthur, 211 
Holbrooke, Mr. Joseph, 339 
Holland, Miss Fanny, 67 
Hollman, M. Joseph, 100, 329 
Houghton, Lord, 227 
Hueffer, Dr. Francis, 150, 287, 338 
Hullah, John, 66 

Irving, Sir Henry, 54, 293 

Jacoby, M., 221 

Jaell, Alfred, 131 

Janotha, Mile, 134 

Jansa, Herr Leopold, 35 

Jehin, M., 250 

Joachim, Herr, 65, 112, 115, 228 

Joran, Miss Pauline, 281 

Jubilee Concerts, the author's 

(1898 and 1908), 305 et seq., 

308 et seq, 
Jullien, Monsieur (Director at 

Drury Lane), 37, 51, 52 

Kahn, Percy, 344 

Kalkbrenner, M., 53 

Kean, Charles, 311 

Kemble, Miss Gertrude (Mrs. 

Santley), 50, 82 
Kendal, Mr. and Mrs., 314 
Kent, Duchess of, 6, 12 
Kingston, Mr. Beatty, 184 
Kirkby Lunn, Madame, 324, 348 
Kontski, Antoine de, 89 
Kreisler, Herr Fritz, 329, 337 
Kreuz, Mr. Emil, 307 
Kuhe, Mr. Wilhelm, 53, 307, 345 

Lablache, Signer, 8, 9, 13, 17, 244 
La Giselle, revival of, 16 
Lansdowne, Marchioness of, 202, 


de Lara, Mr. Isidore, 103 
Lathom, Lord, 260 
Lehmann, Liza, 107 
Leschetizky, Professor, 128, 269, 

270, 271 

Levy, Mr. J. M., 233 
Liebhart, Madame Louisa, 68, 83 
Lind, Jenny, 3, 5, 6, 7, 69, 70, 71, 

72, 73, 74, 75, 76, 136 
Lindsay, Col. Hon. C, H., 28, 29 

Liszt, The Abbe, 183 et seq. 
Liszt's Dante Symphony, 149, 150 
Lloyd, Mr. Edward, 39, 65, 93, 94, 

102, 106, 186, 284, 296, 307 
Loftus, Miss Cecilia, 343 
Lohengrin, 181 
Londesborough, Lady, 217 
" Lost Chord, The," 94 
Louis Philippe and his sons, 46, 49 
Lowe, Rt. Hon. Robert, 300 
Lucca, Pauline, 164 
Ludwig, King of Bavaria, 175, 179 
Lumley, Mr. Benjamin (Director 

of Her Majesty's), 4, 6, 17, 286 
de Lussan, Mile Zelie, 105, 121 
Lutheran Chapel (Savoy), 48 

Maas, Mr. Joseph, 102, 122 
MacCunn, Hamish, 122 
Macfarren, Sir G. A., 34, 227 
Mackenzie, Sir Morell, 54, 298 

Sir Alexander, 337 
Mackintosh of Mackintosh, Mrs., 


Mann, Adolph, 344 
Manns, Sir August, 119 
Mapleson, Colonel, J. H., 19, 20 
Marchesi, Mile Mathilde, 284 

Mile Blanche, 285 
Mario, Signor, 21, 22,^25 
Marlborough, Duchess of and her 

daughters, 167 
Mascagni, 136, 238, 239, 241 
Mary (Queen), 100, 343 
Mathews, Charles, 313 
Maude, Mr. Cyril, 307 
May brick, Michael (Stephen 

Adams), 102 
McCormack, John, 308 
Meister singer, Die, 181, 280 
Melba, Madame, 316 et seq., 280 
Mendelssohn, at Chester Place, 

55 ; not a Jew, 179 
Mengelberg, Herr, 272 
Menter, Madame Sophie, 144, 148 
Messent, Miss Sophie, 32, 214 
Meyerbeer, 138, 162, 164, 165 
Milan, 251 

MiUais, Sir John, 108 
Mir an, Miss, 51 
Monte Carlo, 250 



MonteCristo atDrury Lane (1848), 


Moore, Miss Mary, 307 
Morley, Viscount, 229 
Moscheles, Madame, 54 
Moszkowski, 270 
Munich, and Wagner's operas, 181 
Miinster, Prince, 228, 293 
" Musical Union Concerts," The, 

" My Pretty Jane," 33 

Naples, 243, 244 

Napoleon Bonaparte at Mainz, 2 
Napoleon III, 154, 180 
Napoleon, Prince Louis. See 

Prince Imperial 
New Meistersinger's Club, 281 
New Philharmonic Concerts ( 1 852 ), 

60, 61, 125 et seq. 
Ney-Biirde, Madame, 25 
Nicolini, Ernesto, 156 
Niemann, Herr, 173 
Nikisch, Herr Arthur, 335, 339 
Nikita, 105 
Nilsson, Madame Christine, 219, 


Nordica, Madame, 104, 182, 324 
Norman Neruda, Madame. See 

Novello, Madame Clara, 78, 227, 

Nuneham Park, 38, 46 

Offenbach, Jacques, 79 
O'Neill, Mr. Norman, 339 
Orchestral Concerts, 125 et seq. 
d'Orczy, Baron B6dog, 134 
Baroness Emma, 135 
d'Orteans, Duchesse, 218 
OrleansHouse,Twickenham,40, 47 
Orpheus, Gluck's, 148 
Osborne House, 159 
Osborne, Mr. Bernal, M.P., 299 

de Pachmann, M. Vladimir, 150 
Paderewski, 129, 269, 330 
Paganini, 104 
Parepa, Madame (wife of Carl 

Rosa), 35, 83, 84, 247, 287 
Paris, 154, 180, 187 

Parkinson, Miss Elizabeth, 108 
Parkyns, Lady, 211 
Parodi, Madame, 9 
Parry, Sir Hubert, 337 

Mr. John, 67 
Pas de Quatre, 15 
Pasta, Madame, 16 
Patey, Madame, 85, 86, 106 
Patti, Adelina, 70, 75, 86, 87, 187, 

191, 196 et seq., 221, 247, 280, 

294, 296, 305, 308, 309, 342, 

344, 348 

Piatti, Signer, 14, 70, 73, 74 
Piccolomini, Mile, 18, 19, 286 
Pitt, Mr. Percy, 325 
Plan9on, M., 109, 222 
Ponsonby, Sir Henry, 161 
Prince Consort, The, 12, 162 
Prince Imperial, 219 
Prince of Wales. See Edward 

VII (King) 

Princes Theatre, 55, 57 
Pringle, Lady Elizabeth, 168 
Promenade Concerts, 37 
Prussia, King of, 165 

Queen of, 90, 165 
Puzzi, Madame Giacinta, 286 
Pyne, Miss Louisa, 31, 63, 85, 257 

Susan, 31, 64 

Quilter, Mr. Roger, 339 

Rachel, Madame, 60 
Radford, Mr. Robert, 343 
Rampolla, Cardinal, 241 
Randegger, Signer Alberto, 85, 

307, 319, 248 

Ravogli, Giulia, 107, 148, 307 
Redeker, Madame, 131 
Reed, Mr. and Mrs. German, 66, 

67, 68, 69 
Reeves, Herbert Sims, 141, 142 

Sims, 8, 33, 39, 51, 65, 81, 142, 

Reichardt, Herr Alexander, 78, 

de Reszke, M. Jean, 130, 187, 279, 


- M. Edouard, 187, 279, 316 
de Reuter, Baron and Baroness, 




Richards, Brinsley, 28, 275 
Richter, Dr. Hans, 93, 171, 176, 

332 et seq. 

Rigby, Mr. Vernon, 86 
Ring des Nibelungen at Bayreuth, 

172 et seq. 

Ristori, Madame, 60, 242 
Robertson, Miss Agnes (Mrs. 

Boucicault), 312 
Romeo and Juliet, Berlioz's, 61, 

147 ; Gounod's, 187 
Ronald Landon, 336 
Ronalds, Mrs., 301 
Rosa, Carl, 120, 122, 246, 318 
Rosavella, Mile, 133 
Rosebery, Lord, 227 
Rosen thai, Moritz, 331 
Rossini, 157, 203 
de Rothschild, Mr. Alfred, 220, 294 

Baron and Baroness Meyer, 226 

Lord and Lady, 229 

Miss Hannah, 227 

Royal Academy of Music, 217, 299 

Royal Amateur Orchestral So- 
ciety, 211 

Roze, Mile Marie, 91, 121, 130, 

Rubinstein, Anton, 115, 131, 192 

Rumbold, Lady, 211 

Rumford, Mr. Kennerley, 326, 

Russell, Henry, 336 

St. Cecilia (Benedict's), 258 
Saint-Saens, M. Camille, 135, 143, 

264, 265 et seq. 

Sainton-Dolby, Madame, 82, 86 
Sainton, M., 82 
Salome (Massenet's opera), the 

origin of its title, 327 
Sammarco, Signer, 323 
Samson and Dalila, 265 
Santley, 32, 50, 82, 102, 106, 131, 

211, 257, 307 
Sarasate, Senor Pablo, 96, 133, 

Savoy, Lutheran chapel in the, 48 

Theatre, 263 
Saxe-Coburg-Gotha, Duke Ernest 

of, 224 
Schoell, Rev. Dr., 48 

Schumann, 57 

Madame Clara, 114, 115, 232 
Scott, Mr. Clement, 239, 243 

Mr. Cyril, 339 

Sembrich, Madame, 234, 280, 


Sessi, Mile Mathilde, 91 
Sgambati, Signor, 243 
Shakespeare, William, 95, 294 
Shaw-Stewart, Lady Octavia, 45 

Sir Michael, 12, 41, 42, 45 

Sherrington, Madame Lemmens, 


Silas, M. Edouard, 61, 261, 262 
" Sing, Birdie, sing," 263 
Sivori, Signor Camillo, 35, 245, 


Smart, Henry, 34 
Soldene, Miss Emily, 83 
Sontag, Henrietta, 9, 10, 13, 17 
Sonzogno, Signor, 253 
Spalding, Mr. Augustus, 213 
Stanford, Sir Charles Villiers, 338 
Staudigl (baritone), 56 
Sterling, Madame Antoinette, 94, 


Stevens, General, 251 
Strauss, Johann, 27 

Richard, 271 et seq. 
Sullivan, Sir Arthur, 67, 68, 94, 

119, 212, 262, 319 
Swansea, Patti at, 198 
Symphonie Fantastique, Berlioz's, 

144, 147, 152 

Tagliafico, Signora, 250 
Taglioni, 15 
Tamagno, Signor, 240 
Tamberlik, Signor, 25, 26 
Tamburlini, Signor, 254 
Tanrihauser, first performed in 

England, 137 ; in Paris, 180 ; 

in Munich, 181 
Targioni-Tozzetti, 241 
Ternina, 181 
Terry, Mr. (father of Ellen Terry), 


Mr. and Mrs. Edward, 281 

Miss Ellen, 343 
Tetrazzini, Madame, 320, 321, 346 
Teyte, Miss Maggie, 326, 343 



Thalberg, 13 

Thillon, Madame Anna, 30 

Thomas, M. Ainbroise, 190 

Madame, 190 

Goring, 121, 149 
Titchatsckek, 56 

Titiens, Madame Theresa, 19, 20, 


Tosti, Signer, 242 
Tracy, Miss Minnie, 251 
Traviata, 247 
Trebelli-Bettini, Madame, 87, 88, 

97, 131 

Trebelli, Signer, 37 
Tree, Sir Herbert, 346, 347 
Trial by Jury, 68 
Tristan and Isolde (Wagner's), 

Tschaikowsky, 268, 269 

Valleria, Alwina, 101, 102 
Vaughan-Williams, Dr., 339 
Venice, 253 
Verdi, 245 et seq. 
Vert, Mr. N., 187, 189 
Vestris, Madame, 313 
Vianesi, Signer, 251 
Victoria (Queen), 6, 9, 12, 41, 158, 


Villiers, Lady Clementina, 217 
Vincent, Miss Ruth, 326 
Violinists, 328 et seq. 
Vogl, Herr u. Frau, 173, 181 
Von Possart, Herr, 272 

Wagner, Frau Cosina, 177, 179, 

Mile Johanna, 17, 173 

Wagner, Richard, 17, 132, 165, 

170 et seg., 254 
" Wahnfried " (Wagner's home at 

Bayreuth), 177 et seq. 
Waldegrave, Frances, Counteaa 

of, 18, 38, 39, 40, 42, 43, 161 
Waldweben, Wagner's, 135 
Wallace, Vincent, 32 
Waller, Lewis, 308 
Ward, Madame Genevie've, 314 
- Mrs. Dudley, 217, 232 
Warwick, Countess of, 168, 276, 


Weber, 9, 34 

Weiss, Mr. Willoughby, 70, 74 
Weldon, Georgina, 185 
Wellington, Duke of, 6, 11 
Westminster, Marquis and Mar- 
chioness of, 45 
Westmorland, Earl of, 217 
White, Miss Maude Valerie, 102 
Wieniawski, M. Henri, 136 
Wigan, Alfred, 312 
Wilberforce (Bishop of Oxford), 


Wilhelmj, Herr, 94, 131, 177 
Windsor Castle, 159, 160, 277 
Wiseman, Cardinal, 218 
Wolff, M. Johannes, 105, 307 
Wood, Sir Henry, 107, 124, 273, 


Woodford, Mr. John, 212 
Wortham, Colonel, 283 
Wylde, Dr. Henry, 60, 125, 126, 

Wyndham, Sir Charles, 307 

Yeaye, M., 328 





ML Ganz, Wilhelm 

417 Memories of a musician