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The life of Emma Thursby 


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NEW YORK 1940 

Copyright 1940 by 





whose devotion for her 

illustrious sister 
has been noble and enduring 



Enma Cecilia Thursby (1845-1931) was one of the first 
American singers to achieve renown in Europe, and one 
of the few native New York women to gain distinction in 
music. Born in Williamsburgh, in what is now the Borough of 
Brooklyn, she resided there until 1883, and thereafter in New 
York City. Over the long life span, she and her family, and par 
ticularly her sister, Miss Ina Thursby, preserved diaries, let 
ters, programs, newspaper and periodical notices, medals, cer 
tificates of honor, photographs, manuscript music, and a wealth 
of other items relating to her career. These personal archives 
were fortunately not subject to the hazard of frequent moving 
that depletes so many collections. Indeed, they remained intact 
to the time of Emma Thursby's death, after which they were 
carefully preserved by her sister, and made available to the 
biographer, Richard McCandless Gipson, who has used them 
as the foundation of this book. 

Miss Ina Thursby recently presented to The New-York His- 


torical Society, in memory of Emma Cecilia Thursby, all these 
cherished memorabilia, which are important not only as a com 
plete record of a distinguished New York singer, but also as a 
record of musical America over a long period in its vital 
progress. A considerable portion of the memorabilia, amount 
ing to more than three thousand press notices, more than 
twelve hundred programs, and a large number of letters and 
miscellaneous items, has been correlated and catalogued by the 
author and mounted on all-rag boards which have been appro 
priately bound or boxed. The New-York Historical Society is 
grateful to Miss Ina Thursby for the gift of this notable collec 
tion, which will become a valuable source for musical research 
and for historical research relating to New York and Brooklyn. 

The very extent of the source material confronting the 
author was a challenge in selection and evaluation which he 
has met commendably. Rarely does one find a book so replete 
with steadily recurring facts of name and date and event, where 
the narrative still prevails strong, uninterrupted, and moving. 
Rarely does one find such effective use of quoted matter, for 
here the author makes the quoted matter tell the story rather 
than simply illustrate and confirm it. Though the book every 
where reflects Mr. Gipson's sympathetic approach to his sub 
ject, he has rightly left appraisal of Emma Thursby, the artist 
and the woman, to the criticisms and letters of her contempo 
raries, and finally to the reader. 

Because the Thursby memorabilia have become the prop 
erty of The New-York Historical Society, and because they re 
late so largely to the City of New York, the Society is pleased 
to sponsor this distinguished biography which is a fitting 
tribute to Emma Thursby. 






A Ithough the name and fame of Emma Thursby was an hon- 
JLjL ored tradition in the home of my youth, it was not until 
the summer of 1928 that I met her whom God had endowed so 
bountifully. No longer, at eighty-three, could she raise that 
voice for which the new world and the old had acclaimed her. 
Yet sweetness, and sympathy, and a courage that defied a great 
affliction the paralysis of her left side were crowns she 
wore with a nobility heightened by age and understanding. 
And all about her hung a spiritual fragrance. 

In the brief years that followed to her death in 1931, on the 
fourth of July, many were our meetings, and strong, I believe, 
the bond between us. Never did I think in those days, however, 
that I would be chosen to recount her life's story. When the 
opportunity did come to recount this story, I at first demurred, 
since I was neither musician nor critic of music. Yet no one 
could challenge my interest in music, or my devotion to Emma 
Thursby; and this it was that finally actuated me to write. 


Whatever my own sympathies and prejudices, I determined 
to tell the story in simple truth, objectively. Happy I was then, 
upon reading more than four thousand press notices concern 
ing Emma Thursby, to find that she was the subject of uni 
versal encomium in the many countries in which she sang, and 
that everywhere admiration for her art was bound together 
with a deep respect and admiration for her womanhood. 

Often I have used a contemporary press notice to further 
my narrative, whenever, in fact, I have thought that he who 
heard and saw was the best qualified to speak. How ephemeral 
was the human voice in that early day when there were no accu 
rate recording devices to preserve it for us! In using these 
notices I have endeavored to present both the public's and the 
critics' opinion of Emma Thursby. In my choice of letters I 
have endeavored, chiefly, to give the reader a more intimate 
picture of Emma Thursby, the woman. 

English translations of press notices are those of contem 
poraries of Emma Thursby, for I have deemed it well to use 
the phraseology of the day. Criticisms from French newspapers 
and journals I have quoted in the original language, for Paris 
was surely the vocal center of Emma Thursby' s universe, the 
city that gave her so many of her greatest triumphs. Illustra 
tions are from the Thursby Collection unless otherwise 

The plan of this book was changed many times as the work 
of research progressed. In the end I enjoyed the privilege of 
utilizing what is very likely the largest collection of memora 
bilia in existence relating to any one artist of the period. These 
memorabilia, numbering many thousands of items, were gath 
ered with industry and care and devotion over the years by Ina 
Love Thursby, who has presented them to The New-York His 
torical Society in memory of her sister, Emma Cecilia Thursby. 

However vast this collection of memorabilia, difficult and 
immeasurable, indeed, would have been my task, had I not 


received the inspiring cooperation of a friendly legion. 

For Ina Love Thursby my gratitude is profound. No de 
tailed record of Emma Thursby's life could have been written 
without her aid. And if I have in any way failed, mine is the 
guilt in the face of her unfaltering cooperation. 

To Mr. George A. Zabriskie, President of The New- York 
Historical Society, to its Officers and Trustees, especially to 
Dr. Fenwick Beekman, Mr. Arthur Sutherland, and Mr. Alex 
ander J. Wall of its committees on Library and Publications, 
and to the many members of the Society's staff I extend my 
deep appreciation, for they have given me every aid and 

It has been a great privilege for me to have the counsel and 
support of that earnest and able Director of the Society, Mr. 
Alexander J. Wall. At all times he has proven himself my 
valued critic and my sincere friend. 

To Miss Dorothy C. Barck, Editor of the Society, I acknowl 
edge a very large debt, which my gratitude can little pay. Her 
wide knowledge, her sound judgment, her imaginativeness; in 
all, her critical opinion, so liberally and earnestly given, has 
made my editorial bridges easy to cross, and the manifold tasks 
of preparing this book for publication a pleasurable experi 
ence I shall always remember. 

To Mr. Walter Brown I am indebted for generous assistance 
in assembling the Thursby Collection, and for his many and 
real efforts in bringing about realization of the form and shape 
which this book has taken. 

I earnestly appreciate the generous aid given me, in assem 
bling the Thursby Collection in the home of Ina Love 
Thursby, by Mrs. William C. Bryant, Mrs. Irving F. Morrow, 
Mr. Katuro Nishioi, and Miss Edith Thursby. 

The invaluable and frequent aid given me in matters relat 
ing to the period of Emma Thursby's teaching by Mrs. Percy 
F. Emory (Reba Cornett), deserves particular recognition and 


appreciation. For aid in this period also I am especially grate 
ful to Mrs. Wilbur Earp (Estelle Harris), and to Mrs. Eugenie 
Abbott, Mrs. Leila Troland Gardner, Mrs. Edward Rauscher 
(Josephine Schaffer), and Miss Blanche Yurka, alike pupils of 
Emma Thursby. 

I have benefited greatly from the many and informative 
letters, relating to the whole of Emma Thursby's life, that Mrs. 
John Comfort (Elizabeth Bennett), of San Francisco, Califor 
nia, has written to Ina Love Thursby. Mrs. Comfort, devoted 
cousin and contemporary of Emma Thursby, has never faltered 
in the long friendship. 

Mrs. Sidney Thursby, Mr. John Thursby, and other mem 
bers of the Thursby family, have kindly assisted me with the 
family research. Many were my telephone conversations with 
and real and genuine the aid of the late Mrs. Edward Leeds 
(Josie Thursby). Great is my regret that we never met, and 
that she can not now bear witness to my appreciation. 

It has been particularly gratifying to me to have the friendly 
interest of Dr. Walter Damrosch. 

During the whole period of my writing and during the per 
iod of decision upon the format the book should take, I was 
fortunate in the authoritative criticism and advice of my fel 
low writers, Mme Martha Dickinson Bianchi, Mr. and Mrs. 
John Russel Hastings, Mr. and Mrs. Richard B. Morris, Miss 
Mabel Poillon, and Mr. and Mrs. Charles Messer Stow. In no 
less a way am I indebted to others in the publishing fraternity: 
to Mr. Charles R. Marshall for his many valued suggestions; to 
Mr. Frederick T. Sutphen, who did so much from the earliest 
days of the book to advise me in matters of wide range. I will 
not forget the encouragement of Mr. A. James Putnam. 

It was my good fortune to know the friendship of three 
among Emma Thursby's contemporary artists: Miss Maud 
Morgan, the late Mme Emma Nevada, and Mrs. Charles Grant 
Shaffer (Dora Becker), whose recollections were of such impor- 


tance to me in picturing Emma Thursby, the artist and the 

I am grateful to Miss Elizabeth Bartlett, Miss Amelia Shap- 
leigh, and Miss Ann Vinton, who went to great effort in pro 
viding me with material relating to "Greenacre." 

It is a pleasure to me to acknowledge the valuable and kindly 
assistance in matters concerning the Bedford Avenue Re 
formed Church, of Miss Cecilia Watts, of Brooklyn, who, as a 
little girl, sang in the choir of that church when Emma 
Thursby was its soloist. 

The advice of my brother, Mr. Henry Clay Gipson, in photo 
graphic problems, I have relied upon. Miss Josephine Smith 
generously helped me in preparing my manuscript for the 
printer. Mr. John B. Watkins, Jr. spared neither time nor 
industry in his effort to assist me in matters relating to the 
format of this book. 

Mrs. Richard Mansfield is no longer here to accept the pro 
found gratitude I so often preferred in her lifetime for the 
kindly cooperation with which she answered my frequent re 
quests. The reader will recognize the debt I owe her for the 
right to publish the letters of her mother-in-law, Mme Ruders- 
dorff, and for her aid in matters relating to both Mme Ruders- 
dorff and Richard Mansfield. 

Mr. Earle Tilden Cann has done a workmanlike, scholarly 
job in compiling the index, for which I am sure the reader will 
feel the same respect that I feel. 

Mr. George Zahrobsky, my secretary, I commend for his 
excellent work in correlating the many items in the Thursby 
Collection, for his industry and dependability, and for his en 
during loyalty. 

Many are the newspapers referred to in the text, to which I 
am grateful; many of them, unfortunately, are no longer in 
existence. Currently, the Brooklyn Daily Eagle, the New York 
Times, and the New York Tribune have published advance 


notices of this book, which have caused many of their readers 
to write to me. For the same generosity, I am grateful to the 
Etude Music Magazine and its editor, Dr. James Francis 
Cooke; and to the Musical Courier, and its editor, Mr. Leonard 

Great among the good fortunes attending the inception of 
this biography was the hearty assistance of Mr. and Mrs. Mor 
timer Brewster Smith, the latter, granddaughter of Ole Bull 
and Sara Thorp Bull, the friend whom Emma Thursby most 
respected and admired. Mr. and Mrs. Smith loaned me more 
than one hundred and fifty letters written by Emma Thursby 
to Mrs. Bull, letters that proved of inestimable value. My visits 
with them in the old home of Ole Bull at Lysoen, Norway, and 
in Sandy Hook, Connecticut, were made profitable by their aid 
and happy by their kindness. 

The further ranks of those whose assistance I have appre 
ciated include: Miss Anne Allison; Miss C. Louise Avery; Mr. 
A. F. Bradley; Mr. Theodore Burrows; Mrs. Richard Udall 
Clark; Mr. Albert Davis; Mr. Percy F. Emory; Mr. Stephen G. 
Ensko; Mrs. Martha Flocken; Mrs. W. H. French; the Frick 
Art Museum; Sir Vivian Gabriel; Mr. Ira Glackens; Mr. 
Henry B. Hoffmann; Miss Cornelia Hubbard; Mr. Walter E. 
Ingles; Miss Mollie Kreutzer; Miss Margaret Lippencott; the 
Library of Congress; Miss Edna Huntington and Miss Alberta 
Pantle of the Long Island Historical Society; Miss Susan E. 
Lyman; the Reverend Andrew J. Meyer; the Music Depart 
ment of the New York Public Library; Mrs. Mary Cotton 
Beaudrie of the Music Library of the Circulation Department 
of the New York Public Library; Mr. Harold F. Nutzhorn; 
Mrs. Michael O'Rourke; Plymouth Church, of Brooklyn; Mr. 
and Mrs. Charilaus Raphael; Mr. and Mrs. Justus Ruperti; 
Dr. and Mrs. Benjamin Salzer; Mr. Joseph A. Salzman; Mr. 
William H. Seltsam; Miss Nell G. Shinn; the Soci6te des Con 
certs Colonne of Paris; Mr. Michael J. Stanton; Mrs. Charles 


P. Stewart; the Synod o New York o the Presbyterian Church; 
Mr. Carl Tollefsen; Trinity Church of New York; Mr. Alex 
ander J. Wall, Jr.; Mr. John T. Washbourn; Mrs. Evan 
Wentworth; and Mr. George Zoritch. 

No one could have received the aid of the many, that it has 
been my good fortune to receive in the preparation of this 
book, and fail to experience the feeling of thankfulness and 
humility which is mine. Without the able counsel, the active 
assistance, and the steadfast encouragement of one, Roger 
Wentworth, my friend, I frankly declare I could not have 
written the book at all. 


New York City 
October ist, 1940 


































INDEX 4x7 



Facing Page 

Emma Thursby, Paris, 1879. From a Painting by George P. A. 
Healy, in the Possession of Ina Love Thursby . . . Frontispiece 

John and Hannah Galbreath Thursby, Grandparents of Emma 
Thursby 10 

John and Jane Bennett Thursby, Parents of Emma Thursby, 1859 1 1 
John Barnes Thursby and his Daughter, Emma, about 1848 . . 18 

The Old Bushwick Reformed Dutch Church. From a Painting 
Presented to Emma Thursby in 1894, in the Possession of Ina 
Love Thursby 19 

Original Manuscript Program of Jenny Lind's Concert on Board 
the Steamship "Atlantic," August 1850 26 

Home of Hannah Galbreath Thursby, Bushwick, 1859 ... 27 

Allie, Emma, and Ina Thursby, 1859 34 

John Barnes Thursby, Father of Emma Thursby, London, 1859 . 35 


Facing Page 

Plymouth Church Quartette, 1869-1870: Henry Camp, Emma 
Thursby, John Zundel (Organist) , John Rockwood, Matilda 

Toedt 42 

Program Cover, Testimonial Concert to Emma Thursby in 

Plymouth Church, December 1869 43 

Lottie Smith, Allie Thursby, and Emma Thursby, 1872 ... 50 

Emma Thursby, 1875 51 

Emma Thursby, Milan, Italy, 1872 58 

Emma Thursby, Milan, Italy, 1872 58 

Achille Errani 59 

Emma Thursby, about 1874 66 

Program Cover, Complimentary Concert to Emma Thursby in 

the Bedford Avenue Reformed Dutch Church, May 1874 . . 67 

Emma Thursby, about 1875 74 

Emma Thursby, 1875 75 

Mme Erminia Rudersdorff 82 

Mme Erminia Rudersdorff 82 

Emma Thursby, 1876 83 

Program Cover, Concerts of Gilmore's Band, Salt Lake City, 1876 90 

Patrick Gilmore gi 

Theodore Thomas 91 

Letter from Erminia Rudersdorff to Emma Thursby, April 1876 98 

Emma Thursby, April 1876 99 

Emma Thursby, April 1876 99 

Emma Thursby, April 1876 99 

Announcement, Twain and Thursby Combination . . . , 106 

Emma Thursby with Tom Karl, S. Liebling, Mile Martinez, Allie 

Thursby, Harry White, Chicago, March 1877 107 


Facing Page 

Emma Thursby and Ole Bull, Chicago, March 1877 . . . .114 
Announcement, Telephone Concerts, New York, April 1877 . . 115 
Emma Thursby, Paris, April 1879 122 

Letter from George P. A. Healy to Emma Thursby, Paris, April 
1879 123 

Ambroise Thomas 130 

Letter from Ambroise Thomas to Emma Thursby, Paris, April 
1879 131 

Letter to Emma Thursby Autographed by the Members of the 
Association des Artistes Musiciens, Paris, May 1879 . . 138, 139 

Letter from Patrick Gilmore to Emma Thursby, November 1879 . 146 

Emma Thursby, 1880 147 

Dr. Leopold Damrosch with his Son, Walter, 1880 .... 154 

Program Cover, Thursby-Ole Bull Concert, New York, April 1880 155 
Music Cover of Emma Thursby Song, about 1880 . . . .170 

Maurice and Amalia Patti Strakosch 171 

Emma Thursby, Berlin, 1880 186 

Ina and Emma Thursby, Copenhagen, 1881 187 

Emma Thursby, Copenhagen, 1881 202 

Announcement of Emma Thursby's Concert for the Ole Bull 
Memorial Fund, Bergen, Norway, August 19, 1881 .... 203 

Manuscript of "Eit Syn" Inscribed to Emma Thursby by the 
Composer, Edvard Grieg, August 1881 218,219 

Edvard Grieg, 1881 234 

Ina and Emma Thursby, Odense, Denmark, October 1881 . .235 

Emma Thursby, Paris, 1881 250 

Emma Thursby, Paris, 1881 250 


Facing Page 

Program, Socidte des Concerts, Paris, 1881 251 

Medal of the Soctete des Concerts 266 

Medal of the Pasdeloup Concerts 266 

Emma Thursby, 1882 267 

Ina Love Thursby, San Francisco, 1883 282 

Allie Thursby ; .... 283 

John Thursby 283 

Lewis Thursby 283 

Emma Thursby with Mrs. Ole Bull, Olea Bull, Maurice Strakosch, 

and Ina Thursby, Bergen, Norway, 1884 298 

Emma Thursby, about 1884 299 

Cover of the Police Gazette Showing Emma Thursby with Dying 

Fireman, Eugene Blake, January 1886 314 

Emma Thursby, Jeannie Ovington, and Ina Thursby, Touring 

Switzerland, July 1887 315 

Emma Thursby, Salt Lake City, June 1891 33 

Emma Thursby Wearing the Tietjens-Rudersdorff Amulet, 1897 331 

Emma Thursby, about 1900 34 6 

Emma Thursby, 1900 347 

Ina and Emma Thursby, Kobe, Japan, 1903 362 

Emma Thursby, about 1907 3 6 3 

Emma Thursby in her Apartment in New York, about 1910 . . 378 

Emma Thursby in her Apartment in New York, February 1 927 . 379 




I Emma Thursby, when she was a child, had been asked who 
her ancestors were, she would surely have said, her grand 
parents, for to the average American child nothing existed 
beyond the barrier of seeing and hearing and touching, save 
God. Unlike her English cousins, whose heritage in the spread 
ing branches of the Thursby tree was a thing to be pondered 
next only to God and King, she was proud in the living family 
which surrounded her, rather than in the family in heaven she 
had never met. 

Indeed, she heeded little the mysteries of the Thursby an 
cestry until years later, in November, 1878, when she visited 
Brighton, England, for a concert engagement. Then initiation 
came suddenly and dramatically, the prospect of meeting on 
English soil her English kin awakening in her all the dormant 
ties of blood. Hardly had she reached her hotel when she was 
handed a note which had been addressed to her managers by 
one Reverend William Thursby: 


"6 Brunswick Terrace, Brighton. 

(PRIVATE) November jth, 1878. 

Messrs Cramer 

As my mother's and eldest sister's names were Emma 
Thursby, I am naturally anxious (if agreeable to 'Miss Emma 
Thursby/ the American Prima Donna) to make her acquain 
tance, and I am not a little curious to converse with her to 
learn from what, if any, Branch of our Old English Family she 
may be descended. 

Will you kindly convey this my wish to her, tho I fear her 
stay in Brighton will be very short. 

Could you tell me where she will take up her abode there? 

My daughter, who will no doubt be present at the Concert 
Nov. igth, would like to call with me on Miss Thursby pro 
vided she would like to make our acquaintance. 

Our name, I learn from the best authority, is one of the 
oldest in England. 

Archbishop Thursby built the greater part of York 

Yours truly, 
Rev. Wm. Thursby in my 84th year." 

The infirmities of age kept the Reverend William Thursby 
from the concert, but his eldest daughter and youngest son 
attended, and returned home with high praise for their Ameri 
can namesake, which, to the great satisfaction of the Reverend, 
was confirmed by the critics. The Brighton Standard reported 
in its columns: 

"Miss Emma Thursby is another brilliant example of the 
axiom that art is cosmopolitan, and we are happy to be able 
again to congratulate our American cousins on their discrimi 
nation and good fortune; as they can produce artistes we trust 
they will now set themselves to musical composition. The 

purity of tone and magnificent compass of our new soprano are 
quite exceptional, and the freshness of her voice augurs well 
for a triumphant career, while its flexibility and volume will 
make her a favorite in every concert-room; with consummate 
art, her style appeared to be the offspring of simplicity itself, 
and the most florid passages were delivered with ease and grace, 
but with resolution." 

High praise was this for the American stranger who had made 
her appearance with the widely-known Mme Trebelli, and the 
popular Riviere Orchestra. Emma Thursby might well have 
felt that she had honored the family name. 

The first meeting of the cousins Thursby took place at the 
home of the Reverend and Mrs. William Thursby, the day fol 
lowing the concert. Subsequent letters record it as the occasion 
of mutual rejoicing. To Emma Thursby it was to reveal that 
the Thursby family could trace its lineage to King Canute in 
the eleventh century, and thence back into the unrecorded 
history of Denmark. 

She was to learn that her own branch of the family was the 
one that had followed Prince William of Orange into Ireland. 
Of her more immediate family she was chagrined to confess 
that she knew little, save that her great-grandfather had come 
to America from Belfast, while Ireland was in rebellion, near 
the turn of the century; that he who had come seeking peace 
and fortune was to die young. Somewhat frantically she wrote 
her grandmother, Hannah Galbreath Thursby, in Brooklyn, 
for further information regarding her great-grandparent who 
had suddenly become such an important link with the past. 
But her only reward was the family tradition that great-grand 
parent Samuel Thursby lay buried in Trinity Churchyard in 
New York. 

Although her active interest in the Thursby ancestry sub 
sided, she always retained a family pride, never quite strong 

enough, however, to promote research that might have re 
vealed the early story of her American family, or at least sup 
plemented the terse record of her great-grandfather in the 
"Register of Burials" of Trinity Church: 

"July 2, 1803 Samuel Thosby Age 40 years" 

At the least, the Thursbys of England with their ancestral 
homes and great estates had stirred Emma Thursby's sense of 
tradition, and, no doubt, her pride in their wealth and influ 
ence. Yet she rejoiced most in the loyal friendship of the Rev 
erend and Mrs. William Thursby, and, in later years, of their 
son and daughter-fti-law, Sir John and Lady Thursby, and the 
other members of the family who had joined in welcoming her. 

Of the family of her maternal grandparents Bennett she had 
heard much, for they had lived through her young woman 
hood, well informed of their French and Dutch forebears. Her 
Bennett and Praa ancestry stretched back to the Huguenot set 
tlers of the seventeenth century who, driven from France by 
the revocation of the Edict of Nantes, had found refuge in 
America. From her mother's family, indeed, from the Praas, 
the Bennetts, and the Van Cotts> she inherited her deep-lying 
Brooklyn traditions, for they had come to Bushwick and its 
environs in the late seventeenth and early eighteenth centu 
ries, and by their industry and integrity earned a high respect. 

To her ancestor Pieter Praa, perhaps more than to any other, 
she owed her proudest Bushwick and Williamsburgh tradi 
tions. Praa had come from Dieppe, France, to America in 1659, 
settling in Brooklyn and dying in Cripplebush in 1 663. His son 
and namesake, Captain Peter Praa, carried on, giving to Bush 
wick, where he spent most of his life, an uncommon commun 
ity interest which endeared him to his neighbors. Through 
his wife, Maria Hey, he acquired large lands which had come 
to her by inheritance. To these he added by purchase, becom 
ing long before his death in 1740 the first citizen of the Eastern 
District of Brooklyn in point of both wealth and influence. 

Fearless yet compassionate, Captain Peter Praa left the imprint 
of a great pioneer upon Bushwick. 

Though the Praa name disappeared through the absence of 
a male child to Captain Praa, the Praa tradition survived in 
the Praa Society, which numbered in its membership the 
descendants of William Bennett, Reverend John Aronda, 
Daniel Bordet, Jan Meserole, David Provoost, and Wynant Van 
Zandt, who had married daughters of Captain Praa. As a de 
scendant of William Bennett and his wife, Anna Praa, Emma 
Thursby held relationship with many of the pioneering fami 
lies of Brooklyn. 

The circumstances surrounding the advent of a Thursby in 
Bushwick are a matter of conjecture, for the records of the fam 
ily at this period are fragmentary. Samuel Thursby (Thosby) 
who died in 1803, and his wife, Jane, had two children: Mary, 
who married Samuel Gibson of a family long friends of the 
Thursbys of Ireland; and John Thursby, grandfather of 
Emma. John first appears in the records of Bushwick in 1814 
in the military company of Captain Skillman, when volunteers 
were summoned to prepare for an expected attack by the Eng 
lish Fleet. New York and Brooklyn had thus far been spared 
an assault in the War of 1812, but word of the massing of the 
English Fleet off the Bermudas brought reminders of the vul 
nerability of Brooklyn by land in the Revolution. Hence the 
spring and summer of 1814 found volunteers from New York 
City, and even New Jersey, feverishly joining with the people 
of Brooklyn in the hasty construction of a series of land forti 
fications to forestall an attack which, however, never materi 
alized. In fact, the following December brought an end to the 
war, and members of the various military units returned to 
their peacetime occupations. 

Once we find John Thursby in Bushwick, it is not surprising 
to find him engaged in the making of rope, for Brooklyn had 
already become an important seat of the rope industry, which 

appears to have had its inception there at about the time of the 
Revolution. He had doubtless already served his apprentice 
ship locally before the termination of the War of 1812, for in 

1816 he was engaged in business, though in a small way, in his 
own right. Thereafter his rise in the industry was rapid. In 

1817 he married Hannah Galbreath, daughter of Robert Gal- 
breath, a smithy whose shop stood in the open fields at what 
is now a populous district of Brooklyn, the corner of Orange 
and Fulton streets. Galbreath was a Scotchman who had come 
to America as a young man, just before the Revolution in 
which he served as a patriot. His wife was Eliza Tucker, whose 
family had been identified with the Brooklyn cordage business 
since its beginnings. 

Frugal living and hard work became a necessity to John and 
Hannah Thursby, for they had a large family of nine children, 
six boys and three girls: Robert Galbreath, John Barnes, Lewis 
Pease, James Sidney, Elizabeth Jane Ann, Samuel Irving, Rod 
ney, Alice Mary (who died in infancy), and Mary Doughty. Yet 
the children were to prove an inspiration rather than a load 
stone to the father, who established himself prosperously in the 
cordage business, the possessor of a large ropewalk east of Bush- 
wick Avenue, running more than a thousand feet along the 
north side of Wyckoff Street (now Ten Eyck) from Waterbury 
Street to Newtown Creek. In the immediate vicinity, at the 
south east corner of Bushwick Avenue and Remsen Street 
(now Maujer) , he had acquired the residence of Domine 
Bassett, former pastor of the Old Bushwick Reformed Church 
not far away, who had died in 1825. Jh n Barnes Thursby, the 
second child, father of Emma Thursby, was born in 1820. Of 
his childhood little is known save that he was a bright young 
ster whose industry and enthusiasm for his work continually 
overtaxed his endurance. Trained in his father's ropewalk 
from an early age, he soon became proficient in the business 
and a dependable aid to his father. With six sons assisting at 


one time or another, the father's business became, indeed, the 
business of John Thursby 8c Sons. 

John Thursby, the senior, found rope-making a work of 
exacting hours, due to increasing competition from the numer 
ous walks that were springing up in the district. But he met 
circumstances with perseverance and resourcefulness, and still 
found time for the rapidly multiplying interests of his growing 
community. Meantime, the Old Bushwick Reformed Church 
became a guiding force in the lives of his children and a haven 
of comfort to his wife and himself. The Reverend Stephen 
Meeker, its pastor, beloved by a large congregation, always 
proved counsel and friend. However stalwart one might be, 
there was need of the sympathy and understanding of a wife 
and the loyalty and counsel of a friend in that day of rigorous 

The work of John Thursby became the work of building a 
home, a business, and a community. Of his success in all three 
there is ample evidence. He gave his children a good home and 
a good education. He gave his community, in its proud growth, 
a generous share of his time and energy. An index of what he 
achieved in his business lies in his rating in "The Wealthy Men 
And Women of Brooklyn And Williamsburgh" in 1847 with 
an estimated fortune of $25,000. 


The marriage of John Barnes Thursby and Jane Ann Ben 
nett, solemnized by Dr. Meeker in the Old Bushwick 
Reformed Church on December ist, 1842, united a family that 
had earned in the comparatively short period of its residence 
the respect of Bushwick, with one that had for many genera 
tions been a significant force in Bushwick's progress. Both 
families rejoiced, and this, indeed, was an auspicious omen for 
the children who were to be born of the union. 

John Barnes Thursby had become well established in busi 
ness before undertaking the responsibilities of a family. He 
was able to provide his wife with a comfortable house on 
Grand Street in the Williamsburgh section, where some of the 
furnishings he bought indicate a home of ample means: 

New York, July 1843 
Mr. Thursby 

Bot of Wm. S. Humphrys. 

i Dress Bureau $18.00 





















i Card Table 12.00 

i Wash Stand 5.00 

i Mahog Rocker 6.00 

i Cherry Table 2.50 

i Low Nurse Chair 1.12 

6 Rush Gilt Chairs 5.25 

6 Maple Chairs 5.25 

i Wash Stand i.oo 

1 Clock 4.00 

2 Tubs 2.25 

i Cord R Bedstead 3.50 

i Mahog Table 8.00 

i O.G. Glass 9.00 

i Mahogany Bedstead 17.00 

Cr. by Cash 15.00 


i Pine Table 1.50 

6 Mahogany Chairs 16.50 

Rec d - Pay 

Wm. S. Humphreys 

The first-born in the home of John and Jane Ann Thursby 
was a daughter, Alice, on September 6th, 1843. The second 
child, a girl, was born at four O'clock in the morning of Feb 
ruary 2 ist, 1 845, the day before George Washington, as she her 
self frequently avowed. Certainly without thought of her sub 
sequent career, but, nevertheless, quite appropriately, she was 
named after the patron saint of music, Cecilia, and baptized 
Emma Cecilia in the Old Bushwick Dutch Reformed Church 
on October 24th, 1847. The family was not complete, however, 
until the births of two sons: John on November 8th, 1846, and 


Lewis on September 30th, 1850, and a daughter Ina Love, 
always to be the baby and favorite, on January igth, 1855. 

The early childhood of Emma Thursby held many elements 
of good fortune: intelligent, well-to-do parents to guide her ed 
ucation and give her the advantages of private schools at a time 
when Williamsburgh was just establishing its public school 
system; grandparents to adore her and to spoil her; and a host 
of aunts and uncles and cousins to give her, altogether, that 
sense of family so important to a normal childhood. The very 
day and community in which she lived were factors in them 
selves propitious to any childhood: 1845, an d the United States 
at the threshold of an unparalleled period of progress in the 
arts and sciences, a period when the development of its vast 
natural resources was to place it among the great nations of 
the world; 1845, and Williamsburgh, a town of some eleven 
thousand inhabitants, proud, ambitious, a little scornful of its 
neighbor to the south, Brooklyn, a little jealous of its neighbor 
across the river, New York; withal, Williamsburgh, a town of 
plain-spoken, industrious, forthright pioneers ready to chal 
lenge all comers. 

Williamsburgh in 1845 no doubt felt self-sufficient. In the 
forty years of its existence as a community by name, and the 
five years of its existence as a township separate from Bushwick, 
its growth in population, buildings and industries had been 
great. It could boast three newspapers, a bank, and a fire de 
partment. It would even admit having experienced a real estate 
boom. Its three ferries to New York were doubtless more than 
it needed, but a ferry to New York was at least an alliance with 
greatness, and, indeed, might well tempt some New Yorkers to 
look Williamsburgh way. Though its roads were still unpaved 
and all too few, save those laid out on obsolete real estate maps 
of bygone days, it was beginning to see in Grand Street, lead 
ing to the East River, a thoroughfare lined with fine residences 
and substantial business houses. 


To be sure, Williamsburgh had not lifted its head so high 
without suffering all the growing pains of youth. One pain it 
would remember a long time. In 1834, it purchased two fire 
engines, which rapidly became as much things to boast about 
as engines of protection. But, alas, in 1838, one Abraham 
Meserole, having secured a judgment against the town and 
finding no ready assets, was reminded of the two highly-prized 
fire-engines. So one fateful day, when the all-unsuspecting fire- 
engines rushed out in the course of their duty, sheriff and 
Meserole were on hand to levy against them. Whereupon 
the humiliated town was obliged to rent them from owner 
Meserole for the next six years at $150 a year. 

Like any other child who grew up in a small town, Emma 
Thursby found an absorbing and stimulating interest in her 
family and her community, and, indeed, in all she surveyed. 
Yet, no doubt, beyond her family, the principal object of her 
interest was the Old Bushwick Reformed Church where the 
rites of baptism and marriage and death were solemnized, 
From precept as well as from natural curiosity, she had devel 
oped a real consciousness of all three before she had reached 
ten. Raising her high, clear voice in hymn as she stood in the 
congregation next her parents, she would pour forth from her 
heart a personal plea that all little children and all parents and 
all those who died be saved. Though, to be sure, salvation 
could not have appeared very likely even to a child, as stern 
Pastor Meeker admonished of the besetting sins of man. 

Sunday School could be taken more lightheartedly, however, 
for there were Christmas festivities and church suppers to com 
pensate for the long winter, Easter festivities as reward for the 
solemnity of Lent, and the ever-joyous picnics to give a glamour 
to spring and summer. Christmas and Easter offered color and 
pageantry and song, which could be enjoyed in themselves, 
though their spiritual significance surely heightened them. 
But, no doubt at all, picnics stood on a pedestal without rivals. 

And church suppers were really worth growing up for. 

Whether by fire and brimstone or by picnics and suppers, 
Emma Thursby early learned a keen awareness of God. 
Despite the pulpit's regular Sunday exhortations to sinners in 
doleful rhetoric, her God, she was confident, dispensed only 
good things. Nor was she at all interested in the Devil, for the 
iniquities under his jurisdiction were actually quite beyond 
the reach of her imagination. 

Emma Thursby was fortunate in living at a time when child 
hood fancies and desires never wandered far from attainment 
through patience and industry. When a very young girl, she 
certainly never desired anything that her devotion and affec 
tion for her parents did not earn. As the years brought in 
creased sophistication with its increased range of desires, still 
there were few desires that could not be fulfilled by the stir 
ring of her ambition and the work of her hands. A new doll or 
a new dress, or a treasure in candy or in cookies was always 
within reach. She knew well where the best griddle cakes and 
the best molasses cake were to be found, and to miss the day 
of their making could be excused only by poor calculation. 
She knew, too, that her numerous relatives of all ranks were 
ever receptive to any plaintive inquiry about some delicacy or 
sweetmeat. An excursion to Rockaway Beach or a trip to New 
York did require planned persuasion, but they, too, could be 
earned. Indeed, childhood taught her, in terms she could easily 
understand, that kindness and industry and resourcefulness 
were the unfailing currency of her heart's desire. 

Yet little Emma discovered by the time she was four years 
old that she possessed in her own right that which could be 
depended upon for its open-sesame qualities, a delicate, 
bird like voice. Perhaps she did not understand its beauty, but 
she did understand the pleasure it gave her, and she did under 
stand the miracles it wrought. Friends and neighbors were for 
ever pleading to hear her sing, while her mother and father 

were forever demurring, pleading that Emma was too young 
to sing, that she should not sing in any event until her voice 
was properly trained. Neither side won a complete victory, 
though her father persevered, for she did sing occasionally to 
the delight of a few intimates, and she did at least find freedom 
and a certain abandon for her voice in church and Sunday 

When Emma was about five she first sang in concert. It 
was in the early winter that the music committee of the Old 
Bushwick Reformed Church met at the home of one of its 
members, John Barnes Thursby, to discuss the matter of a 
concert proposed for the raising of funds for a new organ. 
After several artists had been agreed upon, a vacancy still 
appearing, David Gulick, director of music at the church, sug 
gested that it be filled by the diminutive Emma whose voice 
was well known to the committee. Her father objected strongly, 
saying that she was far too young to appear in a concert with 
adult artists, and furthermore, knew no songs to sing. But pre 
vailed upon by his friends who insisted that Emma would be 
a great attraction, and assured by Gulick that he would train 
Emma for the occasion, John Thursby finally agreed. The 
singing lessons began the following day, and, as David B. 
Gulick later wrote in the Ladies Home-Journal of November, 

"She was not only very tractable and attentive, but enthu 
siastic. Her memory was very acute, so that I scarcely had occa 
sion to repeat the instruction of the day previous. She went at 
her study with energy and determination to succeed. She com 
mitted the words to memory of the songs I selected for her, as 
well as the melodies before the expiration of the first week, and 
by the time the concert took place she was perfect in word and 

"Finally the night of the concert came. It was Friday eve- 

ning, January 5th, 185- [sic]. The church was filled, the 
various performers were all on time, and everybody seemed in 
the best of spirits. Emma was attended by her mother and a 
servant. My young pupil seemed in great glee and was the pet 
of everybody. She was lively as a cricket, and evinced great 
interest in the success of the adults who preceded her. The con 
cert began; two of the numbers were encored, and then came 
Emma's first number, 'Hope, Our Guiding Star/ I left the plat 
form to go down to the lecture room and bring the little lady 
up. The stairway was a very narrow and steep one, and when 
I spoke to Emma and told her it was her turn now to go on, she 
evinced some nervousness and said 'she couldn't climb up those 
high stairs/ 

" 'Never mind, dear/ said 1, 1 will carry you up/ I took her 
on my arm; she might have weighed sixty pounds, but I doubt 
if she weighed any more. I asked her if she was afraid to go 
before the audience. She hesitated as soon as we arrived at 
the entrance of the platform. Tremblingly she stood in the 

" 'Yes, I'm afraid/ she said to me. 

" 'Nonsense/ I replied. 'Come, be a brave girl, give me your 
hand and come along/ 

"She looked at me almost imploringly, evidently afraid. I 
assured her that she had nothing to fear, and then she gave me 
her little hand and we advanced to the front of the platform, 
where I left her receiving the plaudits of her friends, while I 
went to the piano and immediately commenced the introduc 
tion to her song. I had played it over, and finding Emma was 
not ready to commence, I began a short improvisation, leading 
again to the subject. By this time, to my surprise, Emma was 
standing by my side. I spoke to her in an undertone encourag 
ingly. She whispered, I'm afraid/ I kept on playing the intro 
duction, and at last she said, 'I'm ready/ 

"Retaining her position, she commenced her song, gradu- 


ally walking to the front. The applause that followed was over 
whelming, and she was compelled to repeat one verse. When 
I took her down to the lecture room she was showered with 
compliments from the singers who had preceded her. Her sec 
ond number was 'The Star of Love/ which she sang with great 

Emma's debut served to break the bonds of an excessive 
timidity, but, more than that, it served to concentrate her 
interest upon singing. From that night, early though her years, 
she had a very definite purpose in life: she would be a singer. 

When approaching six, she had an experience which further 
confirmed her singing ambitions. But what child or grown-up 
did not become singing-conscious over the forthcoming arrival 
on September ist, 1850, of the steamer "Atlantic," bringing to 
America the Barnum-heralded, "Swedish Nightingale/' Jenny 
Lind? This breath-taking event, to which Emma's father had 
promised to take her, was to her at least of threefold interest, 
quite outweighing, indeed, any three events in her young life. 
She was to see Jenny Lind whose voice, she had doubtless been 
told, would put birds to shame and sinners to rout, a miracle 
voice without equal. Then she would see the great steamship 
"Atlantic" that had won the "blue ribbon" of the Atlantic for 
America, to Emma a ship that seemed a fable with all of its 
2800 gross tons, a city on the water. Could that be? She would 
see for herself! But her third interest, which was her first in 
heart, was in one of Jenny Lind's fellow passengers. She knew 
that this old and true friend, who had gone abroad on a busi 
ness trip a few months before, was sure to return laden with a 
gift for her. Small wonder then that Emma Thursby was most 
interested of all in Jenny Lind's fellow passenger, her own 
grandfather, John Thursby. 

Little Emma, perched high on her father's shoulders, did 
attend the celebration of Jenny Lind's arrival, and she did see 


Jenny Lind. Yet most important it proved for that hectic Sun 
day afternoon to rescue one John Thursby and escape from 
tens of thousands of the curious bent upon seeing the fabulous 
Jenny at all cost. Canal Street had never seen such a huge 
swarming crowd. "When the vessel neared her berth at Canal 
Street, the wharf, the houses, the ships, and the lamp posts 
were covered with human beings/ 7 reported the New York 
Evening Post. To Emma the great day was a thrill and a scare 
she would never forget. Glad, indeed, she was to retreat to 
peaceful Williamsburgh where she might have a good share of 
her grandfather, and where she did hear, of course, of the new 
wonder-being, Jenny Lind. And when her grandfather told of 
meeting the great lady, and showed the program of her con 
cert on board ship for the benefit of the Seaman's Fund, it 
would have been difficult to point to the prouder, grandfather 
or granddaughter. 

When John Thursby, the following November, received an 
invitation to a testimonial dinner in honor of the captain of 
the "Atlantic," to be attended by Jenny Lind, little Emma's 
pride knew no bounds. Her own grandfather to be included in 
the precious Lind circle! 

"New York Nov. i8th, 1850. 

Mr John Thursby 
Dr Sir: 

On monday in the 5>5th inst the service of Plate &c will be 
presented to Capt. West after the ceremony a Dinner 8cc. 

Miss Lind and suite will be present and she has expressed a 
desire to see all of her fellow passengers present on that occa 
sionwe hope you will avail the opportunity 

Please advise James M. Kemp No. 48 Water St. or myself 
No. 170 Water St if you will be present as we wish to know in 


From a daguerreotype "by Bensse & Co., New York 

order to make the arrangements for the requisite number o 
seats 8cc. 

Tickets to Subscribers $5 
Resply Yours See 

A. W. Eastman 


The Thursby family followed the American triumphs of 
Jenny Lind with eagerness, but, for that matter, so did most 
Americans. Yet those, who even in some fleeting way had met 
her face to face, experienced a particular pride that was height 
ened, literally day by day, as all parts of America vied to honor 
a great voice and a noble woman. 

Certainly the Jenny Lind example made many an American 
family hope that one of its children would emerge to emulate 
her, for Jenny Lind, all the grotesque Barnum publicity not 
withstanding, did much to break down the almost fanatical 
belief that those who performed upon the stage were lacking 
in respectability. Doubtless John Barnes Thursby secretly 
hoped that his daughter would some day prove an American 
Nightingale. To be sure, his particular solicitude over Emma's 
musical education began with the advent of Jenny Lind. 


Tittle Emma often wandered about the family ropewalk, 
I / marvelling in the intricate twistings and turnings of the 
machines that were already gradually replacing man power. 
She had been fortunate in being born into a family that had 
pioneered in a prosperous industry. Already at her birth a 
substantial fortune had been amassed by the family Thursby, 
and industry and opportunity promised much more. 

Business was so good that her grandfather went abroad, in 
the spring of 1850, in search for the latest in European ideas 
to introduce in his ropewalk. The increased demand for cord 
age in America had already taxed the raw material market, so 
he was also in hope of finding new sources of supply. When his 
son John wrote him at the end of July, 1850, there is a note of 
solicitude that suggests the European voyage had as well been 
undertaken in search of health: "I hope that your health and 
strength permitting you will be well pleased enough with your 
journey thus far to continue it to Russia, for I have no doubt 


that you would be enabled to see or find something there that 
would be of advantage to us. Mother, Elizabeth and all the rest 
send their love to you and hope to see you back safe and with 
health greatly improved." 

But poor health had given its warning and was not to be 
easily appeased. Europe and the sea voyage proved little 
restorative. Homecoming, in the memorable voyage of the 
"Atlantic/' brought the happiness of reunion, but business 
troubles soon set in, destroying all hope for much needed peace 
of mind. His son John, who had taken over the active manage 
ment of the business, might straighten out these difficulties as 
he had straightened out other and worse difficulties before, pro 
vided he himself was in good health. Yet this was hoping for too 
much since John Barnes Thursby had never been robust. Some 
indication of his uncertain health can be gained from his letter 
T\nritten in Buffalo, September 6, 1852: 

"I am now here having come through on Saturday. I shall 

stop at Syracuse, Oswego, Kingston etc. as I go back I trust 

that everything is going on right in the business and also in the 
law matters and that the folks are all in good health. I feel quite 
smart again, since I wrote you at Albany. I will have to stop a 
day at Troy again on my way back to get some money and also 
some orders." 

John's optimism over the business and his own health had 
been prompted, no doubt, by a desire to reassure his father, 
whose own declining health had now become a matter of alarm 
to the whole family. However, any hope that may have been 
held for the father's recovery was lost during the long winter 
months. Spring, often so bountiful, was awaited to bring some 
new store of strength, but it failed, and John Thursby died the 
twenty-third of April, 1853, in his fifty-sixth year. 

The passing of the head of the house meant a weakening in 
the family bulwarks, that Emma, then eight, could not compre- 


hend. She did feel an emptiness where once Grandpa Thursby 
had been. The knee on which she had sat listening to wonder 
ful stories of far-away places; the beard she had often stroked; 
the hand she had proudly held on her way to church; the heart 
that had given her so many good things; all these were gone, 
she knew well. Grandma was, of course, still there, but for the 
time, at least, Grandpa's house seemed very, very empty. 

Empty it was, indeed, as we find it not many days later, in 
its inventoried silence. We peek with Emma into the "North 
Front Parlor," the sanctum reserved for honored guests, and 
not for little girls with dusty shoes. The blinds are closed, for 
what front parlor would not have closed blinds to keep out the 
dust and the damaging sun? This is what we see: "A mahogany 
hair seat sofa, a mahogany hair seat rocker, and twelve mahog 
any hair seat chairs; a mahogany claw foot center table, a small 
rosewood table, and one rosewood fancy French table; one cov 
ered oak French bookcase; a gilt frame looking glass, one pair 
of green window blinds; a bronzed candelabra; two images on 
the bookcase and one set of mantle ornaments; a table cover 
and a carpet on the floor.'' What elegance! thought Emma. 

But let us go with Emma to the "Living Parlor" to which 
she had always had ready entree, for here we find things she 
knew very well: "A marble-top center table and a large carved 
oak French whatnot; a large covered oak French square table 
and a mahogany secretary bureau; an eight square table, a 
mahogany secretary bureau and a rosewood work table; an oil 
painting, gilt framed, of George Washington; a French mantle 
clock, a pair of large silver plated candle sticks and a pair of 
silver stone flower vases; three miniature whatnots; a snuffer 
and tray; a hearth rug and a carpet on the floor." Second home 
for Emma! So we shall not go farther. 

Perhaps John Barnes Thursby realized that there could be 
no repairing the breach in the business left by the death of his 
father, but he nevertheless attacked new problems with a vigor 


that taxed his energy to the utmost. He was concerned over his 
business and the responsibility of his family, but hope and 
optimism seemed ever at his rescue. When two years later, in 
February, 1855, a daughter, Ina Love, was born, he and his 
wife believed that here was a harbinger of better days. With a 
redoubling of hopes and efforts, life in the Thursby family 
centered around baby Ina. 

Meantime the other children were attending private schools. 
Alice and Emma were attending Miss Duryee's in Flatbush, 
one of the best primary schools in Brooklyn for those who 
could afford private instruction. Though no account of their 
scholarship survives, the record of their interest in music 
speaks in the programs of school concerts: 


To Be Performed 
By a Few Young Ladies 


Miss E. N. Duryee's School, 

Flatbush, L. I. 

April is a , 1855 

Ostrich Feather Gallop -Duett .... f^*? 9 

r ) Miss Van Dyke 

Diomed Gallop Miss Haynes 

Josephine Schottish Miss E. C. Thursby 

^ ( Miss Duryee 

Creole Waltz -Duett \MissMoore 

Party Cotillion Miss Van Dyke 

Row the Boat, Row Song Miss C. Remsen 

Signal March Miss A. M. Thursby 

Old Dog Tray Quickstep Miss Lott 

^ (The Misses A.M. 

Palo Alto Quickstep - Duett . . . . j md R Q Thur$by 

Row, Row Your Boat Chorus 

Rochester Schottish Miss E. V. B. Vanderveer 

The Last Good Night Song .... The Misses Thursby 

i . i n it -m. ( Miss Lott 

Frederick Polka Duett ..... < -,. A ,, , , 

/ Mm ^4. M. Thursby 

Sounds from the Valley Waltz .... Miss C. Remsen 
Good News from Home Song ...... Chorus 

( Miss C. Remsen 
Syracuse Polka - Duett ...... Mfa 

The Old Homestead Song ........ Chorus 

Aria Alia Scozzese ...... Mm S. T. Cortelyou 

Chamelion Waltz ........ Miss Bergen 

C Miss C. Remsen 
Les Soirees De Dance -Duett ..... \Miss Bergen 

Parting Song ....... All the Music Scholars 

Again, in the fall of the same year, Emma and her sister Alice 
took part, this time in a program of more grown-up selections: 

To Be 

Performed By Young Ladies 


Miss E. N. Duryee's School, 
Flatbush, L. L, October n tb , 1855. 

_ C Miss E. Conway 

Blue Bell Polka - Duett ...... | M ^ R R ^ 

Hazel Dell -Song ....... Miss M.S. Lott 

Few Days Var ....... Miss E. C. Thursby 

, , ^ C Miss E. M. Bergen 

Flower of America - Waltz - Duett . . j Mfa } y Mar * tmse 

^ C Miss E. U. White 

Brother and Sister - Duett . . - . j Mfaj G ^ D||ry tftf 

Jeanie, with the Light Brown Hair Song . . Miss E. M. Bergen 
Pic-Nic Polka ......... Miss A. Lott 

^ , _ f Mm M. A. Wade 

Jordan, a Hard Road to Travel - Duett . j M ^ ^ M ^^^^ 

Hazel Dell Var ....... Miss A.M. Thursby 

I Paddle my own Canoe ........ Chorus 

^ ( Mm M. E. Moore 

Lilly Dale -Duett ...... \MissE.Thursby 

II Trovatore Schottisch ..... Miss C. Remsen 

Music Murmers- Song MissC.Remsen 

Beethoven Waltz -Duett .... The Misses Thursby 

Love Star Schottisch - Duett (MissC.Remsen 


Happy Land - Song The Misses Thursby 

Bachelors' Polka - Var Miss S. I. Cortelyou 

I, Puritan! Miss E.M. Bergen 

Sweet Kate of Norton Vale Chorus 

La Fille de Regiment Miss E. Story 

AirTyroleen (Miss KM. Bergen 

1 Miss C. Remsen 
When the Swallows Homeward Fly Parting Song 

Here, at least, was a beginning in the musical education of 
Emma and Alice. Yet John and Jane Thursby were not con 
tent, so they began to search for a school where their daughters 
might find more complete opportunity for a general as well as 
a musical education. Their attention was called to the Moravian 
Seminary, at Bethlehem, in Pennsylvania. But there were ob 
stacles that prevented immediate decision. John Thursby's 
business cares were great, his health none too good, and he had 
just undertaken the responsibilities of public office as the first 
Supervisor of the i5th District of Williamsburgh upon its con 
solidation with the City of Brooklyn. Furthermore, Emma's 
delicate health suggested the postponement of any decision for 
the time being. Meanwhile, Emma found herself the center of 
the family's attention, getting a full share of her mother's indis 
pensable cure-all: 

For Strengthening. 

2 oz. Thoroughwort i oz. Chamomile Flowers 

2 oz. Wild Cherry Bark i oz. Cubeb Berries 

y 2 oz. Snake Root 2 oz. White Pine Bark 

i oz. Anise Seed i Ib. Figs 

To be boiled down to 3 Pints, 
put in one quart of Port Wine, 

1/2 lb- of White sugar. 
Take one half a wine glass, 3 times a day. 

Emma did gain strength whether by virtue of recipe or 
nature. The summer of 1857 came round, and her parents were 
faced with prompt decision, since the girls had definitely out 
grown Miss Duryee's School. Accordingly, the Moravian Semi 
nary was decided upon, and John Thursby took his two daugh 
ters to Bethlehem in September and entered them in the school. 
Here was a place, John and Jane Thursby believed, where a 
long and noble tradition guaranteed a sound academic educa 
tion, and a training in music that could not be surpassed in, 
any other school. But more than that, Moravian would teach 
their daughters the manners and virtues of exemplary young 
womanhood, and instruct them to be God-respecting and God 

Emma soon found that the days at Moravian were happy 
ones, though filled with a seriousness and solemnity of purpose 
she had not known before. The discipline and routine, at first 
distasteful, gradually moulded her until she no longer found 
them distasteful. Indeed, before the school year came to an 
end, she had become a happy contributor to the seminary life, 
Her music study under the supervision of Brother Sylvester 
Wolle, the principal, and Brother Francis Wolle, his assistant, 
became a thing of pleasure to her, and one of satisfaction to the 
school that recognized her great gifts. Her homecoming for the 
summer vacation of 1858 brought her family both the joy of 
reunion and the assurance of a year well spent. 

Emma and Alice made the acquaintance of Handel and 
Hayden, of Mozart and Beethoven, of Rossini and Mendels 
sohn. The splendid music department at the school, which had 
been literally imported from Germany, was not wanting in its 
appreciation of the German composers, especially those whose 
compositions were suitable for church use. Few, indeed, were 
the girls at Moravian who failed to learn both an appreciation 
and a love of the great oratorios. So marked was the enthusiasm 
of the Thursby sisters for their music that their father wrote 













Brother Wolle at Christinas time, asking that they be given 
special instruction by Mrs. Weiss, the capable and well-known 
directress of vocal music. Of Emma's especial talent, Brother 
Francis Wolle was well aware when he wrote in her "Album": 

"To Emma 

'Tis God that taught the lark, from earth upspringing, 

To warble forth his matin strain; 

And He, the laden bee, when homeward winging 

its tuneful flight, doth not disdain 
To hear the song of praise. 
There is not a voice in Nature, but is telling 

(If we will hear that voice aright.) 
How much, when human hearts with love are swelling 
His blessed bosom hath delight 
In our rejoicing lays. 
His love, that never slumbers, 
Gave thee thy tuneful numbers 
Humbly Give God the praise. 

The admonition of 

Yours 8cc 

Bethlehem, Pa. in Sincerity 

March jth 1859. Francis Wolle*' 

However zealously the one hundred fifty or more girls at 
the Seminary approached the duty of improvement of mind 
and body through earnest application and healthful recreation, 
they were ever aware that "the affections of the heart are 
sought to be interested in the important concerns of religion/' 
"Such was the aim of the founders of this venerable Institution. 
They regarded worldly wisdom as vastly inferior in value to a 
knowledge of divine things/' Apparently there was no occasion 
for disputing the founders, so Emma and her classmates no 
doubt took their full share of the important concerns of re 
ligion. Though the results may well have proven satisfactory, 


the approach would seem to have been somewhat lugubrious, 
making of religion an onerous duty rather than a joyous 

Yet, when Brother Sylvester Wolle wrote in Emma's "Al 
bum/* he did demonstrate that his practice was a far less aus 
tere thing than that of the venerable founders: 

"Many are the beautiful pictures that have been drawn of 
Friendship by moralists, sentimentalists 8c poets. The reality 
of friendship, however, is only found where Divine grace has 
melted away natural selfishness into disinterested love. But no 
friend is worthy of our unlimited confidence except Jesus. 
'His is an unchanging love; 
Higher than the heights above; 
Deeper than the depths beneath; 
Firm & faithful, strong as death/ 

c o w P E R. 

He loveth his own at all times, even unto death. 
His love is unaltered even by the most undutiful returns. 
He is the friend and Brother that we need; never nearer to us 
than when in our lowest depths of trouble; 8c though now our 
'glorified' Brother in Heaven, yet still 'touched with the feel 
ing "of our infirmities'; still 'afflicted in all our afflictions/ Is. 
63.9. Here is sympathy here is indeed a 'Brother born for 

"Trust Him at all times 8c under all circumstances. You will 
then be possessed of the happy art of living beyond the reach 
of all disappointment. 

Bethlehem, Affectionately Yours 

April jth 1859. Sylvester Wolle" 

Nothing austere about this! Indeed, it was simple and sound 
counsel, and must have seemed so to the fourteen-year-old 
Emma. Doubtless she tucked it away for future need, not realiz 
ing how soon the need would be upon her. Spring was at hand, 


bringing to the Bethlehem hills color and song, and to the 
Seminary halls release from the confinement of winter; bring 
ing to every child escape and freedom. Plans for the May Fes 
tival kindled enthusiasms that vied with those for Commence 
ment. Emma had been chosen May Queen for her class, and the 
Queen was very busy when she heard from her father: 

"At Home Apl iS th 

My Dear Daughter 

As I promised you in Alice's letter this afternoon I now take 
my pen in hand to write you a few lines. 

We rec d your last letter and notice by it that the Girls of your 
room have made choice of a certain young Miss for their 'May 
Queen/ Girls take queer notions sometimes, but I think, in 
this case they showed pretty good judgment. They might have 
looked farther and done worse. I have no doubt the chosen 
'Queen' will reign with all due dignity, befitting the occasion 
and at the end, retire from her Throne with the grateful re 
gards and kindest wishes of all her most faithful subjects. I am 
very glad to hear of your promotions. It looks as though you 
were making some good progress. I just received a few days 
since your Report from Mr. Wolle, and enclose it to you. You 
can there see what your Teachers say of you. I do not think it 
foots up quite so many g s as your last one, however it is very 

I am now very much afraid that Alice will not be able to get 
to school this Quarter at all, so you will have to try and recon 
cile yourself to stay without her. Annie Conselyea sang the 
'Song of the Lark' at our concert, fair, nothing to boast of. I 
will get it and send to you. 

Mother will get your slippers and send to you as soon as we 
find you do not want anything else. Don't you want your White 
Dress for your Queenly Robe? 

Mr. Bennet thinks he will go to Bethlehem next Saturday 


and stay over Sunday. If so you can send any word you may 
have by him. 

I am very anxious to see you again, (it seems so long since I 
did) and will come out soon, if I can. 

I think my cold is now getting better. Mother and all the rest 
are well and send their love and Kisses to you. 

The Great Water Celebration comes off in Brooklyn next 
Wednesday week. And it will be either a very Grand display 
or a failure. Great preparation is making for it. It is to cele 
brate the introduction of the Nassau or Ridgewood Water in 
the City. We shall probably turn out a Truck or two of Rope 
8cc to help make a show. 

I will have to close here. Hoping this will find you in perfect 
health and spirits I am with deepest love 

Your Father 

John B. Thursby 

Let Mr. Bennet see your arm when he is there and he can 
report to me about it. I am a little anxious in regard to it. 

P.S. I have just written to Mr. Wolle that he might let you 
come home for a few days if you desire, and if so to put you on 
the first Train, and Telegraph me. I will then meet you at the 
Boat. You need bring but a change of dress with you. If any 
thing should happen that I do not meet you, do not take up or 
listen to any stranger, but ask the Captain for any information. 
You had better wait on the Boat until I come. J. B. T." 

Emma rejoiced in anticipation of a few days at home after 
the long winter. She was anxious to see her mother and father, 
her baby sister, and her brothers; and she knew what fun it 
would be to make the rounds of her relatives again. She might 
even have the chance of seeing the Great Water Celebration. 
That would be worth reporting to her friends at school. Then 
there would be opportunity to talk about the recently-formed 
Williamsburgh Harmonic Society, of which her father was 

, 30 

treasurer and her Uncle Samuel, president, and her friend 
David Gulick, conductor. Moreover, she was a "singing mem 
ber" herself, along with her young friend Annie Conselyea, 
who had just sung at one of its concerts. So with all the winter's 
store of pent up enthusiasm, she left for home, not knowing 
that her days at Moravian Seminary had come to an end. 


The spring of 1 859 found John B. Thursby confronted with 
a situation that demanded emergency action, for his busi 
ness and his health had faltered to the point where he must 
constantly call upon one to preserve the other, though appar 
ently to little avail. Certainly it seemed that the prosperous 
business to which his father had given his life's work, and he, 
all his industry and strength, had fallen beyond saving. Never 
had he spared himself in an effort to preserve his proud heri 
tage in John Thursby's Sons, even though before his father's 
death, and as early as 1 850, the business had shown unmistak 
able warning signs. The constant demands for increased capi 
tal, arising in part from the difficulties of collecting outstand 
ing obligations, and in part from the keenness of competition 
and the attendant necessity for improving the ropewalk with 
new machinery and buildings, could no doubt have been met 
had not earnings become too low to attract capital. The depres 
sion of 1857, as well, had taken its toll, and real estate invest- 


merits, so lucrative for many years, were no longer a source of 

Now, broken in spirit and completely exhausted, he could 
no longer deny the pronouncement of his doctor that his lungs, 
weak since childhood, had developed an infection consump 
tion. Perhaps a rest at the seashore, or a sea voyage and consul 
tation with doctors in London and Paris might bring some 
relief? However, his doctor, true to the custom of the day to 
state the diagnosis without deception, offered very little hope. 
Yet, John Thursby, while resigned to the will of God, held in 
his heart the determination of a father, though he struggle 
against Colossus, to live for the sake of his children. 

These were the circumstances which Emma Thursby met 
face to face with stark suddenness on the soth of April. She 
who was to be Queen of the May! Nor had fate yet had its full. 
Emma herself was seriously sick a threat even to her life, 
so advised the doctors. Whereupon John Thursby wrote to 
Principal Wolle of the Moravian Seminary that Emma would 
be unable to return to school. Then he took stock of his family: 
his wife and two sons in good health and little Ina flourishing; 
Alice in poor health; Emma and himself in the hands of God. 

The days moved like years in their eventfiilness, like min 
utes in their relentlessness. A few weeks brought marked im 
provement in Emma's condition, and dread gave way as the 
doctors admitted their diagnosis had been wrong. Emma would 
be well! But the same weeks seemed to confirm the findings 
of the doctor for John Thursby. After a rest in the sun and 
fresh air of the seashore, his condition showed decline rather 
than improvement, so a trip to Europe was decided upon. Hur 
riedly planning for the children to remain with Grandmother 
Thursby, and drawing heavily upon their already depleted 
savings, John and Jane Thursby embarked for Europe on Sat 
urday, the twenty-third of July, 1859, in search of the Fountain 
of Health. 


New scenes, new faces, new hopes; these were the immediate 
reward of the long voyage. But soon the pain of separation 
from family and friends set in, only to be appeased by an ex 
change of letters subject to all the vagaries of wind and weather 
over the broad Atlantic, and all the delays of distance and 


No 32 Albany Street,, Regents Park, 
London N.W. England 
Sept 9 1859 
Dear Mother, 

As I promised in my letter to the girls, I now take my pen 
in hand to write you a few lines. I should have done so sooner 
but in consequence of the wrong direction given for my letters 
I did not receive any until yesterday And then only a very 
short one from Sam. I am well aware of the terrible disaster 
that has befallen us in business. I fought against it as long as 
possible, but it was too much, and I had to give in. We should 
have done so a long while before, even at Father's death. I have 
no doubt we should all have been better off, at least in that 
greatest of all God's blessings, Health, if not in worldly means. 
However it is useless for me to repine over this matter here. 
Let us leave it in the hands of an all Wise over-ruling Provi 
dence, and pray that He will rule it all for the best. 

You are no doubt anxious to know how we are getting along. 
Jane is quite well with the exception of a rather bad cough but 
which is working off. I am not at all well, but I will commence 
where I left off in the Girls letter. The voyage over did not 
benefit me as much as expected on a/c of the Fog Wet 8c cold. 
I felt pretty well when I landed in Liverpool, but I immedi 
ately fell off and was quite sick for a few days, but soon rallied 
and picked up again. We stopped 3 days at the Hotel, and then 
took private Lodgings. Capt. Hall Mr. White a gentleman 


From a daguerreotype 



from Boston and Jane and I. We staid in Liverpool 10 days, 
when I concluded I was sufficiently strong to make the journey 
to London. We arrived here the same day, I feeling so well, 
that I was quite encouraged. We staid at a Hotel two days, and 
then pitched upon private Lodgings here w[h]ere we have 
been since. We are very comfortable. We have a fine Parlor or 
sitting Room, our Bed Room off from it. Capt Hall has a fine 
Bed Room above us. We hire the rooms, which includes Cook 
ing and waiting on us. And we do our own Marketing. This 
makes it very pleasant and suits Jane exactly. It is far superior 
to staying at a Hotel and does not Cost one third so much. 

The first few days after we reached here were very fine and 
I continued to improve And I run round considerably. We 
even went down to the Great Eastern on the last day visitors 
were admitted. And we got one of those old fashioned squeez- 
ings we used to get at Niblo's Garden years ago. As long as the 
weather was warm and fine I improved but soon there came a 
change the atmosphere got damp and heavy and then I found 
it affected my throat again. I suppose I was not suficiently care 
ful, not knowing enough of the effect of the atmosphere in 
such cases And it got pretty bad. Last Monday I went under the 
treatment of Dr. Conquest, one of, if not the most successful, 
Consumption Drs. in London. He stands very high. I have 
been slowly improving since and my throat is now much better. 
Dr Conquest says I must leave here for France, the air is too 
heavy here for me. We shall leave just as soon as we can. I 
would turn round and go back home, but am afraid of the Sea 
Voyage until my throat is entirely well and I pick up again, 
which I hope will be soon. O how much I have thought, since 
we left, of each and all of the dear ones left behind. God grant 
that they may be all in good health and spirits, And may He 
ever keep them so. Why does not some one write us, if it was 
ever so short. Sam I know has not time, some of the rest might, 
tell Alice and Emma they must write. It is very hard to be so 


far from home And not to hear from home, when it just re 
quires the writing. This is a great place, everything here is on 
a large scale. There is a great many tremendous Buildings, 
their Parks are very large and beautiful. We strolled through 
Regents Park (which is close by) one day. They also have all 
sorts of sights and shows, and you might keep running for two 
months to see them all. Jane will give you a description of 
some of them when we return. 

We have heard a great deal of the cheapness of things here. 
People that talk so really do not know the price of things in 
New York. Cloth and Velvets are cheaper. Bread is about the 
same, and Meats and nearly everything else are just about 
double. In fact I do not see how poor people can live here at 
all. They certainly cannot live on Roast Beef and Plum Pud 
ding. I called at the Jewelry Shop where Father got the Key. 
It is a very small place and you might put 20 of them in some 
of his neighbors. He had none like it. The only one he had in 
the shape of a Key, was one much larger quite flat, and very 
plain common looking. He did not have any recolection of 
Father's purchase. I showed him my bosom studs and Jane 
showed him her Breast pin, but it was no use he could not 
remember. We also looked in a number of other stores but 
could find nothing like it. They seem to have run out. 

I will now have to close as it is getting late for the mail. Jane 
sends her love to you and all the rest, a kiss for all the dear chil 
dren, two for Ina, dear. Give my love to each and all of my dear 
brothers, sister, Sisters in law, and all who may think enough to 
enquire after me. Kiss each and all of my Dear Children for 
me. And may God's blessing rest upon You and them, and all 
the rest is the fervent heartfelt wish and prayer of Your affec 
tionate Son 

John B. Thursby 

I hope to have more encouraging news for you in my next. 

Send our love down to Father & Mother Bennet and tell them 
how we are. 


Paris Sept 26, 1859 
My dear Mother, 

I now take my pen in hand to write you a few lines again. I 
had hoped to be able to tell you now at what time we would 
take our departure for home, but I find after consulting with 
Dr. Churchill who is very successful here, in such cases as mine, 
and who tells me that he can make a perfect cure of me, that I 
will have to stop a while longer, in order to do so. I have 
thought the matter well over, and have come to the conclusion 
to stay a while and try it. And I hope you will coincide with 
me, for what will be life to me, without health, And of what 
use can I be to my family, if I do not get well. Where there is a 
chance to regain my health, it is my duty to try it, and Dr 
Churchill is confident of curing me. 

Capt Hall will return right home and will bring you this. 
He will give you all the news about us, which will be better 
than I can write it. We are now situated very comfortably. We 
have taken a Sitting Room, Bed Room 8c Kitchen all well fur 
nished, with a Scotch Lady who talks both French & English. 
She does our cooking and waiting and attendance for a little 
while. We buy all our own provisions &c, but as soon as Jane 
learns the ways of the place, she will do our own cooking and 
attendance, and then we will live just as tho' we were at home. 
We can live very economical this way. 

We have not received a word from home yet. We hope all 
are well. 

It seems hard to be parted so long from those we love, but 
we are in God's hands. He orders everything for the best. I 
hope the children are getting along well, they will want a few 
clothes for Winter. Jane will tell Alice what to do. Alice has a 


few dollars, she must spend it economical. I do not think John 
will want more than an everyday suit and some stockings. Louis 
will want an everyday suit 8c probably some underclothes. Ina 
(God bless her) had ought to have a winter dress or two. 

I could say a great deal more, but it is hardly necessary now. 
I could write with more satisfaction if I could only hear some 
thing from home. 

I will write you again soon. Capt Hall will tell you all. We 
should have sent the Girls each a thick dress from here, but 
Capt Hall has got his trunk so full of things of his own that he 
has purchased here, that if he escapes the Custom house offi 
cers, I shall wonder at it. I wanted to send you something and 
hardly knew what. I thought my portrait would suit you as 
well as anything and therefor send you it. I know you will 
think I have improved in appearance. 

Kiss all for me and also for Jane. Tell Ina to be a good girl. 
Give our love to all, 

and believe me 

Your most affectionate son 

John B. Thursby 

Capt Hall has been very kind to us since he has been with us, 
and we shall ever remember him for it. 


Paris Sept 26 1859 
My dear Daughters 

I am now going to write you a few lines, and very few, as 
Capt Hall soon leaves and I have not time. 

Capt Hall is coming right home and will hand you this. He 
will tell you all I don't write. I thought that we would be able 
to get back in the next Steamer or two, but my Dr says I must 
stay a while longer, so, will have to submit. Paris is a great 
place, but rather awkward for anyone that does not know the 
language. I wish we had you here to speak it for us, but, you 

must look out that we do not know more about it, when we get 
home, than you do. However we are just now very comfortably 
situated as you will see by my letter to Grandmother. 

We have rec d no letter from home yet and don't know and of 
course can't guess how any of you are. We can only trust and 
pray God that you are all well and happy. 

We should like to send you each a dress from here, but Capt 
Hall has his trunk so full of goods of his own purchases, that 
it is impossible. And if the Custom house officers don't give 
him trouble, I shall wonder. Mother has sent a few trifles. 
Capt Hall will give them to you all. There is a Stereoscope for 
the boys, it will show some of the principle views in Paris. You 
must see that it is well taken care of. 

Some Shells bo't on the Great Steam Ship &c. To Grand 
mother I have sent my portrait. You can see from it how much 
I have improved in appearance since I got among the French. 
I also send you one taken in London. I don't send it as a por 
trait, but a Gen[u]ine Specimen of London Photographing at 
this present day. 

Mother has written you about your clothes, dresses 8cc. You 
must consult with Grandmother and Aunt Mary about them. 
You must spend the little money you have as economical as 
possible. I hope John Louis fc Ina are getting along well. You 
must look well to them until we get back. And take the best 
care of yourselves. Emma must be careful of her throat, look 
out in changing high 8c low neck dresses 8c long 8c short sleeves, 
And going out without Rubbers when cold or wet. 

I will write oftener and know better what to write as soon 
as we hear from home. It is very hard to be separated so long 
from those we love, but it is God's will, and we must submit. 
Mother took it pretty hard when she found we had to stay, but 
she has settled down and is now quite reconciled. She wants me 
to describe the furniture of our rooms to you and as I may still 
have time I will try it. The sitting room we have a fine large 


sofa, a large Easy Arm Chair, a small one with a round back 
cushioned throughout, a low sort of Divan Chair for two, all 
in damask 8c velvet. A Book Case 8c side board to keep our 
crockery in. A very good Library two very nice little cushioned 
stools a round centre table off which we eat, a side table, and a 
very nice little Wood Stove to keep us comfortable when cold, 
but they tell us the winters are generally very mild and they 
use but little fire. The weather for the last few days has been 
very fine. In our Bedroom, we have a double French Bedstead, 
a large wardrobe, a Bureau, Wash stand 8cc Foot Bath 8c stand, 
a large Damask Lounge an Easy Arm Chair, two Cushioned 
Chairs two Rush bottomed d[itt]o, a fine French Clock 8cc on 
Mantle, Large Mirror, small dressing d[itt]o, Curtains to the 
Bed, Lace & damask Curtains to the windows, very nice Carpet 
on the floors with Rugs. The Kitchen is just outside the Sitting 
room, and is furnished with cooking utensils complete. We are 
only up one pair stairs. Most people here live up 3, 4, 5, 6, 7 8c 
even 8 pair. It is like going up the Bunker Hill Monument to 
get there. Our Landlady is very pleasant, so you see we shall 
be likely to get along nicely. Oh, how I wish we could have you 
all with us. Mother would so like to have Ina, she speaks of it 
often, tell Ina we have a pretty white Pussy here to play with. 
She is a great pet. The French Cats are not as smooth as ours, 
their hair grows longer, and gives them a singular appearance 
about the head. We should like to hear how Aunt Ann all the 
other Aunts and all the children are. I have not wrote to any 
of them, tell them I could not, it has been impossible they 
must take the will for the deed. 

But you must give our love to all of them, Aunt Betsey Aunt 
Becky Uncle Henry fc Aunt Margaret, Aunt Elizabeth, and all 
our cousins, we do not wish to leave out one. 

Father 8c Mother Bennet, Aunt Letty 8c the rest, Uncle John, 
Aunt Rachel Uncle Bill, Aunt Sarah, Uncle Peter, Aunt 
Maggy and all, tell them we often think of them and trust 


Heaven soon to return, and meet them all again in health and 

Our particular love to Sister Mary and Grandmother. Kiss 
all the children for us. And now hoping soon to hear from 
home. May Heavens best blessings rest on you all, is the heart 
felt prayers of your 

loving Parents 


Paris October 15 1859 
My Dear Mother 

I know you are anxious to hear from us, and therefor as the 
Steamer sails in a day or two I now sit down to write you a few 
lines. You have no doubt rec d my last letter and also see[n] 
Capt Hall, so that you know pretty much all that I can tell you. 
Since Capt Hall left I have been improving slowly, (thank God 
for it) and I have strong hopes that Dr Churchill will, as he 
says, make a Cure of me. 

A Mr 8c Mrs Donaldson with their little girl about 4 years 
old, (Capt Hall will know them) left here a few days ago for 
England where they will stay about a week and then take the 
Steamer for home. They live in South Sixth St Williamsburgh, 
they spent a considerable part of the day they left, with us. 
Mrs. Donaldson will call and see you and the girls as soon as 
she gets home. I gave her your address. She will tell you how 
we are &c. Give our respects to her husband and herself and 
tell them I am continuing to improve slowly, but I hope surely. 
In my throat I think there is a decided improvement this last 
few days. Mr White one of the gentlemen who came over with 
us in the Ship, left us yesterday, so they have all left now except 
Mr Carr, the gentleman who had his eyes operated upon, and he 
will leave in about two weeks, so that we will soon be the last. 
We are very comfortably situated, where we are. We have a 
nice little wood Heater in the Room in which we make a little 

fire, wet and damp days. They tell us the winters are quite mild 
generally and very little fire is required. Some people did not 
use any fire here last winter. Very fortunately we brought 
almost all our winter clothes. I shall want nothing but some 
woollen Stockings, and Jane nothing but a quilt (petticoat) 
which she will make if it gets cold enough. 

And now my dear mother I do hope you will not worry and 
harrass your mind about us unnecessarily, remember we are 
in God's hands and he orders everything for the best, and do, 
let me pray you, take a little better care of your own dear 
health, try and give your wrist more rest and use other means 
for its permanent cure. I hope the children are all well and 
hearty and that Ina keeps good, (the little dear) does she never 
talk of us? or ask about us? Jane sends her love to you and all 
the rest. She is quite well with the exception of a cold but 
which she is getting better of. 

Kiss all the children for us, Dear Sister Mary, Mary Eliza 
beth and all the rest. 

And beleive me, 

Your Ever Affectionate Son 

John B. Thursby 

Please tell all that should write to us to direct to 

John B Thursby 
care Messrs John Monroe Sc Co 
No 5 Rue de ITaix 


We have had great difficulty in getting all our former letters. 



Paris October 15 1859 
My Dear Daughters, 

I suppose you are anxious to hear from us again, but I shall 
not have much to say this time, as you got all the news in my 




4 ' - m 



AT '8 o'clock, P. 

EMMA C, THtfRSBY, Soprano, 

* MISS MATILDA B. TOEDT, Violinists, 


MR, GEORGE W. MORGAN, Organist, 


MR. C. HENRY DIBBLE, Pianist, 


MR, HENRY C^MP, Conductor, 











MR, W. C. BA1R1X 
MR, j, B, JlARTtETT, 




.VI R 





i>. F, POWERS, 




TICKETS, ONE 0ou.A, fo SALK at' che Book-Stores of J, T. Bojl No* 
Fulton Street^ W, W K Swaytue, No, uto Fulton Swj W. W. Rose,, No, <6' Atl 
Street ; and the Dfug-$tor of H, H, Dickinson, No. 46 Montague StrcC j 
' Farwcll, No. 17 Court Street, Brooklyn^ M HolmwMn WUIumsbtMrgta, nJ OT t 

B, 0, 


C O M "M, 1 T T K K 





last letter 8c from Capt Hall. Your letters did not reach us until 
the day after Capt Hall left, but we was very glad to get them, 
even then. We were glad to hear that all were as well as they 
were and hope Aunt Ann has recovered 8c also Grandmother's 
wrist. We were glad that you enjoyed yourselves in your coun 
try trips. We were extremely pained to hear of Aunt Maggy's 
illness. Give her our best love (also Uncle Pete) and tell her she 
must take good care of herself, she is too valuable to be spared 

Have they given Mr. Meeker a party yet? and how did it 
come off? 

Alice, I hope your eyes have recovered sufficiently for you 
now to study, if not, or any way if they have a good teacher of 
vocal music in the school I should like you both to take lessons. 
I also wrote to Capt Hall about the Melodeon in Church if it 
is still lying idle, he can get it for you to practice on, and I 
should like to have you improve on both it 8c the Piano as fast 
as possible, and Emma likewise not forgetting your singing 
also. I am very glad you seem to like your teacher so well. Tell 
Mrs. Braden we wished she had been in the company she 
would no doubt have enjoyed it. I have no doubt she would 
have relished Shark, both in Soup 8c Steaks. I expected Uncle 
William would soon have to retake the store. I hope he will 
soon be able to build it up again. It is very strange looking 
here, and I will try, if I can get time, to give you some descrip 
tion of both England 8c Paris. 

I am sorry to hear that Ed Sherman is coming home no 
better. Mother stood it well coming over the Ocean, but in 
coming across the Channel from Southampton to Havre she 
was forced to a casting up of accounts. Most all were sick on 
board, (except those used to it) but it did not affect me. 

That was a very narrow, but Providential escape of Aunt 
Elizabeth and Cecelia's. We expected to hear of the death of 
Lib's father, give her our sympathies. John is I suppose home 


with you now. I hope he has improved very much, (mentally 
& physically) . I should like to have him go one more term, 
if he has, but Uncle Sammie will have to decide that. Tell him 
to be a good boy and learn all he can and let us see how much 
he will improve by the time we get back. And Lewis also, tell 
him I am glad to hear he has been so good a boy, he must con 
tinue and he will not miss his reward. And dear, Dear, Ina tell 
her I guess it will be something better than "pea nuts" that I 
will bring her. 

I hardly think you will be able to save the Grapes for us. In 
fact they are plenty here and cheap. Mother is luxuriating in 
them. They are the only fruit that is cheap enough to buy 
plenty. Pears 8c Peaches are choice 8c fine but high. Tell Aunt 
Becky, I dont think she will be able to fly over her[e] this sea 
son, but, if she waits awhile, she may be able to take a flying 
voyage over with Old Mr. Wise. She must not forget the num 
ber N 45 Rue Marbeuf, a Paris. 

I am very anxious to get some further news from home and 
hope it will come soon. Tell Capt Hall that Mr Donaldson will 
give him the Key of the Melodeon. Mother will not advise you 
any more in regard to your dresses &c as she thinks you can do 
well enough, but she wants you to write what you get, where 
8c how you have made them &c 8cc 8cc, also the cost, she wants to 
see if you can shop, as cheap as she can. We are quite comfort 
able here and think we shall get along very well. Oh, how we 
wish we could have you all with us for awhile but wishing is 
no use. We have all your portraits before us on the table on 
which we gaze 8c admire daily and with which we must be satis 
fied for the present. Mother sends her best love to you all, and 
kisses for each, double for Ina, also give her particular love to 
Grandfather 8c Mother Bennet (mine also) . Mother has had 
quite a cold but is recovering from it. And now give our love 
to all not forgetting one. And with many kisses to you all with 
a fathers best love, I pray God we may soon be all reunited at 


home in health 8c strength. Hoping soon to hear from you 
again, I remain your loving father 

John B. Thursby 

Mr. White when I parted with him Friday, handed me a 
copy of the Massachusetts Ploughman of Sept 24. On looking 
it over when I got home I was surprised to see the following. 
I had no hint of it before 

N.Y. Sept. 20. The Steamer John Faron was burnt this 
morning at Green Point Loss $20,000. She belonged to the 
estate of the late firm of John Thursby & son. Insured in three 
companies in Springfield and one in Providence. 

I suppose Uncle Sammie will write me all the particulars. 

Mother would also like to know how you get along with the 
Boys & Inas clothes. 

Letters must be 14 oz or under, if over, pay double postage 
this is only half weight of Am n or English letters, they allow 
1/2 oz. Capt Hall knows all about it. 

All my letters must now be addressed John B Thursby 

care Mess John Monroe 8c Co 
No 5 Rue de 1'Paix Paris 


Williamsburg 12. oclock 
New York Oct 21, 59 
Dear Friend 

I arrived here on the i6th inst after a tempestuous passage 
of 20 days the Decks were Sweept fore & Aft the Cabins 
stove in 8c some were washed out of there births such scream 
ing fainting Swearing & praying &c I never wish to experience 
again. After the first Sea boarded us, I went forward to see 
what Damage it had done & saw that the Man at the Wheel was 
all right. I just turned my head & saw a large Sea come booming 
along I sprang 8c Seized hold of some spars 8c planks that was 
lashed to the Deck. When the Vessel took the Sea on board 


over the bow. (We were head to the Sea & the Wind was 
W.N.W.) I hung on by one hand not having a Chance to get 
hold with my right one When it washed one of the Sailors so 
near me that he got his arms round my neck I could not 
hold both so away we went aft like Porpoises I got cut across 
the knee & he got both Eyes black, & I have not got the use 
fully of my left Arm since but it is improving daily. Oh I am 
so glad you did not come with me for there was not a dry bed 
or State Room in the ship it was the most Miserable passage 
I ever made 8c I did not forget to tell the Capt what I thought 
of him & his Steamer the Cannon was washed overboard the 
same as if it was a Chip so dear friend you can form some Idea 
what force the sea had that boarded us the Ariel now lays 
at the Dock, & I think she will be a long time before she leaves 
port again she is a perfect wreck. I always told you I could 
not be droivned it is the most fortunate thing that ever 
happened you & Mrs. Thursby in remaining in paris dont 
come by any of the Vanderbilt line they are the worst 
Vessels afloat 

I found my Wife & Children enjoying the blessings of good 
health, they were anxiously looking for me 8c fearful something 
had befallen the Vessel 8cc. I forgot to state that we got in about 
1/2 past 6 on Sunday Evening, the moment the Vessel touched 
the Dock I was one of the first to land left all my baggage on 
board, & started for home I had to walk all the way the 

first place I stopped at was 478 Grand St. Saw Mr Bennet for 
a second Mrs. Bennet had gone to Church, then went to your 
Brother Samuels, he 8c his Wife were Church also, (pious peo 
ple here) then I fetched home pretty well tired 8c worn out 
at 7 oclock in the morning I was out with the Letters you gave 
me. Samuel was astonished to see me, first word where is John 

gave him his Letter, then Started for your Mothers she 
felt bad at first when she found you did not come on with me 
but when I told her all I had suffered on the Passage here 8c 


how near the Vessel came to being lost 8cc. she did not regret 
your staying so much as I thought she would 8c now appears 
more reconciled, both Alice 8c Emma were delighted to hear 
from you 8c see me they shed a few tears at first when they 
found you did not come home but when I told them of our 
Houses on deck being washed away 8c other dangers you would 
have been exposed to it stop[p]ed them. Emma has improved 
wonderfully in her Music, 8c goes to school at the Convent, so 
she calls it. John really looks well he is as straight as an Arrow 
& has improved wonderfully in Looks, health, & Manners, he 
leaves on Thursday next for School along with Louis your 
Bro. Samuel had determined to send both John 8c Louis to 
Cornwall 8c Louis had his Uniform before I arrived he looks 
well in it 8c feels anxious to start Little Ina has grown 8c is as 
playful as a little Kitten so you see Dear Friend all your 
family are well & provided for for the present I have not 
given the $21. to Alice yet. She told me she had $15. in hand 
8c all they would want in the way of clothes would be Winter 
Dresses Shawels 8c bonnets. I will see that they have them so do 
not fear for Alice & Emma, they shall have every thing they 

I am glad you did not send anything on by me by the way 
of dresses or anything in the Dry good line. I had to pay duty 
on some of mine for the first time in my life I can thank the 
Jack Ass of a Captain for that he never would have got the 
Ariel in had it not been for me. so he paid me for it by getting 
all my things thoroughly searched I will pay him in his own 
coin yet. Your children were delighted with the presents you 
sent them most especialy with your Steroscope Ambrotype 
I dont think they will ever tire looking at it 8c they have 
asked me so many Questions about you 8c Mrs. Thursby that I 
am tired answering them. 

Everyone is enquiring for you & all hope you may soon im 
prove in health I have not heard one attach the least blame 


or speak in the least way disrespectful of you All take a deep 
interest in you 8c hope you will with the help of God recover 
your health. So cheer up & dont despond all will go well yet 8c 
no doubt dear friend you will see brighter days than you have 
ever seen dont despond but live 8c hope for the best 

Oh I [forgot] to tell you Alice & Emma, Mary Jane & Sam. 
Bennet & Dyer & I dont know how many more have written 
to you Lane wrote me 4 letters my wife wrote me 6 times 
Huff wrote is it not strange we reed no Letters 
My Wife wishes to be remembered to you 

good by 

W F Hall 
3 Colonnade Row 

Smith St. 

New York 


Paris Oct 26 1859 
Dear Daughters 

We rec d your letters of the go* 11 Sept a day or two since, they 
had been posting around London for a week or more. 

We were very happy to hear from you all again, and that you 
were enjoying good health, "What a blessing it is." 

We are glad to hear that Emma is so well pleased with her 
teachers & school and hope Alice is now able to go. As I wrote 
in my last, if their is a good Vocal Teacher in the School, I 
should like Emma to take lessons. But I do hope that Emma 
will not sing a piece at the Concert of the Harmonic Society or 
any other, for the present and that Aunt Maggy will not press 
her to. I have good reasons for it. She has had no teachers for a 
long while, for one. She must make all the improvement she 


can at home this winter, but not in public. I will see to that "If 
God spares me to return/' And Alice too, my dear daughter, 
you, must improve your voice too, you have a very fine and 
sweet voice. All it lacks is confidence and power, this you can 
and must give it, practice the scale often, don't be timid. Now 
do try for my sake. 

We are, O So happy, to hear such a favorable report in re 
gard to John. You must write him and say we are very sorry 
we could not have seen him. We should have been so proud, 
but he must go on improving, and now that he has Lewis with 
him he must see to him & take good care of him. I was much 
pleased to hear of John going back but rather doubted the 
policy of sending Lewis this winter. I fear he may give them 
some trouble, but hope it is all for the best. I hope his finger 
is well. Mother will try and remember all she can, so as to re 
late to you some wonderful stories when she gets back, but she 
can best tell you what she sees than what she hears for of all 
the "Gibberish" that ever was the French beat all. She will 
be able to remember very little of that. That little "fairy," Ina, 
O how we wish we had her here a little while we should be apt 
to rub her red cheeks out for a while with the quantity of kisses 
we should smother them with. Tell her we wont forget those 
things. We are very sorry to hear of Sammie Nortons having 
the hasty consumption. We had no idea of it. 

I hope you are now enjoying the Grapes to perfection. It will 
be hardly worth while to try & save any for us. Mother is now 
enjoying herself on Radishes fc Celery, we get bunches of the 
little round red ones, with 60 or 70 in them for 2 sous, they are 
very nice, and the Celery 2 sous a bunch. We shall be only too 
glad to have a letter from Aunt Maggie and congratulate her 
on having sold out. 

That Oyster discovery is remarkable, and must have a great 
effect on the Oyster Market. I suppose everybody will go to 
eating oysters now. / do wish I had some of the little ones. 


/- * 

The oysters here taste very Coppery. So they do in England. 
I do not like them. The weather here has been quite change 
able lately. It has been quite cold for a few days (unseasonably 
so) but we keep comfortable by putting a little more wood in 
the stove. When it is clear it is very pleasant. Mother is now 
mistress of her house. She does all her own cooking and work 
of all kinds, marketing also, and seems more at home. We are 
awaiting anxiously the returns to our letters by Capt Hall, but 
do not suppose we shall get them for a week yet. I should have 
written this a day or two sooner, but Dr Churchill had fixed 
to day to make another examination of my lungs, and I thought 
I would wait and report the result. He reports a decided im 
provement in them and says he wishes my throat would im 
prove as fast, I would get along nicely. I feel quite encouraged. 
Give our loves to all the Uncles and Aunts, Cousins and all 
the rest. Our particular love to Grandmother Aunt Mary, and 
all the children., also give our particular love to Grandfather 
and Mother Bennet, tell them we are glad to hear that every 
thing is going along nicely, and have no particular word to 
send, I hope Uncle William and Aunt Sarah are all settled in 
their new (old) quarters. 

Here I must stop. And with our best love and Gods blessing 
on you all, We are your Ever loving 


Alice 8c Emma Thursby 
New York 

Rockwood & Co., New York 

' " 

Alva Pearsall, Brooklyn 



he painful parting, the hopeful voyage, the elusive search 
for a cure in London and Paris, the long interludes with 
out word from home were all crowded into the timelessness of 
a grave illness. The past had died with his business and John 
Thursby was reconciled that there should be no epitaph. Fra 
gile though the future appeared, he had no quarrel with it. But 
the leaden present was ever with him. Anchored to his fate in 
a strange city, there was no refuge in the companionship of his 
children and family and friends. Across the wide Atlantic he 
and Jane must continue to send their messages of love, and 
with abiding patience await the messages from home, messages 
that were fast becoming the last stimulant to life. 


Brooklyn E.D. 
Oct. 31'* 1859 

My darling Parents. 
Uncle Sammie received your letter on last Thursday and we 

were all very glad to hear that you was even a little better. Mr 
Hall showed us the letter you wrote to him. He is going to get 
the Melodeon for Allie as there is no one to play on it in the 
church. Aunt Helen has Ina on her lap and is writing a letter 
for her to you. she just writes what Ina tells her. Grandmother 
is sitting in the Rocking chair half asleep. Aunt Mary is sitting 
in a chair by the table with Mary Elizabeth standing by her, 
she is teaching her how to knit. Allie is sitting by the table 
knitting a Sontag. Ina has just jumped down from Aunt Helens 
lap and is trying to to wake Grandmother up. Now I have de 
scribed them all to you just as they are, except Uncle Rodney 
who has gone out. Ina wants to have her red dress on as she 
expects Sammie Norton but it is five minutes of eight and he 
has not come yet. A great gentleman is'nt he to disappoint the 
lady so. Uncle William has the store again. He has a young son 
born the same day that Aunt Anns was. I intend to write you 
a sort of a journal commencing with Sunday. In the morning 
we went to church and a Rev. Mr Carr preached he lives in 
Uncle Sydnies house. We took dinner at Uncle Sammies and 
spent the afternoon there, while we were there Cap* Bishop 
and Mr Mosely called and altogether we had a very pleasant 
time. After they had gone Mr Hall came in and gave us the 
letter to read. In the evening Allie went to church with Mrs 
Burgess and I stayed home with Aunt Mary Jane who had a 
bad cold so she could not go out. We then went home and went 
to bed. 

Monday Oct. 31** 1859 

I got up this morning and as soon as I had had my breakfast 
which was a little before eight I began to study and went to 
school about five minutes to nine. I knew my lessons and came 
to my dinner at twelve. I went back again to school at one. 
During the afternoon the Bishop came in, it is the first time 
I have seen him, he is full of fun. We do not have anything but 
writing and Arithmetic in the afternoon. I came home again 


at half past three After practicing my Music I knit some 
studied my lessons, and now I think I shall go to bed. 

Tuesday Nov i 8t 1859. 

We did not have any school today as it is "All Saints" day so I 
have had it all to myself. In the morning I worked part of the 
time on a dress for Ina and part of the time on a Sontag which 
I am knitting, it is rose color and the border is black and white 
Allie is knitting one just like it. I went to Grandmother Ben- 
nets to dinner as I had heard she was going to have Buckwheat 
cakes they were very good. In the afternoon we went to Uncle 
Sammies to spend the afternoon Mrs. Silver and the two 
Miss Silvers were there we had a very pleasant time. 

Wednesday Nov. 2 nd 1859. 

Went to school as usual knew my lessons. Came home practiced 
studied and wrote this. Nothing unusual happened. Last week 
we went to a Concert given by the Old Folks at the Odeon. I 
wish you had been there you would have liked it very much 
they were dressed in the old style no hoops short wastes fee. 
They sang all the old fashioned Music. During the intermis 
sion they passed through all the aisles so that the audience 
could have a good look at them. We went two nights. The 
Harmonic Society have their concert of Macbeth tonight but 
we are not going. They have it at Trenors Hall. 

Thursday Nov j rd 1859. 

Nothing unusual happened today. Sister told us we would have 
school Saturday to make up for Tuesday I took a Music les 
son this morning I have a new piece "The Monastery Bells" 
We received your letter yesterday. I will answer it tomor 
row as I have'nt it just now. From what it says in the paper to 
night I should think the Harmonic did not succeed very well. 
Mother Austen has been to St. Louis for the last two or three 
weeks, she returned last Friday. John 8c Lewis went to school 
a week ago today we have not heard from them yet. I am just 
going to write to them. Grandmother Bennet has been moving 


her things today, she has most of them at our house now. The 
"Great Balloon" was to start for Europe today but I do not 

know that it has gone yet. . 

Friday Nov. 4 1859. 

The same as usual. This afternoon I spent about an hour with 
Mother Austen it is the first time I have seen her since she 
has been home In the afternoon Ed Sherman called and 
Mrs Wall, Miss Wall, Mrs Truslow and her little boy called in 
their carriage. Josie Delmonico is married she was married 
some time last Spring she is now in Europe. Old Mr Del 
monico has had a cancer taken out of his cheek, he had his 
whole cheek cut out. Mother knows Mrs Carpenter that was 
at Staten Island last Summer, she said that she often spoke of 
us. Mother wishes me to remember her to you. Mr Meekers 
party came off about two or three weeks ago, we were there. I 
do not know how much he got. Allies eyes are better but she 
does not go to school yet. There is no singing teacher at school. 
I wish she could take Music lessons as Professor Loretz is such 
a good teacher. I guess Allie has told you all about the clothes 
so I will not need to say anything about them. It is about time 
Uncle Sammie had this letter so I will not have time to write 
any more. All send their love to you. With much love and 
many hopes for your recovery, I remain your devoted daughter 


Emma Thursby's attendance at St. Joseph's Roman Catholic 
Convent, close to her Grand Street home, was proving a happy 
and valuable experience, while in Mother Austen she was find 
ing the guiding strength of a great and good woman. 


T. r> c Paris Nov o tn 1850 

Dear Bro Sam ^ ^^ 

We have rec d your last batch of letters and were very happy 
to hear that all were so well, and that things were all working 
along so smoothly. 


I also rec d a letter from Mr Trask 8c one from Mr Rankin 
with a release for Jane to sign however it is not worth talking 
about these things. 

As we are coming right home as quick as we can. 

I tried very hard to get rooms on the Africa (by which you 
will receive this,) but it was impossible she was full a week 

We will therefore have to take the Europa which sails the 
19 th from Liverpool to Boston, but I conclude this better than 
to wait another week for the New York steamer, so if we get 
off as we expect by the Europa you may look for us about the 
20 th (God willing). It is hardly worth while to go into the par 
ticulars of this sudden change in our minds from staying all 
winter but I find the climate just about as variable as our own, 
and the Dr thinks now, I can do about as well at home. There 
are other causes that I cannot explain now. We hope to find 
you all well when we get there. It would have been a great 
relief to have got rid of the trip from Boston to New York but 
it will be impossible. So (if God is willing) and grants us a safe 
passage, you may look out for us about the 2g th or so. Our love 
to all, and still remain your devoted Bro, 

John B. Thursby 


Paris [November] 9 th 1859 
Dear Sam 

I write you this for yourself. As I say we are coming home, 
(I wish I was there now) You must not expect to find me what 
I was when I left home. I am but a poor wreck compared to it. 
I had fallen off considerable before Hall left, but after I took 
hold with Dr Churchill, I felt encouraged, and in fact did im 
prove and look some better this caused me to write home 

But Alas, there soon came a change. I found my strength & 


flesh leaving me daily so that I was getting almost helpless, and 
could hardly walk, and no way to a/c for it. The Dr finally 
concluded it was caused by my water and the action of my kid 
neys: I have for sometime made but very little water, and that 
after standing a little while would settle about one half in thick 

This the Dr says is the difficulty that must be overcome, and 
I am taking medicine for it. My feet also swell some the Dr 
says it is from the same cause. So here I am but a poor wreck 
of my former self, but God grant us a safe and pleasant passage 
home, and then I shall feel better. I am still greatly afraid of 
my throat. It is bad yet and troubles me very much. Oh, what 
I have suffered with it and do yet. No one knows. Not for 
worlds would I pass through the same, and I would give all I 
have to be releived now. My voice is all gone, and whether I 
will ever recover it again God only knows. His will be done. 

But here I must stop, and make a request that as soon as you 
get this you get some good comfortable room ready for me as 
soon as I arrive, so that I can go right in it. If the house on 
Grand St is not let nor likely to be this winter which in my 
mind is likely, I should like to have the Wing Room off the 
Parlor, which is a pleasant room, and we might put up a small 
wood heater as there is a pipe hole in the Chimney and by mov 
ing the bed some, however I will leave these matters in your 
hands satisfied you will have them right. And now I must stop. 
And asking God for his blessing to give me relief from my 
present distress, and strength for the voyage I am about to 

undertake, T 

I remain your 

aff Bro 

J B Thursby 

Unaware of her father's critical condition, for his letters of 
November g tb had not yet reached Williamsburgh, and bliss 
fully ignorant of the great tragedy that had actually come into 


her life, Emma Thursby wrote to her parents in her usual 
spirit o cheer and hope and trust. 


Brooklyn November i8 th 1859 
My darling Parents 

We received your dear letter yesterday and were so very 
glad to get it and to hear that you were better I hope you 
will continue to improve until you are entirely well. I do wish 
you were at home it [has] been such a long time since you 
went away. Allie is practicing on the Melodien just now Ina 
and Mary Elizabeth are dancing Uncle Rodney is reading 
the news and Aunt Helen is sitting by him. We expect Robbie 
up here to night he is home from the country. Aunt Ann has 
nobody with her now Miss Underwood is going to house 
keeping and Antie Butcher has gone home so she has to do all 
her own work and tend the baby besides, the baby is growing 
finely it has eyes just like Joe and a double chin like Aunt 
Ann. Monday evening we went to hear Miss Emily P. Les- 
denier read, she is a splendid reader. Fannie Stocton sang with 
her and Mr Dressier played it was all very good. I suppose 
you saw the piece in the paper about the Harmonic Society 
was it not funny it is in one of the papers that Mr Hall sent 
you. Tell Mother she must learn French so that she can teach 
us when you come home. Professor Loretz my Music teacher 
teaches singing, he says that after three or four more lessons 
that he will give me one week singing and the next one play 
ing I only take one lesson a week. I expect Mother likes it 
better now that she does her own work it must seem more 
like home. Grandmother often says she wishes she was stand 
ing behind the door so that she could have a good peep at you 
and see what you were up to. I wish I was with you, you don't 
know how much I want to see you. The baloon did not go after 
all to Europe but it started for New Haven, I have not heard 


w[h] ether it has not arrived there yet or not. Last night we 
went to hear the Black Swan she is a very good singer have 
you ever heard her? She had to sing every piece over again. 
She had two gentlemen to assist her M. Benard is a very 
good player on the Piano and Violin. We received a letter from 
John yesterday for you and to-day we received one for Joe I 
have not see[n] it yet. We write to you every Saturday so you 
must expect one every week. I believe that Carlie Kalbfleisch 
received a letter from Mr Hall and he was then in Richmond. 
Uncle William has not moved yet. Sammie Norton has not got 
the consumption we all thought so but he is much better now. 
Uncle William says he thinks he was married last night but we 
do not know. All send their love to you. God bless you and 
bring you back in perfect health and safety is the fervent wish 
of your devoted daughter 



United States Consulate, 

Tower Building South, Water St., 
Liverpool, 19 Nov 1859 

Sam 1 1. Thursby, Esqr., 
Brooklyn, Eastern District, 
New York. 
Dear Sir, 

I write at the request of your sister in law M rs J. B. Thursby, 
to convey to you the afflicting intelligence of your brother's 
death, which happened on Thursday morning last the 17 Inst 
about five o'clock, on Board the steamer British Queen at this 

M r 8c M rs Thursby had taken their passages at Paris in the 
steamer Europa, which sails for Boston today, 8c as the easiest 
way of reaching Liverpool came by way of Havre in the 




S D 

5 5 

H H 



steamer before mentioned. They had a very smooth passage, 
but M r T got so very much worse, that on the arrival of the 
vessel at Liverpool on Wednesday evening he was unable to 
land, and the Captain of the vessel kindly sent for a Physician 
to Her Majesty's Ship Hastings lying near. The Chief Physi 
cian & his assistant promptly attended, and did everything that 
could be done. But his disease, as you no doubt know already, 
was beyond human skill & he yielded his spirit to Him who 
gave it about the time mentioned. His afflicted wife is having 
the body prepared to accompany her in the steamer "Edin 
burgh," which leaves here for New York direct on Wednesday 
next the 23 Instant. 

She is not in a frame of mind to write herself, and has re 
quested me to do so for her. 

She hopes that some of you will meet her on her arrival, & 
she wishes you to send for the Boys, 8c have them at home when 
she comes. 

The Consul 8c myself will do all that in us lies, to assist your 
poor sister 8c lighten her affliction 



Your Obed Servant 
Sty. Wilding 

U S Vice Consul 

Jane Thursby through the long months of worry and dis 
couragement had met the supreme test to her courage without 
faltering. She had witnessed the ordeal of life at the cost of 
great suffering. Yet now in death she could find little conso 
lation. No doubt she said to herself that the divine will had 
been fulfilled, that all was for the best. But, alone in the 
strange city of Liverpool, she struggled with her sorrow lest it 
consume her. Seven days passed, unmerciful in their slowness, 


before she could embark for home with the body of her hus 
band on the "Ocean Queen/' 

And now the great Atlantic rose in its winter wrathfulness, 
as if in last challenge to her. "It blew a hurricane," wrote a fel 
low passenger, Madame Kate Luby Feuille, in the New York 
Leader, "and waves higher than the tallest houses assembled 
in congress to discuss our ruin. The woodworks encasing the 
paddle-wheels with the adjoining garderobes were torn to 

pieces, and then swept off There were many hearts in 

that vessel preparing for the sublime launch into eternity. 
There we were battling with a raging element, which typified, 
in some measure, the terrible power of offended omnipotence I" 

.... "I noticed one sweet, sad and exquisitely intelligent 
lady. She spent most of her time reading, and often emerged 
from her cabin, with tears of recent weeping on her eyes. She 
had some great grief preying on her and tearing at her very 
heartstrings. Poor lady! she was all alone, so mild, meek and 
suffering. As we arrived in New York, I learned that she had 
gone to Paris in company with her husband, and was now re 
turning to America with his dead body for interment in his 
native land. What a sorrowful return!" 

Insofar as a funeral can be comforting, the funeral of John 
Thursby in the Old Bushwick Reformed Church brought 
solace to his widow and children, to his mother and sisters and 
brothers, for they witnessed a tribute of affection in which 
friends and neighbors in Bushwick and Williamsburgh joined 
with a large delegation of New Yorkers. Members of Neptune 
Engine Company No. 7, of which John Thursby had been a 
member, attended in a body, while members of the Harmonic 
Society, of which he had been treasurer, assisted in the choir. 
The pall bearers, eight in number, were merchant friends from 
New York and Brooklyn: Chas. H. Trask, John E. Forbes, 
William Marshall, Oliver Dyer, George Bell, John Devoy, 
Jeremiah Voorhies and Edward Bouton. 


The Reverend Stephen H. Meeker, pastor of the church, 
conducted the services, assisted by the Reverends Hatfield, 
Johnson, Mallory, and Pickard. Speaking of the deceased, the 
Reverend Dr. Meeker said in part: "In him the poor found a 
kind and faithful friend, ready to distribute and willing to 
communicate. He was a man of unyielding patience amidst all 
his trial under the pressure of business, whatever his re 
verses, he was enabled to manifest the same quiet submissive 
spirit. There was no complaining, no evil foreboding, no feel 
ing of despondency, but in every condition, a willingness to 
hope and do for the best/' 

After the burial service at the Cemetery of the Evergreens, 
Jane Thursby returned to the home of Grandmother Thursby. 
She had settled her account with the past. Though broken 
hearted and exhausted, there would be no respite. The future 
of five young children confronted her, and she accepted the re 
sponsibility in the noblest tradition of motherhood. 



Christmas, ordinarily a season when the Thursby and 
Bennett clans filled their various larders with special deli 
cacies that each child shared and no child missed, and grown 
ups gathered in feast and festivity, came like the ghost of 
another year's brightness. It became a season of dedication to 
the memory of John Thursby, the stronghold of the Thursbys, 
and it marked the beginning of a new Thursby era. The past 
would no longer aid or support; the future would try and test. 
Jane Thursby appraised the present; she had the home on 
Grand Street, but she had insufficient money to maintain the 
home and support her five children. Then she made what ap 
peared to be the only possible decisions: she would take board 
ers; Allie and Emma would give up school to aid with the 
housework; John, Lewis, and little Ina would continue with 
their schooling in the public schools. The already often inter 
rupted musical training of Emma and Allie must cease com 
pletely, at least in so far as private instruction was concerned. 


Emma soon found herself, at sixteen, faced with household 
duties of which she must take her full share without any spe 
cial allowance of time for singing practice. But she had a good 
piano in the Grand Street home, a sister to accompany her, if 
need be, and a burning zeal to become a great singer. However, 
little was the encouragement now offered in the home, for the 
mere business of living had become an engrossing one. Still, 
she persevered, faithful in her practice, and faithful in her 
attendance at church choir. Where wealth would have given 
her opportunity for the best instruction, the lack of it provided 
a determination she might never have had. Nor did she ever 
regret having taken the hard road without choice: "An uncle 
once promised to give me $50 toward my music lessons, but 
when the time came he fortunately forgot all about it." She 
must have singing lessons, she well knew; and she also knew 
that she herself must earn the money for them. 

The year 1860, being one of complete readjustment, was 
stern in its demands upon Jane Thursby and all her children. 
But, whereas it brought a large measure of trial and discour 
agement, it brought a full measure of self-reliance. To the chil 
dren, at least, to whom each New Year suggested adventure, 
1861 promised much. To Emma, in particular, reward came 
early, for January i5th signaled to all music lovers the opening 
of the Brooklyn Academy of Music, a building dedicated exclu 
sively to opera, concerts, and balls. There is no record of her 
attendance at that first memorable performance when a crowd 
of Brooklyn aristocrats and music lovers, far more numerous 
than the seating capacity of 2300, heard the Philharmonic 
Society, under the leadership of Joseph Noll, and a group of 
distinguished vocalists including Mme Colson, and Signors 
Brignoli, Ferri, and Susini. As at all premieres, the spectacle 
vied with the actual performance. Some twenty-two years later, 
in 1883, Gabriel Harrison, Brooklyn actor-author, reminisced 
upon the memorable occasion: "At the close of the first over- 


ture the drop curtain, representing the 'Temple of Apollo/ 
was slowly let down to the stage, in front of the crimson one, 
when of a sudden the full force of over a thousand jets of gas 
was turned on, producing almost an electric effect; illuminat 
ing, as it did, the fine effort of the artist, and revealing more 
definitely the splendid proportions of the house." 

Good music, to be sure, was no novelty to Brooklyn. The 
Philharmonic and Harmonic Societies had already established 
themselves; Brooklyn had heard opera in English and in Ital 
ian, with such vocalists as Mile Piccolomini, Mme Amalia 
Patti Strakosch, and Mme Laborde; had heard such instrumen 
talists as Ole Bull and Louis Gottschalk. And now, at last, 
music had a home, designed for its especial performance, 
where it might be fostered and encouraged without bowing 
any longer to the superior facilities offered by New York. 
Though the Academy very shortly found it necessary, for finan 
cial reasons, to introduce the drama, music certainly had no 
quarrel in a companionship with Charlotte Cushman, E. L. 
Davenport, Charles Hackett, Joseph Jefferson, Edwin Booth, 
Edwin Forrest, and a number of their fellows, who may even 
have inspired it to look to its laurels. 

Yet 1861 had not moved far before it found the country di 
vided by rebellion. On April i5th, word of the attack on Fort 
Sumter was heralded to every household in Brooklyn. The 
issue of slavery had at last defied peaceful solution, and the 
Civil War broke forth to shock the world. Into every business 
and every home spread the call for volunteers. Challenges flew 
at any who were suspected of Southern sympathies. In the heat 
of a great passion some people prayed, some cursed. From a 
hundred pulpits patriotism was evoked. And from Plymouth 
Church, Henry Ward Beecher, already long the champion of 
the slave, demanded retribution for the South. 

Within a month every resource had been mustered in the 
cause of the North, and Brooklyn settled down to the burdens 


of war: volunteers to be enlisted and equipped; families of 
soldiers to be provided for; and, all too soon, the wounded to 
be cared for, and permanent provision made for the families 
of those who had met death. The stark knowledge of what must 
befall both victor and vanquished settled upon the city, replac 
ing the glamour of war with the reality of it. 

To be sure, the war years did not leave music wholly with 
out performance. Such artists as Adelaide Phillipps, Isabella 
Hinckley, Clara Louise Kellogg, and Jennie Van Zandt were 
America's own notable contribution to opera in these years, 
frequently in war benefits. But the city's interest in music and 
drama fluxed rapidly from extremes, for it was a tired, sober 

Emma Thursby could do little but await better days for the 
furtherance of a musical career in which she was now, more 
than ever before, intent. Occasional attendance at the larger 
musical gatherings in Brooklyn as the guest of friends anxious 
to encourage her, frequent attendance at concerts in Williams- 
burgh, and musical evenings in its various churches with her 
family gave food for her hungry hopes. Meantime, she prac 
ticed her singing at home with an inspired diligence and de 
termination. Never discouraged, since she held the indomit 
able hope and assurance of youth and believed that war could 
be but a momentary deterrent to all youth, she was impatient, 
nevertheless, for the future to reveal itself. 

Youth was finding much to excite its curiosity and arouse 
its enthusiasms. Who did not hear of that memorable event, 
the launching of the ironclad, "Monitor," in Greenpoint, in 
January of 1 862, and exult in its victory over the "Merrimac" at 
Hampton Road, the following March? Was not all Brooklyn 
thrilled, in 1863, at the news of Henry Ward Beecher's cham 
pioning of the Northern cause in Liverpool, to win the support 
of England? What man, woman, or child did not find fun and 
frolic, as well as the sense of patriotism satisfied, as Brooklyn 


devoted itself to the great Sanitary Fair in the spring of 1864, 
from which the immense sum of $400,000 was realized for war 
relief? These events would be retained in youth's memory 
when all the countless and varied other services of Brooklyn in 
the great cause were forgotten. Nor would the great battles of 
the war stand out in such relief, save to those who had fought in 
them, for they had been fought on distant soil. 

When the Reverend Henry Ward Beecher and the Rever 
end Richard S. Storrs departed on April loth, 1865, on board 
the steamship "Oceanus," with a party of nearly two hundred 
fellow men and women of Brooklyn, on a pilgrimage to Fort 
Sumter, to restore the "Stars and Stripes" to their honored 
place, word had already been received of the surrender of Gen 
eral Lee, the day before, at Appomattox. Only days remained 
before the final capitulation of the Southern forces, and the ter 
mination of the war, on April 2 6th, at Raleigh. 

Yet, in the meantime, April i5th had heralded to the nation 
tragic news that transcended all thoughts of war or victory or 
peace, news that had brought to North and South alike con 
sternation and consuming grief. Abraham Lincoln, president 
and friend, had become the victim, the supreme sacrifice of 


Richardson,, Brooklyn 





res w . 

AT TttE 



JHURSDAY pv'o, jViAY 28, 1874* 

Miss EMMA CXTHURSBY, Soprano, - 
Mr. A, SOHST, Baritone. 

Mr. M. ARBUCKLE, Cornet. 

Mr/E. A, UEFEBRE/Saxophone, 



BE834VET> OBATfi Wi 
M ilvlnjprton & miilorwtod'a, B<3Ltord A vo.', corner Tay lof St., 
. a* LaKetro'a, Ko. 71 Powrtfe St 



Emma Thursby's progress from the provincialism of Wil- 
liamsburgh, which had, nevertheless, served her child 
hood so well, into the broader intellectual and musical spheres 
of Brooklyn and New York and the America beyond was post 
poned at least ten years by the family financial crisis, following 
the death of her father, and the long period of nation-wide eco 
nomic debility attending the Civil War and post-war readjust 
ment. Yet, even with existing circumstances, her progress 
would have been much more rapid had she not chosen the 
church as the medium for her musical expression. The church 
did offer a secure though modest sphere for her endeavours, 
but it at the same time very definitely frowned upon any con 
sideration of the opera, the most lucrative of musical spheres. 
In the eighteen sixties the difference between singing in an 
operatic performance and singing operatic arias under the 
sanctified auspices of a church concert was as great and as arbi 
trary as the accepted difference between bad and good morals. 


To be sure, operatic performances were popular with respec 
table audiences, and the average operatic singer of unassailable 
deportment. Yet she who essayed the operatic stage must pre 
pare herself for estrangement from most of her friends, as one 
who had practically renounced the Saviour for the Devil. Clara 
Louise Kellogg often told how, before making her operatic 
debut, she had the painful task of calling her friends together 
to tell them that she would understand if they no longer chose 
to bow or speak to her. 

Emma Thursby's first regular position as a church singer 
was in the choir of Dr. Porter's Bedford Avenue Reformed 
Dutch Church in Brooklyn, to which she was called by the 
superintendent of the Sunday School, John Gray, at the close 
of the war. Before that time she had sung at various small 
church concerts, wherever, in fact, she had the opportunity of 
earning a few dollars. She, herself, tells us that her first earn 
ings at Dr. Porter's were $150 a year, that her agreement pro 
vided that she should remain with the church until she re 
ceived an offer exceeding $400 a year from some other church. 
It was only a matter of months when such an offer was made, 
and she transferred to the North Presbyterian Church at gist 
Street and gth Avenue, New York. In 1867, a f ter she and her 
family had moved to a more convenient location at the corner 
of Lee Avenue and Wilson Street, Brooklyn, and in the early 
months of 1868, she was soprano soloist in Dr. Spear's South 
Presbyterian Church in Brooklyn, receiving $700 a year, to 
gether with the proceeds of a testimonial concert. Hereafter 
the story of her prestige and popularity moves rapidly. 

The church soloist was becoming an indispensable asset to 
any church, as the economic stringency of war years, followed 
by a contrasting period of all too generous contributions for 
church expansion, resulted in a keen rivalry among churches 
seeking to win or retain membership. Even Plymouth Church, 
the pastorate of the much beloved Reverend Henry Ward 


Beecher, was not disdainful of the value of Emma Thursby's 
singing. And certainly it was one of the most famous and most 
prosperous churches in America, numbering in its zealous 
membership the intellectual and the God-fearing from an area 
of wide limits, and in its attendance the great and the curious 
from all around the world. What visitor to New York would 
fail to visit Plymouth Church? Indeed, in Plymouth Church on 
any Sunday could be seen a cross section of America, with a big 
wig or two from Europe. 

The diary record of Emma Thursby at this time shows the 
friendly rivalry among churches as she sits in judgment of their 

March 26, 1868: "Went to the 'Church of the Messiah' on 


April ist: "Received a letter from Mr. Stewart about coming 

to his Church to sing." 

April 2nd: "Gentleman came to see me from Mr. French's 


April i2th: "Mr. Bartlett came in Church to tell me about 

Robinson's Church." 

April 2ist: "Had an offer from Strong Place Church." 

April 22nd: "Engaged at Beecher's Church at 

In the long climb from obscurity to the position of soloist in 
the most talked about church in America, the post-war period 
had proven most encouraging. With recognition had come 
greater cooperation from her family with more opportunity for 
practice, and, at last, opportunity to earn. No doubt the fam 
ily's purchase from modest savings of a "Chickering Piano 
Forte" in December, 1865, at the substantial sum of $650, by 
trading the old Thursby "Persian Piano" at an allowance of 
$350, signaled a new day for Emma, for it is likely that she 
started giving singing lessons shortly thereafter. And, in 1867, 
the income from church singing and giving singing lessons was 


sufficient for her to undertake lessons, herself, from Julius 
Meyer, which proved to be an important step toward a pro 
fessional career. 

In her choice of Julius Meyer she was fortunate. Meyer, who 
had come to America in the early eighteen-fifties and gained 
quick recognition for his splendid capabilities as a teacher of 
singing, had had his early training under Mendelssohn at the 
Conservatory of Leipzig, not far from the place of his birth. 
Enjoying the good fortune of membership in a musical family 
and the added good fortune of the friendship of Mendelssohn, 
he had progressed rapidly. The instrument of his attention was 
the violin, with which he had won praise in the music centers of 
Germany. Yet it was his fine baritone voice and his unusual ear 
for music, very likely attained by his training in both violin 
and voice, that had persuaded Mendelssohn to regard him as a 
born singing teacher. Certainly he accomplished much in the 
training of Emma Thursby's voice over a sometimes inter 
rupted period of about five years, and she always remained 
thankful to him, particularly for the knowledge he gave her of 
the music of Germany, and for the great aid his violin accom 
paniment gave to her purity of tone. 

ISIo one observing this period of Emma Thursby's life can 
fail to be impressed by the tremendous energy and enthusiasm 
of this heretofore delicate child. Though frail in appearance 
and weighing only one hundred pounds, she crowded into each 
day what would surely have exhausted many a sturdier person. 
But she seemed to gain strength from the high degree of in 
spiration she found in everything. In 1868, when her diary 
enables us to follow her daily life, we find her taking singing 
lessons, piano lessons, and dancing lessons; singing in choir and 
concert, with the numerous rehearsals entailed; calling on 
friends; going to parties; entertaining young gentlemen ad 
mirers at home; attending operatic, dramatic, and concert per 
formances for pleasure as well as observation; visiting relatives; 


sharing in household duties; and, on Christmas eve, 1868, 
"making a dress for Ina." Yet, the day held only twenty-four 
hours; horse car and ferry transportation was slow, and walk 
she must in most of her errands. 

Often she arranged her own concerts: "I was always ambi 
tious and began giving concerts very soon after I started to sing 
in church. I would usually ask the use of the church, would get 
my artists, make my programs, and sell my tickets. In fact, I 
was my own manager and I fancy rather a good one, for I 
think I was always successful. Each time I would get more 
prominent artists, and always made it pay." Success did not 
come without justification. Indeed, the concert-going public 
knew that an Emma Thursby-sponsored concert guaranteed 
not only the opportunity of hearing their own adopted favor 
ite, but always other artists of no. small merit in a program that 
never failed in its main purpose of presenting selections from 
the great composers. 

That she loved good music is due, of course, primarily to her 
training in good music, but also to the fact that she had heard 
good music. There was no church choir of any merit in Brook 
lyn or New York she had not heard and observed. All the great 
artists who appeared in concert were familiar to her, and no 
operatic performance with capable artists eluded her eager 
search for musical knowledge. In 1868, she lost no opportunity 
to hear Mesdames Parepa and de la Grange, and her own coun 
try woman, Clara Louise Kellogg. Every worthwhile perfor 
mance of an oratorio attracted her attention especially, for here 
might be found some aid or suggestion in what was to become 
her own forte. Very likely it was Julius Meyer who suggested 
that she hear Ole Bull in his appearance in Brooklyn on March 
24th, 1868. Bull, who had first toured America in 1843, en 
joyed an international reputation. Without doubt the most 
popular instrumentalist who had ever appeared in America, 
surpassing even the high public favor that Vieuxtemps and 

Gottschalk enjoyed, he could arouse in his audience that fervor 
that had attended the concerts of Jenny Lind almost two dec 
ades before. 

Although there is no record of Emma Thursby meeting Ole 
Bull at the time, it was only a year later, on March i oth, that 
she assisted in a concert at St. John's Methodist Episcopal 
Church in Brooklyn in which Ole Bull was featured. "Concert 
of the Musical Association, Ole Bull, Simpson and myself. Mr. 
Wright brought me a basket and two bouquets of flowers. $40," 
notes her diary with comprehensive brevity, although omit 
ting that she had sung Agatha's beautiful prayer from Der 
Freischutz y and had won the high compliment of Ole Bull. 
This meeting initiated a long musical association and a warm 
personal friendship with Ole Bull that lasted until his death in 

The year 1868 very definitely brought reward to Emma 
Thursby's long and patient years of practice, in placing her 
among the singers of whom her country might well be proud. 
On April i5th, she made her first appearance in a complete 
oratorio, singing the soprano solos of the Creation in a notable 
concert of the Brooklyn Musical Association at the Lee Ave 
nue Reformed Dutch Church. Messrs. George Simpson and 
J. R. Thomas sang the tenor and bass solos, respectively, while 
Leonard W. Bacon conducted the orchestra and choir. If not 
of greater significance in her career, the concert of the Associa 
tion on the 2 yth of May brought her, perhaps, greater pleas 
ure, for she had the distinction of appearing with the popular 
Mme Parepa. But the most important event of the happy year 
came on Sunday, the grd of May, when at Plymouth Church, 
standing in the choir box just above the Reverend Henry Ward 
Beecher, she sang two solos, " Blessed Sabbath" and "Protect 
Us Through The Coming Night," making her Plymouth 
debut before a huge congregation that was visibly moved. 

Given her great opportunity, Emma Thursby worked with 


unremitting zeal. The appellation, "Soloist at Beecher's 
Church/' undeniably gave her entree to many otherwise un 
approachable circles, just as her actual church solo work intro 
duced her to a great and influential audience she might never 
have known. Yet her position was no easy one, and she had 
earned it by true merit. Inclusion in the Plymouth family car 
ried the privilege of listening to Henry Ward Beecher's regu 
lar Sunday discourses. No choir singer had reason to doze 
through any Beecher sermon, and Emma Thursby noted 
Beecher sermons in her diary with the fervor of a disciple. 

"You cross Fulton Ferry from New York to Brooklyn, and 
then follow the crowd," was sufficient direction to any Beecher 
service. The story was told by Beecher himself of how one 
Monday, following a sermon in which he had urged that some 
plan be adopted whereby men would not be called upon to 
work all day Sunday, he chanced to ride on a Fulton Street car. 
Unknown to the conductor, whom he engaged in conversation 
regarding the possibility of running the cars only part day 
Sunday, he received the blunt but constructive suggestion that 

"It's possible but not as long as they keep that d d Beecher 

theatre open in Brooklyn." 

The happy musical family of Plymouth Church was made 
up of John Zundel, organist; Henry Camp, basso and chorister; 
Emma Thursby, soprano; Matilda Toedt, contralto; George 
Rockwood, tenor; and assisted by a choir of some seventy-five 
voices. Zundel, trained in Germany, first as a violinist and sub 
sequently as an organist under Rinck, had been organist at 
Plymouth since 1850, with but two short interruptions of 
service. With the deep interest he always showed for those in 
the Plymouth fold, he gave generously of his great fund of 
musical knowledge and experience to Emma Thursby and her 
young colleague, Matilda Toedt. At the same time, they found 
in Henry Camp, Conductor of Music, a forceful, energetic, 
able director. 


Since Emma Thursby had entered whole-heartedly into the 
spirit of Plymouth, it is not surprising that we find her contract 
renewed in the spring of 1869, with the additional reward of 
the proceeds of a complimentary concert. Nor is it surprising 
to find that she joined Plymouth Church, along with her 
friend, Miss Toedt, receiving her first communion on May 
2nd, 1869. The spirit of Plymouth was a contagious one, for 
pastor and church were dynamic institutions that never failed 
to give their congregation something to do as well as some 
thing to think about. Any year at Plymouth witnessed a rapid 
succession of concerts, lectures, exhibitions, readings, and fes 
tivals that left members little to seek beyond their own church. 
Indeed, there was entertainment for all. 

Witness the Annual Festival of the Plymouth Sunday School 
on Wednesday and Thursday evenings, November loth and 
nth, 1869. On Wednesday evening: "Organ Playing, Tab 
leaux- Vivants, and Singing, by the members of the School/' 
not to mention " Grand Sciagraphic Exhibition of the Cele 
brated Elephant 'Zephyr/ " On Thursday evening: "A Grand 
Concert, under the direction of Henry Camp, Conductor of 
Music in Plymouth Church, assisted by the wonderful Cornet- 
player, Mr. J. Levy, Late of Theo. Thomas' and Parepa Con 
certs, also Miss Emma C. Thursby, Soprano; Miss Sarah E. 
Thompson, Contralto; Mr. Geo. G. Rockwood, Tenor; Mr. 
Henry Camp, Basso. And the Choir of Plymouth Church. 
C. Henry Dibble, Piano Accompanist. Mr. George W. Mor 
gan, Will Preside At The Organ. A Parlor Band will play both 
evenings in the Sunday School Room Refreshments, Flowers, 
Conversation, &c." All for 50 cents an evening! 

Notable among the occasions which identified Emma 
Thursby with Plymouth Church was the "Grand Complimen 
tary Testimonial Concert" given her on December i6th, 1869. 
The artists joining to honor her formed a distinguished array: 
Antoinette Sterling, contralto; Matilda E. Toedt, violinist; 




F. Gutekunst, Philadelphia 


Sarah E. Thompson, contralto; George W. Morgan, organist; 
William S. Leggat, tenor; C. Henry Dibble, pianist; Edward 
Hoffman, pianist; with Henry Camp, conductor; and a male 
chorus of twenty voices. Miss Sterling, the contralto, compared 
very favorably with America's two foremost contraltos, Ade 
laide Phillipps and Annie Louise Gary, while George W. Mor 
gan knew no superior as an organist. A brilliant performer, he 
was always in great demand at concerts. The other artists all 
stood high in the popular favor. 

In a long and impressive program, Emma Thursby sang 
the "Echo Song" by Bishop, and the Valse from Gounod's 
Romeo et Juliette, and joined in a quartette which sang "How 
Can A Bird Help Singing?" by Abt. Honored by an audience 
that overflowed Plymouth Church and knew no bounds for its 
applause, she executed her selections, accompanied by her 
teacher, Julius Meyer, with the fine musicianship, and the 
purity and sweetness of tone that were raising her to distinction 
in the ranks of singers, and with the modesty and naturalness of 
presence that were endearing her to a rapidly increasing 

Benefitting from the musical association with Plymouth 
Church, she found her services for concerts in increasing de 
mand. In November of 1870 she journeyed to Portland, 
Maine, to give a concert, on the goth, with her friend, An 
toinette Sterling, in what marked her first appearance at any 
great distance from Brooklyn. To be sure, the following year, 
1871, was to bring her engagements in Albany, Potsdam, and 
Hudson, New York, as well as in neighboring parts of Long 
Island and New Jersey. 

For the church year, May 1870 to May 1871, her contract 
with Plymouth Church, providing for $900, and, in addition, 
the proceeds of a complimentary concert, was renewed. In this 
year she earned from all sources, including the singing lessons 
she continued to give, and her concerts, about $1800. Substan- 


tial though this sum was in the monetary standard of the day, 
and high though it was for any woman to earn, to Emma 
Thursby it gave little surplus. 

Yet happy days were these, with opportunity ever within 
reach. Unspoiled by the praises that constantly rang in her ears, 
she worked quietly and faithfully toward improving her voice, 
realizing that each word of praise meant a new responsibility 
to her audience. Hand in hand with -opportunity came the 
need of earning as much as possible to meet her increasing per 
sonal expenses for singing lessons, travel, clothing, and, what 
was now ever before her, the responsibility of the family. Allie 
and Ina had to have clothing and spending money; so did John 
and Lewis. Her mother must now be able to dress befitting the 
mother of Emma Thursby. Furthermore, household expenses 
were mounting, due to entertainment of friends. Funds for 
furniture and decoration seemed always in demand. The gas 
bill, and the coal bill, and the taxes, and the fifteen dollar-a- 
week allowance she was giving her mother were forever drain 
ing her resources. 

Her decision to accept the call of Dr. Porter's Reformed 
Dutch Church of Bedford Avenue, Brooklyn, as recorded in 
her diary under February 2 1 st, 1871, would at first seem wholly 
actuated by the necessity of increasing her earnings. However, 
the $1200 a year, together with the proceeds of a complimen 
tary concert, she was to receive from Dr. Porter's church, was 
later to be paid to her successor at Plymouth Church and had 
been offered presumably to her. Since she continued to attend 
services at Plymouth after the termination of her contract on 
April goth, and to take part frequently in Plymouth concerts, 
her departure can in no way have been due to any estrange 
ment. Hence we reach the conclusion that she desired to return 
to the church of her first choir work, the one that had be 
friended her after the death of her father. 

Thereafter, both Dr. Beecher's and Dr. Porter's churches 

shared her loyalty, each pastor continuing her friend and coun 
selor. Either pastor would have testified to the sentiments that 
Dr. Porter expressed in his letter dated August 2 1 st, 1871, Oak- 
ledge, Claverack, N. Y.: 

"Miss Emma C. Thursby. 

My dear delightful Friend 8c Songstress, 
It is very hard for me to determine just exactly how to entitle 
your little ladyship for I have so much of respect, regard 8c 
liking for you as a very nice & proper person, who unites the 
simplicity of a girl, with the dignity of a woman, exalted 
through genius & yet made humble through grace, that any 
single term of endearment seems to be quite barren of 
expression " 

Moreover, this would have been the testimony of a large 
New York and Brooklyn following to whom Emma Thursby 
had become a singer and an ideal. 

Sometime in the summer or early fall of 1871 she sought an 
other teacher of singing, preferably a singer of actual profes 
sional experience, who might enlarge her repertory and instruct 
her in the art of presentation. The search took her for a very 
brief period of study to Rivarde before she finally discovered 
the precise qualifications she desired in Achille Errani, with 
whom she began instruction in the late fall of 1871, in New 
York. Errani, an Italian, trained in the Italian school of music 
under Vaccai, had enjoyed a fine reputation as a tenor in 
Europe for a decade or more before he came to America, 
shortly before 1860, where he continued his active career for 
but a few years before turning to teaching as his whole-time 
profession. He could already number among his pupils, Clara 
Louise Kellogg, Minnie Hauk, and Emma Abbott. Errani 
could boast and he often did of having sung more than 
once in the memorable and all too infrequent operatic appear 
ances of the brilliant Adelina Patti in New York in 1859 and 


1860, appearances that marked Patti's debut at sixteen to a 
world she would soon dominate. 

With the advent of Errani there is evident a notable enlarge 
ment in Emma Thursby's repertory to include the songs of Ital 
ian, English, and French composers, that were especially suited 
to her coloratura soprano voice. Errani's manifest task was to 
suit the music to her voice rather than to suit her voice to the 

It was Errani whom she credited with her engagement at the 
Mendelssohn Glee Club Concert in New York, on May yth, 
1875, where she sang the Polonaise from Mignon before an im 
portant and fashionable gathering that had turned out pri 
marily, no doubt, to hear her fellow artist, the celebrated Span 
ish violinist, Pablo Sarasate. This appearance she believed to 
be her first important one before a critical New York audi 
ence, and certainly the high praise she received attracted wide 

In the years 1870, 1871, and 1872, her concert appearances 
took her to most of the well-known churches and auditoriums 
of New York and Brooklyn, her financial rewards ranging from 
twenty-five to a hundred dollars a concert. Never was she to be 
found lowering her musical standards by singing trivial songs. 
However, we do find her occasionally appearing in what must 
have been curious programs. On Friday evening, December 
sgrd, 1870, she assisted as soloist, together with Joseph 
Poznaski, pianist, in the "Shakespearean Soiree" of Master 
Oliver B. Goldsmith at Chickering Hall in New York. "The 
Child is but Six Years old, and is to me an incomprehensible 
wonder," was the reassuring program note attributed to Gen 
eral Stewart L. Woodford. In any event, while "Little Ollie" 
took Richard III, Hamlet, and Julius Caesar in hand, Emma 
managed to sing the Cavatina from Linda, and "Gaily I Trill" 
by Sloman. 

The entertainment did meet with such popular favor, how- 

ever, that it was given again the following April, and twice re 
peated in the spring of 1873, again with success. It became on 
Thursday night, April i ith, a "Shakespearean Soiree," only to 
become a "Shakespearean Soiree, Matinee," the following Sat 
urday afternoon. "Little Ollie," grown a little older, chose to 
compromise Shakespeare by declaiming "Aunt Jerusha" and 
"Give Joy, Dear Mother," and then stooping to the "Heathen 
Chinee" of the quite modern Bret Harte. But Emma, true to 
her art, sang the Valse from Romeo et Juliette, "La Primavera" 
by Torry, "The Lover and the Bird" of Guglielmo, and Fred 
eric Clay's lyric, "She Wandered Down The Mountain Side," 
so popularized by Clara Louise Kellogg. 



A the reputation o Emma Thursby grew and spread from 
church to church and from home to home, there was 
much speculation over her attitude toward the opera if atti 
tude it can be called. The natural goal of the singer of 1 870 was 
still the operatic stage where lay the greatest artistic opportun 
ity and the largest financial reward. Surely Emma Thursby 
must have glanced a little enviously at this goal from her secure 
though restricted position behind church portals. Many in her 
church audience would have renounced her bitterly had she 
turned to the operatic stage, yet many other honest church 
men, to the credit of the day, would have given her their en 
couragement and blessing. 

"The theatre," said Henry Ward Beecher, "is the door to all 
kinds of iniquity/' "To be infected with each particular vice in 
the catalogue of depravity, one need go to the theatre," he also 
said, apparently with some satisfaction in his invective. Yet, 
as unreasonable as such wholesale castigation may appear, 


Beecher was only voicing public opinion. Had not Jenny Lind, 
after several years of appearances in opera and while still young 
and at the height of her popularity, abjured the operatic stage 
as something contradictory to her moral and religious scruples? 
Her position was hardly fanatical, but simply moral, repre 
senting the opinion of the majority. Had not the directors of 
the Brooklyn Academy of Music, on the occasion of the open 
ing in 1861, found it judicious not to present La Traviata as 
originally planned for fear that it might not stand the test of 
high moral character? But, strangely enough, the clergy was 
often found bowing, perhaps to a growing popular demand, 
and even encouraging the appearance of operatic singers in 
their church concerts. All thanks to their contradictions, art 
was given an occasional breathing spell, and the public an hon 
est pleasure. 

As absurd as some of the moral notions of that day may ap 
pear to us, to one living within their influence they were very 
real and compelling. Escape from them could be made only at 
great cost. To Emma Thursby, indeed, escape would have 
meant the breaking down not only of some abstract principle, 
but also the moral fibre of herself, developed in a noble tradi 
tion, even though in the prejudice of the day. 

Whatever her personal ambitions may have been, she took 
every opportunity to attend opera performances, the years 
1 868-1 872 offering to her attentive ear: Lucrezia Borgia, 
Norma, Fra Diavolo, Roberto el Diavolo, Faust, Child of the 
Regiment, Stradella, II Trovatore, Zampa, Martha, and Wil 
liam Tell, as well as other performances in 1870 of which no 
record remains. Some operas she heard in several perfor 
mances, notably II Trovatore, either from personal preference 
or the desire for comparative observation. Some performances, 
such as of Hamlet, on March 25, 1872, with Nilsson, Gary and 
Brignoli, she recorded in her diary, "Not very fine," while 
other performances, such as that of William Tell, on April 24, 


1872, with Parepa, Wachtel and Santley, she recorded, "Very 
fine." She, of course, heard in concert most of the great singers 
who were particularly identified with the opera, for here was 
an opportunity of observing them in her own field. The drama, 
too, enlisted her enthusiasm in these years, and well it might, 
since she was privileged to see Charlotte Gushman in Guy 
Mannering; Edwin Booth and Lawrence Barrett in Othello; 
Barrett in The Marble Heart; Booth, Barrett, and F. C. Bangs 
in Julius Caesar; and Booth and Bangs in Richard HI. 

Any inquirer into whether Emma Thursby had operatic am 
bitions in this period must turn to the significant entry in her 
diary under date of May 3, 1871: "John Clark calls to see if I 
will join an English Opera Troupe/' Unfortunately no further 
entry reveals her decision. If it was in the negative, we cannot 
yet assume that she had definitely renounced opera, for at the 
time she was considering a trip abroad for the purpose of 
making the "Grand Tour" and taking singing lessons in Italy. 
In fact, she later engaged passage on the steamship "Idaho," 
with her friend, Matilda Toedt, but cancelled her passage on 
June isth, two days before sailing time, very likely because her 
family and friends had warned her that the Franco-Prussian 
War, so recently ended by treaty of peace, had made European 
travel unwise. To be sure, the war had left the Continent un 
easy, and France bitter and shaken, demoralized by the upset 
ting of the monarchy and the occupation of Paris by German 
troops, and, finally, by the loss of Alsace-Lorraine and the stag 
gering burden of a war debt to Germany of $ i ,000,000,000. 

No record appears throughout the remainder of the year of 
the fruition of John Clark's English opera plans. However, the 
note in Emma Thursby's diary under the date of February 
26th, 1872, may or may not have some significance: "Call on 
Mr. Williams to get "him to see John Clark." Clark, himself, 
appeared in J. M. Loretz's new opera, The Pearl of Bagdad, in 
the Brooklyn Lyceum at the end of April and in the early days 








S s 

i g 

"2 w 

8 5 

| 1 


H. Rocher, Chicago 


of May, and the Clark enterprise had its ambitions rewarded 
when on November s8th, 1872, at Flushing, Long Island, 
"The New York Parlour English Opera Company" gave Mari- 
tana, sung by Mrs. William N. Oliver, Lizzie Clark, Monica 
Newman, Eugene Clarke, Frank Lawrence, John Clark, and 
J. M. Wilder, with Caryl Florio conducting. In the meantime, 
Emma Thursby had gone abroad and was already, in fact, 
studying in Italy, so our inquiry into her operatic intentions 
closes in conjecture, though the evidence would seem to sug 
gest that she at least held an open mind toward an operatic 
career. We shall rest the case of Clark and his English Opera 
troupe versus Emma Thursby with the commentary that Clara 
Louise Kellogg, within a few months, established an English 
Opera company which toured America with great success and 
great profit. 

The chief source of Emma Thursby's income in this period, 
the year 1871-1875, was still the church. The salary of $1200 
which she received from Dr. Porter's Church was supple 
mented by the proceeds of a testimonial concert given her on 
March nth, 1872, in the amount of $486.75. In addition, the 
proceeds from concerts, and lessons to pupils then numbering 
seven, brought her total income to about $2200, a substantial 
income, indeed, for a church singer, but a small income for one 
of the same talents in the operatic field. 

In February of 1872, the shopping season for church singers, 
her diary again reveals the open bidding of rival churches for 
her services: 

February 6th: "Mr. Spelman calls to see about having me come 

to Dr. Cuyler's Church." 

February nth: "Committee of Dr. Cuyler's Church in church 

in the morning/' 

February ijih: "Dr. Porter calls: to talk about my concert, and 

to see if I will stay with them another year." 


February i$th: "Go with Mr. Storrs and Nettie to Dr. Cuyler's 

church to sing on trial." 

February aoth: "Mr. Spelman calls in the evening and offers 

me 1 1200 and a concert. Do not accept." 

February 2ist: "Mr. Spelman at the Wedding talks to me 

about engaging at Cuyler's church. Offers $1300." 

February 22nd: "Mr. Spelman calls, tries to get me to engage 

at Dr. Cuyler's Church at 11500. Go to the Tea Party, send my 

answer to Mr. Spelman. Decide to remain at Dr. Porter's." 

February 24 th: "Receive a note from Mr. Spelman asking me 

to accept $1500, & a concert at Dr. Cuyler's Church." 

As much as Dr. Porter and his congregation desired to have 
Emma Thursby among them, their affection for her was such 
that they would not have desired to thwart her progress. Never 
theless, they were happy in her decision to remain for another 
year, although aware that she contemplated a trip to Europe, 
which might necessitate a leave of absence. 

Errani, her teacher, with whom she was now studying dili 
gently, was again, as he had been the year previous, a strong 
advocate of a journey to Italy to take singing lessons at Milan. 
Though Errani's partisanship to the Italian school of singing 
can be understood, no reasonable student of music would deny 
that the Italian school of singing offered the greatest oppor 
tunity for Emma Thursby's voice. Many American singers had 
preceded her to Italy, and many were to follow her. Italy did 
something to a singer, whether by superior instruction, or by 
its almost sacred musical traditions, or by both, that no other 
spot in the world could do. Any American of talent, inspired 
at this musical shrine, could come home assured of the miracle 
that only an European reputation could perform. 

Fortuitously enough for Emma Thursby, the opera season 
of 1871-1873 provided one of the greatest feasts of Italian 
opera that America had known, with Carl Rosa and the Stra- 

kosch brothers, Maurice and Max, vying with each other in 
enlisting the operatic luminaries. Rosa could take just pride in 
a company that included Mme Parepa-Rosa, Adelaide Phil 
lips, Wachtel, Santley, and Karl. But the sagacious brothers 
Strakosch produced the already fabulous Christine Nilsson, 
who dimmed into comparative obscurity her capable associ 
ates, Annie Louise Gary, Victor Capoul, and Pasquali Brignoli. 
Though it cannot be said that Nilsson completely stole the 
show, since both companies sang to crowded houses, there can 
be no doubt that she, primarily, created the great wave of 
operatic enthusiasm that brought success to both companies. 

Certainly no singer since Jenny Lind had received such 
plaudits from public and critics alike. "If Jenny Lind was 
noble and pure, Christine Nilsson was tender and sweet; if the 
one was saintly, the other was angelic; if the one was bright 
moonlight, the other was unsunned snow, and so the newcomer 
took the place left vacant by her country woman." What mat 
ter, with such luminaries, if the companies were weak in their 
minor singers, and left, in their poor staging and costuming, a 
severe tax upon the imagination! What matter, certainly, for 
Emma Thursby, who would carry to Italian opera's own La 
Scala the memory of such voices! 


The passengers sailing from New York on the steamship 
"Idaho/ 9 on June 26th, 1872, comprised a congenial 
group, especially to Emma Thursby, for one-third of their 
number were Brooklynites, and largely friends from the con 
gregation of Plymouth Church. Pleasant weather prevailed 
after a few days and many of the diversions of the voyage of 
today were the order: playing shuffle-board, dancing, singing 
in the saloon in the evening, steamer-chair dreaming, strolling 
on deck, inquiring into the mysteries of latitude and longitude, 
guessing the distance sailed, watching a passing ship, sighting 
whales, and searching the horizon for the first dot of land. One 
would long remember, too, the celebration of the Fourth of 
July, the toasts to the United States and England, the singing 
of the national anthems, the reading of poems, the impromptu 
contributions of the talented; and in the evening, a concert 
with Emma Thursby's own particular contribution. To her, at 
least, the voyage was one of never-ending discovery, each day 


packed with the surprises and thrills of a first voyage. When 
she noted in her diary, the second day out, after a first day in 
which everybody had succumbed to seasickness, "Get up early, 
am the only lady at breakfast/' she was evidencing the hardi 
hood of one who was to be ceaseless in her travels on sea and 
land for fifty years, never failing in her zest and enthusiasm. 

Sight of the coast of Ireland and a brief call at Queenstown 
on the twelfth day brought comfort to many a poor sailor and 
joy to all in the thought of Europe's promise. Liverpool on 
the thirteenth day and debarkation; Liverpool where John 
Thursby thirteen years before had lost his long struggle for 
life. Then to London, arriving at night; London of her 
dreams and fancies. Nothing must be left unseen, undone, so 
into four days are crowded history in its monuments and his 
tory in its making. Such energy and endurance! 

Paris and the pace quickens. Dear old Grand Hotel! Notre 
Dame, and La Madeleine with its 'Very fine music." But could 
she meet the test of the Louvre? A morning of experiment and 
then confession: "It would take a week to go through it." But 
on and on she speeds for five days, seeing all before her. "Go to 
Bon Marche, get some gloves." Paris with its churches and its 
museums and its gloves! Who did not buy gloves in Paris? 

On to Baden-Baden, Coblenz, and Ems where she has her 
first sight of royalty, passing Emperor William, who "bows 
very low to us." Thence to Cologne, where she visits the cathe 
dral, and buys Eau de Cologne, as any tourist would. On to 
Berlin. A feast of opera and concert. She finds Mendelssohn's 
grave, after searching through three cemeteries. Alas, poor 
Mendelssohn! An audition with the renowned teacher of sing 
ing, Professor Ferdinand Sieber, who urges her to remain for 
instruction. On to Potsdam of many palaces. Then a sail down 
the Elbe to Dresden, which commands with its great paintings. 
Raphael's "Sistine Madonna" and the "Madonna" of Holbein 
vie in her eyes with Dolci's "St. Cecilia." A flower brought by 


a friend from Carl von Weber's grave will suffice, but Marie 
Wieck surely must be seen. "Then call on Marie Wieck, sing 
for her. She makes an appointment to go with us to see her 
father. Do a little shopping. After dinner Mr. C. and Belle and 
I take a carriage, go for Marie Wieck and drive out of town to 
her father's in the country. Hear some of their pupils sing. 
Sing a little myself/' Friedrich Wieck, still teaching at eighty- 
seven, he who had taught Schuman, and his own talented 
daughter, Clara, wife of Schuman; and Hans von Bulow. 

Prague churches and a palace and "Cross the Stone Bridge 
where St. John of Nepomuk was thrown off because he would 
not tell the King what the Queen confessed." Vienna, "the fin 
est city we have been in." And the pilgrimage continues 
"to the graves of Beethoven, Mozart and Schubert." On to 
Romerbad and Adelsberg. Through the Tyrol Alps to Venice. 
Gondolas and history! Thence to Juliette's Verona. Then to 
Milan, to find that her teacher, Achille Errani, has just de 
parted. A crowded day: to see Leonardo da Vinci's "Last Sup 
per," and visit the Cathedral. "Go to see Sangiovanni. He has 
heard of me from Mr. Errani. Likes my voice very much." 
Finds the American Consul out, but "see King Victor Em 
manuel in his carriage." 

On to Como and down Lake Como. Unforgettable scenery 
and sunset. Over the Spliigen Pass of the Alps. Magnificent! 
Through Fribourg to Lausanne and Geneva. "Go to church in 
the old church of Calvin, same he used to preach in." Buys a 
watch. Then to Chamonix and up Mont Blanc and across the 
Mer de Glace. On and on to Vevey. More royalty! "In the eve 
ning a grand display of fireworks for the King of Holland who 
is staying at the hotel." Back to Paris. "Take a nap" the first 

A more leisurely two weeks in Paris. Goes to hear Don Gio 
vanni, with Faure. Church music, churches, museums. Quiet 
deliberation over whether to remain in Europe and return to 


Milan for study. Leaves Paris for Milan, 3 P. M., October grd, 

The Grand Tour at an end, Emma Thursby arrived in 
Milan the morning of October 5th, ready to undertake the re 
sponsibility of serious study. After ten days of deliberation and 
advising with American friends, interrupted only by a visit to 
the opera to hear Gallette in La Favorite, she had found a 
boarding house, rented a piano, and started Italian lessons. On 
the twelfth, however, she made her most important decision: 
"Go with Mrs. Bowles to Miss Armstrong's. She takes us to see 
LampertiL Hear some of the opera singers sing in his class. 
Make arrangements to take lessons with him." And she took 
her first lesson from Francesco Lamperti on the fourteenth. 

Lessons and practice soon replaced the old schedule of travel 
and excitement. No wonder then that she notes on the seven 
teenth: "Am rather home-sick." She had numerous friends in 
Milan, but no old friends. To be sure, she saw much of Emma 
Abbott and Jennie Bull and Mrs. Bolles, but still she awaited 
patiently the arrival of Lottie Smith and Naomi Todd to 
brighten her outlook, for they would provide the ties with 
home. But busy hours and time itself were unfailing cures. 
Finally, on November grd, came the first letter from home. 
However, she was still a little homesick when she wrote on the 
tenth to her sister, Ina, now seventeen years grown up: 

"MilanoNov. loth, 1872. 

My darling little Ina 

I suppose this title will not suit you very well now 8c expect 
when I get home to find you head and shoulders above me. Al 
says you are getting to be a great 'swell* and he hardly dares to 
kiss you, I don't think I would let him, or anyone else. I think 
you are a lazy little girl, not to write to your poor lonely sister. 
I hope it is because you are so hard at work practicing singing, 


playing, & studying French or German. I guess you can find 
time to write a little every week, and let me know how you get 
on with your studies and any other news you can tell me. I 
want to know all about the new people in the house and how 
you like them describe them all to me so I can have some 
idea of them. I wish you could be here for a little while and see 
the style I am living in; to be sure it is with a Count and Count 
ess which sounds very grand I dare say, but I am afraid you 
would not think it quite so so grand as it sounds if you could 
see it the houses all have stone floors and are about as uncom 
fortable as you can imagine. I have straw matting on my floor, 
white lace curtains at the windows, a bureau, upon which I 
have your picture and several of my friends, so that I can look 
at you and not feel so lonely, then I have an easy chair and some 
smaller ones, a sofa bedstead, (I wish mother had one like it 
it would be so nice for her now it is just as large and com 
fortable as a single bedstead there is a nice soft mattrass 
which folds up and forms the back in the day time, and under 
neath there are two large drawers to hold the bedclothes) 
a table which is always' full of letters, books etc., a small stand 
and my Piano which, of course is the best piece of furniture 
it is a very nice upright one, of rosewood, and only cost 10 
Francs, per month, $2. I guess if we could hire them as cheap 
as that at home everybody might have a piano. I almost forgot 
my stove, which is quite an important article of furniture it 
is quite large, made of some kind of cement and painted; in 
Germany they are immense things, sometimes reaching almost 
to the ceiling and are made of porcelain. Our family con 
sists of the Count and Countess, one son about 21, a daughter 
of 1 8, a little white dog 8c a parrot. They are all very kind to 
me, 8c I feel quite at home. I forgot Paola, who is our servant, 
a great big Italian woman who wears wooden shoes, or rather 
soles strapped on her feet. She does everything for me, cleans 
my dresses and everything of that kind, so you see I get along 


ilmore's jfamous Band 


Of Hew York, en route for San Fraaeiseo, will give 

e., April 12, % 



,&nd also One 

Urand HXatinee Concert ! 

OB inrsiaj Aton, Apr, 13, at 1 5,1. 

jSy special mdh&rizafam of JPmi. 

>, at 

The organization consists, of 

50 Eminent Musicians 

Mmma O. Thuvsby, the., Best Soprano on the 

American Stage. 
3i% JT. JJ&wyi^ the &redt'3t Cornet Player living. 
JCr* Jf ArbucMe, the great Favorite American Cornet 


MB. 3&. A. LEFEBBE, Saxophone Solo Player; Mr, F. Lefech, Trom 
bone Solo Player; Mr, Carl Kegel, Oiarionette; Mr.*F. Hracht> Flute? 
Mr, Be Cario,lPiccolo; Mr. B. 0. Bait, Cornet; Mr* Litsman, Tubaj 
Mr. Bernstein* Timpany, and other smi^ent soloists. TM whole u4er 
th direction of 

Projector and General Director of the Great Boston 

Jubilees in 1869-asd 1872. 

Lower Part of Tabernacle, 


One Dollar 












cq a 

very nicely. How I wish you were here with me we would 
have such a nice time I go out to walk every day I have 
plenty of friends, so I usually find company, as I do not like 
walking alone. Last week was the Saint's week and every body 
seemed to be having a fine time the first 8c second days, they 
call the 'days of the dead' and celebrated them by going to the 
Cemeterys and decorating the graves of their friends with 
flowers. The other days they celebrated as some Saints' days I 
have forgotten whose. Then came 'San Carlo's' day, which is 
the grandest of all; St. Charles Borromeo is the patron Saint 
of Milan his body is in the Cathedral under the altar on 
that day the doors are thrown open, and everybody is allowed 
to go down to see him, (at other times everyone is charged a 
dollar) so of course I went. My Countess said she would take 
me, so Mrs. Bowles and I went with her. The Duomo (as they 
call the Cathedral) was very finely decorated with pictures rep 
resenting the life of San Carlo, all draped in red and gold. The 
room in which San Carlo lies is of Solid Gold and Silver, ceiling 
& everything in the most -beautiful designs, I believe it cost 
about a I was going to say million but I don't think it is quite 
as much, anyway it is an immense sum. The casket is of rock 
crystal and gold mountings, so that you can look through and 
see the old gentleman. I must say he is not very handsome, & 
doesn't look much like his pictures, but considering he has only 
been there 700 or 800 years and has some splendid clothes and 
jewelry on, he does pretty well for a show, if he is nothing but a 
black mummy without any nose. Everybody stopped and had 
their Rosary rubbed on the casket by the priest. I suppose they 
were blessed for the year. Saturday Nov. i8th. I began this last 
week to send with Allie's letter, but did not have time to finish 
it, so I guess it will do just as well now. I have been looking for 
the arrival of the Algeria, and expecting to hear from Lottie as 
it is quite time I should. I suppose she [would] write to me as 
soon as she landed, and then I could send any information she 

might need to Paris. I wrote to her at Langhams, London, giv 
ing her all directions about coming here as I have not heard 
from her, I should not be surprised to see her walk in some fine 
day. Last week Miss Todd wrote me she had decided to remain 
where she was, in Jena, but yesterday I received a letter saying 
she would be in Milan about the 25th inst., having changed her 
mind, so she will soon be here. She says she is so delighted to 
think she is coming to 'Sunny Italy* that she can scarcely wait 
for the time to come. The Italians laugh so much about the 
American and English peoples' mistaken idea of Italy they 
expect to find the weather warm 8c sun always shining, but in re 
ality it is as cold as most other places and sometimes the sun will 
not shine for a month. I have got along splendidly so far, 8c do 
not seem to feel the cold as most other people do. I have fire to 
day for the first time most of my friends have had it two or three 
weeks. I started out to have my picture taken yesterday, but 
went to make a call and stayed too late I thought I should go 
this morning, but it is pouring as hard as possible, so I shall go 
the first clear day. We have two new arrivals at our house. Two 
German girls, Teresa Singer 8c sister they are very pleasant & 
Miss S. is an elegant singer, studying with Sangiovanni. I am 
still with Lamperti but expect to go to S. soon. I want you to 
practice singing as well as your playing. How I wish I was at 
home to teach you. Practice the scales 8c exercises I left at home 
and take a breath you can feel clear down in your boots. I am 
getting so big with my new style of breathing that I don't be 
lieve I shall be able to wear any of my dresses soon. I was very 
much surprised to hear of Nettie's wedding do tell me all 
about it. I have not received a letter from her. I hope this will 
find you all well. Tell Lou to write to me. With plenty of love 
and kisses all around I am 

Your loving sister 


The arrival of friends from home, Naomi Todd and Lottie 
Smith, the last week of November, gave Emma Thursby the 
confidence she had hitherto lacked. Indeed, fortified by Naomi 
Todd, she visited Lamperti on the twenty-sixth to notify him 
of her decision to discontinue her lessons. The choice of Lam 
perti, who ranked among the first masters of Milan, would 
seem to have been unfortunate, at least insofar as Emma 
Thursby was concerned. The record of the month under Lam- 
perti's instruction shows only eight lessons, with Lamperti fre 
quently failing to meet his appointments, and Emma Thursby 
showing apparent evidences of her unhappiness. More con 
genial was her association with Mme Lamperti with whom she 
supplemented her lessons with Lamperti. Of interest is her pay 
ment of twelve francs each for lessons with Lamperti. Her 
choice of Antonio Sangiovanni for her second teacher was evi 
dent, since Sangiovanni, recommended by Archille Errani, was 
teaching most of her friends. The choice was a happy one, and 
lessons, which commenced on December 7th, 1872, were occa 
sions of great interest and pleasure. 

Her life had already assumed its usual cheer with the arrival 
of her friends. The colds which persisted in the period of accli 
matizing had passed, as had an attack of chills and fever which 
fortunately had not led to the complications so feared by all 
Americans in Italy. Enjoying both good cheer and good health, 
she was gradually adapting herself to the life of Milan, supple 
menting her work with occasional visits to the opera, hearing 
Verdi's Nabucco, and, on December loth, the first performance 
in Milan of Ponchielli's opera, I Promessi Sposi, at the dedica 
tion of the new Teatro Dal Verme. Here was her first experi 
ence with Italian enthusiasm and approbation at its height, and 
she noted in her diary: "Divine music. Composer called out 34 
times/' Again, on the i8th, she and her friends, Lottie Smith 
and Emma Abbott, in celebration of the latter' s departure for 
Naples the following day, attended a burlesque performance of 


The Child of the Regiment. Poor Emma Abbott, suffering 
from persistent throat trouble and general poor health, did 
seek the more salubrious climate of Naples Emma Abbott 
who in Sangiovanni's reliable opinion had a "delicious voice/ 5 

"Milano Italia Dec. 1872. 

My darling Ina 

You were a good little girl for once to write to me, but I sup 
pose it was only because Allie was away, but you can just as well 
write me a little news every week and send with her letter as 
not it won't take much time and won't cost any more than to 
send one. Allie always puts 5 cts. too much on her letters and 
yours came without any stamp. I suppose it was stolen in the 
Post Office they do such things sometimes, but I got it all the 
same, only had to pay 14 cts. for it, which is 1 1 cts. less than I 
had to pay on one I received from Lottie in London, which 
hadn't quite enough on. I am so glad you are having such a nice 
time at home this winter. I knew it would be a pleasant arrange 
ment for you all it is so easy for Mother and it must be a 
pretty good arrangement for the Palmers if Allie 8c Grand 
mother are away so much of the time. I would just like to walk 
in and see you all some day. Yours is the only letter in which I 
have heard a word of the Palmers had it not been for Mrs. 
Bradley's information I should not have known anything about 
them. Do tell me all the news, how long they expect to stay and 
all about it I hope they won't go very soon where do they 
live, that they want you to go next summer? I don't seem to 
have a bit of news to write this week we are getting along 
about the same, proving the truth about the old saying * Laugh 
and grow fat/ I wish you could see Lottie she farely shakes 
I expect she will be as big as Parepa, before she gets back 
home you can easily see how fat she is growing by her pic 
ture mine doesn't look as fat as I am, but still it is a much 
better picture than the one I sent last week, I hope you didn't 


show it to anyone it was only a proof and not good. I think 
dirt agrees with us. Lottie didn't like it much when she first 
came I knew she wouldn't, but she seems to get along very 
well now, altho she doesn't like it much better she says she 
never supposed she could long for dinner hour to come in this 
dirty place, but she does, and eats more than I ever saw her in 
Brooklyn. Well! Christmas will soon be here. I suppose you 
will all have a grand time at home, while we poor wanderers off 
here will have to take it out in thinking what a nice time you 
are all having don't imagine we shall cry over it though 
we will have as jolly a time as is possible under the circum 
stances we laugh entirely too much for the good of our 
voices now, & I don't think we shall be behindhand on Christ 
mas day; our Countessa is going to have a grand dinner and a 
house full of company, so we shall have a slight change. I wish 
you could be here to walk through the "Corso" which is our 
Broadway, and look in the windows there are so many beau 
tiful things to be seen everybody is buying Christmas pres 
ents I wish I had lots of money I don't think it would take 
long to get rid of some of it. I don't suppose I shall have the 
chance of seeing how it would seem to have plenty to spend, in 
some time so I shan't worry about it. I wish I could send you 
something nice for your Christmas there are so many ele 
gant things here I should like to send. Opposite the Cathedral 
(which is the grandest building in the world I hope you may 
see it some day) is the Galleria which is a block of elegant 
buildings and the entire centre consists of stores the finest in 
the city the top is of glass the style of the old Crystal Palace 
at night it is most brilliantly illuminated, and really is an 
elegant affair. I am sorry I didn't send two pink neckties I 
have forgotten what I did send I packed them up in such a 
hurry. How did you get them if the Dr. didn't call? Did 
mother's glasses fit? I think Rollie Malloy ought to call he 
must be bashful. Give him my best regards if he does, and tell 


him I didn't have time to have my pictures taken in Paris to 
send to him or should have been most happy to avail myself of 
his kind offer. My cold is almost gone 8c I am taking my lessons 
regularly again. I have learned the 'Shadow Dance from Di- 
norah' and am now taking the 'Carnival of Venice.' It is al 
most carnival season here they have grand times then. Mas 
querade Balls 8c all such things. I am glad we shall be here to 
see the fun. I don't think we shall go to Naples for some time 
yet. It doesn't pay for me to think of interrupting my lessons 
again. I've had enough rest with my cold. I expect we will be 
come a set of heathens before we get home there doesn't 
seem to be much difference between Sunday or any other day 
tomorrow morning we are going to a concert at the Conser- 
vetoire my friend Mrs Bolles sings and of course we must 
hear her. She had no idea it was to be on Sunday when she 
promised to sing. I am sorry I did not get your letter before 
Mr. B. went or I should have sent what Lou wanted if I could 
have found such a thing. I am afraid I should have been but a 
poor judge of it. Allie must be quite a swell with her elegant 
Opera hat. La Scala the grand Opera House here opens next 
week I hope we shall be able to go. Miss Abbott has gone 
she came around the night before she started and said she felt 
just like having a spree and insisted upon us going to to the 
Theatre with her Lottie & I went with her the young 
Count very kindly escorted us to the door, got our seats for us 
and came for us after it was over so we had no trouble early 
in the morning she started. I hope you will excuse blots 8c such 
hurried writing. Tell Mother I want her to write to me and tell 
me how you and Allie are getting along with your music 8c all 
the other news. Lottie sends love fe says she will write to Allie 
on Christmas day. Give my love to all my friends & tell them I 
expect to have them call on me New Years day. I shall receive 
calls in style. With love & kisses to all of your dear selves at 
home Your loving sister Emma. ' ' 


With friends a plenty, Emma Thursby's first Christmas 
away from home was a pleasing novelty, while the new year 
brought promise of continuing happiness to the little musical 
family, and to the larger group of friends gathered in Milan. 
But Emma Abbott, though soon to become one of the most 
popular and successful of American singers, was a lonely and 
disheartened figure when she wrote from Menton. 

"Menton Jan. 4th 1872. [1873] 
My dear Miss Thursby, 

How is that 'harum skarum' trio flourishing? 

I have been having such trouble with my throat that it has 
seriously affected by 'sperrits' and I have really fallen a full 
tone and a half from the key but if I were with your party an 
hour or so I don't doubt but that I would be strung up to 
'concert pitch' in 'no time.' 

I have wept such gallons of tears, and have been swimming 
in seas of woe for such an age that I am the most heart broken 
washed out wrung out looking 'critter* you ever did see. 

Me thinks I see the sympathetic moisture dimming those 
beauteous eyes, as you read this heart rending account of my 

Nuf sed on that hed! Dry those eyes fair maid, and lets talk 
business! Inclosed find 5 fr. 50 c in Milanese money. 

Will you try to get this changed into Italian paper (which 
will pass outside of Milan ) or better still, can you send me a 
5 fr. gold piece in your letter? The 50 centimes will pay for the 
exchange from paper to gold I think 

If you will oblige me in this matter, don't fail to consider me 
your devoted slave for life. 

I am improving in health and hope to go to Naples in a few 
weeks. I have cultivated an appetite like an anaconda so you see 
Menton agrees with me. 

Write soon and tell me all the news. With a heart full of 


love for Smith, Todd, Thursby & Co. I remain calmly 

Emma Abbott " 

True to their promise, January and February relieved the 
sober schedule of lessons and practice with many occasions of 
gaiety. Happiest of all, no doubt, were the numerous occasions 
when Sangiovanni would join the friends for a "musical eve 
ning." Yet, the opera, too, was always an attraction, though not 
always to be afforded. Roberto el Diavolo and Ruy Bias were 
indulgences in January, and Ruy Bias, with Campanini, and 
the first performance of Ponchielli's new ballet, Le due gemelli, 
at La Scala, a particular indulgence on February 8th. Ponchielli 
received a tremendous ovation, for the Milanese had taken him 
to heart. But in Emma Thursby the performances aroused 
mixed emotions: "Go to the opera at La Scala with Mr. and 
Mrs. Bolles. 'Ruy Bias' with Capmanini. Do not like him. Ele 
gant new ballet, 'Le due gemelli.' Music by Ponchielli." 

Tom Karl, already known to American audiences, became 
one of the musical group in early February. Soon his friends 
would hear him in his Milan debut. Meantime, Lottie Smith 
and Emma Thursby were busying themselves with plans for a 
trip to Rome. On the twelfth they departed, visiting Florence 
on the way, where the heavy task of taking in the town, its 
churches and houses and paintings, was good preparation for 
the arduous days to come of sightseeing in Rome. And in Rome 
at last, Emma Thursby eagerly wrote home. 

"Hotel Minerva 
Rome [Feb.] ijth 1873. 
Dear Mother, Allie 8c Ina, 

At last I am in Rome where I have wanted to come for so 
many years we arrived last night after one of the most lovely 
rides of ten hours from Florence when we got within 20 
miles of the city we could see the great Dome of St. Peters loom- 


*/A*n**nA <v ^.,. 








ing up in the distance of course I was the first to discover it, 
and then we realized that we were really here. I am so glad I 
came we have had the most lovely weather ever since we 
started in Florence it was quite cold but the sun shone 
brightly all the time and we have not seen a cloud since we left 
Milan, but I suppose it is just as nice there now, as I hear it has 
rained quite as much in Rome 8c Florence as it did there. I have 
not received my letters yet we could not get rooms in the 
Hotel we expected to go to, and they may possibly get lost but 
I hope not arriving just in the height of the carnival season, 
we were remarkably fortunate in getting any rooms as every 
thing is taken; but we had very little trouble altho people who 
telegraphed some time before we came could get nothing. How 
I do wish you were all here with me! We could not have come 
here in a better season the Carnival is something I have 
always wanted to see it is too funny for anything it began 
last Saturday and will end next Tuesday the day before Ash 
Wednesday, when everyone will go in Mourning and have no 
more fun, but they have the gayest time until then every day 
the streets are filled with people dressed up in the most out 
landish costumes and masked on the 'Corso' which is the 
principal street, every window and balcony is draped in red 
and gold as fine as possible and temporary balconies and seats 
are erected in all available places and sell at immense sums. On 
Saturday they began with a grand procession of Chariots and 
all such things. I shall have to write you a little of my doings 
every day or I shall not succeed in writing much of a letter this 
week. After our arrival last night we took a little strole around 
the city, and this morning we went out to see the Forum, Col 
osseum and other grand old ruins of the City what would I 
not give if you were all here to see them it seems so wonder 
ful to look at these grand old ruins and think how many years 
they have stood, and of all the people who once inhabited 
them. The Colosseum is perfectly immense I was not a bit 


disappointed they are now making excavations in the Forum 
and the Palace of the Caesars and are discovering new things 
every day it is so interesting I think we would need to stay 
here about a year to see all these things of interest. In the after 
noon we went out to see a little of the Carnival the people 
seem to have great fun they have some white stuff which 
they call Confetti it is dried peas covered with a thick paste 
of lime or chalk, which they throw by the hand fulls at every 
body when it touches you it makes you all white, but no one 
seems to mind it some people will be walking along the 
street finely dressed, when some of the maskers will come along 
and cover them with this stuff, but it is all taken in good part. 
Tuesday 1 8th. Today we went to St Peters and the Vatican it 
has been a pretty hard days work it would take a week for 
each of them, to see them properly, but we rushed around 
pretty fast. St Peters is perfectly magnificent as a building and 
the pictures and statuary are elegant. In the Vatican we saw 
some of the best pictures in the world I do not think we will 
call on the Pope, as it is rather troublesome as every lady is 
obliged to go in deep mourning with a crepe veil over their 
face and the gentlemen in evening dress we looked through 
the keyhole however, and saw some of his rooms in the Palace 
and an attendant walking up and down dressed in a gorgeous 
suit of red satin it was quite dazzling I guess he looked 
quite as well as the old Pope today is one of his reception 
days and we saw quite a number of people coming out in 
mourning. As we were going through one of the galleries who 
should we stumble over but Mr. Barnette, so we had him with 
us the rest of the day he had just come up from Naples 
the Admiral and most of the Officers are here for the carnival. 
Today is the day for throwing bonbons and bouquets, and I 
believe there was a horse race on the Corso. Lottie gave Mr. 
Barnette his cushion tonight he likes it very much it is 
really a perfect beauty she worked it in less than two weeks. 


I shall have to stop I am rather sleepy and tired. Wednesday 
i gth. Mr Bolles was quite sick this morning so we have not seen 
very much. Lottie and I went to the ' Pantheon/ one of the 
oldest in Rome and in very good preservation it is an im 
mense Dome lighted from a hole in the top it was built 27 
years before Christ I can't understand how it is so well pre 
served the top being uncovered of course all the rain can 
come in I believe the old Romans made their buildings 
proof against anything. Raphael is buried in it and some other 
celebrities. We did not do anything else but look around town 
in the stores. Every day the people seem to get livelier and 
more maskers are to be seen I should think they would get 
tired of it. Mr. Bolles seems a little better tonight we were 
rather afraid of the fever but I guess it will not amount to any 
thing. Thursday soth. This morning Mr. Bolles got up as 
lively as ever we felt quite relieved, as it is so very unusual 
for him to be sick he is the gayest little man I ever saw, not 
any taller than I am, and just the life of our party we quite 
missed him yesterday. We started off to see some more of the 
sights this morning, the excavations on the Palatine Hill where 
the old palace of the Caesars once stood and those of the Forum 
were open for visitors so of course we went they are digging 
the entire hill down some of the rooms they have found are 
great curiosities, containing some very fine frescoes with the 
colors as bright as if they had not been buried so many hundred 
years the floors are composed of elegant mosaics some of 
the halls run the entire length of the hill, which is immense 
showing what maginficent Palaces were built in those days. 
While we were there Miss Tracy and her mother and sister 
came up to speak to me they were very pleasant, are going to 
Naples next week of course you may know what she is going 
there for as the Grand Duke Alexis is expected there about that 
time. I also met all of the Van Tuyl party there we were all 
very glad to meet again. After we left there we went around to 


see a few other things, and Mrs. Bolles got tired and went back 
to the Hotel to rest, so Lottie and I went off on our own hook 
it is a feast day Tat Thursday' so we found most of the Galler 
ies closed, but we took a carriage and went off to have a nice 
drive, it being one of the grandest Carnival days, we met a great 
many masqueraders we had a lovely drive on Mt. Pincio, and 
went to the Barberini Palace to see some fine pictures as we 
were going up the stair, we met a nurse coming down with the 
little Princess in her arms. I never saw such a beautiful child in 
my life Lottie was perfectly wild about her she was dressed 
in a long court dress of blue silk and white lace, with a white 
wig on her head dressed with pearls in regular old fashioned 
style she looked lovely and she really seemed to take quite 
a fancy to us, as we stopped some time to talk to her and when 
we left she wanted to go with us on going up stairs we met the 
Prince her Father. After that we went to the Church of the 
Cappucines where all the monks are buried their bones are 
piled up in every conceivable shape the walls are beautifully 
frescoed with the little bones, lamps even are composed of 
bones and some of the whole skeletons are there dressed in 
their monks gowns. We had a very nice monk to go around 
with us he was perfectly astonished to see how finely I could 
speak Italian (at least he said so) of course I did not think 
of his speaking English' and so jabbered to him as well as I 
could but when we got most through I found he could speak 
English much better than I could Italian. Lottie says she can 
speak Italian like a native (Englishman) . When we were down 
in the cellers of the church where all these bones were there 
were two other old monks there and we thought what a good 
chance it would have been for them to catch us for nuns as they 
used to do years ago, Mark Twain gives a good description of 
them in his Innocents abroad/ When we went from there we 
took a drive near the 'Corso' on our way home, and such a 
crowd I never saw, people in every imaginable costume from a 


full evening dress to a Diavolo we got pretty well pelted 
with Confetti and one fellow in as outlandish costume and a 
broom in his hand came up to the carriage as if he was going 
to strike me I of course dodged and then they laughed 
Lottie says she never had such fun in her life. We were going 
out in dominoes tonight but Mrs B. did not feel very well so 
we stayed at home but there have been grand times all over 
the city in one of the squares there was a ball at sunset 
they had a race of horses without riders for some prizes the 
Corso was cleared of everybody and soldiers stationed on each 
side and then they let the horses go with some kind of balls 
that would stick in them to make them run fast. Friday sist. 
This morning the Van Tuyls called on me, and then we took 
a carriage and went to a magnificent church outside of the City 
walls, the one in which St. Paul is buried then went on a long 
ride to the Baths of Carracalla a splendid old Roman ruin it 
was said to be quite dangerous on account of the banditti on 
the road, but we did not meet any robbers worse than a com 
pany of working men. When we came back we went to several 
other churches I don't think it is to be wondered at that 
Italy is so poor when you see the amount of wealth there is 
spent upon their churches in one in which we went the 
ceiling is almost entirely of gold. We finished up by calling on 
the King, but he happened to be out however we went 
through the Palace and saw all the elegant rooms which they 
are decorating for a ball on Monday night. I left my name 
perhaps he will send me an invitation(P) We did wish we 
could get a peep at him I have seen him once, but Lottie 
was rather anxious. I forgot to tell you we went through the 
Catacombs and saw the place where my saint Cecelia was 
buried. Lottie did not like the idea of being underground so 
we did not stay very long there, but Mrs. Bolles 8c I went in 
some others. I shall finish this now and send it. I think we will 
go from here to Naples tomorrow or next day. Lottie sends her 


love and says she really means to write as soon as she gets a 
minute to spare. She got three letters tonight, but none for me 
as usual I have got quite used to not getting any letters from 
anyone else, but I really do expect to have one from home 
every week I suppose it will come along soon. Give lots of 
love to all my friends and kisses and plenty for all at home. 



Lottie is quite surprised at the new engagements of her 
neighbors we expect to hear next of Mr. Williams and Miss 
Lasar stepping off. It looks very much like it." 

Undaunted by the strenuous days in Rome, and still eager 
to see all the wealth of Italy, Emma Thursby and her friend, 
Lottie Smith, proceeded to Naples and its equally noted neigh 
bor, Capri. Home again in Milan on March gth, a tired Emma 
Thursby soon resumed her singing lessons and practice, her 
Italian lessons, and, indeed, the old order of things. Lottie 
Smith, who had proceeded from Bologna to Venice for a short 
visit with Mr. and Mrs. Bolles, arrived in Milan on the twelfth, 
and the "trio" was intact. The fifteenth was occasion for a cele 
bration, as Tom Karl appeared with Repetti in L'Ombra. 

Suddenly into the serenity of happy days came a warning 
signal on the nineteenth: Lottie Smith sick with a fever. Dr. 
Sapolini, hurriedly summoned, gave assurance that it was only 
"Billious Fever." The fever persisted, however, while Emma 
Thursby and Naomi Todd stood by, night and day, doing what 
they could to comfort their friend. Warned by the doctor that 
the disease would run a month, they adopted a nursing sched 
ule, and, cancelling their singing lessons, settled down to their 
exacting duty. The fifth day confirmed their worst fears. "A 
very bad case of Typhoid Fever," pronounced Dr. Sapolini, 
Whereupon Emma Thursby cabled to Lottie Smith's father in 
Brooklyn: "Sick, Typhoid Fever. Come." 


Meantime, the three friends continued their fight together, 
the two watching faithfully over the very sick Lottie. Would 
her youth and strength conquer? Hope answered in the affirma 
tive, but the long days of suffering and delirium challenged 
hope. A telegram from home: Mrs. Smith was sailing to be 
with her daughter. That was good news. But would there be 
time? Minutes became heavy in the tense struggle. Hope gave 
way to prayer as the long vigil continued. Yet nothing could 
avail, and Lottie Smith died on April 2nd. 

April in Milan, but sadness in the heart. Two friends de 
parted for London with the body of the third, to meet the 
bereaved mother. Liverpool and the long, long voyage home. 
April in Brooklyn, but sadness in the heart. 



Bereaved though the Thursby family was in the tragedy 
that had befallen their good friends, the Smiths, they 
nevertheless gave thanks to the fate that had spared their own. 
The many months of anxiety over the well-being of Emma 
Thursby, so far away from home and any aid the home could 
give, anxiety that had turned to fear when the word had ar 
rived of Lottie Smith's serious illness, and to panic upon word 
of her death, were at last replaced by days of sober rejoicing 
and tightening of family ties. 

Though nothing could deprive Emma Thursby of the very 
real intellectual and artistic benefits of ten months in Europe, 
spent in travel and study, for the time at least the strain and 
shock of her friend's illness and death left her too depressed 
to think of the past, too disheartened to contemplate the 
future. After a few weeks of rest and quiet, however, she re 
sumed lessons with her old master, Errani, giving to her work 
the concentration and application which offered the only 






Gh IR, -A. 

IE . 

EART 30N6rS. {'/) ^ A Legend of the Rhine,", ..... ;,.',.....,..,. Smart 

(b) "Knight's Farewell,".*.. .,......,,....,, ...Kinfcei 


READING. ; * AM Encounter with an Interviewer/', ,,,..,,..,,,,., 

CHORUS.^ Sawca Maria." .... ........... : ..... 1 ....,..' ..... , Meyerbeer 


WALTZ. " CLe Oroja." ..... ......... ... ..... ,......., ....... Mattel 


AIE AND CHORUS. 1 ' Indaminatu?," . . ........... ........... Rossini 


READiKG% "The Experiences of she McWiHiamses veith Membraneous 
Croup/* ...,..-.;.,., ....... . , ....... ..,..,. 


DESCRIPTIVE SONG. u The Sea and th Wind/* ....... ,.,,.. % Fairlmb 

MB. W. B. PORMAKT. ' ' ' 


TBIO. * l Act IV. of Troyatore," ..... ............... ......... 


(Of the Young Apollo Club.) 

' CHORUS, Ji 0ood Night/' ...>.,, w .' . , . , ,, . . . , *.. .. . , 


Coyelin, Chicago 





escape from her thoughts, the only hope for the future. 

Interrupted though her musical training in Italy had been, 
there were unmistakable evidences of her study, especially 
from the twenty-six lessons she was fortunate to have taken 
from Sangiovanni. Better breathing, more sympathetic phras 
ing, the constant seeking for artistic perfection, and greater con 
fidence that produced an easy poise were conspicuous results, 
while her superb will to accomplish and her abounding energy 
seemed even quickened. Furthermore, her short study of Ital 
ian, and the opportunity she had had to accustom her ear to 
the language, were reflecting themselves in the grace and 
meaning she could now give to the great Italian arias. More 
over, she had gained in the knowledge of the world without 
losing the modesty and unaffectedness that always had formed 
a bond with her audiences. 

For one accustomed to strenuous living, the late spring and 
summer of 1873 moved very slowly indeed. Renewing old 
friendships and visiting among relatives were pleasant pas 
times, yet she was restless to begin the old order of things; and, 
to be sure, there was financial need for it. Her church salary at 
Dr. Porter's Bedford Avenue Reformed Church had again 
commenced upon her return from Europe, but her income 
from concerts and her own pupils must await the beginning of 
the next music season in the autumn. 

September came in like a lion, the worst economic panic in 
many years threatening the foundations of business, and seri 
ously impeding all artistic endeavour. It is not surprising, 
therefore, to find her first appearance in concert, as late as No 
vember 6th, at Englewood, New Jersey. On the twenty-fifth, 
however, she was again at her old haunt, Plymouth Church, 
where she was given a complimentary concert, "Upon her first 
public appearance since her return from Europe," assisted by 
Jennie Bull, contralto; Mme Clothilde L'Hote, pianist, in her 
first American appearance; George Simpson, tenor; William 


C. Baird, baritone; F. Bergner, violoncellist; a male quartet of 
Messrs. William Bradshaw, C. A. McPherson, W. C. Baird and 
Henry Camp; with Signor Carozzi, accompanist; and Henry 
Camp, director. Emma Thursby, evidencing her Italian train 
ing, sang "Ah! fors' e lui" from La Traviata; the "AngeFs 
Serenade" by Braga, with violoncello obligato; and joined with 
Jennie Bull in the duet from Mathilde di Shabran by Rossini. 

On December 1 6th she was able to reciprocate in part the 
never failing generosity of Plymouth Church, when she sang 
at a testimonial concert to its music director, Henry Camp. 
But it was as soloist at the first concert of the Mendelssohn 
Glee Club, on December 5th, at Irving Hall, New York, that 
she received her greatest opportunity of the year. Here she 
sang Prodi's difficult Variations for the first time, and followed 
with the Polonaise from Mignon. The audience was large and 
enthusiastic, and her material reward satisfying, being $110. 
But, altogether, 1873 was a lean year, affording her but five 
concerts, in November and December. 

However uneventful the autumn turned out for all those 
engaged in concert work, Emma Thursby was nevertheless 
very much occupied with her lessons from Errani, practice, 
and lessons to her own pupils. Yet in late September, a ro 
mance as sudden as it was consuming soon relegated all other 
objects to minor roles, a romance, in fact, that confronted her 
with, perhaps, the most momentous decision of her life. 

In the past there had often been rumors of a romance when 
one or another of her many admirers had appeared to the pub 
licfor a public figure she indeed was, at least to the com 
munity of Brooklyn to be paying her unusual attentions. 
But there was no mistaking this quite obvious courtship that 
brought two people together each day. He had arrived from 
Europe on September sist, a young clergyman on leave from 
his duties as rector of one of the important American churches 
on the Continent. Greatly admired by her family and friends, 


he was well known in New York and Brooklyn, the respected 
son of a distinguished father. Emma Thursby had seen him in 
the early days of her European trip, and in the last days, when 
she faced the tragedy of Lottie Smith's death, he had proven a 
wise counselor and a loyal and devoted friend. This was the 

Marriage would mean a life of security and comfort, and the 
fulfillment of the search of her heart. It would also mean an 
end to her musical career for which she had worked so many 
years; it would mean separation from her family, and discon 
tinuance of the major share of money she was now contribut 
ing to their support. So read the scales just as they had read 
for many another. 

A month of happiness served only to complicate the decision 
she must make. On October twenty-fifth he had to return to 
Europe. She would have to face the facts. Moreover, she would 
no longer deny him the final answer. On October 2 2nd she had 
"a good talk all morning with Mama Smith," the mother of 
Lottie Smith, who, as trusted friend of both, could be relied 
upon for good advice. But still she wavered. On the twenty- 
fourth "I go with the Dr. to Packer Ins. to see his nieces, then 
walk to Wall St. Ferry and leave him. Go back to Mrs. Smith's. 
After lunch we go to Fulton St. Get a basket of flowers and 
fruit. Take a carriage to Sig. Errani's. Do not take my lesson. 
Wait until 4^ for the Dr. Does not come. Drive over Pavonia 
Ferry to the 'Celtic/ Put the fruit and flowers in the stateroom 
22. Go home. Dr. comes over about 9 o'clock to say 'Good 
bye'!" And on October 25th, "'Celtic' sails at 7 A. M. with 

Dr. H ." The dashes are hers, dashes filled with portent 

and meaning; dashes that never again appeared in her diaries 
of fifty years. They were always devoted friends. One of his 
autographed pictures would many years later unfold the story: 
"Your Brother, Edward. Paris, Jan. 24, 1882." 

The New Year came with its usual suddenness, dispelling, 


for the young at least, thought of the past with the intensity of 
its demands for the future. Even the depression, still gripping 
business, seemed to offer days of grace that 1874 might be 
properly introduced. And the music season, so dull and lag 
gard of late, assumed a new vigor with the concert of the 
Brooklyn Philharmonic Society at the Academy of Music, 
Saturday evening, January loth: 

The Grand Philharmonic Orchestra, 
Mr. Theodore Thomas, Conductor 



1. Symphony No. 8 in F. Op. 93 Beethoven 

2. Scena and Cavatina for Climene, from "Saffo" . . . Piccini 

Miss Jennie E. Bull 

3. Concerto "Hungarian" (first time) Joachim 

Mr. Bernhard Listemann 


4. Introduction and Finale "Tristan and Isolde" . . . Wagner 

(first time) 

5. Aria Thema and Variations Proch 

Miss Emma C. Thursby 

6. Serenade in D Minor (new) Volkmann 

With Violoncello Obligato by Mr. Louis Lubeck 

7. Duet "Misera che faro," from "Matilda di Sabran" . . Rossini 

8. Symphonic Poem - "Les Preludes" Liszt 

Certainly the Music Committee of the Philharmonic Society 
had outdone itself in an effort to please everyone. But had it 
pleased anyone? Critics and public alike were agreed that the 
concert was too long; and in that was their only agreement, 
save, perhaps, in their admission that Theodore Thomas and 
his sixty-piece orchestra were beyond reproach in what they 
were given to do. The Wagnerians were pleased enough to 
hear Tristan and Isolde, played for the first time in Brooklyn 


although it had already had several renditions in the Central 
Park concerts in New York, and pleased to hear the first Ameri 
can interpretations of Joachim's "Hungarian" concerto and 
Liszt's symphonic poem, Les Preludes. But to place Wagner 
on the same program with Piccini, Rossini, Volkmann, and 
Proch was to them a sacrilege. Tradition would protect Bee 
thoven, while Liszt and Joachim were of the "New School' ' 
themselves. It mattered little to the symphony-minded who the 
singers were. What right had any singer in a symphony concert? 

Yet a large section of the audience, principally the fashion 
able and influential group, was outspoken in its praise of the 
Music Committee for its inclusion of singers, and especially 
for its courage in defying tradition by choosing local talent 
without benefit of foreign name and foreign reputation. For 
them, more tolerant than their fellow music lovers, Jennie 
Bull and Emma Thursby were notable contributors to an 
altogether splendid program. Since they applauded Emma 
Thursby for two encores, from critical appreciation as well as 
from warm admiration of the person, she grew in reputation by 
the concert. 

She was now in increasing demand for concerts, indeed, as 
Professor George C. D. Odell affirmed in his Annals of the 
' New York Stage, "indispensable for almost every high-class 
musical affair/' The high point of the season was reached on 
May gSth, 1874, when she was tendered a complimentary con 
cert at the Bedford Avenue Reformed Church. Complimen 
tary the concert was, to be sure, and within the terms of her 
church contract, yet a complimentary concert entailed far 
more than the name implied. The use of the church building 
and the support of the congregation could be relied upon. 
However, the success of the concert depended, of course, upon 
the popularity of the artist honored, but as well upon her in 
dustry and aptitude for management, she being both artist and 
impresario, and even ticket seller. 


Determined to make the concert a signal one, Emma 
Thursby made an audacious deparature from the usual custom 
of asking only fellow artists to volunteer in the program at 
nominal fees, by engaging the famous Gilmore's Twenty-Sec 
ond Regiment Band, under the direction of Patrick Gilmore, 
with the widely-known Arbuckle and Lefebre as cornet and 
saxophone soloists, respectively. Gilmore was not a little flab 
bergasted, as he often stated in later years, by the confidence 
and assurance of the daring little lady from Brooklyn, who 
would engage his whole band for her concert. Not a little curi 
ous as well as thrilled was the great audience that came to over 
flow the church. 



1. Overture "Semiramide" Rossini 

Gilmore's ssd Reg't Band 

2. Aria From Elijah "It is Enough" .... Mendelssohn 

Mr. A. Sohst 

3. Solo for Saxophone "Fantasie Norma" Bellini 

Mr. E. A. Lefebre 

4. Air and Variations Proch 

Miss Emma C. Thursby 

5. Grand Pot-Pourri from Martha Flotow 

Gilmore's 22d Reg't Band 


1. Loreley "Paraphrase de Concert" Nesvadba 

Gilmore's 22d Reg't Band 

2. Duet "Nozze di Figaro" Mozart 

Miss Thursby and Mr. Sohst 

3. Solo for Cornet Thema and Variations . . . Forrestier 

Mr. M. Arbuckle 

4. Infelice "Ernani" Verdi 

Mr. A. Sohst 

5. Echo-Song (by request) Bishop 

Miss Emma C. Thursby 


6. March - "Twenty-Second Reg't" Gilmore 

Gilmore's ssd Reg't Band 
Conductor P. S. Gilmore 

Success in a concert was no novelty to Emma Thursby, but 
here she found the satisfaction that comes with the success of 
an innovation. She was not only pleased but surprised. So was 
Gilmore! Never had the Bedford Avenue Reformed Church 
so reverberated with cornet and saxophone and brass; never 
had it echoed with such trills. No record remains of the re 
ceipts from the $1.00 admission charge, but the record of ex 
penses is an interesting commentary on a church concert: 

Gilmore for Band $350.00 

Sohst 15.00 

Printing 24.15 

Sexton 5.00 

Advertising 12.00 

Staging 15.00 

Music 6.00 

Tickets 4.50 


Gratifying it was to her to receive the high compliments of 
a host of friends, for it was her last appearance under her con 
tract with the Bedford Avenue Reformed Church, and 
marked, in a sense, her farewell to Brooklyn, since earlier in 
the month she had accepted the call of the Church of the Di 
vine Paternity at 45th Street and Fifth Avenue, New York. 
However difficult it was, for sentimental reasons, to leave 
Brooklyn that had supported her so loyally, she had made an 
important forward step in her career. 

Dr. E. H. Chapin, pastor of the Universalist Church of the 
Divine Paternity, enjoyed a popularity that could only be com 
pared with that of Henry Ward Beecher. No congregation in 
New York was as fashionable or as large as that which the 

dynamic Dr. Chapin, humanitarian more than theologian, had 
built up in the years of his pastorate. Without the gift of spon 
taneous expression weighted with vivid colloquialisms that 
Beecher possessed, his sermons were always interesting and 
forceful. Like Beecher, he dared to espouse whatever cause he 
believed was just, whatever the consequences. 

When Emma Thursby balanced her accounts for the church 
year in May, she found that for the church year 1873 - 1874 she 
had earned $2753, from which she had been able to save $1387. 
With the guarantee of $1800 and the proceeds of a concert 
from Dr. Chapin's church for the year 1874-1875, she at last 
felt secure for the future. Already, she was looking forward to 
the summer vacation, when she could enjoy a change of scene, 
and respite from her many and exacting duties. 

Hardly had she commenced her vacation, when in early July 
the news broke upon the nation that Henry Ward Beecher was 
being sued for $100,000 by Theodore Tilton, his former asso 
ciate in the editorship of the Independent, on charges of im 
proper conduct with Mrs. Tilton. The news that astonished 
the nation brought the deepest shock to the congregation of 
Plymouth Church. Beecher was to be exonerated by a com 
mittee of investigation formed in his own church, and, after 
many months of litigation, acquitted by the court in a nine to 
three opinion of the jury. However, whatever the outcome, a 
figure beloved by all but very few of the congregation of Ply 
mouth Church had been attacked, and a feeling of very real 
and personal sorrow prevailed. Nothing would alter the belief 
of this great group, which included Emma Thursby, that their 
pastor had been the victim of false and malicious charges. 

Accompanied by her sisters, Allie and Ina, Emma Thursby 
at last found recreation in late July at Saratoga, mecca of horse- 
racing enthusiasts and people of fashion from all over the 
country. By early August, she had won not only a vocal tri 
umph, but a social triumph as well, numbering among her 


JET. Rocher, Chicago 



Tot. L 

NEW YORK, AVKi>x!ssD,\y, Arwi, 4-ni, 1877* 

No. 95. 





Mr. MAURICE STRAKOSGH has the honor of announcing that the third j 
public performance on Professor 'ELISHA GRAY'S marvellous 



will take place on WEDNESDAY KVENING, April 4th, Musical Melodies will be 
performed hi Philadelphia and distinctly hoard by the audience in Nw York. 



Mr, STRAKOSGH is happy lo announce that Professor ELTSHA GRAY will 
be jsrt'stint and superintend personally the perfariTianco of the TELEPHONE. 

Mu, F. B()SC<jVlT55, Tim KKNOWXKU I'IASTST, will jwrtonn on the ^Tdfjihone* in J'Ijibi(Va. 
Conductor; Mr. MAX HEELING. 


PART 1. 



a. "(jrAL TUKRA-MKNTO," r . R<m>r.iM 


from Dhiorah, ...... . ........... MKYKUHKKU 


4, BAKCAEOJLB, ...................... ^t.'noriN' 



BALLAI> '-J lovo niy.l<\v,".Oi:AnAM 



i>. SKKKNA I >K Sct'DKRi 



POPULAli AJ]{S AND MELOOtKS, performed by 
MK. F. lJosc.>vn'/ in Philadelphia, with rxphi- 
tmtions In* PROKKSSOH KI.ISHA, (iit.vY. 

RfiSEXtl'KI> if IS AT, 


<snu'K(tTu><, ii;i Union 


rttadNviir, nt Ut I.I..M,\\V. in ]Jnfi<lv\xv, inul ut 



friends the fashionable hostesses of the nation who were 
nightly parading diamonds and Worth gowns, conscious of all 
admiring eyes. Mrs. A. T. Stewart was one of them, and her 
diamonds aroused the same admiration and envy as her pala 
tial residence at the corner of Fifth Avenue and Thirty-fourth 
Street in New York. 

An aristocratic crowd it was that attended the ball at the 
Grand Union Hotel on August gist, for the benefit of the 
Saratoga Rowing Association: "Miss Thursby, the distin 
guished vocalist of Brooklyn and New York, whose presence in 
Saratoga is due to one of the many generous acts which have 
characterized her public career the giving her professional 
services for four concerts here by request of persons interested 
in one of the churches was dressed in pale green silk, en train, 
trimmed with white tulle," commented the correspondent of 
the Commercial Advertiser. 

He pictures for us the proud ladies of the Grand Union in 
the elevator "said to be the handsomest in the country, its sides 
are of plate-glass mirrors. It is very entertaining to watch the 
Very sweet girls' as they travel up and down. Immediately on 
entering they look over the costumes of their fellow-passen 
gers. When they are satisfied as to the number of one another's 
rings, ear-knobs, and other ornaments, they devote the re 
mainder of the trip to viewing themselves. The lace handker 
chief is employed in brushing the superfluous powder from 
ears, next a hair pin is adjusted, then the hat drawn down more 
becomingly. Elevators are bad places to crush tournours, which 
are worn very large." He sees them with their gentlemen 
friends in the great dining room where "Supper is the full- 
dress meal at the Union. Mongrel costumes appear at dinner. 
It is bad taste for ladies to dine in bonnets where all of the ap 
pointments and etiquette of the home dinner table is observed. 
Besides, every one knows their heads are in crimping pins, and 
the hats are worn to cover the skewers. Lander's Band plays 

divinely while we are eating. One hardly knows if he is dining 
of real food or the music of Strauss as he drinks in the satisfy 
ing strains Will gentlemen never learn how to manage the 

moustache? These lip decorators have been long enough in 
vogue to be understood. But no; after every sip of soup, wine 
or water, out goes the tongue for the first brush at the mous 
tache, and next follows the napkin sweep. If there is one thing 
funny in this world it is this constant moustache performance 
at dinner." 

Saratoga offered just the recreation Emma Thursby needed, 
even though she busied herself with several concerts in the 
various churches and fashionable hotels. Of particular interest 
among the concerts, was that at Bethesda Church, on August 
6th, when she appeared as soloist at an "Organ Exhibition" 
which featured Dudley Buck, George W. Morgan, and J. H. 
Winder. Buck or Morgan, individually, would grace any organ 
recital, but together they made the concert a momentous 
occasion. When Buck established himself permanently in New 
York a few months later, the city laid claim to the two most 
brilliant organists in America. 

It was at Saratoga the story was told that, when Emma 
Thursby visited Berlin in the summer of 1875, Count Botho 
von Hulsen, intendant of the State Opera House, had been so 
impressed with her voice that he had offered to defray the 
entire cost of her musical training, provided she would prepare 
for an operatic career. If such were the case, fortunate she was 
to have declined, for German opera, shortly to come under the 
dominance of Wagner, arch foe of von Hulsen, was obviously 
not suited to her voice. 

Upon her return to New York, she resumed the strenuous 
schedule of activities to which she had, early in the year, added 
lessons in French. Furthermore, lessons to pupils continued, 
more numerous than ever before. To be sure, she seemed im 
pelled by a new inspiration in everything undertaken very 


likely the result of her larger acquaintance and her broadening 
horizon. The little time she had for diversion was spent profit 
ably. She would never forget seeing Charlotte Cushman in 
MegMerriles on November 2nd, in one of the last appearances 
of that greatest of all tragic actresses of the American stage. 
Nor would she forget hearing Albani in Mignon on November 
6th, in one of the debut appearances of that fine artist trained 

by Lamperti. Correspondence continued with Dr. H in 

Paris, and though ardor appeared ebbing, sincerity and genu 
ine affection were evident. She was now taking a pronounced 
position in not only the support but the direction of her fam 
ily. Only time would tell whether she acted wisely in this, 
though she seemed to be without choice, for her acceptance of 
responsibility might deter her brothers and sisters from accept 
ing their own responsibilities. 

Among her numerous concert appearances during the fall 
and early winter season, her appearance as soprano soloist 
with the New York Philharmonic Orchestra at the Brooklyn 
Academy of Music, on November i7th, brought her especial 
praise. Yet, most satisfaction came to her in her appearance 
as soprano soloist with Gilmore's 2 2nd Regiment Band at the 
Philadelphia Academy of Music on November 2 7th, when she 
sang Prodi's Variations, and the Polonaise from Mignon. In 
deed, this concert might well have given her occasion for rejoic 
ing, for she had very definitely broken the bonds of a local 



New Year's Day, 1875, ruled clear and crisp in New York, 
as gentlemen arose late, a little tired from the eve's 
preparation, but not a little thankful that wind and weather 
were propitious for the arduous duties of the day. By noon, 
groomed to their best from yellow kids to topper, they were 
hurrying about on foot, by carriage and wagon and omnibus, 
all anxious and intent to honor the ladies whose receiving day 
it was. When midnight came, ashamed would be he who could 
not boast of having made from fifty to one hundred calls. What 
gentleman could refuse the request of milady to partake of the 
tempting delicacies of her feast-table? Surely her specially- 
roasted fowl and game were the best, as were her sandwiches 
and sweets, prepared with so much care! She would let him 
judge of the brandy and whisky and wine. But she must cer 
tainly be complimented upon her rum punch made to secret 
recipe. And the pickled oysters! Twenty-five, fifty, seventy-five, 
one hundred calls; fowl and game and pickled oysters and 


brandy and rum punch and conversation! 

In the upper reaches of fashionable New York, that had al 
ready extended itself north of 4snd Street, at 115 East 44th 
Street, to be precise, an observer might have counted one hun 
dred and ten gentlemen crossing the threshold where Emma 
Thursby was receiving with her good friend Mrs. Berry. There 
can be no gainsaying there were good spirits a plenty in the 
guests who came to honor her little friend from Brooklyn. 
Indeed, Emma Thursby was impressed with her social debut 
in New York the fowl and game and sweets and pickled 
oysters and conversation! And she would always remember 
scurrying about at midnight with the members of the house 
hold, hurriedly turning off jet after jet of gas that had illum 
ined the convivial scene, to insure that no more callers should 
come in the same spirits for another year. 

No less gay, though less formal, was the scene at the Thursby 
home in Williamsburgh, where her mother received with her 
sisters, Allie and Ina. The whole family, now reconciled to the 
sacrifices attendant upon a career, accepted the separation in 
good spirit, if with mutual disappointment. And well it was, 
for, whereas the future promised even a further tightening of 
family ties, it definitely augured long periods of separation. 
Emma Thursby would always enjoy the security of having 
some member of her family with her, but the family home 
would no longer be the nightly rendezvous of a united family. 
Indeed, the exacting demands of her concert schedule had 
already required that she spend many nights with friends in 
more distant Brooklyn, and in New York. 

If strong family ties gave her a constant sense of security, 
they also encouraged a supersensitiveness, a timidness which 
her European trip had done so much to cure until she was 
plunged into the tragedy of Lottie Smith's death. Greater con 
fidence and self-assurance, even aggressiveness, would no doubt 
have prompted her to return to Europe for further study, that 

she might win America with an European reputation. That 
was the formula many of her American contemporaries had 
already used so successfully. Yet it would have been useless for 
her to call upon aggressiveness when she could claim none of it. 
Rather, she did call upon her great store of determination and 
perseverance, of physical and nervous energy. Step by step, by 
the slow, hard way she would build her reputation among 
Americans, as an American. 

In January the steps quickened when she was engaged by 
Patrick Gilmore as soprano soloist with his sixty-five piece 
band, in her first extended tour, for performances in Boston, 
New York, Washington, Baltimore, Philadelphia, Pittsburgh, 
Cleveland, Detroit, Chicago, St. Louis, Terre Haute, Cincin 
nati, New Albany, and Louisville. Accompanied by her mother 
at first, and later by her sister, Allie, she was continually fasci 
nated as new scenes and new audiences appeared to her eager 
eyes. The ' 'Grand Tour" of Europe she had made, indeed, but 
this was her first "Grand Tour'* of America. At St. Louis, a 
little spent from her own enthusiasms, but still unmindful of 
her fatigue, she remorsefully noted in her diary on February 
i8th: "Gilmore imagines I am too tired to go to Kansas City." 
And then, on the twentieth, "Telegram from Gilmore telling 
me to go to bed and sleep until 10 A. M." Happiness returned 
on the twenty-first, "My birthday. Allie and I alone in St. 
Louis. The band celebrate it on their way from Kansas City 
by playing and drinking champagne. Gilmore arrives about six 
o'clock. Sing at De Bar's Opera House. Very fine audience." 

From Louisville, on February 2 8th, she wrote assuringly to 
Grandmother Thursby: "Mr. Gilmore is a splendid gentleman 
to travel with, and my success has been very fine. I have had 
nothing to do here as yet, as of course I did not sing at the Lot 
tery Concerts Gilmore would not allow that for an instant." 

That Gilmore's Band should everywhere have been ac 
claimed is not surprising, for it was without doubt the finest 


brass band in America, enjoying a popularity and a fame that 
had been secure since the great Gilmore Peace Jubilee of 1872, 
in Boston. The acclaim received by Emma Thursby, while no 
less deserved, was the more striking, for it heralded a new 
prima donna to the American public. Characteristic of her 
reception by the critics at this period was the testimony of the 
Boston Gazette, following the concert at Tremont Temple on 
January goth: 

"Miss Emma C. Thursby made her first appearance in Bos 
ton on this occasion. Her voice is of good compass, is rich and 
sympathetic in quality, and full in tone. Her singing is dis 
tinguished by brilliancy, purity and clearness. Her intonation 
is unexceptionable and her style refined and expressive. She 
sang an aria and variations by Proch in a manner that elicited 
general admiration, for the ease with which she overcame the 
difficulties in which it abounded, and the remarkable distinct 
ness and certainty with which she struck the trying intervals in 
the concluding part of the composition. She received a well 
deserved encore, to which she responded by repeating the last 
variation. Miss Thursby is an artist of exceptionable talent." 

The repertory she had chosen for the Gilmore tour ranged 
from the spectacular of Proch to the solemn of Haydn, giving 
public and critics opportunity to judge of the flexibility, pur 
ity, and sweetness of her voice: Prodi's Variations; Rode's 
Variations; Bishop's "Echo Song/' which she sang with flute 
obligato; Abt's "Embarassment"; "Nearer, my God to Thee"; 
and two of her favorites, Haydn's "With Verdure Clad" and 
"My Mother Bids Me Bind My Hair/' 

New to Emma Thursby, whose Sundays had invariably been 
spent in church singing, were the Sunday concerts given in 
Boston, Detroit, St. Louis, and Louisville, and announced as 
"sacred concerts," though little resembling their designation. 
Proper Boston did not cast a disapproving eye; neither did St. 


Louis, nor Louisville. For that matter, neither did a great and 
enthusiastic Detroit audience. But the Detroit Tribune of Feb 
ruary i5th gave way to its own particular wrath, which might 
better have reflected the moral sense of the righteous-feeling 
East than that of the liberal-minded West: 

''That 'Sacred' Concert. Gilmore's band of New York in 
troduced the latest New York and Parisian styles to an audi 
encewe regret to say of 1,000 persons last (Sunday) eve 
ning, including some we again regret to say who ought to 
have set a much better example. The music was undoubtedly 
good, the thin 'sacred' veneer consisting of one solo, and the 
balance of the programme being selections that the band 
would play at any ordinary concert given by them. Of course, 
the band gave this 'sacred' entertainment to make money, 
made it and went their way. The whole performance was a 
deliberate insult to a Christian community that we hope will 
not soon be repeated, although, we must confess, it was suf 
ficiently encouraged to warrant its repetition. We said nothing 
in condemnation of it before it came off because to do so would 
be only to advertise it, and having refused to publish its pro 
gramme in our advertising columns, we did not care to give it 
the benefit of any free notices, even of a condemnatory sort. 
Reputable people ought to consider well what they do when 
they deliberately set to work to break down the barriers against 
immorality of all kinds which the Sabbath has established and 
maintains. We neither want Parisian Sabbaths, morality, nor 

Material reward for the Gilmore tour was $900 over and 
above travelling expenses for herself and sister. But what par 
ticularly intrigued the young prima donna was the $6000 life 
insurance policy Gilmore had taken out for her. More than any 
other thing, it served to awaken her dormant vanity to a sense 
of worth. Success throughout her first major tour sharpened 

Fd. Mulnier, Paris 


faA^SL^ / 


her sense of responsibility to her career without producing 
in her any false notion of her importance. The tour demon 
strated that it would no longer be possible for her to spare the 
time for giving vocal lessons. She was now in great demand for 
concert appearances; seeking had changed to choosing. Yet, all 
too frequently, the matter of choice was being restricted by her 
obligations to her church contract. However, for the time at 
least, she could not afford to discard a fixed for a potential 

In her concert appearances in the spring and early summer 
of 1875, she found greatest satisfaction as soprano soloist in the 
"Third Grand Concert" of the Handel and Haydn Society of 
Brooklyn at the Academy of Music on April 8th, for here was 
her first association with that noble young pioneer in bringing 
great music to America, Dr. Leopold Damrosch, who directed 
the orchestra and chorus. Her companion soloists were: Anna 
Drasdil, contralto; Alexander Bischoff, tenor; and A. E. 
Stoddard, baritone. In a program of selections from Handel, 
Haydn, Mozart, and Mendelssohn, Emma Thursby sang, "He 
shall feed His flock/' from the Messiah, in duet with Anna 
Drasdil; "I know that my Redeemer liveth," from the Messiah; 
and the first aria of Astrafiammante in the Magic Flute. She had 
sung many times to the batons of Theodore Thomas, Carl 
Zerrahn, Patrick Gilmore, and other well-known American 
conductors; but to sing to the baton of the grave and scholarly 
Dr. Damrosch, trained in the highest German musical tradi 
tion, and though but a few years expatriated, already a proud 
American, was an invaluable musical experience. 

Another experience she valued came on April i4th, when 
she sang "The Star-Spangled Banner" at the home of Mr. and 
Mrs. Camden C. Dike in Brooklyn, before a distinguished 
group of members and guests of the Sumter Club gathered to 
celebrate the tenth anniversary of the founding of the club. 
Well she remembered the pilgrimage of Brooklynites under 

the leadership of the Reverend Henry Ward Beecher and the 
Reverend Richard Storrs to Fort Sumter in April, 1865, to 
restore the flag that had been torn down on that momentous 
i4th of April, 1 86 1 . The Sumter Club had been formed on the 
homeward voyage, to perpetuate the historic event. However 
appropriate to a tenth anniversary were good music, interest 
ing speeches, and a splendid repast, followed by dancing, a 
note of sadness was evident. Beecher and Storrs were both 
absent. Beecher had sent his regrets that his lawyers would not 
allow him to attend because of the trial still in session. And 
Storrs, now a stern and unforgiving critic of Beecher, had no 
doubt declined to attend in order to prevent a compromising 

As the concert season approached its end, there could be 
more enjoyment and relaxation. Such was the case when she 
again appeared with Gilmore's Band at the Philadelphia Acad 
emy of Music on May i5th. Noteworthy on that occasion was 
her rendition of Handel's "Let the bright Seraphim/' to the 
trumpet obligato of Patrick Gilmore. On the 7th of June she 
sang in her own testimonial concert at the Church of the 
Divine Paternity, assisted by a notable group of artists: Anna 
Drasdil, contralto; Adolph Sohst, baritone; S. B. Mills, pian 
ist; together with the Weber Quartette; and with Emilio 
Agramonte, conductor. Here she sang Haydn's "My Mother 
Bids Me Bind My Hair," and for the first time, the Aria and 
Variations from Vaccai's Pietro il Grande. 

Although her appearance in Easton, Pennsylvania, on the 
2 8th of June, was a popular as well as an artistic success, her 
greatest enjoyment in the closing season came on June i6th, 
when she sang at the Summer Night's Festival of the Palette 
Club, on board the excursion steamboat "Plymouth Rock." 
No ordinary excursion concert was this which enlisted such 
well-known artists as Anna Drasdil and Signor Ferranti, to 
gether with Theodore Thomas and his orchestra. Dancing on 


deck from eight-thirty to nine-thirty was followed at ten by 
the vocal concert. At twelve Thomas and his orchestra took 
command with selections from Beethoven, Mendelssohn, 
Weber, Wagner, and Liszt; from Vieuxtemps, Lassen, Gounod, 
and Strauss. Doubtless it was the lilting swing of Strauss's "On 
the Beautiful Blue Danube" that stirred all hearts as the "Ply 
mouth Rock" glided along the moonlit Hudson. Very, very late 
it was, when the strains of the "Nuptial Chorus" from Lohen 
grin brought pleasant reverie to a tired but happy gathering. 

Vacation days in July were spent with the annual round of 
visits among relatives and friends, not possible in the busy 
season. Complete freedom came when on Sunday July 4th she 
concluded her church appearances for the summer. Anxious 
to escape for recreation, she and her sister Allie left at ten the 
following morning for Woodsburgh, Long Island, missing the 
disastrous wreck which befell the next train. Woodsburgh pro 
vided a good restorative in three days of sailing and fishing and 
clam bakes. And the 4th of July was fittingly celebrated on 
Monday the 5th, with a fireworks display at the Woodsburgh 
Pavilion. Home on the 7th, she was off again on the 8th, this 
time on an excursion to Henry Ward Beecher's farm at Peeks- 
kill, where a devoted band of Beecherites paid homage to him 
who had but the week previous been acquitted by the court of 
the serious Tilton charges. 

Many a hot July night Emma Thursby could be found at 
Gilmore's Garden with her family and friends, enjoying the 
nightly concert and the convivial scene. But, despite the fre 
quent importunings of Gilmore, she maintained her vacation 
status and refused to sing herself. Perhaps it was during these 
evenings, when she had frequent opportunity to talk with 
Gilmore, or perhaps it was during her earlier concert appear 
ances with Gilmore, that she determined to place herself under 
the instruction of Erminia Mansfield-Rudersdorff, whom Gil- 
more had brought to America to star in his Boston Peace Jubi- 


lee o 1872. The suggestion may even have come from Errani 
from whom she still took intermittent lessons, for Errani, 
teacher and devoted friend, would have left nothing undone to 
promote her career. At all events, she journeyed to Wrentham, 
Massachusetts, on August nth, and commenced lessons with 
Mme Rudersdorff on the following day. 

No other teacher in America could boast the unusual quali 
ties that Mme Rudersdorff possessed. A thorough and exact 
ing musician, she at the same time brought to her pupils the 
practical experience gained from a long and varied and dis 
tinguished career in opera, concert, and oratorio. Born at 
Ivanowsky in the Ukraine, in 1822, the daughter of a Ger 
man violinist then engaged at the Russian court, she later 
studied singing at Paris with Bordogni, and at Milan with 
De Micherout. Possessed of a powerful soprano voice of great 
range, she developed a large and varied repertory. Her first 
successes were in concert in Germany, but later she sang widely 
in opera in both Germany and Italy. 

It was no doubt her second marriage, to an Englishman, 
Maurice Mansfield her first marriage to a German professor 
of mathematics, in 1844, having been dissolved because of in- 
compatability that caused her to settle in England, where she 
made her London debut at Drury Lane in German opera, the 
summer of 1854. Thereafter, she made frequent operatic 
appearances in Italy, and Germany where she also sang exten 
sively in oratorio. But it was in England, where her happy mar 
riage to Maurice Mansfield was terminated by his death in 
1860, leaving her with four children, that she found happiest 
home for her restless spirit. And it was England that confirmed 
her reputation as one of the greatest oratorio singers of the 
time, an able rival to her intimate friend, the famed Mme 
Tietjens. Indeed, Mme Tietjens it was who recommended her 
to Patrick Gilmore, when he sought the best oratorio singer 
for his 1872 Peace Festival in Boston, where at the specially 


erected Coliseum he planned to employ two thousand musi 
cians and twenty thousand voices in the greatest of American 
musical extravaganzas. 

After Emma Thursby's first meeting and first lesson with 
Madame Rudersdorff, she wrote, "Like her immensely," a 
significant remark, for Madame, always respected and very 
often feared, was a brusque, positive, uncompromising char 
acter whom you dared to like only if she liked you. If she liked 
you, you could find no bolder or fiercer a champion. If she 
didn't like you, you could be sure she had some justification, 
and you could be equally sure she would not hesitate to tell 
you so. Short, stocky, swarthy of complexion, sure of poise, she 
commanded wherever she went. Social and literary Boston 
were quick to discover her forceful and engaging charm after 
the first meeting, and soon she could number among her 
friends and admirers, Julia Ward Howe, and Henry Wads- 
worth Longfellow, and the wealthy merchant, Eben Jordan. 

A lover of fine jewelry and beautiful gowns, of delicate laces 
and rare porcelains, she was a great lover of her home. At 
Wrentham and later at Berlin, Massachusetts, she would take 
time from the long hours of teaching to enjoy the details of 
housekeeping. Her cows and her chickens all held their ap 
pointed places in her broad interests and affections. And when 
she won a prize for her vegetables she thrilled with the pleasure 
she had known when honored by the courts of Europe. This 
was the prima donna whose "evil eye," many of her fellow 
artists believed could blight them speechless at will. This was 
the prima donna who, anecdote tells us, after warning a tenor 
who persisted in treading on her train, when he trod again, 
swept him to his ignominious knees. This was the woman of 
noble heart and indomitable will who was the mother of Rich 
ard Mansfield. 

A month of instruction under Mme Rudersdorff rewarded 
Emma Thursby with an improved musicianship, an enlarged 


repertory, an especial appreciation of the great oratorios, and 
an increased self-assurance. Moreover, she found in Mme 
Rudersdorff a sympathetic friend, a great admirer of her tal 
ent, and at all times, a champion of her interests. So the days 
at Wrentham were profitable indeed. They were days, too, 
filled with gaiety and fun. The students, including her friend 
Anna Drasdil, formed a happy group, along with Madame and 
her daughter, Greta. And Richard Mansfield, dignified and 
handsome, arriving from Boston on September 5th for one of 
his periodic visits, stirred a few hearts no doubt. But happiest 
of all was Madame herself, who had developed a strong affinity 
for her adopted American scene. 



The concert season of 1875-76, which commenced for Emma 
Thursby at a complimentary concert to M. Arbuckle, the 
celebrated cornetist, in the Brooklyn Tabernacle on October 
5th, was to prove strenuous and exacting. Out-of-town engage 
ments with Gilmore's Band during the previous season had 
served to introduce her to a widespread territory that was now 
heralding her praise and seeking her reappearance. Much 
sought after, she found herself with more offers for concert 
engagements than she could accept. There can be no doubt 
that the championing of Mme Rudersdorff had much to do 
in this popularity, for Mme Rudersdorff, believing that Emma 
Thursby had no equal in America, spared no opportunity to 
broadcast her belief. But Madame was not only a bold cham 
pion; she had an exceptional business acumen which proved 
invaluable to Emma Thursby who was still planning her sched 
ules without benefit of a regular professional manager. 

At this juncture in her career came another of the recurrent 


reminders of the opportunities that were doubtless awaiting 
her in opera. This time the reminder was couched in the lan 
guage of America's popular humorist, "Eli Perkins." But even 
he could not prevail. 

"Fifth Avenue Hotel, 
Madison Square, New York. 
Sept. 14 
My dear Miss Thursby: 

If you sing church music in such a Heavenly way what must 
it be to hear you sing opera? 

I hope I shall hear you some time. 

In the meantime may Heaven keep and preserve you from 

Yours truly 

'Eli Perkins' 

MelviUe D. Landon" 

If Emma Thursby had been able to appraise the strenuous 
season ahead she might well have hesitated to undertake it; at 
least she would have looked upon it with consternation. To 
sing in one hundred and one concerts in an area extending 
from New York to San Francisco, and to sing at the regular 
Sunday service at Dr. Chapin's Church as well, with the rehear 
sals attendant upon all her appearances, and the slow and 
wearisome means of travel almost everywhere, would be a 
severe tax upon even her superb endurance. And, as if in fur 
ther challenge to that endurance, she had month by month 
assumed more and more of the financial and executive respon 
sibilities of her home. Devoted as every member of her imme 
diate family was, and anxious to aid her in the management of 
the home, upon her, nevertheless, fell the burden of decision 
at least. Though devotion, love, and affection were still the 
measure of her dependance upon the family, she had already 
very definitely and completely become its executive head be 
fore the new year, 1876, dawned. 


, Paris 





i ^ vt ' 

|^ 1 

Moreover, a sound sense of responsibility was now very evi 
dent in her approach to music, reflecting the training of Mme 
Rudersdorff who had instilled in her an appreciation of the 
solemn duty one, endowed as she with an exceptional voice, 
owed to her art. Singing remained, as before, a pleasurable 
experience, though it was now to be undertaken with disci 
pline. And singing, under the guidance of Madame, had be 
come an exciting adventure, as she studied her new repertory 
and practiced new cadenzas that Madame had written for many 
of the songs in her old repertory. 

October brought the usual small quota of engagements in 
New York and Brooklyn as the season got under way, the most 
important engagement falling on October 2 8th, when she sang 
at Gilmore's Concert Garden in a benefit concert for Patrick 
Gilmore, himself, before a crowd of some ten thousand that 
filled the former Hippodrome of P. T. Barnum. Again Gil- 
more proved himself master of spectacle, bringing together a 
band of one hundred excellent musicians. And again Emma 
Thursby received the great ovation that had become the ruk 
in her appearances with Gilmore's Band, when she sang 
Prodi's Variations, a demand fixture on a Gilmore-Thursby 
program. To be sure, the Proch Variations had been identified 
with Gilmore since the Boston Peace Jubilee, when Mme 
Peschka-Leutner introduced them. Yet no other singer had 
sung them with the success that Emma Thursby achieved 

November found her still singing in the local area, where on 
the soth she received a letter from Mme Rudersdorff, evidenc 
ing the interest and solicitude of her teacher, but important, 
more particularly, because it contains the first reference to 
Mozart's aria, "Mia speranza adorata," which was to become 
identified with Emma Thursby both in Europe and America, 
chief of the Mozart songs the beautiful rendition of which was 

to earn for her the reputation of being the greatest Mozartian 
vocalist of her day. 

"12, Hotel Boylston, Boston. Nov. i8th 75. 
Dear Miss Thursby, 

I am glad, you can come. I sent your terms to Mr. D wight, 
and told him to either send the reply here or write to you 

Now deary do'nt make a muddle. 'Mia speranza adorata' 
you must not sing here before you sing it with the Harvard on 
Jan. 6th! Pray, understand that. 

Buy another copy, as soon as possible, copy into it all the 
tempi marks, rail. ace. P's & Fs as marked by me, and send it 
to me. I will then, whenever I have time, make an English 
translation of it, to be put into the programme. And I will go 
through the whole, at the Piano, with Zerrahn and thus pre 
pare the rehearsal for you. 

The 'Seraglio' Aria is all right. The Introduction can with 
ease be cut down to 8 or 16 bars, I forget, which, it is always 
done for concerts. Do the Handel Aria at the first concert. 

Now, childie, I want you positively to come here for a few 
days before you make any appearance in Boston, for I want you 
to sing your very, very best. You can stay with us, and shall 
only pay for your dinner, as we dine at the Restaurants. You 
shall pay for one lesson in the morning, and I will give you one 
in the evening. But I want you to come. 
Saturday morning. 

I waited to hear from Mr. D wight but I suppose, he has 
written you direct. I hope so. Let me know. 

Yours sincerely, 

Erminia Rudersdorff" 

The 2 gth of the month brought an opportunity of great 
musical import, when she appeared as soloist in the first "musi 
cal soiree" of Dr. Hans von Bulow, which followed his two 

weeks of concerts with orchestra. Von Bulow, whose reputation 
as a pianoforte artist was only surpassed by that of Anton Ru 
binstein who had so thrilled American audiences three years 
before, had come to America at the instance of the Messrs. 
Chickering for an extensive tour to be inaugurated at the new 
Chickering Hall in New York. Uncompromising artist that he 
was, von Billow arranged for his first "musical soiree" a pro 
gram that could find no challenger of its classic purity. More 
over, a group of distinguished fellow artists, Dr. Damrosch and 
Messrs. Bergner and Matzka, assured chamber music of a qual 
ity that had never been surpassed in America and equalled 
only in the tour of Rubinstein and Wieniawski. 



1. W. A. Mozart 1756-1791 Quartett in G minor. 

For Piano, Violin, Viola, Violoncello 

(Allegro Andante Rondo) . 
Messrs. Dr. Damrosch, Matzka, Bergner and Hans von Bulow. 

2. W. A. Mozart Aria, "Non Paventar." 

Miss Thursby 

3. Piano Solo. 

(a) J. S. Bach 1685-1750 Fantaisie chromatique et Fugue. 

(b) G. Haendel 1684-1759 Suite in D minor. 

Prelude and Fugue Allemande Courante Aria con variazi- 

oni Capriccio. 
Hans von Bulow. 

4. G. Haendel Aria, Si t'amo o Cara, (Muzio Scaevola) 

Miss Thursby 

5. L. Van Beethoven 1770-1827. 

Grand Trio for Piano, Violin, Violoncello, Opus 70, No. 2, E flat. 
(Poco sostenuto ed allegro ma non troppo Allegretto Minu- 
etto Finale) . 

Messrs. Dr. Damrosch, Bergner and Hans von Bulow. 
W.K.Bassford . . . Accompagnateur 

The concert, which proved an artistic rather than a popular 
success, demonstrated again what Theodore Thomas had al- 


ready discovered: the lack o any considerable audience appre 
ciative of chamber music. Perhaps Dr. Damrosch, who had had 
frequent opportunity to observe the New York audience in 
the four years of his residence, had forewarned his old friend 
von Billow of this fact, and urged that a soprano soloist be 
included in the program to strike a more popular appeal. In 
any event, Emma Thursby's appearance occasioned a personal 
ovation that demanded an encore following the Handel aria. 
For this she chose "Embarassment" by the lesser, though 
highly regarded, German composer, Franz Abt. Much to the 
surprise of the audience that had thoroughly approved and 
enjoyed the song so well known to American audiences, the 
temperamental von Billow returned to the stage for the trio 
with a forced stride, approached the piano, removed his hand 
kerchief from his pocket, and with deliberate, angry gesture 
swept the keys with it. Only after the concert did the curious 
audience find explanation when von Billow said that he felt 
that the audience had been insulted by the interpolation of 
such a song in a classical program, and that he had used his 
handkerchief to sweep away the last notes of it. Admittedly, 
Emma Thursby had erred in her choice. 

The following night she sang at the Brooklyn Academy of 
Music in a benefit performance of the Handel and Haydn 
Society of Brooklyn for Dr. Damrosch, who conducted Theo 
dore Thomas' Orchestra and directed a chorus of three hun 
dred voices. The first half of the program was devoted to Dr. 
Damrosch's short oratorio, or "Scriptural Idyll/' as he called 
it, Ruth and Naomi, Emma Thursby singing the role of Ruth 
with a grace of expression and beauty of tone that contributed 
much to the commendation the oratorio received. Unfor 
tunately for Dr. Damrosch, Anna Drasdil who had been en 
gaged for the contralto role of Naomi was unable to appear 
because of illness, and her substitute, as well as Messrs. 
Bischoffi and Stoddard, who sang the other roles, were unable 


to provide the excellence of rendition that the oratorio de 
served. However, Dr. Damrosch did have the satisfaction of 
winning the high regard of an appreciative Brooklyn audience. 

Two concerts on Wednesday evening December ist au 
gured well the busy month that would provide twenty concerts 
here and there over a wide sector. Thursday and Friday eve 
nings she sang at the Academy of Music in Baltimore, Satur 
day evening at the Music Hall in Providence with Gilmore's 
Band after the long night and day journey north. Sunday she 
sang at the Boston Theatre with Gilmore's Band, and again 
with the band on successive evenings in Portland, Boston, 
Springfield, Hartford, New Haven, and Elmira, New York, to 
conclude an exhausting tour. At all the Gilmore concerts she 
sang Proch's Variations with the same success, and for a second 
number, Abt's "Embarassment," which had aroused the scorn 
of von Biilow, but found die approval of all audiences, Ameri 
can audiences not yet educated to the von Biilow exclusive 
classical repertory. 

In the closing days of the month, out-of-town engagements 
called her to New Bedford, Massachusetts, and twice to Phila 
delphia, the first time as soloist of the Vocal Union of Phila* 
delphia, the second time as soprano soloist in the Messiah, to 
the accompaniment of Theodore Thomas' Orchestra, before 
the Cecilian Society at the Academy of Music, on the 28th. 
The previous night she had sung in the Messiah at Steinway 
Hall, New York, in the second concert of the Oratorio Society 
of New York, with Dr. Damrosch, its founder, conducting 
Theodore Thomas' Orchestra and the chorus. Again she sang 
the soprano role in the Messiah on the goth, this time at the 
concert of the Handel and Haydn Society in the Brooklyn 
Academy of Music, with a superior group of artists: Anna 
Drasdil, contralto; George Simpson, tenor; Adolph Sohst, bari 
tone; Dr. Damrosch again conducting. Before these three ap 
pearances in the Messiah she had actually, on Christmas Day, 

sung selections from the Messiah at the Church of the Messiah 
in Brooklyn. No one observing these appearances could deny 
that Emma Thursby had made oratorio singing not merely an 
accomplishment but a forte, while for the informed she bore 
the unmistakable mark of her great teacher. 

So busy had her life become that little time remained for 
recreation with her family or pastime with old friends. Even 
the minutes had to be planned if she was to fulfill her crowding 
engagements. The problem of getting from place to place in 
the local area had become a serious one, demanding the fre 
quent use of a hired horse-and-carriage to supplement or re 
place the slow horse cars that at best would take her over the 
principal streets, and more than often not even near to her 
destination. The Williamsburgh ferries, which she took prin 
cipally to Grand Street or sgrd Street in Manhattan, ferries 
that in her childhood had carried her in many a voyage of dis 
covery across the East River, must now be divorced of romance 
and regarded simply as slow but necessary means of transpor 
tation. Williamsburgh, home and center of her affections, she 
must reluctantly admit, had become an increasingly isolated 
headquarters. Even when she had concert engagements in the 
center of Brooklyn, and certainly when they were in New 
York, it was often necessary for her to spend the night with 
friends because of the lateness of the hour, or the need of being 
in the same locality early the next morning. 

New Year's Day, 1876, offered brief respite from her re 
sponsibilities, when she received at the home of her old friend 
"Mama" Smith, her "second home/' on Brooklyn Heights. A 
homecoming reception it indeed was, with the reunion of 
childhood and girlhood friends always anxious to claim her for 
their own. There were unhappy memories of Lottie Smith that 
the scene, to be sure, revived, but there were beautiful mem 
ories too. The Smiths would never forget Emma Thursby's de 
votion to their daughter in her fatal illness, nor would they 


ever cease to see in Emma Thursby the living link with her 
who had been lost to them. 

Heeding the counsel of Mme Rudersdorff, Emma Thursby 
journeyed to Boston on the grd of January, to take seven les 
sons, preparatory to her appearance as soloist in the concert of 
the Harvard Musical Association at the Boston Music Hall, on 
the 6th. The splendid success she achieved can be attributed to 
her own perseverance and to that of Mme Rudersdorff as well. 
The concert was otherwise important in her career, moreover, 
because it marked her first rendition of Mozart's difficult aria, 
"Mia speranza adorata," almost immediately to become the 
aria offering the greatest opportunity for her unusual talents, 
an aria abounding in great difficulties. Yet, too much recogni 
tion can not be given the opportunity she enjoyed of meeting 
the great musical triumverate of the Harvard Musical Associa 
tion: John S. D wight, pioneer of American music critics, Edi 
tor of the Journal of Music, and directing head of the associa 
tion; John K. Paine, Professor of Music at Harvard University, 
composer, and one of the bulwarks of the association; and Carl 
Zerrahn, long Conductor of the Handel and Haydn Society of 
Boston, conductor of the association. Dwight, strong propon 
ent of the classic composers, and stern critic of the "New 
School" Wagner and Berlioz, took great delight in her fine 
rendition of the Mozart aria, and wrote her praises in the 

The first three months of the new year, 1876, brought a busy 
schedule of concerts, largely in the major cities of the eastern 
seaboard, with Theodore Thomas' Orchestra and Gilmore's 
Band. There were occasional concerts in New York and Brook 
lyn, in the larger auditoriums which were now almost wholly 
replacing the churches, the scenes of her earlier appearances. 
On the 2nd of March she had a highly auspicious return en 
gagement with the Harvard Musical Association. On the 24th 
of March she made the first appearance of her career with the 


great American contralto, Adelaide Phillipps, at a concert for 
the benefit of the Chapin Home in New York. March moved 
on with further concerts in New York, Brooklyn, Philadelphia, 
and Lancaster, Pennsylvania, to introduce an April of real 

Months of continuing successes had been gratifying indeed. 
Material reward had been ample enough to provide certain 
of the luxuries: numerous beautiful gowns, and, in January, a 
handsome cross of diamonds at the cost of eight hundred dol 
lars. But there was one distressing problem arising out of her 
very popularity, that could no longer be denied. Out-of-town 
engagements were continually conflicting with her Sunday 
church engagements. Should she continue in her attempt to 
reconcile the two? Complicating the decision was the urgent 
request of Patrick Gilmore that she go to California with his 
band on a five weeks tour. In hesitancy, she sought counsel of 
Mme Rudersdorff who was quick to reply: 

"12, Hotel Eoylston, Boston. March i^th, 76. 8 a.m. 

My Dear little Speranza! 

I wish once more most earnestly to impress upon you the 
duty you owe to yourself and the great and exceptional gifts 
God has bestowed upon you. Do not be really foolish and al 
most wicked, my child, but grasp the fortune, which is thrown 
in your way. 

Let the churches go! If you will reflect well, you will find 
that owing to the fact of having to return to NY. every week, 
you lose so many engagements, that it amounts to nearly, if not 
quite as much as what the church pays you. 

Europe for the next few years must be your field, if you have 
your wits about you. My honest and earnest advice is: give up 
your church, if they will not give you leave, and go to Cali 
fornia! There in a few weeks you will make sufficient to pay 
for what you require. Then from the ist of June to Oct. ist 




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come to me. Remedy those points in your voice, which you 
know of, make the trill perfect, study the repertoire of Scenas, 
songs and Oratorios you require for Europe, go there by about 
the middle of October and sing. I guarantee it to you, that you 
will after one appearance, pocket every good engagement and 
will very soon amass a fortune! 

My dear child the churches do not run away, but will be 
very ready to increase their offers to you, when you return with 
a European reputation! 

Show your mother this letter, I am certain she will see the 
force truth of my argument. 

Do not be so undecided and wavering. There are turning 
points in every one's life, where fortune may be gained at last. 
You stand at one now be firm and be wise! 

Your affectionate friend 

Erminia Rudersdorff" 

It was not easy to "let the churches go/' especially since Dr. 
Taylor's church, the Broadway Tabernacle, at 34th Street and 
6th Avenue, New York, had offered her a salary of $3000 and 
the proceeds of a complimentary concert for the ensuing year. 
This, the highest salary offered a church singer in America, 
was evidence of the keen desire of the Tabernacle trustees 
to secure her services. They were even willing to permit her 
to engage a substitute, if concert engagements required her 
absence for a reasonable number of Sunday services. This con 
cession, in fact, prompted her acceptance of a contract. There 
remained only the need of the consent of Dr. Chapin's Church 
to absent herself from services in April, in order that she might 
make the decision to go to California. This generous consent 
she received, and after singing in her farewell service at Dr. 
Chapin's Church the morning of April s>nd, she departed for 
the west in the evening with her sister, Allie, on the Gilmore 
tour, carrying with her the good wishes of a host of friends, 


and the compliment of one whose friendship she particularly 

"New York March 30. j6. 
331 E. ijth St. 
Dear Miss Thursby, 

I expect every day to get the first copies of a little song, which 
I took the liberty to dedicate to yourself. It suits, as I think, 
your voice very well and might be very effective, performed by 
a singer like you! Now as I am informed that you are about to 
leave New York for going to California, you would oblige me 
to send me your address in San Francisco, where I could send 
the said copies, as soon as I get them. If I could have the pleas 
ure to see you (before your departure) with me, I would be 
very happy and agree with any appointment you would make. 
Meanwhile I wish you health and the grajid success you de 
serve everywhere and remain 


not forgetful 

Leopold Damrosch" 

Concerts in Buffalo, Detroit, Chicago, and Omaha, Nebraska, 
attracted large audiences to the gratification of Gilmore, who 
had assumed a heavy financial responsibility in transporting a 
large company across the continent. Arriving in Salt Lake City 
at eight-thirty in the evening of the isth, after an enforced 
walk over the damaged bridge at Ogden and reentraining on 
the other side, the Gilmore company was met by the Four 
teenth United States Infantry Band and a cheering crowd of 
citizens who formed a procession to the theatre to the light of 
torches, with Emma Thursby, Gilmore, Arbuckle, and Levy 
enthroned in an elegant barouche-and-four. The theatre 
reached, there was a rush to get in costume for the perfor 
mance, Emma Thursby completing her change just in time to 
appear in her first number, the Polonaise from Mignon. En- 


thusiasm ran high the next day, prominent merchants closing 
their stores during the matinee concert given, with special con 
sent of Brigham Young, at the Mormon Tabernacle, that 
boasted perfect acoustics. However satisfying the concerts 
were, however pleasing it was for Emma Thursby to raise her 
voice in the vast auditorium with the Variations of Proch and 
the "Non paventar" aria of Mozart, she was most of all pleased 
with the interview granted her by Brigham Young, whose dis 
tinguished service in the Mormon Church was to end with his 
death the following year. 

Though the final link in the railroad connecting the East 
with the West had been laid in 1869, sh e still experienced all 
the thrill of the pioneer as the train sped toward California 
through country that awed her with its grandeur. San Francisco 
was eager to hear the Gilmore troupe, serenading it upon 
arrival as Salt Lake City had serenaded it. The City of the 
Golden Gate had grown rapidly under the impetus given by 
gold mining and railroad promotion until it showed the evi 
dent result of enterprise and prosperity in its citizenry and in 
its buildings. Bold and still ungainly, cosmopolitan in its popu 
lation, it was impatient of tradition as it had always been in the 
brief thirty years of its American ownership, ever ready to fling 
a challenge and to dare. Indeed, it was prepared to demonstrate 
an appreciation of good music that would rival that of the East. 
Its confidence, not to mention that of Gilmore, would be tested 
with thirteen concerts on thirteen consecutive evenings, begin 
ning on April i yth, together with five matinees. 

Gilmore's brightest hopes were realized as audiences rang 
ing from two thousand to twenty-five hundred crowded Me 
chanics' Pavilion for each performance, and a crowd of ten 
thousand packed Woodward's Garden for the benefit perfor 
mance the afternoon of the twenty-third. San Francisco liter 
ally outdid itself to attend the show. 


"Mechanics' Pavilion, 
Grand Series 

Promenade Concerts 

Gilmore's Famous Band, 

New York, 
Fifty Eminent Musicians, 

Assisted By 

The best Concert Singer in America, 
Mr. J. LEVY, 

The world renowned Cornet Player, 

The Eminent Cornet Soloist, 

The only Saxophone Soloist in America, 
And many other distinguished Artists. 
The Whole Under The Personal Supervision Of 

Projector and General Director of the Boston Jubilees, 1869-1872." 

The concerts reached the height of their popularity the eve 
ning o the twenty-fifth, when His Majesty, Dom Pedro, Em 
peror o Brazil, attended with his suite. The Emperor had good 
opportunity to observe the excellent band in a program em 
bracing selections from Beethoven, Liszt, Rossini, and Weber; 
and to hear Arbuckle and Levy in cornet solos. Emma Thursby 
sang Rode's Air and Variations and Mulder's "Staccato Polka/' 
with "The Maid of Dundee" and "The Last Rose of Summer" 
for encores. Following the concert the Emperor visited her 
dressing room, complimenting her highly, praising her effu 
sively for her rendition of Rode's Variations. She was again the 
recipient of the Emperor's praise, following the Gilmore Bene 
fit Concert on the sgth. High praise at every hand notwith 
standing, she was relieved when the engagement ended the 


next evening after a successful matinee performance in her 
benefit that afternoon, for the strain of such frequent perfor 
mances had been great. 

The trip home was in the nature of a celebration, since the 
whole company had reason to be pleased with the tour. Two 
evening performances and one matinee performance in Chi 
cago at the new Exposition Hall, and one performance in De 
troit served further to heighten the pleasure. Chicago turned 
out to the number of twelve thousand, crowding Exposition 
Hall on the first night, to inaugurate the Centennial Celebra 
tion. To be sure, the crowd came to see as well as to hear, for all 
knew that Gilmore could be depended upon to provide a spec 
tacle; and none went away disappointed. The program opened 
with, "Salute to the Glorious Centennial Year 1876, "Hail 
Columbia/ Gilmore's Band with Artillery Accompaniment/* 
Mme Eugenie Pappenheim, late of the Wachtel Opera Com 
pany, shared vocal solos with Emma Thursby in the sort of pro 
gram Gilmore loved. Though musically there was much to 
commend, essentially it was a good show. 

Home at last on the gth of May, Emma Thursby was soon 
off again for a concert of the Vocal Union in Philadelphia on 
the i^th. But Sunday the i4th found her home and at her first 
service in the Broadway Tabernacle, as the season approached 
its end. June was a quiet month, permitting much needed rec 
reation, and reunion with friends, notably with the ever loyal 
Achille Errani. 

"June 19/76 
Miss Emma 

Meting the other night Mr Shirmer, he complained very 
much that you had not been to his Music Store since long time 
ago, but he hoped that you would not forget him intirely. So it 
is, my dearest Child, every body want to hear, and see you. 

About La Molinara I have arranged some thing, and if you 
could come at my rooms Wednesday from half past 3, to half 
past 4 we will see it Respectfully and 

Affectionately yours 

A. Errani" 

July i ith at last brought an end to the concert season, when 
she sang at a command concert at the Hotel Buckingham in 
New York, in honor of the Emperor and Empress of Brazil, 
who renewed their urgent request made in San Francisco, that 
she make a concert tour of Brazil under their patronage. Sum 
mer was now at hand, but responsibilities still lingered. On 
Sunday, July i6th, however, having sung in the last summer 
service in the Broadway Tabernacle, she left for Berlin, Massa 
chusetts, to resume her studies with Mme Rudersdorff. 



The ever restless Mme Rudersdorff had at last found in 
"Lakeside" at Berlin, Massachusetts, the ideal summer 
home of her hopes. Surrounded by broad fields and open skies, 
here was happy refuge from the brick and stone and confine 
ment of Boston. Here, her spirit lightened, she could soar in 
her love of nature and music, so high, indeed, that the long days 
of music lessons and household duties seemed never to fatigue. 
Occasionally a pupil's carelessness would irritate her, bringing 
a brief shadow over an otherwise tranquil day. Yet these occa 
sions were rare, since she had gathered about her a group of 
serious pupils, anxious to make progress, anxious to please 
their earnest teacher. It was a distinguished group, too, num 
bering the brilliant pianist, Teresa Carrefio, gifted also as a 
singer; and her husband, Emile Sauret, the violinist; Clemen 
tine Lasar, soprano soloist of Plymouth Church in Brooklyn; 
Emily Butman, soprano, also of Brooklyn; Emma Thursby, 
herself; as well as some five or six other pupils. 

Work a plenty there was for the pupils with lessons and prac 
tice, but no day was too full with work to allow long hours of 
recreation. A row on the lake; a game of croquet; a carriage 
drive through the peaceful countryside, often to nearby towns 
in exploration; a walk through flowering fields and shadowing 
woods; a lawn party for friends from Boston or New York; 
these were the summer offerings of relaxation and fun. But the 
day's work was fun, too, climaxed by the frequent impromptu 
evening musicales, when the happy family gathered to sing 
their songs as the audience of all outdoors looked on and lis 
tened and smiled. 

Soon there would be eager audiences of people. Indeed, as 
summer drew to its close, on August goth, the nearby town of 
Hudson was the scene of a testimonial concert given Madame 
by her pupils, a concert that would have graced any platform. 



Part Song: "When first I saw your face." . . Old English Ditty. 

Mrs. Allen and the Misses Almy, Souder, Mansfield, 

Sargent and Parker. 

Aria: "Tu del mio Carlo." Verdi. 

Mrs. Emily Butman. 

Solo Violin: "Russian Airs." Wieniawski. 

Monsieur Emile Sauret. 

Duetto: "Sull Aria." Mozart. 

Miss Emma Thursby and Miss C. Lasar. 

Solo Piano-Forte: "Last Rose of Summer." .... Thalberg. 
Madame Carreno Sauret. 

Aria: "Ave Maria." (by desire) Rudersdorff. 

Madame Erminia Rudersdorff 


Trio: "Le Faceio." Cimarosa. 

Madame Rudersdorff, Mrs. Butman and Madame Carreno Sauret. 



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JET. RocHer, Chicago 

THURSBY, i88o 

Canzone: "Sei Troppo Bella." Gordigiani. 

Miss Clementine Lasar. 

Solo Piano-Forte: "The Spring Valse." Carreno. 

Madame Carreno Sauret. 

Variations: "Deh Torna." Proch. 

Miss Emma Thursby. 

Solo Violin: "Old Folk's at Home." E. Sauret. 

Monsieur Emile Sauret. 

Grand Finale: "The Carnival." Rossini. 

By all the Artists. 

On September igth the group journeyed to nearby Marl 
boro for a concert, where an audience that overflowed Town 
Hall rejoiced in a musical feast that certainly did the town 
honor. Enthusiastic audiences had brought the satisfaction no 
artist can deny, yet the pupils were particularly appreciative of 
the opportunity of singing in concert under the watchful eye 
and critical ear of Madame. They knew that when they reached 
"Lakeside" and the privacy of home, Madame would be quick 
to commend or censure them, as their performances deserved. 

When Emma Thursby departed for home on September 
i5th, she was vigorous in health from two months of rest and 
exercise and work in the country, and fortified in music from 
the daily routine of two lessons and regular hours of practice, 
eager to begin the fall concert season. However, Mme Ruders- 
dorff, returning to Boston the same day to say farewell to her 
daughter, Greta, who was to sail on the morrow for Algiers to 
establish her home there, was sad and a little bewildered. Only 
Richard would be left to her, and she knew how soon she must 
even make the sacrifice of his companionship, that he might go 
to England to further his studies in painting. Next day she was 
back in Berlin, anxious to temper her sorrow with the medi 
cine of hard work. Three weeks later Emma Thursby joined 
her for a brief visit, uniting with the Rudersdorffi musical fam 
ily in their last concert of the year, at Clinton, on October gth. 
Home again, she still depended upon the guidance of Madame. 


"i2, Hotel Boylston, Boston, Oct. zjd, j6. 
My little Speranza 

and: 'Elijah'! ! ! How I do wish you had passed it with me! 
It is the Oratorio and ought to be sung so and no other way. 
Dear me, I wish the tabernacle was at Jericho, and then you 
could come here and we would have such a Sunday! Truly 
I am not comfortable about it, but then, I suppose, your 
witchery will make it all right. 

Enghedi or rather: 'the mount of Olives' is Beethoven's 
very weakest work. It has scarcely one redeeming feature. A 
trumpery, flourishing song, and a very beast of a Trio. The 
song is not easy. 

I send you a song, a wee thing, which perhaps you know, but 
I think, with my alterations you might make it quite effective. 
The cadence must be a sorter kinder 'don't know' style. After 
every bar, wait a wee, and look over your nose down to the 
floor' as Greta says. Then rush the Staccato and the capito? 

The 'Giralda' I must do at leisure. The Opera has just been 
produced in London by C. Rosa with signal success. 

I want you to tell me all you know about Miss Beatty. Who 
she is, what sort of a voice, how she sings. She has written to 
me and wants to come here. Would she do to head the Sextett 
instead of Fannie Kellogg? Fannie has too many engagements 
of her own, which is disastrous to the Sextett. Can't you get the 
girls a few engagements by the end of November? Terms $250* 
and expenses. I am awfully anxious about it. 

Yours lovingly 

Erminia Rudersdorff 
*or, if they ca'nt get that $200 

Avete data un poco di speranza al pocero Parigino? Le spero. 
Oh whose were those charming songs, Liszt or Wagner and 
what are the names? I want them. 

Take the 'Village Smith' to Schirmer and make him print it 
and pay for it Please, speak to him about 'T'amo d'amor 


Volupino/ I want to have it out. It will sell like wildfire. Why 
did he not send his daughter to study with me? Vienna! ! ! 
They'll break her voice/' 

October closed for Emma Thursby with a concert at the 
Memorial Church in Philadelphia, in which she sang "With 
Verdure Clad/' her favorite aria from Haydn's Creation, one 
that she sang so often in her regular church work. November 
found her still in Philadelphia where she sang at the Academy 
of Music in three concerts of Theodore Thomas' Orchestra, 
with which she made other appearances in Boston, Brooklyn, 
and New York before the end of the year. On November 1 3th, 
she inaugurated at the Academy of Music in Brooklyn a series 
of four appearances with Mark Twain, other appearances be 
ing in Boston and Chelsea, Massachusetts, and in Providence, 
Rhode Island. The "Twain and Thursby Combination," 
along with minor assisting artists, provided an evening of good 
entertainment, no novel entertainment, in a day when audi 
ences were more pleased with variety than the very best offer 
ing of any one art. Mark Twain was no stranger to the lecture 
platform, having appeared in readings from his own works for 
a number of years. He had already distinguished himself with 
The Innocents Abroad, and Roughing it. Well known as 
writer and wit, he had not yet, however, reached the literary 
stature that Adventures of Tom Sawyer, published the same 
year, and Huckleberry Finn, published in 1885, would give 
him. Though ready with words and confident of expression, he 
was uneasy and apprehensive back stage before a performance, 
pacing nervously to and fro, and often remarking to Emma 
Thursby how fortunate she was always to be so self-assured. To 
be sure, she was uneasy and timid herself, but almost daily en 
gagements in the long seasons had so served to conceal surface 
indications that no one was aware of her real emotions, and the 
battle she constantly waged to overcome them. 

On each of the "Twain-Thursby" programs Mark Twain 
chose for reading, "An Encounter with an Interviewer" and 
"The Experiences of the McWilliamses with Membraneous 
Croup." Emma Thursby sang from a repertory which in 
cluded: "Che Groja" of Mattei; the Polonaise from Mignon; 
the Prayer and Barcarole from L'lLtoile du Nord; and the 
"Bird Song" and "The Nightingale" by Taubert. 

November, rich with its offerings, brought her another 
valued opportunity when she sang on the i4th, at the Boston 
Music Hall, in the concert which marked Ole Bull's first ap 
pearance in America after an absence of several years. Ole Bull 
played the Andante in E flat by Mozart, and his own compo 
sition, "Mother's Prayer," with organ accompaniment, to re 
ceive the plaudits of an American audience to whom he had 
become a well-loved tradition. Though gifted as a violin vir 
tuoso, Ole Bull had for many years appealed to his American 
audiences through his engaging personality as well as his art. 
Emma Thursby's rendition of the Prayer and Barcarole from 
L'&oile du Nord, and the Variations of Proch, was inspired by 
the accompaniment of her teacher, Mme Rudersdorff, who, un 
announced, came to lend her distinguished presence to the pro 
gram. In New York, on the i ith, we find her as soloist in the 
"Reinhard Schmelz First Grand Symphony Concert," at Stein- 
way Hall, contributing "Mia speranza adorata," the "Bird 
Song" by Taubert, and Rubinstein's "Thou seem'st to me a 
Flower" to a program that significantly recorded the perfor 
mance for the "first time" of the Funeral March from Got- 
terdammerung. On November 22nd, the "Bull-Thursby" asso 
ciation was renewed in a concert at Fall River. On this occa 
sion Emma Thursby sang Gounod's "Ave Maria," assisted by 
Ole Bull and Aptommas on violin and harp. These two asso 
ciations with Ole Bull marked the beginning of her intimate 
and enduring friendship with Ole Bull's American wife, the 
charming and gifted Sara Thorp Bull. 


A series of four concerts of Theodore Thomas' Orchestra, in 
late November and early December, brought Emma Thursby 
into association with a notable group of artists: Mme Ruders- 
dorff, Teresa Carrefio Sauret, Mme Gulager, Anna Drasdil, 
and the Messrs. Brignoli, Ferranti and S. B. Mills. On Decem 
ber 5th and yth she appeared in Chicago as soloist with the 
Apollo Club, that organization, founded in 1873 for the pro 
motion of choral and oratorio singing, that had already con 
tributed so much to the cultivation of the city's musical tastes. 
December, indeed, moved with the swiftness of the months 
that were busy with engagements. Moreover, as it closed the 
old year, Emma Thursby experienced a just feeling of satis 
faction, but a very real feeling of anxiety over the important 
decisions that must shortly be made in the new year. But again 
the sound words of Mme Rudersdorff came to counsel her: 

"12 Hotel Boylston. 

Saturday morning 

My dearest Speranza, 

first of all receive my best thanks for your beautiful and most 
useful gift. It is lovely in itself and was like your lovely little 
self to give it me. I pinned it on today. 

I hope, you will receive your cider sent from Lakeside 
and nuts and apples sent from here, all right. Of course, the 
apples and nuts/except almonds/are Lakesiders. 

Now, my dear, about your going to London to sing. You well 
know, how much I wish you to do so, and how anxious I have 
long been about it. But, when you go, I mean you to go with a 
certainty of perfect success , and for that certain conditions are 
required, which I shall tell you frankly and firmly. 

But I will first speak about the business point, which I have 
already several times explained to, but you seem to forget. 

The money making time for English Concert singers is the 
Autumn, winter and early spring. Then all the large Concerts 
take place, not so much in London, as in all the provinces, Ire 
land and Scotland, and that is where and when the money is 

Tuesday. It is perfectly horrid, that I could well: in the 
season the concert business goes chiefly into the hands of the 
Italian Opera singers and the English artistes remain compara 
tively idle, unless they have created a marked sensation during 
the winter season. 

Thursday. There is some witchcraft connected with this let 
ter. If I am interrupted again, I shall tear it up and begin 
another one. So dur I! Well now let's begin again. 

The short and the long is: the proper time for you to go is 
the autumn, or, in the spring: at the very latest to leave here 
by the middle of March. Middle of May is by weeks too late. 

Then, my dear child, when you go to London, it must be, 
to create a furore. You must be at your very best in every 
respect, health, rested, and your memory and voice full of re 
cent teaching. You always are at your best, when you leave me 
after the summer, you are rested, the voice has the bloom of 
freshness on it, and your singing is the most artistic and 

If you go in May, you will be at your worst, at the fag end of 
tiring work and travels and with but little preparation, unless, 
indeed, you come here now. 

If you do as / would want you to do, according to my best 
judgment, my most conscientious reflections, you will go by 
the middle of October next. Spend the entire previous summer 
with me and perfect your voice and vocalization and be ready 
for every thing, whatever may be demanded of you in Sacred 
and secular works./ add: some Operas, say three: Somnam- 
bula, Mignon, and either Ophelia, or Marguerite. Believe me, 
my dearest child, you will surely be tempted to go on the stage, 

and you had better be prepared. Why throw away thousands, 
which you might earn? 

This, my little sweet one, is my best advice. 

The second best is, if you will go in the late spring: throw 
up all engagements in March and April, and live here to study, 
going to New York every Saturday. This would be imperative, 
for there are certain habits you have fallen into, which must 
be corrected, before you appear before a London audience, the 
most serious one is a tremolo. You must cure that, before you 
go. Here you can live with me. If you positively decide to 
go in May, I would say, come at once, and fulfill whatever 
engagements you have, from here, going to NY. every Saturday 
to Monday morning. If you do that, well, then I should feel 

Decide at once and let me know your decision, so that I may 
pave the way for you in London. I have already begun doing it. 
I beg you at once to send me all the best criticisms, you may 
have kept. 

Now childie what is it to be? I wish, I could talk to you! 
Writing is nothing! 

Once more I kiss you for your lovely pencil, of course, I use 
it daily. 

God be with you, childie, in the coming year, and give you 
all your heart wishes. 

Your affectionate 

Erminia Rudersdorff" 

No better counsel could she have had. Much that Madame 
said she already knew, yet its very statement by Madame gave 
it unassailable authority. To be sure, she was eager to make the 
test of Europe. If she wavered, as she did waver, it was because 
of her essential timidity rather than because of any lack of con 
fidence in her ability to succeed in Europe as she had so notably 
succeeded in America. And it was because she could not yet 


face the thought of leaving her home. 

The New Year, 1 877, would give her little respite from the 
necessity of decision, however, for soon the question of going 
to Europe would cease to be hypothetical. As if in awareness 
of this, she seemed to tighten her home bonds. New Year's Day 
found her receiving at home with her mother, her sisters, Allie 
and Ina, and her cousin and devoted friend, Mary Elizabeth 
Bennett. The shadow of worry hovered very plainly; the spirit 
of gaiety and fun was definitely tempered. Should she go to 
Europe? Should she renew her church contract? She was too 
concerned over these questions for celebration, however bright 
the New Year might promise to be. Yet, diverted by a busy 
schedule of concerts, she would postpone decision a little while 

On January gth she achieved a musical success in Beetho 
ven's oratorio, Engedi, given by the Handel and Haydn Society 
of Brooklyn, at the Academy of Music. Two months before, 
Mme Rudersdorff had warned of the difficulties of this ora 
torio, so she had special reason to be pleased. Her testimonial 
concert at Chickering Hall on the nth, attended by a large 
and enthusiastic audience, brought renewed pleasure. Assist 
ing in the program were fourteen vocalists and instrumental 
ists. Emma Thursby was warmly applauded for her excellent 
singing of "Dell' Eta mia primiera" from Harold's Le Pre aux 
Clercs to the violin accompaniment of Ferdinand Carri, and of 
a favorite with her audiences, the "Bird Song" by Taubert. 

Apparently she had decided by this time to go to Europe, for 
she so advised Mme Rudersdorff. But she still reserved deci 
sion regarding the renewal of her church contract, believing, 
doubtless, that she might effect a compromise whereby she 
could continue her church work through a leave of absence for 
a short concert season in England. The church, anxious to re 
tain her, definitely assured: "easier work, because of the large 
repertory that has been established; more musical enjoyment; 


Courtesy of Dr. Walter Damrosch 

1 1 


Friday, Evening, April 231!, 1880, 

>/r. MA UJK1CE* STJRA&QSC& &a 

tmg i&ejprst and only joint a.ppe#r&ncr <*/ Mjss TJP/UJ?$ *' 


ill o-h'o 

IVIiss Emily 

Miss Anna Bock, 



IWons* Fischer. 

IffAORICE STRAKOSC8, - Conductor. 

Seats for sale at Steinway Hall atn<i usual places, 


far more appreciation than you have hitherto received, and far 
pleasanter social relations with many very superior people who 
will prove valuable to you in an artistic point of view"; and an 
arrangement whereby she might go abroad the following year 
as early as March or April. 

Madame had taken an active role in negotiations with the 
Broadway Tabernacle, as her letter of early February indi 
catesMadame who also bore the responsibility of her gifted, 
versatile son, Richard Mansfield, who would become a great 
actor despite her wish that he become a great painter. 

"12, Hotel Boyleston. 
My little Speranza, 

Mr. Dwight called and regretted that the engagements for 
the last two concerts had already been made. / regret that I 
do'nt believe him. I do'nt think, they have the $100 to spare! 

I want you to let me know by Friday next latest, when you 
will be here, also whether you will take one or two lessons a 
day, on account of making up my book for the following week, 

Have you thought of again speaking to the Philharmonic? 

I wrote Mr. Aiken, as probably he today will tell you. I made 
him a suggestion in regard to your church, which came to me 
suddenly. I do think, you ought to remain with them some 
how. Why not have a substitute (Comprimaria) engaged for all 
the year at a regular salary, who would take your place every 
time you wanted to be away, and let your self be paid per 
Sunday? I think, it would be a good idea, and scarcely anyone 
would do better than Miss Turner. How do you fancy this 
idea? She is looking for a place with about $1000 a year. Then 
they might [pay] you for about 20 Sundays at $100 each time* 

Your Photos have gone. When you are here, we must see, if 
you cannot get a really fine one at Warren's. 


Have you taken your Stateroom for May 2 6th? Do not forget 
to do so in plenty of time, for at that period of the year they are 
engaged months before hand, and you ought to have a centre 
berth and sunside. 

My sweet, if you know of anyone who would order some of 
Richie's Watercolours, catch them, for the boy is trying to 
make up a sum to go and study in England in May. 

If you should go to Stewart's think, please get me 2 bottles 
of that Violet perfume which they sell at 50 Cts you know it 
has one of those yellow stoppers, with a very small aperture. 
They ask me 75 for the same thing here. The label says: 

Hoping to see you soon, I remain, my good child 

Yours affectionately 

Erminia Rudersdorff" 

February rushed on as Emma Thursby wavered. On the yth 
she could have been seen seated with her friends Dr. and Mrs. 
Chapin of the Church of the Divine Paternity at Chickering 
Hall, warmly applauding the brilliant American debut of her 
predecessor as soloist in Dr. Chapin's church, her colleague 
of Milan days, Emma Abbott. But February also brought sor 
row and a temporary halt in her concert schedule, with the 
death of Grandmother Bennett on the sgrd. In this period of 
sorrow, however, there came a messenger of great cheer, where 
upon she finally resolved not to renew her church contract. 

The messenger, bearing a flattering contract, was Maurice 
Strakosch, one of the best known of impresarios. The story is 
told that Strakosch had first heard Emma Thursby sing but a 
few weeks before at a Sunday service in the Broadway Taber 
nacle. However this may be, he was of course well aware of the 
popularity she enjoyed with American audiences, and well 
aware of the high favor she had won from Mme Rudersdorff, 
whom he well knew, whose judgment he respected. 


Strakosch's qualifications were unusual. A business man of 
wide experience, he was at the same time a pianist and a com 
poser who might well have achieved distinction as a musician 
had he not seen greater opportunity as an impresario. Born in 
Moravia about 1823, an d early trained in music, he completed 
his studies at the Vienna Conservatory and embarked upon the 
career of a concert pianist. Whatever aspirations he had as a 
pianist were definitely stilled, however, when in 1859, in New 
York, he married Amalia Patti, sister of the very young but 
brilliantly gifted, Adelina. Thereafter he was best known as 
Adelina Patti's teacher and manager until her marriage to the 
Marquis de Caux in 1868. Not approving of the marriage, he 
resigned and devoted himself to general management and pro 
motion, bringing many great singers to America, and continu 
ing his sponsorship of Italian opera, in which he had been in 
terested prior to his marriage. 

The contract which Emma Thursby entered into with Mau 
rice Strakosch, on March 6th, provided that she sing as "Prima 
Donna Assoluta" in one hundred twenty concerts in the 
United States, Canada, and Europe, during the year commenc 
ing April ist, excluding the months of July and August. She 
was to receive $24,000, or $200 for each concert, together with 
all travelling and hotel expenses of herself and a companion. 
It further provided that if she were required to sing on Sun 
day nights, she would sing in oratorios only; that she would be 
privileged to sing at private soirees in Europe, if they did not 
conflict with her scheduled appearances. She would be further 
privileged to fulfill several important engagements she had 
already made, such as the Easter Oratorio and the Triennial 
Festival of the Handel and Haydn Society of Boston. The con 
tract, moreover, incorporated an important option clause, 
which privileged her new impresario, Maurice Strakosch, to 
engage her for the following year under the same terms and 
conditions, save at $30,000, or $250 for each concert, and for 


the year next following at $42,000, or $350 for each concert. 
The press was swift to sieze upon news of the "$100,000 
Thursby Contract," and soon the musical world learned of the 
largest concert fee ever offered an American singer. American 
music lovers, indeed, felt a quickening of their pride and pa 
triotism. Emma Thursby, herself, was of course elated, know 
ing that her income would assure ample funds for the mainte 
nance of her home, and that however wide her travels she 
could always have some member of her family accompany her. 
She was also quick to acknowledge her gratitude to Mme 
Rudersdorff, who had been her able negotiator, who had actu 
ally drafted the contract. 

By supplementary agreement, the first concert under the 
Strakosch management took place in Cincinnati on March 
i4th, followed by concerts in Louisville, St. Louis, Chicago, 
and Milwaukee on the syth. The concerts were billed as pre 
senting: "Ole Bull, The Great Violinist," assisted by "Miss 
Emma Thursby, The Most Eminent Concert Vocalist," "Mile 
Isidore Martinez, The Charming Young Prima Donna from 
the Strakosch Italian Opera," "Mr. Tom Karl, The Eminent 
Tenor," and "Mr. S. Liebling, The Distinguished Pianist." 
Strakosch had assembled an impressive group of artists, for 
which his reward had been large and enthusiastic houses 

An interesting commentary upon the preparation for these 
concerts was in Strakosch's request of Emma Thursby: "Will 
you kindly give me another piece instead of the Shadow Song 
of Dinorah. You sing Mozart's music so admirably and are so 
identified with it that I should beg you to give me possibly an 
air by Mozart." She had conformed by suggesting the first aria 
of Astrafiammante from Mozart's Magic Flute,, which Strakosch 
had forthwith incorporated in his programs. The general ap 
probation of audiences satisfied him of the wisdom of his 
choice, and served to give her added conviction in the predilec- 

tion she evinced for her Mozart repertory of "Mia speranza 
adorata," "Batti, batti," "Sull Aria/' "Ma, che vi fece/' and 
"Che pur aspro." 

April commenced auspiciously enough on Easter Sunday 
the ist in a performance of Handel's heroic oratorio, Joshua, 
given by the Boston Handel and Haydn Society at the Boston 
Music Hall, with Carl Zerrahn directing, and featuring an 
unusual array of artists: Emma Thursby, soprano; Adelaide 
Phillipps, contralto; Mrs. F. P. Whitney, soprano; Joseph 
Maas, tenor; and M. W. Whitney, basso. The Boston Daily 
Globe, reviewing the oratorio the following day, commented 
upon the comparative merits of the two featured singers, the 
one new to greatness, the other long the distinguished of Amer 
ican contraltos: 

"Miss Thursby sang most delightfully, as might have been 
expected. The purity of her voice, her absolutely correct in 
tonation (so rare a virtue nowadays that we feel it necessary to 
record its presence whenever we detect it), the delicacy and 
refinement of her style and the intelligence of her rendering, 
were, each and all, worthy of the highest praise. And yet with 
all these attributes she lacks one element warmth. We ask for 
nothing better than her performance of 'Hark, Tis the Linnet.' 
But in 'Oh, Had I Jubal's Lyre/ beautifully as it was sung, the 
need of more passion, of more fervor, was quite apparent. That 
these qualities are quite as valuable as those for which we have 
given Miss Thursby due credit, became clearly audible in Miss 
Phillipps's performances. We cannot conscientiously say that 
Miss Phillipps has the fine and sure vocal method of the 
younger artist, but we have to admit that in her efforts there is 
generally manifest an earnestness that goes far to compensate 
for any vocal shortcomings. Her rendering of Othniel's songs 
'Heroes, when with Glory Burning/ and 'Place Danger 
Around Me J proved completely the presence of this quality/' 


When Emma Thursby sang the soprano role in Haydn's 
Creation before the New York Oratorio Society, under the di 
rection of Dr. Damrosch, at Steinway Hall in New York on the 
igth, she found an admirer in the critic of the New York 
Times, who did find warmth in her voice: 

"Miss Thursby sang with exquisite fidelity, delicate shading 
and unaffected sentiment. Her experience in church and con 
cert singing has given her a method, which in its breadth of 
phrasing and dignity is peculiarly adapted to oratorio music. 
'On Mighty Pens' she delivered in a noble manner, declaiming 
it in warm and penetrating accents, and electrifying the house 
with the clearness, sweetness and power of her higher notes." 

While oratorio singing figured prominently in her spring 
and early summer schedule, Strakosch was sufficient showman 
to grasp the opportunity of arranging a series of "Telephone 
Concerts'* in which she would appear along with Mme Car- 
refio Sauret, and Signor Tagliapietra, the popular baritone, in 
her usual repertory, in competition with the latest "Triumph 
of American Science," "Professor Elisha Gray's Marvelous 
Telephone." The first telephone instrument had been exhib 
ited by Professor Alexander Graham Bell at the Centennial 
Exhibition in Philadelphia the previous spring, and the first 
two way conversation over a considerable distance had been 
accomplished by Bell in the fall. The matter of original dis 
covery was, however, still in dispute between Bell and Gray, 
although the former would finally gain the recognition. 

When Emma Thursby and her fellow artists appeared with 
Professor Gray at Steinway Hall on April 4th at the demonstra 
tion of the telephone in New York, a large audience found 
feast for ear and for curiosity, renewing the enthusiasm of the 
first demonstration, which Emma Thursby had witnessed from 
the audience. In the latter category the telephone fulfilled its 
promise as a young and ambitious prima donna. Several piano 


solos played by Mr. F. Boscovitz in Philadelphia could be dis 
tinctly heard, even if crude in tone, issuing from the mysteri 
ous little box which sat portentously on a table that occupied 
the center of the stage, while a large audience sat in amazement. 

In a word picture of Emma Thursby, who also listened in 
wonder, the correspondent of the Pittsburgh Telegraph ob 
served that "She is a little lady, with a bright, pretty face, and 
very modest, winning manners. There is nothing stagey about 
her at all, and she charms at once by her comfortable sort of 
ways such as you meet with in a familiar friend singing to 
you in her parlor. She was dressed in white satin, basque long 
in the back; skirt was apron front with very full gatherings. 
The waist and apron were trimmed with ruffles of embroid 
ered satin. Her light brown hair was arranged with finger puffs 
and frizzes, and she wore solitaire diamond earrings/' 

She again sang at "Telephone Concerts" in Philadelphia on 
the evening of the i3th and the afternoon of the i4th, with 
S. Liebling, the young pianist, replacing Mme Carrefio Sauret, 
and received the ovation Philadelphia audiences always ac 
corded her. The telephone prima donna shared, to be sure, in 
the success of the concerts. "It is impossible," remarked the 
Philadelphia Press, "to foresee the future of the telephone, for 
when we look back fifty years who can say what is the promise 
of the beginning? The instrument is not yet perfect, but it is 
none the less a marvel." 

April proved an altogether busy month for Emma Thursby, 
distinguished by popular concerts with Ole Bull in New York 
and Albany, and a noteworthy performance of the Creation in 
New York by the Oratorio Society under the direction of Dr. 
Leopold Damrosch. On the 26th she journeyed to Boston for 
a short period of study with Mme Rudersdorff, preparatory to 
Madame's concert at Union Hall on Saturday evening the 2 8th. 

It was early the following morning when a tired little lady 
stepped from the Fall River boat to familiar New York 


ground. Sunday morning April sgth, 1877, with all it por 
tended, was upon her. For more than ten years Brooklyn and 
New York churches had been her Sunday home, providing the 
substantial source of her livelihood. She had learned to love 
them for their inspiration and for their kindness. Today the 
long association would end. She was heartbroken. Yet it was 
a determined young lady who took her accustomed place in the 
Broadway Tabernacle, and sang her last farewells. 

Monday, like each new day, found her restored in spirit and 
strength, eager for her lesson from Strakosch who was now 
almost daily giving some of the fruits of his vast musical experi 
ence to his new prima donna, and for her first Italian lesson 
from Dr. Magni. The afternoon brought needed recreation 
and a well-earned happiness in a farewell reception given in 
her honor by Mr. and Mrs. M. C. D. Borden, her warmest 
friends in the Tabernacle congregation. The sad note of the 
day before had given way to a note of gaiety as New York so 
ciety offered its best wishes for the future. 

Perhaps it was just as well that Tuesday morning sounded 
a sober note in a frank letter of reprimand and warning from 
Mme RudersdorflE. Here was sound counsel from one who spoke 
with authority and with a motherly devotion centered in 
Emma Thursby, since her son Richard was now in England. 
He had sailed from New York on April 7th, after having said 
farewell to his Mother and Emma Thursby on shipboard. No 
doubt Madame used exaggeration to make her points, yet im 
portant points they were that must be indelibly impressed 
upon the young prima donna. 

Sunday morning 
My naughty little Speranza, 

after heartily thanking you for your ready assistance yester 
day, I am going to scold. 


My child, you did not sing well yesterday. That was not the 
singing of a faithful student and a great artiste. It was very 
unfinished, often downright blurred and the worst out 
of tune* The last whole cadence was so, and you finished quite 
quarter of a tone flat. 

That must not happen again. You have no excuse, you had 
all your changes and Cadences written three weeks ago, and 
you owed it yourself to have studied them faithfully and had 
them perfect. You have not had so many engagements, as to 
render study impossible, moreover to those who want to study, 
study is always possible. Nothing can ever prevent you from 
singing your scales daily without exception. When there is no 
Piano, one can use a pitch pipe or pitchfork to sing scales by in 
one's bedroom. Do you think, when I was on long tours of 
months duration, in England, travelling every day and singing 
every evening, that I ever missed practicing my scales in my 
bedroom? There were certain exercises which I considered 
as indispensible in the daily routine of life, as eating and 

You have not yet climbed to the summit, but even had you, 
your work could not cease; to stand still, is to go back, and 
only unceasing study will preserve eminence. Do you not know 
the saying: 'Art is long, but life is short' by that nothing else 
is meant, but that life is all too short to attain perfection. 

Let me beg you henceforth to let it be your first duty in life 
as long as you stand before the public to study daily con 
scientiously and to try and improve day by day. Any difficulty 
in your music study slow and do not rest, until you have con 
quered it. Strike the word: 'impossible* out of your vocal 
vocabulary. Prepare your music a long time before you require 
it and commit to memory, as much, as you can. I have written 
you a few exercises, which shall be your daily half hour prac 
tice, beginning always with one exercise of strokes. Be careful 
to sing the one marked ppp, even so and very legato, all the five 


notes in one and the same position. Forget not, that all you 
will have with me, is from the first of July to the first of Sep 
tember, only nine weeks; and that those have to fit you for 
Europe, where such singing as yesterday would at once con 
demn you. 

Now you have had your due. Take it to heart and in future 
let me never have to say this again. 

I wish, you could come here at once up to the Festival, and 
fulfil, whatever engagements Strakosch has for you, from here. 
If you preferred it, you could be here with me from the 5th, 
when Mrs. Milne leaves me. She pays $15 for her board, and 
you could have a Piano in the dining room. If you have not to 
sing on the 5th, you could arrive that morning. Do not forget: 
at the Festival you have to beat C. L. Kellogg! 

I forgot to say to you yesterday: if you have anything new to 
be made for the Festival will you not try Pierette? 

Will you not forget to beg your sister to do that hat? 

With much love, my little one 
yours affectionately 

Erminia Rudersdorff" 

Both teacher and pupil were in agreement over the necessity 
of focusing effort upon the Triennial Festival to be given in 
Boston in May. Meantime, appearances in farewell concerts to 
Ole Bull in Philadelphia on the 5th and yth demanded the 
pupil's preparation. On the loth she appeared with the Han 
del and Haydn Society at the Academy of Music in Brooklyn, 
again in farewell to Ole Bull. On May 1 1 th she sang at Booth's 
Theater in New York in a testimonial concert to Ole Bull, 
which marked that popular artist's farewell to America for the 
season. If the acclaim he received were any urge surely he 
would soon return. And surely Emma Thursby might well 
consider the warm and hearty reception accorded her, a com 
mand for frequent appearances. Well, too, she might find 


pleasure in the comment of the critic of the New York Herald 
who observed that "Miss Thursby undeniably the best bra 
vura singer on our concert stage rendered her very difficult 
selections with that surety and apparent ease which are the 
marks of a finished artist. It will be difficult to extend Christian 
forgiveness to Mr. Strakosch when, as he intends, he carries 
this singer from our shores." 

Ole Bull and Emma Thursby were fortunate in the former's 
farewell tour to have had the assistance of Mme Carrefio Sauret 
and Signor Tagliapietra, two artists who gave distinguished 
support to any program. On that last evening at Booth's, a lit 
tle girl of thirteen, pretty, dainty, and unaffected, made her 
debut as a harpist. Every music lover knew and admired her 
father, George W. Morgan, the dean of organists. And if re 
spect for the father touched the audience with a quick affection 
for the daughter, Maud Morgan, there was, nevertheless, hon 
est recognition of a budding talent which would rise to its own 
heights and claim the homage of Americans for many long 

The Handel and Haydn Society of Boston for its Fourth 
Triennial Festival beginning on May i6th and closing on May 
soth, promised a musical treat of imposing quality and 


Soprani: Miss Clara Louise Kellogg, 

Miss Emma C. Thursby. 
Contralti: Miss Annie Louise Gary, 

Miss Mathilde Phillipps. 
Tenori: Mr. Charles R. Adams, 

Mr. William J. Winch. 
Bassi: Mr. Myron W. Whitney, 

Mr. John F. Winch. 



Orchestra of Seventy Musicians, 

Including the 

Organist and Solo Pianist . . Mr. B. J. Lang 
Conductor of Festival . . Mr. Carl Zerrahn." 

As billed in the programs for the afternoon and evening of 
May i7th, the afternoon of the igth, and the evening of the 
soth, Emma Thursby sang a repertory which included: "Ma, 
die vi fece" by Mozart; "I will extol Thee, O Lord" by Costa; 
"A Song of Victory" by Hiller; "Dell' Eta mia primiera" from 
Herold's Le Pre aux Clercs; and the soprano solos in Handel's 
Israel in Egypt and Bach's Christmas Oratorio. Whatever her 
selection, music loving Boston took her to its heart, showering 
its encomiums, while the press spoke forth in one accolade. In 
deed, Boston acknowledged her enthusiastically as the bright 
est star in the constellation that sang at the Festival. Mme 
Rudersdorff could not have hoped for more; her pupil could 
not have hoped for so much. 

It must have been a welcome change from the exacting sched 
ule of professional engagements for Emma Thursby, when on 
May s>gth she played in a new role, in christening the excursion 
steamer "Columbia," at Greenpoint, not far from her home. 
The occasions were few when she might join with old Brook 
lyn friends as there gathered in the great crowd that looked on 
when she formally sent the "Columbia" on its first voyage 
down the ways by breaking a bottle of champagne upon its 
prow, and exclaiming, "I christen thee Columbia., the Gem of 
the Ocean." This steamer, the new flagship in the service to 
Rockaway Beach of happy memories was 272 feet in length 
and reputed to accommodate 3500 passengers. Proud were 
Brooklynites and New Yorkers as well, eager for the day when 
they might make their first voyage in the spacious "Columbia" 
to summer haunts they loved. 


On June ist she who had so recently tasted happy reunion 
in Brooklyn sang in Montreal, where a generous audience was 
some compensation for another separation from home and 
friends. Soon, however, the soth came round, bringing with it 
her last appearance of the season, in a presentation of Handel's 
Messiah in company with Annie Louise Gary, Alfred Wilkie, 
and Myron W. Whitney, at the Boston Tabernacle. "Where 
only big voices tell/' Mme Rudersdorff had warned of the 
Tabernacle, giving her "certain hints about huge halls." 
Strakosch, too, had trained her for this concert, anxious that she 
make a notable impression in her final appearance so he might 
carry with him, when he sailed for Europe on the goth to book 
engagements for her, new evidence of her American triumphs. 
"You cannot be both a flute and a trumpet, so must make the 
best of it," Mme Rudersdorff had finally counseled. 

Boston heard a flute, heard it in its accustomed brilliancy, 
and bestowed a new wreath of laurel. 



July and August in 1877, as in the previous year, were 
months devoted to earnest study. Again the scene was Ber 
lin, Massachusetts; again the watchful eye and the critical ear 
of Mme RudersdorflE guided the young prima donna. Time 
was all too short for preparation for the forthcoming Euro 
pean tour, teacher and pupil both realized, so the days moved 
soberly, weighted with an unremitting round of lessons and 
practice. Sometimes swimming, or picnicing, or visiting with 
friends from Boston interrupted the day's schedule; but even 
recreation seemed fraught with a sense of the seriousness of 
the task that must be accomplished. Europe would soon judge 
Emma Thursby; and that judgment must be a vindication of 
the teacher who had so proudly heralded her, as well as of her, 

The fruits of the weeks of study were first demonstrated in 
Philadelphia on August sgth, in a concert in the Main Build 
ing of the Centennial Exposition before an immense audience, 


numbering most of the governors of the states. The brilliant 
pianist, Mme Carreno, Gaston Gottschalk, the basso, and a 
large, well-trained orchestra were accomplished contributors 
to the program which, however, centered in Emma Thursby, 
who received a tumultous ovation that sounded to the very 
reaches of this reputedly largest building in the world. 

Well it was that she might bring home with her this striking 
evidence of her popularity, for the days immediately ahead 
would bring her a bitter disappointment. Indeed, on Sep 
tember soth, there came a letter that quite startled her, even 
though she had been forewarned of its content by Robert Stra- 
kosch, son of Maurice Strakosch, when she met him in Phila 
delphia on August 2 8th. 

"Charing Cross Hotel 
London Sept. jrd i8jj. 

My dear Miss Thursby 

I cannot tell you how sad and aflicted I feel in writing you 
this letter. Since I left you I have done all my possible in order 
to prepare your career in Europe and to obtain engagements 
for you here. But I am very sorry to inform you that I have not 
succeeded. I have of course spoken to all managers and all in 
terested in Music with all the enthusiasm I feel for your splen 
did gifts, but the condition of your engagement with me are 
of such a nature, that I have not been able to obtain anything 
like the terms of your engagement with me. From all I have 
heard in England there is a most magnificent opening for you 
here and if you would come here and be satisfied for 6 months 
with the sums which / would obtain for you (I would not ask 
anything from you and work for you) I am as sure as I am of 
anything in the world, that you would make a most splendid 
career and after earn more in England than you have any 
chance of ever earning in America. Unfortunately I have not 
the means and it is absolutely impossible for me to carry out 


your present engagement in Europe. 

I have telegraphed to Mr. Schwab and my brother Max i 
they would not carry out my engagement with you in America, 
but received a reply that they could not do it on the conditions 
of our agreement. I have then telegraphed them again to beg 
you to change the terms or to resiliate and annul our contract 
as I am unable to return this winter to America. As there will 
be no artists coming to America next winter from Europe I 
have no doubt that the American artists of whom you are the 
bright ornament will have a great chance of obtaining good 
engagements and you in particular are sure to obtain the most 
lucrative. Now what I would propose to you would be to select 
from the following alternatives. 

I Will you alter our engagements so that my brother 

and Mr. Schwab could carry it out. 

II Will you come to Europe and receive all the sums I 
could obtain for you for six months. 

Ill Will you resiliate our engagement. 

I authorise you by this lettre to select one of the three propo 
sitions hoping however you will not select the last one. I tell 
you once more that you cannot imagine how grieved I feel in 
being obliged to make you the above propositions. 

I remain for the present in England and when absent the 
letters or telegramms are immediately forwarded to me. I beg 
you therefore to telegraph and write me here informing me of 
your decision. 

I have been very sorry not to have received your news since 
my departure from America. I hope and wish from all my 
heart, that you and all your dear family have been and are in 
good health. Have you continued your studys with excellent 
Madame Rudersdorff? Although I have not written to you you 
may be assured that I have continually thought and spoken of 
you. I should be really so happy to see you again dear good 
Miss Thursby. Make an effort and come here. Give farewell 


-;;, MRs.j;ri%'F{,. s . .,, 
s >v- -.-- -^ R -ou,-l* & 


.?# ^W-. y>^gL-^g v? , 




concerts in New York, Boston, Brooklyn and Philadelphia and 
then come here. But you must be satisfied in earning modest 
salarys for the first six months in Europe. I beg you to remem 
ber me kindly to all your dear family and also to Mad. Ruders- 
dorff. In the hope that you will take my proposition in a 
friendly spirit and assuring you that whatever may happen I 
am most anxious and ready to do anything for your wellfare. I 
beg you to believe me my dear Miss Thursby. 

Your ever affectionate 
and devoted friend 

Maurice Strakosch 

P. S. If you need Verdi's Mass de Requiem please write or 
telegraph me and I will send it to you immediately. I have the 
score and orchestra parts here in London/' 

She was disappointed, but more hurt than disappointed. She 
had believed in Strakosch, admired him. Had he failed her for 
reasons beyond his control? With her strong instinctive dislike 
of believing ill of anyone, she parried the question. Further 
more, there were contractual matters involved, in which she 
knew she was poorly informed. So she hastened to write to 
Mme Rudersdorff for advice. Meantime, however, she cabled 
to Strakosch, requesting permission to arrange concert engage 
ments for herself, and received his cable reply, at once, grant 
ing the request. Madame, too, was quick to reply, launching 
into invective that must have startled Emma Thursby as much 
as the Strakosch letter itself. 

"Lakeside, Berlin, Mass. Sept. z^th 77. 
My dearest child! 

Strakosch is, what he is: an Impressario. 

They are all alike. They only know how honesty is spelt, not 
how it is meant. An Impressario takes a man down from the 
gallows, if he happens to need him. And when he has done 
with him, he hangs him up again. The Contract which really 


binds and ties a manager to keep to his word, has yet to be 

The most honest man living, if he becomes an Impressario, 
sheds his coat there and then, like a lobster, and slips into a 
new one, of the most elastic and indefinable discription, 

That Strakosch should throw you up, because he can catch 
Patti, by sticking to her, does not astonish me at all. It would 
very much surprise me, if he did not do it. When he made his 
contract with you, he did not guess, that Madame la Marquise 
de Caux would abandon husband, honour and social position 
to gain: a Nickel! Doing it, she gave herself into Maurice 
Strakosch's hands, and he would not be he, were he to relin 
quish his grip of her. 

His breach of Contract I condone, because he is an Impres 
sario and therefore a fraud. But for his manner of breaking it, 
there is no excuse. It is simply disgraceful. I suppose, he has an 
impressarionic excuse: that he did not want to liberate you, 
before he was quite sure of Patti. What you suffered by this 
delay and vaccillation, he did not consider and there lies the 

I would resiliate under 'protest' claiming that he caused you 
a loss of, say $10,000, by not giving you due notice. 

To Europe, however, you must go, and I will at once take 
preparatory measures. As soon, as I have my answers, you shall 
know. You must be ready to be there by the middle or end of 
April. This you must make a point of and not lose sight of for 
an instant. 

My dearest Greta has a baby a little girl! She was confined 
Sept. 4th Gaston wrote a delightful letter. I wish you 
would write to her: Madame Battanchon, Union Agricole du 
Sig, department d'Oran, Algerie, via France. She would be de 
lighted. You know what hard times they are having. 

Also Sarah has a baby, born Saturday. Such a pretty little 


boy. We are going to have a grand Christening. I wish you 
could come. 

With much love 

Yours affectionately 

Erminia Rudersdorff 

Ina must buy liquid paints in tubes, made by A. Lacroiz of 
Paris and London. She will get them at any of the principal 
Art stores." 

Madame's indictment of the whole managerial profession 
would appear hardly warranted. Yet, she was no doubt accu 
rately voicing her own broad experience. And surely Stra- 
kosch's action was patently questionable. In surmising that 
Strakosch was following the trail of his old pupil, Adelina 
Patti, who had forsaken her husband, the Marquis de Caux, 
apparently under the influence of the tenor, Nicolini, Madame 
may well have been right. At least the weight of circumstantial 
evidence would fortify her conjecture, for winter would find 
Patti and Nicolini engaged in a highly successful season in 
Italy, curiously enough under the management of Maurice 

Emma Thursby was anxious to forget the default in con 
tract, anxious as she always was to avoid any unpleasantness 
that might make her think ill of anyone. But upon the advice 
of Madame, confirmed by that of an able lawyer, a new adjunct 
in her career, she wrote Strakosch, advising him that she would 
expect to be reimbursed for any losses due to his default. She 
did so mechanically, however, knowing well that she would 
never enforce her demand. Then she dismissed the whole af 
fair from her mind, and settled down to planning the fall 

"Maurice Strakosch, Esq. 
Dear Sir: 

I was greatly surprised by the contents of your letter of Sept. 

grd. It seems to me a very late day, after more than seven 
months of the season for which you engaged me has expired, 
for you to discover your inability to carry out the terms of our 

Including the time spent in arranging for our agreement, I 
have been for considerably more than seven months placed in 
a position where I could not accept any other offers, much less 
seek for other engagements. And it is now far too late to put 
myself back in the position which I might have occupied had 
you made no contract with me. 

Under these circumstances, I must really decline to release 
you from your liability under the contract. But as the contract 
has been finally broken on your part, and as I have received 
your telegram from Brussels giving me permission to sing on 
my own account, I shall make the best arrangements I can to 
diminish your loss, but shall be obliged to look to you for pro 
tection against any loss which I may sustain. 



After an appearance in Philadelphia on September 2 6th, 
she returned to New York, appropriately enough making her 
first appearance of the season in Gilmore's Benefit at Gilmore's 
Garden on October nth. Familiar she was with this huge 
wooden amphitheatre, one that, it would seem, only a P. T. 
Barnum could conjure up. Indeed, Barnum it was who in 1873 
had developed it upon the site of the Harlem Railway build 
ings, the square block bounded by Madison and 4th Avenues 
and s6th and 27th Streets, about two years after the Grand 
Central Station at 4snd Street had become the terminal of the 
railroad. Here it was that Barnum had confounded the public 
with his huge spectacles; here it was that Gilmore, sharing 
Barnum's craving for sensation and size, had succeeded the lat 
ter in May, 1875, in turn to confound with his huge band con- 


certs, that often featured upward of one hundred musicians. 
Here on this site, already so steeped in the tradition of Ameri 
can theatrical promotion, would one day rise the great Madi 
son Square Garden, and still later the handsome edifice of the 
New York Life Insurance Company. 

Assisted by such artists as Signors Brignoli and Tagliapietra, 
and flanked by four bands under the direction of the popular 
Patrick Gilmore, she rose to heights she had never surpassed, 
if even equalled. Perhaps she secretly felt she was vindicating 
herself; perhaps the enthusiasm of the great audience inspired 
her. At all events, she received a testimonial she would never 
forget. That capable critic, Andrew C. Wheeler (Nym 
Crinkle) captured the spirit of the testimonial for his column 
in the New York Sun, the following Sunday: 

"What a skylark voice Thursby has! 

"Like most American singers, she astonishes us with her bril 
liancy of utterance oftener than she moves us with her depth 
of feeling. She sang the other night to ten thousand people in 
Gilmore's barracks. Such an audience one seldom sees any 
where. It filled all the long parallels of seats, flowed in dense 
human waves over the parterres, and choked the promenades. 

"Coming after the crash of the military bands this jet of 
soprano was not unlike the tinkle of the misty fountain down 
there by the entrance compared with the cataract that tumbles 
at the other end. And yet the great mob was hushed and stood 
still. For a few minutes, during which she was warbling 
Prodi's variations, the sound of the multitudinous feet on the 
gravel walks ceased, and even the German waiters waited. 

"It was a clear bell-like voice that penetrated to every part 
of the vast space, and looking at the slender figure standing 
there in Gilmore's sea of musicians, reaching every ear in the 
assembly with fluent ease, the wonder of it was that one small 
singer could do so much. 


"You know Prodi's variations, for you doubtless heard Di 
Murska sing the composition, or perhaps you recall Peschka- 
Leutner's broader treatment of it. It is a purely soulless prob 
lem of execution, a nodus of runs, trills, and intervals, made 
for such human canaries as have voices of extraordinary com 
pass and fluency. It was fashioned to show that now and then a 
singer can do with her voice what Levy does with his cornet or 
Vieuxtemps with his violin, and so it passes for a show piece, 
and was properly enough given at this great show. 

"But its effect upon the audience was magical. When the 
staccato runs and the roulades were over, and the singer slowly 
disappeared in the mass of musicians, the people took a long 
breath. There was a second or two of silence. Then there broke 
out all over the house such a spontaneous and unanimous cry 
as one seldom in a lifetime hears. The great wave of applause 
rolled down from the long galleries and heaved in a monster 
billow across the immense space between. There were ten 
thousand hearty dissonances in that one recognition. It must 
have been three minutes before the vocalist made her reappear 
ance, and then the galleries blossomed in a moment like a vast 
cotton field, and nothing could be seen but three acres of flut 
tering handkerchiefs. 

"Miss Thursby never saw anything like it before. She trem 
bled a little, as indeed did all her friends. But there was no 
tremor in her voice as she sang the old ballad. The same skyey 
notes, some of them seeming to twinkle in their altitude with 
starry brilliancy; the same absence of effort; the same voluble 
and spontaneous utterance as before; the same clean, sharp 
delicacy and precision of execution; the same noisy and dem 
onstrative applause/* 

It was her greatest triumph, said "Racine," the music critic 
of the Evening Record: "An audience of 10,000 besides the 
orchestra and chorus of 500 were all swept away by an enthu- 


siasm such as I have never witnessed in any country. 

"Let me note an illustration, however, o American coolness 
in the midst of tumult. 'Sir/ said a lady to me, as I descended 
from the seat on which I stood like a lunatic cheering with the 
crowd, 'Can you tell me how she is dressed?' 'Madam/ I said 
solemnly, 'Her dress is cut bias/ She took my place in the chair, 
made a careful survey, and came down with a sigh of relief. 
'No/ she said, It's gored/ " 

What woman would not be interested in a gown even in the 
midst of a tumult? To be sure all ears were attuned to the 
voice that sparkled and scintillated. But all eyes too were foc 
used upon the little lady whose simplicity and demureness 
seemed to belie the notes that penetrated to every ear. What 
did she look like? Her face, her hair, her gown? Some few were 
fortunate enough to make her acquaintance and answer these 
questions for themselves. But most of the great audience, and 
the greater American audience, would have to depend upon 
the newspapers or stand on their chairs. 

The season was now under way, and after appearances in 
Providence, Rhode Island, and Hudson and Stapleton, New 
York, she embarked upon a tour of northern New York as 
soloist with Theodore Thomas and his sixty-piece orchestra, 
visiting Utica, Syracuse, Albany, and Troy. It was no small dis 
tinction to appear with the sometimes irascible but always 
meticulous musician, Thomas. The success of the short tour 
gave great satisfaction to both associates. The association was 
again renewed on the sgth of October, at the Academy of 
Music in New York, this time with Emma Thursby retaining 
Theodore Thomas and his orchestra, as well as Pasquale 
Brignoli, S. B. Mills, and Geo. W. Colby in her own "grand 
concert/' Few were the artists or managers who would risk 
their reputations in a concert at the Academy of Music. But 
she dared and succeeded in such a large measure that friends 


and music lovers were pleasantly surprised. 

It was not only a large audience that greeted her but a bril 
liant and distinguished one, a Nilsson or a Patti audience in 
character. It was a warm and sympathetic audience, too, that 
came to praise a particular favorite, though there was much to 
praise in the selections of the assisting artists. Signor Brignoli 
sang Arditi's "Colli Nativi" and Sullivan's "Love once again" 
with his usual command. Mr. S. B. Mills played three piano 
solos, a waltz and tarantelle by Chopin, and one of Liszt's Hun 
garian rhapsodies unfamiliar to New York audiences. Theo 
dore Thomas and his orchestra gave accomplished perfor 
mances of Mendelssohn's Fingal's Cave overture, the Larghetto 
and March Tempo of Raff's Lenore symphony, Saint-Saens' 
symphonic poem, Phaeton, and Litolff's Robespierre overture. 

For her own selections Emma Thursby first chose the second 
aria of Astrafiammante from Mozart's Magic Flute, in which, 
said the New York Daily Tribune, "She displayed to the great 
est advantage her elegant staccato." Continuing, it commented 
that she sang "The famous aria with two flutes from 'L'Etoile 
du Nord/ an admirable exhibition of smooth but very difficult 
vocalization; and, with Sig. Brignoli, Arditi's duet 'Una Notte 
a Venezia/ To these she added, in compliance with repeated 
recalls, an arrangement for voice of Weber's Invitation to the 
Dance/ with orchestra accompaniment an arrangement more 
interesting, we must say, for the opportunity it affords a gifted 
singer than for its own sake; then a pretty ballad, and finally 
'The Last Rose of Summer/ Miss Thursby's place in the front 
rank of American vocalists is so well assured that it is only nec 
essary to say that the best qualities of her voice and style were 
exhibited in these various selections." 

Success spoke up in many ways. She would not forget the 
sight and sound of that brilliant and enthusiastic audience. 
She could not forget the net return from the concert, of 
11,671.01, for it was unmistakable indication of a popularity 


that no other singer in the concert field enjoyed. And some 
where in her heart echoed the praise of one humble admirer 
whose plaintive wish had been granted. 

"Miss Thursby, 

Please may I hear you sing at the Academy, If not can I 
please hear you anywhere in the city, I cannot pay much but 
I do wish to hear you always. There is something in your voice 
which inspires me, I am not myself. Oh Miss Thursby I love 
music and God himself has made you all music, How he must 
love you. How many aching hearts have you cheered by that 
bird like musical voice, which God has bestowed upon you. 
Every time you sing Then would I fly away and be at rest. My 
very heart seems to stand still, until the last rest (i.e.) heaven 
seems to open. Miss Thursby can you hear your own echo, tis 
next to the- angels. You may think I am very enthusiastic, I 
have always regarded you as something more than human. And 
I thank dear Mrs. Berry for introducing you to one so inferior 
to such a wonderful exquisite Musical Lady, as you. Please let 
me hear you sing. What is the least price and will they let me 
hear you. That is the people. I am colored perhaps it is against 
their rules. If it is I can't go, but I do want to hear you. 

A lover of Music 

Letitia D. Wright 
20 East i65th St. 

Not only was Emma Thursby taking just pride in the ac 
claim which followed her everywhere, but just satisfaction in 
the knowledge that, the Strakosch breach of contract notwith 
standing, she was able to book concerts with ease, actually find 
ing it difficult to choose from the many offers of engagements 
which came to her from all over the country. Nor was she suf 
fering any financial loss from the breach of contract. On the 
contrary, at the close of the year she found herself enjoying a 


better financial position than she would have enjoyed had the 
Strakosch agreement remained in force* Yet, however great 
her gain, the loss of energy expended in negotiating engage 
ments was an undeniably real one. Doubtless she would have 
been completely overtaxed by these negotiations had not Mme 
Rudersdorff, now giving singing lessons in New York at the 
Belvedere House, stepped forward to aid with her accustomed 

More and more she was realizing that she had dedicated her 
self to a strenuous career, one that had already become so ex 
acting in its demands that little time was left for quiet recrea 
tion and reunion with family or friends. Fame was offering 
some compensation for both Emma Thursby and her family, 
but nothing could completely compensate for the growing loss 
of the amenities of home and fireside. Her mother, or, more 
often, her sister, Allie, always accompanied her on her tours. 
Soon, little Ina, now grown to young womanhood, would join 
the select group of her companions, little Ina who possessed in 
her own right, as the capable judge, Achille Errani, testified, 
a coloratura voice that compared very favorably with her sis 
ter's. And meanwhile, Lewis and John, now boasting man's 
estate, were invaluable aids in the innumerable duties that 
grew out of their sister's career. Here was a family united in 
furthering the career of one; here was mutual understanding 
and devotion that was complete and idyllic; but here, too, was 
a family whose dedication to the brilliant career of the one 
would in turn quite involuntarily bring about the subordina 
tion of the talents of the others. If Emma Thursby's family was 
a great responsibility to her, it was a responsibility she had 
generously encouraged and one she would never have relin 
quished. To be sure, it was a responsibility that was at the same 
time a dependence. 

The busy schedule left Emma Thursby very little time for 
reflection. On the ist of November, Boston welcomed her en- 


thusiastically at the Music Hall. Then the middle west claimed 
her as soloist in a series of testimonial concerts given to the 
young American pianist, Julie Rive-King, in Milwaukee, Chi 
cago, Cincinnati, and Columbus, allowing time out for a per 
formance of the Creation in St. Louis on November 8th. On 
the igth she was back in Brooklyn, receiving the testimonial 
of a great gathering of home folks at the Academy of Music. 
Again she had reason for rejoicing in the rewards of years of 
hard work and sacrifice. Brooklyn heard her in "Caro Nome" 
from RigolettO; and in the premiere of "Oh, hush thee my 
baby," written for her by the pianist and composer, A. H. 
Pease, who accompanied her; and in the encore numbers, 
"Somebody/' "The Last Rose of Summer," and Eckert's "Echo 
Song." The program enlisted as assisting artists: Anna Drasdil, 
Joseph Maas, W. T. Carleton, and A. H. Pease. 

After an appearance the following night at Steinway Hall, 
New York, she embarked upon a month's tour of Eastern cities 
under the management of Clarence D. Hess, in which she gave 
seventeen concerts, receiving a net guarantee of $3400, all ex 
penses being paid by the management. This was her second 
"managed" tour. Of one thing it convinced her: that Hess 
could not boast the genius for management and promotion 
that Strakosch had demonstrated in their short association. 
The tour did provide many pleasant interludes, the visit in 
Washington standing out conspicuously. Two concerts at Lin 
coln Hall proved a financial as well as a social success, the latter 
concert being attended by Mrs. Hayes, the wife of the Presi 
dent, as well as by many in the official family. President and 
Mrs. Hayes indicated their pleasure in her singing by honoring 
her with a reception and musicale in the East Room of the 
White House on the evening of November syth. One Wash 
ington newspaper after numbering the distinguished guests, 
commented enthusiastically but inaccurately: 

"This was probably the first musical reception ever given at 


the White House, but it is trusted that it will soon be followed 
by other like events. If musical receptions were common at the 
White House it would not be long before they would become 
fashionable in the society of the capital." 

It is not surprising to find Emma Thursby in oratorio per 
formances as the year drew to a close, for this was the oratorio 
season. On December sgrd she appeared at the Boston Music 
Hall with a distinguished group which included her friend, 
Annie Louise Gary, in Bach's Christmas Oratorio and Saint 
Saens' Noel, the reliable Carl Zerrahn conducting. Her singing 
of Randegger's "Save me, O Lord," in solo on this occasion, 
marked her first rendering of a composition by this composer 
and teacher, well known especially in the English musical 
world. On Christmas night she again appeared, this time in the 
soprano role of the Messiah, which she repeated in New York 
at Steinway Hall, on the sgth. At a benefit concert for the In 
dustrial School in Chickering Hall, on the 27th, she sang in 
association with her Brooklyn colleague, Anna Drasdil; the ac 
complished pianist, Maximilian Vogritsch; and the promising 
young American violinist, Leopold Lichtenberg, pupil of 

Familiar and always friendly Boston was again the scene of 
a Thursby Concert as January ist proclaimed the New Year, 
1878. There were many concerts and many duties to crowd 
into the few months that remained before her departure for 
Europe, so well it was that she commenced her task promptly. 
In fact, when May 4th signaled her departure for Europe, the 
record would show sixty concerts given in a wide area of the 
East and Middle West. Accustomed as she had become to her 
concert tours, the schedule she planned was nevertheless exact 
ing upon her art and her energies. 

Very little time now for recreation or even rest! There were 
her lessons from Mme RudersdorflE and Madame brooked no 
leniency in these, so important as preparation for her Euro- 

pean appearances; then there was the major undertaking o 
arranging for the various members of her family. Her mother 
and sister, Allie, would accompany her abroad, and Ina would 
follow later for her summer holiday. Brother Lewis would go 
to Florida to establish himself in orange growing, while John 
would continue in his hat business. The family home on Lee 
Avenue would be rented in final preparation for the absentee 
family. And surplus monies, now substantial, would be in 
vested in Government Bonds. 

As the months progressed, however, there was much to en 
liven the days of hard work. Her success on the i6th of Janu 
ary, when she appeared at the Brooklyn Academy of Music, 
with Mathilde Phillipps surveying all with critical eye and ear 
from a box, would live in her memory. So would her appear 
ance as guest soloist of the Vocal Union of New York that or 
ganization of amateurs formed for the promotion of glee and 
madrigal singing under the presidency of the socially promi 
nent Lloyd Aspinwall, and under the patronage of the aristo 
cratic Mrs. John Jacob Astor and a group of fashionable col 
leagues in its initial concert, at Chickering Hall. 

February offered a strenuous tour managed by Geo. W. 
Colby. An artistic rather than a financial success it was, demon 
strating again the need for a promotion genius such as Maurice 
Strakosch. But public and critics were everywhere laudatory 
of Emma Thursby, and her company which comprised Wil 
liam T. Carleton, the well-liked English baritone; A. H. Pease, 
the pianist; and the seventeen-year-old Leopold Lichtenberg, 
who, proving the prophesy of his master, Wieniawski, had won 
immediate recognition. 

When May 5th was determined upon as the date of depar 
ture for Europe, Emma Thursby found herself confronted 
with requests for farewell concerts that quite outnumbered 
the days remaining, days already filled with the duties of les 
sons from Mme Rudersdorff and the final preparations for the 


trip. She of course acceded to the pleas o her old friends of the 
Bedford Avenue Reformed Church and Plymouth Church. 
Farewell concerts at the Academy of Music in New York and 
at the Academy in Brooklyn were also indispensable. And she 
set April goth as the date of her Boston farewell at the Music 
Hall in acknowledgement of the petition of Governor Rice, 
Mayor Pierce, and a large group of Boston admirers. 

"Boston, April 8, 1878. 
Miss Emma C. Thursby: 

The undersigned, among others who have enjoyed the pleas 
ure of your musical performances in Boston and elsewhere, 
desire to offer you a testimonial of our high appreciation of 
your rare professional gifts and accomplishments, and of our 
respect and friendship, in the form of a complimentary con 
cert, to be given in this city at such time, previous to your de 
parture for Europe, as may best meet your convenience and 
pleasure; and we cordially ask that you will kindly meet us in 
this request. 

With great respect and esteem, we are 

Yours very truly, 

Alexander H. Rice W. H. Kennard 

H. P. Kidder Wm. W. Tucker 

Oliver Ditson S. D. Warren 

Alanson W. Beard Edwin B. Webb 

O. W. Peabody Henry H. Hyde 

Henry L. Pierce John B. D. Cogswell 

John W. Candler G. S. Hillard 

Wm. Gaston A. L. Coolidge 

John D. Long William Claflin" 

Time she did have to accede, no wonder, to the request of 
Thomas Edison to make a record of her voice for his latest 
invention, the phonograph. And laugh she did, hysterically, in 
the midst of her song as she thought of the miracle of recording 
on tin foil a human voice. Yet these were days of miracles, she 


who had met the first telephone face to face but a year before 
well knew. However, a little confounded she indeed was when 
at a demonstration of the phonograph at Association Hall in 
April, the operator announced over the phonograph that she 
would give a farewell concert at the Bedford Avenue Re 
formed Church on the 24th, the piece of tin foil upon which 
the message was impressed being later presented to her. What 
a fantastic world this was, growing up around her, she thought. 

Brooklyn saw her in final farewell at a concert at Plymouth 
Church on May 2nd, and New York at a concert at the Acad 
emy on the following night, the conductor on both evenings 
being the English composer, Frederic Clay, chiefly known to 
American audiences through his popular song, "She Wan 
dered Down The Mountain Side." Evidence of her position in 
the American singing world at this time, and in particular of 
her splendid farewell performance at- the Academy in New 
York was the comment of the critic of the New York Herald 
on the following day, May 4th: 

"From the ample storehouse of Mozart's concert-arias, upon 
which she has drawn so often before, she selected the recitative 
and rondo, 'Mia speranza adorata/ which Mozart wrote for his 
sister-in-law, Aloysia Weber. It is brilliant and difficult 'ex 
hibition music/ Elegant in form and phrase, like almost all 
Mozart's arias, it is nevertheless chiefly prized by soprano sing 
ers because it tries the timbre of the voice in nearly its full 
range, tests the training of the vocalist, and abounds in oppor 
tunities for the display of exceptional accomplishments. The 
warmest praise must be given to Miss Thursby's execution of 
this trying number. In such things she is easily the first of our 
singers; we have no other soprano who unites equal purity, 
freshness, and compass of voice with such thoroughly good 
vocalizing. When Miss Thursby appears in London it will be 
gratifying to be able to prove not only that America produces 
young ladies with sweet voices, but that New York knows how 


to teach them to sing/' 

America wished Emma Thursby bon voyage and great 
achievement. America knew that she would acquit herself 
nobly in her engagement as soloist at the London Philhar 
monic on May 2 2nd. And Frederic Clay saw fit to write Arthur 
Sullivan, most influential of English musicians, an unqualified 

"May jrd 18*78. 
To Arthur Sullivan 
My dearest Boy, 

This letter is written in order that you should become ac 
quainted with Miss Thursby, who takes it with her to England 
tomorrow. It is as you know the first and only letter I have sent 
you and do so with unusual pleasure, because Miss Thursby is 
a charming young lady, and also a very complete and remark 
able singer. 

She is, in fact, an artist of the Highest class a voice of per 
fect youth with art of ripe experience. It will be sufficient for 
you to hear her to know that I have not exaggerated her merits 

her success here is enormous. 

I have told her that whatever may be her views, no one can 
advise her like yourself. I have also told her that when I ask 
you to give her your counsel, and your experience that I am 
drawing a 'blank cheque' on you which I know will be 

I need not add more. Please give this young lady your best 
assistance and advice. You will begin by doing so for my sake 

you will end by doing so for the sake of her unaffected man 
ner and her admirable art. 

Ever your affectionate 

Frederic Clay" 

Early Thursday afternoon, the 4th of May, Emma Thursby, 
her mother, and her sister, Allie, boarded the "City of Berlin," 


Edmund Risse, Berlin 


Hansen & Weller, Copenhagen 

escorted by a large party of family and friends, conspicuous 
among whom were Mine Rudersdorff who had done more than 
anyone else to achieve this voyage o discovery, and Achille 
Errani, always her valued counselor. It was a happy ship, hon 
ored by a more than ordinary list of notables: the Australian 
Cricket Team, and Gilmore with his band, sixty strong, were 
conquest bound; "Ike Marvel" would proceed to Paris to rep 
resent the United States at the Exposition; Alfred Cohen, of 
Bonanza fame, was doubtless enjoying his increment. Indeed, 
it was a ship, as the New York Herald would have it, "freighted 
with the 'promise and potency' of illimitable musical en 
deavor, a fair complement of muscular Christianity, opulence 
on a holiday and doubtless various possibilities in the direction 
of maldemer/' 


However pleasant the associations of the voyage, Liverpool 
proved a welcome haven to the family Thursby after ten 
days of seafaring. And London, offering a comfortable apart 
ment that had been arranged for by Mme Rudersdorff , seemed 
like home the very first day after a cordial welcome from Signor 
Randegger, one of the most distinguished vocal teachers in 
London, who, upon the recommendation of Mme Ruders 
dorff, was to become Emma Thursby's teacher. Next day, anx 
ious to make the most of time, she and her mother began the 
long rounds of calls with letters of introduction, which took 
them to the musical luminaries, Sir Jules Benedict and Sir 
Michael Costa, Arthur Sullivan and Charles Halle, and to such 
others in the musical fraternity as James Davison, Stanley 
Lucas, Arthur Chappel, Carl Rosa, Henry Jarrett, "Colonel" 
J. M. Mapleson, and Frederick Gye. A week had passed in 
friendly London, when, on May 2 2nd, she made her debut at 
the conceit of the Philharmonic Society at St. James Hall, scor- 


ing a success which at once signalled her acceptance by English 
critic and music lover. The newspapers of London were gen 
erous in their praise of the American visitor, echoing the ap 
praisal of the critic of the Academy: 

"The special feature of the sixth Philharmonic Concert, 
given on Wednesday evening at St. James's Hall, was the first 
appearance in Europe of the American singer, Miss Emma C. 
Thursby. Readers of American musical papers will not need 
to be informed that Miss Thursby has been for some time one 
of the established favourites of our cousins across the Atlantic; 
and the success achieved here during the last few years by two 
other American vocalists Mdlle. Albani and Mrs. Osgood 
naturally caused Miss Thursby's appearance to be awaited 
with interest. It may be said at once that the lady more than 
satisfied all reasonable expectations. She has a high soprano 
voice, of considerable power and sympathetic quality, extend 
ing to the E flat in alt.; she sings with genuine feeling, and with 
an unaffected style, which at once commended her to all lovers 
of pure music. She chose for her debut Mozart's concert-aria 
'Mia Speranza Adorata' and the well known 'Jours de mon 
enfance/ from Herold's Tre aux Clercs/ Her success was un 
mistakable, and we gladly welcome in her a valuable addition 
to the ranks of our soprano singers." 

But best evidence of all of success came in the form of a let 
ter from the Philharmonic Society a few days later. Unusual 
though it was for a singer unknown to London to be paid for 
a first conceit, rare, indeed, it was for any singer to be recalled 
for an ensuing concert. 

"Philharmonic Society 
84 New Bond Street, May 28, 1878. 

Dear Miss Thursby: The directors desire me to return 
you their sincere thanks for the pleasure you gave them and the 
subscribers to the Society at their last Concert by your charm- 


ing, sympathetic singing. They hope the success you had will, 
in some measure, compensate you for the trial of a first appear 
ance in a new country. They beg your acceptance of the en 
closed cheque, and would ask you to kindly accept an engage 
ment to sing again on the 1 2th of June, when you will be the 
only vocalist. If you are disengaged, please let me know. The 
rehearsal is the day before. Believe me, yours sincerely. 

Stanley Lucas, Sec'y" 

The interlude of three weeks between concerts of the Phil 
harmonic Society brought opportunity for long-neglected rest 
and recreation, only interrupted by one professional responsi 
bility, an appearance in the Messiah for the Royal Society of 
Musicians. There was, to be sure, the routine of study with 
Signor Randegger and practice to be met. But receptions were 
many and enjoyable and the opportunities to hear Lucia di 
Lammermoor with the gifted young Hungarian, Etelka 
Gerster, Der Freischiitz, Les Huguenots, and Sullivan's "most 
magnificent" Light of the World were eagerly accepted. Lon 
don had greeted her warmly, indeed, so she met her second im 
portant test before the Philharmonic Society, on June 1 2th, 
with the confidence so necessary to a production of the best 
qualities of her voice. To have the enthusiasm of her debut 
confirmed was of greatest significance so she made the chal 
lenge as she had made other challenges, an inspiration. Surely, 
too, it was an inspiration to appear in concert with the cele 
brated violinist, Wieniawski, who played for its first perfor 
mance his own Second Concerto in D minor, Op. 22. 

The London Times, after commenting at length upon the 
Wieniawski performance, significant as any Wieniawski per 
formance would be, concluded that "Of the Concerto as a 
whole, we can speak favorably. It is not a work of striking origi 
nality, but it oilers splendid opportunity for technical display 
to the virtuoso; and especially the first movement is by no 


means uninteresting from a musical point of view. That its 
performance by the composer was perfect in all respects it is 
needless to add." The Times continued in the words of James 
Davison, the foremost musical critic in England: 

"Miss Emma Thursby, the American singer, who appeared 
at the same concert, deserves a word of special praise. Her 
voice, a high soprano, is sympathetic, and her method singu 
larly free from the mannerisms, such as constant tremolo and 
excessive protamento, too common among modern prima- 
donnas. At the same time the production of the voice, espe 
cially in the higher registers, is remarkable for its ease and ab 
solute purity of intonation. Her first contribution was Mozart's 
aria, 'Spend vicino il lido/ a piece of enormous difficulties 
of which, as regards compass of voice it extends to the high E 
suggest its destination for Aloysia Weber, the composer's 
early love and subsequent sister-in-law. With the exception of 
the two arias of the 'Queen of Night' in the Magic Flute, we 
know of no piece in the modern repertoire demanding a more 
flexible voice and a more accurate ear. Miss Thursby is one of 
the few singers who might attempt the last named part in the 
original keys. But as yet she has confined herself to the concert- 
room. The lady also contributed Handel's 'Mio caro bene/ 
from the opera Rodelinda, one among a selection of Handel's 
arias recently edited with masterly accompaniments by Dr. 
Robert Franz. In each instance well-deserved applause fol 
lowed the performance. 

"The remainder of the programme does not call for detailed 
notice. It will suffice to name Mr. Cusins' overture, 'Les Tra- 
vailleurs de la Mer/ written 10 years ago; Beethoven's Con 
certo for the pianoforte in E flat, well rendered by M. Alfred 
Jaell; Haydn's symphony in D, generally called No. 7; and the 
ever fresh and ever beautiful music to the Midsummer Night's 
Dream, by Mendelssohn." 

London needed no further confirmation of her talents. The 


next night gave opportunity for her to extend her repertory at 
the last concert of the season of Henry Leslie's Choir, again at 
St. James's Hall, with some of her American favorites: Men 
delssohn's "Hear my prayer/' and Prodi's Variations. The 
duet, "La dove prende," by Mozart, sung with Charles Santley, 
marked her first appearance with that great artist and popular 
favorite* And, as in America, Proch's Variations became at 
once so much a sensation, that she was to find it embarrassing 
to refuse some of the many requests to sing it. Yet it was in her 
greatly enlarged Mozart repertory that highest distinction 

The rapidly waning season found her in another appearance 
with Henry Leslie's Choir, in musicales given by Lady Jodrell 
and Lady Drake, and in a performance which featured Ran- 
degger's Fridolin, at nearby Oxford, a town with which she 
became immediately enchanted. On this occasion George Hen- 
schel, the young German newcomer, composer and singer, 
conducted his "Festival March" at its first performance in Eng 
land, and displayed his splendid baritone voice, as Waldemar 
to Emma Thursby's Eglantine, in Fridolin. 

Meanwhile the whirl of calls and receptions and opera per 
formances continued. It was on June i5th that she first heard 
Adelina Patti, at Floral Hall; while on the 2 2nd she attended 
that memorable first performance in England of Carmen, with 
the gifted Minnie Hauk in the title role she would later make 
famous throughout America. Performances of Faust and Lu- 
cretia Borgia; Sonnambula, with Etelka Gerster; The Talis 
man, with Gerster and the proficient Italo Campanini; Semi- 
rarnide, with the incomparable Patti singing for the first time 
this opera which had so long been identified with Grisi and 
Tietjens; Alma, with Albani, another American who had won 
London; such was her musical feast! And many a hand was of 
fered in friendship. Christine Nilsson and Albani were atten 
tive; D'Oyly Carte was helpful; Benedict and Costa, whose 


opinions held the weight of long experience, were generous in 
their praise; and Arthur Sullivan was already giving his aid 
and assistance "for the sake of her unaffected manner and her 
admirable art," as Frederic Clay had prophesied. Nor is it sur 
prising to find proffered that strong hand from across the sea: 

"Lakeside, Berlin, Mass. 
June 28th j8 

My darling, 

I am perfectly delighted with the reports of your thorough 
success, and am more than glad, that I really almost forced you 
to go to London. 

Now, childie, I want you to make the very uttermost of this 
most desirable success and secure for yourself a firm standing 
in America, so, that you may make a pot of money here, as 
Clara L. Kellogg has done. A thorough money success is feas 
ible in America alone, when it is based upon a European repu 
tation. That is why Kellogg went to London and sung for 
Mapleson first for nothing and then next to nothing, and why 
she wishes to sing in Europe again now, before commencing 
her next campaign. 

What I wrote to you regarding yourself in my last letter but 
one, is true. You were played out as far as money was con 
cerned, and also, somewhat, artistically, for you had decidedly 
grown careless about your studies, and did frequently not 
sing nearly as well, as you did a year ago. Therefore I repeat 
again and again: 'Study' study daily without any exception 
and conscientiously. 

Get hold of the right Agent: Jarrett and Ullman preferable 
to any, and let them 'exploiter' you. Let the money point be 
the minor consideration, but let them undertake to make a 
'star* of you. Bring you back to London for the season of '79 
and make a big show of you. Upon that basis, America will 
then in a short time give you a fortune. 


Follow this advice to the letter my darling, and believe me 
to be always right. 

Stick to Jarrett! 

I thought, you would have written by this post and have 
given more particulars about yourself, which, I hope, you will 
do at length in your next. 

Here all is going on much the same. The barn progresses 
slowly. Sain is dismissed. He was insolent beyond telling. His 
good position was too much for his brain. 

Addie is not very well with her ahem! Yet she is jolly like 
all the other girls, a very pleasant set this year. . . . 

We are going to be very gay on the Fourth. 

The Burnetts, Howe's, Henley Luce and Harry Train are 

I am up to the ears in farming. Haying is nearly through, 
and now all the crops have to be looked to. I want very, very 
much to import a Jersey cow, from Jersey Island! Can't you 
send me one? What fun to have a cow called Speranza and 
make a cele-brated cow of her. 

If you,see Richie tell me all about him, but openly,, candidly. 
Love to your family. All the girls send love. 
Yours affectionately 

Erminia Rudersdorff" 

Emma Thursby had already sought counsel of Jarrett, wise 
and experienced in the ways of management, in furtherance of 
Madame RudersdorfFs repeated suggestion, and she had found 
him very helpful. Richard Mansfield, she could report, had at 
tended her debut and called thereafter to offer his compli 
ments. But whether she reported all is doubtful, for she very 
likely desired to preserve the illusion Madame had that 
"Richie" was earnestly engaged in painting, whereas "Richie," 
in truth, had completely fallen under the spell of the theatre, 


to which he was giving all his enthusiasm and energy. She 
could and did report that she herself was deeply grateful for 
the unswerving efforts of Madame in promoting her European 
career, now so auspiciously begun. 

Upon the arrival of sister, Ina, on the "England*' on June 
26th, under the kind chaperonage of the brilliant and charming 
Mme Modjeska, the Thursby family undertook a comprehen 
sive schedule of sightseeing, allowing few of the ' 'sights" of 
London to escape their search. On the i8th of July, with the 
music season at its close, they embarked for Paris, bound on a 
ten week visit of recreation and musical reconnoitering. 

Paris, of many moods, was both gay and serene. Yet its Expo 
sition, now in full swing, struck a dominant note of gaiety that 
no one escaped. Nor did the Thursby family, whom we find 
entering the spirit of things by going up in Prof. Giffard's bal 
loon for a "magnificent" view of the city. Glad of the experi 
ence was Emma Thursby, but very, very glad to get down. 
Ascensions in even a captive balloon were pioneering acts in 
that day, to be undertaken "at your own risk.'* Doubtless all 
thirty-four of the passengers in the ascent shared the same emo 
tions, including one Lillian Norton whose glorious voice 
Emma Thursby had heard at the American Chapel, the first 
Sunday in Paris, rising in the strains of "I Know That My Re 
deemer Liveth." Nordica, to be sure, had already commenced 
to ascend the heights in quite another way. 

Whether one visited the Louvre or Notre Dame or the Ex 
position, attended the opera, or journeyed to Fontainebleau or 
Versailles, everywhere Americans were to be encountered, and 
often friends that Paris and its Exposition had attracted. Fre 
quently fellow artists from America found themselves face to 
face. Among the guests of M. Menier, at his home near Paris 
and wandering through his neighboring chocolate factory on 
August 5th, could be found Clara Louise Kellogg, Lillian Nor 
ton, and Emma Thursby. Paris was cosmopolitan; Paris was 


American. One met the world in Paris. 

Yet Paris was no place for a rest, so the Thursby family hied 
themselves to Switzerland, for a ten day visit, only to find that 
touring and mountain climbing, as inspiring and invigorating 
as they might be, could hardly be construed as rest. Paris 
seemed like home as the pilgrims returned on the twenty-third 
of August. Henceforth, for five weeks, with a piano installed 
in her room in the Hotel Splendide, Emma Thursby renewed 
musical duties, while her mother and Allie and Ina continued 
their tour of the city. On September ist she received in the 
London mail three highly complimentary letters of introduc 
tion from the influential James Davison to his musical col 
leagues: Ambroise Thomas, president of the august Conser 
vatoire de Musique; Jacques Heugel, proprietor and editor of 
the musical weekly, Le Menestrel; and M. Brandhus, proprie 
tor of the Revue et Gazette Musicale. A powerful triumvirate, 
this, that made Emma Thursby's remaining days in Paris days 
of invaluable musical richness. She had hoped to sing in Paris 
the previous July, but her friend Donald G. Mitchell (Ike 
Marvel) had advised, after conferring in Paris musical circles, 
that it was too late in the season, and not a time propitious to a 
debut. But now she was determined upon making her debut 
during the coming winter, and Jacques Heugel in his columns 
in Le Menestrel for Sunday, September sgth, gave voice to her 
ambitions when he recommended to those arbiters of two fa 
mous concert series, MM. Pasdeloup and Colonne, " une 
jeune et remarquable cantatrice americaine des plus reputees 
en Angleterre, Mile Emma Thursby, si applaudie aux con 
certs de la Philharmonique de Londres." 

Back in London on October ist, Emma Thursby made 
preparation for the impressive schedule her able manager, 
Henry Jarrett, had booked. On the 5th she made her initial 
appearance of the season at Crystal Palace in the first of the Sat 
urday Concerts, that important series of concerts with August 


Manns conducting a large and proficient orchestra. Again her 
singing elicited the praise of the conservative and scholarly 
critic of the Times, James Davison: 

"Next in the list stood the aria "Sperai vicino il lido," by 
Mozart, one of those extraordinary tours de force of compass 
and ability of voice which that master occasionally indulged 
in for the benefit of his sister-in-law and other singers similarly 
endowed. The present aria, written for a Countess Baum- 
garten, ranks with the two airs of the Queen of Night in the 
Magic Flute, and can be attempted in the original key by few 
living singers. That Miss Thursby, the accomplished Ameri 
can prima donna, is among these few we have had occasion to 
remark more than once. Last Saturday again her astounding 
bravura and the pure and agreeable quality of her voice were 
much appreciated by the audience. The lady also gave an aria, 
*Mio caro bene/ from Handel's opera Rodelinda, and Tau- 
bert's so-called 'Bird Song' a silly show-piece, wholly unfit to 
appear in such surroundings/* 

That Davison should have objected to the inclusion of 
Taubert's "Bird Song" in the program would seem justifiable, 
certainly on academic grounds, and especially when the com 
pany of composers included Beethoven, Handel, Mozart, 
Gluck, and Liszt, and the program marked the first perfor 
mance (and a brilliant one) in London of Brahm's beautiful 
Symphony No. 2 Op. 73, that had enjoyed its world premiere 
in a rendition by the Philharmonic Society of Vienna only the 
previous Christinas Eve in Vienna. Audiences, to be sure, liked 
the showy "Bird Song" better than the critics did, and the man 
agement of concerts was usually confronted with the problem 
of pleasing both. Apparently Sir Julius Benedict was inclined 
to favor his audience in Liverpool on the 8th, for when he con 
ducted the Liverpool Philharmonic Society, Emma Thursby, 
after singing arias by Mozart and Handel, again was heard in 
the condemned "Bird Song," admittedly an exercise of no 


great distinction in florid execution, that, however, never 
failed to excite an audience to protracted applause and de 
mands for an encore. 

After saying farewells to her sister, Ina, who sailed for Amer 
ica on the "City of Berlin" on October loth, she returned to 
London for a brief interlude before departing for concert ap 
pearances with Charles Halle's orchestra in Liverpool, Man 
chester, and Bradford. London heard her at the Monday Popu 
lar Concerts, Sir Julius Benedict conducting, on November 
nth, when she introduced a new song in her repertory, Mo 
zart's "The Violet/' London heard her again in the first of the 
Mme Jenny Viard-Louis Concerts, H. Weist Hill conducting, 
on the 26th, when she sang Mozart's "Che pur aspro al cuore" 
and the delightful "In my pleasant land of France," Queen 
Mary's song in Henry Leslie's Holyrood. These two concert 
series were outstanding musically, and that they confirmed her 
enviable reputation, proved the prophesy of her manager, 
Henry Jarrett, who was ever alert in discriminating between 
the concerts of high standard and those of mediocre. Such an 
arbiter was now of great necessity, for her popularity had made 
her services greatly in demand. 

Meanwhile, she appeared again at Manchester, and at 
Brighton where she scored an "enormous success," to her 
great pleasure, for here it was that she had first met the English 
Thursby family. The end of a busy and profitable year was 
signalled by appearances at the Crystal Palace Saturday Con 
certs, August Manns conducting the orchestra, when she sang 
the Polacca from Mignon and joined with Miss Redeker and 
Charles Santley in a distinguished performance of Beetho 
ven's Choral Symphony; and at the Ballad Concert at St. James 
Hall on December i8th, where her fellow artists included Eng 
land's popular tenor, Sims Reeves, the highly-accomplished 
Charles Santley, and an old friend from Brooklyn, now ex 
patriated to England, the gifted contralto, Antoinette Sterling. 


When Emma Thursby recorded in her diary for January 
ist, 1879, "In London. Very stupid New Year's Day/' her heart 
was surely with old friends in the home land, whom success 
and new friends could never replace. Yet she was depressed but 
for the moment, for responsibilities crowded, leaving little 
time for sentimental reflection. And surely, in the score of 
homesickness, her two ladies-in-waiting, her mother and her 
sister, Allie, had far more cause for restlessness than she. The 
ceaseless parade of concerts, often glamorous, was no longer a 
novelty. A reception, whether that given for General Grant at 
the home of American Minister Welsh, or one of lesser note, 
took its toll in fatigue. Lessons from Signor Randegger and re 
hearsals for one or another concert seemed to go on forever. 
But friends were kind and solicitous, and each day offered 
some new and rich musical adventure. Soon there would be 
Paris and the great adventure. Life was hard but life was full 
and beautiful. 

January and February gave her opportunity to renew ac- 
qaintance with Manchester and Brighton, now eager to bestow 
their praises, and to visit mere distant Edinburgh, in each in 
stance with Charles Halle's orchestra. How she did love Edin 
burgh, though three days of concertizing left too little time for 
exploring its beauties. To be sure, she was grateful for a fine 
Scotch reception and pleased in the privilege of singing at its 
first performance the "Swallow Song" of her friend, Sir Her 
bert Oakley- 
London claimed her again at a concert of Henry Leslie's 
Choir on February syth, and happily so, for she enjoyed the 
opportunity of singing in the first performance of Professor 
Bourgault-Ducoudray's Symphonic Religieuse with the com 
poser conducting, and the privilege of singing Arthur Sullivan's 
"Orpheus with his lute" to the composer's pianoforte accom 
paniment. Reunion it was to appear with the Philharmonic 
Society on March 6th, for it was the Philharmonic that had 


sponsored her London debut, now o such pleasant history. A 
program that speaks its own praise was that of the 6th, with the 
redoubtable Joachim playing the Concerto in D, composed for 
him by Brahms: 


Symphony in E flat, No. 8 Haydn 

Aria, "Che pur aspro." (II Seraglio) Mozart 

Miss Emma Thursby 

Concerto in D (M.S.) for Violin with Orchestra . . . Brahms 
Violin Solo, Herr Joachim 


"Jupiter" Symphony (No. 49) , in C Mozart 

Recitative and Andante from 6th Concerto 

for Violin with Orchestra Spohr 

Violin Solo, Herr Joachim 

Aria, "Ciel possente." (Cythera) Gluck 

Miss Emma Thursby 

Overture (Ruy Bias) Mendelssohn 

Conductor Mr. William G. Cusins 

Appropriately enough, Emma Thursby sang "Mia speranza 
adorata" at her farewell in Crystal Palace on March 8th, and 
concluded with the duet, "Una Remota Antica Ricordanza," 
from The Flying Dutchman, with George Henschel, her first 
essay in Wagner. And now at last, England, Adieu! England 
that had made happy memories. Paris, En avant! 



Between England and "My pleasant land of France" a 
moody Channel lurked. No respecter of rank, or reputa 
tion, or purpose, or errand, it tossed the Thursby family into 
abject submission. Paris at last received the weary travellers. It 
was Thursday afternoon, March igth, at four o'clock, when 
they reached the welcome shelter and comfort of the Hotel de 
Londres in the Rue Castiglione. Anon, a cup of tea and to bed. 
Sufficient unto the day! 

With the new day, restored in health and spirit, Emma 
Thursby set out with her manager, Henry Jarrett, to sound the 
Paris musical temper. Tentatively engaged to sing at the 
Pasdeloup Concerts on March goth, she had, however, many 
plans to perfect, hopes to realize. In these she at once received 
the whole-hearted support of Jacques Heugel, whose columns 
in Le Menestrel on Sunday the i6th announced that "Miss 
Thursby va se faire entendre aux concerts Pasdeloup, puis 
dans nos soirees musicales de careme. Ce sera la grande attrac- 


tion de nos derniers concerts." Prophesy was this, audacious 
perhaps, for Paris was slow, even reluctant, to accept a foreign 
artist. Yet prophesy from one so able and discerning as Jacques 
Heugel might have a way of realizing itself. Surely enough, it 
did awaken fidouard Colonne, sponsor of the excellent con 
certs at the Chatelet, who promptly gave Emma Thursby an 
audition and engaged her to sing at his next concert, on the 
s> grd. A glorious voice was this, he knew, but Paris must judge, 
not he. Had not Paris three weeks before received the first per 
formance of Tchaikowsky's Tempest, the sensitive composer 
present, with but little applause, even with hisses? Many a 
great singer had failed to reach the understanding of a Paris 
audience. Emma Thursby herself had heard singers hissed in 
both Italy and France. Though acclaim had followed her 
everywhere in her career, what would be the verdict of Paris? 
Meanwhile, she interrupted the business of singing by visits 
with old friends, the Ovingtons and the Rockwells from Brook 
lyn, with Desmond Ryan, correspondent of the New York 
Herald, and a particular friend, Dr. Edward Hitchcock, rector 
of the American Chapel, whose devotion of many years per 
sisted. Newer friends, too, paid their respects: Mrs. James Jack 
son, whose home in the Rue d'Antin was the scene of a fash 
ionable salon; the Baroness d'Oyley, an influence in musical 
circles; Fanny Read, an expatriated American, whose musi- 
cales were attended by the prominent of the city; General 
Noyes, the American Minister; and General Fairchild, the 
American Consul-General at Paris. Louis Bourgault-Ducou- 
dray, professor of the history of music at the Conservatoire, re 
newing the pleasant London association, gave invaluable aid, 
while Jacques Heugel continued daily his earnest sponsorship. 
Encouraging diversion was this in the days of nervous excite 
ment preceding her debut, days that did, however, seem already 
to ftil fill Heugel's prophesy in two rehearsals of the Colonne 
Orchestra in which both Colonne and the members of his or- 


Hansen & WeZZer, Copenhagen 

Emma Thursbys 




Fredag den 19de August 1881 KL 7'| 2 . 


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u|n*t Fnw, 


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' - - ' ......... - ......... " >int*in. 

Hr. EoUrt 3H*W1 
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Indgaagen aabnes KL 6. 


chestra were most outspoken in their praise of the young 
American prima donna. The last rehearsal, coming as it did 
the day before the performance, inspired a definite note of 

It was clear and cool early Sunday morning the 2grd of 
March, 1879, weather signalling the last reproach of winter. 
Yet by midday a warm, all-conquering sun proclaimed the 
rightful spring and cheered the Thursby family as they stepped 
from the hotel and into their carriage an hour later. Down the 
Rue Castiglione and into the Rue de Rivoli they sped, past the 
Jardin des Tuileries absorbed in the duties of the awakening 
season, past the treasure houses of the Louvre and into the 
Place du Chatelet. Serene and quiet, mute stone witness of the 
aspirations of a century stood the Theatre du Chatelet, ready 
to receive its unheralded guests. 

Once within the great edifice, Emma Thursby experienced 
the inspiration that an institution noble in its traditions be 
stows upon the cause of the just. Quiet and self-contained, she 
stood deep in the wings, glimpsing the crowds that were filling 
its thirty-three hundred seats, wondering, perhaps, of her re 
ception but never doubting that she would give of her best. 
That the audience would judge without prejudice, she knew, 
for to them she would appear as just another unknown aspir 
ant. She had made no effort to have the Paris press plead her 
cause. Le Menestrel, to be sure, had commended her, but 
otherwise the press was conspicuously silent. No mention of 
her triumphs in America and England; no mention in the 
advance bills, even, of her present appearance. How different 
from the debut of many another singer, for Paris, too, had its 
Barnums. Meanwhile the audience, gathered largely to hear 
the second performance of David's Le Desert, glanced at their 
programs, noting the unknown prima donna only because of 
the difficulty of Gallicizing the curious name, Thursby. Soon 
the compelling notes of Beethoven's Symphony in D absorbed 


attention. Next came the dainty Menuet by Boccherini, attun 
ing spring hearts. And now Mozart's "Mia speranza adorata" 
would follow, sung by Mile T h u r s b y. Comment dit-on 
le nom? 

A small figure gowned in black satin walked forth from the 
wings, with modesty and unaffectedness revealed in every 
movement, the face pleasant with the expression one wears 
among friends. Taking her place before M. Colonne, and sig 
nalling her readiness, Emma Thursby commenced the difficult 
recitative, at once commanding all ears by the purity of her 
voice and then by the effortlessness of her attack upon the in 
tricacies with which the recitative and rondo abound. Who was 
this whose voice twinkled through the starry altitudes that 
Mozart had raised for his favorite sister-in-law? The words 
were familiar though in Italian, but whose were the divine 


Mia speranza adorata! Ah! troppo h a noi Tira del ciel 
funesta! L' ultima volta e questa ch'io ti stringo al mio senol 
Anima mia, io piu non ti vedr6, deh! tu Tassisti, tu per me la 
consola. Addio Zemira, ricordati di me! senti, che vedo? tu 
piangi, o mio tesoro, oh! quanto accresce quel pianto il mio 
inartir! Chi prova mai stato peggior del mio! Addio per 
sempre! Amata sposa, Addio! 


Ah! non sai, qual pena sia 
II doverti, oh Dio, lasciar; 
Ma quel pianto, anima mia! 
Fa piu grave il mio penar. 
Deh! mi lascia, oh fier momento! 
Cara sposa! ah! ch' io mi sento 
Per Faffanno il cor mancar. 
A quai barbare vicende 

Mi serbaste, awersi Dei! 
Dite voi, sei casi miei 
Non son degni di pieta! 

The great audience sat enraptured while the limpid notes 
danced higher and higher. "Di pieta di pieta di pieta/' 
sounded the final words. In an instant the whole house thun 
dered with peal upon peal of applause. "Bravo! Bravo! Bravo!" 
shouted a thousand lusty throats. "Bis! Bis! Bis!" shouted other 
thousands. Hurried questions passed between friends and 
neighbors. "Who is she?" "Who is she?" "Why have we not 
heard of her?" Louder and louder rang the applause, that mod 
erated into silence only when Colonne signalled with his baton 
for the next number, and ceased only when the orchestra com 
menced the first bar of Prodi's Variations. 

The same pure tones, the same effortless execution these 
were to be expected. The opening bars soothed with their 
tuneful accents as if to lull the listener away from anticipating 
what was to come. But soon the sparkling staccato runs and the 
roulades, the nightingale notes defying altitudes, came forth in 
shimmering brilliancy, transporting the audience in their 
etherial flights. Like a call to recognition came the concluding 
notes, so perilously high yet so effortlessly taken. The audience 
gasped as it marvelled, then surrendered itself to an ovation 
Paris had rarely heard. Three thousand pairs of hands, three 
thousand pairs of feet, three thousand hoarse throats sounded 
in delirious tribute as the singer walked into the wings. The 
great audience was on its feet, so was the orchestra, waving and 
shouting frantically. A little frightened, no doubt, but show 
ing only a smile of pleasure, Emma Thursby again approached 
the center of the vast stage and repeated the Variations. Again 
the same pure tones, again the same effortless execution. Again 
the audience in tumultuous demonstration. Paris had taken 
Emma Thursby to its heart. No matter who she was, no matter 


how you pronounced her name, in the Paris of music Enima 
Thursby had become famous. 

Late that night, long after the last of her friends gathered to 
congratulate her had left, yet while Paris music lovers still 
spread the word of their great discovery, Emma Thursby, rapt 
in unrestrained joy, wrote in her diary, "the greatest success of 
my life/* and went to bed. 

Next day the press, known for its restraint in musical praise, 
commenced its generous tribute: 

Le Petit Journal reported: "Un rossignol anglais. Oiseau 
rare. M. Colonne nous a fait entendre hier cette merveille, 
entre le Menuet de Boccherini, et cet admirable Desert, qui 
perpetuerait, 4 lui seul, le nom de Felicien David. 

"Mile Emma Thursby est, parait-il, tres reputee de 1'autre 
cote du detroit. Mais nous avons, sur cette rive-ci, quelques 
raisons de nous defier des celebrites que la Grande-Bretagne 

"Les preventions, sll en existait parmi le public du Chatelet, 
ont du tomber des que sont tomb6es de la bouche de Mile 
Thursby les premieres vocalises qu'elles s'est mise a egrener. 

"Elle n'a pas seulement la virtuosite, cette charmeresse d' Al 
bion, elle a le sentiment et elle a 1'expression. Le rondo de 
Mozart, les variations de Proch, 1'ont montree sous ce double 

"La voix de la chanteuse, d'un timbre exquis dans le me 
dium, monte avec une facilite qui surprendrait si on ne savait 
ce que peuvent, meme chez une Anglaise, les dispositions d'un 
temperament artistique et la perfection de la methode." 

Paris-Journal reported: "Une cantatrice americaine, miss 
Emma Thursby, s'est fait entendre aujourd'hui pour la pre- 
mire fois et presque a Timproviste au concert du Chatelet. 
Son nom, absolument inconnu a Paris, ne figurait que depuis 
hier sur 1'affiche; a peine avait-on fait attention a cette modifi- 


cation du programme; aussi la surprise a-t-elle ete generale 
lorsqu'on s'est trouve en presence d'une artiste jeune, distin- 
guee, douee d'une voix limpide, etendue, d'un timbre char- 
mant, surtout dans les notes elevees, et rompue a toutes les dif- 
ficultes de son art. 

"Les morceaux choisis par elle etaient un air inedit de Mo 
zart, Mia Speranza adorata, et un theme avec variations de 
Proch. Mile Emma Thursby les a chantes le premier avec un 
gout et une simplicite merveilleusement appropries au style de 
Mozart, et le second, avec une agilite, une souplesse, une hardi- 
esse et une surete d'attaques qui lui ont valu des applaudisse- 
ments chaleureux et unanimes, et elle a du repeter les plus 
difficiles variations." 

Le Sport reported: "Au concert du Chatelet, ou M. Colonne 
donnait le Desert, ce chef-d'oevre si colore de Felicien David, 
une jeune cantatrice, Mile Thursby, encore inconnue a Paris, 
mais qu'on nomnae au dela de TAtlantique la Patti americaine, 
a produit une vive sensation. Sa voix est d'un timbre doux et 
vibrant a la fois, et d'une grande souplesse. L'air de Mozart, 
Mia speranza adorata, dit avec un profond sentiment, a ^te 
suivi de variations brillantes sur un thme de Proch, qu'on a 
fait repeter avec enthousiasme." 

Le Figaro reported: "Dimanche, au concert du Chatelet, 
s'est produite, avec un immense succes, la Patti des festivals 
americains et anglais, miss Emma Thursby, acclamee dans son 
air de Mozart et bissee dans ses variations de Proch. L/orchestre 
Colonne a pris sa part du Tenthousiaste ovation decernee par 
plus de trois mille auditeurs a cette nouvelle etoile du chant/' 

Revue Et Gazette Musicale reported: "Au concert du Cha 
telet, la seconde audition de Desert de F. David ne 1'a cede en 
rien a la premiere quant a la bonne execution et au succes. 
II y a eu encore nombre de bis, et MM. Moulierat et Villard 
ont eu leur large part d'applaudissements. Un autre attrait 
du concert, c'etait le debut a Paris d'une cantatrice qui nous 


vient de Londres, ou elle est fort aimee, miss Emma Thursby. 
Cette jeune artiste possede une voix de soprano d'un joli tim 
bre, trs-souple et tres-agile; la facilite et la purete de style avec 
lesquelles eUe a chante un charmant rondo de Mozart, Mia 
speranza adorata (Fun des douze Airs de concerts de Mozart, 
ecrit pour sa belle-soeur Mme Lange, no 416 du catalogue de 
Kochel), et les fameuses variations de Proch, lui ont conquis 
sans peine d'enthousiastes suffrages. Miss Emma Thursby se 
fait entendre aujourd'hui au concert populaire, comme on a 
pu le voir plus haut." 

Le Menestrel reported: "Mais arrivons a la curiosite du 
dernier concert du Chatelet: la revelation d'une cantatrice 
absolument inconnue a Paris. Miss Emma Thursby une com- 
patriote de la Patti et de 1'Albani. Son chant precede de Tune 
et de 1'autre et on peut affirmer qu'au concert elle les egale. 
Sa voix, des plus etendues et des plus sures, se joue de toutes 
les difficultes vocales et merne instrumentales. Du style, elle en 
a prouve dans Fair de Mozart, du brio dans les variations de 
Proch. CTcst de plus une cantatrice de gout douee d'une au- 
torite d j execution modeste, chose bien rare dans les arts. Miss 
Thursby a ete acclamee, bissee, par les 3,000 auditeurs du 
concert Colonne. Ce n'etait que justice." 

Le Charivari reported: "A signaler enfin une veritable reve 
lation. Pour la premiere fois, dimanche, on entendait a Paris 
une jeune cantatrice que le Menestrel, qui s'y connait, avait 
appelee d'avance la nouvelle Patti. Miss Emma Thursby avait, 
des les premieres notes, conquis son auditoire stupefait. 

"Personne ne s'attendait a cet art accompli, a cette virtuosite 

"Miss Emma Thursby va etre Tetoile de la saison. Tous les 
telescopes se la disputent deja." 

Fame proved an exacting master but a fascinating one. If 
only there were time for all! Social engagements crowded 


swiftly upon artistic ones. Mme Pauline Viardot and Mme de 
la Grange paid their respects; so did Gounod, and George 
Healy, the portrait painter; so did Colonne, and the faithful 
Heugel; and Ryan, and Brandhus, and Leon Escudier, editor 
of L'Art Musical; so did the members of the American colony 
and their representative, General Fairchild. Time had to be 
commandeered for rehearsals for the Pasdeloup concert. But 
time relented that she might sing on Saturday night in the 
Soiree Musicale & Litteraire for the benefit of the Societe 
Nationale des Amis de FEnfance at the Hotel Continental in 
a program that enlisted such distinguished artists as Mile 
Jenny Howe of the Opera; Mme Marie Favart, M. Delaunay, 
and M. Coquelin aine of the Comedie-Fran<:aise; Mme Marie 
Laurent and Mile Sarah Bonheur of -the Opera-Comique. 
Emma Thursby's contribution, the Proch Variations, now 
reached a select circle of artistic and literary Paris, again to 
bring her unstinted praise, and the friendship of the illustri 
ous. The press was quick to say that "L'etonnement et le succes 
de la soiree a ete dans Tapparition d'une jeune Anglaise, jolie 
a ravir, Mile Emma Thursby, qui possede une voix trs 
etendue, d'un timbre bizarre, qu'elle conduit avec beaucoup 
de dexterite et de grace. Cette jeune personne ne tardera pas 
a etre la coqueluche de ce fameux tout Paris, qui comprend 
quatre ou cinq cents personnes." 

But the supreme test of the enviable position she had built 
so quickly for herself in Paris would come the following after 
noon in her appearance at the Pasdeloup Concert. Popular and 
select though the Colonne Concerts were, they did not enjoy 
quite the prestige of the Pasdeloup Concerts, which held that 
distinction which comes of greater age, and ranked with the 
concerts of the Conservatoire National as the best in France, 
the most famous in the world. 

The Pasdeloup program was one to confirm the splendid 
eighteen-year-old tradition of the orchestra, one to crowd the 


huge Cirque d'Hiver in the Boulevard des Filles-du-Calvaire 
to its eight thousand capacity. 


Symphonic pastorale Beethoven. 

Fragment de I'Enlevement, au Serail Mozart. 

Introduction Air de Constance 
Chant6 par Mile Emma Thursby 

Suite pour orchestre dans le style ancien Saint-Saens. 

(I 16 audition) . 

Adagio du g6 c quatuor Haydn. 

Thme vari / Proch. 

Chant^ par Mile Emma Thursby 

Ouverture du Vaisseau-Fantdme R. Wagner. 

L'Orchestre sera dirig6 par M. J. Pasdeloup. 

"You want, however, to be told about the Thrush or 'Ameri 
can Patti/ as the French call her/' wrote the special correspon 
dent of the Chicago Times of the occasion. "Well, just con 
ceive this enormous circular, with red and brown velvet sides, 
choked with people. From the ring to the roof there wasn't one 
of the eight thousand places vacant. More than that, the alleys 
about the ring, the lobbies and all manner of available stand 
ing places were choked. THE PROGRAMME TO-DAY was 
made up of Mozart, Beethoven, Proch, Saint-Saens, Haydn, 
Wagner. Miss Thursby sang the Mozart and Proch selections. 
The overture was the incomparable pastoral symphony, with 
its laughing meadows, purling streams and singing shepherds. 
So that when this musical half -hour was ended, the multitude 
were just in the right state of sentimental ecstacy to enjoy what 
ever might be good. Everybody recognized the intrepidity of a 
singer who ventured to appear following such an outburst of 
spring-like sound as this symphony and, when Miss Thursby 
appeared, led out from the comic gangway leading up to the 
extemporised stage, there was no sign save languid curiosity. 
You know the quality of Mozart's music sustained simple 


action, with intricacies only in the effects. The accompaniment 
precedes the vocal strain in THE SERAGLIO SONG for five 
minutes or more. During these five minutes Miss Thursby 
stood a little in front of Pasdeloup apparently not discomposed 
at all. Her music if I may say so was held well in hand. She 
had on a dismally unbecoming gown, of dark maroon color, 
with an overdress of the peculiar flowered material recently 
come into vogue. Her face was engaging and kindly, her eyes 
gentle and sympathetic, her hair simply rolled up and back; 
and altogether she looked like a sensible American girl of a 
type as esteemed as it is usual. Suddenly there came a softening 
of the instrumentation, the notes dying dying down to mere 
cadence, the pudgy form of Pasdeloup suspended its waddling 
action, the sensuous strings of the minor violins swelled out 
the air, when the delicate, mellow notes of a bird broke out in 
a gradually broadening force, like the gushing melody of the 
lark as it hangs in the sky, 'pouring forth its full strain of un 
premeditated art/ The languid interest of the audience took 
fire in an instant. The blase youths in the lower tribune ceased 
ogling their neighbors. The old concert-goers braced up and 
fastened their lorgnettes on the placid figure on the stage, from 
whose throat swelled and trilled sound after sound, wave after 
wave of music, so delicate, soft and intense that it seemed an 
echo within the sense. THE UNPRETENDING WOMAN, 
from whom these mysteries of sound proceeded, made no ef 
fort, she seemed even unconscious of what must be the most 
exquisite enjoyment of an artist the rupture of a visible revo 
lution in sentiment; the perfectly apparent change in the de 
meanor of so conservative a body as a musical audience. The 
little song purled its delicate cadences to an end. The singer 
folded her sheet. There was an instant's suspension of all 
sound a curious, inexplicable quiet, and then well, in 
America, where you stamp your heels and make cat-calls to 
denote your satisfaction, you can hardly realize such a scene 

as came to pass. The thirty ranks of serried listeners seemed to 
rise as one man, and the air was a tumult of bravos bravo-oo, 
b-r-a-v-o-o-- 'Bis! Bis!' Then volley on volley of hand-clapping, 
until the mass had exhausted itself. Then, as tranquillity 
was restored, a new outbreak. But, more significant than this 
no sooner had the flute-like echoes sunk into the tremulo 
that precedes silence than the musicians dropping bow and 
fiddle, horn and basson rose to their feet in a tempest of 
DELIGHTED APPLAUSE. Foremost, the pudgy hands of 
the pudgy director, his face beaming with transports, were at 
work applauding. The cause of this extraordinary demonstra 
tion was the person apparently the least moved in the house. 
She calmly gathered up her ugly maroon skirt, bowed in stately 
recognition to the gentlemen of the orchestra, who were 
plumping their tired hands like pistol-shots, and strove to de 
scend through the gangway. But the shrieks redoubled and the 
'Bis! bis 1 / resounded on all sides. Pasdeloup, beaming un 
speakable satisfaction, came down and took her hand in the 
most knightly fashion and led her back. She merely bowed and 
retired. There was a rest of a minute or two, and everybody 
looked at his neighbor and said: 'What is this? It isn't the 
music of it that produces these ravishing sounds. She is greater 
than Patti, she is greater than a hundred Nilssons!' There 
were a great corps of musicians present, who came to condemn 
and remained to praise and to go away wondering what it meant. 
I was seated among them, and it is because of what I heard 
said by them that I am writing this letter. The combat of opin 
ions as to the art of music, as she seemed to understand, was 
not severe. It was generally conceded that music in technical 
mastery of the various attributes of the voice she didn't give 
any sign of understanding, while as to the quality of music 
itself she poured it forth in a purity only heard at rare intervals 
in the human voice, and sometimes from the throat of the 
nightingale or more secluded roc of singing birds. 


"Beautiful as were the following selections, the audience 
was manifestly impatient for THE SECOND APPEARANCE 
of the mysterious singer. She appeared in due time in a little 
arrangement from Prodi's varied themes, and the voice was if 
anything more wonderful than before. I could go into the 
jargon of musical terms and tell you the approximate range. 
How she took notes in the register with wonderful precision, 
and how, by utterly ignoring the coherence established in the 
scale, she produced the most extraordinary effects. But I will 
not. You will in the course of time, no doubt, get a technical 
analysis of the fibre of the voice. My purpose is merely to tell 
you what happened, to make you understand the voice. I 
should have to transport you to some deep shady dell in some 
primeval forest, where birds make it a business to sing for 
gladness, and when there to ask you to imagine a gentle stream 
plashing on the chords of an Aeolian harp, with the sus 
tained note of the nightingale keeping up the chain of the 
melody. As nearly as I can describe it, this was the sort of music 
that soothed the very sense of repose to-day into deeper tran- 
quility. To imagine the effect at all you must recall all that is 
of sweetest and softest sound in jangling of silver bells, the fall 
of padded keys on crystal strings, or any other melody-produc 
ing thing whatsoever. In the very paroxysm of this enchanting 
outbreak of sensuous, delicious sound, the sun, which had 
been obscured all day, broke from cover and flooded the great 
arena with indescribable light, falling through many a colored 
pane in the vast circle of windows. The great masses of light in 
the chandeliers were completely eclipsed. THE DAZZLING 
EFFECT was so strong that the whole lower part of the arena 
disappeared, and only the voice of the singer could be heard 
floating upward from a golden mirage of trembling light. It 
was for a few minutes like the drawing of Michael Angelo's 
'Last Judgment/ The audience above could only dimly see 
the figures beneath. The shimmering light seemed to magnify 


the great company on the stage and in the uncertainty they 
took gigantic and uncouth form as their instruments were 
again thrown aside in the rush to applaud and congratulate the 
astonishing singing bird. It would be useless to dwell on the 
scene that followed. The bravos were prolonged and deafen 
ing; the applause a fatigue to the ear. Miss Thursby was forced 
to repeat the strain, and it was noted with stupefaction that 
every note, or shade of a note, was as fresh and inspired as on 
the first repetition. MISS THURSBY'S FORTUNE, I pre 
sume, is made. No singer ever received such fealty from a 
French audience/' 

Meantime the Paris press continued its eulogy, Le Rappel 
observing that she sang "avec une perfection de mecanisme 
qui de-concerterait Thorloger de Geneve le plus avis6," voicing 
the opinion of its confreres. "Le feu d'artifice vocal tire par 
Tadroit artificier Pasdeloup a jete sa poudre aux yeux et pro- 
duit Teffet de surprise qu'il en attendait; comme au moment 
du bouquet final des rejouissances publiques, un grand cri 
d'admiration et d'etonnement est sorti de ces milliers de 
poitrines, suivis d'un formidable bis; force a ete a la jeune 
artiste de recommencer ses surprenants exercices sur la corde 
vocale, ce qui a motive de nouveaux cris et de nouveaux 

While columns were being devoted to the new sensation, the 
word spread to every musical corner of Paris. Curiosity was 
rife, and every item of news about Emma Thursby was eagerly 
sought. Speculation knew no bounds, and lovers of opera could 
be heard exclaiming: 

"Quelle Ophelie!" 

"Quelle Marguerite!" 

"Quelle Valentine!' 1 

"Quelle Marguerite!" Gounod, himself, thought as he called 
upon the little lady after the Pasdeloup concert. Would she 


sing Marguerite for him in his Faust? She had foresworn opera, 
she told him, but she would think about it out of appreciation 
of the honor he conferred. 

Sunday, March goth, provided still another distinction when 
she appeared as a guest artist at the annual fete of the influ 
ential Pierre Veron. No other private soiree in Paris enjoyed 
the patronage of so many of the great from all walks of life. 
Invitations were eagerly hoped for but charily given. Her dis 
tinguished musical colleagues were: Mile Marie Krauss, Mme 
Peschard, and Mile Rosine Bloch; the baritone, Delle-Sedie, 
and the tenor, Tamberlick; the violoncellist, Servais, and the 
young violinist, Paul Viardot; her distinguished literary and 
dramatic colleagues: Coquelin aine, Coquelin cadet. Mile 
Jeanne Samary, and Mme Celine Chaumont. Le Gaulois, com 
menting upon the occasion, reflected the opinion of the press 
when it stated that Emma Thursby's singing was "Une veri 
table revelation/' This was, indeed, the pronounced opinion 
of ambassadors and statesmen and generals, of editors and 
authors, of painters and sculptors, of composers and singers 
and musicians, of actors and representatives of opera and the 
atre who had gathered in the handsome apartment of M. Veron 
at 182 in the Rue de Rivoli. 

It was now no longer possible to accept all the flattering 
invitations that came from people of distinction. Even the ac 
knowledging of the courtesies and kindnesses daily tendered 
her, requiring a note or preferably a call, became, though a 
pleasant, an almost impossible task, with time at an increasing 
premium. Yet everyone seemed to understand the modest little 
American, who very quietly went about the task of doing what 
time allowed without artifice or evasion, the little lady who had 
become so suddenly a celebrity. 

On the 4th of April she sang at the musicale of the Baroness 
de Vandeul. On the afternoon of the 6th, Palm Sunday, she 
made her second appearance with the Pasdeloup Orchestra, 

scoring another stunning success, this time with Mozart's "Ma, 
che vi fece" and Rode's Variations. After the Pasdeloup ap 
pearance she drove to the home of Ambroise Thomas to sing 
for the great master and a small circle of his intimate friends. 
The kindly old dean of Paris musicians, president of the Con 
servatoire National, added his unreserved commendation to 
that which so many others had attested and next day sent her a 
letter she would always cherish: 

"Paris, le 7 avril, 

Conservatoire National de Musique 
et de Declamation 

Cabinet du Directeur 


Je tiens a vous remercier de nouveau de la bonne grace que 
vous avez mise a vous faire entendre hier chez moi. 

Mes amis ont apprecie et admire votre beau talent comme 
le public qui vient de vous applaudir si chaleureusement au 
concert populaire. 

Notre pays a su rendre justice a vos brillantes qualites de 
virtuose, et je suis heureux de vous feliciter du grand et 
legitime succs que vous venez d'obtenir a Paris. 

J'espere done, Mademoiselle, que nous aurons le plaisir de 
vous revoir bientot parmi nous, et je vous prie de croire a 
toute ma sympathie et d'agreer 1'expression de mes sentiments 
les plus distingues. 

Ambroise Thomas' 7 

The next night she sang for Mme Pauline Viardot, younger 
sister of the great Malibran. Great in her own right, Mme 
Viardot, now retired from a brilliant career in opera and de 
voting herself to teaching, knew the hommage of those distin 
guished in the arts, who frequented her home. There it was 
that Emma Thursby met Lilli Lehmann who then stood at the 


threshold of her triumphs, and there she met the Russian nov 
elist, Turgenief, long a resident of Paris, and a devoted friend 
of Mme Viardot. The same day she accepted with enthusiasm 
an invitation of quite a different sort, that of the well-known 
American painter, George P. A. Healy, to sit for her portrait 
for his "gallery of distinguished people," which included por 
traits of Franklin, and Lincoln, and Longfellow, and the com 
poser, Franz Liszt. 

On the evening of Good Friday, April nth, she returned to 
the scene of her first appearance, the Chatelet, to repeat her 
first triumph, this time, however, as one of the most talked-of 
people in Paris. With a reputation to uphold, she sang Rode's 
Variations, fulfilling all her earlier promise, and thrilling as 
before, this time with Rode's difficult feats of execution. With 
the season of large popular concerts at an end, she became 
indispensable to any important private musicale, and great 
rivalry existed among those anxious to honor themselves with 
her presence. The fortunate at the moment were Fanny Read 
whose guests included Christine Nilsson , and Dr. Edward 
Hitchcock. When she sang at the soiree of Baron Hirsch, on 
April i7th, it was with the famous French baritone, Faure, be 
fore a fashionable conclave made notable by the presence of 
the Queen of Spain. The familiar selections from Mozart and 
Proch in her repertory were here supplemented by the Valse 
from Meyerbeer's Pardon de Ploermel, and by the duet from 
La Flute Enchant ee, which she sang with her distinguished fel 
low artist. 

Honors continued to crowd upon her. Monsieur Pasdeloup 
presented her with a handsome jeweled bracelet, and a gold 
medal struck in her honor, commemorating her appearances 
with the Pasdeloup Orchestra. A large bronze pedestal card 
tray with design in bas-relief depicting the meeting of Menalcas 
and Mopsus, executed by Levillain, also presented to her, bore 
the inscription: 


"Miss Emma Thursby 
Le President Et Les Membres Du Comite 

De L' Association Artistique 

Avec Leur Compliments Et Leur Remerciments 

Les Plus vifs Et Les Plus Sympathiques." 

Success brought with it a flood of proposed engagements from 
theatre managers and impresarios as the news spread over the 
Continent. Jacob Ullman anxiously petitioned to manage "a 
grand tour"; so did Carl Rosa. The tremendous ovations she 
received at concerts in Nantes before the Societe des Beaux- 
Arts, on the 25th, and in Orleans before the Institut Musical, 
confirmed the soundness of managerial judgments. 

She had commenced singing lessons in French with Theo 
dore Hustache, "Chef de Chant a FOpera," her first essay being 
the role of Ophelia in Thomas' Hamlet. Were her eyes at last 
turned towards opera? Those of her aspiring managers surely 
were. After an appearance in the concert of the Cercle Artis 
tique et Litteraire on April sgth, her remaining Paris engage 
ments were at the musicales of Mrs. Edward Ovington; Baron 
de Ginzburg where her auditors included the Prince and 
Princess of Hesse and Prince Henri; and Mme Cartwright. 
The gth of May signalled receipt of a most flattering testi 
monial to her art and to her sincerity and earnestness in the 
form of a letter personally inscribed by the ranking musicians 
of Paris: 

"Association Paris, le 8 mat 


Artistes Musiciens A Mademoiselle Emma Thursby. 


L'enthousiasme avec lequel vous avez ete accueillie a Paris 
ne vous a pas fait oublier ceux qui souffrent parmi les artistes, 
et vous avez voulu vous associer a nous pour faire le bien. 

Nous sommes fiers et heureux de vous compter au nombre 




a ~ 


E oo 



o < 


sc ps 







de nos adherents et d'inscrire votre nom, deja celebre, sur nos 
annuaires, comme soci^taire perpetuelle. 

Merci mille fois, Mademoiselle, pour le don de Cinq cents 
francs que vous avez offert a 1'association des artistes musiciens, 
et daignez agreer, avec le temoignage de notre vive gratitude, 
1' expression de nos hommages respectueux. 

Les Membres du Comite 

Ambroise Thomas, [Honorary President] 

Baron Taylor, President 

Ch. Gounod Rose 

E. Reyer E. Gand 

Charles de Bez Rignault 

Ch. Lebouc Tubeuf 

L. Defies E. Lamy 

Adolphe Blanc Badet 

M. Decourcelle J. Massenet 

Oscar Commetant C. Prumier 

C. Labro E. Jancourt 

Hottin Delahaye 

L. Le Bel Merle 

Vaucorbeil Ch. Thomas 

Victor Masse J. Garcin 

H. Reber Edmond d'Ingrande 

Colmet d'aage E. Lecointe 

P. Clodomir Verrimst 

Ad. Papin A. Guillot de Sainbris 

A. Grisy 

The days now swept by in a whirl of farewells. On May 1 1 th 
she made her last Paris appearance at the soiree of her com 
patriots, Mr. and Mrs. Edward Hecht, where her fellow artists 
included the noted Italian violinist, Camillo Sivori. 

Happily enough, she received her last public honor as the 


first woman guest of the Stanley Club, at a dinner on May 
loth, for here she had opportunity to bid farewell to so many 
of her fellow countrymen who had been her kind hosts and her 
tireless sponsors. Fittingly enough, the last tribute came from 
Desmond Ryan, veteran representative of the New York Her 
ald, president of the club, in his after-dinner address: 

"Our Club takes a new departure tonight, inasmuch as for 
the first time we are honored with the presence of ladies. The 
motive of this innovation, at all times an agreeable one, is not 
merely of social pleasure or convenience. It is strictly in accor 
dance with the programme which we have laid down for our 
selves. We are a society of literateurs and artists, and I use the 
word artists in the comprehensive sense of the term, who as 
semble together to enjoy each others society, to promote the 
interests of our respective professions and to render honor to 
genius and talent whenever the opportunity presents itself. It 
is in this spirit that we have invited here tonight one of our fair 
compatriots who a few weeks ago was utterly unknown in Paris 
and who has already become famous. I had the good fortune to 
be present when she made her debut at the Chatelet. I do not 
believe there were half a dozen persons in the house who had 
ever heard of her. Her name was not even on the regular bills. 
You can therefore judge of the surprise of the vast audience 
assembled on that occasion when they saw appear before them 
with modest confidence a brave young girl whose first pure and 
unembarrassed notes and exquisite execution at once con 
vinced them that a new star had dawned in the musical firma 
ment. And as she developed the extent of her cultivation and 
the perfection of her method the feeling of surprise gave place 
to one of almost frenzied enthusiasm. To those accustomed to 
the coldness and impassibility of French musical audiences in 
the case of foreigners on such occasions the scene was a most 
impressive one. Nor was the enthusiasm confined to the audi- 

ence. The members of the orchestra who are seldom or ever 
moved to demonstrations in favor of any artist not merely 
joined in the general applause but gave the young stranger 
such an ovation behind the curtain as is rarely witnessed in 
any theatre. But what gratified my American pride more than 
all this was to hear the appreciations of the critics and connois 
seurs immediately around me. 'Quelle revelation!' they said, 
'Quelle style! Quelle purete! Quelle distinction de personne 
et des manieres!' Need I tell you what pleasure these genuine 
and spontaneous tributes of admiration afforded me? Since 
then our fair guest's performances have been a succession of 
similar triumphs and ovations and were she to accept all the 
proposals made to her (including of course offers of marriage) 
we should have the gratification of keeping her permanently 
amongst us. She has decided more wisely and patriotically how 
ever. She returns home amongst her own people by whom her 
talent was first appreciated and by whom it is magnificently re 
warded. This does not prevent her countrymen here from 
offering her a tribute of their regard and admiration and of 
expressing through me the hope that it will not be long before 
she appears amongst us again to gather the laurels that are 
awaiting her acceptance all over the continent." 

On the i4th of May, 1879, the Thursby family said good-bye 
to the bountiful city. The lilacs were in bloom in the Jardin 
des Tuileries. Bountiful May! Bountiful Paris! 


It was a weary traveller who reached London after another 
rough Channel crossing, on the 14th of May, 1879, the an 
niversary of her arrival from America. The news of her Paris 
triumphs had preceded her, so she found an enthusiastic wel 
come that in some degree compensated for the fatigue attendant 
upon weeks of excitement. Yet the remarkable vitality always 
hers brought complete restoration in a day; whereupon she 
embarked upon a schedule of professional and social engage 
ments that reflected in their number and importance the pres 
tige she had gained from her Paris sojourn. London, indeed, 
seemed a little anxious to emulate Paris in its enthusiasm over 
the young singer, however averse London might be in admit 
ting that Paris had set it thinking. London did rightfully claim 
Her discovery and introduction to Paris; there could be no ques 
tioning that. Arthur Sullivan summed up the London point 
of, view when he wrote her: "I was sincerely delighted to read 
and hear of your great success in Paris. I am always glad when 


the Parisians are made to see that Paris is not the only place 
where Art of any kind exists, that being their deep-rooted 

Mme Rudersdorff had so frequently told her of the miracles 
that would follow a Parisian success that she was not surprised 
to find impresarios suddenly springing up and petitioning for 
her favor. Ullman wrote from Paris, assuring her that he alone 
was qualified to represent her, and certainly not his former 
partner, Jarrett. Max Strakosch at once found qualities in her 
voice, of which he had been oblivious in America. Colonel 
Mapleson, convinced of her earning power, would take her 
on tour throughout America. And Ernest Gye, the lessee of 
Covent Garden, would feature her with his Canadian wife, the 
popular Mme Albani. Jacob Gosche, asking that she appear 
under his management, wrote from America, advocating that 
"Your position ought to be as if you were standing with one 
foot here and with the other in Europe, and should never lift 
up one for any great length of time from either place. 5 ' Sound 
and proven counsel this! Under Jarrett's advice she was plan 
ning to appear at the Hereford Festival in September, and at 
the Bristol Festival in October, so she decided to leave definite 
consideration of her American tour to a later date. Meantime 
Mme Rudersdorff counselled from America: 

"Don't you make a blunder, but be sure to follow out exactly 
what Jarrett plans for you. Remain in Europe up to the fall of 
1 880 and let Jarrett take you all over the continent into Russia. 
Do not let anyone nor anything dissuade you from this course. 
You see, how well I have advised you up to now, how right I 
was to urge you to sing in Paris, and how wisely I advocated 
your trusting yourself to Jarrett. He is your man I always 
told you so, and he will surely do for you, what he writes me: 
give you the greatest reputation ever any concert singer had, 
and make you earn a great quantity of money on your conti- 


nental tour. Now, dear, do just as he advises, and when you 
find out, how excellent my advice is, you shall bring me the 
largest turquoise you can find in Russia/' 

While these considerations vexed, her concert appearances 
began to multiply, beginning at the Ballad Concerts at St. 
James Hall on May i7th, where her fellow artists included 
Antoinette Sterling, Charles Santley, and Sims Reeves. May 
offered three engagements, while June followed with nine. On 
the i ith of June she appeared as soprano soloist with the Phil 
harmonic Society, renewing the happy association of her Lon 
don debut, the year previous, in another distinguished pro 
gram, this time graced by the presence of the celebrated 
Spanish violinist, Pablo Sarasate. 



Overture, "Egmont" Beethoven. 

Suite for Violin, Op. 180 Raff. 

Violin, Senor Sarasate. 

Recitative ( "Mia speranza adorata" ) ,_ 

, J 4 , r . , I Mozart. 

con Rondo | Ah non sai, qua! pena ( 

Miss Emma Thursby. 

Concerto for Pianoforte Schumann. 

Pianoforte, Mr. Alfred Jaell. 


Symphony, "Ocean" Rubinstein. 

Aria, "Se il del" (Alessandro nelle Indie) . . . Leonardo Vinci. 

Miss Emma Thursby. 
Overture, "Alchymist" Spohr. 

Conductor Mr. W. G. Cusins. 

To the more serious responsibilities of voice lessons from 
Randegger, practice, French lessons, and actual concerts were 
added many social engagements that took her frequently to the 


opera, and to receptions in the fashionable homes of the city. 
On the i4th of June she attended one notable reception in 
honor of Sarah Bernhardt, which she recorded in her diary as a 
"Very fine affair. Everybody there." Indeed "everybody" was 
in London, artists and socialites vying with each other. And 
"everybody" included one Maurice Strakosch, whose presence 
is revealed in an illuminating letter which Emma Thursby 
wrote her good friend, Mrs. Ole Bull, then vacationing with 
her husband, Ole Bull, on their beautiful island of Lysoen, 
near Bergen, Norway. 

"26 Montague St. 

Russell Square 

London W. C. 

June 20: 1879. 

Dear Mrs. Bull 

Both of your kind letters are received. Thank you so much 
for your invitation to visit you. I shall be so happy to accept, if 
it is possible, the last of July or August. My Mother and Sister 
are both with me but I think it would be imposing upon hos 
pitality to accept so generous an invitation. I really hope I may 
be able to go. Is the voyage very rough? Mr. Strakosch is here, 
I have seen him a number of times. You know I never had any 
unkind feeling towards him, and always liked him better than 
any other manager, and am sorry for his misfortunes. He is too 
generous for his own good. Did he not give some concerts in 
Norway last summer? I wish some concerts might be arranged. 
I am engaged here until the middle of July but could go after 
that, if anything was arranged. There will be nothing here but 
the Covent Garden Concerts, which I do not wish to accept, 
and will be glad of an excuse to leave. Are you going to Amer 
ica in the Autumn? I expect to go after the English Festivals 
in September or October. I should be so glad to meet yourself 
8c Mr. Bull again and sincerely trust it may be my pleasure to 


see you in your own home. With kindest regards to yourself 8c 
Mr. Bull from my mother, sister, 8c myself. 

Believe me most sincerely yours, 

Emma Thursby." 

Here was notice of the managerial quandry in which she 
found herself; here was advance notice, perhaps, of an associa 
tion that would relieve her of managerial cares for several years 
to come. Maurice Strakosch was in the ascendant, despite the 
claims and promises of all his rivals, despite, even, the advice 
of that staunch friend in America, Mme Rudersdorff . 

Berlin, Mass. 
June 2<)th, 79. 
My dearest darling, 

So you have decided to come home for the winter season? 
Well, I can only say: if Jarrett advises you, it must be right. 
Whatever you may say and think: he is the best man for you. 
You get too easily talked over and believe too many. I don't 
believe anybody ever advised you better, than I, so follow me 
in this: hold to Jarrett. Ullman is played out, he has had too 
many stars of the second order. 

If you would but study for Operal Not French, but Italian. 
Why not come home at once and here and set seriously to work 
for four Operas. What a fortune you would make in no time! 
Speranza, child, think seriously of it! ! It really is not a thing to 
throw away. 

Did you hear, that my lovely barn was burned or have I writ 
ten since? It was too bad. The dairy also suffered, and it has 
upset the whole place. The new barn is already in rapid prog 
ress and I long for it to be finished. I shall lose by the Insur 
ance, because I stupidly did not sufficiently insure my car 
riages, implements and tools* 

Clementine Studwell lost her baby last Wednesday and 


Agnes, who is here studying, has gone home for a few days. 
Does it not seem a kind of retribution? I hear, Ina is studying 
singing. How very, very strange, you should not have sent her 
to me? ! 

Fannie Kellogg is creating quite a furore everywhere espe 
cially in Oratorio. She came to NYork to study them with me. 

Who will you have to do your business here? I do no t like 
Major Pond. If you had him, your conditions about the man 
ner of working you, must be very rigid ones. No Lyceum busi 
ness. And not his wife in the Company. She would not do in 
any manner, and he is perfectly crazy about her. 

Why not have Barnum and let him make a second 'Jenny 
Lind' business? ! Upon my word, it would not be half bad! 

Please, dear, bring me a circular^ lined with fur. I want a 
good stout silk, lined with gray fur. Anna Drasdil had one for 
10, but I do not mind going a little higher, for I want a ser 
viceable thing. I think, you might get a good one for 12. 
Gerster offered to bring me one but I said, I had already or 
dered, for she would make me a present of it, and I hate pres 
ents of clothes. The width round my shoulders is 46 inch, the 
length is 54 behind 48 front. Also please, buy me some Bre- 
tonne lace 2% inches wide, by the piece. And anything cheap 
and useful. You know little things, that cost so much here. 
How happy your mother will be to come home! 
Yours most lovingly 

Erminia Rudersdorff" 

Opera? Again the old question. Torn between the provin 
cialism and religious prejudices of her upbringing and the 
glamour and material reward of an operatic career, there can 
be no doubting that she at least contemplated the latter. But 
for the time being she would postpone action. On the concert 
stage, as such, she had no rival; on the operatic stage she would 
have many rivals. However much she may have secretly envied 


her operatic colleagues, she would not be quick to make a 
change. Indeed, the change would have to be prompted from 

The quota of concert engagements for July was eight. Ap 
propriately, on the 4th of July, the American colony met at the 
Westminster Hotel to celebrate, Emma Thursby singing "My 
Country 'Tis Of Thee" and "The Star-Spangled Banner/* 
Curtis Guild, later American Minister to Russia, who presided 
on the occasion in the absence of the American Minister to 
England, John Welsh, proved an invaluable aid to Emma 
Thursby, and to her chagrin, since she was obliged to call on 
him for verification of the words of the last stanza of the na 
tional anthem. It was little comfort to realize how many other 
American singers and citizens as well had failed to remember 
all the verses of "The Star-Spangled Banner/' However, never 
again would she be found wanting in this song that became 
conspicuous in her repertory. On the 8th of July she sang at 
another of the notable gatherings which were bringing her 
into association with the great artists of the day, on this occa 
sion at the home of Lady Brassey, with the charming and bril 
liant Sarah Bernhardt as a colleague. 



Comedie en un Acte, de M. P. Ferrier. 

Mile. Th&iard Marthe 

M. Boucher Charveron 

M. Baillett Duncanois 

Solo, Violin "Fan taisie" De Beriot 

Mile. Castellan. 

Valse Romeo e Giulietta Gounod 

Miss Emma Thursby. 

Song 'Tareweir Louis Engel 

Madame Trebelli. 


Duo "Canta la Serenata" (Mefistofele) Boito 

Miss Emma Thursby and Madame Trebelli. 

Comedie en un Acte, de M. A. Theuriot. 

M. Baillet Jean Marie 

Mile. Joliet Joel 

Mile. Sarah Bernhardt Therese 

Duo "Qui est homo" (Stabat Mater) ...... Rossini 

Miss Emma Thursby and Madame Trebelli. 

Solo, Violin "Tambourin" Leclalr 

Mile. Castellan. 

Song "Embarrasment" . . . . Abt 

Miss Emma Thursby. 

La Habanera Carmen Bizet 

Madame Trebelli. 

De Moltere. 

Mile. Sarah Bernhardt Henriette 

Mile. Thenard Armande 

At the Pianoforte, Sir Julius Benedict. 

At the reception given on the afternoon of the igth of July 
by Mrs. Joseph Hatton, wife of the London correspondent of 
the New York Times, Emma Thursby could be seen with her 
American colleagues, Clara Louise Kellogg, Minnie Hauk, 
Emma Osgood, and the promising young debutante, Marie 
Van Zandt. On the 4th of August she appeared (bridging the 
concert-opera span, it would seem) in the "Farewell Opera 
Concert" at Royal Albert Hall, which billed as principal vocal 
ists primarily members of the Colonel Mapleson's troupe: 

"Madame Marie Roze, Madlle. Libia Drog, 

Miss Emma Thursby, Madame Trebelli, 
Madame Sinico, and 

Madlle. Lido, Madlle. Minnie Hauk. 


Signer Frapolli, Signer Galassi, 

Signer Brignoli, M. Carleton, 

Signer Runcio, and 

Signer Del Puente, Herr Behrens. 

Conductor, Sir Julius Benedict." 

A program of twenty-six numbers was this, commencing at 
three o'clock and continuing ad infinitum. But who would not 
have forgotten time to hear Minnie Hauk sing "Voi che 
sapete" from Mozart's Le Nozze di Figaro and Eckert's "Echo 
Song/' Marie Roze sing Moore's "The Minstrel Boy/' or Mme 
Trebelli sing Engel's "Farewell" to the harmonium obligate 
of the composer and the harp obligate of the great English harp 
ist, John Thomas? Who was not thrilled as Emma Thursby's 
voice soared in the familiar Variations of Proch, and pleaded in 
Engel's "My heart has its love'? Who was not carried away by 
this fine musical banquet to which each artist contributed a 
favorite selection? 

By this time all hope of a short Scandinavian tour with Ole 
Bull had been abandoned, but only after the keen disappoint 
ment which she had voiced in her letter to Mrs. Bull on July 

"26 Montague St. 

Russell Sqr. 

London, W. C. 

* f j n* T> 11 July 3 oth 1879. 

My dear Mrs. Bull J ? ^ 

I cannot begin to tell yon how disappointed I am not to sail 
for Norway tomorrow as I had hoped to do. I don't know when 
it has been my fate to feel so greatly a disappointment as I do 
this. I have anticipated my visit to you with so much pleasure 
and it is only today that I have given up the hope of going. 
Behrins wanted me to go on a tour with him & Trebelli, but I 
did not accept as I preferred going with Mr. Bull if I went at 
all. When I received Mr. Bull's telegram twelve days ago I gave 


it at once to Mr. Strakosch and he telegraphed as you know, 
and every day since until today we waited in vain for the reply 
which never came until today, too late to get ready and sail by 
the steamer which goes tomorrow, and I fear after this week it 
will be too late in the season as I have to be back to sing at the 
Hereford Festival Sept. gth. Mrs* Moulton and Miss Field 
could not go, but my Mother and myself have until today 
hoped that we might have the pleasure of seeing you in your 
home. I know I should enjoy it so much, and am longing to get 
there and have a little rest, which I need so much, for I am very 
tired after the London Season. Strakosch says we may go next 
week, but I do not think he will, he is a little afraid to risk the 
Concerts this season and does not feel as if he can go and leave 
Mrs. Strakosch who is here with him unless he goes on busi 
ness. For my part I should prefer the rest, only I should like 
to sing a few times in Norway fe Sweden before I go back to 
America. I have not yet completed my plans for America. Shall 
not get there before December as I am engaged here until Nov, 
loth. When do you go, and with what manager? 

If Norway was not so very far and the steamer went oftener 
than once a fortnight you would see us in a few days, but now 
that we miss this steamer I fear we will not get there. Then too 
I suppose you will be leaving Bergen very soon. It does take 
such a long time to get a reply from Bergen, longer than from 
America. I need not repeat how greatly we are disappointed 
but shall hope yet that we may be so happy as to see you at 
home in Norway. Give Mr. Bull my most sincere regards and 
tell him I had anticipated so much pleasure singing with his 
violin. But I hope it may not be long before we shall perform 
together. My Mother and Sister send love 8c sincere regrets at 
our disappointment. 

With best love. Believe me 

Sincerely your friend 

Emma Thursby." 


It was fortunate in a way that the tour had not been ar 
ranged, for she was badly in need of rest that could now be 
found at the various watering places near London. It was at 
Margate with her mother and sister that she found greatest con 
tentment. Here it was that she was joined on the syth of Au 
gust by Mr. and Mrs. Ole Bull; Mrs. Bull's father, Senator 
Thorp; and Maurice Strakosch for a few days of carefree 
vacation, that were, nevertheless, productive of an eventful 
decision. She would return to America, upon completion of 
her London engagements in November, under the manage 
ment of Maurice Strakosch. Wednesday, September 5th, sig 
nalled the signing of a contract with Strakosch, and the depar 
ture of Mr. and Mrs. Ole Bull for America. America! How im 
patiently now would Emma Thursby await her homegoing! 

Though the summer months carried the weight of uncer 
tainty over future plans, there was happy compensation in the 
time offered for the society of the ever-growing group of 
friends that now numbered many prominent literary figures. 
Especially was she drawn to that enlightened group of women, 
the novelists, Elizabeth Braddon, Grace Greenwood, and Eliza 
beth Phelps; the journalists, Kate Field, Olive Logan, and 
Mary Mackay. Here were women eminently furthering the lit 
erary traditions of their sex; here were women eminently serv 
ing in the cause that would eventually lead to the political 
emancipation of their sex. Her literary friends also included 
Bronson Howard, playwright extraordinary; Moncure Conway, 
preacher and prolific author; Julian Hawthorne, novelist and 
journalist, son of a famous father; Joseph Parish Thompson, 
eminent Oriental scholar, and former rector of the Broadway 
Tabernacle; and Henry M. Stanley, explorer and lecturer. 

The business of a career made its first demands of the new 
season at the Hereford Festival, commencing the gth of Sep 
tember, but a happy occasion this was, her financial reward 
being f 168, her artistic reward association with Mme Albani, 


Mme Patey, Mme Enriquez, Anna Williams, Ellen de Fon- 
blanque, W. H. Cummings, Barton McGuckin, Charles Sant- 
ley, and Thurley Beale. Her own schedule found her singing, 
on the night of the gth, the Polacca from Mignon, and "Mia 
speranza adorata." On the following afternoon she sang Pur- 
celFs Te Deum, and in the evening, Mendelssohn's "Hear My 
Prayer," and Rossini's Stabat Mater. Most of all she enjoyed 
the privilege of singing the soprano part in Sullivan's Light of 
the World, with the composer conducting the orchestra, on the 
afternoon of September nth. That evening in Shire Hall a 
large audience heard all the artists in a miscellaneous program 
to which Mme Albani contributed the "Casta Diva" from Bel 
lini's Norma, and "Robin Adair"; and Emma Thursby, Prodi's 
Variations, and "Jours de mon enfance" from Herold's Pre auK 
Clercs. The performance again benefitted from the sympa 
thetic and inspired conducting of Arthur Sullivan. Public and 
critics pronounced this, the one hundred and fifty-sixth festi 
val meeting, an auspicious one, furthering the best musical 

Upon the conclusion of the festival she returned to London 
to find herself once more in the whirl of social engagements, 
which she interrupted to say farewell to her manager, Maurice 
Strakosch, who sailed for America on the steamer "Bothnia/' 
on the igth; and to embark, herself, for Paris, on the 2 ist, for 
a brief interlude of rest and reunion. Again in London, on the 
goth of September, she settled down finally in preparation for 
the ambitious schedule she had planned for her farewell weeks 
in England. The schedule commenced with an appearance as 
soloist in the Crystal Palace concert of October 4th, with her 
friend August Manns conducting the orchestra. Familiar 
ground was this, and familiar her selection, the "Non paventar" 
aria from the Magic Flute. Less familiar to her repertory was 
"The Bird that came in Spring," which she sang in recognition 
of the many kindnesses its composer, Sir Julius Benedict, had 


so generously bestowed upon her since her advent in England. 
The program, following in the splendid tradition of these con 
certs, was notable in its presentation of Maurice Dengremont, 
the twelve-year-old Franco-Brazilian violin virtuoso, and in the 
first performance in England of Delibes* ballet, Sylvia. The 
overture to Mozart's Magic Flute and the Symphony No. i of 
Schumann were well rendered by the experienced orchestra. 

After four appearances in Riviere's Promenade Concerts at 
Covent Garden, a triumphant reappearance in Liverpool with 
the Liverpool Philharmonic Orchestra with the veteran, Sir 
Julius Benedict, conducting, and a successful appearance at 
Cambridge, she journeyed to Bristol for the Third Triennial 
Musical Festival. This was the real occasion of her decision to 
remain in England until November, for here was the most 
important of the English festivals, the one that enjoyed the 
widest recognition. The principal vocalists, her now familiar 
co-artists, were Mme Albani, Mme Patey, Mme^Trebelli, Ed 
ward Lloyd, Barton McGuckin, Robert Hilton, and the indis 
pensable Charles Santley. Charles Hall6 conducted the band 
of eighty-one members, numbering many of the best musicians 
in England, while D. W. Rootham conducted the Bristol Fes 
tival Choir. Emma Thursby and Mme Albani shared the major 
honors that large and enthusiastic audiences heaped upon the 
brilliant array of artists. More than on any other occasion in 
England, Emma Thursby was enabled to demonstrate the wide 
scope of her talents, as her contributions covered a comprehen 
sive range: 

Samson Handel 

Elijah Mendelssohn 

Messiah Handel 

Requiem Mozart 

Choral Symphony (No. 9) Beethoven 

Mia speranza adorata Mozart 

Quest* annel (II Talismano) Balfe 


G. BroJcesch, Leipzig 


G-. .P. Jacotsen, O dense 

Jours de mon enfance (Pre aux Clercs) Herold 

Placer del del (L/toile du Nord) Meyerbeer 

It was a far cry from the brilliancy of the Bristol Festival to 
the commonplace of the Riviere Promenade Concerts at Cov- 
ent Garden, in which she sang nightly, save Sundays, the 1 8th 
of October through the 8th of November, a season of three 
weeks for which she received 100 weekly, together with the 
surplus above expenses in a benefit concert given the last week. 
Small reward was this, yet in order with the English scale of 
concert fees. Of the concerts themselves, both praise and con 
demnation could be offered. Riviere had gathered an orchestra 
of one hundred musicians, many of them highly proficient, but 
their performances too often indicated inadequate rehearsal. 
His soloists, led by Emma Thursby whose singing the critics 
agreed was the bright ornament of the concerts, included some 
who could boast of genuine talent; others who could boast 
only of some foreign appellation and a reputation that proved 
ephemeral upon demonstration; and one Georgina Weldon, 
whom all England knew as a singer and organizer of choral 
groups, a woman of impeccable musical taste, whom most of 
the musical world knew as the mistress of Gounod. 

The Emma Thursby benefit concert on Monday evening, 
November grd, brought out a large gathering of Americans 
who found everything to commend in their own prima donna, 
and much to commend in a lengthy program, especially in the 
presentation of a fantasia of American melodies by A. Lemotte, 
entitled "Les Emigrants d'Amerique" and subtitled: "Depar 
ture," "Hail Columbia," "Storm at Cape Hatteras," "Calm 
after the Storm," "Yankee Doodle," "Arrival," "Rejoicing," 
"Dance on Board," and "Finale." 

Upon the conclusion of the concert a large group of Emma 
Thursby's admirers assembled at a farewell supper in her 
honor at Prevalti's Italian Hotel in Arundel Street, Haymar- 
ket, where the toastmaster of the evening, Joseph Hatton, the 


English musician and critic, in proposing Miss Thursby's 
health and wishing her Godspeed, spoke of her perfect vocal 
method and execution, her womanly graces and her amiable 
manners. "The truth is/* he said, "the leading English concert 
singers of today are Americans, and the principal Italian prima 
donnas of the lyric stage are Americans. Tennyson would 
have it: 

'Saxons and Normans and Danes are we, 

But all of us Danes in our welcome of thee, Alexandra!' " 

Moncure Conway, responding for Emma Thursby, spoke fit 
tingly of her great gratitude to the English people for their 
kindness and generous treatment both in public and in private. 

The days remaining before her departure were days crowded 
with farewells to the many friends she had made in England. 
On the 8th of November she sang in her last Covent Garden 
concert, and on the i oth, Lord Mayor's Day, she sang "The Star- 
Spangled Banner" at the ceremonies attendant upon the un 
furling of the American flag at the American Exchange. As one 
of the English newspapers commented ironically, there seemed 
no good reason either for the Lord Mayor's celebration by the 
English or the unfurling of the American flag by the Ameri 
cans. Yet the latter ceremony gave opportunity for an Ameri 
can get-together, a little music, and a wealth of good cheer. 
"Claret-cup ran like water/' said The Sportsman, "and coffee 
flowed in apparently perennial streams. The fair daughters of 
Columbia 'froze' to innumerable Neapolitan ices, and plates of 
sandwiches lay around in careless profusion." 

This was the last note, one of unaffected American spon 
taneity and democracy. To Liverpool and the steamer "Baltic." 
And the next day, they sailed, Jane Thursby and her two 
daughters. England, farewell! England of happy memories! 
America! Home! 



When the steamship "Baltic" reached its dock in New 
York early in the evening of November 2 ist, 1879, the 
Thursby family found themselves the center of attention of a 
large welcoming party of friends and representatives of the 
press. To be sure, the homecoming of Emma Thursby, now 
the American prima donna graced by an European fame, was 
news. The astute Maurice Strakosch, very much in evidence, 
after conducting the Thursby family to the Everett House for 
reunion with friends and interviews with reporters, was not 
averse to guiding the news as far as that was possible. On two 
scores he was particularly interested and in these the news 
paper reports of the following day confirmed his wishes: Miss 
Thursby had declined persistent offers of operatic engage 
ments in Paris and London, because she had no ambition to 
go on the operatic stage. "My ambition is satisfied when I can 
look in the faces of a sympathetic audience, and, whether sing 
ing the classical music of an oratorio or a simple ballad, realize 


that I have fulfilled the original plan and purpose of my life. 
The truth is, and I will frankly confess it, I do not feel equal 
to the task of representing a character, the instincts of which I 
do not feel I am not an actress/' So reported the New York 

Moreover, the newspapers denied the continued reports of 
her engagement to a fellow passenger, the proprietor of the 
American Exchange in London, Henry F. Gillig, whose ro 
mantic attentions were no secret. "Miss Thursby will remain 
wedded to her art/' Sufficient unto Strakosch that the news 
papers had complied with his two wishes, though their conclu 
sions in the former might at least be controversial. Above all, 
however, Strakosch had occasion to be pleased with the par 
ticularly warm reception accorded Emma Thursby by the 

After several days of reunion with family and friends, a visit 
to Henry Ward Beecher and attendance at the Thanksgiving 
service in Plymouth Church followed by Thanksgiving dinner 
with "Papa" and "Mama" Smith, December ist came with 
suddenness, heralding the beginning of her American concert 
tour. Steinway Hall was the scene of the concert which Stra 
kosch had prepared with care and diligence, giving her the 
benefit of a sizeable orchestra under the capable direction of 
G. Carlberg and the assistance of the always popular contralto, 
her old friend, Emily Winant, and the pianist, Franz RummeL 
Emma Thursby was heard in the Polonaise from Mignon, in 
a duet with Miss Winant, from Boito's Mefistofele, and in the 
final aria from L'toile du Nord. Her greeting by a large and 
fashionable audience was warm and heart-felt, turning into an 
ovation when she sang with evident emotion, "Home, Sweet 
Home/' The press was equally warm in reporting the occa 
sion, the New York Sun reflecting the opinion of its colleagues, 
reflecting as well the personal opinion of its editor, her good 
friend and admirer, the distinguished Charles A. Dana: 

"Every detail of her work Is finished, the execution faultless, 
the style irreproachable, the phrasing most carefully studied, 
the enunciation clear and distinct, the whole manner of the 
singer polished and refined and set off by personal graces of face 
and form of a high order. These were the qualities that pleased 
the sensitive and artistic Parisians, and these were the qualities 
that were again displayed last evening at Steinway Hall." 

However important, musically, a first appearance in New 
York might be, surely, sentimentally, a first appearance in 
Brooklyn was more important to Emma Thursby, for it signi 
fied homecoming in a very real sense. Brooklyn, of course, was 
unwilling to admit any musical superiority in its neighbor, 
New York, and in many instances it could boast of perfor 
mances that surpassed those of its neighbor. On the occasion of 
Emma Thursby 's Brooklyn homecoming on December 2nd, 
the night following her New York appearance, the Academy 
of Music was jammed to capacity with a fashionable audience, 
a friendly and a possessive audience that came to honor their 
own favorite. Nor did she fail them, singing with especial bril 
liancy and emotion the selections of the previous night, joined 
by the pianist, Florence Copleston, daughter of the music critic 
of the New York World, and the harpist, Maud Morgan, now 
grown up and enjoying the popularity due her talent, Brook 
lyn spoke in unmistakable language its appreciation of Emma 
Thursby's art and its affection for her person. 

On the 6th of December she renewed her happy association 
with Dr. Leopold Damrosch, when she appeared as soloist with 
the Symphony Society of New York in its second concert of its 
second season under Damrosch's able and inspired direction. 
Lovers of music and musicians alike had learned to expect 
much of the sincere and determined founder of both the Sym 
phony Society and its predecessor, the Oratorio Society, and he 
never failed them. His program, for the 6th at Steinway Hall, 
which was given its public rehearsal on the 4th, indicates the 


standards that Dr. Damrosch was setting for musical New 
York with an orchestra that understood the proficiency he 


Dr. Leopold Damrosch, Conductor 
Johann Sebastian Bach Toccata in F. 

(Orchestral Arrangement by H. Esser.) 

Nicolo Jomelli "La Calandrina," Air, (1750) 

Miss Emma Thursby 
Wolfgang Amadeus Mozart .... Symphony in C, (Jupiter) 

Allegro Vivace. C major. 

Andante cantabile. F major. 

Menuetto e Trio Allegretto. C major. 

Finale Allegro molto. C major. 

Carl Goldmark Overture "Penthesilea" (new) 

Carl M. Von Weber .... Cavatina from "Der Freischiitz." 

Miss Emma Thursby 
Ludwig Van Beethoven .... Overture "Leonore" (No. 3) 

Suffering from a cold and the nervous reaction from home 
coming, she was not in her best voice. However, the warmth 
of her reception again indicated her great popularity. In 
Jomelli's "La Calandrina" she found the florid passages for 
which her voice was so well suited, but in the Cavatina from 
Der Freischiitz there was little to display the unusual qualities 
of her voice. Encored in "La Calandrina/' she repeated it, and 
encored in the Cavatina, she wisely chose the delightful "Si 
t'amo, o Gara" from Handel's opera, Muzio Scevola, which she 
had first sung, and with such great success, at the von Biilow 
conceit in November, 1875. The critic of the New York 
Tribune considered the singing of this Handel aria the gem of 
the evening's program. "It seems to us that there are few pieces 
in her repertory," he said, "which she does better, and few 
pieces that are better worth doing." 

Succeeding concerts in Boston, Philadelphia, Washington, 


and Baltimore proved a series of triumphs, testimonials of her 
popularity, in which an European reputation no doubt con 
tributed its large influence. Crowded houses greeted her every 
where, with Lincoln Hall in Washington filled with the largest 
and most fashionable audience that had been seen in that 
building in many seasons, an audience that made her reception 
a striking ovation. Social invitations too numerous for her ac 
ceptance followed her wherever she went. While in Boston she 
journeyed to Cambridge to be the luncheon guest of Mr. and 
Mrs. Ole Bull at their temporary home, "Elmwood/' the fine 
old mansion owned by the American Minister to Spain, James 
Russell Lowell. This was the occasion for her first meeting with 
that great lover of music, Henry Wadsworth Longfellow, so 
staunch a friend of Ole Bull. While in Washington, she was 
prompt in calling on Mrs. Hayes, wife of the President, whose 
real and generous friendship brought particular pleasure to a 
Washington visit. In Washington, too, she attended a reception 
given in her honor by the Honorable Fernando Wood, one 
time mayor of New York and member of Congress. 

Perhaps it was well that after her triumphant tour a sober 
note should have been struck in a letter she received from 
Mme Rudersdorff. Ever the guardian of Emma Thursby's 
career, Madame wrote with the straightforwardness and sin 
cerity that were always her greatest attributes. Whether she 
was right or wrong in her opinions, no one could question the 
sincerity of them. And, doubtless, Emma Thursby, although 
she undertook her work seriously and faithfully, was at times 
careless under the pressure of long and tiring schedules. Ma 
dame, uncompromising musician that she was, was best quali 
fied to administer the corrective. 

"50 Boylston St., Boston^ Mass. 

Dec. 2ist jy 
My darling Speranza, 

I have been wanting to write to you, ever since you left 


Boston, but have failed to find the time. Yet I know, I must not 
wait any longer, for what I have to say, is important. Childe, 
you are falling back in the old dangerous way, of which to cure 
you, when you came first to me to Wrentham, cost some con 
siderable trouble. Your ...^ - n. are all again too fiat 
and you also are begin i i" 1 | n { n g to s i n g too O p en> 
I did not like to trust my judgment on the first night, but 
waited for the second both were alike. You know Speranza, 
better than anyone in the world, what my teaching has done 
for you do not ever forget it but faithfully adhere to these 
rules and principles of the only legitimate school of singing, of 
which I am a disciple, and to which you owed the first great 
triumphs you scored. Do not ever, any day, omit to practice 
your strokes and your bows, these latter most carefully in half 
tones from _1i*r> Believe me, you need them for the 

preservati y V* { 1 on of your voice as you need food 
for the preservation of your life. Do not let anybody interfere 
with these exercises, but be faithful to them, as you value your 
continued success. 

People here say, that you sung with less expression and 
warmth now than before you went to Europe. I understand 
that judgment perfectly, for I defy anyone to put warmth into 
all open vowels! That terrible A A is destruction. I know, Stra- 
kosch is at the bottom of that, and I warned you against it last 
year. Let me warn you once more more emphatically. He can 
write excellent cadences for florid music, also watch your exe 
cution but there his knowledge ends, of the higher school of 
Italian singing and the highest aims of art he is ignorant. What 
he is as a man he is as a teacher open your eyes to that fact! 
Adelina owed him infinitely much for execution but it is 
only after she quarreled with him, that she gained warmth and 
breadth of style and became an artiste in the higher sense of 
the word. This all musicians and critics in Europe well know. 
Think of that always, and take of him only as much, as is really 


desirable, for the remainder trust to what you have learnt, and 
keep up, what made you, what you are. When you have a few 
days time, come here and refresh your memory. You need it. 

I have the right to speak to you as a teacher and friend and 
I love you most dearly, my darling child, and your success and 
interest I consider my own. 

It was a great pity, you came to those beastly concerts, which 
prevented anything being done in the way of society success. 
Next time you come this must be largely prepared. 

Tell me, which Mr. Coolidge is your friend? 

Yours lovingly 

E M RudersdorfT 

Surely the most affectionate of Emma Thursby's homecom 
ing greetings came when she sang on the 22nd at the church 
where she had commenced her choir singing, the Bedford Ave 
nue Reformed Church in Williamsburgh. There, in the choir 
gallery, from which was hung an illuminated scroll bearing the 
words, "Welcome to thy home again," she sang from her heart 
to an audience of old friends who were determined to show the 
world that they knew how to honor their own favorite. "There 
is no need/' said Dr. Porter, "to introduce to you my little 
bird." There were tears of happiness in the eyes of that audi 
ence of old friends before she commenced her first notes, tears 
that flowed freely before she had completed Jomelli's "La 
Calandrina," an aria from La Somnambula, and the old faith 
fuls, "Twickenham Ferry" and "Home Sweet Home." Though 
for so short a time, nevertheless home again was their beloved 
songstress, home where they could touch and see her whom 
London and Paris had honored but had not spoiled. 

"She wore a princess dress of pure white satin, exquisitely 
trimmed with garlands of blush roses, buds and foliage. A 
necklace of pearls encircled her neck, from which depended a 
diamond cross of great magnificence. The same brilliant jewels 


flashed from her ears, but her hair was simply waved, parted 
over her forehead and classically coiled low down behind/' 

Christmas Day found the united Thursby family, Jane and 
her five children, Alice, Emma, Ina, John, and Lewis, gathered 
at Martinelli's in New York for a holiday feast, with "Papa" 
and "Mama" Smith as their guests. In the afternoon the family 
conclave adjoined to the Academy of Music, where Emma 
Thursby sang the solo part in Patrick S. Gilmore's patriotic 
song, "Columbia," at its premiere, an occasion to which Gil- 
more had directed all his great organizing ability, and the New 
York Herald its ardent sponsorship. That Gilmore took "Co 
lumbia" very much to heart, and that he rejoiced at the thought 
of Emma Thursby singing it, is manifest in the effusive but sin 
cere note he had addressed her a few days before: 

"P. S. Gilmore, 

6 1 West i * th S* Sunday 5 P.M. 

New York. Dec. 2ist 1879. 

My dear Miss Thursby 

Your beautiful voice has woven such an indescribable charm 
around my Columbia that I am thrilled with rapture for the 
pair of you. No living singer could take it to a heart to whom 
it will nestle closer. That you have so instantly adopted it, my 
darling child, and already feel that you shall love it, will add 
sweetness to niy days forever, I will publish a special edition 
as sung by you, and I know that every heart in the land and 
in every land where you may sing it will feel that the spirit of 
Columbia the nation I mean, is grand and majestic, and with 
such a true representative as yourself to tell its story, each 
musical measure is made golden, and at once becomes vested 
with exquisite beauty. 

Long may Columbia be entwined around your heart is the 

wish of its papa. 

your sincere friend 

P. S. Gilmore. 


Tell your grand Maestro Mr. Maurice Strakosch that his words 
to me this morning were like diamonds; but the lips that sang 
'a crown of stars' to his harmonious ear, made bunches of 
pearls from groups of notes in such airy or fairy-like splendor 
that kings might envy the treasure he has secured for the 
sovereigns of America. Amen." 

If any in the audience that packed the Academy doubted 
whether Gil more would put on a stirring spectacle they were 
shortly set aright, as an orchestra of some sixty-five or seventy 
instrumentalists, including the indispensable cornetist, Levy, 
and numerous other prominent musicians, took their places on 
the stage, followed by a mixed chorus of about four hundred, 
representing several Metropolitan choral societies. Still not 
enough for Gilmore! Mr. Algernon Sydney Sullivan advanced 
to the center of the stage and proceeded to deliver an address 
explanatory of the poem and the occasion, the introduction, if 
you will, of a new National Anthem. "Let us keep in mind 
that the service of this Christmas afternoon is not to introduce 
an elegant ode, with florid brilliancy, but in simple phrase and 
measure to embody the sentiment of the American patriotism 
in a 'people's song/ " Upon the conclusion of the address, Mr. 
George Vandenhoff read the poem or song "with that pro 
priety of and truth of feeling for which his elocution is distin 
guished," said the Home Journal. "Immediately upon the pre 
luding delivery of the air by the instrumental performers/* it 
continued, "the satisfaction of the audience was apparent, and 
when Miss Thursby sang a stanza of the song as a solo, she met 
with unbounded applause; but when the songstress, the or 
chestra and the vast chorus all joined in the hymn, cheer after 
cheer went up from the whole audience ladies handkerchiefs 
were waved, gentlemen's hats were raised high in air; enthu 
siasm, indeed, knew scarcely any limits/' 

But more of the soloist: "Mr. Gilmore was fortunate in se- 


curing for the first hearing of the composition so sweet and 
gifted a singer as Emma Thursby. The young lady, in a superb 
white corded silk gown, crossed with white satin folds, a white 
Gainsborough and drooping feather, with tasteful gold jewelry 
by way of relief in this attire Miss Thursby, with her marked 
personal beauty, presented a really beautiful picture as she 
stood before the audience with the darkcoated performers as a 
background. We are not surprised that the young American 
prima donna created such a furore abroad." 

Gilmore did give a good show and win a personal ovation, 
but his child, "Columbia," was not fashioned of the lasting 
stuff of poetry or music, 

"COLUMBIA! First and fairest gem 
On Nature's brow a diadem 
Whose lustre, bright as heavenly star, 
The light of Freedom sheds afar. 
Like Noah's Ark, a God-sent bark, 
In search of land, through day and dark, 
First found thee held by Nature's child, 
The red man, in his wigwam, wild." 

So ran the first stanza. Not very convincing, to be sure; 
hardly of the quality of a national anthem. Indeed, one un 
sparing critic took up his wrathful pen and wrote "A Rational 
Parody Founded On The New Musical Nondescript," which 
ran in part: 

"COLUMBIA! 'tis the latest glim 
From Gilmore's lantern, faint and dim; 
A feeble spark which shows how far 
From good 'sound* sense some people are. 
Let no dog bark, though men may mark 
The tune is old as Noah's Ark, 
Or those stern hills where 'nature's child' 
Long hours in lazy wigwam wiled. 


Now, midst a discontented row, 
Miss Thursby makes her modest bow; 
Fair mistress of unnumbered arts, 
The homage of our loyal hearts 
Still clings to thee; from C to C 
Thy notes are clear as bird's could be: 
And chiefly thou my muse is just 
Hast saved the piece from being cussed/' 

On the 27th of December Emma Thursby made her last 
appearance of the year in a performance of the Messiah at Stein- 
way Hall by the New York Oratorio Society, under the direc 
tion of Dr. Damrosch, and shared with Dr. Damrosch the 
tributes accorded a superior rendition of this oratorio so often 
identified with both Emma Thursby and Dr. Damrosch. On 
the gist she celebrated the end of a bounteous year by an ap 
pearance in her less familiar role of auditor in the brilliant 
audience that greeted the premiere of The Pirates of Penzance 
at the Fifth Avenue Theatre. Altogether it was a thrilling 
experience to see and hear the gay, and tuneful, and witty 
Pirates; a memorable experience to see and hear the Pirates 
under the baton of Arthur Sullivan and the keen ears and 
watchful eyes of W. S. Gilbert, its two eminent collaborator 
composers who had already given an eager public Trial by 
Jury and HM.S. Pinafore. For Emma Thursby the experience 
was an especially happy one, since she witnessed the striking 
personal triumph of these two good friends of her not-long-ago 
London days. 

The concerts for January, February, and March, forty-two 
in number, that Maurice Strakosch had booked, took her north 
as far as Toronto, Canada, and St. Paul, Minnesota; south as 
far as St. Louis, Missouri, and Louisville, Kentucky; and west 
as far as Omaha, Nebraska, and Topeka, Kansas; to one or 


more of the principal cities of Illinois, Indiana, Iowa, Kansas, 
Kentucky, Minnesota, Missouri, Nebraska, New York, Ohio, 
Pennsylvania, and Wisconsin, Chicago, as was its wont, gave 
her the most enthusiastic and affectionate greeting, Chicago 
that could boast a musical discernment second only to that of 
New York. Everywhere audiences spoke their high praise of 
"The American Nightingale/' "The World's Greatest Living 
Concert Singer/' 

The supporting artists whom Strakosch had provided for the 
tour made possible well-balanced and interesting programs. 
Franz Rummel, the pianist, and Adolphe Fischer, the violon 
cellist were more than competent; Timothie Adamowski, the 
violinist, was a young Pole whose sure and brilliant method 
won high favor; while Signor Ferranti, who still had a good 
voice, was also a splendid mime. In February, a tenor, Phillip 
Branson of St. Louis, replaced Rummel and Fischer, perhaps 
indicating the public's leaning toward tenors. Altogether it 
was a happy musical family that prospered under the inspired 
and astute management of Strakosch. 

The tour was a rigorous one. Draf ty stages, makeshift dress 
ing rooms, poor hotels, and indifferent food were often encoun 
tered, though not the rule. Making railroad schedules was al 
ways exacting, frequently forcing one from a none too com 
fortable bed at a less comfortable hour. Railroad cars some 
times offered the last word in up-to-date equipment, but more 
often the very opposite. Yet, this was all in the day's work that 
Emma Thursby could now enter upon with lessened responsi 
bility, since her sister, Ina, had taken over the manifold duties 
of companion and protector, duties that she would thereafter 
fulfill zealously and faithfully without thought of her own 
career and her own sacrifice. 

The story of the road was frequently one of happiness, found 
not only in the reward of successful concerts, but in the oppor 
tunity offered for meeting old friends who seemed to turn up 


in every city Emma Thursby visited, anxious to honor her with 
receptions and dinners. Occasionally, too, she had opportunity 
to visit the theatre, even to hear her musical friends in concert 
or in opera. It was in January, during her visit to St. Louis, that 
she heard two particular friends, Emma Abbott and Tom Karl, 
in The Bohemian Girl, and took silent note of the success that 
could easily be hers, in that other field, the opera. She did miss, 
though long experience had reconciled her to the loss, the 
gatherings of friends at home. One learned of them through 
the mail, just as one learned of marriages and births and 
deaths. An occasion she particularly regretted missing was the 
celebration, on February 5th, in Cambridge, of the seventieth 
birthday of Ole Bull, a celebration that saw musical and liter 
ary Boston gathered at "Elmwood" in affectionate tribute. 

When Emma Thursby returned to New York late in March 
for a brief respite, it was with a sense of satisfaction over her 
Western reception. Even in the lesser cities, where the musical 
public was small and attendance at concerts poor, there was 
spontaneous recognition of her great talent, and her name and 
fame spread quickly. Everywhere, those who had come to hear 
a great voice had found themselves stirred often to religious 
fervor by this woman of modesty and naturalness and simple 
charm. The large cities, like Chicago and Cleveland, that had 
known her for several seasons, had of course made this discov 
ery before, but again they hailed her. "There is about her, and 
about all she does, an atmosphere of goodness, which one feels 
is natural to her," commented the Chicago Musical and Society 
World. "If to know Madame De Stael was a liberal education, 
to know Miss Thursby is a religion in itself," it pronounced. 

Richmond and Washington ushered in April with concert 
successes that were gratifying if anticipated, while Washington 
offered her opportunity for a short visit with her friend Mrs. 
Hayes. New York again beckoned with three concerts, prelude 
to the long awaited tour with Ole Bull, that commenced aus- 


piciously on the soth, in Baltimore, with a splendid company 
numbering Signors Brignoli and Ferranti. The "Thursby-Bull 
Combination'* caught the public favor at once. Indeed, on the 
following night Washington turned out to hear it, filling Lin 
coln Hall, even to its stage, with the largest audience ever as 
sembled in that edifice. New York offered its striking testi 
mony of affection on the 2grd, at Steinway Hall, with the audi 
ence overflowing both the main auditorium and the adjoining 
hall. And Brooklyn, on the 2 6th, turned out literally en masse 
to crowd the Academy of Music with the largest concert audi 
ence ever gathered in Emma Thursby's home city. "Everything 
that a human being could sit or stand on excepting only the 
aisles of the parquet was taken possession of by an eager 
crowd, seats, steps, railings and windows/ 1 reported the Brook 
lyn Daily Times. "The stage was covered with chairs, every one 
of which was occupied, and not a few were glad to get standing 
room at the wings/* Epoch-making in quite another way was 
this concert, for the experiment of what we might to-day call 
"broadcasting" by telephone was successfully undertaken. 
Three transmitters placed in circuit on the stage behind the 
footlights and ten feet in front of the performers were the 
means of picking up the program and transmitting it to the 
headquarters of the telephone company "in wonderful perfec 
tion/' commented the Brooklyn Union and Argus, "demon 
strating the power of the telephone to pick up and transmit 
compound modulation of tone and articulating speech at one 
and the same time from a distance of at least ten feet from the 
performers or instruments." 

After further appearances in Worcester and Providence, the 
"Thursby-Bull Combination" adjourned its tour for several 
days while Emma Thursby made preparation, under the guid 
ance of Mme Rudersdorff, for the Fifth Triennial Festival of 
the Handel & Haydn Society in Boston. Commencing on the 
4th of May and concluding on the gth, the Festival brought 




t * 



54* ANNlE 


Le DImanche U) Avril 1881, a 2 heures precises 


i* Symphonie t-n ui min&tr. ..,,,,... . BEETHOVEN. 

& Alia (wa qperansa adoraa) -. . . MOZART. 


3* Allegro AWAS&JONATO .-.,..* M. LAIX>. 

4* Finale tfEuryanthe WEBER. 


S* Symphonie (in&ftfc) HAYDN - 

6* Allelnia cliceur <lu jf 


fa Ml Instaaiaett prle de ae pas EStKER ei SOfiHB pentant rexecntioa des marceaai 




PARIS, l88l 

together a group of principal vocalists well known to American 
musical audiences: 

"Sopranos: Miss Emma C. Thursby, 

Mrs. H. M. Smith, 

Miss Fanny Kellogg, 

Miss Ida W. Hubbell. 
Altos: Miss Annie Gary, 

Miss Emily Winant. 
Tenors: Mr. Italo Campanini, 

Mr. Charles R. Adams, 

Mr. William Courtney. 
Basses: Mr. John F. Winch, 

Mr. Myron W. Whitney, 

Mr. George W. Dudley." 

With a chorus of five hundred voices and an orchestra of 
seventy musicians, with B. J. Lang as organist and Carl Zer- 
rahn as conductor, the Festival was auspiciously cast. Emma 
Thursby's contributions were in the oratorios, Solomon by 
Handel, The Seasons by Haydn, and St. Paul by Mendelssohn; 
and in the Symphony No. 9 of Beethoven. Her selections in 
the miscellaneous program were the Scena from Thomas' 
Hamlet, and Jomelli's "La Calandrina." Again she was ac 
claimed, as she had been at the fourth Triennial Festival, in the 
summer of 1877. 

Boston again gave opportunity for visits with many old 
friends, visits that her extensive travels were making so infre 
quent. Especially pleasant was the all too brief reunion with 
Mme Rudersdorff. The home of Ole Bull in Cambridge of 
fered its accustomed welcome, while a call upon the aging 
Longfellow would prove her last homage to that inspiring 

The "Thursby-Bull" concert tour was resumed on the nth 
of May with an engagement in Philadelphia. Engagements in 
Pittsburgh, Toledo, and Detroit followed, with Chicago play 
ing host to the two artists and their company on the sist and 


2 2nd. On the afternoon of the 22nd Emma Thursby and Ole 
Bull made their last appearance together in concert. Emma 
Thursby on this occasion sang the Scena De La Folie from 
Hamlet, joined with Philipp Branson in Arditi's "Una Notte 
A Venezia," and with Signor Ferranti in the Duetto Buffo from 
Rossini's Barbiere di Seviglia. Ole Bull played his best-known 
composition, "The Mountains of Norway/' and the obligato 
for Emma Thursby in the concluding number on the program, 
the "Angel's Serenade" by Braga. 

The "Thursby-Bull Combination" had proven an artistic 
and a financial success, and already the sagacious Maurice 
Strakosch had plans afoot for the "Combination" to make a 
comprehensive tour of Norway, Sweden, and Denmark, com 
mencing in the late summer. Yet one factor had to be seriously 
weighed: Ole Bull was in poor health. 

Three concerts remained for Emma Thursby in the weeks 
before her departure for Europe, weeks full with preparations 
and leave-takings. In Elmira, Thomas Kinnicutt Beecher, an 
other of the extraordinary Beechers, called to pay his respects; 
in Bridgeport, her old friend from the congregation of the 
Church of the Divine Paternity, the colorful P. T. Barnum. 
Days at home enabled scores to see her, friends and relatives 
whose greetings were to be at once felicitations and farewells. 

It seemed as if she had but glimpsed America when she 
boarded the steamship "Gallia" with her sister, Ina, on the 
morning of June goth, so soon again Europe bound. The pas 
senger list was large, including her friends, Edwin Booth, the 
tragedian, with his wife and daughter; Bronson Howard, the 
playright; Baron and Baroness de Thompson, whom she had 
met with the Emperor of Brazil; Sir Edward Thornton, the 
British Minister to the United States; and her intimate friends, 
Mr. and Mrs. Ole Bull. In the festive scene, however, one omi 
nous note troubled the few who knew: Ole Bull rested quietly 
in his stateroom, tired and ill. 


There were hundreds gathered at the ship to sound an 
American farewell to a native son and daughter, Edwin Booth 
and Emma Thursby, both planning European visits of unpre 
dictable duration. As the ship left its pier other hundreds of 
friends assembled on the excursion steamer "Grand Republic" 
shouted their farewells and sang their songs. Down the bay, 
past the Narrows, and out to the lightship the two ships pro 
ceeded side by side, to the strains of "Good By, Sweet Heart," 
"The Girl I Left Behind Me," and "Whoa Emma," while in 
termittent salutes from the excursion steamer's six-pounder 
punctuated the atmosphere until the "Gallia" had rounded 
the last buoy, her course set for Queenstown. 


The 4th of July, 1880, was fittingly celebrated at sea on the 
British ship "Gallia" with exercises that found Bronson 
Howard, the playwright, contributing a speech; Edwina Booth, 
the young daughter of the actor, playing several piano selec 
tions; and Emma Thursby singing "The Star-Spangled Ban 
ner/* "God Save The King," and, in lighter vein, Taubert's 
"Bird Song/' Edwin Booth, himself, played the unusual role 
of spectator. The voyage proved a smooth one, save for the last 
day, fortunately for Ole Bull whose condition was causing 
alarm. But all on board rejoiced when Queenstown was 
reached the evening of the 8th. Liverpool, the next afternoon, 
offered its comforts to the debarking party of Mr. and Mrs. 
Bull, Emma and Ina Thursby, and Maurice Strakosch. Upon 
the advice of the doctors that Ole Bull could resume his trip to 
Norway after a few days of rest in Liverpool, Emma and Ina 
Thursby felt able to leave for London the next day to visit with 
friends and witness the closing days of the opera season. 


To hear Nilsson and Trebelli and Campanini in Mefistofele, 
Sembrich and Gayarre in Lucia di Lammermoor, Albani in 
/ Puritani, Gerster and Ravelli in Lucia, Patti and Nicolini in 
La Traviata, and Trebelli in Carmen; such was the musical 
feast of the first twelve days in London. With plans for the tour 
still held in abeyance, the Thursbys abandoned themselves to 
a whirl of social events in a circle which included the Ameri 
can Minister, James Russell Lowell, and Mrs. Lowell; Sir 
Julius and Lady Benedict; Bronson Howard; Bret Harte, 
American author, recently appointed consul at Glasgow, Scot 
land; Felix Moscheles, eminent British portrait painter, who 
had just completed a portrait of George Henschel; George 
Henschel, himself, and his wife to be, the American soprano, 
Lillian Bailey; Henry Jarrett, the impresario; and James Davi- 
son, dean of London music critics; besides the ubiquitous 
Maurice Strakoschu 

On the fifteenth of July telegraphic word came from Mrs. 
Bull in Liverpool, that the doctor believed her husband would 
be well enough to undertake the long trip to Norway within a 
week. She urged that Emma and Ina Thursby and Maurice 
Strakosch follow the week after. Meantime, Emma Thursby's 
busy schedule of activities continued with frequent dinners at 
the Grand Hotel, and at Prevalti's, renowned for good society 
and good food. On the 24th, she and her friend Marie Roze 
sang at the largely-attended reception given at the Westminster 
Palace Hotel in honor of General Hawley, President of the 
American Exchange. Otherwise, she accepted no engagements 
to sing in public. At last, on the 2 8th, came a telegram bearing 
the distressing news from Mrs. Bull that though Ole Bull had 
reached his beloved island home of Lysoen, near Bergen, ap 
parently in improved health, his Norwegian doctor had or 
dered that the patient receive complete rest and quiet for three 
or four months. With all hope for a Scandinavian tour with 
Ole Bull now definitely lost, she hastily conferred with Maurice 


Strakosch, and determined to accept the invitation of her 
friend, Mrs. James Jackson, to visit Ems for three weeks, re 
turn to Paris for three weeks, again the guest of Mrs. Jackson, 
and thereafter return to America in time for the fall concert 

Ems, which the Thursby sisters reached on the 4th of Au 
gust, after a sightseeing trip through Holland, would play a 
large role in plans for the future. Happy days of recreation in 
the little town gay with its summer guests of nobility and fash 
ion gathered for the Kur were abruptly interrupted on the 
i8th, when a telegram brought the sad word of Ole Bull's 
death. Emma Thursby had lost a staunch friend, a fellow artist 
who had done more to popularize music in America over a 
period of thirty years than any other one figure. 

Maurice Strakosch now definitely determined to look to 
America for future concert plans. But music lovers at Ems, 
after hearing Emma Thursby at two informal musicales, willed 
otherwise. Prince George of Germany, who had become a great 
admirer of her talent, finally prevailed upon her to give a pub 
lic concert. His enthusiasm over her voice was shared by many 
of influence: Baron Lepel, Baron von Cramm, and Baron von 
der Martvitz; and two wealthy and influential Spanish gentle 
men, Evaristo Arnus and Camilo Fabra, who had already ur 
gently petitioned the singer to make a tour of Spain under 
their friendly sponsorship. Her acceptance of a concert engage 
ment was also encouraged by the warm praise of that brilliant 
exponent of Italian opera, Mme Artot, whom musical history 
also remembers as the subject of Tchaikowsky's infatuation 
and proposal of marriage, some twelve years before. On August 
goth she made her formal German debut in Bad-Ems at the 
Kursaal, singing arias from Rossini's Barbier von Sevilla and 
Meyerbeer's Nordstern, as well as Eckert's "Echo-Gesang" and 
the familiar "Mia speranza adorata/' The ovation she received 
convinced her unequivocally that a German triumph awaited. 


The critic of the Rheinischer Kurier voiced the appraisal of 
the eminent musicians gathered at Ems, when he wrote: 

"In the domain of artistic singing, and of artistic singing in 
the truest sense of the words, Miss Thursby is thoroughly daz 
zling, though not so much so by the volume as by the perfect 
quality of her notes not so astounding by the range of the 
scale over which she holds sway, as by the manner in which she 
assumes in it the place of sovereign queen of song. Every de 
mand which modern vocal technics, as extended by virtuosity, 
can make upon her she satisfies: equality of tone combined 
with striking flexibility of a naturally sympathetic organ, a 
style which reveals delicacy of feeling, and which can do justice 
to the exigencies of Italian florid singing as well as to the Ger 
man Lied, based more on beauty of tone and a certain intensity 
of feeling all these invest Miss Thursby with especial impor 
tance as an artist, and justify the opinion of the critics, which 
unites the newly rising star in a beautful triple constellation 
with Christine Nilsson and Adelina Patti." 

The month of September the Thursbys spent in Wiesbaden 
as guests of Mrs. Edward Ovington and her daughter Jeannie 
Ovington, of Brooklyn. The Ovington apartment became the 
scene of many delightful impromptu evening musicales, with 
the great pianist and teacher, Leschetizky, often accompany 
ing Emma Thursby an honor he seldom conferred. Indeed, 
it was with Leschetizky that she prepared for future concerts 
a favorite of his, Bizet's "Tarantelle." Wiesbaden was rich in 
music, boasting one of the best orchestras on the Continent 
and an opera company of distinction, so it was with a certain 
regret, if with pleasurable anticipation, that she finally de 
parted for Baden-Baden, to appear in a concert arranged by 
Strakosch in honor of the Emperor and Empress of Germany. 
Happy and content despite uncertainty over concert plans, she 
wrote her mother upon arrival: 


"Hotel Victoria 
Baden Baden Germany 
Oct. jrd 1880. 
Dear Mother 

We have just arrived here from Wiesbaden where we have 
been visiting Mrs. Ovington for the past month. They would 
not let us go, and as they were both ill and unhappy I think we 
did them a great deal of good by being there. They are coming 
here to Baden to visit us, and be here at the concert which we 
are to have on Thursday, in honor of the Emperor and Em 
press. They would have come with us yesterday, but Mrs. 
Ovington was ill. Mrs. Jackson and Miss Andreas came with us. 
We have not been alone all Summer. I was very much disap 
pointed that we could not go to Norway after coming across 
the ocean for that, but it was much better that we were not 
there when poor Mr. Bull died. How sad it was! Mrs. Bull and 
the family returned to America some time ago. I hope you will 
see her if she is in New York. 

We have had a most charming time in Germany, and I have 
made a splendid artistic success, for, at the watering places 
where we have spent the summer, we have met all the best peo 
ple and some of the finest musicians of Germany, and they are 
all wild about my singing. I must say I do not sing as I did last 
year, for I have improved wonderfully both in voice and sing 
ing. I have studied very hard and learned ever so many new 
pieces, and sing German songs so, that the Germans say my pro 
nunciation is so good they would not know but I was a Ger 
man. They have coaxed so hard to have me stay and sing at 
some concerts, that Mr. Strakosch has concluded that we had 
better stay and not begin in America until after the Election. 
So we will not come home until the last of this month. We may 
possibly said on the sust, 'Germanic,' but it is not certain. 
Poor Mr. Strakosch! you know how hard he tried to make me 
sing some new pieces at home just before I left, and I said I 

never would. Now I sing them so easily and have made some 
of my best successes with them. He has always been right about 
my voice, for with his practice, the lower part of my voice has 
become so rich and full and my high notes are better than ever. 
I send you a notice which appeared in a Wiesbaden paper last 
week, by one of the best Critics of Germany. It says there are 
but three stars, Patti, Nilsson and Thursby. Get John to have 
it translated. I send the advertisement of our Concert here. 
You see it is given in honor of the Emperor and Empress and 
will be a grand affair. When we arrived last night, we found 
that Mr. Strakosch had secured for us the apartments of the 
King of Belgium so we are in grand style. Why have you not 
written to us oftener? We enjoyed your letter so much from 
Long Branch. It was so nice and interesting, and I intended to 
answer at once, but I find writing tires me so that I have 
scarcely written a letter all Summer. Give my love to all my 
friends and the boys. I hope you are all well and do take good 
care of yourselves and live well. If Lou wants to go away for the 
Winter, he can have the money at any time. 

With lots of kisses, 

Your loving daughter 


No artist could have hoped for or visioned more favorable 
auspices than those which Emma Thursby found for her con 
cert in Baden-Baden in the Neue Saal des Conversationhauses. 
The audience was a regal one that numbered the octogena 
rian Emperor, William I and the Empress, Crown Prince 
Frederick and the Crown Princess Victoria, the Grand Duke 
of Baden and the Grand Duchess, the Princes Hermann, Bern- 
hard, and Alexander of Saxe-Weimar; the Prince and Princess 
of Furstenberg; the Prince and Princess Solms, together with 
their respective suites; indeed, the great majority of German 
nobility and the ranks of wealth and fashion that always fol- 

lowed the Emperor. Even the mighty Strakosch there could 
be no denying his ability to accomplish great things on the 
Continent found his hopes surpassed. He had prepared a 
program with Carl Heymann, the court pianist, and Jules de 
Swert, a violoncellist of note in Germany, as assisting artists to 
Emma Thursby whose program selections were "La Calan- 
drina/' "Mia speranza adorata/' the "Echo Song" by Eckert, 
and the "Tarantelle" by Bizet. 

"Miss Emma Thursby has had a most flattering success/' 
wrote the Baden-Baden Badeblatt of the concert. "In consid 
eration of the reserved manner of our public, the reception was 
a very brilliant one. To be recalled twice after each appearance 
and to sing three pieces more than on the programme shows a 
great warmth and appreciation of the public. Miss Thursby 
unites so many excellent qualities that she really deserves this 
distinction. The master school of Patti, Albani and Sessi 
are hers. Her technique is artistic; her voice musical and of 
great compass; her style is noble, rather reserved but solidly 

To be accepted with enthusiasm by royalty was to be ac 
cepted by the concert-going public of Germany. Musicians, 
too, hailed her in Baden-Baden, the German composer, Jacob 
Rosenhain, among them. Strakosch made immediate plans to 
capitalize upon this testimonial by booking concerts in Berlin, 
Leipzig, Cologne, and Vienna. His "American Nightingale" 
had become not only the symbol of great singing, but the ac 
cepted representative of the great American people of whom 
Germans knew so little. Appropriately enough, she had be 
come identified with "The Star-Spangled Banner/' everywhere 
requested of her at informal musicales in Germany, and her 
rendition of it brought uncontrolled outbursts of applause on 
all occasions. Indeed, the Emperor, after demanding that she 
sing it as her last encore number, had remarked to her that he 


always thought the "Die Wacht am Rhein" the most beautiful 
national air until he heard her sing "The Star-Spangled 

"I believe for the first time in my life I love to sing," she 
wrote her sister, Allie, following the Baden-Baden concert, re 
flecting her pleasure over the great enthusiasm with which she 
had been received, but not realizing, of course, that her future 
concerts would prove a series of triumphs. In Berlin she made 
two appearances late in October, the second with Theodor 
Wachtel, the tenor whose voice she had so admired when she 
was a young girl, volunteering as guest artist in honor of his 
teacher, Maurice Strakosch. Once more she was rapturously 
applauded. Wrote the German critic, Ferdinand Gurnpert: 

"Her voice is a soprano, possessing a remarkable compass, 
ranging from C beneath to E flat above the lines; without be 
ing great, it is exceedingly rich, and (as in her day, the case with 
Jenny Lind) rather veiled, but thoroughly noble and sympa 
thetic. Miss Thursby's technique may be described as extra 
ordinary: her legato and staccato are models of certainty and 
correctness, her respiration is admirably managed; and her 
shake, as rippling as it is long-enduring. Her style is full of 
warmth; nay, it has too much American blood in it; if Miss 
Thursby would often restrain her too hurried tempi, so that 
the ear of competent judges might be enabled to follow her 
runs and arpeggios (which naturally suffer in correctness), she 
would then be indisputably one of the most wonderful vocal 
ists we have heard for years. Taken all in all, Miss Thursby 
possesses such rare and astonishing gifts that no one fond of 
singing should fail to hear her; in her are combined a -beauti 
ful voice, talent and industry.*' 

In two concerts in Vienna, in November, she realized her 
ambition to sing Mozart's music, in the composer's native city. 
But to receive the praise of the foremost music critic of his 


time, Eduard Hanslick, was the most gratifying reward of her 
Viennese visit. "Miss Emma Thursby," wrote Hanslick in the 
Neue Freie Presse, "brilliantly justified yesterday the reputa 
tion preceding her as a concert-singer. Even before she opened 
her lips she had worked half a miracle: She had filled the large 
room of the Musical Association, a feat of late years only 
achieved by Rubinstein and Joachim. Miss Thursby possesses, 
if not a powerful, a very pleasing soprano of extensive compass, 
its flute-like character in the upper notes reminding one of 
Jenny Lind. It has been admirably trained, in portamento, in 
the gradations of tone, in scales, runs and command of distant 
intervals. We have heard very few take the highest notes more 
easily and correctly, execute a staccato more unerringly, or 
trills more close and equal than this American lady/' 

Here again she became the star for nobility and society to 
flood with attentions. Mme Caroline Montigny-Remaury, sis 
ter of Ambroise Thomas, wrote from the Hotel Archiduc 
Charles, saying, "J'ai regu une lettre de Mme A. Thomas qui 
vous fait dire mille choses de sa part et de celle de son mari." 
The Baron and Baroness d'Erlanger and the Baron and Baron 
ess de Todesco became her warm friends, feting her with re 
ceptions and dinners, and opera parties at which she had the 
opportunity of hearing many continental singers. Pauline 
Lucca, long a popular figure in opera on the Continent, in 
England and America, and much beloved by the Viennese, ex 
tended her American colleague every courtesy, while Mme 
Mathilde Marchesi, great among European teachers of voice, 
offered the hospitality of her home, where Emma Thursby was 
privileged to hear Madame's pupils and observe her method 
of instruction. 

Meanwhile, word of her successes spread so rapidly and 
newspaper notices were so flattering, that seats for her appear 
ances were always at a premium. Briinn, the capital of Mo 
ravia, birthplace of Strakosch, gave her a wild ovation, hardly 

less intense in Prague. Here adventure took another turn when 
she was persistently claimed by a Bohemian family as their 
long-lost sister an experience that proved both amusing and 
annoying. "The Mother came/* she wrote her own mother of 
the incident, "with a lot of old pictures of the sister who was 
a dancer and who had not been heard from since she went to 
America 14 years ago. The pictures did not look unlike me, 
and might easily be taken for old photos of me, and notwith 
standing I could not speak a word of Bohemian, and very few 
of German, she went away unconvinced that I was an Ameri 
can. But the strangest thing is that the woman says she can tell 
her sister by a mole on the left side just over the heart and 
which I have in the very spot. Now the question is, who am I? 
Ina says she always thought I did not belong to the Thursby 
family and she is quite sure I am a dancer, by the way I hop 
around in the mornings when she is trying to help me dress. 
What do you think about it?" 

Three more conceits, in Chemnitz, Leipzig, and Dresden, 
brought to an end a busy year, and six months of uncertain 
though pleasurable adventure with concert plans. As the new 
year came, however, there was no longer any doubt over the 
immediate future. Germany had already definitely testified to 
its exalted opinion of her, and there she must remain to visit 
its principal cities. Travelling on the Continent with plans 
only for the immediate present had had its drawbacks: bags 
and trunks were scattered from London to Paris to Wiesbaden, 
so one could never find the right possession at the right time. 
But her devoted sister, Ina, at every turn protected her from 
cares and worries and annoyances as the two hurried from city 
to city, and Ina it was who took the large share of responsibility 
in writing to the family at home. To her the European trip 
was ever an adventure in wonderland, which she recorded un 
erringly, her youth and impressionability making her letters 
real and frank and informative. 


"Hotel de Russie 
Frankfurt, Jan. 4/81. 

Dear Allie 

Emma wrote Mamma from Weimar so I thought I would 
wait and write you from here. We have not heard a word from 
you in a month. If you have written, where are the letters? It is 
very strange. We have decided to remain all winter. Have just 
received an offer from Barcelona, Spain for 6 concerts but I do 
not know whether we shall go. Emma had a splendid reception 
at Court New Year's night. She sang 'Hamlet' and The Star 
of the North. There is never any applause at Court. Everyone 
has to be as quiet as possible, but there were a few subdued 
bravos and the Grand Duke tapped his hands together without 
making a sound and when she finished the Grand Duke & 
Duchess bowed; but two or three times during the evening 
they sent for her. They were very kind 8c pleasant and de 
lighted with the music, and wish that she will sing for them 
again. The Grand Duchess wore light blue, and was the only 
one in the room besides Emma with a high dress. The Princess 
wore pink. The heads and necks of both were covered with 
diamonds. Emma wore her point lace. I did not dress up, but 
stayed in the doorway 8c the dressing room and ate ice cream 
and cake all the evening. They passed round refreshments 
every little while. The rooms in the palace are magnificent. 
They sent the royal carriage for us, and gave us the red room. 
I wish you could see our rooms here, we never lived in such 
elegance. The hotel is an old palace, and we have the Emperor 
William's suite. It is owned by the Drexel Bros very wealthy 
wine merchants, and the Emperor has offered an immense sum 
for it, to keep it for his palace when he comes here, but they 
will not give it up. He comes here three times a year. The en 
trance is a grand staircase, the hallway leading to the salon is 
filled with elegant statuary and carvings. The salon is immense 
all of marble. The ceilings of this and all our rooms are very 


elegantly painted and carved. Fine furniture, four different 
shaped sofas, any number of handsome clocks, 8c immense mar 
ble and painted vases, marble & inlaid tables they must have 
been all in the palace two magnificent fine embroidered 
screens, and so many secret doors that Emma made believe she 
was afraid to go to bed. Emma's room is red satin tapestry walls 
and mine green. Lace canopies over the beds. Think, we have 
a lovely bathroom, hot and cold water, 8c nicely heated, then 
a passage way entrance to the other rooms where the servants 
are supposed to sit. This is the first bath room we have found, 
and I soaked in it a half an hour this morning. Think of sleep 
ing in the same bed and bathing in the same tub that the Em 
peror uses. The rooms are all heated &: in the salon we have a 
large wood fire place. You may think we spend a lot of money 
for all this elegance, so we do, but considering all we get it is 
not so much after all. We have all these rooms. Mr. Strakosch 
has two. Robert one & Alfred one. Service, lights 8c fire in 
cluded for 40 marks, which is |io. a day. We used to pay $8. a 
day for our miserable rooms alone at the Everett House. There 
are 66 candles in the salon & 16 in the other rooms, the bath 
room has gas. We shall only be here two or three days. We may 
go to Weisbaden a day to see the Ovingtons, it is only one hour 
from here. Emma sings in Heidelberg on the 7th, Wurtzburg 
the gth, and back here for the i ith, where she sings in the new 
opera house. On the 27$! she sings again in Leipzig at the 
Gewand House concert, and some other places between, that I 
don't remember. What did you get for your Christinas? I did 
did not get a penny or a card from any one but Mr. Gillig, 
neither did Emma. I have a birthday in two weeks but as 
Emma promised me something for my last and I have not re 
ceived that yet, I do not expect to get anything this year. Will 
you send me some hair crimpers (lead short) and in the next 
letter after you might send Emma some nets, only a few, and a 
couple of blond ones for me. My hair seems to be getting 


lighter. Hope you are all well. I hear it is very cold at home, 
while here it is very pleasant. They are having our last year's 
winter and America is having the severe winter they had here. 

Much love to all from both, 

Your loving sister 


Hope we will have a letter from you soon. Emma has been 
travelling around singing at all these concerts with nothing but 
her little white daisy dress and has only worn her point lace 
dress where she has sung twice. She hates to get new dresses as 
she has so many at home. She is afraid her white pearl dress 
will get discolored, you ought to look at it and put paper under 
the lace. You had better leave word at the Brooklyn telegraph 
office if anything comes for 'Thursby Brooklyn 9 where to send 
it, in case she should want to send for any dresses or anything 
else. She may want to send for her white dress/' 

Twenty-two concerts undertaken in the months of January 
and February with the young Viennese pianist, Robert Fisch- 
hof, assisting, saw Germany paying undiminishing homage to 
the gifted American, and many and varied were her musical 
experiences. At Braunschweig, where she appeared at the re 
quest of the composer, Franz Abt, who conducted the orchestra 
in her honor, she reciprocated the honor by singing that song 
of his, so popular in America, "Embarassment." At the four 
teenth Gewandhaus Concert at Leipzig, at the end of January, 
her fellow soloist was the eminent Russian violinist, Leopold 
Auer, whom fame would later single out as the teacher of 
Mischa Elman, Jascha Heifetz, and Efrem Zimbalist. At Leip 
zig, moreover, where she was the first American to appear in 
the important Gewandhaus Concerts, enthusiastic admirers 
showered her with flowers, while one admirer, outdoing his fel 
lows, presented her with a nightingale. "This nightingale that 
is so lovely, I have chosen from among a multitude of melodi- 



, ; jlllllllllllll, 

,,^,,; : t*sl.JlS;l; :i|iplijpl||tiili 

^S"MM^ : ^^!^^^^ 


PARIS, APRIL 1 88 1 

Anderson, Neto YorTc 


ous things to express appropriately what is true and gentle in 
your own life and lovelier than all music made by birds," 

At Barmen, the orchestra honored her with a tusch, an honor 
given before only to Wachtel, while at Cologne she had the 
good fortune of spending many happy hours with the German 
composer, Ferdinand Killer, and his family. Hiller conducted 
the orchestra at her Cologne conceit, and she reciprocated by 
singing the composition he had dedicated to her, "Will die 
Nachtigall belauschin." At Strassburg Frederick Schwab wrote 
a signal tribute in the columns of the Journal d' Alsace: 

"Le concert donne hier soir dans la grande salle du theatre 
par la cantatrice americaine miss Emma Thursby a ete pour la 
jeune artiste un triomphe acheve et pour ses auditeurs un 
enchantement de prs de deux heures, nous allions dire un 
reve melodieux dont Timpression dure encore. Un public 
nombreux a ratifie par des demonstrations sincerement en- 
thousiastes les jugements que toute TEurope musicale aura 
bientot portes sur cette emule de Jenny Lind et d'Adelina 
Patti. Rien de trop n'avait ete dit de cette voix, dont la purete 
et le charme indicible donnent un prix infini a chaque note, 
de ce style exquis qui moule admirablement les intentions des 
auteurs, de cette gamme enfin, qui embrasse dans son extra 
ordinaire etendue plus de trois octaves, gales comme un 
clavier tout en ayant chacune un timbre d'une nuance dif- 
f erente. Et quelle flexibilite sans pareille, qui pennet a la chan- 
teuse de battre des trilles sur le la dize aigu, sans que le 
moindre eflEort vienne trahir la resolution de ce probl&ne 

"Des les premieres mesures de Fair de Mozart, Ah! non sai, 
miss Emma Thursby, dont la personne est aussi gracieuse et 
sympathique que son talent est grand, avait fait la conquete de 
son auditoire. Elle a dit cet air de conquete de son auditoire, 
Elle a dit cet air de conceit qu'ornent de delicates broderies 


et des notes piquees suraigues, d'un style exemplaire et d'une 
voix qui semblait rivaliser en purete et en eclat avec les 
diamants qui brillaient profusion sur la robe de satin blanc 
de la chanteuse. Aux trois Lieder qui ont suivi, le charme a 
pris un caractre autre, celui du sentiment et de la reveuse 
poesie. Abendreihn, expressive composition de M. Robert- 
Fischhof, Teminent pianiste qui devait partager avec la diva 
am&icaine les palmes de cette soiree; Keine Sorge auf dem 
Weg> de RaflE, et Voglein, de Taubert, ont attire sur leur ex- 
quise interprete une triple ovation. Dans les cadences et les 
trilles dont elle a rehausse Voglein, quelle ideale finesse, quelle 
transparence dans le tissu vocal, et est-il suprenant qu-au 
dernier conceit du Gewandhaus de Leipzig, ou miss Thursby 
avait enthousiasme le plus difficile des auditoires, on lui ait fait 
hommage d'un rossignol couvert de fleurs, rossignol sym- 
bolique, que la cantatrice a apporte vivant de Leipzig a Stras 
bourg dans un pli de sa mante et qui tous les jours, quand la 
diva repute ses airs, au lieu de mourir de jalousie, module ses 
roulades sur celles qu'il entend! , . . 

"La Galandrina, simple ariette de Jomelli, datee de 1730, a 
mis en relief le cot6 enjoue de ce talent multiple et riche, qui 
alkit se montrer a son apogee dans la scne de JEolie de Hamlet, 
d'Ambroise Thomas. Miss Thursby qui, au dernier moment 
et par une attention delicate dont on lui a su un gr infini, 
avait modifie son programme primitif pour y introduire cette 

page d'un maitre frangais, y a trouve un triomphe agile 

et vaste n'a pas eu de peine parcourir les gammes chro- 
matiques suraigufe qui abondent dans cette creation de la 
Nilsson, tandis que les passages larges, tels que la legende de 
la Willis, ont ete dits avec un profond sentiment dramatique. 
C'est en franais d'ailleurs; en frangais tres pur, quoique 
acidule d r un leger melange exotique, que Tartiste americaine 
a dbante cette saisissante page d'Ambroise Thomas, qui lui a 
valu un tonnerre de bravos et des rappels plus nombreux en- 


core qu'aux morceaux precedents. C'est le moment d'ajouter 
que des propositions d'engagement sent parvenues & miss 
Thursby du Grand-Opera de Paris en vue de la creation du 
role de Franfoise de Rimini dans Timportant opera de ce nom 
qu'ach&ve en ce moment Tillustre auteur de Hamlet. Si flat- 
teuse qu'elle fut, miss Thursby a cru devoir decliner cette 
offire, en se retranchant derriere sa specialite de chanteuse de 
concert. Si M. Ambroise Thomas avait assiste au concert 
d'hier, eut-il adhere a la trop modeste response d'Ophelie? II 
est permis d'en douter." 

Germany had been lavish in its praises, generous in its hos 
pitality. Yet one sad note entered the happy winter months, 
the death of her grandmother, Hannah Galbreath Thursby, on 
the grd of February, in Brooklyn. Though in her 84th year, 
Grandmother Thursby had been in good health, so word of 
her death came as a great shock. To Emma Thursby it meant, 
furthermore, a break in the Thursby tree, in which she had 
learned to take increasing pride. 

Paris and the comfortable Hotel de Londres seemed like 
home to the Thursby sisters when they arrived on the 22nd of 
February, the day following Emma Thursby's thirty-sixth 
birthday, and soon they were caught up in a whirl of social 
engagements, which left little time for urgent shopping tours 
to restore depleted wardrobes. Strakosch had gone to London 
in an effort to enlist capital for his proposed first production in 
London of Wagner's complete Ring des Nibelungen, the com 
poser himself to direct, so there was no one to restrain them. 
Even important musical offers were held in abeyance, and 
these Strakosch must attend to upon his return. Persistent was 
the demand that Emma Thursby sing in opera, the latest sug 
gestion that she sing the role of Queen of the Night in ten con 
secutive performances, with the plea that it would not be like 
actually singing in opera for she would only have two arias to 


sing. But, just as persistently, she demurred. Finally, on the 
ist of March, she departed for Holland, where in concerts at 
The Hague and Amsterdam, under the direction of the noted 
Dutch composer and conductor, Johannes Verhulst, she was 
hailed as the second Patti, the first Patti having visited there 
under the direction of the same Maurice Strakosch nineteen 
years before. 

Back in Paris again, she gave definite acceptance to an offer 
to sing in a series of conceits in Spain, at Barcelona, Valencia, 
and Madrid. There was little time for rest, which she now con 
fessed she needed, and little for duties that became insistent. 
A long neglected professional visit to her friend, Dr. Evans, 
American dentist extraordinary, whose patients numbered no 
bility and the famous of Europe, found her with two equally 
busy fellow sufferers, the Queen of Spain and the Prince of 
Wales. While she waited for Strakosch to conclude prospective 
French engagements, she did take time out to attack the prob 
lem of her rapidly accumulating mail. Knowing her apprecia 
tion and her delight in hearing the news from home, family 
and friends had been generous in writing to her, despite the 
delays of letters, and despite her infrequent replies. From one 
erf the faithful she found as ever news and words of wisdom: 

"La Grange Hotel, 

Tremont St., Boston, 

Sunday morning, 

March ith 81. 

My darling! 

You are right, I did not receive a letter from you before 
Christmas and in future you must stamp your letters yourself, 
for I have been quite grieved not to hear from you. I have had 
some parts of your letter copied in two of the papers here. You 
must always let me have something for the Press. I wish you 
would sing the Astrafiammante. Why do'nt you? It is not much 

2 7 

more than singing two songs in a concert. Do'nt be a goose and 
do it. It will repay you, for it will [give] a new impetus to your 
'renommee' Are you not glad now, I forced you to go to 
Europe? I should say you could not sufficiently thank me for 
having done so. 

This fire has indeed been a terrible blow to me, so bad a one, 
that I cannot get over it. It was unfortunate in every way. 
Through the stupidity or carelessness of the Agent, to whom 
the Insurance business was confided all he insured house and 
contents for, was $2000 -while I had ordered $5000! My loss, 
all in all, will not prove a cent less than $5000. Then, I got 
tired of packing and moving all my valuable bric-a-brac, carved 
and antique furniture, pictures etc. and this year had left liter 
ally everything there! All is gone! The fools there lost their 
heads, and never made the faintest attempt to save a thing, not 
a stick was taken out. All my valuable Japanese vases, cloison- 
nee, brass, bronzes, my large turkish rugs every thing went. 
My entire library, half my music, my very valuable antique 
furniture my china, my Glass, my linen, my whole summer 
wardrobe, all, all is destroyed! Do'nt you think, it is too bad? 

For this summer my going back to Lakeside is out of the 
question, of course, for I could not build by May. I may make 
up my mind to sell and buy another place, for a home of my 
own I must have. 

I think, dear, you might do something in Spain for me. A 
Gentleman has lately come back and brought the most superb 
things, which he bought for a mere song. He bought 8 carved 
chairs, covered with thick embossed leather antique, they 
do'nt match and he picked them up in different places, old 
pawn shops etc. Then some magnificent bronzes and china, 
both Palavera and Granada ware for all these things he paid 
next to nothing and shipped them direct to Boston. If you 
would look for me to the amount of about $100, 1 should feel 
so much obliged. 


We are having a great deal of music here so many societies 
and travelling troupes besides. I have just concluded an en 
gagement for Gerster with Pond 20 concerts from May gth 
to June 4th at $20,000 and all expenses for three. Mapleson 
has coined money, he had an immense winter. Max Strakosch 
instead has lost terribly. It is no good, the man has no head, 
thinks himself cleverer than all others and will take no advice. 
People do not want to hear Aida, Lohengrin, Mephisto, etc. 
etc. in English and with Marie Roze, Arthur Byron etc. Eng 
lish Opera must be English Opera. When a man will take 
about a good English Opera Company with young fresh voices, 
who can sing well, and give Lurline, Satanella, Rose of Cas- 
tille, down to Maritana and Bohemian Girl, they will make 

Edward Burnett's house at Southboro burnt down last week. 
I do'nt think, you were ever in it. It was the old homestead, the 
other side of the little bridge. They had enlarged it last year 
and made it very hideous. They were more fortunate than 
poor I, It broke out at 9 a.m. and in the roof, from a defective 
flue, and they saved everything, even the carpets. Besides that 
they were very heavily insured. Then they had the big house 
to go right in to. 

I wish, you would see Mrs. Guild and Jinnumps. Send for 
them in Paris. They are at 93 Avenue Niel. 

Give my kindest regards to Mr. Strakosh, also to Ina. When 
you write, name me some effective concert music for both So 
prano and Contralto. I do wish, I could get that Nincompoop, 
Emily Winant, to Europe. She is singing gloriously and hav 
ing great success wherever she goes. She is singing a good deal 
with Thomas. 

God bless you, my darling 

Your loving friend 

E M Rudersdorff ' 

France, anxious to hear again the prima donna whom it had 
so feted on the occasion of her debut in Paris two years before, 
at last had its opportunity at Bordeaux when she appeared 
before the Cercle Philharmonique, on the i gth of March, sing 
ing in French for the first time, and, scoring a success that had 
further reverberations in a large dinner tendered herself and 
her sister, Ina, the following evening by the Cercle. No lit 
tle praise must be given on the occasion of this concert to 
her companion soloist, the brilliant Belgian violin virtuoso, 
Eugene Ysae, already a popular musical figure in France. Al 
though her friend fidouard Colonne had urged that her first 
Paris appearance of the season be with his orchestra, as in 3 879, 
the Bordeaux appearance made such a plan impossible. Her 
Paris reunion was made on the 27th, at the Cirque d'Hiver, 
with the rival Pasdeloup Orchestra, not inappropriately, for 
that matter, since her 1879 success had been nowhere greater 
than at the Cirque d'Hiver. And here again her earlier success 
was repeated. 

However it remained for the Societe des Concerts of the 
Conservatoire National de Musique, the oldest and the most 
respected musical society in France, to offer her greatest oppor 
tunity, an invitation hastily accepted to sing at its concerts 
of the grd and loth of April. Meeting her opportunity face to 
face, she found herself acclaimed by conservatives and liberals 
alike in the music world of Paris, the bright star of a program 
given on the grd and duplicated on the loth: 


1 Symphonic en ut mineur Beethoven. 

2 Aria (mia speranza adoratd) Mozart 

Mile Emma Thursby 

3 Allegro Appassionato M. Lalo. 

4 Finale d'Euryanthe Weber. 

Solo: Mile Emma Thursby 

5 Symphonic (inedite) Haydn. 

6 Alleluia choeur du Messie HaendeL 


Caught again in the web of Paris music lovers, she sang at 
a musicale given in her honor by Mme Pauline Viardot, and 
at a benefit for the flood victims of Belgium, in which her fel 
low artists included Mesdames de Caters-Lablache and Rich 
ard; MM. Faure, Talazac, and Paul Viardot; and the ubiqui 
tous French actors, Coquelin aine and Coquelin cadet. To the 
Belgian press, anxious for a report of this concert, went the 
good word that the concert had realized 30,000 francs for the 
sufferers; and L } Independence thus wrote its praises of one of 
the contributing artists: 

"La renomme parisienne de Mile Thursby ne date que de 
cette saison, et deja la charmante cantatrice est tout a fait 
lancee. G'est le dernier mot de la virtuosite. Jamais flute 
d'argent ne roucoula de plus etonnantes vocalises, jamais 
Stradivarius ne preta sa chanterelle a de plus p&illeux piz- 
zicati; mais ce qui double le prix de ces notes piquees a des 
hauteurs incalculables, c'est la qualite du timbre qui garde, 
jusque dans les cheveux, une suavite, une seduction vraiment 

Her last appearance in Paris before departure for Spain was 
at the concert of the Cercle Philhaxmonique in the Salle Frank 
lin, where her fellow artist was again the gifted Eugene Ysae. 
Once more honors were heaped upon her. But the greatest 
honor at the disposal of France was accorded her in quite an 
other way, after she had reached Spain: 


De Musique Paris, le 17 Mai 1881 

Societ^ Des Concerts _ . 


Le Comite de la Societe des Concerts me charge de vous 
adresser ses remerciements les plus vifs pour le brillant con- 
cours que vous lui avez prete aux concerts du 3 et 10 avril 


La Societe des Concerts, heureuse d'accueillir un talent aussi 
accompli que le votre, et de donner a son public la bonne for 
tune de vous applaudir, vous prie, Mademoiselle, de vouloir 
bien accepter une medaille commemorative de ces deux 
seances dont elle gardera toujours le plus charmant souvenir. 

Veuillez agreer, Mademoiselle, mes tres respectueux 

Paul Taffanel 

Mademoiselle E. Thursby. 

Emma Thursby became the first American to join the ranks 
of distinguished recipients of the Commemorative Medal of 
the Societe des Concerts of the Paris Conservatoire, 



""T A "T"ith the praises of Paris still echoing, Emma Thursby 
VV and her sister, Ina, reached Barcelona on the sist of 
April, 1 88 1, ready for adventure in a new country. To Jane 
Ann Thursby, the mother at home, to whom she could record 
the news just as she observed it, without contemplation or re 
straint, Ina at once despatched her brimming news bulletin: 

"We received Allies last letter saying Mr. Gillig had left, and 
as the Arizona has arrived I suppose he has unless he spilled 
himself all over board coming over. The Stanley Club gave a 
grand dinner in honor of Emma at the Continental Hotel [in 
Paris] on Sat. night and we were the only ladies present. She 
had the greatest success she has ever had on Monday at the 
Trocadro, with almost all the same artists, excepting Patti, 
that were in the last, the program of which I sent you. 
Lablache, Talazac, and Faure sang, but Emma carried off all 
the honors of the day. All the Americans were delighted. 


Goquelin took her out the first time, and he was so delighted 
he came to her a dozen times to tell her that it was the finest 
success he has seen, but Faure was very quiet about it; he is 
not used to seeing anyone step over him. She really had more 
of a success than Patti had the week before, and she is so proud 
of it. She sang the Variations of Proch and, Calendrina after 
the first she had five recalls and was obliged to repeat the last 
variation, and was called back again after the second when she 
sang the bird song in English and was called back again. The 
building was packed, you know how large it is, and they say 
they could hear perfectly everywhere. She finished the Con 
servatoire concerts with great honors, being the only American 
ever asked to sing there. She sang the 'Star Spangled Banner* 
at the Stanley dinner, and the Americans were wild. She has 
written to Mr. Taylor. Mrs. Sheldon of Chicago and a party of 
seven are at our hotel, and gave us a dinner Sun. night, at 
which we had the most delicious, immense strawberries. I went 
to dinner with Du Chaillu the great explorer. He is very nice 
but is always raving about my hand and wanting it in cast. I 
shall have to keep my hands under the table for someone is al 
ways talking about them. It was the same thing at the Bordeaux 
dinner; someone kept asking me to show my hands. It is 
awfully stupid. An artist in New York wanted to paint them 
before I left. We left the Rockwells aU well. 

We left Paris yesterday morning and arrived here at twelve 
today. We had a most delightful trip; the country looks so 
beautiful; everything is green, and in blossom; all the flowers 
are in full bloom; coming across the mountains, the scenery 
was grand. Here and there dotted little Spanish villages; queer 
old houses look as tho they were built in the year one. Spain is 
so far behind the rest of the world in everything. You see 
plenty of Spaniards hanging around the stations and corners, 
but very few working, they are the lazyest set of people I ever 
saw. The orange, fig and lemon trees are loaded with ripe fruit. 


We had a fearful time getting through the Custom House at 
Portbou. Aside from this we came all right. It has rained all 
day so we have not seen any of the city. The Hall is not quite 
finished so Emma will not sing before next week." 

The day of Emma Thursby's departure for Barcelona, Am- 
broise Thomas had renewed his pleas that she sing in opera for 
him. The press, following every concert, had persisted in its 
contemplation of the operatic roles in which it fancied her tri 
umphing. And now to Barcelona came another of the petitions 
that she could not look lightly upon: 


Dirigee Par 

g, Rue de Chabanais, 9 

Paris, le 22 Avril 1881 

Miss Emma C. Thursby 
Care Signor Arnus 
Passage del Beloy, 
3 Posal, Barcelona. 

N'ayant pas eu Fhonneur de vous rencontrer a F Hotel de 
Londres, attendu que vous etiez deja partie pour L'Espagne, 
je viens vous demander, en ma qualite de Correspondant du 
Theatre de FOpera de Paris, s'il entresait dans vos vues, de 
traiter un engagement avec la Direction du Theatre de 
FOpera? Je crois inutile, Mademoiselle, de vous faire repostir 
Fimportance de ce Theatre, car vous devez en etre'bien 

Dans le cas ou cette proposition serait de nature a vous 
agr<er, vous auriez Fextreme bont, de me formuler les condi 
tions que vous desireriez et le genre d'operas que vous de- 
sireriez y chanter. 


J'ose esperer, Mademoiselle, que vous daignerez m'honorer 
d'une prompte reponse. 

Dans cet espoir, je vous prie d'agreer, 
Mademoiselle, mes civilites les plus empresses, 

Ed. Ambroselli" 

Again the old question arose: Was she temperamentally fit 
ted and dramatically equipped for the demands o operatic 
roles? What financial advantages could the opera offer? She 
already knew the arias in the operas she would sing. And no 
longer was the bugaboo, over whether singing in opera would 
violate any moral scruple, a serious consideration. Stiakosch 
was inclined to think that, though she was quite capable of 
assuming operatic roles with distinction, she would have to do 
so at too great a sacrifice: the abandoning of the concert field in 
which she was now recognized to have no rival anywhere in the 
world. The financial rewards to the greatest concert singer 
could hardly be estimated, while the financial rewards in a field 
in which Patti, Nilsson, Albani, Lucca, Kellogg, Hauk, Ab 
bott, Sembrich, Gerster and other highly-talented artists were 
already established, seemed at least limited. Furthermore, Stra- 
kosch was inclined to await the verdict of Barcelona, before 
making any definite decision. 

For the inaugural conceits in the beautiful new Sala Bee 
thoven, the management had assembled, under the leadership 
of B. Fugola, an orchestra of one hundred and twenty-five 
musicians, many of whom were prominently identified with the 
orchestras of Paris, Brussels, and Milan* For stellar attractions 
it had engaged "Miss Emma Thursby, J. Massenet, C. Saint- 
Saens, F. Plante." These were the distinguished auspices under 
which Emma Thursby made her Spanish debut, on April s8th, 
scoring an ovation of which her sister, Ina, without any exag 
geration, wrote home: 


"Hotel des Quatre Nations 
Barcelona, April joth 1881. 
Dear Sister Allie: 

We are having a very nice time here. Our friends are very 
kind to us, and give us their boxes at the opera when we wish 
to go. They have two opera houses here, and very fine artists 
at both, indeed they have to have for the people will not have 
anything else. It is the most severe critical audience I ever saw. 
It is something frightful. I have never been to the opera, that 
they have not hissed someone if not all, and they have all the 
finest artists in Europe here. Last night they hissed the tenor 
so everytime he came out that you could not hear a note. 
Masini (who is considered the greatest tenor in Europe) has 
come here for ten operas and began last Wed. with the prices 
more than double. Tht first act he was hissed frightfully all 
the way through, the second act he did some things very well 
and they applauded just as loud, and so on, applauding and 
hissing, and the opera ended in a half fiasco. He has been ill 
since and has not sung yet, he was not well the night he sang, 
and so it is with everyone, they will not stand one false note. It 
is the poor people, boot blacks etc. in the top gallery that de 
cide the fate of an artist. If they do not like anything they will 
drown the applause of the whole house with their hisses, and it 
is wonderful the knowledge they have of music; there is not an 
opera that they do not know every note from beginning to end. 
Every note you do not do well they will let you know immedi 
ately. If a cut is made anywhere you will immediately hear it 
whistled or sung in the gallery while the artist is going on. 
Seeing all this made Emma not a little anxious about her suc 
cess; but she had an immense success. The American Consul 
who was here yesterday says he has been here seven years, and 
has never seen but one success equal to hers, and that was 
Sarasate, one of their own countrymen (he is here now). After 
the first piece Mozart she was recalled, and after the 2nd, 


Mignon, there was a storm of applause, and she had to give an 
encore, but after the last, Proch, it was like thunder, such a 
row, screaming, and waving of handkerchiefs from the top gal 
lery (which they say they have never done excepting for 
Sarasate). She went back a number of times, but they insisted 
upon an encore which she gave, and they were wilder than 
ever. It was then about half past eleven, and after she had been 
back in her room some time, they came for her and said she 
must come back again, they would not stop the noise. So she 
went back again, but had to give another encore. The papers 
have had magnificent articles in and several papers have been 
for her picture and biography. Mr. Arnus felt very happy and 
delighted after the concert, he had felt very nervous about her 
success as he felt responsible, in bringing her here and saying 
so much about her, and knowing how severe the Barcelona 
public are. They say it is the worst in Spain. She sings again 
today, but is a little nervous about it as she does not feel so 
much at home in her selections and it is going to be rather dif 
ficult to sustain the reputation she made the first night, but I 
hope she wiH get through all right. The other night the or 
chestra played one or two bad notes and they immediately 
screamed Orchestra!!! Orchestra!!! The new Hall is beautiful 
and the orchestra, picked from all over Paris and Brussells is 
very fine. We take a walk every day by the beautiful blue 
Mediterranean, it is truly blue. It is beginning to get a little 
warmer. We left the bird at the Drs. with Rose as we x did not 
want to bother with him here and today Emma had another 
Nightingale sent her. I don't know what we shall do with it. 
We shall soon have a menagerie to travel with. We have not 
been to a bull fight yet, it isn't quite time. Mr. Ovington and 
Jeannie sail for America on the loth, Baltic. So you will soon 
see them. Much love to all from both. 

Your loving sister 



As Emma Thursby *s success in the first concert was confirmed 
in succeeding concerts and her acclaim became a veritable tri 
umph with public and press proclaiming her praises, Stra- 
kosch was more than ever convinced that for her to forsake the 
concert stage for the operatic, however promising the latter, 
would be a mistake. Hence, when the impatient Ambroselli 
telegraphed her, urging a decision upon his proffer, Strakosch 
dictated the following reply, which Emma Thursby promptly 
forwarded to Paris: 

"Je vous prie de m'excuser de ne pas avoir repondu plus tot 
a la lettre que vous m'avez fait Thonneur de m'adresser. Je ne 
puis pas me decider de chanter dans les operas. Si vous avez i 
me proposer des concerts, je les accepterais avec plaisir. 

Veuillez agreer je vous prie, Monsieur, Texpression de mes 
sentiments les plus distingufes." 

With a weighty decision at last made, Emma Thursby could 
relax, at least to the degree her Barcelona admirers would al 
low, invigorated by the sun that shone so benignly over Spain. 
Ina could be relied upon to record the Barcelona interlude for 
the folks at home. 

"Barcelona, Spain, 
May 9th 2881. 

Emma has sung three times since I wrote you of her success 
last week at the ist concert, and has kept up the same success. 
At the 2nd she had twelve recalls and after the second piece was 
showered with bouquets from every direction, till she stood in 
a bed of flowers and did not know which way to turn. She came 
off a dozen times carrying all she could and then the stage was 
still full, and it was three pieces after before they succeeded in 
clearing the stage. We did not pretend to bring them home, 
they were thrown in the corner of the stage and carried off by 
the orchestra and stage men. There were between 2 and 3 hun 
dred. She did not know but her dress would be ruined. Yester- 


'; .:< 

Bradley & Roulofson, San Francisco 


day she had 20 recalls. Sunday evening, after the afternoon 
concert, they gave a concert without her, only the orchestra, 
and they had no one in the house. There were 400 of the gal 
lery people turned away at the 2nd concert, could not get ad 
mission. She had been so successful here I do not know whether 
we shall get to Madrid. They may want to keep her here. They 
are trying their best to make her sing in opera here. Last week 
she had another letter from the Grand Opera House in Paris, 
wanting her to sing there, and a few days ago a telegram saying 
they must have an answer. Ambroise Thomas also wants her 
to bring out his new opera, but she has refused 

It is getting so frightfully hot here, I do not think we can 
stand it much longer. Our friend Mr. Arnus took us out to his 
summer place, on Friday. We had a delightful trip. It is on the 
mountain above the sea, with a magnificent view of the Medi 
terranean. We drove there in a carriage, about one and a half 
hour drive. The road to the house was covered with roses on 
both sides. When we arrived at the house they had a nice break 
fast prepared for us. It is an old Moorish house and the 
grounds are lovely. After breakfast we went into the orange 
grove and picked off great limbs covered with oranges. Then 
we took a little donkey cart and drove down to the sea. Walked 
along the beach, went through the glass factory and returned 
to the city with our hands full of oranges and roses. The Oving- 
tons sail tomorrow on the Baltic, Emma wants you to get a nice 
piece of flowers for her, for Mrs. O's funeraL 

Love to all, 

Your loving sister 


The Barcelona narrative continued: 

"Baredona, Spain 
May i8th 1881 
Dear Mother: 

Emma has finished her engagement here, seven concerts 


with great success and all good houses, which is a great many 
for a small city. Sunday afternoon was her last appearance, and 
I thought they never would let her go. After giving encores to 
all her pieces, they called her back a number of times after her 
last piece, and she sang the laughing song (with which she has 
made such an immense success both here and in Germany and 
Paris) (she has had to sing it at every concert), but still they 
were not satisfied and she had to go back a dozen times more, 
the people waving handkerchiefs and screaming Proch! Proch! ! 
from the top gallery down, till she was obliged to sing it. The 
manager of the Royal Opera House in Madrid was here last 
week to hear her and we go there for two concerts next week, 
during the Calderon Fete. I expect Madrid will be crowded, 
they say it will be almost impossible to get in the hotels. Our 
friends here are all going on for it. It is twenty-four hours 
travel. We may stop at Valencia on our way for a concert. It 
will be decided tomorrow. 

We have received a letter from Mr. Taylor. I told you we 
had another Nightingale, now they want to give Emma a little 
donkey, or rather a dwarf mule, not as high as the table, great 
long ears, and little feet about the size of my bracelet, eight 
years old. It took the prize at the Paris fair. I saw it go by the 
other day drawing a large wagon with a man In it, and going 
so fast every one laughed. Mr. Fabra heard Emma talking so 
much about a little donkey, he sent for it the other night when 
we dined there. The coachman and footman, carried it up 
stairs to show us, but the poor little thing could hardly stand 
on the smooth marble floor. If we were only a little nearer 
home and not across the ocean, we would accept. It would be 
such a novelty to drive in the Park. A small mule is more valu 
able than a donkey, because it is a rare thing. We were so afraid 
they would send it here and we would not know what to do 
with it, but Mr. Strokosch told them not to. A schooner (the 
Sagadahoo of New York) sailed for there yesterday, if it had 

been a steamer we might have sent the menagerie on. The bird 
is singing at the top of his lungs. 

The harbor here reminds me of New York. Mr. Sweet is 
singing here In opera, we heard him last night. Mr. S. likes him 
very much, he has a very nice voice and acts very finely, he had 
his lessons in acting from SalvinL Kellogg wants to take him to 
America with her. The Spanish lace is frightfully dear here 70 
& 1 20 & 1 60 francs and 253 for some. The gloves I will look for 
in Paris. Emma and I each had a present of a gentlemans scarf 
pin, gold. Emma's a rooster in colors holding a pearl, and mine 
a sword or knife of some kind so the boys will have them when 
we get back. Love to all 

Your loving daughter 


Two concerts in Valencia found the acclaim of Barcelona 
repeated, while two in Madrid found eager crowds, gathered 
for the Calderon Fete, acclaiming the "American Nightingale" 
as they had acclaimed no other singer before. Spain had given 
its best homage; Madrid was won, and easily, despite Ina's con 
cern: "Emma sings at the Royal Opera House Sat. & Sun. I 
hope she will be successful. She is rather nervous about it. The 
public are so Fad, if they have a mind to be. Lucca they would 
not hear at all, would not let her go on singing. The winds in 
Madrid are very dangerous. I hope Emma will not get a cold. 
Nilsson was laid up 2 1 days here with her throat and Patti 8 
days. There is an old Spanish proverb which says the subtle 
air of Madrid, which will not extinguish a candle, will put out 
a man's life." 

Madrid was generous, indeed, in its welcome. The King and 
Queen patronized her conceits, and the Infante Isabella re 
ceived her and her sister at court. The Marquise de Najera, 
lady-in-waiting to Isabella, to whom Emma Thursby carried a 
letter of introduction from their mutual friend, Mme de la 


Grange, spared no effort in making the Madrid visit a happy 
one. General Fairchild, the American Minister, and his wife 
entertained in her honor. And the Arniis and Fabra families, 
who had accompanied her from Barcelona, lavished upon her 
gifts and courtesies that their gratitude willed and their wealth 
permitted. Attending the opera, visiting museums, and wit 
nessing a bullfight; these, too, were experiences that would live 
in the pleasant memories of Madrid. 

Paris, now her second home, seemed more than ever friendly 
as she returned to the comforts of the Hotel de Londres. But it 
was not easy for one with so many friends and admirers to rest 
in Paris. Rest she needed, yet rest she would not get, because 
she could not and would not refuse the invitations that pro 
vided for every hour in the crowded days. There were old 
friends and new friends to see, residents of Paris; and there 
were friends and acquaintances from America, who called in 
surprising numbers. One, indeed, found many Americans in 
Paiis, Two she spent much time with, discussing their great 
mutual interest, Jennie Van Zandt and Lillian Norton (Nor- 
dica), the former rejoicing in her recent operatic successes, the 
fetter pondering an offer of the Theatre National de TOpera, 
similar to the one Emma Thursby had refused. On the i6th 
she sang, upon the request of the Queen of Spain, at the benefit 
conceit for L'Oeuvre de F Adoption des Petites Filles Aban- 
donnes, a society of which the queen was honorary president, 
and the Countesses de Lesseps and de Mauzoy, and the Duch 
esses de Bojano and Tarbe des Sablons, active workers. The 
worthy cause found a worthy response from luminaries in 
musk and the drama, the contributing artists being the com 
posers (who conducted the orchestra in their own composi 
tions): Camille Saint-Saens, Victorin Joncires, E. Guiraud, 
Alphonse Duvernoy, and Salvayre; the singers: Mile Rosine 
Block and, MM. Bosquin and Bonnehee; and the actor, 
Coquelin cadet. The program was one that found high favor 


with the notable audience, and Emma Thursby received a 
bountiful share of the ovations of the evening for her rendition 
of Prodi's Variations, Ricci's waltz, "Una Folia a Roma/' and 
her contribution to the quartet from Rigoletto. In particular 
favor in the program were Saint-Saens' "Variations pour deux 
Pianos, sur un theme de Beethoven/' executed by the com 
poser and Alphonse Duvernoy. 

After an intense month in Paris, Emma and Ina Thursby re 
paired to Ems, where ten days of relative idling restored them 
for the exertions of a northern tour to commence with four 
concerts in Copenhagen. There in the concert hall of the 
Tivoli Gardens, on the sist of July, preceded by a reputation 
not easy to fulfill, Emma Thursby captivated the huge and 
demonstrative audience by her modesty and charm, the un 
usual quality of her voice, and the perfection of her execution. 
It was a possessive audience, unwilling to surrender its newly 
found idol, that burst into cheers as she left the hall, and es 
corted her in great numbers to the Hotel d'Angleterre. Next 
day the press was one in its praise, Fodrelandet offering the 
greatest popular tribute when it pronounced: "Here at Copen 
hagen nobody has known a singer except Jenny Lind who 
can rival her in loveliness combined with corresponding skill." 

Her second concert proving another striking success, it was 
now demanded that she extend her engagement. This she did 
only to find no apparent end to the public demand. King 
Christian was now leading the ranks of those who acclaimed 
her, while the Crown Prince and Crown Princess with a large 
court representation did her the honor of attending three suc 
cessive concerts. Each night the orchestra honored her with a 
tusch. Her fame, spreading to Stockholm, brought the Swedish 
tenor, Arwid 0dmann, to Copenhagen to press his plea to sing 
with her. This she granted and he sang with popular approval. 
Finally, the continued concerts to meet insistent demands 
came to an end with the ninth, for she must proceed to Bergen, 


Norway, where she had volunteered to give a concert to aid in 
a fund for a monument to the memory of her late friend, Ole 

The ninth and last concert held all the drama of a farewell. 
She who had sung her way into their hearts, even singing to 
them in their native tongue as well as in Swedish and Nor 
wegian, must reluctantly take her leave. Reviewing this con 
cert, the Dagens Nyheder said: "As certain as Miss Thursby 
can add Copenhagen to the laurel wreath of cities where she 
has won fine triumphs, so may she leave us with the assurance 
that she leaves a none less beautiful memory with all who have 
had the fortune to hear her delightful song. Even if we may 
hope and expect to hear the art of singing as high as with Miss 
Thursby, there is, however, one quality of Miss Thursby's 
singing, a specialty, which will hardly be equalled, and which 
therefore will be retained so much longer in our memory: her 
striking natural execution and the wonderfully charming and 
fascinating timbre of her voice." 

No city had ever extended its hospitality more generously: 
the citizenry led by Commander Wilde, and the wealthy Dane, 
Moses Melchior, and Denmark's foremost composer, Niels 
Gade; the American colony by the American Minister and 
Mrs. Cramer, youngest sister of General Grant. To Com 
mander Wilde she was particularly grateful, for he had so en 
thusiastically portrayed her to his old and intimate friend, 
King Oscar of Sweden, that the King had personally sent her a 
schedule of his travels for the ensuing weeks, urging that she 
arrange to sing where he might hear her who had been likened 
to Sweden's own Jenny Lind, 

However great the plaudits of Copenhagen, it remained for 
Bergen to surpass them. Of that memorable first concert in 
Bergen, given in memory of her friend and Norway's national 
hero, Ole Bull, Emma Thursby, herself, wrote with enthu 
siasm to her sister at home: 


"Hotel Holdts 
Bergen Aug ipth, Si- 
Dear Allie 

Ina has written to Mother this afternoon, but as the Steamer 
is going in the morning to Hull I cannot resist writing you a 
few words of our immense success this evening. The concert is 
over, and although I had a bad cold (caught while weeping 
over Hamlet's grave at Elsinore), and was a little afraid I 
should not be able to sing very well, I have had a most splendid 
success. Of course the fact of my coming so far, to sing for the 
Ole Bull Monument Fund, has aroused a great deal of enthu 
siasm for me. The Hall was packed in every part and hundreds 
of people could not get in, to say nothing of the crowds of poor 
people in the streets. All my pieces were received with the 
greatest enthusiasm. I was showered with flowers, and when at 
the end I sang a song of Ole Bull's in Norwegian, I thought 
they would go wild. After the concert, our carriage was fol 
lowed by crowds cheering all the way to the Hotel, and here for 
two hours, they have stood packed like herring as far as we 
can see in every direction, while I have had the most lovely 
serenade I ever listened to. The crowd would not move until 
I came on the balcony, and had some one make a speech for me, 
when they gave cheer after cheer. They have now begun to 
go away, as we have closed the windows, and all the Committee 
and people who have been in our parlour have gone down to 
Supper, so we are alone and I write these few words to tell you 
about the concert. Tomorrow morning we go down to Mr. 
Bull's Island and it will take some time for a letter to come 
from there. We will remain there for several days, give a con 
cert or two here then go overland through the magnificent 
mountains and fjords to Christiania, where we will give sev 
eral concerts, then go to Stockholm. Mrs. Bull, Mr. & Mrs. 
Thorp, and Olea will go with_us. You see I have finally found 
the way to Norway. I expected soon to be on our way to Liver- 

pool but really I cannot give up such splendid successes as I 
am having in Scandinavia. 

We shall try to get through in time to start for home in Sep 
tember. It is all for the best I did not come before, for it has 
rained constantly here for forty days in succession, but when 
we landed yesterday morning the sun came out magnificiently 
and it is now magnificient. 

I should write to Mrs. Rockwell by this mail but find there 
is not time. You will see her as soon as she lands, give her my 
love, tell her my intentions and the news. Tell her she made a 
big mistake not to come with us. From Spain to Scandinavia 
has been a magnificient trip. How I wish you and mother had 
been with us. 

Best love and kisses to all 


The Bergen Aftenblad told the story more completely: 

"A more beautiful contribution than that given by the cele 
brated American artiste for the monument of Ole Bull has not 
and cannot be given to that object considered quite apart from 
the large pecuniary results which the great audience and high 
prices secured. 

"A foreign artiste came to us, the citizens of her world re 
nowned friend, and sang a beautiful song of love. What won 
der, then, when Emma Thursby appeared she was received 
with warm applause; what wonder that La Diva must have felt 
the thanks she received in the transports of delight with which 
the great audience again and again recalled her after she had 
sung as nobody else can sing. 

"Every great artiste has an individual marked style, and this 
is true of Emma Thursby. When home again after such a 
never-to-be-forgotten evening, which has nothing in common 
with the events of ordinary life, one is tempted like a miser, to 
brood over the glimpses of beauty received, and which seem to 


us a realization of another and better world; one has not the 
heart to destroy these impressions and neither could we if we 
would make the effort to formulate them, and you awaken to 
know that there are moods and impressions which, like the 
butterfly, lose their finest colours when one tries to grasp them. 
If there is anything beyond the characterization of words, it is 
the human voice which can of right be called 'divine/ Emma 
Thursby to us represents the Greek ideal, with her fine, pe 
culiarly brilliant voice, her art so fully cultivated, her song so 
clear and plastic, her bearing so natural and so lovely. In her 
art her technique is developed to that point of complete mas 
tery which gives repose and confidence. Her naturally remark 
able voice has been so thoroughly and carefully trained and 
splendidly developed that she has in full measure all the quali 
fications for song, suddenly giving the cleanest, clearest stac- 
catto, the most brilliant nightingale trills, the purest roulades 
of pearls. Miss Thursby is in the very freshness of youth. She 
scorns perhaps too much the slightest tinge of coquetry in 
manner; but that popularity has not touched her, is, perhaps, 
the secret of her greatest fascination. 

"Ole Bull's undying melody, Saterjantans Sondag, so poeti 
cally and admirably arranged for string orchestra by Johan 
Svendsen was beautifully played under the direction of Mr. 
Fries, and brought the audience in the mood. A large portrait 
was placed at the right of the plaform, wreathed in green and 
draped in his well-known American Norse Philharmonic flag. 
This also made the occasion more impressive. When at the 
close of the concert, after great enthusiasm and showers of 
flowers, La Diva appeared in response to the demands of the 
audience, the excitement knew no bounds. The Chairman of 
the Ole Bull Monument Committee, Mr. John Lund, who had 
the honor of presenting the artiste, stepped forward and asked 
the audience to give nine cheers for America's talented daugh 
ter, who had so nobly shown her devotion to Ole Bull's mem- 


ory and gained for herself the hearts of the Bergen people. No 
request was ever more welcome or enthusiastically responded 
to, and the shouts which rang through the hall must have im 
pressed the musical ear of the diva. She responded by singing, 
in Norse, the Saterjantans Sondag, which both opened and 
closed the concert. Never has our poor Norse tongue fallen 
with greater charm or fascination from lovely lips. Admiration 
had now reached its climax and our quiet Bergen people be 
came transformed into ecstatic Italians. As Shakespeare says, 
so could Miss Thursby's fortunate hearers also say: 

'All hail to thee 

All powerful harmony/ 

"Later in the evening the 'Handworkers Union' with their 
banner and thousands of spectators assembled before the hotel 
where they greated Miss Thursby with two songs. The last of 
these Kjerulfs 'Serenade on the Beach/ for chorus and solo 
the latter of which was sung by Nils Yansen, and rendered so 
feelingly and beautifully that the great artiste must have felt 
it no formal compliment. She appeared at the window and 
through Mr. Lund gave a toast for Bergen and its people/' 

Ever since the early days of her appearances with Ole Bull, 
Emma Thursby had looked forward to singing in Bergen, of 
which Ole Bull had spoken so often and so devotedly. At last 
opportunity had come to her though circumstances quite dif 
ferent from those she and Ole Bull, himself, had so eagerly 
planned for the previous summer. Now she visited Ole Bull's 
lovely island home, Lysoen in the fjords, some twenty miles 
from Bergen, as the guest of his widow. Mrs. Bull had post 
poned her contemplated trip to America in order to be present 
at the memorial concert, and at a group of ensuing concerts she 
had recommended so that the large body of Bergen people 
would be able to hear her American friend. Of this pilgrimage, 
and the following days in Bergen, Ina wrote to her brother: 


"Bergen, Norway, 
Aug. 25 th 1881 
Dear Lou: 

Just this very minute received your letter of Aug ist with 
the papers to be signed so I do not see how you can possibly get 
them in time, they must wait for a steamer going from here. 
There are no railways in Norway you know. It is all mountains 
and Fjords. When we go from here to Christiania instead of 
going way around by sea again, which takes three days, we shall 
go across land by carriages, which takes a great deal longer, 5 
days, but we shall have all the beautiful scenery. They change 
the horses every 15 miles and stop at some places for the night. 
Mrs. Bull and her folks may go with us. I wrote you last week 
about the Ole Bull concert and that we went to his island the 
next day (Sat) . It is a most beautiful spot, very romantic. The 
house is very pretty, all the inside is in pine wood, if o paint or 
paper. The music room is all in carved wood. You have seen 
the photo of it. It is about four hours drive from here, then 
you have to row over to the island. It is called Lyso. Mrs. B. 
was to have gone to America last week, but when she heard 
we would come, decided to remain longer. Now she will not 
go till the igth of Sept. or ist of Oct. We remained on the 
island till Tuesday morning, then returned to Bergen and gave 
a concert for ourselves in the evening. Such a time you never 
saw. When we left the hotel it was almost impossible for her to 
get into the carriage, and when we arrived at the hall it was 
worse still. The hall holds 1500 and the ticket seller says that 
within two hours after the office was opened there was not a 
seat to be had. Many travelers and Americans came to Mr. S. 
and begged him to try and get them in someway. Said they 
never could get a ticket in Copenhagen and now find the same 
difficulty here. There were also many demands in the papers 
for another conceit or to advance the prices to give others a 
chance. She was showered with bouquets again. After the con- 

cert they were obliged to have the police stationed at the hall 
for her to get into the carriage and at the hotel so that she 
could get out. But after the carriage started, you never saw any 
thing to equal it. They all screamed and ran with the carriage 
all the way to the hotel. They even tried to take the horses out 
of the carriage, but the coachman was too quick for them. She 
pulled her bouquets apart and threw them to the people, one 
grabbed her hand with the flowers and would scarcely let her 
go. We were almost afraid to get out of the carriage till we saw 
the police there. The crowd remained outside till eleven 
o'clock, waiting for I know not what. Once in a while some 
one can be heard saying something about Emma Thursby, 
then they all begin to cheer, and she is obliged to go to the win 
dow and bow to them. The concert begins at 7:30 and is over 
a little before nine, but the people begin to collect in front of 
the hotel at 6:30, then they go to the hall and stand there till 
the concert is over (there are as many outside as inside), they 
go back to the hotel and stand two hours longer. Such patience 
I never saw. We give another concert tonight (Thurs.) and 
another tomorrow night (Friday), and a popular concert on 
Monday night (the last) at lower prices, so as to give these poor 
peasants^ who stand in the streets every night just to see her, a 
chance to hear her. It must be the last as we have just time to 
get to Christiania for our concerts, by leaving on Tuesday. The 
music dealer, who has charge of the tickets, came to us yester 
day, and said that we must give these two extra concerts (to 
morrow and Monday). He was willing to bet that by nine 
o'clock this morning there would not be a seat to be had. Mr. S. 
said he would wait and see. The ticket office does not open till 
seven o'clock the morning of the concert. Many he said had 
already been in the store, and begged him to book them for 
places, but he told them they would all have to come in the 
morning. Sure enough at eight o'clock this morning one hour 
after the office was opened and before we were up a message 


came from the office, that the crowd had been waiting outside 
the office since half past four, and when he opened the office 
they rushed in so that they broke the glass doors to pieces and 
took any tickets that were given them. They did not care what 
they were so long as they had some. The poor ticket man was 
pale with fright. He says he never saw anything like it. Excuse 
writing and mistakes as I am hurrying to get through before 
the concert. I will try to send you a translation of one of the 
demands in the paper, if I have the time. 


"Emma has sung again with the same success, and crowds 
outside and in. When it was time to go home some one came up 
stairs and said that the carriage had arrived but it was not a 
very clean one. We said it could not be ours then, as ours was 
a magnificent new affair all lined with yellow satin and coach 
man in livery and we thought no more of it, but when we 
went down to get in, we found the old carriage and no horses, 
but ropes around it and the crowd to pull and push it. My how 
we did go, they flew through the streets as fast as any horses, to 
the hotel. Then they screamed and yelled so that Emma had to 
have some one go to the window and make a speech for her, 
and she threw all her bouquets out of the window to the crowd, 
but still they kept it up demanding a song. So she had to go to 
the window and sing the bird song for them. I do not know 
what they will do next. The gentleman who always sends Ms 
carriage for us, told us after the concert, that the students 
threatened to break his carriage all to pieces if he had it there 
to take her home, as the coachman would not allow them to 
take the horses out, so they would get their own. I am afraid 
they will spoil her in this country to go back to America where 
they do not make such a time over her, and she is a stranger, 
A week ago unknown to these people. In Stockholm they hear 
of our successes and want to make us pay more for everything 

accordingly. They want a big price for the Opera House and 
Theatres. We have had more in our concerts than the Ole Bull 
Fund. Don't you think it would be too bad for her to leave 
immediately for America and leave this part of the country 
while she is making such a success and we are not sure what 
America would be? We cannot get through this part of the 
country with a short hurried trip before the first of Oct. as 
we have to give so many concerts in one city. What city is there 
in America where she could give ten concerts and crowds 
everytime and we could have given many more if we had had 
the time to stay. It will be the same thing when we leave here. 
And I hope it will continue. I did not think there could pos 
sibly be any more done than there was in Copenhagen, but 
they are wilder than ever here. I sent my photos to mother last 
week. I hope she received them. Love to all from both. 

Your loving sister 


The day before the last concert Emma Thursby spent with 
the much beloved of his countrymen, Edvard Grieg, and his 
talented and lovely wife, Nina Grieg, learning Grieg's songs as 
only Grieg could teach them. No one in Bergen had joined 
more enthusiastically in the reception to Emma Thursby than 
Grieg, who now gave highest testimony of his admiration by 
presenting her the manuscript of his unpublished song, "Eit 
Syn" (Op. 33. No. 6), to the words of the Norwegian lyric poet, 
Aasmund Vinje, inscribed: 

"Edvard Grieg 
Bergen, August '81 

Remembrance of Norway 
to Miss Emma Thursby 

the Composer " 


She in turn gave her simple but whole-hearted tribute to the 
great composer in her last concert when she sang his delightful 
"Jeg elsker dig" and "God Morgen," Grieg himself accom 
panying her, to the great pleasure of the audience so proud of 
their native son. 

Through five concerts the wild ovations continued, reaching 
their height in the last concert following which literally the 
whole city turned out to serenade their "Emma" at her hotel. 
The city band played the National Air, joined in by the 
chorus of the vast crowd; and the Norse patriot, John Lund, 
offered a toast to the fair American, to which she replied by 
singing two songs from her window and promising to return 
the following summer. The crowds applauded and shouted 
and screamed, and only when the lights in the hotel were 
turned off and they were urged to leave, did they leave, and 
then slowly and reluctantly. No artist save their own Ole Bull 
had ever received such ovations of affection, said the Bergen 
press, praising her modesty and her loveliness, and her voice, 
which, in their opinion, transcended in beauty that of any 
other singer. 

Early the next morning, Tuesday at six o'clock, it was a 
happy and congenial group that bid farewell to Bergen amidst 
a noisy demonstration: Mrs. Bull and her young daughter, 
Olea; her father and mother, Mr. and Mrs. Thorp; John Lund, 
Maurice Strakosch, Robert Fischhof, and Emma and Ina 
Thursby. Aboard the flag-bedecked steamer "Lyderhorn," they 
proceeded up Sognefjord to Laerdal where the long overland 
carriage drive across the mountains to Christiania commenced. 
On Sunday the party arrived at its destination after five days 
of travel over one of the most beautiful mountain routes in 
the world. 

News of Emma Thursby's adoption by the people of Bergen 
had preceded her, so Christiania was ready and anxious to 
outdo the reception of its rival, if this were possible. The peo- 


pie of Christiania, Indeed, at her three concerts there gave her 
every honor at their disposal. Again the demonstrations in the 
streets after her concerts; again the songs from her window to 
satisfy the insistent demands of the great crowds unwilling to 
surrender her at all. How they rejoiced in her singing of the 
great operatic arias, and of songs identified with Jenny Lind! 
How they were enraptured when she sang in their own 
tongue Grieg's "Solveigs Sang" and his "Det f0rste M0de."! 
How they rejoiced when she sang the "Venetiaiisk Serenade" 
of their own honored citizen, Johan Svendsen, the noted Nor 
wegian composer of symphonic music, who had himself taught 
her his song. Ample testimony of her winning of Christiania 
appeared in the Aften Posten of September igth: 

"Lagen's great hall was again filled by a public which gave 
the celebrated artiste their warmest applause as thanks for the 
lovely tones she gave them, unfortunately the last time for this 
season. The previous evenings had brought about a mutual 
understanding, and the artiste's selections were given and re 
ceived with the greatest warmth of feeling. The genuine soul- 
worth of those intoxicating tones was now fully revealed to the 
public, their magic beauty and the influence they necessarily 
must exert. After the lighter programme of the previous eve 
nings the audience awaited with a certain suspense the ren 
dering of the 'Mozart Aria' in which the true demands of song 
are paramount. It received full justice. The voice full and 
powerful gave the various nuances of the composition with 
great effect. In Verdi's 'Bolero' so well known we have 
heard nothing more delightfully expressive of youth's fresh 
ness, more sonorous or graceful. But to us the gem of the eve 
ning was her rendition of Edvard Grieg's Det f0rste M0de/ 
We felt that the inspiration of the composer's own ideal had 
produced the deep, comprehensive, and sympathetic expres 
sion (It will be remembered that Grieg himself accompanied 
Miss Thursby in Bergen). There was an inexpressible fra- 


3L Selmer* Bergen 





grance of love and devotion about the song. We forgot that it 
was a stranger who spoke to us, for it went from heart to heart. 
Svendsen's 'Venetian Serenade' was also most happily given 
and rewarded by the warmest applause. In Eckert's 'Echo 
Song' the artist had a fine opportunity of showing the astonish 
ing resources of her wonderfully developed organ; as also in 
Prodi's Variations. 

"That the public were enthusiastic, that showers of flowers 
and shouts of applause seemed never to have an end, we do not 
need to add, and it was the wish of all expressed in the cries of 
many Paa Gensyn (au revoir). 

"When Miss Thursby left the hall she was greeted by a great 
crowd who had gathered at the east entrance. Outside her win 
dows at the hotel, along the whole length of Queen's St. and 
up over Court St., there were ten thousand assembled, who by 
hurrahs, vivas and applause called her to the window. There 
was a frightful crush and much noise, but the admiring shouts 
which rent the air, at her appearance, gave place to a breathless 
silence, whilst she sang her 'Bird Song/ When the last tones 
died away, the throng broke out in shouts again, and again, the 
artiste was obliged to appear repeatedly, and the people would 
not disperse until Mrs. Ole Bull, on the part of Miss Thursby, 
thanked them for their kind reception, assuring them of the 
enjoyment she had had in their midst, and her hope of a return 
the following summer. Again nine cheers, and the crowd 



In Stockholm, the beautiful capital of Sweden, there was no 
abatement of the enthusiasm that Norway had shown for 
the young American. "Notwithstanding the reclames which 
had preceded Miss Thursby the audience were not disap 
pointed. Her triumph was complete," observed the Dagens 
Nyheter, following her first concert, on September lyth, con 
cluding with the pronouncement: "Although in technique she 
is perfect, we may mention the trill and staccato as her special 
ties, and in these she surpassed all the artists we have hitherto 
heard." High praise was this in the city of Jenny Lind and 
Christine Nilsson! Again, as in all the capitals she had visited, 
there gathered about her a host of people from the ranks of 
wealth and fashion, anxious to extend their courtesies. And, as 
always, she received the gracious attentions of the American 
Minister, in this case, John Leavitt Stevens, whose family be 
came her warm friends. But it was with fellow lovers of music 
that she found her greatest pleasure, and notable among these 


was Ivar Hallstrom, the eminent Swedish composer. 

Ina's letters still carried the news home, the same free and 
impulsive letters, at once frank and vivid in their impressions. 

"Upsala, Sweden, 
Sept. 2nnd 1881. 

Dear Mother: 

Mrs. Bull and family left us yesterday. We feel so lonesome 
without them. They are all the nicest people I have ever been 
with. There are few people I like to travel with, but they 
seemed like our own family. Mr. and Mrs. Thorpe are so nice, 
you would like them so much. Little Olea is an angel, the 
sweetest child I have ever seen. Emma gave her a little set of 
jewelry (cats eyes) when she left, and she was so delighted. 
They were kind enough to offer to take something home for us, 
so we sent you a few little things. A diamond bracelet for 
Allie's birthday & a set of jewelry (a lovely rose in gold). It will 
look beautiful in lace. I will borrow it of you sometime. The 
ear rings are rather small, but the best we could do in Stock 
holm. Allie can have fastenings put on for you. Your choice lay 
between this set, & a larger and richer pin, but of an older style 
with danglers. There were no ear rings to go with it 8c I knew 
you would not go without them. The rose is much more origi 
nal 8c my choice, so you must not complain. They are all Mr. S r s 
selection. He went out alone and bought them. We both fell 
in love with Allie's bracelet when he brought it in, and wanted 
it ourselves. He has very good taste in selecting things. I also 
sent you a shaded pink necktie, the latest style when we were in 
Paris. The parasols, dressgoods & everything was made in this 
style (shaded). Did you have them in N.Y.? I sent two pins 
which we got in Spain, to the boys. They can take their choice. 
The little clock Mrs. Ovington bought for us, but it would not 
go lately, so I sent it home. I also sent Emma's book of paint 
ings & some photos. One, the view of the steamers 8c procession 


which bore Mr. Bull's body. Also the old church which we saw 
on our way over the country. It is over 1000 years old 

We have given two concerts in Stockholm at a large concert 
hall, both crowded fc very enthusiastic houses. We came here 
this morning (one hour from S) and give a concert tonight. We 
go back tomorrow morning for two concerts at the Royal 
Opera. The Grown Prince was married on Monday and there 
will be lively times here next week, when they return. The 
king has sent word from the wedding that he hopes it will be 
possible for him to hear Emma on his return, but it will be a 
very busy time. The programme is made out for every day be 
ginning Oct. ist, for one week. The bride was at our concert 
with the Emperor last year in Baden, 

[Stockholm] Sept. 2$th 

**The concert in Upsala was an immense success. They were 
very enthusiastic, and when she gave them a Swedish song for 
an encore at the end of the concert the whole audience stood 
up and screamed and called her back many times. Last night 
we had the first concert at the Royal Opera. The building was 
packed from top to bottom. And such a reception as Emma 
had! They called her back many times after every piece 8c she 
was obliged to give many encores. At the end she gave for an 
encore the same Swedish song she sang in Upsala & the people 
were wild, they cheered 8c waved their handkerchiefs and 
called her back until she was obliged to give a second encore. 
We are all so delighted with her success at the Opera, as before 
we came here they did not want her there, so we went to the 
concert hall, and they gave a concert against us, and had about 
so people in the orchestra 8c one box taken, while we had all 
the seats for both concerts, so they are glad to come for her 
now. But we can do without them first, which is better. The 
managers are delighted and say they never saw anything like it. 
They give another concert on Tuesday. I hope the King will be 
back by that time. Nilsson is expected every day. She is invited 

to sing during the Fete. There will be so much excitement 
next week, Processions, Balls, Gala night at the Opera, etc. I 
do not suppose we will do much business, altho they want us 
at the Theatre, but I do not think it would be wise. It is get 
ting so cold, we have sent to Paris for our trunk with our win 
ter clothes. Do not fail to meet Mrs. Bull at the steamer if 
possible. It will make them so happy and they will tell you all 
about us, besides bringing you some nice things from us. 1 am 
sure they will telegraph you from Sandy Hook. I am afraid we 
shall not get back this winter; it does not look like it, altho we 
may yet. We have received the news of the President's death, is 
it not terrible? Do you think it will affect the concert or opera 
business? We rec'd the news about 5 o'clock the day of Emma's 
second concert and they kept it from Emma till the end of the 
concert I shall write you about the festivities next week. I wish 
I had had Mary E's gloves and some of yours to send by Mrs. B. 
but I left them in Paris. Much love to all from both. 

Your loving daughter 


There was little time left in Emma Thursby's busy days for 
letter writing. Occasionally she \vnrote to her teachers, Mme 
Rudersdorff and Achille Errani, but she largely depended 
upon Ina to write the news to the family by whom it could be 
given to the many so eagerly awaiting the latest word in the 
Thursby European saga. On September goth, however, Emma 
wrote to her sister: 

"On the road from Gefle to Stockholm 

Sept. joth 1881. 
My darling Sister Allie 

It seems as if I never can find a moment to write to you, and 
I want to so much. But with singing, rehearsing and seeing so 
many people, that is, as many as I can without tiring myself, 
for that has to be my first care, and as writing tires me so much. 

I have to abstain from it as much as possible. I am so sorry I can 
not write more, for I have so many friends I want to write to. 
You must explain to Papa Smith, Mr. Williams 8c Mr. Burn- 
ham, that my intentions have been very good, and I will write as 
soon as I have a moment. Give them all my best love. I wanted 
to write you a birthday letter but I fear you will get your pres 
ent before the letter. 

Stockholm Oct. ist. 

"It was impossible to write in the cars yesterday, so I have 
stayed home from church just to write to you today. It was im 
possible to do so yesterday after we arrived, as we had invited 
the American Minister and family and some other people to 
see the Fireworks from our balconies, as we have the most de- 
sireable in the City. Stockholm is really the most beautiful city 
in the world; it is all built upon islands so that there is water 
everywhere* We have our rooms just opposite the Palace. Yes 
terday the Crown Prince 8c Crown Princess made their grand 
entree in the city, so there was great excitement. The Fire 
works at night were magnificent, and the illumination. To 
day there is to be a splendid drive in the Park of all the Royal 
Party and everybody else, all to dress in white. To-morrow 
night the Ball, to which the King himself has invited me; he 
has also sent tickets for the Grand Gala Opera the next night. 
Nilsson sings. She is here at the same hotel. We invited her to 
dine with us the other evening and she was quite jealous to 
find I had more elegant rooms than she had. She is very nice 
though, but it cannot be quite pleasant for her to see the great 
excitement I am making here, even when she is here. But I for 
got, Ina tells me she has not written you since the King has 
come to Stockholm. He came back from the wedding at Carls- 
ruhe the day before my second concert at the Royal Opera 
House, went out to the Country Palace, and returned just for 
the Concert. He was so enthusiastic when I sang and sent at 
once for me to come to his Loge after I had finished. He talked 


to me for half an hour. Invited me to the Ball and has since sent 
me tickets for the Gala Opera performance when Nilsson 
sings. I have to sing at the Opera the night after Nilsson and 
that ends the Festivities. 

Oct. 4th 

"M y dearest Allie. It does seem as if I never can get time to 
finish a letter to you, but I will send this to let you know that 
my intentions were good, and let Ina describe to you all the 
magnificent scenes we have been through since I began this 
letter. It is such an excitement for us here during these Festivi 
ties. Ina will tell you all about the Ball as she went with me. I 
must go immediately to dress for the Gala Opera so can only 
give you my best wishes for your birthday which is now past 
and hope you will like the bracelet. I thought it was very 
pretty. Have just received your letter with one enclosed from 
last June. How funny. You say Josie did not get an answer to 
her letter. I wrote long ago and have wondered she did not 
reply. Do not worry about the decollet dress, the Photog 
rapher only pulled it off the shoulders. It is a lovely dress as 
you will see by the painted one I have sent to Mother by Mrs. 
Bull. Ina will tell you about our first decollet dresses at the 
ball. I want to tell you so much about business but have not a 

Must go. Love to all 

Your devoted sister 


"P. S. I think I shall have to finish this after all, for Ina had a 
chance to go to the Opera so could not write, and now has to 
pack, as to-morrow is our last day here. The Gala Performance 
was not so very fine as I expected, and I felt very sorry for 
Nilsson who did not receive half the enthusiasm that I do 
here. Do not tell anyone I said this, for you know I do not like 
to say anything about another singer. She sang one act of Faust. 
They had only Swedish singers for the Gala Opera. The house 


was magnificent with the Court in the most elegant costumes 
blazing with diamonds, and every lady in the house in white 
dress decollete. The orders of the Court are very strict and no 
lady could go to the Ball or Opera without a low dress. The 
ball was something magnificent and we were a great success 
there. We arrived just as the Royal family were to enter the 
Ball Room, and had to pass through lines of officers the entire 
length of seven great rooms before we got to the Ball Room. 
Then stood in state beside Nilsson as the Royal party entered. 
They were magnificent to see. The new Princess is very lovely, 
indeed, and of course looked magnificent. I danced in the 
Royal Quadrille just on the side so that I was obliged to bal 
ance with the Crown Prince. In the middle of the dance the 
King, who was standing on the throne while the aides were 
dancing, screamed out 'Good Evening, Miss Thursby/ and I 
only turning my head said 'Good Evening/ not very dignified, 
was it? During the entire evening I was the observed of all 
observers. You would not believe what a sensation I have made 
here. The papers, of all the great people who were there, only 
mention Nilsson and myself as the most observed, of course 
after the Crown Princess. I will send you a paper with a full 
account of it. I cannot translate it for you. We quite miss Mrs. 
Bull for that. I hope you have seen her before you get this 
letter. She was to sail on the Germanic the 6th, but from a let 
ter received from the Exchange they feared they could not get 
passage after all on that date and may have had to wait later. 
I feel quite anxious as I have not heard from them since they 
were at Copenhagen. You must watch for them and see them 
at once But I have wandered off from the Ball and Festivi 
ties. Think I shall leave the rest for Ina to write in the next 

Oct. $th after the Concert 

"I hope you can make something out of this letter. I am sure 
I could not. My last concert is just finished and has been a mag- 


nificent triumph for me, the greatest triumph of my life, for I 
have not only proved that I can make a great sensation at single 
concerts but that I can hold my own for so long a time in the 
face of all these Festivities and against Nilsson who has not 
been here for years. It is wonderful. Now in all the great cities 
of Scandinavia I have given from 6 to 10 concerts and always 
to crowded houses. Where could I do that in America? And 
that too, all alone, with only the assistance of a Pianist. I can 
not make so much money here as in America with the same suc 
cess as the prices are not so high, but with the same amount of 
success there, I could make iny fortune in one season. And I 
mean to do it when I come back. Mr. Strakosch says he is more 
than ever tempted to take me back this winter for a short sea 
son just to show them what I can do. For if I can hold my own 
as I have here, I might even against Patti in America. 

Mrs. Bull will tell you so much about us. It was a very 
good thing I did not go home when I intended, for all that time 
would have been thrown away, with the sad illness and death 
of the President. Is it not terrible? I hope Arthur will make a 
good President. But now I must really stop as we have to leave 
to-morrow and poor Ina is busy packing. We have so much to 
do as in addition to our other trunks we have just received all 
our thick clothes from Paris. The weather has been something 
enchanting here, all sunshine. 

Lots of love & kisses to all 

The end Emma" 

Ina's impressions continued: 

"Linkoping, [Sweden] Oct. (i) 1881. 

I wrote to mother last Sunday. 

Oct. $th 

This is as far as I could get and Emma has written more so 
I will only tell a few things she left out. She did not tell you 
that on the road to Gefle, where we stopped for dinner at the 

station, she found a beautiful bouquet on the table, and was 
told that it had been left by the Countess de Platen, who had 
gone to Stockholm for the Festivities. We did not know who 
she was, but when we returned to Stockholm, we found she is 
Ihe reigning belle of society. And in the procession on Sunday 
she drove four horses, and was dressed in a most elegant cos 
tume of pink silk with wrap, and parasol and hat to match, all 
of these trimmed with pink marabou feather, and an elegant 
camel's hair shawl at her feet. She looked most gorgeous with 
the Count by her side, more show than the royal party. The 
King and Queen drove six horses and the Crown Prince and 
Crown Princess, four, 8c the Princes, They are all very nice, 
particularly the young Princes. There are three beside the 
Crown Prince. The second one, the Navy officer, has been to 
America in 76. I danced with so many of the officers at the 
ball, some who had been to America with the Prince Oscar. 
Oh! I must tell you how I got to the ball, Monday night. Emma 
received her invitation from the King, and our American Am 
bassador sent for invitations, altho it was rather late, for Mr. 
Strakosch and myself. Mr. S's arrived on Sat., but without 
mine, so I supposed it had been too late, and never thought of 
going, but Monday afternoon mine came. Imagine of course 
I had nothing to wear. They are so very particular about dress 
at the court. Everyone must dress in white, with long train & 
decollete waist, flowers on the waist & in hair, but not one al 
lowed on the skirt. Emma took her white pearl dress, and had 
a little dressmaker turn the waist down and put the pearl trim 
ming around, and tuck the sleeves up in a little puff, so I 
thought she was all right and never thought of myself, but at 
five o'clock the woman brought her waist back and we asked 
her if she could stay and fix me and she said yes, and stayed and 
dressed both and sent us off by nine o'clock. I will tell you how 
she dressed me. She took my white satin waist that I wore 
under the lace, and turned it down very decollete and put tulle 


bunched around the top, pink flowers in front, tulle from the 
back down on the skirt, which was Emma's old one, which I 
had to take the daisy trimming off of, and put tulle across the 
front, ribbons tied from the waist down on the front, my arms 
bare and pearls on my neck. For a train skirt, she sewed one 
skirt on to the other, and fast to the dress, and I was dressed in 
a hurry, so that they scarcely knew me. They were all delighted 
and said I looked as well as half of them there. When we first 
entered the Palace, we had to walk through room after room 
lined with officers, all waiting for the royal party to enter. We 
were the last arrivals, and went in just ahead of the King, and 
everyone knew us. You could hear, 'Miss Thursby' on all sides. 
When we reached the ball room we had a place at the head of 
the room and near Nilsson, but Emma was so much more no 
ticed and talked about than Nilsson that we all noticed it. She 
danced the first dance in the Royal set with the Crown Prince 
and Crown Princess, and as she danced by the throne the King 
called out 'Good evening, Miss Thursby.' And she without 
thinking who it was, called back 'Good evening/ Wasn't that 
just like her? The next night, Emma and Mr. Strakosch (as I 
insisted) went to the Gala Opera, with the King's tickets, and I 
went behind the scenes, with the boys. The Royal Party were 
in full dress and covered with diamonds. Their diamond 
crowns were magnificent. The people did not seem to care 
much for Nilsson (she gave the 2nd act of Faust) . She was not 
at all pleased with her reception, and I should not think she 
would be. She did not receive as much applause as Emma and 
they were not as enthusiastic for her, and Nilsson saw as she 
was at Emma's concert when the King was there, and he sent 
for Emma to come to his box and invited her to the Ball and 
Gala Performance at which all the ladies were obliged to wear 
the same white decollete dress without the over court train, 
which they wore at the ball. Nilsson told someone that Miss T 
seemed to be a great favorite in Stockholm. She did not like it 

and was a little jealous. We gave a farewell concert the night 
after she sang, and had the opera house crowded. They were 
more enthusiastic than ever, screamed and waved their hand 
kerchiefs. After the last piece she had 7 or 8 recalls. Yesterday 
we received a telegram from Stockholm, saying, 'When do you 
come back to Stockholm? Can you not arrange it to come back 
soon? We beg you with all our hearts to come/ signed by 'An 

unknown theatre goer/ And the answer paid 

This is Monday morning, and we have just received a tele 
gram that the opera house is burning, began at four this morn 
ing. Isn't it fortunate we ended when we did. If we had made 
more engagements for this week, we should have lost all that 
time, I hope you will not be frightened when you see the tele 
gram in the papers. We came pretty near it, the 5th and the 
gth it burned. The Opera House was 97 years old and in three 
years was going to celebrate its one hundredth year. It was built 
by Gustavus III, and they show you the spot on the stage where 
he was assassinated at the grand Masked Ball. The manager 
said he never had two stars at the theatre who could draw at the 
same time. I forgot to tell you we had another fine serenade at 
Gefle. We are getting so used to them that we forget about 
them. Have just heard that the opera house is not all burned, 
only a portion of it. I suppose you will see Mrs. Bull in a few 
days and receive your presents. Robert sprained his foot and 
we left him in Stockholm and had to give two concerts on our 
way here without him, but he joined us again yesterday. Mrs. 
B. will tell you what an exciting time we are having. I just 
received a letter from Kittie and she sends me a long newspaper 
article, extracts from all my letters which she has allowed to be 
copied. I do not like it as I write her such stupid things not 
dreaming of them getting into a paper, or I should write dif 
ferently. From here we go to Gotebourg and back to Copen 
hagen and Hamburg, and towards the south again. It is getting 
very cold here. Love to all from both. Your loving sister Ina 


We have another nephew of Mr. S. travelling with us now, 
Siegfried Strakosch. 

Emma sent her letter last week so I waited till this week to 
finish. I find so much mending to do every day I never finish 
my letters." 

Soon again, dependable Ina wrote to her mother: 

"Landskrona [Sweden] 
Nov. ist 1881. 
Dear Mother: 

I wrote you last from Aarhuus. From there we went to Ran- 
ders and Odense, and then back to Copenhagen, where we had 
an immense concert at the Casino, a very large hall. The King 
and Queen and court were present. They came themselves and 
bought their tickets. We had some more dinners given for us. 
We left on Monday and came back to Sweden for a few cities, 
to finish up. Last night we were in Helsingfors and tonight 
here. To-morrow we go to Lund, and then back to Copenhagen 
for a day on our way to Hamburg where we have a concert on 
the gth. I hope it will not be rough on the sea. From there I 
think we shall go back to Paris for a little rest, before begin 
ning a French tour. They have sent for her again from Bor 
deaux, the same engagement as last season. You remember I 
wrote you about the grand dinner they gave us, and we the 
only ladies, and they pay so well too. Her highest American 
price. She has also an offer from Monaco, but I do not know 
whether she will accept it. We have given fifty concerts in Scan 
dinavia since we left Paris. Why have you never sent word 
whether you received the letter Mr. Melchior wrote you from 
Copenhagen with a translation of one of the Copenhagen no 
tices. He has asked if you received it and I think feels a little 
hurt that you have not sent some thanks. Did you not receive 
it? I have seen no Copenhagen notices in the papers. We told 
him we were afraid you had not received it, or your letter say 
ing you had, had been lost. A copy of the letter and transla- 

tion he sent us at the same time. What under the sun did you 
want to give Taylor my letter for to publish when I take the 
trouble to write the translations. It is bad enough for strangers 
to put my letters in the paper, without having the stupid let 
ters you write home published. I do not thank him either for 
saying that it was a letter received by him, and beginning it 
that I wrote him last week about something else. I do not think 
it looks nice and people must think I keep up a desperate 
weekly correspondence with him. I wrote him one letter last 
year which he put in the paper, and made a dunce of me, and I 
said I should not write him again and I have not. Emma does 
not like it a bit, and then to sign my name to it in full. If any 
one wishes to take points from a letter for themselves or for 
someone else, it is a different thing, but not to use the letter 
and name. I shall give up writing letters soon. I suppose we 
shall see Mrs. Jackson when we go to Paris. The birds are still 
both alive, at the Dr's, and have very beautiful long tails. 
They will begin to sing again soon. I suppose you know by this 
time that Charles Gillig is engaged so you are quite sure it is 
not he that I am engaged to, and I am quite sure it is not his 
brother, so you have not got the right one yet. I have asked 
Mr. Gillig to turn the bonds over to you so as you can keep 
them all together in the safe. Very much love from both to all. 

Your loving daughter 

Mr. S. will send his photo." 

Ina's letters to her mother and sister were far from what she 
characterized them. However hurried, they were vital, human 
documents, teeming with the very personal observations that 
the family at home so much needed in order to draw the picture 
of their wandering minstrels. Indeed, Ina made her sister's 
tour o Spain, Denmark, Norway, and Sweden a very real and 
pulsating thing to the family. 

One more coixieit remained to complete the Northern tour, 


and that, in the Students Hall of the ancient university town of 
Lund, on November 2nd, proved a touching farewell from the 
country that had everywhere so enthusiastically received its 
American guest. Following demonstrations in the crowded 
hall, the students, as they had at Upsala, oldest university in 
Europe, assembled before her hotel and gave her a last sere 
nade, one that stirred in her the deep affection she had long 
before learned for the friendly people of the North. 

No one was more elated over the reception Emma Thursby 
received in Sweden than Maurice Strakosch, who proclaimed 
to all he knew that she was the only living singer who could 
have given two highly successful concerts at the Royal Opera 
in Stockholm at the time of the fete in honor of the Crown 
Prince and Crown Princess, and in competition with Christine 
Nilsson, whom he characterized as the most renowned singer 
on the Continent, And Strakosch, despite his aptitude to capi 
talize a situation for the benefit of his artist, was doubtless 
right. Emma Thursby had thoroughly captivated the people 
of Stockholm, as well as those of the rest of Sweden. But, how 
ever outspoken Strakosch was in his praises of one whose tal 
ent he admired, he was conspicuously silent in taking any 
credit for himself. An unusual combination of astute business 
man and able, thorough, and versatile musician, he was an in 
dispensable figure in all of Emma Thursby's concerts. More 
over, he had been her daily teacher, training her in a repertory 
so large and varied that it compared with that of any singer of 
the day. But his day's work was not ended until he had accom 
panied her at the evening concert, whenever she sang without 
orchestra. Beyond all this, he watched over her with the solici 
tude of a father and the anxiety of a custodian of something 
beautiful, fragile, and irreplaceable. His financial rewards were 
modest, for ticket prices did not permit of large earnings, but 
he enjoyed and valued the complete respect and admiration, 
and the unfailing loyalty of his American friend. 


From Hamburg, where the next concert was given, Emma 
Thursby wrote home. Of Adelina Patti, she spoke critically, 
as she rarely spoke of a fellow artist, and with feeling, not out 
of any jealousy for one whose great talent she was first to praise, 
but out of loyalty to her devoted friends, Maurice Strakosch 
and his wife, the former Amalia Patti, whom she believed 
Adelina had betrayed. 

"Hotel de r Europe 
Hamburg, Nov ijth 1881 
My darling sister Allie 

I was so glad to receive your nice letter yesterday, and so 
happy that you liked the things we sent by Mrs. Bull. She 
writes me that you were looking so handsome, and had gained 
so much since we left, being stouter, and as fresh and bright as 
possible. I think the rest has been good for you; packing is hard 
work, and sometimes Ina feels it. You will be in good condition 
to start with me again, for I suppose I shall keep on in this 
same way for some years if nothing happens , for I realize 
now, what Mr. Strakosch always said, that I had scarcely begun 
my artistic career. 

Just think, it was only your dislike for packing that kept us 
from going to Norway two summers ago, and what a blessing it 
was, for if I had gone then, I could never have taken the posi 
tion that I did there this year and I should probably have 
played second fiddle to someone else, and could never have 
done what I can do now anytime I choose to go again. You see 
waiting pays, and if I had not been so impatient in London, 
and taken small engagements, like the Covent Garden for the 
sake of a few pounds, my position there would have been bet 
ter, and I should not have worked myself to death and been 
good for nothing when I went to America. That is the reason 
we have not gone back to London before. Mr. Strakosch does 
not want me to go back there, until they have forgotten the 
Covent Garden Concerts, and only hear of my triumphs in 


^- * ; ' * - 














Germany, Scandinavia, France, and Spain, and then I will go 
back and take the position I should have kept before. Mr. Stra- 
kosch has always said, If Adalina Patti goes to America it will 
be just the time for you to go/ but when it came to the point of 
going there just in opposition to her, we were afraid for every 
body said 'don't go/ But I begin to think now that Mr. Stra- 
kosch was right if all the telegrams from there are true, about 
the empty houses, and no great enthusiasm. It would have been 
just the time for me, as her failure might have been a good 
thing for me. Of course she will make it up by lowering the 
prices, and perhaps singing in Opera, But I am just wicked 
enough not to feel very unhappy that she will not make the 
amount of money she expected, for they refused such mag 
nificent offers from managers here. Pollini offered her $5000 
a night, but horrid old Nicolini said, *No, we intend to make 
two millions/ And I am just glad they will be disappointed. 
It is about time she should have a little punishment for all her 
wickedness. The wicked lies she tells about Mme. Strakosch, 
and indeed of every friend she ever had, is dreadful. Nobody in 
Europe will receive her socially, and I hope the Americans will 
not be foolish enough to. She has taken such a big troupe, and 
nobody of any importance. 

If I went I should have only a Pianist, for you have no idea 
what a lovely concert it makes. Did Mrs. Bull tell you what a 
fine effect it makes? You know I have such a varied repertoire 
now, and sing such lovely songs in all the languages. You know 
I sing in eleven different languages now, and of the hundreds 
of songs I sing, I never sing one with music. The more I learn 
the easier it is for me. So I can sing six, eight and ten songs at 
a concert without any fatigue, and that is where I make success 
now, for I give such a variety, and of course having only a 
pianist gives me the best chance. Even when we have an or 
chestra now, the effect is not quite as good. At our concert last 
week in Copenhagen we had an orchestra, and it made the 


concert too long. 

This city is one of the most difficult in Europe and we did 
not expect to do much, but my success was so splendid when 
we gave our concert on Wednesday that they insist upon hav 
ing two more, and all say, do not have anything more on the 
program for it is long enough and just perfect. So Mr. Stra- 
kosch has remained to give two more this week, altho we had 
telegraphed that we would be in Paris on Saturday. Thought 
we were going to have a little rest for a few weeks. I think I 
deserve it after my forty concerts. I am very happy over my suc 
cess here. Even the papers which are usually so very severe, 
have all come out splendidly for me. I have sent Jeannie some 
notices and you must get her to translate them for you. I think 
I will put in one for you if you want to send it to Mr. Taylor, 
for I suppose it is very easy to have translated from German. 
I shall send you a picture for him, tell him we are afraid to 
write to him for he is sure to put it in the papers, and give him 
our best regards. I am glad he is succeeding so well with the 
Academy. What a nuisance it has been with the Gov. Bonds! 
Do you really think they will be called in? What a fortune I 
might have made if I had not taken every body's advice about 
Gov. Bonds. I invest my money in Europe now, for it does not 
pay to send it over there for 3%. 

I am sorry the earrings cannot have hooks on, for I fear 
mother will never have any comfort with them. How I should 
like to walk in and see you all settled after your housekeeping. 
Why will not mother have someone to help her? I cannot bear 
to think of you both working so hard. How I wish we had a 
nice house in New Yorkl What a mistake I made not to buy 
one when property was so low. Have you asked someone to 
look around for me? I should be so glad if you could find one. 
You must not let Lou work at that work. I am sure it is not 
good for him. Why does he not go south at once? Or would not 
Minnesota be better? I am so sorry you did not see Mrs. Shel- 


don, for I am sure it would have been a good thing to have 
gone with her. Does he think of going to Uncle Lewis? Don't 
let him go without plenty of money. Why does not John go 
with him, if his work is finished? How I wish it would be good 
for him to come over here. If he would only study a little, he 
could be so useful to us, and he would enjoy it so much. Tell 
him to go South and take a teacher where he settles, and study 
a little French and German, and when I come back it will be 
so nice to have him go with us. He has no idea how easy it 
would be after the first few weeks. Ask him to try for me. Give 
him all the money he wants and tell him to pay for a good 
teacher. It is all imagination to think that he cannot learn. I 
thought I could not, but find it very easy now, 

I am so sorry to hear about Jeannie and poor Josie. Give 
them my best love, and to all my other friends. With lots of 
love and kisses for mother and the boys as always. 

Lovingly your sister 


Three concerts in Hamburg failed to satisfy a public quick 
to extend the ovations of its more demonstrative neighbors to 
the North. But Strakosch, who had been warned that Ham 
burg would not enthuse over any concert, however great the 
artist, was satisfied that he had proven his own opinion that 
Hamburg, too, would rise up in praise of Emma Thursby, so 
he refused an attractive offer from the manager of the opera 
house for an extended concert engagement there. Further 
more, he was anxious to return to Paris to make plans for the 
winter season in France. 

From Paris Emma Thursby journeyed to Brussels for the 
concert of the Cercle Artistique, on the goth of November. 
Her success in her first appearance in Belgium was again a 
signal one. On the i7th of December she sang in Bordeaux at 
the concert of the Cercle Philharmonique, repeating the tri- 


urnph she had scored there the previous March, before a bril 
liant audience. Once again in Paris, and under the friendly 
roof of Mrs. James Jackson, she enjoyed relaxation from the 
incessant concerts of the year past, spending a Christmas sea 
son abundant in its comforts and pleasures. Here in this beau 
tiful home in the Avenue d'Antin at a reception in her honor, 
she sang her New Year greeting to a fashionable gathering. On 
the fourteenth of January she sang in private for Queen Isa 
bella of Spain at the Palais de Castille. 

It was at the Chatelet, however, in the Colonne Concert of 
Sunday afternoon, January i5th, 1882, that she made public 
reunion with Paris, singing the final aria from Meyerbeer's 
ttoile du Nord, Delibe's "On Croit a tout lorsque Ton aime/' 
and Proch's Variations, and for encores, "Si vous n'avez rien & 
me dire" by the Baroness Willy de Rothschild, which she had 
made popular in Scandinavia, and the "Bird Song by Tau- 
bert, She was no longer the stranger who had made her debut 
in the venerable Chatelet, almost three years before, stirring 
an unsuspecting audience to one of the greatest ovations Paris 
had known. But again she won a triumph, as still again in the 
Colonne Concert of the following Sunday, when she sang the 
songs that had signalled her debut in 1 879: Mozart's "Mia sper- 
anza adorata" and Prodi's Variations, which she repeated for 
encores amid wild acclaim. The Paris press promptly spoke in 
high praise, Le Courrier Des Tribunaux recording the uni 
versal opinion: 

"Nous devons constater le triomphe, au concert Colonne, de 
Miss Emma Thursby, aussi charmante comme femme que re- 
marquable comme cantatrice. II ne serait pas possible, croyons- 
nous, de trouver une voix plus . . . donnez-lui tous les quali- 
ficatifs les plus flatteurs, et ce ne sera pas assez." 

Time always passed swiftly in Paris where she had so many 
friends, but January seemed to move with particular swiftness. 


She saw much of the American Minister, Levi Morton, and his 
wife, of Baron and Baroness d'Oyley, and of the Countess de 
MeflEray, while with Queen Isabella of Spain she formed a 
friendship inspired by mutual admiration. Old friends re 
mained devoted and anxious to contribute whatever pleasures 
they could to her Paris visit. Mme Albani was gracious as 
usual; Mme Marchesi, now settled in Paris, extended a warm 
hospitality; and Gustave Dore, the artist, became a frequent 
caller. At the end of the month, on the 2 6th, she sang in the 
Concert Festival at the Grand Hotel. 

In February she journeyed to Marseille where she sang for 
the Soci^te des Concerts Populaires on the igth. Proceeding 
thence to Nice, she sang, on the sgrd, at the Grand Cercle du 
Palais Marie-Christine, with Victor Capoul, the celebrated 
French opera tenor, as fellow artist, and stirred to ecstacy one 
of the most brilliant and fashionable gatherings she had seen in 
France. The journalist, D'AUauch, described the affect she 
made upon this audience when he wrote his own tribute: 

"O Diva, vous avez cette gloire infinie 
De receler en vous le feu sacr de Tart. 
C'est lui qui doucement brille en votre regard, 
Lui qui vient rechauffer notre ame rajeunie. 
Pour vous aurait vibre la lyre de Ronsard. 
Votre voix est Techo de Fimmense harmonic: 
Chantez, enivrez-nous des accents du g^nie, 
Et qu'aux plaisirs des dieux par vous nous ayons part. 
Chantez! La vie est triste et 1'heure fugitive 
Vers un but qu'on ignore emporte a la derive 
Nos jours souvent remplis d'amertume et de fiel; 

Et nous avons besoin que, d'une aile hardie, 
Sur vos levres prenant 1'essor la melodie 
Nous plonge dans le reve et nous parle du del." 

Some idea of the popularity she enjoyed in France can be 


gained from the fact that she received 5000 francs for this ap 
pearance, while Capoul received i ooo francs. Seats for the con 
cert sold at the unusually high price of four dollars, while 
standing room, which fell to the lot of the gentlemen ladies 
occupying all the seats, cost two dollars. Again, on the 6th of 
March, she and Capoul appeared together in Nice, this time 
in a popular concert at the Theatre Fran^ais, where they re 
ceived a rousing reception from the gay carnival audience 
for it was carnival time in Nice. 

Carnival time in Nice but sad news from home: Mme 
Rudersdorff, noblest of friends, had died in Boston on the 2 6th 
of February. 

It remained for Menton to be the scene of the most spec 
tacular concert of the winter. There it was, on the eighteenth 
of the month, that Strakosch offered a "Grand Concert De 
Gala, Donne en Fhonneur et pour feter Farrivee de Leurs 

La Reine D'Angleterre 
Le Roi Et La Reine De Saxe," 

and presenting "Miss Emma Thursby, La celebre cantatrice 
Americaine; Mme Trebelli, Prima Donna Contralto du The 
atre de S.M. de Londres; M. Leopold De Meyer, Pianiste de 
S.M. FEmpereur d'Autriche; M. Musin, Violiniste de S.M. 
le Roi des Beiges." Emma Thursby's contributions were the 
Polonaise from Mignon, Proch's Variations, and, with Mme 
Trebelli, the serenade from Boito's opera, Mefistofele. 

Queen Victoria did not attend the concert, nor was her at 
tendance expected, for once settled in her villa she rarely left, 
and die was not likely in any event to venture forth on her 
arrival day after the fatigues of the journey. But the King and 
Queen of Saxony attended with their suite, lending a regal 
color to the audience of dilettanti that thoroughly enjoyed the 
varied program Strakosch had arranged. 

The successes of the south of France continued in Switzer- 


land, where a concert company made up of Emma Thursby, 
Mme Trebelli, Capoul, and Musin appeared in Geneva, on the 
2 ist. Without Capoul, whose engagements in France had called 
him back to Paris, the company gave concerts in Lausanne, 
Berne, and Zurich before disbanding. 

Back in Paris in early April, Emma Thursby resumed her 
social life, while Strakosch debated over prospective concert 
tours of Belgium and Norway. Frequent were her visits with 
the three celebrated voice teachers of Paris, Mme de la 
Grange, Mme Marchesi, and Mme Viardot whose home was 
the scene of a brilliantly attended musicale on the afternoon 
of the thirteenth. But the high light of April was the Fete 
de La Macedoine, on the 26th, at the Continental Hotel, 
in which she sang at the request of the president of the 
Macedoine, the eminent artist, GarolusJDuran, her good friend 
since the days of her first visit to Paris. Here the ranks of con 
tributing artists included the French baritone, Jean Lassalle. 
Coquelin cadet, and Jules Massenet who, with the pianist 
Lones Diemer, played the ballet music from the third act of 
Massenet's opera, Herodiade. Emma Thursby contributed an 
aria from Rossini's Semiramide, the "Tarantelle" by Bizet, 
and, with Mme Engally and MM. Lassalle and Talazac the 
quartet from Rigoletto. 

On May ist she sang at a musicale given by Mrs. Campbell 
Clarke, where her fellow artist was the pianist, Vladimir Pach- 
mann. On the yth she sang at the annual soiree of Pierre Vron, 
where her colleagues included, among numerous other popu 
lar artists, Mile Krauss, Faure, Talazac, the ballerina, Rosita 
Mauri, of the Theatre de 1' Opera, and Coquelin cadet of the 
Comedie-Fran^aise. The same ovation she had received at her 
appearance in 1879 was again hers. At this soiree attended by 
the celebrated of Paris, everyone asked why Emma Thursby 
would not sing in opera. 

Her final appearances of the year, on June 5th at the Tro- 

cadro, in the benefit of the Societe Pour La Propagation De 
L'Allaitement Maternel, and on June 7th, at the musicale 
given in her honor by Countess de Meffray, occasioned the 
same enthusiasm. Meanwhile, throughout the musical world of 
Paris one contemplated the many operatic roles she could so 
gracefully adorn. Ina reflected the public's insistence and her 
own hopes, when on June i2th she wrote to her sister, Allie, 
at home: 

"Do not let on in any of your letters that I have mentioned 
this subject to you, but I do wish you would persuade Emma to 
go into Opera. She knows several operas perfectly and has 
every one talking to her and calling her a fool. All the man 
agers are ready to offer her engagements and assure her of a 
fortune in a few years. Concerts are very good as far as they go 
but you cannot do the same as in opera, and I think the fashion 
for concerts will die out. All her American friends who used to 
be opposed to it all try to persuade her now. Her voice has 
grown fuller and stronger and she has more expression. You 
remember Mr. King the journalist (Mr. Coolidge's friend) ? 
He thinks she made a great mistake, that she would make an 
immense fortune in a few years and retire. Every one is so sure 
of her success. She sings the whole opera for people in the room 
and they are delighted. She has gained so much in the lower 
notes. Mr. Rockwell heard her sing Faust the other night. We 
gave a dinner to Dr. and Mrs. Hitchcock, Mr. King, Mr. Rock 
well and the Strakosch's, and she sang for them after. She is 
such a goose. Have you heard any reports of it in America? 
She admits herself that she has made a mistake, but she has 
joked so and said she never would. She is a hard case. She wants 
to be pushed into everything. Do not mention what I have 
written to anyone but if you could, try to persuade her in 
any way." 

May and June were months, offering as they did consider- 

able freedom from concert appearances, when she might in 
dulge her other interests. Her interest in painting, which had 
prompted her to visit museums wherever her tours took her, 
and to familiarize herself with the work of the great painters of 
the Continent, gave her a bond of sympathy with painters, so 
often she could be found in the company of Carolus-Duran, 
the young American portrait painter, Robert Hardie, and the 
more distinguished American, George P. A. Healy, who in 
June brought to completion the full-length portrait of her he 
had commenced three years before. Often she could be seen at 
the studio of Gustave Dore, or at the atelier of the sculptor, 
Clesinger, whose friendship she greatly valued. Her callers in 
these days were numerous, representative of many interests 
and ranks, ranging from the Princess Solms to Edward Everett 
Hale, preacher and author, whose "The Man Without A 
Country" was already a classic that had made his name famous. 

With prospective tours of Belgium and Norway definitely 
abandoned, she went to Mont Dore in July to take the cure, 
meeting there Marie Roze and her husband, Henry Mapleson, 
and several other old friends. August found her back in Paris 
where she was joined by Mrs. Ole Bull. Meantime, she and 
Strakosch had decided to return to America to undertake a 
comprehensive tour, commencing in September. Strakosch 
sailed for New York on the i ith of August, to make bookings, 
while she, her sister, Ina, and Mrs. Bull remained, awaiting a 
cabin vacancy in the crowded sailings. After much difficulty, 
they finally secured passage on the German steamship, "Elbe," 
sailing from Southampton on the gist of the month. 

Farewells were many but no one was forgotten. At last she 
would see her family again, and the friends she had missed so 
much, and she was happy. Yet she knew that homecoming 
would show two empty places she could never fill: Grand 
mother Thursby and Mme Rudersdorff had gone away. 



"T * TTien Emma Thursby arrived in New York on the gth 
Vv of September, 1882, it was after an absence of over two 
years. Elaborate plans for a large welcoming party to proceed 
down the bay on the chartered excursion steamer, "Grand 
Republic," to meet her were thwarted when the "Elbe" was 
caught in a fog off Fire Island and not signalled until she 
reached Sandy Hook. But the welcome of the few who had 
patiently waited at the "Elbe's" pier was unrestrained. Next 
day the welcome of the entire New York press was sounded in 
long columns of praise. Strakosch, whom Montjoyeux in Le 
Gaulois had called the "Christopher Columbus of the golden 
throats/' had at last brought home "La Belle Puritanne," 
whom Gounod had pronounced "La Reine immaculee du 
chant," after hearing her rendition of his "Ave Maria" in his 
home. What a Leonora in // Trovatore, a Valentine in Les 
Huguenots, an Alice in Robert le Diable! If she would change 
her mind and embrace opera? One reporter observed that, "If 


she would only get married to a good-looking scamp who 
would make her miserable and ill use her generally, she would 
be such a dramatic prima donna as we have not seen for a long 
time/' Max Maretzek, that seasoned veteran in opera and con 
cert management, observed in The Hour of September goth: 

"Emma Thursby is the first importation this season, and her 
sparkling notes, of exquisite flavor and of the purest color, will 
be retailed on draft on the sd of October next at Chickering 
Hall, under the personal supervision of the well and favorably 
known importer, Mr. Maurice Strakosch. The spirit in Miss 
Thursby 's voice and its culture are specially adapted for that 
class of the public who like to enjoy their after-dinner songs in 
the concert-room in preference to the opera house; and as a 
concert singer, Miss Thursby is now rated in the prima donna 
price list as No. i , labelled as 'excelsior* and trade-marked with 
three golden stars. Adelina Patti or Christine Nilsson may also 
sing in concerts, but it is not the real bona-fide article for con 
cert purposes. Any one who sees or hears Patti or Nilsson in the 
concert-room cannot help thinking of Rosina or Ophelia trans 
formed into a wax figure, dressed up in the latest fashion to 
exhibit Mr. Worth's latest patterns, and wound up to gurgle 
'Home Sweet Home* or 'Way Down Upon the Suwanee River/ 
Their sphere is the stage, while Miss Thursby J s is the concert- 
room. The songs and arias which Miss Thursby pours out to 
her listening customers are of the vintage of the great musical 
comets Mozart and Beethoven/' 

Emma Thursby embarked upon her American tour with a 
concert at the Boston Music Hall on the 28th of September, 
the occasion of a real and genuine welcome from an audience 
that occupied every seat and all available standing room. Re 
turning to New York, she gave three concerts at Chickering 
Hall, on the 2nd, 4th, and ^th of October, assisted by Emily 
Winant, Maud Morgan, Signor Ferranti, and the New York 


Philharmonic Club, scoring the greatest artistic success she 
had known in New York before audiences that packed hand 
some Chickering Hall to its doors. Singing in Italian, Swedish, 
French, and English, in a repertory that included Liszt's new 
song, "The Lorely/' "Phillis an das Clavier" by Mozart, one of 
Chopin's Mazurkas, and the "Tarantelle" by Bizet (the latter 
two with arrangements by Mme Pauline Viardot, and all sung 
for the first time in New York), she demonstrated to the convic 
tion of the entire press that she was the greatest concert singer 
of the day. 

Her first appearance in Brooklyn, the "City of Churches/' 
at the Academy of Music on October 6th, gave opportunity for 
the great body of friends and home folks to do her honor, and 
this they did in a demonstration of affection that knew no 
bounds. The applause was so wild and so prolonged that the 
program was protracted beyond reasonable length. The floral 
gifts were so many, so large, and so unwieldy as to make the 
task of removing them from the stage a difficult one. A huge 
spinning wheel of tuberoses, presented, fittingly enough, after 
she had sung the "Jewel Song" from Faust, a harp, a lyre, and 
a pyramid of flowers were ample testimony of affection, but far 
too big for her to carry from the stage. Brooklyn, gay and 
happy in her homecoming, was not willing to allow the laurels 
of great receptions tendered her to rest on other brows. Brook 
lyn was very, very proud, and the Brooklyn Union witnessed 
the pride: 


Welcome to thy native land, fair songstress from abroad. 
Strew flowers in the path of her whom Europe doth applaud. 
O wondrous gift! a voice, that melts two continents In one. 
All hail to thee, fair cantatrice, thy triumphs have begun. 
Thou hast won alien hearts, and gained a royal name; 
May every year as on it rolls add lustre to thy fame, 


Yet, though with foreign laurels decked, thy heart can ne'er rescind 
Thy love of native land and home, Columbia's Jenny Lindl 

Washington, Philadelphia, Chicago, Detroit, Cleveland, 
Buffalo, and Baltimore soon joined the ranks of acclaiming 
cities, as her tour progressed. The Philadelphia Press of Oc 
tober i$th found her singing faultless, the expectations of her 
exceeded by the reality: "Her phrasing, her intonations, her 
upward and downward scales, her trilling, her staccato notes 
are all performed in exquisite style and with the ease of a bird. 
In fact she sings with so little apparent effort that it is difficult 
to realize how much strength and what wide range is joined 
with the sweetness of her voice/ 7 The Chicago Daily Inter 
Ocean of October 1 8th found her "the concert singer of Amer 
ica par excellence/' The Washington Post of October nth 
observed that "Perhaps no singer since Parepa and Nilsson has 
maintained her claim to the front rank more successfully/' 
The Washington Sunday Chronicle of December grd observed 
that "Emma Thursby, during her brief concert tour since her 
return from her brilliant triumph in Europe, has fully proved 
her right and title to the name of 'Queen of the concert room' 
and the 'greatest living concert singer/ Though in volume of 
voice she may be surpassed by Christine Nilsson, yet, as re 
gards the purity of her organ, she is fully her equal, and in 
point of florid execution, decidedly her superior/' 

The Daily News of November 24th in Baltimore, where she 
had been preceded the previous week by Nilsson, observed that 
"The most extravagant encomiums passed upon it [her voice] 
abroad were fully justified, and the reception accorded took 
the form of an ovation/' The smaller cities, too, spoke their 
lively homage. The Poughkeepsie Daily Eagle, that boasted a 
policy of "Neutral in Nothing," pronounced her conceit of 
November 6th the finest that had ever been given. So rang the 
universal praise, with audiences everywhere so enthusiastic, so 
loud in their applause, so insistent in their recalls, that she 

often found it difficult to proceed with a program. Indeed, in 
two conceits in early December in Washington's great Lincoln 
Hall, there seemed to be no way of satiating the clamoring 
audiences that included President Arthur and a long list of 
notables. Of the first of these concerts the National Republican 
wrote at length, observing that "Miss Thursby's voice retains its 
purity unimpaired. Power it never had, but in quality it is lit 
tle short of divine. .... No such singing is possible with any 
other lady now before the American public. To make this 
statement is not to speak in derogation of any other, but simply 
to acknowledge Miss Thursby's rank upon the concert stage. 
There is no purer soprano voice now to be heard, excepting 
Adelina Patti's, which it closely resembles in timbre and in the 
facility of execution that marks its use." 

Her assisting artists throughout the concert tour were Emily 
Winant, Maud Morgan, and Signor Ferranti, supplemented at 
three concerts in Chicago in October by the always popular 
Teresa Carrefio, and on other occasions by the Norwegian 
pianist and composer, Edmund Neupert, whose playing was 
making a favorable impression on this his first visit to America. 
Her soloist appearances of note were with the Philharmonic 
Society of Brooklyn in its twenty-fifth anniversary celebration 
performance; the Philharmonic Society of New York; the 
Handel and Haydn Society of Boston in a performance of the 
Creation; and with The Cecilian Society of Philadelphia in 
a performance of the Messiah. 

Despite her strenuous schedule, she managed to see old 
friends, A call from her old teacher, Errani; a luncheon with 
Gilmore; a Sunday at Plymouth Church and a visit with Henry 
Ward Beecher; such were the activities she always found time 
for. Dinners and receptions given in her honor were usually 
too frequent, as much as she enjoyed and appreciated them, for 
the hours for rest were short enough at best. At "Elmwood," 
in Cambridge on October goth, she was honored by Mrs. Ole 


Bull with a reception attended by an interesting and imposing 
group from the musical and literary world of Boston. In 
Brooklyn, on November grd, she was tendered a reception and 
musicale, by her friends Mr. and Mrs. James Knapp, that quite 
outshone any other affair of its sort in the social life of Brook 
lyn. Eight hundred invitations were issued by Mr. and Mrs. 
Knapp for the evening of the snd of November, and few, in 
deed, failed to appear at the elegant and spacious new Knapp 
mansion on Bedford Avenue, where the reception was given. 
Notable in a notable list of attendants were General and Mrs. 
Ulysses S. Grant, Mayor Seth Low, and the Reverend Henry 
Ward Beecher. 

Less fatiguing were her infrequent but enjoyable excursions 
to the opera and the theatre. Before January came around she 
had heard Patti in Traviata, and, while in Philadelphia, had 
enjoyed a performance of lolanihe, and seen Joe Jefferson in 
The Rivals. On Christinas day, after a family dinner at 
"Mama" Smith's, in Brooklyn, the united Smiths and Thurs- 
bys drove to Haverly's and attended a performance of the beau 
tiful Lily Langtry. 

In January Strakosch arranged for her at Chickering Hall 
"The Grand Historical Concert Cyclus" of five concerts in 
which she and her assisting artists: Emily Winant, contralto; 
Theodore Toedt, tenor; Holst-Hansen, baritone; Teresa 
Liebe, violinist; Marie Heimlicher, pianist; Theodore Liebe, 
violoncellist; and the New York Philharmonic Club; offered 
one hundred compositions, dating from Palestrina to the mod 
ern composers. Her own repertoire was of these extraordinary 

Thursday Evening, January 4th 

My Heart Ever Faithful . .......... Bach 

Hush Ye Pretty Warbling Choir Handel 

Aria from the Cantata *Acis and Galatea' 


My Mother Bids Me Bind My Hair Haydn 

Deh Vieni Non Tardar .......... Mozart 

Aria of Susanna, from *Le Nozze di Figaro.* 

MignonsUed Beethoven 

Haidenroslein Schubert 

Es War Ein Traum Lassen 

Der Schelm Reinecke 

Bird Song Taubert 

Saturday, January 6th 

Amour Que Veux-Tu De Moi Lulli 

Le Chant De L'Abeille Masse 

Lullaby Alfred H. Pease 

Kerne Sorg'um den Weg Raff 

Det Forste Mode Grieg 

Mazurka Chopin 

Mira Che Bianca Luna . Rossini 

The Echo Song Eckert 

Terzetto, 'Vada si via di qua' Martini 

Monday Evening, January 8th 

La Calandrina Jomelli 

On Croit A Tout Lorsqu'on Aime ....... Delibes 

Romance from *J ean de Nivelle' 

Air from 'Le Tableau Parlant' Gretry 

Greek Song, Tsstou Kosmo' Bourgault-Ducondray 

Spanish Song Ynzenga 

Wenn Ich Ein Voglein Ware Hiller 

Good Night and Pleasant Dreams Wallace 

Swedish Song, Dalpolka' .... 

Tarantella Bizet 

Thursday Evening, January nth 

Caro Nome, Romance from 'Rigoletto' Verdi 

Aime Moi Chopin 

Mazurka arranged by Mme Viardot-Garcia. 


Sainsbury & Johnson, Salt LaJce City 


Variations Di Bravoura Proch 

The Light From Heaven ... Gounod 

Arranged for Voice, Violin Obligato and Organ by Holden 

Saturday Afternoon, January igth 

Caro Nome, Romance from 'Rigoletto* Verdi 

Si vous n'avez rien me dire .... Madame de Rothschild 
Es blinkt der Thau .......... Rubinstein 

Duettino, 'Mefistofele* . Boito 

Air, Trf aux Clercs' . .......... Herold 

Few singers could have offered so comprehensive a program, 
and fewer would have dared place their reputations at stake 
in such an exacting program. Yet Emma Thursby dared, win 
ning the respect and admiration of the most prominent mu 
sicians of the city, and adding to her stature as the country's 
greatest concert singer. As if the "Cyclus" were not exacting 
enough, she volunteered on the evening of the istth, at a few 
hours' notice, to replace Mme Albani, whose ship had been 
detained, preventing her appearance in the concert of the Sym 
phony Society of New York under the direction of Dr. Leopold 
Damrosch. Here she sang Mozart's "Deh Vieni," Bizet's "Ta- 
rantelle," and the lovely "With Verdure Clad" which always 
carried her back to the days at Moravian and the ensuing years 
of church singing. 

The first quarter of the year 1883 was a comparatively light 
one in her concert schedule, offering thirty-two conceits, which 
took her, however, north into Canada, where Montreal, in par 
ticular, hailed her; west as far as Cincinnati; and south to 
Louisville, Kentucky. Time was left for indulgence in the 
things she loved, and it was not surprising that she turned to 
music, hearing in March and April, Patti and Nicolini in // 
Trovatore and Rigoletto; Patti and Scalchi in Semiramide; 
Patti in Traviata and L'&toile du Nord; Albani in Sonnam- 
bula, The Flying Dutchman., and Faust; Capoul in Paul and 


Virginia; and Nilsson In concerts. Here was a musical adven 
ture anyone would envy her! Surely she thought of her own 
adventure into opera? To see her friend Lawrence Barrett in 
Julius Caesar was an inspiring experience, while to see Bar- 
num's Circus and the famous elephant " Jumbo" was an adven 
ture that few missed. 

On January i^th she had witnessed at the Union Square 
Theatre a signal performance of her old friend, Richard Mans 
field, In The Parisian Romance. Even Mme Rudersdorff, his 
mother, who had so objected to his choice of the theatre, would 
have been proud of her son's acting in this, his debut vehicle to 
America. But, alas, Richard no longer had his stern but de 
voted mother to challenge him and to love him. And, alas, 
Emma Thursby, too, no longer had her staunch and loyal and 
loving friend. Yet the spirit of Mme Rudersdorff seemed to live 
on, like the indomitable and dauntless thing it was. 

When In early March, Richard Mansfield wrote to Emma 
Thursby, deploring the fact that she had not received the be 
quest of his mother due to delays in the settlement of the estate, 
she learned for the first time all the provisions of Madame 's 
will, a document that portrays the courage and fairness of this 
great woman whose influence had been so important to Emma 


Boston Mass. 
Oct. i$th, 1881. 

At present today my property consists in my estate Lakeside, 
Berlin, Mass. $1500 in the hands of Mr. Henley Luce of Messrs. Kidder 
and Peabody, Bankers of this town. About $500 In the International 
Trust Company, A small balance in the ist National Bank of Clinton, 
Mass. My furniture, Piano, Pictures, rugs, bric-a-brac Plate, china, 
linen, wardrobe, Jewellery and silver. I leave every thing to my dear 
son Richard Mansfield, at present in London, England. 57 Berner 
Street, Oxford Street, last address, under the following conditions and 


I give my dear daughter Greta, wife of Gaston Battanchon of the 
Chateau de la Prague, Aignan, Gess. France. The enamelled and jew 
elled ornaments pendant and earrings, from the Empress Eugenie. The 
gold bracelet with three Diamonds and Hermine Mansfield engraved 
inside and the Fietgeos ring, i turquoise, 2 medium and 6 small dia 
monds, also my enamelled watch, chain and Wreloques thereon. 

I give my son Henry Mansfield of this city my ring with three tur 
quoises, and all the furniture and bric-a-brac and rugs at present in his 
room in Tremont Street. This is to be given him in full discharge of 
any claim he may want to make upon my property. He has ruined, 
broken, lost so many things of mine, caused me such unending worry 
and anxiety, that I feel that I am giving him more than he merits. May 
he in future learn order, punctuality and straight forwardness. May he 
learn to curb his temper and cease to procrastinate, and become a man. 

I leave to my sister, Mathelde Rudersdorff of Jena in Germany all 
my crepes, shawls, mantles, lace, body linen everything in my ward 
robe, with exceptions as below. Also my ring with 3 diamonds and the 
one with 4 turquoises. 

To my dear faithful friend, Henley Luce, as above; the antique writ 
ing desk in my study with the little easy chair in front. The oil paint 
ing, a girl in ruff, by Marie Weber, and the easel in my bed room, the 
cachemire rug under the centre table in the drawing room, the brown 
wolf skin and the brass fender he has. 

To my dear Robert Burnett an antique bronze vase at his choice. 

To George Munzig, with my love, two medium sized Delft vases. 

And to Fred Cobb two Delft plates at his choice. 

To my good Mrs. W. E. Richardson of this house, my black velvet 
princess dress, and the unmade piece of velvet to match, also my cir 
cular silk, fur lined doak, also the two Cincinnati Vases, the blue and 
the grey one. 

To my dearest Gar, Mrs. Guild, a bowl marked with her name. To 
darling Innumps, her daughter, a locket with an emerald and pearls. 

To my dear pupil, Speranza, Emma Thursby, the gold link roman 
bracelet with "Vita tibi." 

To my good pupil Fannie Kellogg, a black Cachemire India bour- 
nous, embroidered with white silk, also a black net skirt, embroidered 
with white silk, also a new pair of old gold silk stockings and a wide 
Limerick lace flounce, which she knows. 

All my remaining movebles to be sold, at private sale as much as 


possible. The jewellery to be offered first to Emma Thursby, as also 
what real laces I have left. If the jewellery does not bring good prices, 
it is not to be sold, but kept for Richie's wife, if he marries one his 
friends approve of. 

Beyond the property above stated, I have a valuable 4 year colt, 
Coquette, with my good friend, Mr. Arthur Hastings, at South Berlin, 
Mass, and a mare, Kittie Alden, and a Phaeton, Harness etc. at Nims' 
stables. These are to be sold, Coquette ought to bring a high figure. 
What had best be done with Lakeside and its contents, Jersey stock, 
horse, farming utensils carriages etc. must be left to the judgment of 
my trustees. 

After paying my just debts, all money is to be invested to best advan 
tage and paid to my dear boy, Richie, Richard Mansfield, when he mar 
ries, provided he does not marry under five years from this year 1881, 
and the month of December. The interest is to be added to the capital, 
with the exception of $50 yearly of which $25 are to be paid him at 
Christmas and $25 on the 24th of May 

Should Richie die before December 1886, then the money is to revert 
to Greta's, Madame Gaston Battanchon's children. Two thirds to be 
paid the girl on her marriage, approved of by her parents, and one third 
to the boy on his goth birthday 

My dear Harry Train is to have the antique silver gilt coin, off my 
watch chain, May Harry become his father's pride. 

I appoint Charles R. Train, Esq. of 42 Court Street, and Robert 
Burnett, Esq. of 27 Central Street both of this city, my Executors and 
trustees, begging them, in case of their death to appoint others. 

I beg Mr. Charles R. Train to select any piece of my bric-a-brac, an 
oil painting, as a little memorial of the gratitude I bear for his unpar- 
rallelled goodness to me. 

I give Arthur Hastings of South Berlin Mass, one of the charcoal 
drawing by my son, Richard Mansfield. 

I give to Captain Silas Sawyer of Berlin, Mass, also one of the above 
charcoal drawings, as thanks for building a stone hut over my coffin at 
Lakeside, which I know, he will do. 

The silver plate is all to be kept for my son Richard Mansfield. As 
also the leather case with silver spoons, knives, forks etc. and the china 
tte*&-tfete set, also the Damask table linens all three of which I lately 
inherited from my aunt, Marianna Bagee, in Jena, Germany. All these 
things are to be kept until he marries. 


Miss Ada St. Clair, at present of 57, Hancock Street, owes me $42, 
which are to be collected. 

The bronze Bas-relief, two Bachantes, said to be by Scopas a fac 
simile, 3 Bachantes, is in the British Museum is not to be sold under 
1300. It had better be offered to Mr. Charles C. Perkins, also to Sara 

October i8th, 1881. 

Erminia Mansfield Rudersdorff. 
Witness Julia R. Hotchkiss. 

Witness L. Louise Brigham. 

Feb. 25. 1882 

Erminia Mansfield Rudersdorff. 

Executed in her presence & in our presence, and in the presence of 
each other the word, "Executors and," being first interlined. 

I. T. Talbot 
M. F. Emery 

Ellen Jones. 

Emma Thursby did receive the bracelet, inscribed "Vita 
Tibi," but she was not offered Madame's jewelry and old laces 
as specified in the will. In fact, she lost the opportunity of pro 
curing a number of things which held great sentimental value 
for her. "It seems to me/' wrote Mansfield in despair to her, 
"that the executors are keeping everything nobody has had 
anything, nobody can get anything the sale was so badly man 
aged that it realized next to nothing. I myself to whom all was 
left hear nothing, know nothing and can get BO satisfaction 
from either Mr. Burnett or Mr. Train. ... I send you notice 
of Sale of Lakeside, sent to me by the executors I would have 
given the world to keep it and I begged them to do so but 
they have everything in their hands." 

Here was a sentimental side of the many-sided Mansfield, 
that few saw. "My poor mother," he had written with genuine 
feeling. Mansfield the painter, the singer, the actor! Mansfield 
the composer! How versatile this son of a versatile woman! 
On February sist he had written Emma Thursby from 35 


Gramercy Park, where he was making his home: "With many 
apologies for my cheek I send you two copies of my little song 
(Good Little Girl). If you would like to make me feel very 
proud and humbly conceited, some day when you have seven 
encores you will sing it as the seventh." And he was indeed 
proud when he learned she had sung his song in Cincinnati. 

Her Spring engagements, in which she was assisted by Ed 
mund Neupert, and Carl Formes, the German bass singer, well 
known for many years on the Continent, were concluded on 
April 25th, in Binghamton, N. Y. Thereupon she proceeded to 
Boston where she appeared in the Sixth Triennial Festival of 
the Handel and Haydn Society, her fellow artists including 
Emily Winant, Mathilde Phillipps, Myron Whitney, and a 
friend of London days, George Henschel. Here she was heard 
in Handel's Ode on Saint Cecilia's Day, Paine's cantata, The 
Nativity, and in Gounod's sacred trilogy, The Redemption, as 
well as in a program of miscellaneous songs. 

She returned to New York on May gth, in time to see Mau 
rice Strakosch off for Europe on the "Republic" the following 
day. Strakosch would sound out the musical opportunities in 
Europe and report to her. There was much to do at home in 
preparation for a trip to California, as soloist with Theodore 
Thomas and his orchestra. On May i4th, ten days before its 
official opening, she walked across that latest wonder of the 
new world, the Brooklyn Bridge. On the sgrd, at seven in the 
evening, accompanied by her mother and Ina, she left for San 
Francisco. The cross-country trip was one of uninterrupted 
fascination for the travellers who arrived in San Francisco, 
tired but happy, at 1 1 :go in the morning of May 3 ist, and pro 
ceeded to the Palace Hotel. 

San Francisco had not forgotten her and stood ready to give 
her the warmest reception it had extended any singer. The 
ovation she received the night of her first appearance demon 
strated convincingly, as the newspapers pronounced it, that 

nine-tenths of the great audience had come to hear Emma 
Thursby and not the Thomas Orchestra, An unfortunate situ 
ation arose, however, out of this ovation. Thomas had an 
nounced that there would be no encores, and this he insisted 
upon, not permitting her to give an encore despite the fact 
the audience recalled her time and time again, literally not per 
mitting Thomas to proceed with the program. The news 
papers, while conceding the wisdom of a general "no encore" 
policy, believed that Thomas should have applied good com 
mon sense in the face of persistent applause for Emma 
Thursby, and granted one encore number. Feeling that ran 
high against Thomas throughout the whole seven concerts, in 
each of which Emma Thursby was allowed to sing only her 
alloted number, reached its height at the last concert, in which 
the audience, a huge one, seemed intent to take matters in its 
own hands. Following her singing of Handel's "Sweet Bird/' it 
broke forth in wild applause, recalling her again and again. 
Thomas, obviously irritated, took up his baton and com 
menced Mendelssohn's "Midsummer Night's Dream," where 
upon the audience hissed and stamped, competing with the 
orchestra in a general din. The program was continued, but 
the audience refused to applaud anything Thomas did. 

No one could question the musicianship of Thomas, or the 
splendid orchestra he had assembled, or the program he had 
arranged; but he had obviously failed to compromise in a situ 
ation where only compromise would have avoided the dis 
agreeable. Emma Thursby's friends in San Francisco, who be 
came with each concert her stronger champions, were people 
of great influence. One, who had been her warm admirer since 
the Paris days of 1 879, Mrs. Mark Hopkins, reputed to be the 
wealthiest woman in the world, the acknowledged leader of 
San Francisco society and the owner of the most elegant man 
sion in the city, extended all her influence in the cause of one 
who she believed had been insulted by Thomas. Feeling ran so 


high that Emma Thursby was obliged to issue a statement: 

"To the Public 

Before leaving this city I desire to correct a very erroneous 
impression which, I learn, is entertained by some, that I de 
clined to sing more than once at each of the Thomas concerts, 
and that I should refuse to respond to an encore in case that it 
was desired. On the contrary, it was my full expectation and 
desire when I made the engagement that I should have two 
numbers at each of the performances, and I should have been 
perfectly willing, and glad to have sung more if I could, by my 
humble exertions, have added to the pleasure of the audiences 
at these splendid concerts. 

I congratulate the public that they have had such a rich musi 
cal treat, and it is not my purpose to question the motives of 
the management; but I regret that I have been so restricted in 
my own portion of the entertainment. I have looked forward 
for a long time with much pleasure for an opportunity to come 
to this city, the scene of my earliest triumphs; remembering 
with deep gratitude the cheering encouragement I received on 
my first visit; but I must confess that my present one has been, 
so far as iny professional business is concerned, one of disap 
pointment, because I feel that in my limited performances I 
have not reached the hearts of the public as I would wish. 

But I shall, in my own heart, cherish with grateful remem 
brance the many kindly attentions in private, and the warm 
welcome in public I have received at your hands and I shall 
again look forward, with renewed hope, to another appearance 
before you, as soon as my engagements abroad are finished, 
when I shall be permitted to make my own selections without 
restriction as to number and shall give you a better oppor 
tunity to judge of my merits or defects. 

Emma C. Thursby. 
Palace Hotel, San Francisco, June 13, 1883." 


In three concerts of the Thomas Orchestra in the huge Mor 
mon Tabernacle in Salt Lake City and in six concerts in Den 
ver, Thomas remained obdurate, despite the prolonged ap 
plause Emma Thursby received at every appearance, refusing 
to allow her to sing other than the program numbers. There 
can be no doubt that the restrictions placed upon her served to 
arouse the public to a greater appreciation of her art and a 
warmer regard for her person, while Thomas was received 
coldly. If Thomas had won his point he had done so at the cost 
of the public favor. Thomas did not always emerge victorious, 
however. The story was current that Thomas had stated he 
would play nothing by Offenbach, when that composer of light 
opera visited New York in 1875. When informed of the state 
ment, Offenbach had countered by saying that he in turn 
would not be so ungracious, that he would play anything by 
Thomas who of course had composed nothing. 

When Emma Thursby reached New York at the end of 
June, she found herself in a quandary over future plans. Stra- 
kosch advised from Paris that she should come to Europe only 
if she was determined to sing in opera. But she parried the de 
cision as she had for so many years. There can be no doubt that, 
if Strakosch had said definitely that she must sing in opera, she 
would have capitulated. Yet Strakosch was anxious that she 
make the decision herself. Meantime she was disconcerted by 
the offers of other impresarios, anxious to represent her, should 
she decide to remain in America and Maurice Strakosch re 
main in Europe. Max Strakosch, Carl Strakosch, George Colby, 
and Major Pond all pressed their pleas. Throughout July she 
procrastinated over her plans, not coming to a decision, in fact, 
until the 6th of August, when she cabled to Maurice Strakosch 
to return to manage an American tour. The decision gave her 
a welcome peace of mind, for, though she often thought that 
another manager might improve her financial returns, of Stra 
kosch, his integrity, and his musicianship she was sure. 


Two other decisions she made with far less delay. On July 
2ist she bought an apartment in New York City, in a new 
building at 34 Gramercy Park, the first cooperative apartment 
house to be built in the city. So often in the past she had been 
obliged to stay at the Everett House, foregoing the comforts of 
her Brooklyn home because of its distance from the music cen 
ters and the railroad stations. At once she busied herself with 
the details of decorating and furnishing the new and welcome 
home, though it was not until August goth that she and her 
family said farewell to 43 Lee Avenue, Brooklyn, and moved 
into 34 Gramercy Park. The second decision gave her added 
pleasure, when, on August ist, she notified George P. A. 
Healy, then in Chicago, that she would purchase the portrait 
he had painted of her for his gallery of distinguished people. 

Mid-August came before she finally got away for a ten day 
rest, journeying with her sister, Ina, to Bolton on Lake 
George, where she joined her old friends Mr. and Mrs. Achille 
Errani and their daughter. The arrival of Maurice Strakosch 
from Europe brought her back to New York for a discussion of 
tour plans, but soon she was off again, this time to Cambridge 
for an eighteen-day visit with her friend Mrs. Ole Bull. On 
September 25th, she made her first appearance of the new sea 
son in a benefit concert for Maud Morgan in Newport, and her 
concert tour finally got under way at Scranton, Pennsylvania, 
on the i st of October. 

Strakosch had engaged as assisting artists, Chevalier Antoine 
de Kontski, court pianist to the Emperor of Germany, and 
Russell Glover, an American tenor; and the choice of De 
Kontski, especially, proved a wise one. Well known abroad, he 
enjoyed considerable fame in America for his composition, "Le 
Re veil du Lion/' which had obtained an immense circulation. 
His silver-white hair and martial beard, his decoration stretch 
ing across one lapel of an old fashioned dress suit, his court 
bows and punctilious manners, his apparent enthusiasms for 


his art, all added to his art itself, endeared him to his audiences. 

Forty-two concerts before January ist kept Emma Thursby 
busily engaged. Often the distances between cities were great 
and the time consumed in travel was considerable. To cover 
most of the principle cities of eastern United States and Canada 
was the task she undertook. As the tour progressed, besides 
satisfaction in the financial reward, she had the supreme satis 
faction of observing that her fame had so grown that her name 
had become a household word. People of all stations in life 
spoke her praise. In Washington President Arthur continued 
his enthusiastic support. Though she sang many of the songs 
that were already identified with her repertory, three new 
songs found great favor throughout her tour: Massenet's 
"Happy Children/* "Le Chant du Misoli" from David's opera, 
La Perle du Bresil, and the "Bell Song" from Delibe's new 
opera, Lakme, that was enjoying great popularity in Paris. 

The opening of the new Metropolitan Opera House in the 
fall, under the direction of Henry Abbey, afforded opportunity 
to New Yorkers to hear an imposing group of the world's great 
est singers in opera. Emma Thursby took every occasion her 
own crowded schedule allowed to attend performances in this 
great new music center that had been first proposed by Mau 
rice Strakosch, not as a rival of the Academy of Music, but as a 
home for opera. Before the new year, 1884, came, she heard 
Nilsson, Scalchi, and Capoul in Mignon; Nilsson and Cam- 
panini in Lohengrin', the newcomer, Sembrich, in II Barbiere; 
Nilsson, Scalchi, and Del Puente in La Gioconda; and, on New 
Year's Eve, Patti in Aida. Eventful performances these! In Bos 
ton, in quite another realm, she saw Henry Irving in Louis XI, 
and Irving and the lovely Ellen Terry in The Merchant of 
Venice. Who would ever forget Ellen Terry as Portia? 

On January 4th, a large group of friends heard Emma 
Thursby sing at her first reception in her new home at 34 
Gramercy Park. But the public of New York City, that had had 

no opportunity of hearing her in the fall season of 1883, would 
still have no opportunity during the winter, as her engage 
ments took her through seventeen states and to Washington, 
the nation's capital. New York, Pennsylvania, West Virginia, 
Ohio, Illinois, Iowa, Minnesota, Nebraska, Missouri, Kansas, 
Wisconsin, Michigan, Virginia, New Hampshire, Massachu 
setts, Maine, and New Jersey all laid claim to her as her concert 
total reached fifty-eight. Brooklyn did have opportunity of 
hearing her at a concert in the Ross Street Presbyterian Church 
on January grd, and again at an entertainment in aid of the 
Southern Veteran Soldiers' Home at the Academy of Music on 
May 6th, where, after a highly complimentary introduction by 
her pastor, the Reverend Henry Ward Beecher, she sang "The 
Star-Spangled Banner" and "Down upon the Suwanee River." 

When her 1883-1884 concert season reached its end at New 
ark, New Jersey, on May ssnd, the grand total of concerts 
reached one hundred and one. She was tired from the long 
tours, worried over her mother's poor health, and perplexed 
over future plans. Strakosch had left for Europe on the 1 7th of 
the month to join his family in Paris, and to report to her on 
the situation abroad. New York was in the economic doldrums, 
with Wall Street pessimistic about the months ahead. Again 
the question of opera stood forth as the press urged that the 
managers of the Metropolitan Opera House or the Academy 
of Music prevail upon her to accept a season of opera, com 
mencing in the fall. A remunerative undertaking for the man 
agers and a gratifying event for the community, the press as 
sured. Yet any consideration of opera in the forthcoming sea 
son must be faced with the fact that opera in the season of 1 883- 
1884 had proven an artistic success but a financial failure. 

However, who could venture to guess what the fall would 
bring to an ever-changing New York? Meantime, to Europe, 
where musical dies were cast, went the Thursby's, Emma and 
Ina, sailing on the "Republic," the sgth of May. 


June in London. Happy days among the good friends she 
made when London introduced her to Europe. Yet Lon 
don stirred memories of that other day when her mother and 
sister, Allie, were with her. Sad days in London, as letters from 
home brought the distressing word that her mother was failing 
to make the rapid recovery expected. Alarming news from 
home! On June 28th, she and her sister, Ina, left for Liverpool, 
to embark for New York. But a cable intercepted them in 
Liverpool: "Mother's death expected hourly." Too late to re 
turn. Back to London waiting. July ist the fateful word of 
the death of Jane Ann Thursby the previous day. On to Paris, 
to Mont Dore. Memories. 

Health-giving Mont Dore could not cure a broken heart, 
but time days, weeks would ease the strain. Work, most of all 
things, she needed, but the thought of singing again in concert 
was distasteful. To Norway she went, by way of London and 
Newcastle, to visit her faithful friend, Mrs. Ole Bull. And at 


Lysoen, the island home of Ole Bull, came hope and the desire 
to continue with her concert work. A telegram to Paris brought 
Maurice Strakosch to take charge of a short tour in Norway 
and Sweden, and, on the grd of September, 1884, Bergen heard 
her and took her to its heart, just as two years before. Again 
the clamoring throng in the streets, again the serenades; again 
she sang from her window to satisfy the throng. In four con 
certs in Bergen, at Old Hall, her repertory included many of 
the difficult operatic arias, but in the fourth and last concert, 
when she sang Grieg's "Jeg elsker dig" and "God Morgen," 
and Ole Bull's "Saeterbes0get," Bergen was hers. 

Two concerts in Trondhjem, three in Chris tiania, and one 
concert in Drammen completed a successful Norwegian tour 
in which the enthusiasm and cordiality of the public of Chris- 
tiania rivalled that of Bergen. But it remained for Stockholm 
to accord her the most striking reception of the summer. In all 
three of her concerts there she was honored as a homecoming 
favorite. To this, King Oscar, a musician himself, who attended 
her first concert, subscribed, and when he received her at the 
Palace he told her how she had endeared herself to the people 
of Stockholm. At the instance of King Oscar, she visited Pro 
fessor Berg, the aged teacher of Jenny Lind, and sang for him 
some of the songs he had taught his famous pupil. The heart 
felt appreciation of the Professor, whom years of ill health had 
kept from hearing the great singers of the new day, would al 
ways remain in her memory. Despite the public demand that 
she continue her engagements, and despite the pleas of the 
composer, Ivar Hallstrom, that she remain to appear in his new 
opera, Neaga, with libretto by Queen Elizabeth of Rumania, 
Strakosch concluded that it would be better 'for her to depart 
with the acclaim of the public at its height. And so she left for 
Copenhagen, on October 6th, en route to Paris. 

Once again in Paris she seemed determined at last to study 
for opera and so wrote Mrs. Bull, stating that she thought she 


would take lessons from Mme Marches!. Offers of operatic en 
gagements in Russia and France were too persistent and too 
attractive to disregard. Unfortunately, Strakosch, now that she 
had apparently capitulated in favor of opera, could no longer 
help her, at least as manager, since his health, poor in the 
spring, had grown worse. However he could and did speak her 
praises to the musical world, and this aid was of inestimable 
value. Strakosch may well have favored Lamperti for her 
teacher, since the three dined together while she was weighing 
her choice. One other wise and devoted counselor she had as 
always in Paris, Mme Strakosch, whose knowledge of things 
musical was of great aid. Yet, now when the decision to enter 
opera was about to be made, a cable came from home, stating 
that her sister, Allie, was critically ill. Abandoning all plans, 
she left for England with her sister, Ina, and sailed from South 
ampton on the steamer "Eider" for New York. 

Though she knew that Allie had not been in good health, 
she had no idea that her condition was serious. In fact, she had 
planned to have Allie join Ina and herself in Paris. But, upon 
reaching home on the 1 5th of November, she found that Allie, 
in fear of worrying her, had belittled the illness in letters. Dr. 
Mott, the next day, pronounced that Allie's life could not be 
saved. The pronouncement came as a shock that Emma 
Thursby could barely stand. Yet her courage prevailed, and 
she settled down to the sad duty of nursing the sister whose un 
selfish devotion had cheered and guided her since childhood. 
Much of the time Allie wanted Emma within her sight, but 
some of the time she would insist that Emma resume her con 
cert work. This was of course impossible, though Emma did go 
out occasionally. She witnessed the brilliant debut of her 
friend, Emma Nevada, in Sonnambula, on December ist, and, 
upon Allie's insistance, appeared in the concert of the Ross 
Street Presbyterian Church in Williamsburgh, on the evening 
of the 2 2nd. 


On this occasion she sang the * 'Norwegian Herdsman's Song" 
which Strakosch had discovered in Stockholm, and which the 
program noted as "The Celebrated Echo Song. Not heard in 
this country since sung by Jennie Lind." One of her fellow 
artists at the concert was a young musical prodigy, Leopold 
Godowsky. "Master Godowsky is fourteen years of age and a 
native of Russia. He arrived in this country Nov. sgth, and this 
is his second appearance in America," the program announced. 

On January igth, 1885, Allie Thursby died, and on the 
2 2nd funeral services were held in the home at 34 Gramercy 
Park y presided over by the Reverend Henry Ward Beecher, 
who delivered an eloquent address, and the Reverend Edward 
Hitchcock, former rector of the American Chapel in Paris. 
Emma Wilkinson sang the hymns, "Nearer, my God, to Thee" 
and "Beyond the Smiling and Weeping." 

Dr. Beecher had written to Miss Jeannie Ovington who had 
assumed the responsibility of arranging for the funeral ser 
vices: "I cannot but rejoice that the long struggle is over, the 
battle fought and the Victory won Out of this winter of life 
she has fled to an eternal summer! I shall be with you at 1 1 
A.M. on Thursday 

"It is a sad joy to Emma 8c yet, it must be a sorrow, with 
many alleviations a cloud to be sure, but with the calm of 
the sun upon it A sister's coronation should bring some con 
solation, to a sister's grief. 

"Give my love and sympathy to her, and take much for 

Emma Thursby believed that she had witnessed her sister's 
coronation, yet she could not rejoice, nor could she stop the 
growing feeling of emptiness in her own life. But again time 
healed, and the insistence of friends that she resume her career 
for the sake of her sister's memory prevailed. On March i6th 
she made her initial appearance of the year in Philadelphia at 
the Academy of Music, and on the following evening sang to 

M 6 

JEL Livingston Platt, New Yorfe 


A. F. Bradley, New York 


an audience of students at Princeton University* But it was in 
Washington, the nation's capital, that she found the cordial 
welcome and sympathetic understanding that did much to re 
establish the confidence she so much needed, and the cheer and 
enthusiasm of which her life had been devoid for many months. 
This new spirit was reflected in her letter to Mrs. Ole Bull: 

"122 1 Mass. Ave. 
Washington, April i$th 85. 
My dear friend 

I have been intending to write you ever since you left here, 
but it seems as if one never finds a moment in this busy place. 
There is so much I would like to tell you, for I have been hav 
ing a delightful time here, and wish so much you could have 
remained. The reception I spoke to you about, which was to 
have been given me by Miss Cleveland, was postponed as it 
happened to be the day Gen. Grant was supposed to be dying. 
But, upon our return from Fortress Monroe (where we gave 
two concerts and had a delightful time), Miss Cleveland in 
vited all the Cabinet and foreign Ministers and their families 
to meet me, and we had the most charming evening. Ever since 
it has been a series of dinners, receptions, etc. At Secretary 
Bayard's, at the Russian Legation, etc. 

The new Swedish and Norwegian Minister and his wife 
are charming and he has accompanied me most beautifully. 
Madame de Struve, the wife of the Russian Minister, is teach 
ing me some lovely Russian Songs, 

I am so sorry I cannot accept Mr. Goolidge's invitation to the 
Commercial Club Lunch, but I cannot leave here so soon. I 
should be so glad to see you all* I am to be given a grand testi 
monial concert at the Opera House, May 7th, by invitation of 
the President and all the other prominent gentlemen of Wash 
ington. I expect it will be a fine affair. It is perfectly lovely here 
now. How I wish you would come, 


I am quite interested in your Boston excitement, mind cure, 
since Mrs. Frances Hodgson Burnett told me of her wonder 
ful cure there. I met her the other evening at a dinner given 
for me by Mr. Stilson Hutchins, where Mr. and Mrs. James 
G. Blaine, Gail Hamilton, and several other prominent and 
most interesting people were invited. I wish you would tell me 
something about it. But I must stop. Do write me very soon. 
A heart full of love to dear Olea and yourself. Kindest regards 
to all other friends. 


The cordiality of the people of Washington culminated in a 
"Grand Testimonial Concert Tendered Miss Emma Thursby 
And United In By The President, Vice-President, Members 
Of The Cabinet And Of The Diplomatic Corps, And Others" 
on the evening of May 7th, at Albaugh's Grand Opera House, 
prior to which she was presented with an embossed scroll bear 
ing the following: 

"Grand Testimonial Concert 


Miss Emma Thursby 
Albaughs Opera House 

Washington, D. C., May 7, 1885. 

Miss Emma Thursby: 

The undersigned most cordially unite in support of a testi 
monial concert, which we learn with pleasure, your friends 
propose tendering you on the evening of the 7th of May. 

We are moved in this by our desire to testify, not so much 
to your eminence as an artist, for that is universally recognized, 
but to your readiness to contribute your great talent to the sup 
port of every humane and charitable work, and to your con 
spicuous worth as a woman in all the relations of life. 


W. W. Corcoran Grover Cleveland 

]VL R. Waite Thomas A. Hendricks 

James G. Elaine T. F. Bayard 

AL de Struve L. Q. G. Lamar 

Victoria S. West Wm. F. Vilas 

E. H. Beale W. C. Whitney 

A. Leo Knott Daniel Manning 

Carrie M. Wyville S, McCue 

Mary T. Leiter Viscount das Nogueiras" 

No warmer a tribute and no more enthusiastic a reception 
could have been accorded a favorite daughter of the nation, 
and Emma Thursby took new hope and courage. Europe again 
beckoned, but upon report that conditions there did not ap 
pear favorable to a tour, she decided to remain in America. 
The summer afforded the first lengthy period of rest and 
recreation she had had in many years. Visits with her good 
friend of Broadway Tabernacle days, Mrs. M. C. D. Borden, in 
Long Branch, and with Mrs. Bull, in Cambridge, were fol 
lowed by a rambling visit to Maine and the White Mountains, 
accompanied by her sister Ina. On August 2 8th, she com 
menced the new season at a concert in Saratoga at the United 
States Hotel. Here, as in Richfield Springs the next evening, 
she was assisted by Leopold Godowsky and the gifted and 
promising young American violinist, Dora Becker, "a fair, 
slender girl of about fifteen [who] shared Mr. Godowsky's laur 
els as a youthful prodigy." Dora Becker (Shaffer) would hence 
forth make frequent concert appearances with Emma Thursby, 
and became her lifelong friend. 

During September and early October she sang in a series of 
concerts, which took her as far north as Halifax, Nova Scotia. 
These were chiefly in the small cities of Maine and Massachu 
setts, and though an appreciative and enthusiastic public was 
to be found everywhere, financial rewards were poor. Indeed, 


the only lucrative concerts of the fall and early winter, she gave 
in Cleveland on the loth of November, in Boston on the sist 
of December. In St. Louis on the goth, her fellow soloists of 
note were Clara Louise Kellogg, Emma Nevada, and Emily 
Winant. But the concert that gave her the greatest pleasure 
was one that stirred memories of her school days at the Mo 
ravian Seminary, on November 1 8th, at the Moravian Church 
in Bethlehem, where she shared the program with the son of 
her old teacher, J. Frederick Wolle, who appeared in the role 
of organist. 

Forty-nine concerts for the year 1885 was a satisfactory num 
ber, considering the tragedy that had befallen her in the loss 
of her sister. Yet it was apparent that without the persistency 
and aggressiveness of Mme Rudersdorff, and the wide experi 
ence and sympathetic management of Maurice Strakosch to 
call upon, she seemed unable to cope with the managerial 
problems which arose daily. 

The new year, 1886, promised little change in the status. 
Without a manager in whom she could place complete confi 
dence - and she could not seem to find one , though she was 
still in splendid voice, there seemed to be no escape from the 
inertia into which her career had fallen. In late January she 
journeyed to Rochester, New York, for her first concert of the 
year. Upon the return journey, she met with a serious railroad 
accident at Pelhamville. Fortunately escaping injury herself, 
she had the presence of mind, the courage, and the sympathy to 
go to the aid of the mortally injured fireman of the train, Eu 
gene Blake. "God will surely reward you/' wrote his widow to 
her a few days later, "and may God be with you in all your 
travels throughout this world. I was married 6 short months 
when my Husband was torn from me and we were so Happy. 
Although I could not be with him myself when he breathed 
his last I feel thankful there was one of my sex who felt for him 


and stepped forward and administered such wants as would 
soothe a dying man/' 

When February came she was absorbed and quite naturally 
pleased by plans friends were making for a testimonial concert 
to be given in her honor at the Metropolitan Opera House on 
the sgrd. Under the chairmanship of her friend, Miss Jeannie 
Ovington, the leaders in New York society and business were 
rallying with enthusiasm at the prospect of honoring one 
who in such large measure held their admiration and respect. 
As a prelude to the concert itself, Emma and Ina Thursby gave 
a reception on the soth in their home at 34 Gramercy Park for 
many of those engaged in preparation of the concert, a recep 
tion that would prove to be the first in a long and brilliant 
series of musical receptions, later to be known as the "Thursby 
Fridays/' and to become famous throughout the musical and 
social worlds. 

On the evening of February sgrd she appeared at the Metro 
politan Opera House before one of the most fashionable and 
distinguished audiences ever assembled in New York. Walter 
Damrosch, already distinguished son of a distinguished father, 
conducted the New York Philharmonic Society Orchestra. 
Richard Hoffman, the noted American pianist, and Eloi Sylva 
and Josef Standigl, tenor and bass respectively of the German 
Opera Company, assisted in the concert. In singing "Mia spe- 
ranza adorata" by Mozart, the Mad Scene from Thomas' Ham 
let, and Bizet's "Tarantelle/* Emma Thursby demonstrated 
again, and convincingly, the purity of tone and the perfection 
of execution that had thrilled the music centers of Europe. 

The tribute she received was not unlike others in her sen 
sational tours throughout America and Europe. Yet, since it 
bespoke the enthusiasm and affection of the people of her own 
city, it was an ovation that would always remain indelible in 
her memory. Material reward from the concert came a few days 
later in a unique mannr, when at a breakfast given her by the 

35 1 

ladies o the concert committee she cut a large golden omelette 
placed before her, only to disclose a golden horde $2300 in 
twenty-dollar gold pieces. 

With the concert a happy memory, she once more settled 
down to consideration of managerial problems. Maurice Stra- 
kosch was not well enough to come to America, and he advised 
that, although a tour of Germany and Scandinavia might be 
profitable, a tour of any of the other countries would likely 
prove disastrous. For a time she was inclined to consider an 
offer from Australia for a tour of that country, New Zealand, 
and Tasmania, but she finally demurred at the thought of deal 
ing with a strange manager, knowing too well the failures of 
Carlotta Patti, Wilhelmj, and the Mendelssohn Quartet Club 
in that part of the world. Finally, after a tour of northern New 
York, which brought her concert total of the year to twenty- 
four, she decided to go to Europe for vacation and subsequent 
consultation with Maurice Strakosch and other friends in 
Paris. On July 3rd, accompanied by her sister Ina, her cousin, 
Mary Elizabeth Bennett, her brother, John, and her friend, 
Jeannie Ovington, she sailed for Amsterdam, Holland, on the 
steamship "Pennland." 

It is not surprising that she should go to Ems, for there she 
had been revived in health and spirit on more than one occa 
sion. The doctor in Ems found that she was suffering from a 
bronchial infection, and recommended the cure which she at 
once undertook, adhering to its schedule for a month. Ems 
could always find some physical ailment in those who visited 
its health shrine. Nevertheless, whether the "cure" was physi 
cal or psychological, it did bring renewed spirit and vitality to 
Emma Thursby, who by the middle of August was prepared to 
undertake a sightseeing tour into Germany, Bohemia, and 

In November the Thursby caravan returned to Paris, where 
Emma Thursby immediately comn^nced singing practice 

with Maurice Strakosch, who had just completed his memoirs, 
written with the assistance of one of the editors of Figaro, 
and was in the midst of correcting his manuscript. All thought 
of a concert tour with Strakosch had been dismissed, since he 
was in rapidly failing health. Yet she still held herself in readi 
ness for the uncertain future. 

November was a month of preparations for an event in 
which she rejoiced, the marriage of her cousin, Mary Elizabeth 
Bennett, and John Van Cott Comfort, of San Francisco. She 
pursued these preparations with whole-hearted enthusiasm, 
for she was anxious to give a beautiful and impressive wedding 
ceremony and reception to the cousin who had often been her 
attentive companion on tours in America, and had always been 
her devoted and faithful friend at home. The marriage cere 
mony, on Wednesday, December ist, at the home of Miss 
Jeannie Ovington, 40 Rue de Villejust, was performed by 
Bishop Lyinan, while Robert Milligan McLane, American 
Minister to France, gave the bride away. Emma and Ina 
Thursby were the bride's only attendants. At the reception 
which followed, there could be seen many from the ranks of 
fashion and music and art: Count and Countess de Meffray, 
Count and Countess Nogueiras, Count de Lancastre, Baroness 
d'Oyley, Mr. and Mrs. Robert Roosevelt, Mrs. James Jackson, 
Miss Fanny Read, Mme Pauline Viardot, Mr. and Mrs. Mau 
rice Strakosch, and Mr. and Mrs. George P. A. Healy. 

It was after many months of musical inactivity that Emma 
Thursby resumed her concert work in Bordeaux in an appear 
ance before the Cercle Philharmonique, on the i ith of Decem 
ber, her companion soloist being the violinist, Eugene Ysae, 
another favorite with Bordeaux audiences. Again Bordeaux 
feted her, and she was happy in her return to activity. In two 
concerts before the Societe Philharmonique of Limoges the 
next week, her success was continued. Though the praise of 
the press had become a common thing, welcome, indeed, was 


the praise of Le Courrier du Centre, for in this period of un 
certainty it inspired her to new efforts: 

"C'est une voix douce, suave, onctueuse, qui coule de source, 
pour nous servir d'une comparaison que nous croyons juste; la, 
pas la moindre contrainte, pas le moindre effort chez Fartiste, 
non plus que pas la moindre apprehension penible chez le spec- 
tateur, lorsque 1'organe atteint les limites extremes du reg- 
istre. Et quelle limpidit^, quelle justesse de son. Dans Fair du 
Mysoli, par exemple, comment distinguer le chant de la f emme 
de celui de la flute; quelle harmonic parfaite entre la voix 
humaine et rinstrument! Mais aussi quels bravos enthousiastes 
de toutes parts!" 

Unfortunately these efforts must be short-lived, for January 
found her suffering from one of the recurrent colds that were 
now of longer duration. Yet, despite her cold she sang in Rou- 
baix at the concert of La Grande Harmonic, on the 8th of Feb 
ruary. But she was obliged to cancel her ensuing concert at 
Orleans. Indeed, all future concert plans had to be postponed, 
and medical advice secured. To this end, she journeyed to 
Wiesbaden, where her doctor pronounced that she had an in 
flammation of the bronchial tubes and lungs, that would re 
quire months to cure. And, at Wiesbaden, she heard other 
news that challenged her already broken spirit: her pastor and 
friend, Henry Ward Beecher, had died on the 8th of February, 
the very day of her concert in Roubaix. Late in May, at Ems, 
where she went for the cure, she received a much-forwarded 
letter bom Edward Bok, that stirred the full realization of this 
great loss to the nation and to herself: 



Tbe memorial is restricted to the letters and literary contributions of only a limited 
number of tfie most distinguished men and women of America and Europe, and will 


be published in noteworthy form for presentation to Mr. Beecher's family, and as a 
lasting record for his friends and the public. 


320 State Street, Brooklyn, N. Y., U. S. A. 

March 23 iS8j. 

Miss Emma C. Thursby, 
Respected Lady, 

It is the special desire of the intimate friends of Mr. Beecher 
interested in this final tribute to his memory, that it shall con 
tain a contribution from the pen of a lady whom the great 
patriot-preacher so warmly admired, and of whose noble efforts 
to move the human heart with song he so frequently and elo 
quently referred to during his life-time, both in the pulpit and 
in private life. 

Only six weeks before his sad departure, Mr. Beecher, in one 
of his Sunday evening sermons of rare excellence, and in the 
presence of an immense audience, whom he addressed on the 
subject of 'Song and its Relation to the Human Heart/ 

Tirst and foremost among the illustrious names in the bril 
liant galaxy of women, noted throughout the world for their 
achievements, stands Emma Thursby, whom we proudly claim 
as our own, and whose matchless voice has been a blessing to 
mankind. The very mention of her name thrills me with an 
admiration that I find difficult to limit. Her superb and over- 
towering reputation will ever be proudly referred to, not by 
Brooklynites alone, but by Americans and Europeans as well. 
Let her name always remain fragrant in the hearts of the peo 
ple of Plymouth Church/ 

After the sermon, many ladies came forward and congratu 
lated Mr. Beecher, upon the reference he made to you, Miss 
Thursby, whereupon our honored and now departed friend 
exclaimed, 'Emma Thursby is one of the noblest women God 


ever created, and her influence will ever be felt by those who 
had the pleasure of listening to her bird-like voice/ 

In making this request to you, Miss Thursby, I beg that you 
will believe that it is one uppermost with me, and the granting 
of which I should esteem a high honor, and a beautiful tribute 
to our beloved dead pastor. 

From the promises and contributions already received from 
distinguished personages, including Generals Sherman, Sheri 
dan and Fremont, Admiral Porter, Prof. R. Ogden Doremus, 
Mrs. Garfield, Mrs. General Grant, Rev. Drs. Cuyler and Tal- 
mage, Pres't and Miss Rose Elizabeth Cleveland, and a host 
of others equally renowned, the memorial to the 'Father of 
Humanity' bids fair to be most notable and we should feel that 
Mr. Beecher's personal wish was carried out, could he but ex 
press it, were it to receive a contribution from his old friend. 

No contribution which may be added to this volume of lov 
ing remembrance, would give us all such sincere pleasure as a 
tribute from you, Miss Thursby, and we are all therefore par 
ticularly anxious that you will grant us these lines which will 
be so highly treasured. I cannot be too urgent in respectfully 
requesting your kind and valuable cooperation which wiU 
prove an ever-increasing joy to the relatives of this wonderful 
man. Awaiting your response with great expectations, and with 
assurances of profound respect and admiration, I have the 
honor to be, Miss Thursby, your most obedient servant, 

Edward W. Bok. 

Mrs. Samuel Thursby, kindly furnished me your address, 
through Miss Emma Wilkinson. 

March 24. 

I forgot to mention, Miss Thursby, that the memorial will 
be issued on Mr. Beecher's 74th birth-day, (June 24), and if you 
will kindly let me hear from you before June 15, it will be 
ample time for your treasured lines to find a prominent place 
in this national memorial. 


The entire contents of the work will be given to the Ameri 
can Associated Press, the day after publication, in order that 
the entire country may read these words of affection and re 
spect to the memory of this immortal prophet, and prince 
among men. When the volume appears I will send you several 
copies, wherever you may happen to be. 

I hope that you will be so good as to attach the name of the 
city and date where you will write from, in order that the pub 
lic may know how far away some of these tributes were sent 

Mr. Beecher always referred to your mother and your sister 
in a most tender manner, and I have taken the liberty to send 
you a few rose leaves, some smilax and a sprig of mignonette, 
gathered by me from his iower-decked casket, as it rested in 
the vault at Greenwood Cemetery, directly after Mr. Halli- 
day had finished his prayer. Many of the gentlemen of Ply 
mouth Church, there were no ladies present at the tomb, 
secured these mementos, and I have a number of these precious 
leaves laid away in a volume of his sermons." 

Though too late for inclusion in the published memorial, 
Emma Thursby's tribute to her pastor appeared in the Ameri 
can press: 

{f Bad-Ems, Nassau, Germany, 
May 26, 1887. 

My dear Mr. Bok: Your request to write a few lines for the in 
tended memorial to the memory of our dear pastor I respond 
to with great pleasure, only fearing niy humble contribution 
will be of little value midst the eloquence of so many illustri 
ous friends and admirers who will take this opportunity to 
unite in rendering homage to the great man who, by his no 
bility of mind, reigned over the multitudes who now so deeply 
mourn his loss. 

The greatest proof of Mr. Beecher's unparalleled influence 


is the feeling of all who heard or knew him, that it is impos 
sible to realize he has passed from us, and we shall no longer 
listen to his wonderful teachings, or see his face lifted in the 
rapture of prayer, glorifying his Maker with the words that 
came from his very soul and thrilled ours, entering our hearts 
never to be forgotten, falling from his lips with such eloquence 
as seems only possible from one indeed inspired with the true 
love and spirit of Christ. His expression, his gestures, his words 
come back to even the most heedless of us. Would this be so 
were his influence not marvelous far more than we perhaps 
ever realized? 

Who will ever forget him as he so often stood, surrounded 
by his cherished flowers, perchance a ray of sunshine touching 
his silver hair, his face radiant with love as he joined the con 
gregation in the grand upraising of voices in that hymn he 
loved so weU ? 'The Shining Shore? The years I contributed 
my part to the services of Plymouth Church will ever remain 
a precious memory to me. And in my busy life of change and 
excitement, the Sunday our dear pastor enrolled my name 
among its members, stands out brighter and holier than this 
day does to many whose lives may be calmer; and therefore, 
perhaps, need less the remembrance of that sacred hour. 

To me no music is grander or more beautiful than that of 
Mozart, still did I attempt to praise his inspired works my very 
admiration would make words impossible. The creations of 
Mozart's spirit re-echo in my heart and fill my soul with un 
ending ecstasy that is far greater praise than I would express. 
And so with our beloved pastor; words fail me while my heart 
overflows with veneration for his greatness; he who had com 
forting words and advice for all who sought it, the prime mover 
in bringing forward all questions of importance to our coun 
try and to humanity in general, especially when it advanced the 
efforts to elevate mankind, showing forbearance to the weak, 
magnanimity to his enemies, but with all his engrossing inter- 


est in every topic of the day, ever our kind and sympathetic 
friend, combining in his grand nature the gentleness, forbear 
ance and loving kindness that justly titles him 'Father of 

Believe me, ever sincerely yours, 

Emma Thursby" 

Life in Ems was exciting even though, anxious to regain 
her health, she did not enter into any social activities, for the 
arrival and departure of royalty kept everybody in a state of 
curiosity and speculation. At Ems, Emma and Ina Thursby 
were presented with a talking Mynah bird, that became an im 
portant member of the family. "Mynah," who claimed he 
came "Aus Africa/' but doubtless came from the Malay Straits, 
had a remarkable gift of clearly comprehensible speech in no 
less than five languages. All who heard him were astounded, 
and the tales of his linguistic prowess and his almost human 
understanding by perfectly calm and disinterested observers 
seem fabulous. He was a great source of amusement to the 
Thursbys, an ambassador at large, as it were, to the children 
of the community with whom he played in the park; to the 
royal family to whose apartments he flew and entered without 
benefit of introduction. 

As the end of August approached, Emma Thursby, in robust 
health for the first time in two years, made plans for returning 
to America after a brief visit to Paris, She was restless to see her 
own country again, anxious to resume her concert work. From 
Paris came a letter from Strakosch, that indicated that he, with 
whom she planned to discuss the musical situation in America, 
was sufficiently sick to warrant alarm: 

"56 Rue Labruyere 
Paris, August 25, 1887 
Dearest Miss Emma, 

I have been lately quite sick which is the reason that I have 


not written to you for so long a time. I am a little better but very 
far from being out of the woods. I have been obliged to give up 
all business, and must remain by Dr. Lee's order here in Paris, 
so that he may cure me. I am extremely anxious to receive your 
news. How are you my dearest friend? How are dear Ina and 
Jenny? When will you come here? Pray give me some good 
news and believe me with my affectionate and most friendly 
salutations as also for your lovely companions, 

Your most devoted old friend, 

Maurice Strakosch 
Best love from Amalia to you all." 

Upon arriving in Paris, she found that Maurice Strakosch 
was indeed in very poor health. Yet he insisted upon guiding 
her in singing practice, the first she had engaged in for six 
months, in preparation for prospective American engage 
ments. When she left Paris on September i6th, for departure 
the following day from Le Havre for America in the steam 
ship, "Gascoigne," it was with distress that Strakosch could not 
accompany her, but without any misgivings over his complete 
recovery, since this the doctor assured would be realized after a 
few months of rest. So when the word reached her of the death 
of Maurice Strakosch on the 8th of October, she was doubly 
shocked. She had lost a good friend, and her grief was great. 
And she had lost, she thoroughly believed, the last of the musi 
cal counselors who could further her career. Achille Errani, 
with whom her friendship was real and deep, could advise her 
musically, she of course knew, but he could not advise her in 
the business of her career, and this was her immediate need. 

There could have been no more friendly city than Boston in 
which to signal her return to the concert stage. And, indeed, it 
was in Boston, at the familiar Tremont Temple, on the 27th 
of February, 1888, that she made her first concert appearance 
in more than a year. Hailed, as usual, by a large Boston audi- 


ence, she found the encouragement and the inspiration she 
needed at this critical period. In April she sang at Lakewood, 
New Jersey, in aid of a fund for a statue of George Washing 
ton, to be presented to France. Here was a cause close to her 
heart, for she was always anxious to lend any aid she could to 
ward bringing to the French people, who had so befriended 
her, evidence of the friendship of the people of America. In 
deed die was one of the organizers of the fund, the first contri 
bution to which came from the receipts of her concert. Later, 
in Washington, she again gave her services in aid of the fund. 
It was not, however, until the summer of 1900 that the aim of 
the organizers was realized, and that an heroic equestrian 
statue of Washington, executed by the American sculptors, 
Daniel Chester French and E, C Potter, was presented to 
France as the gift of the women of America. 

When she sang in the nation's capital on May igth, at the 
New National Theatre, it was before a large and brilliant and 
distinguished audience that included the President and Mrs. 
Cleveland, and the elite of Washington. Again there was en 
thusiastic demonstration of admiration of her art and esteem 
of her person. Yet, despite the favor of Boston and Washing 
ton, she seemed unable to find active incentive for her work, 
and when the year 1888 ended she had sung in only seven 

Many years of tiring tours at home and abroad had doubtless 
taken their toll. No longer was she willing to undertake these 
tours, unless she could feel that they would be definitely re 
munerative and pleasant. Moreover, having tasted in her ab 
sence from concert work the pleasures of social intercourse and 
the companionship of friends, which had long been denied her, 
so exacting had been her career, she believed she was depriving 
her life of many of the values it needed. In January, 1889, s ^ e 
established what would become an institution, her "Fridays" 
at home, when friends prominent in the arts, in society, and in 


business gathered to hear good music and indulge in the social 
amenities. At her last reception of the year, on Friday, Feb 
ruary ist, an ambitious young American pianist, pupil of Liszt, 
played for her guests. Some time later, in December 1891, he 
would establish his own "Musical Mornings/' that now, after 
nearly half a century, are still the musical highlights of a win 
ter in New York. He was Albert Morris Bagby. 

Her concert work did continue, to be sure, but engagements 
lagged as she found it impossible to replace that trusted part 
ner in her musical life, Maurice Strakosch. How complete in 
sympathy and understanding the partnership had been, is il 
lustrated by Amalia Strakosch, who wrote in February, more 
than a year after her husband's death: 'In fact you are the only 
one friend he did respect above all. And I always persist in say 
ing that if you had been near him he would still live/' Of seven 
teen concerts given during the year 1 889, many were given for 
charity, and only a few were of any musical significance: a con 
cert in Detroit on the i6th of May, and three appearances 
in the music festival at Burlington, Vermont, the last of the 

Besides her resolve to enjoy the life among friends, that had 
been denied her, there was forming a new resolve, to explore 
the need daily presenting itself for a well-defined, broadly hu 
manitarian philosophy of living that would transcend the sec 
tarian teachings which until now had been sufficient to her. It 
was doubtless toward this end that she visited Eliot, Maine, in 
August, 1889, with her friend Mrs. Ole Bull, to attend the sec 
ond annual Midsummer Fete of the Eliot Library Association, 
an association devoted to the promotion in the little town 
across the Piscataqua River from Portsmouth of a cultural cen 
ter that would set an example for other rural communities. 
Especially devoted and active in this cause was Sarah J. Farmer, 
daughter of Moses Gerrish Farmer, eminent electrical engi 
neer, and his wife, Hannah Farmer, both inspired workers for 


5. Tchict a, JSTobe 



the betterment of Eliot. The two-day fete, an inspiring ex 
ample of how the people of a community could be brought 
together in a common cause, enlisted the services of the Rev 
erend Edward Everett Hale, who made the opening day ad 
dress, and musicians gathered from nearby towns. There was 
something far more important than good entertainment dis 
tinguishing the fete. Indeed, a spirit of brotherly love gripped 
all who attended. This spirit was again manifest in the summer 
of 1 890, when the completion of a new hotel provided accom 
modation for the rapidly increasing number of friends of Eliot. 
Emma Thursby was again a visitor, with Mrs. Bull and her 
daughter, Olea, and found increasing admiration for Miss 
Farmer and renewed interest in the Eliot family, which now 
included the poet, John Greenleaf Whittier. 

The search for a new formula of living was the keynote of 
the year 1890. When December came, she had given but six 
concerts, and her musical interests were being gradually sub 
ordinated. However, several lessons from her old teacher, 
Achille Errani, in early December, and appearances as soloist 
with the Boston Symphony Orchestra, under the direction of 
Arthur Nikisch, in Providence and Boston late in the month, 
were sufficient to awaken the enthusiasm and determination 
that had always been such vital forces in her career. So the new 
year, 1 89 1 , found her, once more, eager and ready to undertake 
a tour. After farther lessons with Bnrani, she commenced the 
year with an appearance in Boston at Tremont Temple on the 
2gd of February, following which she gave seven concerts in 

Brooklyn, that of late had seen so little of her, heard her to 
gether with her distinguished colleague, Annie Louise Gary, 
on the 1 2th of May at a concert in the Tabernacle for the bene 
fit of the Consumptive Home. Thereafter, accompanied by her 
devoted sister and constant companion, Ina, and the loqua 
cious and personable "Mynah/* she left New York on a journey 


that took her to the Pacific Coast. In concerts at Denver and 
Leadville, Colorado, she was received by very friendly audi 
ences. At Salt Lake City she sang in the festival of the Choral 
Society at the Morman Tabernacle, where she was featured 
with Myron Whitney, a companion of many concerts. It was 
her third appearance in this western city, and many in the 
warmly-applauding festival audiences had heard her when she 
sang with Gilmore's Band in her first appearance there fifteen 
years before* 

She gave eleven concerts in the principal cities of California, 
under the direction of George W. Colby, who proved to be a 
proficient accompanist and an agreeable and thoughtful com 
panion, but not the enterprising and resourceful manager who 
could best serve her interests. As a result, her concerts were 
social successes rather than the popular and financial successes 
they would have been with adequate organizing. She lost no 
money, however, and reaffirmed the position of esteem which 
she had won in California on two other occasions. Further 
more, she had opportunity to visit many old friends. One visit 
of several days proved to be a particularly refreshing interlude 
in her long tour: with the able and magnetic Phoebe Hearst, 
widow of Senator Hearst, at the great Hearst ranch, or camp 
as it was known, at Agua Caliente. 

Her western tour now took her north into Washington, 
where at Port Townsend another of the pleasant surprises that 
greeted her in nearly every city she visited came, this time in 
the form of a letter from Herbert Beecher, son of Henry Ward 
Beecher: "In years gone by you may remember of having 
looked down from the dear old Choir in Plymouth Church 
and of having seen the round, chubby face of Bertie Beecher 
looking up at you. This was years ago, still the same * Bertie 
Beecher' now learns that you are to be in Port Townsend on 
August 7th, and now writes to ask, if your rules are not too 
strict, that you will accept the hospitality of our house during 


your stay in this city. Mrs. Beecher and myself will do all in 
our power to make you comfortable, and I shall be only too 
glad to in a small way welcome you to my home, as you were 
in Father's home in Brooklyn." 

Portland, Oregon, greeted her cordially in two concerts that 
marked the termination of the Colby contract. Thereafter, 
she embarked for Alaska, where in the small but principal min 
ing outpost, Juneau, a motley audience of gold seekers heard 
her in what was for them the strange and exotic, as well as 
brilliant, Polonaise from Mignon and "In der Marznacht" by 
Taubert. However, it was her singing of Gilbert's "Bonnie 
Sweet Bessie" that stirred tender memories of many a far-away 
home these rugged miners had for the time at least forsaken. 
Homeward bound, at last, she gave concerts at Vancouver and 
Nanaimo, British Columbia; at Tacoma and Seattle, Washing 
ton in the former city before a huge audience at the Western 
Washington Industrial Exposition; at Great Falls, Montana; 
at Minneapolis and St. Paul, Minnesota; and, on November 
loth, at La Crosse, Wisconsin, where the large Scandinavian 
population took her to its heart, wildly applauding her at her 
concert, and acclaiming her at her hotel after a serenade by the 
Normanna Sangerkor. Fitting it was that this her fortieth and 
last appearance of the year 1 89 1 should have been given among 
the fellow countrymen of one whose memory she revered, Ole 

Despite many encouragements and many pleasures, which 
certainly in some measure compensated for the small financial 
returns that had been common with all touring companies, she 
found little comfort in her year's work. Incidents that would 
ordinarily not have disturbed her, however distressing they 
were, now depressed her, such as the loss of her Pasdeloup 
bracelet in the Gulf of Mexico as she visited the battleship, 
"Chicago," on April ist; and the temporary loss in Portland, 
through inadvertent shipping to Hong Kong, China, of her 


trunk packed with expensive Parisian gowns by Worth and 
Redfern. On November 2nd she wrote her friend, Mrs. Bull, 
from St Paul: "I am continually asking myself what work 
there is in the world for me to do." Sufficient, surely, was the 
pleasure and inspiration she was still giving audiences wher 
ever she sang. But, like many of her contemporaries, she was 
restless, finding it difficult to become reconciled to the in 
creased inactivity in her life. She saw a new generation of sing 
ers, Nordica, Sembrich, Nevada, Melba, Eames and Calve ris 
ing up to fill the places she and her contemporaries once held. 
She was ready and willing and happy to relinquish to them, 
Her problem was one of readjustment, and she would meet it 
with the same fortitude that had characterized her career. 

In 1892 she sang in nine concerts, renewing in February her 
old associations with the people of Philadelphia and Washing 
ton, but otherwise not appearing before important audiences, 
In 1893 she sang in twelve concerts, notably, on February 6th 
in Boston at Tremont Temple, where she at short notice re 
placed Emma Juch who had been detained in New York be 
cause of illness; and on July 25th, in Chicago at the New York 
State Building of the World's Columbian Exposition to which 
she had journeyed as a member of the "Advisory Council on a 
World's Congress of Representative Women/' Significant was 
her visit to Chicago for there she came into daily association 
with those vital and inspiring women: Julia Ward Howe, 
Elizabeth Cady Stanton, Susan B. Anthony, and Frances E. 


Yet even more significant was her Chicago visit, for there at 
the "Parliament of Religions" she met the Hindu monk, Swami 
Vivekananda, whose teachings henceforth became a very real 
and active influence in her life, since they appeared to her to 
approach more nearly the ideal of spiritual conduct than any 
other teachings she had known. Vivekananda, greatest of the 
disciples of Ramakrishna, summarized his master's teachings 


in My Master as follows: "Do not care for doctrines, do not 
care for dogmas or sects or churches or temples: they count for 
little compared with the essence of existence in each man 
which is his spirituality, and the more this is developed in man 
the more powerful he is for good. Earn that first, acquire that, 
and criticise no one, for all doctrines and creeds have some 
good in them. Show by your lives that religion does not mean 
words, or names, or sects, but that it means spiritual realiza 
tion. Only those can understand who have felt. Only those who 
have attained to spirituality can communicate it to others, can 
be great teachers of mankind. They alone are the powers of 

When 1894 came, she was still contemplating the ways in 
which she could best make her life of continuing service. One 
thing she had definitely concluded: that though she would give 
intermittent concerts in the future, largely for charity, her con 
cert career as such was at an end. Fitting it was then that, on 
May i7th ? she should appear in a benefit concert in the church 
of her childhood, the Old Bushwick Reformed Church in Wil- 
liamsburgh, where as a little girl of five she had made her debut 
forty-four years before. As on that former occasion, she sang 
with emotion she could not control. This was farewell to a 
great audience that crowded every pew. This was farewell to a 
greater audience made absent by the years. 



When Emma Thursby made a brief visit to Eliot, in 
August of 1894, to give a benefit concert for the Green- 
acre Fund, she found the community ambitiously engaged in 
a greatly expanded program of public service under the gui 
dance of Sarah Farmer, who now, after the death of her mother 
and father, was advancing with renewed zeal and devotion this 
cause so dear to her. The midsummer fetes had been replaced 
by the Greenacre Congress, which was undertaking, through 
lecture and discussion, the comparative study of religion, phi 
losophy, ethics, and sociology. Before this important season 
came to an end, much had transpired. As Josephine C. Locke 
of Chicago wrote in the Eliot Epworthian for October: "At 
Greenacre it was indeed a mixed assemblage; nowhere was it 
more needful to practice 'Come let us reason together, saith 
the Lord/ but the Greenacre audiences were always equal to 
the occasion; whether it was a statement of Orthodox Chris 
tianity, of Theosophy, of Christian Science, of Metaphysics, 

of Hinduism, of Spiritualism, of Philosophy, of Physical Sci 
ence, of Ethics or of Art, harmony prevailed triumphant/* 

Though Emma Thursby attended the featured lectures by 
the beloved and respected Dr. Edward Everett Hale and the 
young and dynamic Swami Vivekananda, it was in the lectures 
of the latter that she found the absorbing interest and inspira 
tion that she had first experienced in Chicago. The Vedanta 
philosophy of Vivekananda had, indeed, aided her in at last 
reaching a strong conviction in her usefulness. She would 
henceforth devote her life to the teaching of that art of singing 
in which her achievements had been so brilliant; to that art of 
friendly intercourse in the spirit of which her "Fridays" had 
already been established; and to that art of kindness and com- 
passion and sacrifice to which so much of her life had already 
been dedicated. 

The scene of Emma Thursby 's interests moved in December 
to Cambridge, where her friend Mrs. Ole Bull gave a series of 
lectures and recitals in memory of her mother, Amelia Chap 
man Thorp. The imposing group of lecturers comprised 
Frances Willard, Sarah J. Farmer, Lady Henry Somerset, Mrs. 
Milward Adams, Swami Vivekananda, and Ernest Fenollosa, 
while the recitalist on the occasion of each lecture was Emma 
Thursby. Here it was that the public announcement was made 
of Emma Thursby's availability as a teacher of singing. 

In January, 1 895, she resumed her "Fridays,* ' and commenced 
a regular morning schedule of teaching. Her interest now cen 
tered in a series of lectures in "Dramatic Expression" which 
she and her sister Ina were arranging for Mrs. Milward Adams, 
the well-known Chicago exponent, for whom they gave a re 
ception on the 22nd of February. So great became their in 
terest in Mrs. Adams' work, that they journeyed to Chicago as 
her guests for two weeks in March, to attend another of her 
lecture series that were now enlisting the attention of many 
singers, notably Edouard and Jean de Reszke. 


Despite occasional interruptions, Emma Thursby's lessons 
proceeded, and pupils were applying in increasing numbers as 
the year advanced. In August she visited Greenacre, where, 
on the 2Qth and on the i6th of September, she gave concerts 
for the Greenacre Fund, with Mrs. Ole Bull as her accom 
panist. Again Greenacre was the shrine at which she found 
peace and uplift. In December she visited Chicago, where on 
the gth she sang in the Grand Military Concert which marked 
the sixth anniversary of the Auditorium. In this, her last ap 
pearance before a large audience, she sang "Villanelle" by Dell' 
Acqua, and "Nymphs and Fauns" by Bemberg. Meantime, her 
teaching had advanced to the stage where she believed she had 
found at least one pupil of exceptional promise, Estelle Harris, 
of Easton, Pennsylvania, a young church singer with a soprano 
voice of unusual timbre, who had come to her in October. 

The winter of 1896 fulfilled the desire for a busy life with 
the lectures of Swami Vivekananda and those of Mrs. Milward 
Adams; with an incessant round of social activities; with fre 
quent attendance at the opera, in which she missed no oppor 
tunity of hearing Melba, Nordica, and Jean de Reszke. To hear 
Nordica and Jean de Reszke in a "magnificent" performance of 
Tristan and Isolde was an experience of that winter that she 
would always remember. Nor would she forget the New York 
premiere, on March 6th, of Walter Damrosch's first operatic 
composition, The Scarlet Letter. Yet her interest in Vive 
kananda was again dominant, and she joined Mrs. Francis H. 
Leggett, Kate Douglas Wiggin, and Mary Mapes Dodge in the 
movement to promote his New York lectures. On March igth 
she was guest of honor of the Procopeia Club of Boston, upon 
the invitation of Ralph Waldo Trine, and thereafter remained 
in Boston for two weeks to attend another series of lectures by 
Vivekananda before the Procopeia Club. 

This year she went to Greenacre early in July with her sister 
Ina and Mrs. Ole Bull, and stayed for three months, aiding her 


friend Sarah Farmer in the many organizing and managing 
responsibilities that were arising in the growing institution, 
besides lending her services in various musical programs. Re 
freshed in spirit, stimulated in mind, and invigorated in body, 
she returned to her teaching duties in New York in October. 
Frequently, however, she journeyed to Cambridge to attend 
the Cambridge Conferences, organized by Mrs. Ole Bull for 
the comparative study of ethics, religion, and philosophy. 
These conferences, held bi weekly in the home of Mrs. Bull in 
the six months from November to May, enlisted as lecturers 
many noted figures; such well-informed and vital personalities 
as Jane Addams and Thomas Wentworth Higginson. 

Fatigued after the teaching and social activities that had 
crowded the long season, Emma and her sister Ina began their 
holiday with the summer of 1897 well advanced. Greenacre, 
their eventual destination, provided, however, the restoration 
that had now become its annual contribution. As the Green- 
acre season approached its end, a young member of the Nature 
School, a talented girl of fifteen, ambitious to sing in opera, 
was presented to Emma Thursby. Earlier in the year, in Janu 
ary, she had learned of the girl from Sarah Farmer, who had 
spoken highly in her praise. Miss Farmer had said that at a 
reception of the Procopeia Club of Boston given for Green- 
acre, this young girl, Geraldine Farrar, had been presented to 
her by Mr. and Mrs* G. H. Bond of Boston with the request 
that she be permitted to sing. This request had been granted, 
and Miss Farmer had subsequently recommended that Mrs. 
Farrar place her daughter's musical training under the guid 
ance of Emma Thursby. 

Emma Thursby commenced her active tutorship of Geral 
dine Farrar in October at the home of Mrs. Ole Bull in Cam 
bridge, where she was attending the sessions of the Cambridge 
Art Conference. At the end of the month, Mrs. Farrar and her 
daughter journeyed to the home of Emma and Ina Thursby in 


New York, where they lived until the following spring, meet 
ing the Thursbys' many friends prominent in social, literary, 
artistic, and musical circles. Geraldine Farrar proved a thought 
ful and devoted pupil during eight months of diligent study, 
her lyric soprano voice, full and flexible, her intelligence, and 
her enthusiasm enabling her to progress rapidly. Furthermore, 
here was a girl endowed with beauty, charm, and a robust con 
stitution, alike aids to a career; and fortunate in a mother and 
father anxious to aid her in her chosen work. Hers, too, was the 
dramatic genius so important to an operatic career. Indeed, 
the youthful Geraldine could and did dramatize everything. 
This, Victor Gapoul, with whom Miss Thursby arranged dra 
matic lessons for her pupil, soon found out. 

Emma Thursby was convinced that her pupil would dis 
tinguish herself, only fearful that, impatient to start her career 
and heedful of praise, Geraldine might abandon the long per 
iod of persistent study and faithful practice so necessary to the 
preservation of her voice. And certainly Geraldine Farrar had 
much to distract her in the praise of Nordica, and Melba, and 
Dr. Holbrook Curtis, the eminent throat specialist, and other 
musical authorities to whom her teacher presented her for 
counsel and advice. In February, 1898, Emma Thursby jour 
neyed to Boston where she had arranged an audition for her 
pupil with Mme Melba and the latter's manager, Mr. Charles 
Ellis. Both were quick to prophesy a successful career after 
hearing the youthful singer in private at the Hotel Touraine, 
and later, with Miss Thursby and Mr* and Mrs. Farrar, in the 
Boston Theatre, following a performance. Enthusiastic, too, 
was Maurice Grau, director of the Metropolitan Opera House, 
to whom Miss Thursby also took her for audition. In May 
Emma Thursby arranged for Geraldine and Mrs. Farrar to 
call with her upon her friend Mrs. McKinley, wife of the Presi 
dent, at the White House, in the National Capital, and there it 
was in the Blue Room that the future American prima donna. 


appropriate to the day that had brought the happy news of the 
victory of Dewey at Manila, was singing the first notes of "The 
Star-Spangled Banner" as the President entered, having come 
from the pressing affairs of State at the request of Mrs. McKin- 
ley to visit briefly with her friends. 

Another season would find Geraldine Farrar continuing her 
studies in Europe. With her subsequent triumphs, the record 
is glowing. Who kno\vs in what degree the unfaltering admira 
tion and devotion of Emma Thursby throughout the years may 
have spoken in them? 

When July came, and with it the end of teaching responsi 
bilities, Emma Thursby looked toward Europe, which she had 
not visited in ten years, for vacation. She had experienced 
marked success in her teaching. Her musical receptions had 
proven signal events in the social season, the last one, in honor 
of Mme Melba, enlisting among other artists her two most 
gifted pupils, Estelle Harris and Geraldine Farrar. And now 
Paris, of so many happy memories, became a reality. Eagerly 
she and her sister Ina retraced the familiar steps to the Chatelet, 
the Cirque d'Hiver, the Trocadero. Notre Dame smiled be 
nignly. Paris seemed the same Paris that had greeted the Ameri 
can stranger in that sweet spring of 1879. ^ et P ar k could never 
be the same Paris. Ambroise Thomas, and Gounod, and Pas- 
deloup, and Jacques Heugel, and Maurice Strakosch had gone 
away. Many old friends, however, remained, and by these she 
was received warmly: by Mme Mardbesi, and Mine de la 
Grange, and Rosine Laborde, and the ever-faithful Amalia 
Strakosch. Mrs. James Jackson was still living in her palatial 
home in the Avenue d'Antin, where she extended the gener 
ous hospitality of other days. Indeed, it was in her home, on 
the isth of October, at a Matinee Musicale given by Legrand- 
Howland, that Emma Thursby sang her farewell to Paris be 
fore a fashionable audience numbering Emma Eames, the 
Princess of Monaco, and the Duke de Parma, in a program that 


enlisted among others, Minnie Tracey and the composer, Jules 

Travelling in Europe solely for recreation and for pleasure 
was a new and fascinating experience, one that filled her with 
ambition and enthusiasm for the teaching season ahead. New 
pupils, new friends, new experiences were making life an ab 
sorbing and thrilling adventure. Indeed, this was the only way 
to meet the challenge of the diminishing society of old friends 
whom death was taking away. 

When her teacher, Achille Errani, died in 1 896, she had writ 
ten with great feeling to Mrs. Ole Bull, "It seems like breaking 
the last link/' But life must be a remembering and a forget 
ting, she had found. The future could only be faced if she lived 
for it. This she did, eager for each new day. Yet life had its 
challenges and its disappointments, and she could not have met 
them with equanimity had she not known the presence of that 
defender and champion, whose love and devotion was constant 
and sure, her sister Ina. 

In November, 1898, she entered again upon her teaching 
work with the perennial hope that the season would reveal 
some pupil of unusual promise. A young soprano, Reba Cor- 
nett, satisfied this hope, before the year came to an end. Teach 
ing was exacting and fatiguing, but the satisfaction of training 
voices for the concert and operatic stages, for church singing, 
or simply for giving pleasures to the home was real and great. 
And always she held the belief that hers would be the greatest 
reward of developing some few exceptional voices. 

In an active teaching career that stretched through the years 
to the winter of 1924, and included a period of professorship 
in the Institute of Musical Art from its inception in 1905, 
under the able and sympathetic direction of Frank Damrosck 
until the summer of 191 1, when the pressure of work became 
too great and she resigned, Emma Thursby's rewards were 
many. She saw four of her outstanding pupils established as 


soloists in important New York Churches: Estelle Harris at the 
Church of the Divine Paternity, Reba Cornett (Emory) at the 
Broadway Tabernacle, Grace Kerns at St. Bartholomew's, and 
Martha Henry (Timothy) at the Church of the Messiah. She 
saw the sensitive and gifted Oley Speaks established as soloist 
in the Church of the Divine Paternity, from which he would 
emerge among the noted American song composers. She saw 
Grace Claire, whose coloratura soprano voice was of great pur 
ity and flexibility, win admiration at home and abroad. And 
she saw two among her early pupils, Eugenie B. Abbott and 
Leila Troland Gardner, become prominently identified with 

She saw an intelligent and industrious and determined 
young mezzo-soprano make her voice as well as her acting the 
embodiment of the great traditions of the American theatre, 
Blanche Yurka. She saw Josephine Schaffer win operatic suc 
cesses in Italy, Switzerland, and Germany. She saw r Marta Witt- 
kowska, the Polish contralto, established in opera in London, 

on the Continent, and in America. She saw Meta Reddish be- 


come the devoted of operatic audiences in Italy and in South 
America. She saw a young pupil of unusual gifts, whom she 
had taught in Paris as well as in New York, Douglas Wise, who 
with the aid of that great artist, Emma Eames, gave promise of 
ascending the operatic heights, renounce a career to become 
the Duchess de Richelieu. She saw the granddaughter of Peter 
Cooper, Eleanor Green, a pupil of exemplary sincerity and 
perseverance, carry the great traditions of American singing to 
Denmark as Princess Viggo. And she saw her pupils every 
where, fulfilling some task or responsibility made easier, she 
hoped, by the knowledge and friendship she had generously 

By 1898 the Thursby "Fridays" had become a social fixture, 
and she who had won fame as a singer found herself the gra 
cious hostess whose Friday musicales in January and February, 


attended by musicians, and writers, and artists, and the mem 
bers of New York, Boston, and Washington society, would win 
fame at home and abroad during a quarter of a century. Few, 
indeed, were there who enjoyed distinction in the arts or in 
Society who did not at one time or another find their way to a 
Thursby reception, where music was provided by Emma 
Thursby *s pupils and visiting artists of note. At each reception 
Emma Thursby honored some guest, who received with her, 
and the list of these guests of honor includes many a distin 
guished name: 

Florence James Adams 
Frances Alda 
Pasquale Amato 
Adriano Ariani 
Regina Arta 
Harold Bauer 
Mrs. H. H. A. Beach 
Jadwiga Bendovna 
Carrie Bridewell Benedict 
Mrs- Egbert J. Benedict 
Felici Bernetta 
Anton Bilotti 
David Bispham 
Lillian Blauvelt 
Alessandro Bonci 
Mrs. Ole Bull 
Olea Bull 
Thuel Burnham 
Gleofonte Campanini 
Teresa Carreno 
Annie Louise Gary 
Marquis de Castlemond 


Eleonora de Cisneros 

Clara Clemens 

Ada Crossley 

Charles Dalmores 

Giuseppe DeLuca 

Clementine DeVere (Sapio) 

Pauline Donalda 

Dula Rae Drake 

Magdeleine Du Carp 

Sydney Dyke 

Emma Eames 

Reba Cornett Emory 

Sarah J. Farmer 

Dirk Foch 

Ossip Gabrilowitch 

Johanna Gadski 

Paolo Gallico 

Amelita Galli-Curci 

Mary Garden 

Lady Scott Gatty 

Etelka Gerster 

Jeanne Gordon 

Percy Grainger 

Mrs. William Houston Green 

Edwina Booth Grossman 

Inez Barbour Hadley 

Henry Hadley 

Estelle Harris 

Alexander Heinemann 

Frieda Hempel 

George Henschel 

Reinhold Herman 

Hishida Shunso 

Joseph Holman 

Louise Homer 

Sidney Homer 

Mrs. Jaxnes Jackson 

Adelaide Johnson 

Jeanne Jomelli 

Clara Louise Kellogg 

Mr. & Mrs. Edgar Stillman Kelly 

Alice J. Kenney 

Grace Kerns 

Takuma Kuroda 

Liza Lehmann 

Joseph Lhevinne 

Pauline Arnoux MacArthur 

Mrs, Edward A, MaeDowell 

Francis Maonillen 

Prof. P. A. Maignen 

Blanche Marchesi 

Edwin Markham 

Julia Marlowe 

Giovanni Martinelli 

Count & Countess Massiglia 

Victor Maurel 

Nellie Melba 

Tamaki Miura 

Helena Modjeska 

Herbine Mock 

Berta Morena 

Signor Mugnoz 

Marguerite Namara 

Lillian Nordica 

Jane Noria 


Bogea Oumiroff 

Emeline Pankhurst 

Christabel Pankhurst 

Mrs. Theodore Parsons 

Kathleen Parlow 

Count Byron Kuhan de Prorok 

Her Highness Mazli Rafinga 

of Janjira 
Marie Rappold 

Duke and Duchess de Richelieu 
Rokkaku Shisui 
Vassily Safonov 
Homer Samuels 
Romulado Sapio 
Swami Saradananda 
Josephine Schaffer 
Marcella Sembrich 
Leo Slezak 
Albert Spaulding 
Oley Speaks 
Ella Spravaka 
Helen Stanley 
Albert Stoessel 
Mrs. Niessen-Stone 


Susan Strong Swami Vivekananda 

Marguerita Sylva Harriet Ware 

Rabindranath Tagore Enid Watkins 

Martha Henry Timothy Marta Wittkowska 

Minnie Tracey Wolff-Parlaghy 

Yvonne de Treville Yokoyama Taikan 

Having come under the spell of Europe again, in 1898, 
Emma Thursby journeyed there eight more times, visiting 
England, France, and Italy, before the World War, in 1914, 
made European travel no longer possible. In 1901, 1908, 1912, 
and 1914 she visited Greenacre to devote her influence and 
energy to that cause in which her interest remained always real 
and strong. In the spring of 1903 she journeyed with her 
friend, Mrs. Ole Bull, to Japan, where she was joined by her 
sister Ina after Mrs. Bull's departure for India. The five-month 
sojourn in Japan was a happy one, for as guests of Okakura- 
Kakuzo, the eminent Japanese archaeologist, art critic, and au 
thor, and his charming wife, the Thursbys were given oppor 
tunity to know Japanese culture as few Occidentals can ever 
know it. The influential Baron Chinda also contributed to the 
pleasures of their visit; but it was Okakura-Kakuzo who taught 
them an affection for the Japanese people that always lived 
with them. Proceeding from Japan to China, they visited 
Tientsin, where Emma Thursby was persuaded to give a con 
cert at Gordon Hall on the 5th of October. Here she was ac 
claimed in a program of songs some of which were doubtless 
having one of their rare auditions in the Orient: 

Nymphes et Sylvains B ember g 

My Mother Bids Me Bind My Hair Haydn 

Snow Flakes Cowen 

Keine Sorg'um den Weg Raff 

In der Marznacht Taubert 

Deh Vieni non tardar Mozart 

Jeg Elsker Dig Grieg 







God Morgan Grieg 

Solveigs Sang ............. Grieg 

Ave Maria ............. Gounod 

In the winter of 1904 Emma and Ina Thursby extended the 
hospitality of their home to Okakura-Kakuzo, who had come 
to America to establish a department of oriental art at the 
Boston Museum of Fine Arts, and his friends, Yokoyama 
Taikan, Hishida Shunso, and Rokkaku Shisui, all artists of 
eminence in Japan. Many of the paintings of these artists 
found their way into New York homes through an exhibition 
and sale arranged by Ina Thursby at this time. Influences of 
the visit of Okakura-Kakuzo and his friends were even felt the 
following summer at Greenacre, when Mrs. Ole Bull and 
Emma Thursby arranged a Japanese fte. 

No record of the life of Emma Thursby would be complete 
without further mention of that almost human member of the 
Thursby household, "Mynah," who died in January, 1899. 
For ten years "Mynah" had been a very real companion, whose 
prowess had astounded the elders and thrilled all children. 
That "Mynah" was no ordinary bird was demonstrated in the 
many newspaper columns devoted to his unusual accomplish 
ments at the time of his death. Dozens of letters of condolence 
came to the Thursbys from those who had met "Mynah." "To 
one who had not seen evidences of his nature/' wrote Sarah 
Farmer, "it would seem almost incredible to listen to the stor 
ies his friends tell, but we know their truth. The loveliness of 
his disposition and the beauty of his voice are beyond com 
parison. These he cannot lose nor can you. In Fields Elysian* 
you will find him again and he will not cry so pitifully then 1 
want to get out I'll come right back/ He touched a tender 
chord in every heart wherever he went and he made the world 
(especially of little children) brighter for his being in it." 

When Emma Thursby, in December 1918, lost an amulet 
that had been presented to her by her teacher, Mme Ruders- 


dorff, she lost one of the most prized possessions of her life, one 
that for many years had been indispensable to every costume. 
The amulet, a large Greek cross mounted with a turquoise, 
had been presented by the Czar of Russia, Alexander II, to 
Therese Tietjens, who, in turn, had presented it to Mine 
Rudersdorff with the understanding that it should go to the 
one whom Mme Rudersdorff believed to be the most gifted 
singer of the day. Great had been the speculation over the next 
recipient of the amulet, and disappointment in its loss was 

It may be said that Emma Thursby had no declining years. 
Enjoying almost superhuman energy, she crowded each day 
with responsibilities and engagements that would have ex 
hausted and confounded any lesser and younger mortal. In 
domitable in her determination to carry on, whatever the trag 
edy or sorrow that entered her life, she became reconciled to 
death's advances when they struck deeply in her heart. The 
death of her dearest friend, Mrs. Ole Bull, in January, 1911, 
she accepted with fortitude. When her brother, John, for so 
many years a faithful aid in the home, though suffering from 
poor health since childhood, passed away in September, 1918, 
she grieved, but thanked God for his deliverance. At seventy- 
five she still lived for tomorrow, thankful for today. 

Journeying to Europe in the summer of 1923 with her sister 
Ina, she revelled one last time in memories of her career, but 
life was still made up of doing rather than remembering, and 
she was anxious to return to her teaching and the forthcoming 
season of receptions. The New Year, 1924, brought the greatest 
challenge of her life, a paralytic attack, leaving her left side 
paralyzed. But she gave little time to recuperation, and soon 
she was doing and planning as if there had been no challenge. 
For seven long years she lived with the will to do and doing. 
They were years of great strain upon the household, which her 
sister Ina met with characteristic love and devotion. And 


Kutaro Nishioi, a young Japanese she had engaged as house 
keeper in 1919, stood by heroically, renouncing fatigue and 
every personal need, that he might help preserve that life he 
had learned to revere. 

Eighty-six years had passed. The opera and concert season 
of 1930-1931 was at an end. Despite her handicaps, Emma 
Thursby saw and heard. The Metropolitan Opera House and 
Carnegie Hall noted her regular presence. How could she for 
sake them? They were her children; she had seen them built, 
had known their glories. July came, and she dreamed of Eu 
rope, or perhaps some friendly beach where she could bathe 
in a sea of eternal youth. On July snd she went to sleep, and 
on July 4th, appropriately to the day, she gained her freedom. 

For those who gathered at 34 Gramercy Park on July 7th to 
pay last homage, Emma Thursby still lived in some indefinable 
way. The Reverend Dr. J. Elmer Frasee of Plymouth Church 
officiated at the funeral services, during which Reba Cornett 
Emory sang "Nearer, my God, to Thee" and "Crossing the 
Bar," and the Duchess de Richelieu sang Gounod *s "Ave 
Maria" to the violin accompaniment of Dora Becker Shaffer, 
who thereafter played Ernst's "legie." "This is the begin 
ning," said Richard Gipson in the eulogy, for Emma Thursby, 
the "American Nightingale," had simply flown away. 



The following chronology has been compiled from programs, news 
papers, and the diaries of Emma Thursby. Her appearances as a church 
soloist in the eleven-year period ending April 29, 1877, are not listed, 
but they would doubtless average two each Sunday in a forty-week year, 
In the period prior to 1868 there are some omissions of concert appear 
ances, due to the fact that in this period there are no diaries or pro 
grams to guide the author. Concert designations used are taken from 
programs or newspaper accounts, save in the few cases where the only 
records of concerts are to be found in diaries. (A.M.) and (M) indicate 
morning and afternoon concerts respectively. All other concerts are 
evening concerts. 

Apr. 12. Brooklyn, N. Y., Flatbush, Miss E. N. Duryee's School. Music by a Few 

Young Ladies 
OcL ii. Brooklyn, N. Y., Flatbush, Miss E. N, Duryee's School. Music by a Few 

Young Ladies 

June 9. Brooklyn, N. Y., Fourth Street Reformed Dutch Church. Concert 


New York, N. Y., New York Harmonic Society Soiree 


Jan. 3. Brooklyn, N.Y., Lee Avenue Reformed Dutch Church. Grand Organ and 

Vocal Concert 

Feb. 21. Brooklyn, N. Y., Lee Avenue Reformed Dutch Church. Concert 
June 1 1. Brooklyn, N. Y., Lee Avenue Reformed Dutch Church. Concert 


Jan. 22. Brooklyn, N. Y. } Steinway Hall. Harmonic Society, Benefit for Mr. Wm. 
Wild, Librarian 

28. Brooklyn, N. Y., New England Congregational Church. Concert 
Mar. 6. Brooklyn, N. Y., New England Congregational Church. Concert 
May 9. Brooklyn, N. Y., Ross Street Presbyterian Church Chapel. Concert 

23. Brooklyn, N. Y., Lee Avenue Reformed Dutch Church. Sunday School 

29. Brooklyn, N. Y., Ross Street Presbyterian Church Chapel. Testimonial Con 

cert to Emma C. Thursby 


Jan. 15. Brooklyn, N. Y*, First Concert Brooklyn Musical Association 

30. Oratorio of David 

Feb. 5. New York, N. Y. West 23rd Street Presbyterian Church. Complimentary 
Concert to J. C. Dcvoy 

6. Mrs. Reid's Concert 

18. Mrs. Johnson's Concert 

19, Brooklyn, N.Y., South Fourth Street Presbyterian Church. Concert 

25. New York, N. Y., Dr. Rogers" Reformed Church, sist Street and 5th Avenue. 

Mar. 12. Brooklyn, N. Y., New England Congregational Church. Concert of English 

Music by Brooklyn Musical Association 

13. New York, N, Y. ( Spring Street Church. Concert by Thursby and Morgan 
Apr. 15. Brooklyn, N. Y., Lee Avenue Reformed Dutch Church, Brooklyn Musical 

Association. The Creation 
May 1 1, Orange, N. J^ Central Hall, Orange Choral Union 

27. Brooklyn, N. Y^ South Ninth Street CopgregatioeaJ Cfetwrcfa. Fourth Public 

Rehearsal, Brooklyn Musical Association 

June i. Orange N. J., Library HalL Complimentary Concert to Mr. Theo. F. 
Seward by Orange Choral Union 

15. Brooklyn, N. Y., Plymouth Church. Grand Floral Concert 
Oct. 19. Brooklyn, N. Y., St. John's Church. Sociable 

29. Orange, N. J., Orange Choral Union 

Nov. 18. Brooklyn, N. Y., Plymouth Church. Annual Festival of Sunday School 

Dec. 2. Brooklyn, N. Y., Plymouth Bethel. Concert 

7. Brooklyn, N. Y., Public School 6. Classical Concert of Select Quartette 

16. Brooklyn, N. Y., M. E. Tabernacle. Complimentary Concert to Mary H. 

21. Brooklyn, N. Y., Public School 26. Concert 



Jan. 13. Brooklyn, N. Y., New England Congregational ^Church. Concert 

27. Brooklyn, N. Y., South Fourth and Sixth Street Church. Concert for Relief 

Fund of Post Mansfield, No. 35, G.A.R, 

Feb. 4, Brooklyn, N. Y., Musical Association. Stabat Mater 

Mar. 10. Brooklyn, N. Y., St. John's M. E. Church. Brooklyn Musical Association 

Apr. 28. Brooklyn, N.Y., Adel phi Hall. Concert 

May 27. Brooklyn, N.Y. t Plymouth Church. Testimonial Concert to Matilda E. 


June 21. Brooklyn, N. Y., Plymouth Church. Second Annual Floral Concert 

July 17. Rockaway, N. Y. Concert 

Nov. 11. Brooklyn, N. Y., Plymouth Church. Sunday School Annual Festival 

25. Brooklyn, N. Y., Lee Avenue Reformed Dutch Church. Grand Concert 

26. New York, N. Y., 76 East gth Street. First Informal Rehearsal by Pupils of 

Julius E. Meyer 
Dec. 7. Newton, N. J., Rinker's Hall. C. H. Oakes' Concert 

16. Brooklyn, N. Y., Plymouth Church. Testimonial Concert to Emma C. 

20. Brooklyn, N. Y., Unitarian Chapel, Clinton and Congress Streets. Second 

Informal Rehearsal by Pupils of J. E. Meyer 
22. Brooklyn, N. Y., New England Congregational Church. Benefit of Destitute 

Families of Soldiers and Sailors, Post Mansfield, No. 35, G.A.R. 


Feb. 14. Brooklyn, N, Y., Young Men's Christian Association. Music by Pupils of 
J. E. Meyer 

1 8. Brooklyn, N. Y., Bedford Avenue Reformed Dutch Church. Sixth Social 

Entertainment, Young People's Association 
Mar. 15. New York, N. Y., Association Hall. Testimonial Concert to Prof. J. E. Meyer 

by his Pupils 
Apr. 21. New York, N. Y., Steinway Hall. Glees and Madrigals, In Aid of the Wilson 

26. Rutherford, N. J., First Presbyterian Church. Concert of Rutherford Park 

Musical Association 
May 5. New York, N. Y., Steinway Hall. Glees and Madrigals, In Aid of the Wilson 


19. New York, N. Y., Steinway Hall. Glees and Madrigals, In Aid of the Wilson 


28. Brooklyn, N.Y., Plymouth Church. 5oth Organ Concert 

June 9. Brooklyn, N. Y., Plymouth Church. Floral Concert of Glees and Madrigals 
Aug. 25. East Rodcaway, N. Y., Congregational Church. Vocal Concert 
Nov. 4. New York, N. Y., 358 West ^oth St., Residence of Mrs. Cummings H. 

Tucker. Parlor Concert in Aid of North Presbyterian Church 
9. Brooklyn, N.Y., Bedford Avenue Reformed Dutch Church. Entertainment 
12. Brooklyn, N. Y., Brooklyn Tabernacle. Sixth Popular Concert 
26. Brooklyn, N. Y., St. John's M. E. Church. Saturday Concert 



Nov. 28. Brooklyn, N. Y,, St. John's M. E. Church. Musical and Social Reunion, 

Young Peoples Association 

30. Portland, Me,, Cit\ Hall. M. L. A. Entenainments 
Dec. ri. New York, N. Y., Central Presbuerian Church Chapel. Grand Concert, 

Benefit of the Sabbath School 

7, Brookhn, N. Y,, Ph mouth Bethel. Grand Concert 

13. New York, N. Y. f Steinway Hall. Vocal Society of N. Y. Glees and Madrigals 
17. New York, N.Y., Association Hall. Wm. J, Hill's Grand Concert 
23. New York, XY., Checkering Hall. Master Oliver B. Goldsmith's Shakes 
pearean Soiree 

27. Brooklyn, N.Y., St. John's M. E. Church. Annual Festival 

30. Brookhn, N. Y., Old Bushwick Reformed Dutch Church. Sunday School 
Grand Concert 


Jan. 1 1 . Brooklyn, N. Y., Tabernacle. Grand Concert 

Feb. 9. New York, N. Y., Steinway Hall. Vocal Society of N. Y. 

20. Brooklyn, N, Y., Continental Hall. Concert 

Mar. 15. Albany, N. Y. f Emmanuel Baptist Church. Organ Concert 

Apr, 4. New York, N. Y., Stein way Hall. Master Oliver B, Goldsmith's Shakespear 
ean Soiree 

5. New York, N. Y., Y.M.C.A. Hall. Anniversary Meeting, Working Women's 

Protective Union 

6. New York, N. Y., Steinway Hall. Vocal Society of N. Y. Glees and Madrigals 
12. Brookhn, X.Y., Plymouth Church. Young People's Sociable 

15. Brooklyn, N. Y., Plymouth Church. 72nd Organ Concert 

17. Brooklyn, N. Y., Puritan Church. Grand Concert 

June i. XewYork,N.Y., Steinway Hall. Vocal Society of N. Y. 

Aug. 30. Hudson, N. Y., Cit\ Hall. Complimentary Concert to Emma Thursby 

Sept. 6. Potsdam, N. Y*., Musical Institute. Grand Concert 

8. Potsdam, N. Y"., Musical Institute. Grand Concert 

Oct. 18. Brooklyn, N. Y r . s Plymouth Church. Sunday School Festival of the Navy 

23. Brooklyn, N. Y,, Home of the Reverend Elbert Porter. 515* Anniversary 

Celebration for Dr. Porter 
Nov. 16. Brooklyn, N. Y., Bedford Avenue Reformed Dutch Church. Concert 

29. Brooklyn, N. Y.,Ph mouth Bethel. Trinity Glee Club 

Dec. 4. Brooklyn, N. Y'., Plymouth Church. Testimonial Concert to Mr. Henry Camp 
25. Brooklyn, N. Y'., Bedford Avenue Reformed Dutch Church. Christmas 

28. Brooklyn, N. Y., Ross Street Presbyterian Church. Christmas Festival 

Jan. 1 1 . Brooklyn, N. Y., Bedford Avenue Reformed Dutch Church. Concert for the 

Mar. 11. Brooklyn, N. Y., Bedford Avenue Reformed Dutch Church. Complimentary 

Concert to Emma Thursby 



Mar. 13. Brooklyn, N. Y., First Methodist Church. Complimentary Concert to Mary 
H. Hindle 

27. Brooklyn, N. Y M Bedford Avenue Reformed Dutch Church. Lecture 
30. Brooklyn, N. Y., Plymouth Church. Organ Recital 

Apr. 9. New York, N.Y., Adelphi Hall. Concert, Benefit for Baptist Home for the 

11. New York, N.Y,, Robinson's Hall. Master Oliver B. Goldsmith's Shakes 
pearean Soiree 

1 5. New York, N. Y., Robinson's Hall. Master Oliver B. Goldsmith's Shakes 
pearean Soiree (M) 

26. New York, N. Y., Chickering Hall. Von Weber Quartette 

28. Brooklyn, N. Y., Navy Mission of Plymouth Church. Opening Concert 
May 6. Brooklyn, N. Y., First M. E. Church. Complimentary Concert to Miss 

Rosalie Mass 
7. New York, N. Y., Irving Hall. Mendelssohn Glee Club 

14. Brooklyn, N. Y., Academy of Music. Tableaux Vivants by Ladies of the 

St. James P. E. Church for Church Charity Foundation 

21. Brooklyn, N. Y., Plymouth Church. Concert, Benefit of Mr. John P. Morgan 
23. Plainfield, N. J., Congregational Church. Plainfield Choral Union 
28. Brooklyn, N. Y., Hyatt Smith's Church. Concert 


June 12. Brooklyn, N. Y., Bedford Avenue Reformed Dutch Church. June Festival 
of the Young People's Association 

15. Brooklyn, N. Y., Bedford Avenue Reformed Dutch Church. June Festival 

of the Young People's Association 
Nov. 6. Englewood, N. J., Athenaeum. Library Course Concert 

25, Brooklyn, N. Y., Plymouth Church. Complimentary Concert to Emma 

Dec. 5. New York, N.Y., Irving Hall, Mendelssohn Glee Club 

15. Brooklyn, N. Y^ Ross Street Presbyterian Church. Elocutionary and Musi 

cal Entertainment by Prof, and Mrs. Walter C. Lyman 

16. Brooklyn, N. Y., Plymouth Church. Testimonial Concert to Mr. Henry Camp 


Jan. 7. Brooklyn, N. Y., Academy of Music Philharmonic Society of Brooklyn, 

Public Rehearsal 

10. Brooklyn, N. Y., Academy of Music. Philharmonic Society of Brooklyn 
19. Brooklyn, N. Y^ First Baptist Church. Concert for Relief of Poor of 


26. Brooklyn, N. Y., South 5th Street. Lecture 

28. Brooklyn, N. Y., Brooklyn Institute. Brooklyn Heights Vocal Society 

29. Brooklyn, N. Y., Bedford Avenue Reformed Dutch Church. Annual Choir 


Feb. 4. Brooklyn, N.Y., Ross Street Presbyterian Church. Concert, In Aid of the 
Industrial Home and School 

3 86 

Feb. 6. New York, N. Y., Steinway Hall, Concert, In Aid of the Chapel Fund of 

Madison Avenue Reformed Church 

20. Brooklyn, N. Y., Bedford Avenue Reformed Dutch Church. Sociable 
Mar. 25. Brooklyn, N. Y., First M. E. Church of Greenpoint. Grand Vocal Concert 
Apr. 6. Jersey City, N. J. Concert 

8. Brooklyn, N. Y., Bedford Avenue Reformed Dutch Church. Complimentary 
Concert to Miss Wilkinson 

15. Brooklyn, N. Y., First Presbyterian Church. Concert 

16. Brooklyn, N. Y., All Souls' Church. Dedication of New Organ 
May 6. Brooklyn, N. Y M St. James's Church. Concert to Mr. E. J. Fitzhugh 

12. Jersey City, N. J., Hedding M. E. Church. Exhibition of the New Organ 
22. Brooklyn, N. Y., 495 Clinton Avenue, Residence Mrs. Dr. J. B. Elliot. Benefit 

of Brooklyn Nursery 
28. Brooklyn, N. Y., Bedford Avenue Reformed Dutch Church. Complimentary 

Concert to Emma Thursby 

June 11. Brooklyn, N.Y., Hanson Place Baptist Oiurcb. Benefit of Mrs. T. J. Cook 
25. Brooklyn, N. Y., Bedford Avenue Reformed Dutch Church. Strawberry 


30. Brooklyn, N. Y., Presbyterian Giurcfa. Installation 

July 24. Rockville Center, N. Y., First Reformed Church. Concert 

28. Saratoga, N. Y., Grand Union Hotel. First Charity Concert (AM) 

31 . Saratoga, N. Y., Baptist Church. Fourth Charity Concert 
Aug. 6. Saratoga, N. Y., Bethesda Church. Organ Exhibition 

10. Saratoga, N. Y., Grand Union Hotel. Grand Concert and Full Dress Bail, 
Complimentary to Emma Thursby 

22. Saratoga, N. Y., Columbia Hotel. Musicale 

23. Saratoga, N. Y., Columbia Hotel. Musicale 

Oct. 19. Brooklyn, X. Y., Polytechnic Institute. Franklin Literary Society- 
go. Brooklyn, N. Y., Hall of Y.M.CA. Brooklyn Teachers' Association 
Nov. 12. Brooklyn, N. Y., Arcadian dub. Reception 

16. Brooklyn, N. Y., St. John's M. E. Church. Young People's Association 

17. Brooklyn, N. Y., Academy of Music. New York Philharmonic Society 

23. Elizabeth, N.J., Library Hall. Operatk and Ballad Concert 

24. Brooklyn, N. Y., Simpson M. E. Church. Young People's Union 

27. Brooklyn, N. Y., Academy of Music. Gilmore's 22od Regiment Band 
Dec. i . Brooklyn, N. Y., The Athenaeum. Testimonial to Miss Augusta Hillman 

5. New York, N.Y., Association Hall. Saturday Afternoon Concerts (M) 
g Brooklyn, N. Y., Bedford Avenue Reformed Dutch Church. Concert by Mr. 
F. A. Stearns 


Jan. 14. SIOBC Ridge, N. Y. Concert and Dance, Benefit of St. Peter's Church 

28. Brooklyn, N. Y., Bedford Avenue Reformed Dutch Church. Second Choral 

Union Concert 

30. Boston, Mass., Tremont Temple, Gilmore's Band 

31. Boston, Mass., Boston Theater. Gilmore's Band 


Feb. 6. Baltimore, Md., Conservatory of Music. Sixth Peabody Concert 

8. Washington, D. C., Lincoln Hall. Gilmore's Band 

9. Baltimore, Md., Academy of Music. Gilmore's Band 
10. Baltimore, Md., Academy of Music. Gilmore's Band 
n. Philadelphia, Pa., Academy of Music. Gilmore's Band 

12. Pittsburgh, Pa., Library Hall. Gilmore's Band 

13. Cleveland, Ohio, Case Hall. Gilmore's Band 

14. Detroit, Mich., Opera House. Gilmore's Band 

15. Chicago, III., Union Congregational Church. Gilmore's Band 

1 6. Chicago, 111., McCormick Hall. Gilmore's Band 

17. St. Louis, Mo., Mercantile Library Hall, Gilmore's Band 

18. St. Louis, Mo., Mercantile Library Hall. Gilmore's Band 

21. St. Louis, Mo., De Bar's Grand Opera House. Gilmore's Band 

22. Terre Haute, Ind., Opera House. Gilmore's Band 

23. Cincinnati, Ohio, Pike's Opera House. Gilmore's Band 

24. Cincinnati, Ohio, Pike's Opera House. Gilmore's Band 
28. Louisville, Ky., Liederkranz Hall. Gilmore's Band 

Mar. i. Indianapolis, Ind., Academy of Music. Gilmore's Band 

2. Cincinnati, Ohio, Pike's Opera House. Gilmore's Band 

Apr. 6. Brooklyn, N. Y. St. Cecilia Vocal Society 

8. Brooklyn, N. Y., Academy of Music. Handel and Haydn Society 

14. Brooklyn, N. Y., Residence of Mr. and Mrs. Camden C. Dike. Sumter Club, 

Tenth Anniversary Celebration 

16. New York, N. Y., Presbyterian Church. Concert in Aid of Children's Educa 
tional Relief Association 

21. Brooklyn, N. Y., Bedford R. D. Church. Miss Wilkinson's Concert 

22. South Brooklyn, N. Y., Reformed Church. Concert 
May 6. Brooklyn, N. Y., Hanson Place M. E. Church. Concert 

10. PMladelphia, Pa., Academy of Music. Gilmore's Band 

11. Philadelphia, Pa., Academy of Music. Gilmore's Band 

12. Philadelphia, Pa., Academy of Music, Gilmore's Band 

13. Philadelphia, Pa., Academy of Music. Gilmore's Band 

14. Philadelphia, Pa., Academy of Music. Gilmore's Band 

15. Philadelphia, Pa., Academy of Music. Gilmore's Band 

20, Brooklyn, N. Y., Clinton Avenue Congregational Church, Testimonial by 
SL Cecilia Vocal Society to E. J. Fitzhugh 

27. Brooklyn, N. Y., Arcadian Club. Ladies' Reception 
June 5. Brooklyn, N. Y., Simpson M. E. Church. Concert 

7. New York, N. Y., Church of the Divine Paternity. Testimonial Concert to 
Emma Thursby 

16. New York, N. Y., Steamer, "Plymouth Rock." Palette Club Summer Night's 


24. New York, N. Y., Association Hall. June Reception by the School Teachers 1 
Association of New York City 

28. Easton, Pa. Opera House. Lafayette College Commencement Concert 

Oct. 5. Brooklyn, N.Y., Brooklyn Tabernacle, Complimentary Concert to Mr. 


12. Brooklyn, N. V., North Reformed Church. Grand Concert 
19. New York, X. Y., Steinway Hall. White-Cervantes Grand Concerts 

26. New York, N. Y., Steinway Hall. White-Cervantes Grand Concerts 

27. Orange, N. J., Library Hall. Complimentary Concert to Mr. and Mrs. J. G. 


28. New York, N. Y., Gilmore's Concert Garden. Benefit of Mr. P. S. Gilrnore 
go. New York, N. Y., Gilmore's Concert Garden. Centennial Concert 

Nov. 3. New York, N. Y., Church of the Holy Trinity. 34th Organ Concert 

9. Brooklyn, N.Y., Academy of Music. Centennial Reception, In Aid of the 

Brooklyn Maternity 

17. South Orange, N. J., Library. Grand Concert 
22. Brook h n, N. Y., Academy of Music. Grand Musical Soiree for the Benefit 

of the Sheltering Arms Nursery 
27. Brooklyn, N. Y., Plymouth Church, gist Organ Concert 

29. New York, N. Y., Chickering Hall. Dr. Hans von Billow's First Musical 


30. Brooklyn, N. Y., Academy of Music. Grand Concert of the Handel and 

Haydn Society of Brookhn, Benefit of Dr. Leopold Damrosch 
Dec. i. Brookhn, N.Y., Clinton Congregational Church. St. Cecilia Vocal Society 

1. Brookhn, N. Y., Bedford Avenue Reformed Dutch Church. Grand Vocal, 

Instrumental and Literary Entertainment for the Benefit of the Congre 
gation Beth Elohim 

2. Baltimore, Md. s Academy of Music, Grand Tableaux and Concert 

3. Baltimore, Md., Academy of Music. Grand Tableaux and Concert 

4. Providence, R. !., Music Hall. Franklin L\ceum Entertainment 

5. Boston, Mass., Boston Theatre, Gilmore's Band 

6. Portland, Me. Gilmore's Band 

7. Boston, Mass., Music Hall. Gilmore's Band 

8. Springfield, Mass., City Hall. Gilmore's Band 

9. Hartford, Conn., Robert's Opera House. Gilmore's Band 
10. New Haven, Conn., Music Hall. Gilmore's Band 

14. Elmira, N. Y. Gilmore's Band 

16. New York, N. Y., 48th St. between 6th Ave. and 7th Ave. Anthem Memorial 

17. New York, N. Y., Musical Entertainment, In Aid of the Building Fund of 

the Y.L.C.A. 

18. New York, N. Y., Steinway Hall. School Teachers' Association Reception 

21. New Bedford, Mass., Lyceum. Boston Philharmonic Club 

22. Brooklyn, N. Y., Lafayette Presbyterian Church, Concert 

23. Philadelphia, Pa. Musical Fund Hall. First Concert of the Vocal Union of 


27. New York, N. Y., Steinway Hall. Oratorio. Society of N. Y. The Messiah 

28. Philadelphia, Pa., Academy of Music. The Cecilian. The Messiah 

30. Brooklyn, N. Y., Academy of Music. Second Concert of Handel and Haydn 



Jan. 6. Boston, Mass., Music Hall, Harvard Musical Association. Symphony 


8. Baltimore, Md., Conservatory of Music. Peabody Institute Concert 

n. Brooklyn, N. Y., East Reformed Church. Durege's Concert 

i. Brooklyn, N.Y., Academy of Music. Philharmonic Society 

go. Brooklyn, N. Y., Moravian Church. Classical Concert 

25. Meriden, Conn., City Hall. Theo. Thomas' Orchestra 

26. Boston, Mass., Music Hall, Theo. Thomas' Orchestra 

27. Fitchburg, Mass. Theo. Thomas* Orchestra 

28. Providence, R. I., Music Hall. Theo. Thomas' Orchestra 

29. Boston, Mass,, Music Hall. Theo. Thomas' Orchestra (M) 
Feb. i. Brooklyn, N. Y., East Reformed Church. Durege's Concert 

8. New York, N. Y., Chickering Hall. Mendelssohn Glee Club 

16. Brooklyn, N. Y. r Bartlett Kinder Symphony 

21. Philadelphia, Pa. Theo. Thomas' Orchestra 

25. New London, Conn., Lawrence Hall. Gilmore's Band 

28. Worcester, Mass., Mechanics' Hall. Gilmore's Band 

29. Boston, Mass., Music Hall. Harvard Musical Association Symphony Re 

hearsal (M) 

29. Providence, R. I., Music Hall. D. W. Reeve's Benefit with Gilmore's Band 

Mar. 2. Boston, Mass., Music Hall, Harvard Musical Association. Symphony Concert 

8. Easton, Pa. Concert 

16. Easton, Pa., Opera House. Concert 

18. Baltimore, Md., Conservatory of Music. Peabody Institute Concert 

25. New York, N. Y., Steinway Hall. Theo. Thomas' Orchestra. Public Rehearsal 

24. New York, N. Y,, 122 East igth Street. Concert, Benefit for Chapin Home 

25. New York, N. Y., Steinway Hall. Theo. Thomas* Orchestra 

27. Brt>oidfn,N,Y.,Aca6jemy of Music Conceit. 

28. Philadelphia, Pa., Academy of Music, Theo. Thomas' Orchestra 

29. Lancaster, Pa,, Fulton Hall. Theo. Thomas' Orchestra 

50. Brooklyn, N. Y,, Clinton Avenue Congregational Church. St. Cecilia Vocal 


Apr. 3. Buffalo, N. Y., St. James' Hall. Gilmore's Band 

4. Detroit, Mich. Gilmore's Band 

5, Detroit, Mich. Gilmore's Band 

, GbkagOy IIL, McCormick Hall. Gilmore's Band 

7. Chicago, HI., McConnick HalL Gilmore's Band 

9, Omaha, Neb,, Academy of Music, Gilmore's Band 

12. Salt Lake CJty, Utah, Salt Lake Theater. Gilmore's Band 

13. Salt Lake City, Utah, The Tabernacle. Gilmore's Band (M) 

17. San Francisco, Cal., Mechanics* Pavilion. Gilmore's Band 

1 8. San Francisco, CaL, Mechanics' Pavilion. Gilmore's Band 

19. San Francisco, CaL, Mechanics* Pavilion. Gilmore's Band 

20. San Francisco, Cal., Mechanics' Pavilion. Gilmore's Band 

21. San Francisco, Cal., Mechanics' Pavilion. Gilmore's Band 



Apr. 22. San Francisco, CaL, Mechanics' Pavilion. Giimore's Band (M) 

22. San Francisco, CaL, Mechanics* Pavilion. Giimore's Band 

23. San Francisco, CaL, Woodward's Garden. Benefit, Giimore's Band (M) 

23. San Francisco, Cal., Mechanics* Pavilion. Gilniore's Band 

24. San Francisco, CaL, Mechanics* Pavilion. Giimore's Band 

25. San Francisco, Cal., Mechanics* Pavilion. Giimore's Band 

26. San Francisco, CaL, Mechanics' Pavilion. Giimore's Band (M) 

26. San Francisco, Cal., Mechanics* Pavilion. Giimore's Band 

27. San Francisco, Cal., Mechanics' Pavilion. Giimore's Band 

28. Oakland, CaL Giimore's Band (M) 

28. San Francisco, CaL, Mechanics' Pavilion. Giimore's Band 

29. San Francisco, CaL, Mechanics' Pavilion. Giimore's Band. Benefit for Emma 

Thursby (M) 
29. San Francisco, CaL, Mechanics' Pavilion. Giimore's Band. Farewell, Benefit 

for Sisters of Charity 
May 5. Chicago, IIL, Exposition Building. Giimore's Band 

6. Chicago, IIL, Exposition Building. Giimore's Band (M) 

6. Cfakago, IIL, Exposition Building. Gilnaore's Band 

7. Detroit, Mkh., Opera House. Giimore's Band 

12. Philadelphia, Pa., Musical Fund Hall. Vocal Union Concert 

29. Brooklyn, N. Y., Bedford Avenue Reformed Church. Benefit, Open Air 

31. Brooklyn, N. Y., Clinton Avenue Coogregatioeal Church. St. Cecilia Vocal 

June 12. New York, N, Y., dickering Hall. Concert 

1 3. New York, N. Y., Broadway Tabernacle. Festival 
23. Orange, N. J., Concert 

July ii. New York, N. Y., Buckingham Hotel, Concert for the Emperor and 

Empress of Brazil 

Aug. 30. Hudson, Mass., Town Hall. Testimonial Concert to Mme Rudersdorff 
Sept. 13. Marlboro, Mass., Town Hall. Concert 
Oct. 9. Clinton, Mass., Town Hall. Cosicert 

30. Philadelphia, Pa., Memorial Baptist Church. Concert 

Nov. 2. Philadelphia, Pa., Academy of Music. Tfeeo. Thomas' Orchestra (M) 

3. Philadelphia, Pa., Academy of Music. Theo. Thomas* Orchestra 

4. Philadelphia, Pa., Academy of Music. Theo. Thomas' Orchestra 
11. New York, N. Y., Steinway Hall. Schmelz Symphony Concert 

13. Brooklyn, N. Y., Academy of Music. Twain and Thursby Combination 

14. Boston, Mass., Music Hall, Redpath Lyceum. Ole Bull and Thursby 

15. Portland, Me., City Hall. Concert 

18. Boston, Mass., Music HalL Tfaeo. Thomas' Orchestra (M) 

20. New Bedford, Mass, Ccrocert with Mendelssohn Quintette Club 

21. Boston, Mass., Music HalL Redpath Lyceum, Twain and Thursby 

22. Fall River, Mass., Academy of Music. Redpath Lyceum, Ole Bull and 

Emma Thursby 

39 J 


Nov. 23. Chelsea, Mass., Academy of Music. Reclpath Lyceum, Twain and Thursby 

24. Providence, R. L, Music Hall. Twain and Thursby Combination 

27. New York, N. Y., Academy of Music. Theo. Thomas' Orchestra 

28. Brooklyn, N. Y., Middle Reformed Church. Concert 

29. New York, N. Y., Academy of Music. Theo. Thomas' Orchestra 

30. Brooklyn, N. Y., Plymouth Church, Chanty Concert for Reformed Men's 


Dec. i. New York, N. Y., Academy of Music. Theo. Thomas' Orchestra 

2. New York, N. Y., Steinway Hall. Theo. Thomas' Orchestra 

5. Chicago, 111., McCormick Hall. Apollo Club 

7. Chicago, 111., McCormick Hall. Apollo Club 

13. Brooklyn, N. Y. St. Cecilia Vocal Society 

14. New York, N. Y. Mr. Reid's Concert 
18. Orange, N. J. Concert 


Jan. 5. Staten Island, N. Y., Association Hall. Philharmonic Society of Staten Island 
9. Brooklyn, N. Y., Academy of Music. Handel and Haydn Society of Brooklyn 

11. New York, N. Y., Checkering Hall. Testimonial Concert to Emma Thursby 

18. Providence, R. I. Reeve's Concert 

19. Brooklyn, N. Y., Academy of Music. Brooklyn Philharmonic Society. Public 


20. Brooklyn, N. Y., Academy of Music. Brooklyn Philharmonic Society 
22. New York, N. Y., St. James* M. E. Church. Musical and Literary- 
Enter tainment 

24. Brooklyn, N. Y., Classon Avenue Presbyterian Church. Concert, Emma 

Thursby and Munich Sextette 
2. New York, N. Y., Steinway Hall, Grand Concert in Aid of the Hospital for 

Treatment and Cure of Chronic Diseases 
50. New York, N. Y. Harlem Concert 
Feb. i. New York, N. Y., Academy of Music. Entertainment, Benefit of the Nursery 

and Child's Hospital 
10. New York, N. Y., Steinway Hall. Concert, In Aid of Relief Fund of the 

Epiphany Guild 

12. Newark, N. J. Concert 

15. Brooklyn, N. Y., Haraon Place M. E. Church. Concert, In Aid of the 

Brooklyn Nursery 

15. Princeton, N. J., Second Presbyterian Church. Concert, Emma Thursby, 

Matthew Arbuckle and Princeton Glee Club 
Mar. 8. New York, N. Y., Steinway Hall. Thomas Symphony Concert. Public 


10. New York, N. Y., Steinway Hall. Thomas Symphony Concert 
14. Cincinnati, Ohio, Pike's Music Hall. Ole Bull Concert 

16. Cincinnati, Ohio, Pike's Music Hall. Ole Bull Concert 

17. Louisville, Ky., Library Hall. Ole Bull Concert 

20. St. Louis, Mo., Mercantile Library' Hall. Ole Bull Concert 


1 877 

Mar. 21, St, Louis, Mo., Mercantile Library Hall. Ole Bull Concert 

23. Chicago, III., McCormick Hall. Ole Bull Concert 

24. Chicago, 111., McCormick Hall. Ole Bull Concert (M) 

27. Milwaukee, Wis., Academ\ of Music. Ole Bull Concert 

Apr. i. Boston, Mass-, Boston Music Hall. Handel and Haydn Society. Oratorio, 

4. New York, N. Y. T Steinway Hall. Telephone Concert 

ii. New York, N. Y., Steinway Hall. Ole Bull Farewell Concert 

13. Philadelphia, Pa., Academy of Music. Telephone Concert 

14. Philadelphia, Pa., Academy of Music. Telephone Concert (M) 
17. New York, N. Y., Mendelssohn Glee Club 

19. New York, N. Y., Steinway Hall. New York Oratorio Society. The Creation 

24. Albany, N. Y. Ole Bull Concert 

25. Poughkeepsie, N. Y., Opera House. Concert 

28. Boston, Mass., Union Hall. Concert of Mme Rudersdorff's Pupils 

May 4. Newark, N. J., Institute Hall. Concert, In Aid of Home for the Friendless 

5. Philadelphia, Pa,, Academy of Music. Ole Bull Concert 

7. Philadelphia, Pa., Academy of Music. Ole Bull Concert (M) 

10. Brooklyn, N. Y., Academy of Music. Handel and Haydn Society 

11. New York, N. Y., Booth's Theater. Testimonial Concert to Ole Bull 
17. Boston, Mass., Music Hall. Handel and Haydn Society Festival (M) 
17. Boston, Mass., Music Hall. Handel and Haydn Society Festival 

19. Boston, Mass., Music Hall. Handel and Haydn Society Festival (M) 

20. Boston, Mass., Music Hall. Hande! and Haydn Society Festival 

June i. Montreal, Canada, Victoria Skating Rink. Concert under Dr. MacLagan 

20. Boston, Mass., The Tabernacle. Handel and Haydn Society. "The Messiah" 

Aug. 29. Philadelphia, Pa., Main Building of Centennial Exposition. Concert 

Sept. 21. Morristown, N. J. Thursby Concert 

26. Philadelphia, Pa. Concert 

Oct. 11. New York, N. Y., Gilmore's Garden. Gilmore's Benefit 

17. Providence, R. I., Music Hall. Franklin Lyceum 

19. Hudson, N. Y*, City Hall Thursby Concert 

20, Stapleton, N. Y., German dub Rooms. Benefit of the Staten Island Cricket 

and Baseball Club 

24. Utica, N. Y., Opera House. Theo. Thomas' Orchestra 

25. Syracuse, N. Y., Wieting Opera House. Theo. Thomas* Orchestra 

26. Albany, N. Y., Tweddle Hall. Theo. Thomas' Orchestra 

27. Troy, N. Y. Theo. Thomas' Orchestra 

29. New York, N, Y., Academy of Music. Thursby Concert 
i. Boston, Mass., Music Hall. Thursby Concert 

5. Milwaukee, Wis., Academy of Music. Thursby, Rive-King Concert 

8. St. Louis, Mo., Hall of Chamber of Commerce. Oratorio Society 

12. Chicago, 111., McCormick Hall. Rive-King Testimonial 

14. Cincinnati, Ohio, Pike's Opera House. Rive-King Testimonial 

16. Columbus, Ohio. Rive-King Concert 



Nov. 19. Brooklyn, N. Y-, Academy of Music. Emma G. Thursby Testimonial 

20, New York, N. Y., Steinway Hall. Concert 

22. Baltimore, Md., Academy of Music. Thursby Concert Co. 

23. Baltimore, Md., Academy of Music. Thursby Concert Co. 

26. Washington, D. C., Lincoln Hall. Thursby Concert Co. 

27. Washington, D. C., Lincoln Hall. Thursby Concert Co. 

28. Washington, D. C., The White House. Reception and Musicale given by 

President and Mrs. Hayes in honor of Emma Thursby 
30. Philadelphia, Pa., Academy of Music. Thursby Concert Co. 
Bee. 3. Newark, N. J., New Institute Hall. Thursby Concert Co. 

4. Jersey City, N. J., Tabernacle. Thursby Concert Co. 

5. Paterson, N. J. Concert 

7. Boston, Mass., Boston Music Hall. Thursby Concert Co. 

8. Worcester, Mass., Mechanics' Hall. Thursby Concert Co. 
10. Lowell, Mass. Concert 

12. Buffalo, N. Y., St. James' Hall. Thursby Concert Co. 

13. Utica, N. Y., Opera House. Thursby Concert Co. 
15. Rochester, N. Y. Concert 

17. Elmira, N. Y., Opera House. Thursby Concert Co. 

18. Ithaca, N. Y., Wilgus Opera House. Thursby Concert Co. 

19. Binghamton, N. Y., Academy of Music. Thursby Concert Co. 
23. Boston, Mass., Boston Music Hall. Handel and Haydn Society. 

25. Boston, Mass., Boston Music Hall. Handel and Haydn Society. The Messiah 

27. New York, N. Y., Chickering Hall. Concert, Benefit of the Industrial School 

28. Staten Island, N. Y. Concert 

29. New York, N. Y. Steinway Hall. New York Oratorio Society. The Messiah 


Jan. i. Boston, Mass,, Music Hall. Thursby Concert 

2. New Haven, Conn., Music Hall. Grand Concert 

4. Boston, Mass., Music Hall. Thursby Concert 

7. Jersey City, N. J., Opera House. Thursby Concert 

8. Paterson, N. J., Opera House. Thursby Concert 

14. Pittsburgh, Pa., Fifth Avenue Lyceum. Thursby Concert 

ifl. Brooklyn, N. Y., Academy of Music. Grand Combination Concert 

17. Mew York, N. Y^ Chickering Hall. Vocal Union of N. Y. 

18, New York, N. Y., Chickering Hall. Charity Concert 

28. Morristown, N. J., Lyceum Hall. Thursby Concert 

29. Princeton, N. J. Thursby Concert 

30. Orange, N. J., Library Hall. Thursby Concert 

31. Philadelphia, Pa., Academy of Music. Thursby Concert 
Feb. 2. Philadelphia, Pa., Academy of Music. Thursby Concert (M) 

4. Washington, D. CL, Lincoln Hall. Thursby Concert 

5. Richmond, Va., Mozait Hall. Thursby Concert 

6. Richmond, Va., Mozart Hall. Thursby Concert (M) 



Feb. 8. Norfolk, Va., Opera House. Thursby Concert 

11. Wilmington, Del., Grand Opera House. Thursby Concert 

12. Camden, N. J. Thursby Concert 

15. Brooklyn, N. Y., Academy of Music. Philharmonic Society of Brooklyn. 

Public Rehearsal 

16. Brooklyn, N. Y., Academy of Music. Philharmonic Society of Brooklyn 

18. Stamford, Conn., Town Hall. Thursby Concert 

19. New York, N. Y., St. Paul's M. E. Church. Young Men's Union 

20. Brooklyn, N. Y., Ciasson Avenue Presbyterian Church. Thursby Concert 
22. Bridgeport, Conn., Hawes Opera House. Thursby Concert 

25. Buffalo, N. Y,, St. James Flail. Thursby Concert 

27. Toronto, Canada, Shaftesbury Hall. Thursby Concert 

28* Hamilton, Canada, Mechanics Hall. Thursby Concert 

Mar. i. St. Catherine's, Canada, Thursby Concert 

4. Rochester, N. Y n Corinthian Hall. Thursby Concert 

5. Syracuse, N. Y^ Park Opera House. Thursby Concert 

6. Auburn, N. Y. Thurs&y Concert 

7. Ithaca, N. Y., Wilgtts Opera House. Thursby Concert 

8. Binghamton, N. Y., Academy of Music. Thursby Concert 

1 1. Meadville, Pa. Thursby Concert 

12. Erie, Pa,, Opera House. Thursby Concert 

13. Cleveland, Ohio, Case Hall. Thursby Concert 

14. Toledo, Ohio, Opera House. Thursby Concert 

15. Detroit, Mich., Detroit Opera House. Thursby Concert 

i. Detroit, Mich,, Detroit Opera House. Thursby Concert (M) 

1 8. Kalamazoo, Mich. Thursby Concert 

19. Chicago, I1L, McCormick Hall. Thursby Concert 

20. Aurora, III., Opera House. Thursby Concert 

21. Chicago, 111., McCormick Hall. Beethoven Society 

22. Milwaukee, Wis., Academy of Music. Thursby Concert 
25. Chicago, III., McCormick Hall. Thursby Concert 

27. St. Louis, Mo., Mercantile Library Hall. Tfeursby Concert 

28. Qulncy, III., Opera House. Thursby Concert 

Apr. i. Indianapolis, IncL, Grand Opera House. Thursby Concert 

2. Cincinnati, Ohio, Pike's Opera House. Thursby Concert 

3. Columbus, Ohio. Thursby Concert 
5. Pittsburgh, Pa. Thursby Concert 

15. Wilmington, Del., Opera House. Thursby Concert 

17. Brooklyn, N. Y., Plymouth Church. Benefit for the Mayflower Mission 
21. Boston, Mass., Boston Music Hall. Handel and Haydn Society 

24. Brooklyn, N. Y., Bedford Avenue Reformed Church. Thursby Concert 

30. Boston, Mass., Music Hall. Thursby Farewell Concert 

May 2. Brooklyn, N. Y., Plymouth Church. Thursby Farewell Concert 

3. New York, N. Y., Academy of Music. Thursby Farewell Concert 

10. At Sea, S.S. "City of Berlin.'* Benefit Concert for Sailors* Home 



May 22. London, England, St. James's Hall. Philharmonic Society 

June 8. London, England, St. James's Hall. Royal Society of Musicians 

12. London, England, St. James's Hall. Philharmonic Society 
15. London, England, St. James's Hall. Henry Leslie's Choir 

20. London, England, 2: Portland Place. Lady JodreIl T s Concert (M) 

22. London, England, Crystal Palace. Henry Leslie's Choir (M) 

24. Oxford, England, Sheldonian Theater. Oxford Philharmonic Society 

July 8. London, England, Prince's Gardens, Hyde Park, Sir Wm. Drake's Concert 


Oct. 5. London, England, Crystal Palace. Winter Classical Concerts (M) 

8. Liverpool, England, Philharmonic Hall. Philharmonic Society 

29. Liverpool, England, Philharmonic HalL Mr. Chas. Halle's Concerts 

31. Manchester, England, Free Trade Hall. Mr. Chas. Halle's Concerts 

Nov. 7. Manchester, England, Free Trade Hall. Mr. Chas. Halle's Concerts 

8. Bradford, England, St. George's Hall. Mr. Chas. Halle's Concerts 

11. London, England, St. James's Hall. Monday Popular Concerts 

13. Brighton, England, The Dome. Philharmonic Society 

26. London, England, St. James's Hall. Mme Viard-Louis' Concert 
Dec. n. Manchester, England, Concert HalL Gentlemen's Concerts 

14. London, England, Crystal Palace. Philharmonic Concert 
18. London, England, St. James's Hall. Ballad Concert 


Jan. 23. Manchester, England, Free Trade Hall. Mr. Chas. Halle's Concert 

Feb. 4. Brighton, England, The Dome. Mr. Geo. Watt's Annual Benefit 

6. Manchester, England, Free Trade Hall. Mr. Chas. Halle's Concert 

13. Edinburgh, Scotland, Music Hall. Mr. Chas. Halle's Concert 

14. Edinburgh, Scotland, Music HalL Mr. Chas. Halle's Concert 

15. Edinburgh, Scotland, Music HalL Mr. Chas. Halle's Concert (M) 
20. Brighton, England, The Dome. Mr. Kuhe's Annual Musical Festival 

27. London, England, St. James's HalL Mr. Henry Leslie's Choir 
Mar. 6. London, England, St. James's Hall. Philharmonic Society 

8. London, England, Crystal Palace. Saturday Concert (M) 

23. Paris, France, Theatre du Chatelet, Colonne Concert 

29. Paris, France, Hotel Continental. Soiree Musicale et Litte"raire au Be"ne"fice 

de la Sode"!^ Nationale des Amis de L'Enfance 

30. Paris, Fraace, Cirque d'Hiver. Pasdeloup Orchestra (M) 

30. Paris, France, 182 Rue de Rivoli. M. Pierre Ve"ron's Soiree Musicale 

Apr. 4. Paris, France, Residence of Mme La Baronne de Vandeul. Musicale 

6. Paris, France, Cirque d'Hiver. Pasdeloup Orchestra (M) 

6. Paris, France, Home of Ambroise Thomas. Musicale 

11. Paris, France, Theatre du Chatelet. Colonne Concert 

12. Paris, France, Avenue du Roi de Rome. Miss Fanny Read's Musicale 

16. Para, France, 44 Avenue Josephine. Rev. E. W. Hitchcock's Soire Musicale 

17. Paris, France, Baron Hirsch's Residence. Soiree Musicale 

Apr. 25. Nantes, France, Socie*t6 des Beaux Arts. Soiree Musicale 

29. Paris, France, 7 Rue St. Arnaud. Soiree, Cercle Artistique et Littdraire 
May i. Paris, France. Mrs. Edward J. Ovington's Musicale 

2. Paris, France, Rue de Tilsitt. Baron de Ginzburg's Musicale 

8. Paris, France. Mme Cartwright's Musicaie 

9. Orleans, France, Salle de L'Institut Musical. Grand Concert 

n. Paris, France, Residence of Mr. and Mrs. Edward Hecht. Soiree Musicale 

17. London, England, St. James's Hall. Ballad Concert (M) 

20. London, England, St. James's Hall. Concert in Aid of the Hospital for 

Epilepsy and Paralysis (M) 

31. London, England, St. James's Hall. Ballad Concert 

June 9. London, England, 54 Welbeck Street. Musicale (M) 

10. London, England, Great Hall, Kings College. Musical Society 

11. London, England, St. James's Hall. Philharmonic Society 

19. London, England, 22 Grosvenor Gardens. Mrs. Adair's Concert 

24. London, England, i Prince's Gardens. Mrs. Dunn's Concert 

26. London, England, St. James's Hall, Mr. John Thomas's Concert (M) 

26. London, England, St. Paul's School, Mercers Company. Dinner Concert 

27. London, England, 27 Grosvenor Square. Sir Julius Benedict's Concert 

30. London, England. Mrs. Ware's Concert 
July i. London, England. Concert 

4. London, England, Westminster Hotel. July 4th Dinner Concert 

8. Loodoe, England, St. George's Hall, Langham Place. Concert for Funds 
for Lady Petre's Crche for Infants (AM.) 

8. LxHklon, England, Tite Street, Chelsea, The Studio. Concert for the West 
minster Medical Mission (M) 

8. London, England, 24 Park Lane. Lady Brassey's Concert 

12. London, England, 13 Kensington Square, St. Ann's Home. Concert, In Aid 

of the Works of the Home (M) 

13. London, England, 14 Titchfield Terrace, Regent's Park, N.W. Mrs. Joseph 

Hatton's "At Home" (M) 

17. London, England, 1 1 Warwick Crescent, Frederic H. Cowen's Musicak 

17. London, England, Academy of Music. Louis EngeFs Concert 

Aug. 4. London, England, Royal Albert Hall. Opera Concert, Mapleson Company 


16, London, England, Crystal Palace. M. Riviere's Promenade Concerts 

Sept. 9. Hereford, England, Shire HalL Hereford Musical Festival 

10. Hereford, England, Cathedral. Hereford Musical Festival (M) 
i o. Hereford, England, Shire Hall. Hereford Musical Festival 

n. Hereford, England, Cathedral. Hereford Musical Festival (M) 

1 1 . Hereford, England, Shire Hall. Hereford Musical Festival 
Oct. 4. London, England, Crystal Palace. Saturday Conceit (M) 

6. Loodon, England, Covent Garden. M. Riviere's Promenade Concerts 

7. Liverpool, England, Philharmonic HalL Philharmonic Society 

8. Cambridge, England, Guildhall. Concert 


Oct. 9. London, England, Covent Garden. M. Riviere's Promenade Concerts 

10. London, England, Covent Garden. M. Riviere's Promenade Concerts 

11. London, England, Covent Garden. M. Riviere's Promenade Concerts 
14. Bristol, England, The Colston Hall. Bristol Festival (M) 

14. Bristol, England, The Colston Hall. Bristol Festival 

13. Bristol, England, The Colston Hall. Bristol Festival (M) 

15. Bristol, England, The Colston Hall. Bristol Festival 

16. Bristol, England, The Colston Hall. Bristol Festival (M) 

16. Bristol, England, The Colston Hall. Bristol Festival 

17. Bristol, England, The Colston Hall. Bristol Festival (M) 

1 8. London, England, Covent Garden. M. Riviere's Promenade Concerts 

20. London, England, Covent Garden. M. Riviere's Promenade Concerts 

21. London, England, Covent Garden. M. Riviere's Promenade Concerts 

22. London, England, Covent Garden. M. Riviere's Promenade Concerts 

23. London, England, Covent Garden. M. Riviere's Promenade Concerts 

24. London, England, Covent Garden. M. Riviere's Promenade Concerts 

25. London, England, Covent Garden. M. Riviere's Promenade Concerts 

27. London, England, Covent Garden. M. Riviere's Promenade Concerts 

28. London, England, Covent Garden. M. Riviere's Promenade Concerts 

29. London, England, Covent Garden, M. Riviere's Promenade Conceits 

30. London, England, Covent Garden. M. Riviere's Promenade Concerts 

31. London, England, Covent Garden. M. Rhiere's Promenade Concerts 
Nov. i. London, England, Covent Garden. M. Riviere's Promenade Concerts 

3. London, England, Covent Garden. M. Riviere's Promenade Concerts 

4. London, England, Covent Garden. M. Riviere's Promenade Concerts 

5. London, England, Covent Garden. M. Riviere's Promenade Concerts 

6. London, England, Covent Garden. M. Riviere's Promenade Concerts 

7. London, England, Covent Garden. M. Riviere's Promenade Concerts 

8. London, England, Covent Garden. M. Riviere's Promenade Concerts 

ia London, England, 449 Strand, American Exchange in Europe. Unfurling of 

American Flag 

Dec. i . New York, N. Y., Steinway Hall. Thursby Concert 

2. Brooklyn, N.Y,, Academy of Music. Thursby Concert 

3. Newark, N. J. Thursby Concert 

4. New York, N.Y., Steinway Hall. Symphony Society of N. Y. Public Re 

hearsal (M) 

6. New York, N. Y., Steinway Hall. S>mphony Society of N. Y. 

9. Boston, Mass., Music Hall. Redpath Lyceum 

11. Boston, Mass., Music Hall. Old Bay State Course 

15. Philadelphia, Pa., Academy of Music. Thursby Concert 

17. Wasliington, D. C., Lincoln HalL Thursby Concert 

18. Baltimore, Md. Thursby Concert 

19. Philadelphia, Pa,, Academy of Music. Thursby Concert 

22. Brooklyn, N, Y., Bedford Avenue Reformed Church. Thursby Concert 


Dec. 25. New York, N.Y., Academy of Music. Gilmore's Band 

27. New York, N. Y., Steinway Hall. New York Oratorio Society 


Jan. 5. Chicago, III., Central Music Hall. Thursby Concert 

7. Chicago, III., Central Music Hall. Thursby Concert 

8. Milwaukee, Wis., Academy of Music. Thursby Concert 
10. Burlington, Iowa, Union Hall. Thursby Concert 

14. St. Louis, Mo., Mercantile Library Hall. Thursby Concert 

16. St. Louis, Mo., Mercantile Library Hall. Thursby Concert 

17. St. Louis, Mo., Mercantile Library Hall. Thursby Concert (M) 
22. Louisville, Ky., Library Hall. Thursby Concert 

26. Columbus, Ohio, Grand Opera House. Thursby Concert 

28. Pittsburgh, Pa. Library Hall. Thursby Concert 

29. Cleveland, Ohio, Case Hall. Thursby Concert 

30. Buffalo, N. Y., Academy of Music. Thursby Concert 
Feb. 2. Toronto, Canada, Royal Opera House. Thursby Concert 

4. Rochester, N. Y., Grand Opera House. Thursby Concert 

5. Syracuse, N. Y., Wieting Opera House. Thursby Concert 

6. Troy, N. Y., Rand's Hall. Thursby Concert 

7. Albany, N. Y., Tweddle Hall. Thursby Concert 

9. Binghamton, N. Y., Lester Hall. Thursby Concert 

12. Cincinnati, Ohio, Pike's Opera House. Thursby Concert 

13. Cincinnati, Ohio, Pike's Opera House. Thursby Concert 

14. Cincinnati, Ohio, Pike's Opera House. Thursby Concert (M) 

16. Lima, Ohio, City Hall. Thursby Concert 

18. Ft Wayne, Ind., Academy of Music. Thursby Concert 

20. Chicago, 111., Centra! Music Hall. Thursby Concert 

21. Chicago, III., Central Music Hall. Thursby Concert (M) 
24. Madison, Wis., Opera House. Thursby Concert 

26. La Crosse, Wis., Opera House. Thursby Concert 

27. Winona, Minn., Normal Hall. Thursby Concert 

28. Faribault, Minn. Thursby Concert 

Mar. i. St. Paul, Minn., Opera House. Thursfoy Concert 

2. Minneapolis, Minn., Opera House. Thursby Concert 

4. Minneapolis, Minn., Opera House. Thursby Concert 

5. St. Paul, Minn., Opera House. Thursby Concert 

8. Omaha, Neb., Opera House. Thursby Concert 

9. Council Bluffs, Iowa, Dohany's Opera House. Thursby Concert 

10. St. Joseph, Mo., Toodle's Opera House. Thursby Coiicert 

1 1 . Kansas City, Mo., Coates Opera House. Thursby Concert 
13. Topeka, Kans., Opera House. Thursby Concert 

15. Leavenworth, Kans., Opera House. Thursby Concert 

17. Quincy, III., Opera House. Thursby Concert 

1 8. Keokuk, Iowa, Gibbons Opera House. Thursby Concert 

19. Peoria, 111., Rouse's Hall. Thursby Concert 



Apr. 3. Richmond, Va., Mozart Hall. Thursby Concert 

4. Richmond, Va. Soloist at St. Paul's Church 

6. Washington, D. C, Lincoln Hall. Thursby Concert 

8. New York, N. Y., Madison Square Theater. Concert (M) 

10. New York, N, Y., Steinway Hall. Saalfield Ballad Concert 

12. New York, N.Y., Steinway Hall. Mr. John Lavine's Concert 

14. Morristown, N. J, Thursby Concert 

16. Wilmington, Del., Grand Opera House. Thursby Concert 
o. Baltimore, Md., Academy of Music. Thursby-Bull Concert 
21. Washington, D. C., Lincoln Hall. Thursby-Bull Concert 

23. New York, N. Y., Steinway Hall. Thursby-Bull Concert 

26. Brooklyn, N. Y., Academy of Music. Thursby-Bull Concert 

27. Worcester, Mass., Mechanics Hall. Thursby-Bull Concert 

28. Providence, R. I., Music Hall. Thursby-Bull Concert 

May 4. Boston, Mass., Music Hall. Handel and Haydn Society. Triennial Festival 

6. Boston, Mass., Music Hall. Handel and Haydn Society. Triennial Festival(M) 

7. Boston, Mass., Music Hall. Handel and Haydn Society. Triennial Festival 

8. Boston, Mass., Music Hall. Handel and Haydn Society. Triennial Festival(M) 

9. Boston, Mass., Music Hall. Handel and Haydn Society. Triennial Festival 

11. Philadelphia, Pa., Academy of Music. Thursby-Bull Concert 

13. Pittsburgh, Pa., Library HalL Thursby-Bull Concert 

17. Toledo, Ohio, Opera House. Thursby-Bull Concert 
19, Detroit, Mich., Opera House. Thursby-Bull Concert 

21. Chicago, III., Grand Central Music Hall. Thursby-Bull Concert 

22. Chicago, 111., Grand Central Music Hall. Thursby-Bull Concert (M) 
25. Elmira, N. Y., Park Church. Thursby Concert 

June 3. Bridgeport, Conn., Opera House, Thursby Concert 

11, Springfield, Mass,, City Hall. Orpheus Club Concert 

July 4. S.S. "Galiia," At Sea. Fourth of July Exercises 

24. London, England, Westminster Palace Hotel. Reception of American 


Aug. 17. Ems, Germany, Kursaal. Musicale 

19. Ems, Germany, Kursaal. Informal Thursby Concert 

30. Ems, Germany, Kursaal. Thursby Concert 

Oct. 7. Baden-Baden, Germany, Neue Sale des Conversationshauses. Thursby 

2$. Berlin, Germany, Saal der Sing-Akademie. Thursby Concert 

27. Berlin, Germany, Saal der Sing-Akademie. Thursby Concert 

New. i. Wiesbaden, Germany, Konfgliche Schauspiele, Symphonic-Concert 

13, Vienna, Austria, Kunstlerabend. 

25. Vienna, Austria, Grosser Musikvereins-Saal. Thursby Concert 
Bee. 12. Brunn, Moravia, Stadt-Theater. Thursby Concert 

15. Prague, Bohemia, Sofieninsel-Saal. Thursby Concert 
21. Cbemnitz, Saxony, Stadt-Theater. Thursby Concert 
27. Leipzig, Saxony, Stadt-Theater. Thursby Concert 

29. Dresden, Saxony, Borsen-Saal. Thursby Concert 



Jan. i. Weimar, Saxe-Weimar, Grand Duke's Palace, Hof-Kxmzert 

7. Heidelberg, Baden, Stadt-Theater. Thursby Concert 

9, Wurzburg, Bavaria. Thursby Concert 

11. Frankfurt, Prussia, Opernhaus. Thursby Concert 

12. Darmstadt, Hesse, Saal des Saalbaues. Thursby Concert 

13. Coblenz, Prussia. Tbursby Concert 

16. Cassel, Prussia, Hanusch-Saal. Thursby Concert 

18. Braunschweig, Prussia, Saal des Hotel d'Angleterre. Thursby Concert 

24. Dresden, Saxony, Borsen-Saal. Concert 

26. Leipzig, Saxony, Saal des Gewandhauses. Public Rehearsal 

27. Leipzig, Saxony, Saal des Gewandhauses. Gewandhauses Concert 

28. Hall, Saxony, Vbretzsch Subscription Concert 
31. Barmen, Prussia, Stadt-Theater. Thursby Concert 

Feb. i. Elberfeld, Prussia, Stadt-Theater. Thursby Concert 

4. Strassburg, Alsace-Lorraine, Stadt-Theater. Thursby Concert 

5. Mfilhausen, Alsace-Lorraine, Stadt-Theater. Thursby Concert 
9. Metz, Alsace-Lorraine, Stadt-Tbeater. Thursby Concert 

12. Stuttgart, Wurtemberg, Kooiglicfaes Hoftheatex. Thursby Concert 

15. Cologne, Prussia, Gurzenich-Saal. Ferdinand von Hiller Symphony 


16, DCisseldorf, Prussia, Stadt-Theater. Thursby Concert 

18. Crefeld, Prussia, Stadt-Tfaeater. Thursby Concert 
Mar. 2. The Hague, Netherlands. Concert Diligentia 

4. Amsterdam, Netherlands. Felix Mentis Concert 

19. Bordeaux, France, Salle Franklin. Cerde Philharmonique 

27. Paris, France, Cirque d'Hiver. Pasdeloup Concert 

Apr. 3. Paris, France, Conservatoire National de Musique. Sod& des Concerts (M) 

7. Paris, France, Home of Mme Viardot. Reception and Musicale 

10. Paris, France, Conservatoire National de Musique. Sotiete des Concerts (M) 

18. Paris, France, Palais du Trocadero. Benefice des Inond^s de Belgique (M) 

19. Paris, France, Salle Franklin. Cerde Philharmonique 

28, Barcelona, Spain, Teatro IJrico, Sala Beethoven, Thursby Concert 
May i. Barcelona, Spain, Teatro IJrico, Sala Beethoven. Thursby Concert (M) 

5. Barcelona, Spain, Teatro Urico, Sala Beethoven. Thursby Concert 

8. Barcelona, Spain, Teatro Urico, Sala Beethoven. Thursby Concert (M) 
12. Barcelona, Spain, Teatro Lirico, Sala Beethoven. Thursby Concert 

15. Barcelona, Spain, Teatro Lirico, Sala Beethoven. Thursby Concert (M) 

21. Valencia, Spain, Teatro Principal. Thursby Concert 

22. Valencia, Spain, Teatro Principal. Thursby Concert 

28. Madrid, Spain, Teatro Real. Thursby Concert 

29, Madrid, Spain, Teatro Real. Thursby Concert 

June 16. Paris, France, Salk du Grand-H&tel. Benefice de L'Oeuvre de 1'Adoption 

des Petites Filles Abandonnees 

July 21. Copenhagen, Denmark, Tivoli Koncertsal. Thursby Concert 

23. Copenhagen, Denmark, Tivoli Koncertsal. Thursby Concert 
25. Copenhagen, Denmark, Tivoli Koncertsal. Thursby Concert 



July 27, Copenhagen, Denmark, Tivoli Koncertsal. Thursby Concert 

30. Copenhagen, Denmark, Tivoli Koncertsal. Thursby Concert 

Aug. 2. Copenhagen, Denmark, Tivoli Koncertsal. Thursby Concert 

4. Malrao, Sweden. Thursby Concert 

6. Copenhagen, Denmark, Tivoli Koncertsal. Thursby Concert 
9. Copenhagen, Denmark, Tivoli Koncertsal. Thursby Concert 

13. Copenhagen, Denmark, Tivoli Koncertsal. Thursby Concert 

19. Bergen, Norway, Arbeideforeningens Lokale. Thursby Concert for Ole Bull 

Monument Fund 

23. Bergen, Norway, Arbeideforeningens Lokale. Thursby Concert 

25. Bergen, Norway, Arbeideforeningens Lokale. Thursby Concert 

26. Bergen, Norway, Arbeideforeningens Lokale. Thursby Concert 
29. Bergen, Norway, Arbeideforeningens Lokale. Thursby Concert 

Sept. 6. Chrisdania, Norway. Thursby Concert 

9. Chrisdania, Norway. Thursby Concert 

1 2. Chrisdania, Norway, Thursby Concert 

1 7. Stockholm, Sweden. Thursby Concert 

20. Stockholm, Sweden. Thursby Concert 
22. Upsala, Sweden. Thursby Concert 

24. Stockholm, Sweden, K. Stora Teatern. Thursby Concert 

27. Stockholm, Sweden, K. Stora Teatern. Thursby Concert 

29. Stockholm, Sweden, K. Stora Teatern. Thursby Concert 

30. Gefle, Sweden, Allmanna La'roverkets Stora Sal. Thursby Concert 
Oct. 5. Stockholm, Sweden, K. Stora Teatern. Thursby Concert 

7. Nykoping, Sweden. Thursby Concert 

8. Norrkoping, Sweden. Thursby Concert 
10. Linkoping, Sweden. Thursby Concert 

12- Jonkoping, Sweden, School Hall. Thursby Concert 

15, Gofeborg, Sweden, Stora Teatern. Thursby Concert 

17. Gdteborg, Sweden, Stora Teatern. Thursby Concert 

21. Aalborg, Denmark. Thursby Concert 

22. Randers, Denmark. Thursby Concert 
24. Aarhuus, Denmark. Thursby Concert 
26. Odense, Denmark. Thursby Concert 

29. Copenhagen, Denmark, Kasinos Store Sal. Thursby Concert 

31. HeMngboig, Sweden, Helsingborgs Teater. Thursby Concert 
Nov. i. Landskrona, Sweden, Stads Hotel. Thursby Concert 

2. Limd, Sweden, Students Hall. Thursby Concert 

9. Hamburg, Germany, Convent-Garten. Thursby Concert 
15. Hamburg, Germany, Convent-Garten. Thursby Concert 

17. Hamburg, Germany, Altonaer Stadt-Theater. Thursby Concert 

30, Brussels, Belgium, Cercle Artistique et Lkte"raire. Soir<c Musicale 
Dec 17. Bordeaux, Trance, Salle Franklin. Cercle Philharmonique 


Jan. 12. Paris, France, 15 Avenue d'Antin, Home of Mrs. James Jackson. Musicale 


Jan. 15. Paris, France, Th<^trc dii Ch^telet. Colonnc Concert 

22. Paris, France, Theatre du Chitelet. Colonne Concert 
26. Paris, France, Grand Hotel, Concert Festival (14) 

Feb. 19. Marseilles, France, Theatre des Nations. Societ des Concerts Populaires I'M) 

23. Nice, France, Palais Marie-Christine. Grand Cercle Concert 
Mar. 6. Nice, France, Theatre Francois. Thursby -Capoul Concert 

18. Menton, France, Hotel des Iks-Britanniques. Grand Concert, In Honor of 

the King and Queen of Saxony 

21. Geneva, Switzerland, Bailment Electoral. Grand Concert 
25. Lausanne, Switzerland, Casino Theatre. Grand Concert 
29. Berne, Switzerland, Sweitzer Hall. Grand Concert 
31. Zurich, Switzerland, Aktien theater. Grand Concert 
Apr. 26. Paris, France, Hotel Continental. Fete de La Mac&foine 
May i . Paris, France, Home of Mrs. Campbell Clark. Musicale 

7. Paris, France, Home of Pierre Vron. Soiree 

June 5. Paris, France, Palais du Trocadero. Benefice de la Socit pour la Propaga 
tion de L'AHaitement Maternel 

Sept. 28. Boston, Mass., Music Hall. Old Bay State Concert 
Oct. 2. New York, N. Y., Checkering Hall. Thursby Concert 
4. New York, N. Y., Chickering Hall. Thursby Concert 

6. Brooklyn, N. Y., Academy of Music. Thursby Concert 

7. New York, N. Y., Chickering Hall. Thursby Concert (M) 
10. Washington, D. C, Lincoln Hall. Thursby Concert 

12. Philadelphia, Pa., Academy of Music. Thursby Concert 

13. Orange, N. J., Music Hall. Thursby Concert 

17. Chicago, 111., Central Music Hall. Thursby Concert 

20. Chicago, III., Central Music Hall. Thursby Concert 

21. Chicago, 111., Central Music Hall. Thursby Concert (M) 
23, Detroit, Mich., Music Hall. Thursby Concert 

25. Cleveland, Ohio, Case Hail. Thursby Concert 

26. Buffalo, N. Y., Wahle Opera House. Thursby Concert 
28. Albany, N. Y., Tweddie Hall. Thursby Concert 

31. Boston, Mass., Music Hall. Roberts Lyceum Cocirse 
Nov. 3. Brooklyn, N. Y., Academy of Music. Philharmonic Society of Brooklyn, 

Public Rehearsal (M) 

4. Brooklyn, N. Y., Academy of Music. Philharmonic Society of Brooklyn 
6. Poughkeepsie, N. Y., Opera House. Thursby Concert 

8. Troy, N. Y., Rand's Opera House. Thursby Concert 

10. New York, N. Y., Academy of Music. Philharmonic Society of N. Y. Public 

Rehearsal (M) 

1 1 . New York, N. Y., Academy of Music. Philharmonic Society N. Y. 

13. Boston, Mass., Mechanics* Building. Handel and Haydn Society 

14. WeOesley, Mass.. Wellesiey College. Reception and Musicale 

18. Brooklyn, N. Y., Academy of Musk. Thursby Concert (M) 

21. New York, N. Y. ? Academy of Music. Thursby Concert 

22. "Wilmington, Del., Opera House. Thursby Concert 



Nov. 23. Baltimore, Md., Academy of Music. Thursby Concert 

25. Baltimore, Md,, Academy of Music. Thursby Concert (M) 

27. New Haven, Conn., Peck's Opera House. Thursby Concert 
29. Worcester, Mass., Mechanics' Hall. Thursby Concert 

Dec. i. Springfield, Mass., Opera House. Thursby Concert 

2. Bridgeport, Conn., Hawes Opera House. Thursby Concert 

5. Princeton, N. J., Mercer Hall. Thursby Concert 

7. Washington, D. C, Lincoln Hall. Thursby Concert 
9. Washington, D. C., Lincoln Hall. Thursby Concert 

14. Philadelphia, Pa., Academy of Music. The Cecilian Society 

28. Potsdam, N. Y., Opera House. Northern N. Y. Musical Union 

29. Potsdam, N. Y., Opera House. Northern N. Y. Musical Union 

Jan. 4. New York, N. Y., Chickering Hall. Thursby Historical Concert Cyclus 

6. New York, N. Y., Chickering Hall. Thursby Historical Concert Cyclus (M) 

8. New York, N.Y., Chickering Hall. Thursby Historical Concert Cyclus 

11. New York, N.Y., Chickering Hall. Thursby Historical Concert Cyclus 

12. New York, N.Y., Academy of Music. Symphony Society of N. Y. 

13. New York, N. Y., Chickering Hall. Thursby Historical Concert Cyclus (M) 

15. New York, N. Y., Home of Mrs. Van Nest. Reception (M) 

27. Philadelphia, Pa., Academy of Music. Theo. Thomas Symphony Orchestra 
Feb. 2. Brooklyn, N. Y., Academy of Music. Philharmonic Society of Brooklyn. 
Public Rehearsal (M) 

3. Brooklyn, N. Y., Academy of Music. Philharmonic Society of Brooklyn 

8. Brooklyn, N. Y., Plymouth Church. Thursby Benefit for Plymouth Bethel 

9. Paterson, N. J., Opera House. Thursby Concert 

12. Albany, N. Y., Music Hall. Thursby Concert 

13. Syracuse, N. Y., Wieting Opera House. Thursby Concert 
15. Rochester, N. Y., Grand Opera House. Thursby Concert 
17. Toronto, Canada, Grand Opera House. Thursby Concert 

19, Kingston, Canada, Opera House. Thursby Concert 

20. Brockville, Canada. Thursby Concert 

si. Ottawa, Canada, Grand Opera House. Thursby Concert 

22. Montreal, Canada, Queens Hall. Thursby Concert 

24. Rutland, Vt., Opera House. Thursby Concert 

Mar. 12. New York, N. Y., Casino. First Julien Concert 

15, New York, N. Y., Home of ex-Mayor Edward Cooper. Thursday Evening 

19. Brooklyn, N. Y., Academy of Music. Brooklyn Saengerbund, In Aid of 

Sufferers in Ohio and Indiana 

29. New York, N. Y., Standard Hall. Benefit Concert for Peabody Home 
Apr. 5. Cincinnati, Ohio, Smith and Nixon's Hall. Thursby Concert 

7. Cincinnati, Ohio, Smith and Nixon's Hall. Thursby Concert (M) 
10. Louisville, Ky., Masonic Temple. Thursby Concert 

20. Hudson, N. Y., Hudson Opera House. Thursby Concert 


i88 3 

Apr. 25- Buffalo, N. Y., Wahle Opera House. Thursby Concert 

25. Binghamton, N. Y., Lester Hall. Thursby Concert 

29. Boston, Mass., Boston Music Hall. Handel and Haydn Festival. Public 

Rehearsal (M) 

May i. Boston, Mass., Music Hall. Handel and Haydn Festival 

2. Boston, Mass., Music Hall. Handel and Haydn Festival 

3. Boston, Mass., Music Hall. Handel and Haydn Festival 

5. Boston, Mass., Music Hall. Handel and Haydn Festival (M) 

8. Mt. Vernon, N. Y., Fourth Avenue Hall. Mr. Geo. W. Colby's Concert 

21. Brooklyn, N. Y., Academy of Music. Thursby Farewell Concert 

June 7. San Francisco, Calif., Mechanics' Pavilion. Theodore Thomas Music Festival 

8. San Francisco, Calif., Mechanics' Pavilion. Theodore Thomas Music Festival 
g. San Francisco, Calif., Mechanics' Pavilion. Theodore Thomas Music Festival 


9. San Francisco, Calif., Mechanics 1 Pavilion. Theodore Thomas Music Festival 

1 1 . San Francisco, Calif., Mechanics' Pavilion. Theodore Thomas Music Festival 

12. San Francisco, Calif., Mechanics* Pavilion. Theodore Thomas Music Festival 

13. San Francisco, Calif., Mechanics' Pavilion. Theodore Thomas Music Festival 


15. Salt Lake City, Utah, Tabernacle. Theodore Thomas Music Festival 

16. Salt Lake City, Utah, Tabernacle. Theodore Thomas Music Festival (M) 
16. Salt Lake City, Utah, Tabernacle. Theodore Thomas Music Festival 

19. Denver, Colo., Tabor Grand Opera House. Theodore Thomas Music Festival 

20. Denver, Colo., Tabor Grand Opera House. Theodore Thomas Music Festival 

2 1 . Denver, Colo., Tabor Grand Opera House. Theodore Thomas Music Festival 


22. Denver, Colo., Tabor Grand Opera House. Theodore Thomas Music Festival 

23. Denver, Colo., Tabor Grand Opera House. Theodore Thomas Music Festival 


23. Denver, Colo., Tabor Grand Opera House. Theodore Thomas Music Festival 

Sept. 25. Newport, R. I., Casino. Maud Morgan Benefit Concert (A.M.) 

Oct. i. Scranton, Pa., Academy of Music Thursby Concert 

2. Williamsport, Pa., Academy of Music. Thursby Concert 

4. Elmira, N. Y., Opera House. Thursby Coocert 
9. Jersey City, N. J., Tabernacle. Thursby Concert 

11. Philadelphia, Pa., Academy of Music. Thursby Concert 

12. Brooklyn, N. Y., Academy of Music. Thursby Concert 
15. Concord, N. H., Academy of Music, Thursby Concert 

19. Chicago, III., Central Music Hall. Thursby Concert 

20. Chicago, HI, Central Music Hall. Thursby Concert (M) 

22. Ft, Wayne, Ind., Academy of Music. Thursby Concert 

23. Lima, Ohio, Opera House. Thursby Concert 

24. Akron, Ohio, Academy of Music. Thursby Concert 
26. Youngstown, Ohio, Opera House. Thursby Concert 

30. Boston, Mass., Music Hall. Roberts Lyceum Course 

31. Worcester, Mass., Mechanics Hall. Thursby Concert 


i88 3 

Nov. i. Albany, N. Y., Music Hall. Thursby Concert 

2. Poughkeepsie, N. Y., Opera House. Thursby Concert 

6. Washington, D. C, Lincoln Hall. Thursby Concert 

8. Wilmington, Del., Opera House. Thursby Concert 

9. Lancaster, Pa., Opera House. Thursby Concert 

10. Trenton, N. J., Taylor Opera House. Thursby Concert 

13. Paterson, N. J., Opera House. Thursby Concert 

14. Olean, N. Y., Opera House. Thursby Concert 

1 6. Bradford, Pa., Opera House. Thursby Concert 

1 7. Oil City, Pa., Grand Opera House. Thursby Concert 

19. Delaware, Ohio, Opera House. Thursby Concert 

20. Dayton, Ohio, Music Hall. Thursby Concert 

si. Toledo, Ohio, Wheeler Opera House. Thursby Concert 

23. Ann Arbor, Mich., University Hall. Thursby Concert 

26. Cleveland, Ohio, Case Hall. Thursby Concert 

27. Oberlin, Ohio, Old Church. Thursby Concert 

28. Erie, Pa., Park Opera House. Thursby Concert 

29. Buffalo, N. Y,, Music Hall. Thursby Concert 

30. Hamilton, Canada, Grand Opera House. Thursby Concert 
Dec. 3. Montreal, Canada, Queen's Hall. Thursby Concert 

4. Ottawa, Canada, Opera House. Thursby Concert 

6. Montpelier, Vt., Capitol Hall. Thursby Concert 

7. St. Albans, Vt., Opera Hall. Thursby Concert 

1 1 . Providence, R. L, Music Hall. Thursby Concert 

13. Boston, Mass., Music Hall. Old Bay State Concert 

1 8. Baltimore, Md., Oratorio Hall. Thursby Concert 

19. Morristown, N. J., Lyceum Hall. Thursby Concert 


Jan. 5. Brooklyn, N. Y., Ross Street Presbyterian Church. Thursby Concert 

4. New York, N. Y., 34 Gramercy Park. Thursby Musicale 

7. Altoona, Pa. Thursby Concert 

9. Wheeling, W. Va., Opera House. Thursby Concert 

10. Zanesville, Ohio, Opera House. Thursby Concert 

12. Columbus, Ohio, Opera House. Thursby Concert 

14. Springfield, Ohio, Opera House. Thursby Concert 

17. Qiampaign, I1L, Opera House. Thursby Concert 

18. Decatur, 111,, Opera House. Thursby Concert 

21. Gaksburg, I1L, Opera House. Thursby Concert 

24. Avon, 111., Opera House. Thursby Concert 

25. Lewiston, III., Opera House. Thursby Concert 

28. Keokuk, Iowa, Opera House. Thursby Concert 

29. Quincy, III., Opera House. Thursby Concert 

31. Davenport, Iowa, Burtis Opera House. Thursby Concert 
Feb. 2. Cedar Rapids, Iowa, Green's Opera House. Thursby Concert 

6. Minneapolis, Minn., Grand Opera House. Minn. Philharmonic Society 


1 884 

Feb. 7. St. Paul, Minn., Opera House. St. Paul Philharmonic Society 

9. Duluth, Minn., Grand Opera House. Thursby Concert 
ii. Duluth, Minn., Grand Opera House. Thursby Concert 

14. Des Moines, Iowa, Grand Opera House. Philharmonic Society 
13. Omaha, Neb., Boyd's Opera House. Philharmonic Society 

16. Lincoln, Neb., Centennial Opera House. Thursby Concert 

19. Kansas Cit), Mo., Gillis Opera House. Thursby Concert 

20. Topeka, Kans., Grand Opera House. Thursby Concert 

21. St. Joseph, Mo., Tootle's Opera House. Thursby Concert 

23. Hannibal, Mo., Opera House. Thursby Concert 
25. Bloomington, 111., Durley Hall. Thursby Conceit 
27. Joliet, III., Opera House. Thursby Concert 

29. Rockford, 111., Opera House. Thursby Concert 

Mar. 3. Madison, Wis., Hooley's Opera House. Thursby Concert 

4. Oshkosh, Wis., Opera House. Thursby Concert 

6. Milwaukee, Wis., Academy of Musk. Thursby Concert 

10. Kalamazoo, Mich., Academy of Music. Thereby Concert 

11. Grand Rapids, Mich., Opera House. Thursby Concert 
13. Detroit, Mich., Whitney's Opera House. Thursby Concert 

15. Detroit, Mich., Whitney's Opera House. Thursby Concert (M) 

17. Buffalo, N. Y., Wahle Opera House. Thursby Concert 
19. Meadville, Pa., Library Hall. Thursby Concert 

*o. Titusville, Pa., Academy of Music. Thursby Concert 

21. Warren, Pa., Library Hall. Thursby Concert 

24. Philadelphia, Pa., Academy of Music, Thursby Concert 

27. Reading, Pa., Opera House. Thursby Concert 

28. Harrisburg, Pa., Opera House. Thursby Concert 

31. Washington, D. C,, Congregational Church. Thursby Concert 

Apr. i. Richmond, Va., Mozart Hall. Thursby Concert 

3. Petersburg, Va., Opera House. Thursby Concert 

4. Norfolk, Va., Opera House. Thursby Concert 

17. Fall River, Mass., Opera House. Thursby Concert 

18. New Bedford, Mass. Thursby Concert 

21. Exeter, N. H., Gorham Hall. Thursby Concert 

23. Portsmouth, N. H., Music Hall. Thursby Concert 

24. Dover, N. H., City Hall. Thursby Concert 

25. Portland, Me., City Hall. Thursby Concert 

26. Bath, Me., Columbian Hall. Thursby Concert 

29. Bangor, Me., Opera House. Thursby Concert 

May 6. Brooklyn, N. Y., Academy of Music. Testimonial Entertainment, In Aid of 

tbe Southern Veteran Soldiers' Home 

13. Kingston, N. Y. Thursby Concert 

22. Newark, N. J., Grand Opera House. Newark Harmonic Society 
June 4. At Sea, S.S. "Republic" Ship's Concert 

Sept. 3. Bergen, Norway, New Hall. Thursby Concert 

5. Bergen, Norway, New Hall. Thursby Concert 



Sept. 7. Bergen, Norway, New Hall. Thursby Concert 

9. Bergen, Norway, Old Hall. Thursby Concert 

12. Trondh jem, Norway. Thursby Concert 

14. Trondhjem, Norway. Thursby Concert 

18. Christiania, Norway, Logens Store Sal. Thursby Concert 

20. Christiania, Norway, Logens Store Sal. Thursby Concert 

22. Christiania, Norway, Logens Store Sal. Thursby Concert 

23. Drammen, Norway, Theatre. Thursby Concert 

29. Stockholm, Sweden, Musikaliska Akademiens. Thursby Concert 

Oct. i. Stockholm, Sweden, Musikaliska Akademiens. Thursby Concert 

5. Stockholm, Sweden, Musikaliska Akademiens. Thursby Concert (M) 

Dec. 22. Brooklyn, N. Y., Ross Street Presbyterian Church. Thursby Concert 


Mar. 16. Philadelphia, Pa., Academy of Music. Thursby Concert 

17. Princeton, N. J., University Hall. University Course Concert 

31. Washington, D. C., Congregational Church. Thursby Concert 

Apr. 4. Washington, D. C., i5th Street, Home of Dr. Colegrove. Musicale 

5. Washington, D. C, Louise Home. Reception (M) 

7. Fortress Monroe, Va., Hygeia Hotel. Thursby Concert 

8. Fortress Monroe, Va., Hygeia Hotel. Thursby Concert 

9. Hampton, Va., Hampton Normal School. Reception (M) 
1 1 . Washington, D. C., The White House. Reception 

21. Washington, D. C., Home of Miss Bayard. Reception (M) 
26. Washington, D. C., Presbyterian Church. Evening Service 

May 7. Washington, D. C., Albaugh's Grand Opera House. Testimonial Concert to 

Emma Thursby 

10. Washington, D. C,, Portuguese Legation, Reception and Musicale (M) 

June 5. WeBesky, Mass., WeUesky College. Students Aid Society Concert (M) 

Aug. 12. Fraraxwiia, N. H., Home of Mrs, KImball. Reception and Musicale 

28. Saratoga, N. Y., United States Hotel. Thursby Concert 

29. Richfield Springs, N. Y., The Casino. Thursby Concert 
Sept. 5. Pittsfield, Mass., Academy of Music. Thursby Concert 

5, Lenox, Mass., Home of Mrs. Valentine. Reception and Musicale 

7. Holyoke, Mass,, Opera House, Windsor Hotel. Thursby Concert 

9. Lewfston, Me,, Music Hall. Thursby Concert 

10. Augusta, Me., Grant HalL Thursby Concert 

11, Bangor, Me., Rangor Opera House. Thursby Concert 

15. St. John's, N. B., Mechanics Institute. Thursby Concert 

17. Halifax, Nova Scotia, Academy of Music. Thursby Concert 

18. Halifax, Nova Scotia, Academy of Music. Thursby Concert 

22. Fall River, Mass., Academy of Music. Thursby Concert 

23. Fitchburg, Mass., Whitney's Opera House. Thursby Concert 
25. Ansonia, Conn., Opera House. Thursby Concert 

Oct. i. Brooklyn, N. Y., Memorial Presbyterian Church. Bryant Literary Society 



Oct. 3. Newburgh, N. Y., Opera House. Thursby Concert 

4. West Point, N. Y., Cranston's. Evening Musicale 

5. Paterson, N. J., Opera House. Thursby Concert 
13. Providence, R. L, Music Hall. Star Course Concert 

23. Taunton, Mass,, Broadway Skating Rink. Southeastern Massachusetts 

Musical Association (M) 

Nov. 5. New Bedford , Mass,, Grand Opera House. Thursby Concert 

10. Cleveland, Ohio, Music Hall. Northern Ohio Musical Festival 

1 6. Toronto, Canada. Monday Popular Concert 

18. Bethlehem, Pa., Moravian Church. Grand Organ Concert 

19. Germantown, Pa., Y.M.C.A. Thursby Concert 

20. Hazelfon, Pa., Haielton Hall. Thursby Concert 

26. Brooklyn, N. Y., Washington Avenue Church. Thursby Concert 

Dec. 4. Bridgeport, Conn., Opera House. Beethoven Trio Club 

8. Utica, N. Y., Opera House. Thursby Concert 

9. Troy, N. Y. f Music Hall. Haner Concert 

16. Brooklyn, N. Y. f Bedford Avenue Reformed Dutch Church. Thursby Con 

cert, Benefit for Industrial School Association 
1 8. St. Johnsburg, Vt., Y.M.CA, Thursby Concert 

21. Boston, Mass., Tremont Temple. Star Course Concert 

30. St. Louis, Mo., Grand Music Hall. St. Louis Musical Union 


Jan. 22. Rochester, N. Y., City Hall, Haner Concert 

Feb. 19. NewYorfc,N.Y.,St. James M. E. Church. Grand Concert 

23. New York, N. Y., Metropolitan Opera House. Testimonial Concert to Emma 


24. Philadelphia, Pa., Academy of Music. Concert for Employees of Straw- 

bridge and Clothier 

26. Buffalo, N. Y., Uedertafel Hal!. Thursby Concert 
Mar. n. New York, N. Y., Mendelssohn Glee Club Rooms. Concert, In Aid of 

Working Girls 
15. Boston, Mass., Residence of Mr. A. L. Coolidge. Omcert, In Aid of tfoe 

Home for Intemperate Women 

Apr. 9. Morristown, N. J., Lyceum Hall. Thursby Concert 
May 6. New York, N. Y., Delmonico's. Baptist Social Union, Ladies Reception 

17. Elmira, N. Y., Opera House. Thursby Concert 

18. Binghamton, N. Y., Opera House. Thursby Concert 

19. Canandaigua, N. Y., Opera House. Thursby Concert 

20. Geueseo, N. Y., Normal Chapel. Thursby Concert 
June i. Warsaw, N. Y., Irving Opera House. Thursby Concert 

2. Batavia, N. Y. Thursby Concert 

3. Leroy, N. Y. Thursby Concert 

4. Corning, N. Y. Thursby Concert 

5. Bath, N. Y. Thursby Concert 

y. Perm Yan, N, Y., CornwelFs Opera House. Thursby Concert 



June 8. Horaelisville, N. Y. Thursby Concert 

9. Carbondale, Pa. Thursby Concert 

ID. Allen town, Pa. Thursby Concert 

17, Cordand, N. Y. Mahan's Music Festival 

1 8. Cortland, N. Y. Mahan's Music Festival 

July 8. At Sea, SJS. "Pennland." Benefit Concert for Woman in Steerage 

Dec. 11. Bordeaux, France. Cercle Philharmonique 

15. Limoges, France. Societ Philharmonique 
17. Limoges, France. Societ6 Philharmonique 


Feb. 8. Roubaix, France, Salle de rHippodrome. Concert de la Grande Harmonic 


Teb. 27. Boston, Mass., Tremont Temple. Star Course Concert 

Apr. 10. Brooklyn, N. Y., North Reformed Church. Thursby Concert 

28. Lakewood, N. J., Laurel House. Thursby Concert, Benefit for Washington 
* Monument for France 

May 19. Washington, D. C, National Theatre. Thursby Concert 

29. Stapleton, N. Y., German Club Rooms. Thursby Concert 
31. Mt. Vernon, N. Y., Fourth Avenue Hall. Thursby Concert 

June 18. Northampton, Mass., Smith College. Commencement Concert 


Mar. 29. Rockledge, Fla., Hotel Indian River. Benefit for the Methodist Church 

Apr. 4. Orange City, Fla., M. E. Church. Benefit for the Methodist Church 

9. Jacksonville, Fla., Sub Tropical Building. Thursby Concert 

u. Saaford, Fla. Thursby Concert 

13. Tampa, Fla. Thursby Concert 

1 6* Orlando, Fla., Opera House. Concert 

25. Jacksonville, Fla,, Park Opera House. Thursby Concert 

*6. Deland, Fla. Thursby Concert 

May 14. New York, N. Y., 366 Fifth Avenue. Art Loan Exhibition Concert 

16. Detroit, Mich., Opera House. Thursby Concert 

28. New York, N. Y., Metropolitan Opera House, icth Anniversary Entertain 
ment of the Order of Chcsen Friends 

50. Burlington, Vt, Howard Opera House. Philharmonic Festival (M) 

50. Burlington, Vt, Howard Opera House. Philharmonic Festival 

31. Burlington, Vt., Howard Opera House. Philharmonic Festival 

Dec 10. Albany, N. Y. Thursby Concert 

16. Middletown, N. Y., 2nd Presbyterian Church. Thursby Concert 

20. Johnstown, N. Y., Opera House. Thursby Concert 


Apr. 5. Jacksonville, Fla., Sub Tropical Building, Thursby Concert 

8. St. Augustine, Fla. Thursby Concert 


May 7, Williamsburg, Va., Cameron Hall. Thursby Concert, Benefit for Society for 

Preservation of Virginia Antiquities 
9. Norfolk, Va., Y.M.C.A. Hall. Thursby Concert 

21. Richmond, Va. ? Mozart Academy of Music. Testimonial Concert to Emma 


$6. Annapolis, Md., Xaval Institute Hall. Thursby Conceit 
Dec. 17. Providence, R. L, Infantry Hall, Boston Symphony Orchestra 

19. Boston, Mass., Music Hall. Boston Symphony Orchestra. Public Rehearsal 


so. Boston, Mass., Music Hall. Boston Symphony Orchestra 


Feb. 23. Boston, Mass,, Tremont Temple. Star Course Concert 

Mar, gi. Tampa, Ha., Tampa Bay Hotel. Thursby Concert 

23. Winter Park, Fla., Music Hall. Thursby Concert 

25. Ormond, Fla., Casino. Thursby Concert 

28. St. Augustine, Fla., Hotel Ponce de Leon. Thursby Concert 

50. Magnolia Springs, Fla., Magnolia Springs Hotel. Thursby Concert 

Apr. 8. Key West, Fla., Odd Fellows Opera House. Thursby Concert 

26. Ormond, Fla., The Ormond Hotel. Sunday Concert 

May 12. Brooklyn, N. Y., New Brooklyn Tabernacle. Charity Concert for Mrs. 

White's Consumptive Home 

2$. Denver, Colo., Trinity M. E. Church. Trinity Club Concert 
June i. Leadville, Colo., Opera Hoose. Apollo Club Conceit 

5. Salt Lake City, Utah, Tabernade. June Festival of Salt Lake*Choral Society 

6. Salt Lake City, Utah, Tabernacle. June Festival of Salt Lake Choral Society 


6. Salt Lake City, Utah, Tabernacle. June Festival of Salt Lake Choral Society 

9. Park City, Utah. Thursby Concert 

17. Fresno, Calif., Barton Opera House. Fresno Choral Society 
19. Los Angeles, Calif., Los Angeles Theatre. Thursby Concert 

22. San Diego, Calif., Louis Opera House. Thursby Concert 

25. San Bernardino, Calif., Opera House. Thuxsby Concert 

26. Riverside, Calif., Loring Opera House. Thursby Concert 

30. Los Angeles, Calif., Apollo Qub. Apollo dub Concert 
July i. Santa Barbara, Calif., Opera House. Thursby Concert 

3. San Luis Obispo, Calif., Hotel Ramona. Thursby Concert 

6. Santa Cruz, Calif., Knight's Opera House. Thursby Concert 

14. San Francisco, Calif., Metropolitan Temple. Thursby Concert 

16. San Jose, Calif., California Theatre. Thursby Concert 

Aug. 3. Port Townsend, Wash., Opera House. Thursby Concert 

5. Anacortes, Wash., Presbyterian Church. Thursby Concert 

10. Portland, Ore., Marquam Grand Opera House. Thursby Concert 

12. Portland, Ore., Marquam Grand Opera House. Thursby Concert 

31. Juneau, Alaska, Opera House. Thursby Concert 
Sept. 7. Vancouver, B. C., Opera House. Thursby Concert 


Sept. 8. Nanaimo, B. C., Opera House. Thursby (Concert 

21. Tacoma, Wash., Western Washington Industrial Exposition. Innes' igth 
Regiment Band of N. Y. 

Oct. i. Seattle, Wash., Opera House. Thursby Concert 

16. Great Falls, Mont., Vacant Store, Corey Block. Thursby Concert 

31. Minneapolis, Minn., Lyceum Theater. Thursby Concert 

Nov. 3. St. Paul, Minn., People's Church. Thursby Concert 

10. La Crosse, Wis., Opera House. Normanna Sangerkor Concert 


Feb. 10. Philadelphia, Pa., Academy of Music. Thursby Concert 

12. Washington, D. C., Metropolitan M. E. Church. Thursby Concert 

23. Princeton, N. J., Second Presbyterian Church. Thursby Concert 

Mar. 22. St, Augustine, Fla., Casino. Concert, In Aid of Alicia Hospital 

26. Ormond, Fla., Casino. Thursby Concert 

May 4. Jacksonville, Fla., Park Opera House. Thursby Concert 

Sept. 6. Norfolk, Conn., Organ Concert 

Oct. 11. Oneida, N. Y., Opera House. Thursby Concert 

Nov. 3. Philadelphia, Pa., Conwell Temple. Thursby Concert 


Feb. 6. Boston, Mass., Tremont Temple. Star Course Concert 

Apr. 29. Brooklyn, N. Y., Academy of Music. Benefit Concert to Mr. Oscar J. Murray 

July 25. Chicago, 111., New York State Building, World's Columbian Exposition. 

Benefit for Sufferers by the Fire 
Aug. 11. Wheaton, 111., Library Hall. Benefit for Organ Fund of Trinity Episcopal 


Sept. 11. Utica, N. Y., Opera House. Paddon-Stillwell Concert 
Dec. 7. New York, N. Y., 9 Lexington Avenue. Cooper's Reception 

11. Brooklyn, N. Y., Bedford Avenue Reformed Church. Thursby Concert 
15. New York, N. Y., Thursby Home at 34 Gramercy Park. Musicale 

19. Bordentown, N. J., Trinity Hall. Benefit for Baptist Organ Fund 

20. Pottsville, Pa. Teachers Convention 

26. Philadelphia, Pa. College Settlement Concert 


Jan. 23. New Berlin, N. Y., Opera House. Thursby Concert 

24. Gloversvitle, N. Y., Opera House. Thursby Concert 
Feb. Brooklyn, N. Y., Classon Avenue Church. Concert 

Apr. 10. Brooklyn, N. Y., North Reformed Church. Holland Club Concert 
May 17. Brooklyn, N. Y,, Old Bushwick Dutch Reformed Church. Thursby Concert 
Aug. 4. Martha's Vineyard, Mass., Union Chapel. Benefit Concert 
Aug. 16-17. Eliot, Me., Greenacre. Benefit Concerts for Greenacre Fund 

22, Martha's Vineyard, Mass., Union Chapel. Benefit for Band Fund 
Dec. 6,8,10,12,14,17. Cambridge, Mass., "Studio House." Mrs. Ole Bull's Recitals 
in Memory of Amelia Chapman Thorp 



Mar. 9. New York, N. Y. Mrs. Barber's Lecture and Musicale 
Apr. 5. Lakewood, N. J., The Laurel In the Pines. Grand Concert 
Aug. 29. Eliot, Me., Greenacre. Benefit for Greenacre Fund 
Dec. 9. Chicago. 111., The Auditorium. Grand Military Concert 

Feb. 22. Brooklyn, N. V., The Cathedral, Bedford and Madison Streets. Concert 

Aug. 26. Eliot, Me., Greenacre. Recital for Greenacre Fund 

29. Eliot, Me., Greenacre. W.C.T.U. Day 

Sept. 20. Eliot, Me. Soloist at Church 


Oct. 12. Paris, France, Home of Mrs. James Jackson, 15 Avenue d'Antin. Matinee 

Aug. 30. Eliot, Me, s Greenacre. Musicale by Emma Thursby and Her Pupils 

Feb. 23. Brooklyn, N. Y., Pierrepont Art Room, 44 Clinton Street. Reception for 

Emma Thursby 
Oct. 5. Tientsin, China, Gordon Hall. Thursby Concert 

Aug. 30. Eliot, Me., Greenacre. Fete and Musicale for Fund to Purchase the 

Lysekloster Pines 

Oct. 25. Brooklyn, N. Y., Montauk Club. Plymouth Foreign Missionary Society 


Aug. 24. Eliot, Me., Greenacre. Testimonial to Miss Sarah Farmer, for Fund to 
Rebuild her Home 




Aalborg (Denmark) , 402. 

Aarhuus (Denmark) ,311, 402. 

Abbey, Henry, 541. 

Abbott, Emma, 77, 89, 95, 94, 96, 249, 
279; American debut of, 156; letter to 
Emma Thursby, 971:. 

Abbott, Eugenie B., pupil of Emma 
Thursby, 575. 

Abendreihn (Fischhof), 268. 

Abt, Franz, 75, 121, 134* 1 35 22 9' s 66 - 

Academy, The (London), excerpt, 189. 

Academy of Music. See, Baltimore, Brook 
lyn, New York City, Philadelphia. 

**Acis and Galatea," Cantata, Aria from 
(Handel) , 329. 

Adagio du $6e quatuor (Haydn), 210. 

Adair, Mrs., 397. 

Adamowski, Timothie, 248. 

Adams, Charles R., 165, 251. 

Adams, Florence James (Mrs. Milward 
Adams), 369, 370, 376. 

Addams, Jane, 371. 

Adelsberg (Austria) , 88. 

Adventures of Tom Sawyer, 149. 
"Advisory Council on a World's Congress 

of Representative Women," Emma 

Thursby a member of, 366. 
Africa, 359. 
"Africa" (ship) , 55. 
Aften Fasten (Christian ia), excerpt from, 

298, 299. 

Agatha's prayer (Der Freischutz) , 72. 
Agence Des Theatres, petition to Ernma 

Thursby to appear in opera, 278f. 
Agramonte, Emilio, 124. 
Agua Caliente (Calif.) , 364 
"Ah! fors e lui" (Traviata), 108. 
"Ah non sai, qual pena" (Mozart), 224. 
Aida. (Verdi) , 272, 341. 
Aiken, Mr., 155. 
"Aime-Moi" (Chopin), arrangement, 

Mme Viardot-Garcia, 330. 
Air and Variations (Proch), 112. See also, 

Proch's Variations. 
Air and Variations (Rode) ,121, 142, 216, 



"Air Tyroleen," 25. 

Airs de concerts (Mozart), 208. 

Akron (Ohio) , 405. 

Alaska, Thursby concert in, 365. 

Albani, Mile Emma, 189, 192, 208, 223, 
252, 233, 234, 255, 260, 279, 319- 33*; 
debut in Mignon, 117. 

Albany (N. Y.), 21, 75, 161, 177, 385, 393, 
399, 403, 404, 406, 410. 

Albauglfs Grand Opera House (Wash 
ington, D. C.) , 408; testimonial con 
cert to Emma Thursby at, 347^. 

Alchymistt Overture to (Sphor), 224. 

Alda, Mme Frances, 376. 

Ales&mdro nelle Indie (Vinci), 224. 

Alexander II, Czar of Russia, 380, 

Alexis, Grand Duke, 101. 

"Algeria" (ship) ,91. 

Algiers, 147, 172. 

Alice, r61e of (Robert le Diable), 324. 

"Alia Scozzese," Aria, 24. 

"Allegro Appassionato" (Lalo), 273. 

Alleluia choeur du Messie (Handel) , 

Allen, Mrs., pupil of Mme RudersdorfF, 


Allentown (N. Y.) ,410. 

Alma, Albani in, 192. 

Almy, Miss, pupil of Mme Rudersdorff, 

Alsace-Lorraine, 82. 

Aluxma (Pa.) , 406. 

Amato, Pasquale, 376. 

Ambroselli, Ed., petition to Emma 
Thursby to appear in opera, 278f; her 
reply to, 282. 

America, 5, 6, 8, 60, 67, 70, 77, 125, 131, 
*53 *57 *% *y> 1 9^ 2<>3 222, 223, 
226, 231, 232, 233, 236, 252, 256, 258, 
262, 263, 266, s?8i, 285, 286, 292, 293, 
308, 314, 315, 322, 339, 351, 352, 353, 
354* 375 379 arr ival of Jenny lind in, 
178; bringing great music to, 123; con 
tributions to opera during Civil War 
years, 65; <$ebut of Richard Mansfield 
in* 332; Emma Thursby a stranger in, 
2%; Emma Thursby decides to re 

main in, 349; Emma Thursby sails for, 
323; fame of De Kontski in, 340; fel 
low artists from, 195; finest brass band 
in, 121; first appearance of Ole Bull 
in, 71; gift to France from the women 
of, 361; highest salary- offered church 
singer in, 139; Leopold Godowski in, 
346; money success in, 193; Ole Bull 
most popular instrumentalist to ap 
pear in, 71; most talked about church 
in, 69; music teachers in, 126; musical 
situation in, 359; no equal of Emma 
Thursby in, 129; opera season of 1871- 
72 in, 84f; opportunities for success in 
Europe and America compared, 307; 
producing great singers in, 185; repu 
tation of von Biilow in, 133; succe^ 
of English opera company in, 83; two 
great contraltos of, 75; two most bril 
liant organists in, 116; wishes bon voy 
age to Emma Thursby, 186. 

American Associated Press, Emma Thurs 
by *s tribute to Rev. Beecher published 
in, 357ff. 

American Chapel (Paris) , 195, 202, 346. 

American colony (London) , 228. 

American Consul (Barcelona), 280. 

American Consul (Milan), 88. 

American coolness, illustration of, 177. 

American Exchange (London) , 398, 400; 
flag-raising ceremonies at, 236; propri 
etor of, 238; reception to President of, 


American flag, unfurling of (American 
Exchange, London) , 236, 398. 

American melodies, fantasia. See, "Emi 
grants d'Amerique, Les." 

American Minister to England, 199, 228, 


American musical extravaganza, 127. See 
also, Boston Peace Jubilee. 

American Norse Philharmonic Flag, 291. 

"American Science, Triumph of,'* 160. 
See also, Telephone, Telephone Con 

"Amour Que Veux-Tu De Moi" (Lulli), 


Amsterdam (Holland), 270, 352, 401. 
\mulet, gift to Emma Thursby, descrip 
tion of, 380; loss of, 379. 
"An Encounter with an Interviewer," 


Anacortes (Washington) , 411. 
"Andante in E fiat" /Mozart), 150. 
Andreas, Miss, 258. 
Angelo, Michael, 213. 
"Angel's Serenade" (Braga), 108, 252. 
Ann Arbor (Mich.) , 406. 
Annals of the New York Stage (Ode!!) , 

cited, 111. 

Annapolis (Md.), 411. 
Ansonia (Conn.) , 408. 
Anthony, Susan B., 366. 
Apollo Club (Chicago) , 151, 392. 
Appomattox, surrender of Gen. Lee at, 


Aptommas, Thomas, 150. 
Arbuckle, Matthew, 112, 129, 140, 142, 


Arcadian Club (Brooklyn) , 387, 388. 
Arditi, Luigi, 178, 252. 
Ariani, Adriano, 376. 
"Ariel" (ship) , 46, 47. 
''Arizona" (ship) , 276. 
Armstrong, Miss, 89. 
Arnus, Evaristo, 278, 281, 283; Arnus 

family, 286; urges Emma Thursby to 

tour Spain, 256. 
Aronda, Rev. John, 7. 
Art, subject of, 369. 
Art Musicale, V, 209. 
Arta, Regina, 376. 

Arthur, Pres. Chester A., 307, 328, 341. 
Artdt, Mme D&iree, 256. 
Association Artistique, L", gift to Emma 

Thursby, 2i7f, See also, Card tray. 
Association Des Artistes Musidens, letter 
to Emma Thursby, 2i8f; officers and 

members of committee of, 219. 
Association Hall (Brooklyn) , demonstra 
tion of the phonograph in, 185. 
Aspinwall, Lloyd, 183. 
Astor, Mrs. John Jacob, 183. 

Astrafiammante, rdle of (Magic Flute), 
158, 270; first aria of, 123; second aria 
of, 178. 

Atchinson, 156. 

"Atlantic" (ship), 17, 21. 

Auburn (N. Y.) , 395. 

Auditorium (Chicago) , 370. 

Auer, Leopold, pupils of, 266. 

Augusta (Me.) , 408. 

"Aunt Jerusha," 79. 

Aurora (111.) , 395. 

Austen, Mother (St. Joseph's Convent) , 

53 54- 

Australia, 352. 

Australian Cricket Team, 187. 
Austria, 352. 
"Ave Maria" (Gounod), 150, 324, 379, 

"Ave Maria" aria (Rudersdorff), 146. 

A\on (III.), 406. 

Bach, Johann Sebastian, 133, 182, 240, 


"Bachelors' Polka" Var., 25. 
Bacon, Leonard W., 72. 
Bad-Ems. See, Ems. 
Badeblatt (Baden-Baden) , excerpt from, 


Baden, Grand Duchess of, 259, 264. 
Baden, Grand Duke of, 259, 264, 
Baden-Baden (Germany), 87, 257, 258, 

302; Thursby concerts in, 259 {regal 

audience), 261, 400. 
Badet, 219. 

Bagby, Albert Morris, "Musical Morn 
ings" of, 362. 
Bagee, Marianna, 334. 
Baillett, M., 228, 229. 
Baily, Lillian, 255. 
Baird, William C, 108. 
Balfe, Michael, 234. 
Ballad Concert, 198, 224, 396, 397. 
"Baltic" (ship), 236, 237, 281, 283. 
Baltimore (Md.) , Concert appearances 

in, 120, 135, 241, 250, 327, 388, 389, 390, 

394, 398, 400, 404, 406. 


Baltimore Academy of Music, Concerts, 

*35 S*8, 3% 34. 4o, 404. 
Baltimore Daily News, cited, 327. 
Bands, 121, 234. See also, Fourteenth U. 

S. Infantry, Giimcre, Landers. 
Bangor (Me.) , 407, 406, 
Bangt, F. C, 82 . 
Barber, Mrs., 413. 
Barberini Palace, 102. 
Barbiere di Seviglia, II (Rossini), 352, 

256. 34* 
Barcelona (Spain), 264, 270, 276, 278, 

279$, 285, 286, 401. 
Barmen (Germany) , 267, 401. 
Harriet te, Mr., too. 
Barnum, P. T., 131, 174, 227, 252; brings 

Jenny Und to America, 17, 19. 
Barnum's Circus, 332. 
Barrett, Lawrence, 82, 332. 
Bartlett, Mr., 69. 
Bartktt Kinder Symphony, 390. 
Bassett, Domine, 8. 
Bassford, W. ., 133. 
Batavia (N. Y,) , 409. 
Bath (Me.) , 407. 
Bath (N. V.) , 409. 
Battanchon, Gaston, 333. 
Battanchon, Greta (MansSeld) , daughter 

of Umt Rudersdorff, 128, 146, 147; 

quoted, 148; bequests from mother's 

will, S33ft birth of daughter, 172. 
"Batti, batti" (Don Giovanni), 159. 
Bauer, Harold, 376. 
Baumgarren, Counter, 197. 
Bayard, Mist, 408. 
Bayard, T. F., 347* 349- 
Beach. Mrs. H. H. A., 376. 
Beale, E. H^ 349* 
Beale, Thurley, 233. 
Beard, Alamoo W., 184. 
Beatty, Miss, 148. 
Becker, Dora, 349, 581. 
Bedford Aiai^ Butch Reformed Church 

(Brocklfn) , 107, 184; Coecerts in, 

ui (oooaplimentary to Emma Thurs- 

fcy). *%, 243* 384* 3%, 386, 3^7. 389. 

8, 40^, 412; EaaMia Thurs- 

h) accepts call to sing in choir at, her 
agreement with, her first earnings 
from, her first regular position as 
church singer, 68; her further earnings 
from, 76; her last appearance under 
contract with, 113; her return to, 76. 

Beecher, Rev. Henry Ward, 68, 72, 113, 
238, 329, 342; champion of the slave, 
64; death of, 354; excerpt from letter 
to Jennie Ovington, 346; farm at 
Peekskill, 125; favorite hymn of, 358; 
pilgrimage to Fort Sumter, 66, 124; 
proposed Memorial to, 354^ sermons 
of, 73, 355; son of, 364; Storrs, a critic 
of, 124; story about self, quoted, 73; 
sued by Tilton, acquitted in court, 1 14, 
125; congregation's faith in, exonerated 
by own church committee, 114; the 
theatre, Beecher's views on, quoted, 
80; tribute from Emma Thursby, 357*1. 
See also, Plymouth Church. 

Beecher, Herbert ("Bertie") , son of Rev. 
Beecher, 364^ Mrs. Beecher, 365. 

Beecher, Thomas Kinnicut, 252. 

Beecherites, 125. 

Beethoven, Ludwig van, 26, no, in, 125, 
133, 142, 148, 154, 191, 197, 198, 203, 
210, 224, 234, 240, 251, 273, 287, 325, 
330; grave of, 88. 

Beethoven Quintette Club, 160". 

Beethoven Society (Chicago) , 395. 

"Beethoven Waltz" Duett, 25. 

Behrens, Herr, 230. 

Belfast (Ire.) , 5. 

Belgium, 274, 317, 321, 323. 

Belgium, King of, 259. 

Bell, George, 60. 

Bell, Prof. Alexander Graham, dispute 
with Prof. Gray, 160. 

**Bell Song" (Lakmf), 341. 

Bellini, Vincenzo, 112, 233. 

Belvedere House (New York), 180. 

Bemberg, Henri, 370, 378. 

Benard, M., 58. 

Bendovna, Jadwiga, 376. 

Benedict, Came Bridewell, 376. 

Benedict, Mrs. Egbert J., 376. 


Benedict, Sir Jules, 188, 192, 197, 198, 
229, 230, 233, 234, 255, 397. 

Benedict, Lady, 255. 

Bennett, Anna (Praa;, 7. 

Bennett, Elizabeth (Van Cott) , grand 
mother of Emma Thursby, 37, 40, 44, 
46, 50, 53; death of, 156. 

Bennett, Jane Ann, 10. See also, Thurs- 
by, Jane Ann. 

Bennett, Mary Elizabeth, cousin of 
Emma Thursby, 42, 52, 57, 154, 303, 
352; marriage to John Comfort, 353. 

Bennett, William, 7. 

Bennett, William, grandfather of Emma 
Thursby, 29, 30, 37, 40, 44, 46, 50. 

Bennetts, the, 6. 

Berg, Prof., teacher of Jenny Lind, Em 
ma Thursby sings for, 344. 

Bergen, Miss E. M., 24. 

Bergen (Norway), 225, 231, 255, 287, 297, 
298; concerts in, 288ff, 2932, 34-i 402, 
407, 408. 

Bergen Aftenblad, excerpts from, 2908:, 

Bergner, Frederic, 108, 133. 

Beriot, Charles de, 228. 

Berlin (Germany), 87, 1 16, 260, 261, 400. 

Berlin (Mass.) , 127, 144, 145, 147, 168, 
171* 193* 33 2 > 334- See also "Lakeside." 

Berlioz, Hector, 137. 

Bermudas, the, 7. 

Berne (Switzerland), 321, 403. 

Bernetta, Felici, 376. 

Bernhardt, Sarah, 225, 228, 229, 335. 

Berry, Mrs., 119, 179. 

Bethesda Church (Saratoga, N, Y.) ,116, 

Bethlehem (Pa.) , 25, 26, 27, 28, 29, 350, 


"Beyond the Smiling and Weeping," 346. 

Bez, Charles de, 219. 

Bilotd, Anton, 376. 

Binghamton (N. Y.) , 336, 394, 395, 399, 
405, 409. 

"Bird Song," The (Taubert), 150, 154, 
197, 198, 254, 268, 277, 299, 318, 330. 

"Bird that came in Spring, The" (Bene 
dict) , 233. 

Bischoff, Alexander, 123, 134. 

Bishop, Capt., 52. 

Bishop, Sir Henry R., 112, 121. 

Bispham, David, 376. 

Bizet, Georges, 229, 257, sGo, 321, 326, 

330. 33i 35** 

Black Swan, the (singer), 58. 
Blaine, Mr. & Mrs, James G., 348, 349. 
Blake, Eugene, Emma Thursby's aid to; 

letter from widow of, 35of. 
Blanc, Adolphe, 219. 
Blauvelt, Ullian, 376. 
"Blessed Sabbath," 72. 
Bloch, Mile Rosine, 215, 286. 
Bloomington (111.) , 407. 
"Blue Bell Polka"- Duett, 24. 
Boccherini, Luigi, 204. 
Bohemia, 352. 
Bohemian family, Emma Thursby's story 

about, 263, 

Bohemian Girl, The (Balfe), 249, 272. 
Boito, Arrigo, 229, 238, 331. 
Bojano, Duchess de, 386. 
Bok, Edward, 354; letter to Emma Thurs 

"Bolero" (Verdi), 298. 

Bolles, Mr., 98, 101, 104. 

Bolles, Mrs., 89, 91, 96, 98, 102, 103, 104. 

Bologna (Italy), 104. 

Bolton (N. Y.) , 340. 

Bon March^ (Paris), 87. 

Bond, Allesandro, 376. 

Bond, Mr. and Mrs. C. H., 371. 

Bonheur, Mile Sarah, 209. 

Bonnehee, M., 286. 

"Bonnie Sweet Bessie," 365. 

Booth, Edwin, 64, 82, 252, 253, 254. 

Booth, Edwina, 254. See also, Grossman, 

Edwina Booth. 

Booth's Theatre (N. Y.), 164, 165, 393. 
Bordeaux (France), 277, 311; concerts at, 

2733i7- 353' 4oi4<>2, 410. 
Borden, Mr. and Mrs. M. C. D., 162, 349. 
Bordentown (N. J.) ,412. 
Bordet, Daniel, 7. 
Bordogni, teacher of Mme Rudersdorff, 



Boscovitz, Mr. F., 161. 

Bosquin, M., 286. 

Boston (Mass.), 35, 55, 58, 120, 128, 132, 
138, 145, 146, 147, 148, 151, 155, 157, 
161, 162, 164, 168, 171, 241, 242, 249, 

2 7* * 3*9. 332. ML 348 370> 37 > 376; 
concerts in, isi (Emma Thursby's first 
appearance), 135, 137, 149, 159!, ^ff, 
182, 240, 2 5 of, 328, 336, 330, 3 6of, 363, 
366, 387, 389, 390, 391, 393, 394, 395, 
398, 400, 403, 405, 406, 409, 410, 411, 
412; death of Mrae Rudersdorff in, 
320; Emma Thursby arranges audition 
for Geraldine Farrar in, 372; Gilmore's 
Peace Festival in, 121, 1261, Tribute to 
Emma Thursby from, 184. 
Boston J>aily Globe, excerpt from, 159. 
Boston Gazette, excerpt from, 121. 
Boston Museum of Fine Arts, J>ept. of 
Oriental Art at, 379. 

Boston Music Hall, concerts in, 137, 150, 
159, 181, 182, 184, 525, 389, 390, 391, 
393> 394, 395. 308, 400, 403, 405, 406, 

Boston Peace Jubilee of 1872, 121, i26f, 

Boston Philharmonic Club, 389. 

Boston Symphony Orchestra, 363, 411. 

Boston Tabernacle, 167, 393. 

Bosioo Theatre, 135, 375, 387, 389. 

"Bothnia" (ship), 233. 

Boucher, M., 228. 

Bourgault-Ducoudray, Prof. Louis, 199, 

Bouton, Edward, 60. 

Bowks, Mr. and Mrs. See, Bolles, Mr., 

Braddoo, Elizabeth, 232. 

Rraden, Mrs,, 43. 

Biracttad (England), 198, 396. 

Bradford (Pa,), 406. 

Bradley, Mrs., 94. 

Bradshaw, William, 108. 

Braga, Gaetano, 108, 252. 

Brahms, jotianraes, ic#, 200. 

Bra^dha^ M^ 196, 209. 

Branson, Phillip, 248, 252. 

Brassey, Lady, 228, 397. 

Braunschweig (Prussia), 26Ti, 401. 

Brazil, 144. 

Brazil, Empress of, 144, 391. 

Bridgeport (Conn.), 252, 395, 400, 404, 


Brigham, L. Louise, 335. 
Brighton (England) , concerts at, 3, 4, 
i9 8 * J99- 396; Emma Thursby meets 
English cousins in, 3, 4, 198. 
Brighton Standard, excerpts from, 4, 5. 
Brignoli, Pasquale, 63, 81, 85, 151, 175, 

177, 178, 230, 250. 
Bristol (England), 234, 398. 
Bristol Festival Choir, 234. 
Bristol Musical Festival, Third Trien 
nial, 223, 234, 235, 398. 
British Columbia, 365. 
British Museum (London), 335. 
"British Queen" (ship), 58; Captain of, 59. 
"Broadcasting," 250. See also, telephone, 

Telephone Concerts. 

Broadway Tabernacle (N. Y.), 144, 155, 
2 32. 349 375 39 1 ; desire of trustees to 
secure Emma Thursby's services, offer 
her highest salary ever paid church 
singer in America, her contract with, 
139; her first services at, 143; last ser 
vice at, 162; Maurice Strakosch first 
hears Emma Thursby sing at, 156. 
Brockville (Canada), 404. 
Brooklyn (N, Y.), 5, 12 25, 50, 57, 67, 71, 
73 76, 77> 78, 95> 104. 105, 109, 115, 
"9^ '3*> 137. 138, 145. 162, 166, 167, 
171, 182, 198, 202, 257, 266, 269, 329, 
355* 365; Emma Thursby a public fig 
ure in, 108, begins a series of appear 
ances with Mark Twain in, i $9. con 
certs in, i5ff, 23ff, 72, 74f, 107, 108, no. 
inf, 113, 117, 123, 135, 136, 164, 181, 
183, 184, 185, 239, 250, 326, 328, 363, 
382, 383, 384, 385, 386, 387, 388, 389, 
390, 391, 392, 393. 394- 395- 39$> 400, 
43, 404, 405, 406, 407, 408, 409, 410, 
411, 412, 413, delnit as soloist in PIv- 
mouth Church, 72, first appearance 


any great distance from, 73, first ap 
pearance in complete oratorio in, 72, 
first appearance with Ole Bull in, 72, 
first association with Dr. Leopold 
Dararosch in, 123, first regular position 
as church singei in, 68, home-coming 
to, 259, moves her family from, 540; 
Thursby forebears in, 6ff. 

-, effect of Civil War in, 64f; first 

performance o Tristan and Isolde in, 
no; good music no novelty in, 64; 
Great Water Celebration in, 30; larg 
est concert audience ever gathered in, 
250; opening of The Brooklyn Acad 
emy of Music, 6gf; rope industry in, 
7$; Sanitary Fair in, 66; schools in, 
23. See also, Bushwick, Cripplebush, 
Flatbush, Greenpoint, WilHamsburgh. 

Brooklyn Academy of Music, 316; con 
certs at, no, 117, 154, 135, 149, 154, 
164, ifei, 183, 184, 239, 250, 326, 342, 
3^6, 387, 388, 389, 390, 391, 392, 393, 
3$1- 395> 39$. 400, 43> 404* 405- 407* 
412; drama introduced in, 64; La 
Traui&fa banned in, 81; opening of, 
described, 63f. 

Brooklyn Bridge, 336. 

Brooklyn Daily Times? cited, 250. 

Brooklyn, Eastern District of, 51, 58; 
Capt. Praa as first citizen of, 6. 

Brooklyn Heights, 136. 

Brooklyn Heights Vocal Society, 386. 

Brooklynites, 86, 355; pilgrimage of, 123. 

Brooklyn Lyceum, 82. 

Brooklyn Musical Association, 72, 383, 

Brooklyn Philharmonic Society, 63, 64, 
1 10, 328, 386, 392, 395, 403, 404; Music 
Committee of, no, 111. 

Brooklyn Saengerbund, 394, 404, 

Brooklyn Tabernacle, 129, 384, 385, 389. 

Brooklyn Tabernacle (New), 363, 411, 

Brooklyn Teachers* Association, 387. 

Brooklyn Union, poem, tribute to Emma 
Thursby, 326. 

Brooklyn Union and Argus, cited, 250. 

"Brother and Sister"- Duett, 24. 

Brunn (Moravia), 262, 400. 

Brussels (Belgium;, ijj, 279, 281, 317, 

Bryant Literary Society, 408. 

Buck, Dudley, 116. 

Billow, Dr. Hans von, 88, 240, 389; dis 
approval of Abt's "Embarrassment," 
J 34* *35; fi^t "musical soireV' of, i32ft, 
artistic and popular success of, 133, 
demonstrates public's lack of appre 
ciation for chamber music, 134, Emma 
Thursby soloist of, i32f. 

Buffalo (N. Y.), 21; concerts in, 140, 327, 

39> 394> 393> 399' 4<>3> 45> 4^ 47> 

Bull, Jennie E., 89, 107, 108, no. 

Bull, Oie, 64, 225, 226, 230, 231, 232, 241, 

251, 258, 292, 297, 302, 344, 391, 3 9 s, 
400; birthday celebration at "Elm- 
wood/' 249; concert appearances with 
Emma Thursby, 72, 150, 158, 161, 164, 
165, 249?, 252; death of, 72, 256; first 
meeting with Emma Thursby, friend 
ship with, 71; first tour of America, 71; 
ill health of, 2526:; influence on music 
in America, 256; international reputa 
tion, popularity of, 7 if; last concert 
with Emma Thursby, 252; personality 
of, 150; return to Europe, 252, 254; 
testimonial concert to, 393. 

Bull, Olea, daughter of Ole Bull, 289, 

*97 3<>i> 348> 363. 37 6 - 
Bull, Sara Thorp (Mrs. Ole Bull), 232, 

252, 254, 255, 258, 289, 292, 293, 297, 
299 3<>i 303> 3^5* 306* 37> 3io, 314, 
$1$, 3*3> 3*8, 3*9* 340, 343^ 344, 349> 
S 62 ' 363* 37<> 3T 6 * 4 1 *; datfi of, 380; 
friendship with Emma Thursby, 150; 
gives series of lectures in memory of 
mother, 369; goes to Japan with Emma 
Thursby, 378; letters from Emma 
Thursby, 225^ 230^, 347^ excerpts 
from letters, 366, 374; organizes "Cam 
bridge Conferences,** 371; receives 
Emma Thursby as guest at "Elm- 
wood," 241. 

"Bull -Thursby" association, 150; artistic 
and financial success of, 250, 252. See 

also, **Thursby-BulI Combination." 

Bull Monument Fund, Ole, concert in 
aid of, 288, 289, 291, 292, 293, 296, 402. 

Bunker Hill Monument (Boston), 40. 

Burgess, Mrs., 52. 

Burlington (Iowa), 399. 

Burlington (Vt), 362, 410. 

Burnett, Edward, 272. 

Burnett, Frances Hodgson, 348. 

Burnett, Robert, 333, 334, 335. 

Burnetts, the, 194. 

Burnham, Mr., 304. 

Bumham, Thuel, 376. 

Bushwick (N. Y.), 6, 12, 60; advent of the 
Thursby family in, 7; Emma Thurs- 
by's family established in a home in, 
icf. See, Brooklyn, Williamsburgh. 

Butman, Emily, 145, 146. 

Byron, Arthur, 272. 

Caesars, Palace of the (Rome), 100, 101. 
"Calandrina, La/* Air (1750), (Jomelli), 

240, 243, 251, 260, 268, 277, 330. 
Calderon Fte (Madrid), 284, 285. 
California, 138, 139, 140, 141, 336, 364. 
Calve", Emma, 366. 
Calvin, church of, 88. 
Cambridge (England), 234, 397. 
Cambridge (Mass.), Emma Thursby an 
nounces intention to teach singing, 
369; Fjimrra Tfaursby's visits to, 241, 
249, 251, 328, 340, 349, 369, 371; Emma 
Thursby *s visits with Henry W. Long 
fellow in, 241, 251. 

Cambridge Art Conference, organized 
by Mrs. Bull, attended by Emma 
Thursby, purposes of, 371. 
Camden (N. J.), 395. 
Camp, Henry, 73, 74, 75, 108, 385, 586. 
Campanini, Cleofonte, 376. 
Campanini, Italo, 98, 192, 251, 255, 341. 
Canada, 157, 247, 331, 341. 
Canandaigua (N. Y.), 409. 
Candler, John W., 184. 
"Canta la Serenata," Duo (Meftstofele), 

Canute, King, 5. 

Capoul, Victor, 85, 319, 320, 321, 331, 
341; gives Geraldine Farrar dramatic 
lessons, 372. 

Capri, 104. 

Carbondale (Pa.), 410. 

Card tray, gift to Emma Thursby, de 
sign of, 217; inscription on, 218. See 
also, Association Artistique, L\ 

Carlberg, G., 238. 

Carleton, M., 230. 

Carleton, W. T., 181, 183. 

Carlsmhe (Germany), 304. 

Carmen (Bizet), 229, 255; first perform 
ance in England, Minnie Hauk as, 192, 

Carnegie Hall (N. Y.), 381. 

"Carnival, The" (Rossini), 147. 

"Carnival of Venice" (Benedict), 96. 

"Caro Nome" (Rigoletto), 181, 330, 331. 

Carolus-Duran, Auguste, 321, 323. 

Carozzi, Signer, 108. 

Carpenter, Mrs., 54. 

Carr, Mr., 41. 

Carr, Rev., 52. 

Carracalla, Baths of, 103. 

Carreno, Teresa (Sauret), 145, 146, 147, 
151, 160, 161, 165, 169, 328, 376. 

Carri, Ferdinand, 154. 

Carte, Richard D'Oyly, 192. 

Cartwright, Mme, 218, 397. 

Cary, Annie Louise, 75, 81, 85, 165, 167, 
182, 251, 363, 376. 

Cassel (Prussia), 401. 

"Casta Diva" (Norma), 233. 

Castellan, Mile, 228, 229. 

Castlemond, Marquis de, 376. 

Catacombs, the (Rome), 103. 

Caters-Lablache, Mme de, 274. 

Caux, Marquis de, 157, 173. 

Caux, Marquise de. See, Patti, Adelina. 

Cavatina (Der Freischutz), 240. 

Cavatina (Linda), 78. 

Cecilian Society of Philadelphia, 135, 
328, 404. 

Cedar Rapids (Iowa), 406. 

"Celtic" (ship), 109. 

Centennial Celebration at Chicago (1876), 


Centennial Exhibition, Philadelphia 
(1877), 160; Main Building of, concert 
in, 168, 393. 

Central Park (N. Y.), concerts in, 1 10. 

Cercle Artistique et Utteraire (Brussels), 
concert of, 317, 402. 

Cercle Artistique et Utteraire (Paris), 
concert of, 218, 397. 

Cercle Philharmonique (Bordeaux), con 
certs, 273, 274, 317, 353, 401, 402, 410. 

"Celebrated Echo Song, The." See, "Nor 
wegian Herdsman's Song/' 

Chadal, Mons., 376. 

Chamber music, 133, 134. 

"Chamelion Waltz," 24. 

Chamonix (France), 88. 

Champaign (111.), 406. 

"Chant Be L'Abeille, Le" (Masse), 330. 

"Chant du Misoli, Le" (La Perle du 
Bresil), 341, 354. 

Chapln, Dr. E. H. (Pastor), 156; char 
acter and ability as preacher, 114; 
popularity of, compared with Beecher, 


Chapin, Mrs. E. H., 156. 

Ghapin's church, Dr., 114, 130, 139, 156. 
See also, Church of the Divine Pater 
nity (Universalist). 

Chappel, Arthur, 188. 

Charing Cross Hotel (London), 169. 

Charivari, Le (Paris), excerpt from, 208. 

Chaumont, Mme Celine, 215. 

"Che Groja" (Mattei), 150. 

"Che pur aspro al cuore" (II Seraglio), 
159, 198, 200. 

"Chef de Chant FOpera," 218. See also, 
Hustache Theodore. 

Chelsea (Mass.), 149, 392. 

Chemintz (Saxony), 263. 

Chez L'Avocat (M. P. Ferrier), 228. 

Chicago (111.), 277, 340, 368, 369; Centen 
nial celebration (1876) in, 143; Con 
certs in, 120, 140, 143, 151, 158, 181, 
248, 249, 251, 327, 328, 366, 370, 388, 
390, 391, 392, 393, 395, 399, 400, 403, 
405, 412, 413; Emma Thursby meets 

Swami Vivekananda, 366; World's Co 
lumbian Exhibition in, 366. 

"Chicago" (battleship), Emma Thursby's 
visit to, 365. 

Chicago Daily Inter Ocean, cited, 327. 

Chicago Musical and Society World, 
cited, 249. 

Chicago Times, excerpts from, sioff, 

Chickering, Messrs., 133. 

Chickering Hall (N. Y.), Concerts in, 78, 
156, 182, 3 2 5 f, 385, 386, 389, 390, 391, 
392, 394, 403, 404; Grand Historical 
Concert Cyclus in, 32gff; Initial Con 
cert of Vocal Union of N. Y., 183; tes 
timonial concert to Emma Thursby in, 

"Chickering Pianoforte," purchase of by 
Thursby family, 69. 

Child of the Regiment (Donizetti), 81; 
burlesque performance of, 9gf. 

China, 365; Emma Thursby visit to, 378. 

Cfainda, Baron, 378. 

Chopin, Frederic, 178, 326, 330. 

Choruses, 123, 134, 166, 245, 251, 

Christian, King of Denmark, 287. 

Christian Science, 368. 

Christiania (Norway), 289, 293, 294, 297; 
Concerts in, 298 (Emma Thursby's 
dbut in), 344, 402, 408. 

Christmas Oratorio (Bach), 166, 182. 

"Christopher Columbus of the golden 
throats," 324. See also, Strakosch, 

Chronology of Emma Thursby's concert 
appearances, 382 et seq. 

Church of the Cappucines, 102. 

Church of the Divine Paternity, Univer 
salist (New York), 156, 252; congrega 
tion of, 113; Emma Thursby accepts 
call to, 113; Oley Speaks as soloist at, 
375; testimonial concert to Emma 
Thursby, 124, 388; Estelle Harris as 
soloist at, 375. 

Church of the Messiah (Brooklyn), 69, 
375; performance of Messiah in, 136. 

Churchill, Dr., 37, 41, 50, 55f. 

"Giel possente," Aria (Cythera), 200. 


Cimarosa, Domenico, 146. 

Cincinnati (Ohio), concerts in, 120, 181, 

33*. 336, 388, 392, 393, 395, 399, 404; 

Emma Thursby's first concert under 

Strakosch, 158. 
Cirque d'Hiver (Paris), 210, 273, 373, 396, 


Cbneros, Elecnora de, 376. 
"City of Berlin" (ship), 186, 198, 395. 
"City of Churches," 326. See also, 

City of the Golden Gate, The, 141. See 

also, San Francisco. 
Civil War, beginning of, 6j; effects on 

the nation, 64!; termination of, 66. 
Claflin, William, 184, 
Claire, Grace, pupil of Emma Thursby, 

Clark, John, his English Opera plans, 


Clark, Lizzie, 83. 
Clarke, Mrs. Campbell, 321, 403. 
Clarke, Eugene, 83. 
Claverack. (N, Y.), 77, 
Clay, Frederic, 79, 185, 193; letter to Ar 

thur Sullivan, 186; tribute to Emma 

Thursby and her voice, 186. 
Clemens, Clara, 376. 
Clesinger, Jean Baptiste (sculptor), 323. 
Cleveland, President Grover, 347^, 356, 

d, Mrs. Grover, 361. 
Cleveland, Miss Rose Elizabeth, 356; re 

ception to Emma Thursby by, 347. 
Cleveland (Ohio), 120, 249, 327, 350, 388, 

395* 399> 43 46, 409- 
Clinton (Mass,), 147, 332, 391. 
QocJomir, P., 219. 
Cobb, Fred, 333. 
Coblenz (Prussia), 87, 401. 
Cogswell, John B. D., 184. 
Cohen, Alfred, 187. 
Colby, Geo. W., 177, 339, 405; tours with 

Emma Thursby, 183, 364, 365. 
Colegrove, Dr., 408. 
Coliseum (Boston), 127. See also, Boston 

Peace Jubilee. 

"Colli Nativi" (Arditi), 178. 

Colraet-d'aage, Gabriel, 219. 

Cologne (Prussia), 87, 260, 267, 401. 

Colonne, Edouard, 196, 209, 273; concert 
with Emma Thursby, 204*?; engages 
Emma Thursby to sing, 202 (her Paris 
debut); presents Emma Thursby with 
testimonial bracelet, 217. 

Colonne concerts, 208, 209, 217, 318, 396, 

Colonne Orchestra, The, 202, 207. 

Colorado, 364. 

Colosseum, the, 99. 

Colson, Mme, 63. 

"Columbia" (boat), Christening of by 
Emma Thursby, 166. 

"Columbia," premiere of, 244^ audi 
ence's enthusiasm for, 245; parody on, 
quoted, 246f; words of first stanza 
quoted, 246. 

Columbus (Ohio), 181, 393, 395, 399, 406. 

Com&iie-Fran^aise, 209, 321. 

Comfort, John Van Cott, his marriage to 
Mary Elizabeth Bennett, 353. 

Comfort, Mary Elizabeth. See, Bennett, 
Mary Elizabeth. 

Commemorative Medal of the Societe 
des Concerts, Emma Thursby first 
American to receive one, 275. 

Commetant, Oscar, 219. 

Commercial Advertiser, excerpt from, 

Commercial Club Lunch, 347. 

Como (Italy), 88. 

Concert fee, largest ever offered an 
American singer, 158. 

Concert Festival, Grand Hotel (Paris), 

3*9> 43- 

Concert of the Harmonic Society (Wil- 
liamsburgh), 48. 

"Concert of the Musical Association" (St. 
John's Church), 72. 

Concerto for pianoforte in E flat (Bee 
thoven), 191. 

Concerto for pianoforte (Schumann), 

Concerto (6th) for Violin and Orchestra, 


Recitative and Andante (Sphor), 200. 

Concerto in D (M. S.) for Violin and Or 
chestra (Brahms), 200. 

Concord (N. H.), 405. 

Conquest, Dr., 35. 

Conselyea, Annie, 29, 31. 

Conservatoire (Milan), 96. 

Conservatoire National de Musique 
(Paris), 196, 202, 209, 401; Emma 
Thursby first American to receive 
Commemorative Medal from, 274!:; 
Emma Thursby the first American 
asked to sing at, 277; letter to Emma 
Thursby from President of, 216; 
Thursby concert at, 273. 

Continental Hotel (Paris), 276. 

Conway, Miss E., 24. 

Conway, Moncure, 232, 236. 

Cook, Mrs. T. J., 387- 

Coolidge, A. JL, 184, 243, 322, 347, 409. 

Cooper, Edward (Mayor), 404. 

Cooper, Peter, 375. 

Cooperative apartment house (the first 
in N. Y.), Emma Thursby occupies 
apartment in, 340. See also, Gram- 
ercy Park (No. 34). 

Copenhagen (Denmark), 293, 296, 306, 
310; Concerts in, 287, 288 (Scandinavian 
debut), 311, 315, 344, 401, 402; hos 
pitality of, 288. 

Copleston, Florence, 239. 

Coquelin, aine, 209, 215, 274, 277. 

Coquelin, cadet, 215, 274, 286, 321. 

Corcoran, W. W., 349. 

Cordage business (in Brooklyn), begin 
nings of, 8; demand in America for, 

Cornet, 112, 113, 142, 176. 

Cornett, Reba, pupil of Emma Thursby, 
374^ 375 376> 381- See Emory, Mrs. 
Percy F. 

Corning (N. Y.), 409. 

Cortelyou, Miss S. I., 25. 

Cortelyou, Miss S. T,, 24. 

Cortland (N. Y.), 410. 

Costa, Sir Michael, 166, 188, 192. 

Council Bluffs (Iowa), 399. 

Country Palace (Sweden), 304. 
Courrier Des Tribunaux, Le (Paris), ex 

cerpt from, 318. 
Courrier du Centre, Le (Bordeaux), ex- 

cexpt from, 354. 
Courtney, William, 251. 
Covent Garden (London), 223, 397, 398; 

Emma Thursby's first concerts in, 

Covent Garden Concerts, 225, 314. 

Cowen, F, H., 378, 397. 

Cowper, quotation from, 28. 

Cramer, Michael John (American Min 

ister to Denmark), 288. 
Cramer, Mrs., 288. 
Cramer, Messrs.. (managers of Emma 

Thursby), 4. 
Cramm, Baron von, 256. 
Creation, The (Haydn), 72, 149, 160, 161, 

181, 328, 383, 393. 
Crefeld (Prussia), 401. 
"Creole Waltz" Duett, 23. 
"Crinkle, Nym." See, Wheeler, Andrew C. 
Cripplebush (N. Y.), 6. See also, Brooklyn. 
Critics. See, Press. 
Crossley, Ada, 376, 
"Crossing the Bar," 381. 
Crystal Palace (London), 95; concerts in, 

196 (Emma Thursby f s first appear 

ance), 200, 233, 396, 397; Saturday con 

certs in, 196, 198. 
Cummings, W. H., 233. 
Curtis, Dr, Holbrook, 372. 
Cushman, Charlotte, 64, 82, 117, 
Cusins, Wm. G., 191, 200, 224. 
Cuyler, Dr. Theodore L., 356. 
Cuyler's church, Dr., 83, 84. 

Dagens Nyheder (Copenhagen), excerpt 

from, 288. 

Dagens Nyheter (Stockholm), cited, 300. 
D'Allauch, poetic tribute to Emma 

Thursby, quoted, 319. 
Dalmores, Charles, 376. 
"Dalpolka," Swedish song, 330. 
Damrosch, Frank, 374. 
Damrosch, Dr. Leopold, 133; benefit for, 


134*; concerts with Emma Thursby, 
160, 161, 239^ 247, 331, 389; first asso 
ciation with Emma Thursby, 123; let 
ter to Emma Thursby, 140. 

Damrosch, Walter, 351; first operatic 
composition of, 370. 

Dana, Charles A., 238. 

Darmstadt (Hesse), 401. 

Davenport, E. JL, 64. 

Davenport (Iowa), 406. 

David, Felicien, 203, 206, 207, 341. 

Davison, James, 188, 255; his objections 

to Taubert f s "Bird Song," 197; his 

opinions of Emma Thursby 's voice, 

191, 197; letters of introduction from, 


Dayton (Ohio), 406. 

De Bar's Opera House (St. Louis), 120, 

Decatur (111.), 406. 

Decotircelle, M., 219. 

Defies, Louis, 219. 

"Deh vieni non tardar" (Le Nozze di 
H^ro), 330,331,378. 

Delahaye, 219. 

Deland (Fla.), 410. 

Delaunay, M ., 209. 

Delaware (Ohio), 406. 

Delibes* Leo, 234* 5*& 33> 34 1 * 

DeH' Acqua, E., 370. 

**Deir Eta mia priraiera" (Pr &ux 
tcrc$)t 154, 166. 

Delle-Sedie, Enrico, 215. 

Delmonico, Mr., 54. 

Defnionico, Josie, 54. 

Dd^reniofit, Maurice, 234. 

Denmark, 5, 252, 312, 375. 

Denmark, Crown Prince and Princess of, 

Denver (Colorado), 339, 364, 405, 41 1. 

Depiesgfoii of 1857, 32. 

Depression of 1873-4, 107, 110. 

D&ert, Le (David), 203, 206, 207. 

DCS Homes (Iowa), 407. 

"Bet F*me M0de" (Grieg), 330; Thursby 
rendition of, 298. 

Detroit (Midi.), Coiicerts in, 120, 140, 

251. 327* 362, 388, 39. 39 1 395> 4<*>, 
407, 410; "Sacred Concerts" in, 122. 

Detroit Tribune, criticism of "Sacred 
Concerts," excerpt, 122. 

De Vere (Sapio) Clerrnentine, 376. 

Devoy, John C., 60, 383. 

Dewey, Admiral George, victory at Ma 
nila, 373. 

Dibble, C. Henry, 74, 75. 

Diemer, Lones, 321. 

Dieppe (France), 6. 

Dike, Mr. & Mrs. Camden C., 123. 

Dinorah (Meyerbeer), 96, 158. 

"Diomed Gallop," 23. 

Ditson, Oliver, 184. 

Dodge, Mary Mapes, 370. 

Dolci, Carlo, 87. 

Don Giovanni (Mozart), 88. 

Donalda, Pauline, 376. 

Donaldson, Mr., 41, 44. 

Donaldson, Mrs., 41 . 

Dore, Gustave, 319, 323. 

Dorernus, Prof. R. Ogden, 356. 

"Dove prende, La" (Mozart), 192. 

Dover (N. H.), 407. 

Drake, Dula Rae, pupil of Emma Thurs- 
ty> 37<>- 

Drake, Lady, 192. 

Drake, Sir William, 396. 

"Dramatic Expression," Emma Thursby's 
interest in, 369. 

Drammen (Norway), 344, 408. 

Drasdil, Anna, 123, 124, 128, 134, 135, 
151, 181, 182, 227. 

Dresden (Saxony), 87, 263, 400, 401. 

Dressier, Mr., 57. 

Drexel Bros., 264. 

Drog, Madlle Libia, 229. 

Drury Lane (London), 126. 

Du Carp, Magdeleine, 376. 

Du Chaillu, Paul, 277. 

Dudley, George Mr., 251. 

Due gemelli, Le (Ponchielli), 98. 

DSsseldorf (Prussia), 401. 

Duettino, Mefistofele (Boito), 331. 

Duetto Buffo (Barbiere di Seuiglia), 252. 

Duluth (Minn.), 407. 


Dunn, Mrs., 597- 

Dur>ee, Miss, 23. 

Duryee, Miss G. E., 24. 

Duryee's School, Miss E. N., Emma 

Thursby 's attendance at, sgff; school 

concerts, 23ff, 382. 
Duvernoy, Alphonse, 286, 287. 
Dwarf mule, 284; Ina Thursby's account 

of, 284. 

Dwight, John S., 132, 137, 155. 
Dyer, Oliver, 60. 
Dyke, Sydney, 376. 

Eames, Emma, 366, 373, 375, 376. 
Earp, Mrs. Wilbur. See Harris, Estelle. 
East Rockaway (N, Y.), 384. 
Easter Oratorio, 157. See also, Handel 

and Haydn Society, Boston. 
Eastman, A. W., 19. 
Easton (Pa.), 124, 370, 388, 390. 
"Echo Song" (Bishop), 75, 112, 121. 
"Echo Song'* (Eckert), 181, 230, 256, 260, 

*99 350- 

Edict of Nantes, Revocation of, 6. 

Edinburgh (Scotland), 199, 396. 

"Edinburgh" (ship), 59. 

Edison, Thomas, latest invention of, re 
quests Emma Thursby to make record 
of voice, 184. 

Eglantine, role of (Fridolin), 192. 

Egmont Overture (Beethoven), 224. 

"Eider" (ship), 345. 

"Eit Syn" (Op. 33, no. 6) Grieg (unpub 
lished), manuscript of presented to 
Rmma Thursby, 296. 

"Elbe" (ship), 323, 524. 

Elberfield (Prussia), 401. 

"legie" (Ernst), 381. 

Elijah (Mendelssohn), 112, 148, 234. 

Eliot (Me.), 362, 363, 368, 412, 413. See 
also, Greenacre. 

Eliat Epwortkian, cited, 368. 

Eliot Library Association, 562; second 
annual Midsummer Fete of, 362^ 

Elizabeth, Queen of Rumania, 344. 

Elizabeth (N. J.), 387. 

Elliot, Mrs. Dr. J. B., 387. 

Ellis, Charles, 372. 

Elman, Mischa, 266. 

Elmira (N. Y.), 135, 252, 389, 394, 400, 
405, 409. 

"Elmwood" (Cambridge, Mass.), celebra 
tion of Ole Bull's birthday at, 249; 
Mr. and Mrs. Ole Bull at, 241; recep 
tion to Emma Thursby at, 328f. 

Elsinore (Denmark), Emma Thursby vis 
its Hamlet's grave in, 289. 

"Embarrassment" (Abt), 121, 229, 266; 
Von Bulow's objection to, 134, 135. 

Emery, M. F., 335. 

"Emigrants d'Amerique, Les" (Lemotte), 
subtitles: "Departure," "Hail Colum 
bia," "Storm at Cape Hatteras," "Calm 
after the Storm/* "Yankee Doodle," 
"Arrival," "Rejoicing," "Dance on 
Board," "Finale," 235. 

Emory, Mrs. Percy F. See Cornett, Reba. 

Ems (Germany), 87, 352, 354, 357, 359; 
concerts in, 256*, 400; Emma Thursby 
makes German dbut in, 256f. 

Engally, Mme, 321. 

Engel, Louis, 228, 230, 397. 

Enghedi, "the mount of Olives'* (Bee 
thoven), 148, 154. 

England, 3, 6, 34, 41, 43, 50, 86, 1*6, 154, 
156, 162, 163, 169, 170, 191, 192, 198, 
200, 201, 203, 234, 236, 262, 332, 345> 


"England" (ship), 195. 
Englewood (N. J.), 107, 586. 
English Festivals, 234, See also, Bristol 

Festivals, Hereford Festivals. 
English Fleet, expected attack upon 

Brooklyn from, 7. 
English Opera, 82, 83; Mme Ruders- 

dorffs comment on, 272. 
English Opera Co., 272; established by 

Clara Lociise Hellog, 83. 
"English Opera Troupe" (John Clark's), 

Enlevement au S&rail, L, Introduction 

Air de Constance (Mozart), 210. See 

also, "Seraglio, II.*' 


Enriquez, Mrae, 253. 

Erlanger, Baron and Baroness d', 262. 

Ernani (Verdi}, 112. 

Ernst, Heinrkh, 381. 

Erie (Pa.), 395, 406. 

Errani, Achille (teacher of Emma 
Thursby), 187, 303, 328, 340, 360, 363; 
Emma Thursby begins study with, 77, 
credits him with first important N. Y. 
engagement, 78; his death, 374; letter 
to Emma Thursby, i4$f; opinion of 
Ina Thursby *s voice, 180; pupils of, 
77; qualifications as teacher, 77; repu 
tation as singer, 77. 

Errani, Mrs. Achille and daughter, 340. 

"s blinkt der Thau" (Rubinstein), 331. 

Escudier, Lon, 209. 

Esser, H., 240. 

M Es War Ein Traum" (Lassen), 330. 

Ethics, subject of, 369. 

toile du Nord, L' (Meyerbeer), 150, 178, 
*35 238, 318, 331. 

Eugenie, Empress of France, her jewelery, 


Europe, 21, 54, 57, 69, 77, 84, 107, 108, 
109, 119, 120, 127, 131, 139, 153, 154, 
157, 164, 167, 168, 172, 182, 184, 223, 
*7*> 3i6, 3^5, 327, 336, 339, 340, 343, 

349> 35i' 354^ 373 S 8 - 

Europe, t>eiieits derived from travel and 
study in, 106; Emma Thursby begins 
singing lessons in, 89; Emma Thurs 
by f s first appearance in concert in, 189; 
Emma Thursby's trips to, 87, i86f, 
2528, 342, 352, 373, 378, 380; greatest 
tenor in, 280; Jotin and Jane Thursby 
leaw for, 33; Maurice Strakosch un 
able to obtain engagements for Emma 
Urarsfof in, i9ff; oldest university in, 
313; Patti not received socially in, 315. 

"Europa" (ship), 55, 58. 

Euryontke, Finale d* (Weber), 273. 

E^rans, Dr., 270. 

Evening Record, excerpt from, 176! 

Ewrett House (N. Y.), 237, 265, 340. 

Exeter (N. H.), 407. 

"Experiences of the McWilliamses with 

Membraneous Croup, The," 150. 
Exposition Hall (Chicago), Concert at, 

Fabra, Camilo, 256, 284. 

Fabra family, 286. 

"Faceio, Le," trio (Cimarosa), 146. 

Fairchild, General Lucius, 202, 209, 2&6. 

Fall River (Mass.), 161; concerts in, 150, 

"Fantaisie" Violin solo (De B6riot), 228. 

"Fantaisie chromatique et Fugue" (J. S. 
Bach), 133. 

Fantasie Norma (Bellini), 112. 

"Farewell" (Engel), 228, 230. 

"Farewell Opera Concert," 229; prin 
cipal vocalists of, 2291. 

Faribault (Minn.), 399. 

Fanner, Hannah, 362. 

Farmer, Moses Gerrish, 362. 

Farmer, Sara J., 362, 363, 368, 369, 37!, 
376; excerpt from letter to Emma 
Thursby, 379; testimonial concert to, 
413; tribute to "Mynah," 379. 

Farrar, Geraldine, pupil of Emma 
Thursby, abilities, appearance, audi 
tions for Melba and Grau, 372; begins 
study with Emma Thursby, 371; char 
acter, dramatic lessons, 372; first meet 
ing with Emma Thursby, 371; goes to 
home of Emma Thursby to study, 
371 f; sings at Emma Thursby's recep 
tion to Melba, 373; sings at White 
House, 372; studies in Europe, 373. 

Farrar, Mrs. Sidney (mother of Geral 
dine), accompanies Geraldine to Thurs 
by home, 37 if. 

Farrar, Sidney (father of Geraldine), 372. 

"Father of Humanity," 359. See also, 
Beecher, Rev. H. W 

Faure, Jean Baptiste, 88, 217, 274, 276, 
*77> 321- 

Faust (Gounod), 81, 192, 215, 309, 322, 
326, 331- 

Favart, Mme Marie, 209. 


Favorite, La (Donizetti), 89. 

Femmes Savantes, Les (Molire), 229. 

Fenollosa, Ernest, 369. 

Ferranti, Signor, 124, 151, 248, 250, 252, 
325> 328. 

Ferri, Nicola, 63. 

Ferrier, M. P., 228. 

"Festival March" (Henschel), first per 
formance of, 192. 

Fete de La Macdoine. 321, 403. 

Feuille, Madame Kate Luby, quoted, 60. 

"Few Days" Var., 24. 

Field, Kate, 231, 232. 

Fifth Avenue Hotel (N, Y,), 130. 

Fifth Avenue Theatre (N. Y.), premiere 
of Pirates of Penzance at, 247. 

Figaro, Le (Paris), excerpt from, 207, 


Fille de Regiment, La, 25. 
Fingal's Cave, overture (Mendelssohn), 


Fire Island (N. Y.), 324. 
Fischer, Adolphe, 248. 
Ffschhof, Robert, 265, 266, 268, 297, 310. 
Fitchburg (Mass.), 390, 408. 
Fitzhugh, Mr. E. J., 387. 
Flatbush, 23, 24, 382. See also, Brooklyn. 
Floral Hall (London), Emma Thursby 

first hears Patti in, 192. 
Florence (Italy), 98, 99. 
Florida, 183, 363. 
Florio, Caryl, 83. 
Flotow, Friedrich von, 112. 
"Flower of America" Waltz Duett, 24. 
Flushing (L. I.), 83. 
Flute, 121, 167, 178. 
Flute Enchantee, La, duet from (Mozart), 

Flying Dutchman, The (Wagner), 200, 


Foch, Dirk, 376. 

Fodrelandet (Copenhagen), cited, 287. 
Fonblanque, Ellen de, 233. 
Fontainebleau (France), 195. 
Forbes, John E., 60. 
Fonnelle, Ch. T 278. 

Formes, Carl, 336. 

Forrest, Edwin, 64. 

Forces tier, 112. 

Fort Sumter, attack on, 64; pilgrimage 

to, 66, i23f. 

Ft. Wayne (Ind.), 399, 405, 
Fortress Monroe (Va.), 347, 408. 
Forum, the (Rome), 99, 101. 
Fourteenth United States Infantry Band, 

Fourth of July, celebration of, year 1872, 

86; year 1879, 228; year 1880, 254; 

death of Emma Thursby on, 1931, 381. 
Fra Diavolo (Auber), 81. 
France, 35, 82, 172, 198, 201, 202, 209, 

*73> 3i5> 3i9 3*> 333* 345> 353* 361, 
378; Emma Thursby receives greatest 
honor of, 274. 

Franco- Prussian War, 82. 

Frangohe de Rimini (Thomas), 269. 

Franconia (N. H.) r 408. 

Frankfurt (Prussia), 401. 

Franklin, Benjamin, 217. 

Franklin Lyceum, 389, 393. 

Franz, Dr. Robert, 191. 

Frapolli, Signor, 230. 

Frasee, Dr. J. Elmer, 381. 

Frederick, Crown Prince of Germany, 


"Frederick Polka" Duett, 24. 
Freischutz, Der (Von Weber), 72, 190, 


Fremont, General John Charles, 356. 
French, Daniel Chester, 361. 
French cats, John Thursby 's comment 

on, 40. 

French's church, Mr., 69. 
Fresno (Cal.), 411. 
Fribourg (Switzerland), 88. 
Fridolin (Randegger), 192. 
Fries, Mr., 291. 

Furstenberg, Prince and Princess of, 259. 
Fugola, B., 279. 
Funeral March (Cotter dammerung), first 

performance of, 150. 

Gabrilowitch, Ossip, 376. 

43 1 

Gade, Niels, 288. 

Gadski, Johanna, 376. 

"Gaily I Trill" (Sioman), 78. 

Galossi, Signer, 230. 

Galbreath, Eliza (Tucker), wife of Rob 
ert Galbreath, 8. 

Galbreath, Hannah, 8. See also, Thursby, 

Galbreath, Robert (father of Hannah 
Thursby), 8. 

Gaksburg (II!.), 406. 

Galleria, the (Milan), description of, 95. 

Gallette, 89. 

Galli-Curci, Amelita, 376. 

"Gallia" (ship), 252; July 4th Celebra 
tion on, 254, 400. 

Gallico, Paolo, 376. 

Gand, ., 219. 

Garcin, J. f 219. 

Garden, Mary, 376, 

Gardner, Leila Troland, pupil of Emma 
Thursby, 375. 

Garfield, Pres. James A., death of, 303, 

Garfield, Mrs. James, 356. 

"Gascoigne" (ship), 360. 

Gascon, Wm., 184. 

Gatty, I-ady Scott, 376. 

s t Le (Paris), cited, 215, 324. 
e*, Julian, 255. 

Gcfie (Sweden), 303, 507, 310, 402. 

Geneseo (N. Y.), 409, 

Geneva (Switzerland), 88, 321, 403. 

George, Prince of Germany, 256. 

German Court, concert at, 264. 

German nobility, 259, 

Genaaaii Opera Company, 351. 

German troops, occupation of Paris by, 

"Germanic" (ship), 258, 306. 

Genaaantown (Pa.), 409. 

Germany, 6, 70, 73, 8, 90, 126, 25(6, 258, 
259, 266, 284, 315, 333, 334, 352, 357, 

Genffimy, Empras of, 257, 259, 

Gerstor, EteHca, 190, 1^5, 227, 255, 272, 

Gewandhaus Concerts (Leipzig), 265, 266, 
268, 401; Emma Thursby first Ameri 
can to sing in, 266. 

Gibson, Mary (Thursby), daughter of 
Samuel and Jane Thursby, 7. 

Gibson, Samuel, 7. 

Giffard, Prof., his balloon, 195. 

Gilbert, W. S., 247. 

Gillig, Charles, 312. 

Gillig, Henry F., 265, 276, 312 (brother); 
engagement to Emma Thursby denied, 


Gilmore, Patrick, 112, 113, 123, 124, 125, 
126, 138, 187, 328; benefit concerts for, 
131, i4if, i74ff, 389, 393; engages 
Emma Thursby as soloist for band. 
120; letter to Emma Thursby, 244^ 
introduces "Columbia," 244ff; takes 
out life insurance policy on Emma 
Thursby, 122; tours with Emma 
Thursby, i2off, 139*?. 

Gilmore *s Concert Garden (N, Y.), 125; 
concerts in, 131, 174, 389, 393. 

Gilmore 's Peace Jubilee of 1872, 121, 125, 
131. See also, Boston Peace Jubilee. 

Gilmore *s Twenty -second Regiment Band, 
concerts with Emma Thursby: naf, 
117, 124, 135, 137, 364, 387, 388, 389, 
390, 391, 399, benefit concerts, 131, 
i4if, i74ff, 389, 393, Lottery Concerts, 
120, "Sacred Concerts," isif, with Ar 
tillery Accompaniment, 143. 

Ginzburg, Baron Horace de, 218, 397. 

Gioconda, La (Ponchielli), 341. 

Gipson, Richard, his eulogy of Emma 
Thursby, 381. 

Giralda (opera), 148. 

"Girl I Left Behind Me, The," 253. 

"Give Joy, Dear Mother," 79. 

Glasgow (Scotland), 255. 

Glee and madrigal singing, 183. 

Glover, Russell, 340. 

Gloversville (N. Y.), 412. 

Gluck, C. W. von, 197, 200. 

"God Morgen" (Grieg), 297, 344, 379. 

M God Save the King," Thursby singing 
<rf, 254. 


Godowsky, Leopold, 346, 549. 

Gotterdammerung (Wagner), 150. 

Goldmark, Carl, 240. 

Goldsmith, Master Oliver B,, 385, 386; 
renditions o, ySL See also, Shakes 
pearean Soiree. 

"Good By, Sweet Heart," 253. 

"Good Little Girl" (Mansfield), first sung 
by Emma Thursby, 336. 

"Good News from Home" Song, 24. 

"Good Night and Pleasant Dreams" 
(Wallace), 330. 

Gordigiani, Giovanni, 147. 

Gordon, Jeanne, 376. 

Gordon Hall (Tientsin), concert at, 378, 

379> 413. 

Gosche, Jacob, asks to be manager for 
Emma Thursby, advice from, 223. 

Gdteborg (Sweden), 310, 402. 

Gottschalk, Gaston, 169. 

Gottschalk, Louis, pianist, 64, 72. 

Gounod, Charles, 125, 150, 209, 219, 228, 
235> 3*4* 53*' 336, 373> 379> 3&i; asks 
Emma Thursby to sing role of Mar 
guerite in Faust, 214. 

Grainger, Percy, 376. 

Gramercy Park (N. Y.), 336; Emma 
Thursby moves to No. 34, 340; first re 
ception at, 341; first "Thursby Friday" 
at, 351; funeral of Alice Thursby from, 
346, funeral of Emma Thursby from, 
381; musicals at, 341, 351, 406, 412. 

Grand Ball (Stockholm), attended by 
Emma and Ina Thursby, 3045. 

Grand Central Station (N. Y.), 174. 

Grand Cercle du Palais Marie-Christine 
(Nice), 319, 403. 

Grand Harmonie, La (Roubaix, France), 
concert of, 354, 410. 

"Grand Historical Concert Cyclus, The/' 
329, 404. See also, Chidkering Hall. 

Grand Hotel (London), 255. 

Grand Hotel (Paris), 87, 319; Concert 
Festival at, 401, 403. 

Grand Military Concert (Chicago), 413; 
Emma Thursby's last appearance be 
fore large audience, 370. 

Grand-Opera de Paris, 269. 

Grand Philharmonic Orchestra (Brook 
lyn), concert of, 110. 

Grand Rapids (Mich.), 407. 

"Grand Republic*' (boat), 253, 324. 

"Grand Sdagraphic Exhibition of the 
Celebrated Elephant 'Zephyr'," 74. 

Grand Street (Williamsburgh), 12, 54, 62, 
$3> 136; John B. Thursby establishes a 
home on, 10. 

Grand Testimonial Concert to Emma 
Thursby by the people of Washington, 
34 8f. 

"Grand Tour" of America, 120. 

"Grand Tour** of Europe, 82, 120. 

Grand Trio for Piano, Violin, Violin- 
cello, Opus 70, No. 2, E flat (Bee 
thoven), 133. 

Grand Union Hotel (Saratoga), benefit 
ball at, 115^387. 

Grange, Mme Anna de la, 71, 209, 285, 

32i, 373* 
Grant, General Ulysses S., 199, 288, 329, 


Grant, Mrs. U. S., 329, 356. 

Grau, Maurice, Geraldine Farrar gives 
audition for, 372. 

Gray, Prof. Elisha, demonstration of 
"Marvelous Telephone" of, dispute be 
tween Gray and Bell over invention of, 

Gray, John, 68. 

"Great Balloon," 54, 57. 

Great Britain, 206. See also, England. 

"Great Eastern" (ship), 35, 39. 

Great Falls (Montana), 365, 412. 

Great Water Celebration, 30. See also, 

Green, Eleanor (Princess Viggo), pupil 
of Emma Thursby, 375. 

Green. Mrs. William Houston, 377. 

Greenacre, 368; Emma Thursby's visits 

*> 37' 37 x ' 37 s - Sec a* 30 ' EUot ' Me - 
Greenacre Congress, purposes of, 368. 
Greenacre Fund, benefit concert for, 368, 

370, 412, 413. 


Greco Point, 45, 386, 387; Emma 

Thursby christens "Columbia" at, 166; 

launching of "Monitor" at, 65. See 

also, Brooklyn. 
Greenwood, Grace, 252. 
Green-Wood Cemetery (Brooklyn), Rev. 

Henry Ward Beecher's funeral service 

in, 357. 

Gre"try, Andr Ernest, 330. 
Grieg, Edvard, 330, 378, 379; accom 

panies Emma Thursby in concert, 297, 

298; presents her with manuscript of 

unpublished song, 296. 
Grieg, Nina, 296. 
Grisi, Giulia, 192. 
Grisy, A., 219. 

Grossman, Edwina Booth, 254, 377. 
Guglielmo, 79. 
Guild, Curtis (American Minister to" 

Russia), 228. 

Guild, Mrs. Curtis, 272, 335. 
Guild, Innumps (also, as Jinnumps), 272, 


Guillot de Sainbris, A., 214. 
Guiraud, E., 286. 
Gulager, Mme, 151. 
Gulkk, David, 31; his account of Emma 

Tfaursby's concert at the age of 5, 150*. 
Giraipert, Ferdinand, 261, 
Gustavus III of Sweden, 310. 
GMJ M&nnering, 82. 
Gye, Ernest, offers services to Emma 

Thursby as manager, 223. 
Gye, Frederick, 188. 

his friendship with Emma 

. Pinafore. See, Pinafore. 
"Habanera, La w (Carmen), 229. 
Hackelt, Charles, 64. 
Hadley, Henry, 377. 
Hadtey, Inez Barbour, 377. 
Hague, The (Holland), concerts at, 270, 


Haideraroskin (Schubert), 330* 
"Hail Columbia," 143. 

Hale, Rev. Edward Everett, 323, 363, 369. 

Halifax (Nova Scotia), 349, 408. 

Hall, Capt. W. F., 34, 35, 37, 38, 39, 41, 

43* 44> 45> 50 5*> 55> 57* 5&; letter to 
John Thursby, 458. 
Halle", Charles, 188; Hallos concerts, 234, 


Hallo's Orchestra, Cliarles, Emma Thurs 
by appears with, 198, 199. 

Halle (Saxony), 401. 

Halliday, Mr., 357. 

Hallstrdm, Ivar, 301, 344. 

Hamburg (Germany), 310; concerts in, 

Hamilton, Gail, 348. 

Hamilton (Canada), 395, 406. 

Hamlet (Shakespeare), 78; Emma Thurs 
by makes visit to grave of, 289. 

Hamlet (Thomas), 81, 251, 252, 264, 268, 
269, 351; Emma Thursby studies r6Ie 
of Ophelia in, 218. 

Hampton (Va.), 408. 

Hampton Roads (Va.), battle of "Merri- 
mac" and "Monitor" at, 65. 

Handel, George F., 26, 123, 124, 132, 133, 
166, 167, 191, 197, 234, 240, 251, 273, 

39' 33^ 337- 

Handel and Haydn Society of Boston, 
137; Emma Thursby's appearances 
with: 393, 394, 395, 400, 403; Creation, 
328; Easter Oratorio, 157; Joshua, 159; 
Triennial Festival (4th), 157, 164, i6sf; 
Triennial Festival (5th), 25of; Trien 
nial Festival (6th), 336. 

Handel and Haydn Society, Brooklyn, 
Emma Thursby's appearance with: 
388, 389, 392, 393; benefit performance 
for Dr. Damrosch, 134; Engedi, 154; 
Messiah f 135; Ole Bull Concert, 164; 
"Third Grand Concert" of, 123. 

Handel and Haydn Society Festival. See, 
Handel and Haydn Society, Boston. 

"Handworkers Union" (of Bergen), trib 
ute to Emma Thursby, 292. 

Hannibal (Mo.), 407. 

Hanslick, Eduard, 262. 

"Happy Children" (Massenet), 341. 


Land"- Song, 25. 
Hardie, Robert, 323. 
"Hark, Tis the Linnet" (Joshua), 159. 
Harlem Railway, buildings of, 174, 
Harmonic Society. See Williamsburgh 

Harmonic Society. 
Harmonium, 230. 
Harp, 150, 230; Aeolian harp, 213. 
Harris, Estelle, pupil of Emma Thursby, 

370, 373' 375* 377* 

Harrisburg (Pa.), 4<>7- 

Harrison, Gabriel, his account of open 
ing of Brooklyn Academy of Music, 63. 

Harte, Bret, 79, 255. 

Hartford (Conn.), 135, 389. 

Harvard Musical Association, The, 132; 
390; Emma Thursby as soloist with, 
musical triumvirate of, 137. 

Harvard University (Cambridge), 137. 

Hastings, Arthur, 334. 

"Hastings" (ship), Chief Physician of, 59. 

Hatfield, Rev., 61. 

Hatton, Joseph, 235; quoted, 236. 

Hatton, Mrs. Joseph, 229, 397. 

Hauk, Minnie, 77, 229, 230, 279; as Car 
men, 192. 

Haverly's Theatre (N. Y.), 329. 

Havre (France), 43, 58, 360, 

Hawley, General, 255. 

Hawthorne, Julian, 232. 

Haydn, Franz Joseph, 26, 121, 123, 124, 
160, 191, 200, 210, 251, 330, 378. 

Hayes, President and Mrs. Rutherford 
B., Emma Thursby's visits to, 241, 249; 
honor Emma Thursby with reception 
at White House, 181, 394. 

Haynes, Miss, 23. 

"Hazel Dell"- Song, 24. 

"Hazel Dell"-Var., 24. 

Hazelton (Pa.), 409. 

"He shall feed His flock" (Messiah), 123. 

Healy, George P. A., 209, 323, 353; asks 
Emma Thursby to sit for portrait, 217; 
Emma Thursby buys portrait from, 

Healy, Mrs. George P. A., 353. 

"Hear My Prayer" (Mendelssohn), 192, 


Hearst, Phoebe, 364, 

Hearst, Senator George, 364. 

Hearst ranch, 364. 

"Heathen Chinee," 79. 

Hecht, Mr. and Mrs. Edward, 219, 397. 

Heidelberg (Baden), 265, 401. 

Heifetz, Jascha, 266. 

Heimlicher, Marie, 329. 

Heinemann, Alexander, 377. 

Helsingborg (Sweden), 402. 

Helsingfors (Finland), 311. 

Hempel, Frieda, 377. 

Hendricks, Thomas A., 349. 

Henri, Prince of Hesse, 218. 

Henry, Martha, pupil of Emma Thurs 
by, 375> 373. 

Henschel, George, 192, sco, 255, 336, 377. 

Hereford (England), 397. 

Hereford Musical Festival, concerts of, 
223, 231, 232, 397. 

Hereford Shire Hall, concerts in, 233, 


Herman, Reinhold, 377. 
Hirodlade (Massenet), ballet music from. 

"Heroes, when with Glory Burning" 

(Othniel), 159. 
Hercld, L.J.F., 154, 166, 189, 233, 235, 

Hess, Clarence D. (manager of Emma 

Thursby), 181. 

Hesse, Prince and Princess of, 218. 
Heugel, Jacques, 196, 201, 202, 209, 373. 
Hey, Maria, 6. See also, Praa, Maria. 
Heymann, Carl, 260. 
Higginson, Thomas Wentworth, 371. 
Hill, H. Weist, 198. 
Hill, Wm. J-, 385. 
Hillard, G. S., 184. 

Hiller, Ferdinand von, 166, 267, 330, 401, 
Hillman, Miss Augusta, 387. 
Hilton, Robert, 234. 
Hinckley, Isabella, 65. 
Hindle, Mary H., 383, 386. 


Hinduism, subject of, $6g. 
Hippodrome (Barnum's), 131. See also, 

Gilmore's Concert Garden. 
Hirsch, Baron, 117, 396. 
Hishida, Sfaunso, 377, 
Hitchcock, I>r. Edward W. (Pastor), 202, 

817, 281, 32*, $46, 396, 
Hitchcock, Mrs. Edward W M 3a. 
Hoffman, Edward, 75, 
Hoffman, Richard, 351. 
Holbien, 87. 
Holdcn, 531. 
Holland, 256, 552. 
Holland, King of, 88. 
Holman, Joseph, 377. 
Hoist -Hamen, 32$, 
Holyokc (Mas*.), 408. 
Holyrood (Leslie), 198. 
Home Journal (N. Y.), cited, 245. 
"Home Sweet Home," 238, 243, 325. 
Homer, Louise, 377. 
Homer, Sidney, 377. 
Hong Kong (China), 565, 
Hopkins, Mrs. Mark, champions Emma 

Thursby, 337?. 
Hornellsville {N. Y.), 410. 
Hoichklss, Julia R., 335. 
Hotel Archiduc Charles, 262. 
Hotel Boylston (Boston), 135, 138, 148, 

iS 1 * *55- 
Hotel Buckingham (N. Y.), concert at, 

*44. 39 * 
Hole! Continental (Paris), 209, 321, 396, 


Hotel d'Angleterre (Copenhagen), 287. 
Hotel de I'Ewrope (Hamburg), 314. 
Hold de Londres (Para), 201, 269, 278, 

Hotel de Russie (Fraafcfort), Eamyta and 

Ina Thursby occupy Emperor Wil 
liam's snifc in, Ina Tbursby's acoxint 

of, 264! 
Hoel de$ Quatre Nations (Barcelona), 

a So. 

Bofei Holdts (Bergen}, 2% 
Hotel Minerva (Rome), 98. 

Hotel Splendide (Paris), 196. 

Hole! Touraine (Boston), 372. 

Hotel Victoria ^Baden-Baden), 258. 

Hottin, 219. 

Hour, The (N. Y.), excerpt from, 325. 

Howard, Bronson, 232, 252, 254, 255. 

"How Can A Bird Help Singing?" 75. 

Howe, Julia Ward, 127, 366, 

Howe, Mile Jenny, 209. 

Hubbell, Miss Ida W., 251. 

Huckleberry Finn, 149. 

Hudson (Mass.), 146, 391. 

Hudson (N. Y.), 75, 177, 385, 393, 404. 

Huguenots, Les (Meyerbeer), 190, 324. 

Huguenot settlers, the (in America), 6. 

Hull (England), 289. 

Hulsen, Count Botho von, 116. 

"Hungarian" concerto (Joachim), no; 

first American interpretation of, 1 1 1 . 
Hungarian rhapsodies (Liszt), 178. 
"Hush Ye Pretty Warbling Choir," Aria 

(Acis and Galatea), 329. 
Hustache, Thdodore (teacher of Emma 

Thursby), 218. 
Hutchins, Stiison, 348, 
Hyde, Henry H., 184. 

"I know that my Redeemer liveth" 
(Messiah), 123, 195. 

"I Paddle my own Canoe," 24. 

"I will extol Thee, O Lord" (Costa), 166. 

"Idaho" (ship), 82, 86. 

Illinois, 248, 342. 

"In der Marznacht" (Taubert), 378. 

"In Fields Elysian," Sarah Farmer's ref 
erence to, 379. 

M In my pleasant land of France," 198, 

Independence^ L' (Paris), excerpt from, 

Independent, the, Rev. H. W. Beecher 

editor of, 114. 
India, 378. 
Indiana, 248. 

Indianapolis (Ind.), 388, 395. 
Industrial School, benefit concert for, 

182, 394. 


Ingrande, Edmond d', 219. 

"Innocents Abroad, The/' 102, 149. 

Institute Musical (Orleans), concert of, 

Institute of Musical Art, Emma Thurs- 
by's professorship at, 374. 

"Invitation to the Dance" (Weber), 178. 

lolanthe (Gilbert & Sullivan), 329. 

Iowa, 248, 542. 

Ireland, 5, 7, 87, 152. 

Irving, Henry, 341. 

Irving Hall (New York), 108, 386. 

Isabella, Infante of Spain, 285. 

Isabella, Queen of Spain, 217, 270, 285, 
286, 318, 319. 

Israel in Egypt (Handel), 166. 

Italian opera in America in 1871-72, 84^ 

Italian school of singing, Errani's par 
tiality to, offers greatest opportunities 
to Emma ITiursby's voice, 84. 

Italy, 82, 84, 92, 93, 94, 104, 107, 126, 173, 
202. 375> 378. 

Ithaca (N. Y.), 394, 395- 

"It is Enough/' Aria (Elijah), 112. 

Ivanowsky (Ukraine), birthplace of Mme 
Rudersdorff, 126. 

Jackson, Mrs. James, 202, 256, 258, 312. 
353* 373> 377 402, 413; gives reception 
in honor of Emma Thursby, 318. 

Jacksonville (Fla), 410, 412. 

Jaell, M. Alfred, 191, 224. 

Jancourt, E., 219. 

Janjira, Her Highness Mazli Rafinga of, 


Japan, 378, 379. 

Japanese culture, 378. 

Japanese fete (at Greenacre), 379. 

Japanese people, the Thursbys* affection 
for, 378. 

Jarrett, Henry, 188, 193, 194, 201, 223, 
226, 255; ability as manager, 198; Em 
ma Thursby's first engagements with, 


Jean de Nivelle (Delibes), 330. 
Jean Marie (Theuriot), one act play, 229. 

"Jeanie, with the Light Brown Hair" 

Song, 24. 

Jefferson, Joseph, 64, 329. 
"Jeg Elsker Dig" (Grieg), 297, 544> 37 8 - 
Jena (Germany), 92, 333, 334. 
Jersey City (N. J.), 387* 394> 45- 
Jersey Island, 194. 
"Jewel Song" (Faust), 326. 
Joachim, Joseph, no, in, 200, 262. 
Jodrell, Lady, 192, 396. 
"John Faron" (ship), burning of, 45. 
Johnson, Mrs., 383. 
Johnson, Rev., 61. 
Johnson, Adelaide, 377. 
Johnstown (N. Y.), 410. 
Joliet, Mile, 229. 
Joliet (111.), 407. 
Jomelli, Jeanne, 377. 
Jomelli, Nicolo, 240, 243, 251, 268, 330. 
Joncieres, Victorin, 286. 
Jonkoping (Sweden), 402. * 

Jones, Ellen, 335. 
Jordan, Eben, 127. 
"Jordan, a Hard Road to Travel," Duett, 


"Josephine Schottish/* 23. 
Joshua (Handel), 159, 393. 
Journal d' Alsace (Strassburg), excerpts 

from, 267. 

Journal of Music, the, 137. 
"Jours de mon enfance" (Pre aux Clercs), 

189, 233, 235. 

Julius Caesar, 78, 82, 332. 
"Jumbo," 332. 
Juneau (Alaska), 365, 411. 
Jupiter Symphony No. 49 in C (Mozart), 

200, 240. 

Kalamazoo, (Mich), 395, 47- 

Kalbfieisch, Carlie, 58. 

Kansas, 247, 248, 342. 

Kansas City (Mo.), 120, 399, 407. 

Karl, Tom, 85, 104, 158, 249; dbut in 

Milan, 98. 
"Keine Sorg'um den Weg" (Raff), 268, 

33* 37 8 - 


Kellogg, Clara Louise, $5, 71, 77, 79, 164, 
165* 193* *95> 229, 279, 285, 350, 377; 
and the opera, story about, 68; tours 
America with her own English Opera 
Company, 83. 

Kellogg, Fannie, 148, 227, 251, 333. 

Kelly, Mr. & Mrs. Edgar Stillman, 377, 

Kemp* James M., 18, 

Kennard, W. H., 184. 

Kenney, Alice J., 377. 

Kentucky, 247, 248, 331. 

Keokuk (Iowa), 399, 406. 

Kerns, Grace, pupil of Emma Thursby, 

375> 577- 
Key West (Fla), 411. 
Kidder, H. P., 184. 
Kidder and Peabody, Messrs, 332. 
Kimball, Mrs., 408. 
King, Mr., 322. 
Kingston (Canada), 404. 
Kingston (N. Y.), 21, 407. 
Kjerulf, Halfdan, 292. 
Knapp, Mr. and Mrs. James, 329. 
Knott, A. Leo, 349. 
Kochel, catalogue de, 208. 
Kontski, Chevalier Antoine de, 3401". 
Krauss, Mile Marie, 215, 321. 
Kuhe, Mr., 396. 
Kuroda, Takuma, 377. 
KtCFsaal, tfoe (Ems), 400; Emma Thursby 

makes German d&ut at, 256. 

La Crosse (Wisconsin), 365, 399, 412. 

La Grange Hotel (Boston), 270. 

La Madeleine, Church of (Paris), 87. 

La Scala (Milan), 85, 96, 98. 

Lablacrje, 276. 

Laborde, Mme, 64. 

Laborde, Rosine, 373. 

Labro, C, 219. 

Lacroiz, A^ 173. 

L&dies Home-Journal, the, excerpt from, 


Laerdal (Norway), 297. 
Lien's Hall (Christ iania), 298. 
Lafce Cknoo (Italy), 88. 

Lake George (N. Y.), 340. 

"Lakeside" (residence of Mme Ruders- 

dorff), 147, 151, 171, 193, 332, 334; 

Emma Thursby begins study at, 145; 

fire at, 226, 271; sale of, 335. See also, 

Berlin, Mass. 
Lakewood (N. J.), concerts at, 361, 410, 


Lakm (Delibes), 341. 

Lalo, Edouard, 273. 

Lamar, L.Q.C., 349. 

Lamperti, Francesco (teacher of Emma 
Thursby), 117, 345; Emma Thursby 
begins lessons with, 89; Emma Thurs 
by discontinues lessons with, 93. 

Lamperti, Mme, 93, 

Lamy, E., 219. 

Lancaster (Pa.), 138, 390, 406. 

Lancastre, Count de, 353. 

Lander's Band, 1 15. 

Landon, Melville D. See, "Perkins, EH." 

Landskrona (Sweden), 311, 402. 

Lang, Mr. B. J., 166, 251. 

Lange, Mme (Aloysia Weber), 185, 191, 

Langham's (London), 92. 

Langtry, Lily, 329. 

Larghetto and March Tempo (Lenore 
Symphony), 178. 

Lasar, Clementine, 104, 145, 146, 147. 

Lassalle, Jean, 321. 

Lassen, Edouard, 125, 330. 

"Last Good Night, The," song, 23. 

"Last Judgement" (Michael Angelo), 213. 

"Last Rose of Summer, The" (Thalberg), 
142, 146, 178, 181. 

"Last Supper, The" (da Vinci), 88. 

Laughing song, the, 284. 

Laurent, Mme Marie, 209. 

Laussane (Switzerland), 88, 321, 403. 

Lavine, John, 400. 

Lawrence, Frank, 83. 

Leadville (Colorado), 364, 411. 

Leavenworth (Kan.), 399. 

Le Bel, L., 219. 

Lebouc, Ctu, 219. 

Leclair, 229, 


Lecointe, E., 219, 

Lee, Dr., 360. 

Lee Ave., No, 43 (Brooklyn), Emma 

Thursby's home on, 68, 183; moves 

from, 340, 
Lee Avenue Reformed Dutch Church 

(Brooklyn), 72, 383, 384. 
Lefebre, Mr. E. A., 112, 142. 
Leggat, William S., 75. 
Leggelt, Mrs. Francis H., 370. 
Legrand-Howland, Matinee Musicale of, 

Emma Thursby sings farewell Paris 

concert at, 373f. 
Le Havre. See Havre. 
Lehmann, Lilli, 216. 
Lehmann, Liza, 377. 
Leipzig (Saxony), 260; concerts at, 263, 

265, 266, 268, 400, 401. 
Leipzig, Conservatory of, training of 

Julius Meyer at, 70. 
Leiter, Mary T., 349. 
Lemotte, A., 235. 
Lenox (Mass.), 408. 
Leonora, r6Ie of (// Trovatore}, 324. 
"Leonore" Overture No. 3 (Beethoven), 


Lenore Symphony (Raff), 178. 
Lepel, Baron, 256. 
Leroy (N. Y.), 409. 
Leschetizky, Theodor, 257. 
Lesdenier, Miss Emily P., 57. 
Leslie, Henry, 198, 396. 
Leslie's Choir, Henry, 192, 199, 396. 
Lesseps, Countess de, 286. 
"Let the bright Seraphim" (Handel), 124. 
Levey, Miss R. E., 24. 
Levillain, card tray executed by, 217. See 

also, Card tray. 
*-evy J- 74 *4 142, 176, 245. 
Lewiston (111.), 406. 
Lewiston (Me.), 408. 
Lhevinne, Joseph, 377, 
L'Hote, Mme Clothilde, first American 

appearance of, 107. 
Lichtenberg, Leopold, 182, 183. 
Lido, Madlle, 229. 
Liebe, Teresa, 329. 

Liebe, Theodore, 329. 

Liebling, Saul, 158, 161. 

"Light From Heaven, The" (Gounod), 

"Light of the World" (Sullivan), 190, 

"Lilly Dale" Duett, 24. 

Lima (Ohio), 399, 405. 

Limoges (France), concert at, 353, 410. 

Lincoln, Abraham, 217; death of, 66. 

Lincoln (Neb.), 407. 

Lincoln Hall (Washington, D. C), con 
certs in, 181, 241, 250, 328, 388, 394, 
398, 400, 403, 404, 406; largest audi 
ence ever assembled in, 250. 

Lind, Jenny, 72, 227, 300, 327, 344, 346; 
compared with Christine Nilsson, 85, 
with Emma Thursby, 261, 262, 267, 
287, 288, 298; first appearance in 
America, i7f; gives concert on ship 
board, 18; her attitude toward opera, 
81; her influence as both singer and 
woman in America, 19. 

Linda, Cavatina from (Verdi), 78. 

Linkoping (Sweden), 307, 402. 

Listemann, Mr. Bernhard, no. 

Liszt, Franz, 110, in, 125, 142, 148, 178, 
J 97 217, 326, 362. 

Litolff, H. C, 178. 

"Little Ollie." See, Goldsmith, Master 
Oliver B. 

Liverpool (Eng.), 34, 35, 55, 58, 59, 87, 
105, 188, 198, 236, 254, 255, 289, 343; 
concerts in, 197, 234, 396, 397. 

Liverpool Philharmonic Orchestra, 234. 

Liverpool Philharmonic Society, 197, 


Lloyd, Edward, 234. 

Locke, Josephine C., quoted, 368. 

Logan, Olive, 232. 

Lohengrin (Wagner), 125, 272, 341. 

London (Eng.), 33, 34, 35, 39, 48, 51, 87, 
92, 94, 126, 148, 151, 152, 153, 169, 171, 
i73 185, 193, 195, 202, 208, 222, 231, 
232* 237, 238, 247, 254, 255, 263, 269, 
3*4> 33 2 > 336 343 375; concerts in, 
i88ff (London dbut), 191, 192, ig6f, 


ig8, ig0, 20o s 224?, 2*9, 233. 
London Philharmonic Society, 196; be 

stow unusual honor on Emma Thurs 

by, i8gf; Emma Thursby's concerts 

with, i88f (London dbut), 199?, 224, 

396, 397; letter to Emma Thursby, 


London Times, excerpts from igof, 197. 
Long, John 0., 184. 
Long Branch (N. J.), 259, 349. 
Long Island, 75, 83. 
Longfellow, Henry Wadsworth, 127, 217; 

meetings with Emma Thursby, 241, 


Lord Mayor's Day, Celebration of, 236. 
"Loreley" Paraphrase de Concert (Nes- 

vadba), 112. 

"Loreley, The" (ZJszt), 326. 
Loretz, Prof. J. M., 54, 57, 82. 
Los Angeles (Cal.), 411. 
Lott, Miss, 23, 24. 
Lott, Miss A., 24, 25. 
Lott, Miss M. $., 24. 
Lottery Concerts (Gilmore's), Emma 

Thursby not allowed to sing at, iso. 

See also, Gilmore's Twenty Second 

Regiment Band. 
Louis XI, role of, 341. 
Louisville (Ky.), 121, 158, 247, 331, 388, 

the (Paris), 87, 105, 203. 

once a^ain w (Sulliiran), 178. 

Star Schottisch" Duett, 25. 

**The Loffer and the Bird" (GugHelmo), 


Low, Mayor Scth, 329. 
Lowell (Mass.), 394. 
Lowell, James Russell (American Min 

ister to Spain), 241, 255. 
Lowell, Mrs., 255. 
Lubeck, Louis, no. 
Luca, Giuseppe de, 376. 
Lucca, Pauline, 262, 279, 285. 
Lucia d* L&mmermoor (Donizetti), 190, 

Lucas, Sunley, 188, 190. 

Lace, Heuky, 194, 332, 333, 

Lucre-da Borgia (Donizetti), 81, 192, 
"Lullaby" (Pease), 330. 
Lulli, Jean Baptiste, 330. 
Lund, John, 291, 292, 297. 
Lund (Sweden), 311, 313, 402. 
Lurlhi (Wallace), 272, 
*'Lyderhorn" (ship), 297, 
Lyman, Bishop, 353. 
Lyman, Prof, and Mrs. Walter C., 386. 
Lyso. See, Lysoen. 

Lysden (Island of), 225, 255; Emma 
Thursby's visits to, 289, 292!, 344. 

Maas, Joseph, 159, 181. 

MacArthur, Pauline Arnoux, 377. 

Macbeth (Verdi), 53. 

"Ma, che vi fece" (Mozart), 159, 166, 


McCue, S., 349. 

MacDowell, Mrs. Edward A., 377. 
McGuckin, Barton, 233, 234. 
Mackay, Mary, 232. 
McKJnley, President and Mrs. William, 

372* 373- 

MacLagan, Dr., 393. 
McLane, Robert Milligan, American 

Minister to France, 353. 
Macmillen, Francis, 377. 
McPherson, C. A., 108. 
Mad Scene from Hamlet (Thomas), 351. 
Madison (Wis,), 399, 407. 
Madison Square Garden (N. Y.}, 175. 
"Madonna" (Holbein), 87. 
Madrid (Spain), 270, 283, 284, 286; air of, 

285; concerts in, 285?, 401. 
Magic Flute, The (Mozart), 123, 158, 178, 

191* *97 *33> 234- 
Magni, Dr., 162. 
Magnolia Springs (Fla.), 411. 
**Maid of Dundee, The/' 142. 
Maignen, Prof, P. A., 377. 
Maine, 75, 342, 349, 362, 385. 
Malay Straits, 359. 
Malibran, Maria, 216. 
Mallory, Rev., 61. 
Malloy, RoIIie, 95. 
Malmd (Sweden), 402. 


"Man Without A Country, The," 323. 

Manchester (England), 198, 199, 396. 

Manhattan, 136. See also, New York City. 

Manila, victory of Dewey at, 373. 

Manning, Daniel, 349. 

Manns, August, concerts with Emma 
Thursby, 196!, 198, 233. 

Mansfield, Greta. See, Battanchon, Greta. 

Mansfield, Henry, son of Mme Ruders- 
dorff, bequest from will, 333. 

Mansfield, Hennine. See, Rudersdorff, 
Mme Enninia. 

Mansfield, Maurice, father of Richard, 

Mansfield, Richard, son of Maurice and 
Erminia (Mansfield) Rudersdorff, 127, 
128, 147, 155, 156, 162, 194; American 
detmt of, 332; bequests from mother, 
352> 334" character, versatility of, 335; 
excerpt from letter to Emma Thursby, 
335; letter to Emma Thursby request 
ing her to sing his song, 336. 

Marafield-Rudersdorff, Erminia. See, Ru 
dersdorff, Mme Enninia. 

Mapleson, Henry, 323. 

Mapleson, Colonel J. M., 188, 193, 272; 
offers to manage tour of America for 
Emma Thursby, 223. 

Mapleson's troupe, Colonel, concert, 
229^ 397. See also, "Farewell Opera 

Marble Heart, The, 82. 

March "Twenty-Second Reg't" (Gil- 
more), 113. 

Marches!, Blanche, 377. 

Marches!, Mme Mathilde, 262, 319, 321, 

345* 373- 

Maretzek, Max, his opinion of Emma 
Thursby as concert singer, 325. 

Margate (England), 232. 

Marguerite, r6le of (Faust), 152, 215. 

Maritarta (Wallace), 83, 272. 

Markham, Edwin, 377. 

Marlboro (Mass,), concert by Mme Ru 
dersdorff s pupils at Town Hall in, 

H7* 39*- 
Marlowe, Julia, 377. 

Marseille (France), 319, 403. 

Marshall, William, 60. 

Martense, Miss J. V., 24. 

Martha (Flotow), 81, 112. 

Martha's Vineyard (Mass.), 412. 

Martinelli, Giovanni, 377. 

Martinelli's, 244. 

Martinez, MHe Isidore, 158. 

Martini, G., 330. 

"Marvel, Ike," 187. See also, Mitchell, 

Donald G. 

Martvitz, Baron von der, 256. 
Masini, Angelo, 280. 
Mass, Miss Rosalie, 386. 
Mass de Requiem (Verdi), 171. 
Massachusetts, 126, 127, 144, 145, 149, 

168, 171, 193, 332, 334, 349. 
Massachusetts Ploughman,, excerpt from, 


Masse, Victor, 219, 330. 

Massenet, Jules, 219, 279, 321, 341, 374. 

Massiglia, Count and Countess, 377. 

Mathilde de Sabran (Rossini), 108. 

Matilda di Shabran (Rossini), no. 

Mattei, Tito, 150, 

Matzka, George, 133. 

Maurel, Victor, 377. 

Mauri, Rosita, 321. 

Mauzoy, Countess de, 286. 

May Festival, 29. See also, Moravian 

May Queen, Emma Thursby as, 29, 33. 
See also, May Festival, Moravian 

Mazurka (Chopin), 326, 330. 

Meadville (Pa.), 395, 407. 

Mechanics' Pavilion (San Francisco), an 
nouncement of concert at, 142; con 
certs at, 142, 390, 391, 405. 

Meeker, Rev. Stephen, 9, 13, 43, 54, 61. 

Meffray, Countess de, 319, 322, 353. 

Mefistofele (Boito), 229, 258, 255, 272, 


Meg Merrilcs, Charlotte Cushman in, 

Melba, Mme Nellie, 366, 370, 377; Emma 

Thursby gives reception in honor of, 


373; Geraldine Farrar gives audition 
*<&, 37*- 

Mekhior, Moses, 288, 311. 

Memorial Church (Philadelphia), con 
cert at, 149, 391. 

Menalcas and Mopsus, meeting of de 
picted cm card tray, gift to Emma 
Thursby, 217. See also. Card tray. 

Mendelssohn, Felix, 26, 70, 1 12, 123, 125, 
17^ 9i> 192, 200, 233, 254, 251, 337; 
grave of, 87. 

Mendelssohn Glee Club (N. Y.), concerts, 
78 (Emma Thursby's first important 
N. Y. engagement), 108, 386, 390, 393. 

Mendelssohn Quartet Club, 352. 

Mendelssohn Quintette Clubs, 166, 391. 

MJnestrel, Le (Paris), 203; cited, 196, 
201; excerpt from, 208. 

Menier, M-, 195. 

Mentoa (France), 97, 320, 403. 

Mcnuet (Boccherini), 204, 206. 

Mer de Glace, 88. 

Merchant of Venice, The, 341. 

Meritis, Felix, 401 . 

Meriden (Conn.), 390. 

Merle, 219. 

"Merrimac/* the, defeat of, 65. 

Meaerole, Abraham, story about, 13. 

Meserole, Jan, 7. 

Messmh (Handel), 123, 135, 136, 167, 182, 
190, 234, 247, 273, 328, 389, 393, 394. 

Metaphysics, subject at, 368. 

Metropolitan Opera House (N. Y.), 372, 
381; concerts in, 410, testimonial to 
Emma Thur&by, 351, 409; managers try 
to persuade Km ma Thursby to appear 
in opera, 342; opening of, 341. 

Metz (Alsace-Lorraine), 401. 

Mexico, Gulf of, 365. 

Meyer, Julius (teacher of Emma Thurs- 
fey), accomplishments with Emma 
Tfaursby's voice, capabilities as teacher, 
70; concerto with Emma Thursby, 75, 
384; Emma Thursby begins study 
with, his kraowieclge of German music, 
sis training, *JQ, 

Meyer, IjfepoM de, 

Meyerbeer, Giacomo, 217, 235, 256, 318. 
"Mia speranza adorata" (Mozart), 150, 
*59> l8 9 200, 224, 233, 234, 256, 260, 
273, 318; Emma Thursby ' first rendi 
tion of, 137, other renditions of, 185, 
204!, 206, 207, 208, 298, 351; first ref 
erence to, 131; Mme Ruder&dorfFs ad 
vice about, 132; Recit. and Rondo of, 
words quoted, 2041". 
Micherout, I>e (teacher of Mme Ruders- 

dorff), 126. 
Michigan, 342. 
Middletown (N*. Y.), 410. 
Midsummer Night's Dream (Mendels 
sohn), 191, 337. 

Mignon (Thomas), 78, 108, 140, 150, 152, 
198' 233, 238, 281, 320, 341, 365; debut 
of Albani in, 117. 
"Mfgnons Lied" (Beethoven), 330. 
Milan (Italy), 84, 88, 91, 92, 93, 94, 97, 99, 
104, 126, 156, 279; debut of Tom Karl 
in, 98; Emma Thursby begins singing 
lessons in, 89; Lottie Smith dies in, 

Milan, Cathedral of, 88, 95. 
Mills, S. B,, 124, 151, 177, 178. 
Milne, Mrs., 164. 
Milwaukee (Wis.), concerts, 158, 181, 393, 

395> 399 4<>7- 
Mind cure, Emma Thursby's interest in, 


Minneapolis (Minn.), 305, 399, 406, 412. 
Minnesota, 247, 248, 316, 342, 365. 
"Minstrel Boy, The" (Moore), 230. 
"Mio caro bene" (Rodelinda), 191, 197. 
"Mira Che Bianca Luna" (Rossini), 330. 
"Misera che faro" (Matilda di Sabran), 


Missouri, 247, 248, 342. 
Mitchell, Bonald G. ("Ike Marvel"), ad 
vises Emma Thursby about Paris de 
but, 196. 

Miura, Tamaki, 377. 
Mock, Herbine, 377. 
Modjeska, Helena, 195, 377. 
Moliere, Jean Baptiste, 229. 
Molinara, La (Paisiello), 144. 

Monaco, Princess of, 373. 

Monaco, 311. 

"Monastery Bells, The," 53. 

Monday Popular Concerts (London), 198, 

"Monitor," the, victory of, 65. 

Monroe $c Co., Messrs John, 42, 45. 

Mont-Bore (France), 323, 343. 

Montana, 365. 

Montigny-Remaury, Mme Caroline, 262. 

Montjoyeux, quoted, 324. 

Montpelier (Vt,), 406. 

Montreal (Canada), concerts, 167, 331, 

393, 404, 406. 
Moore, 230. 
Moore, Miss, 23. 
Moore, Miss M. E., 24, 
Mopsus, Menalcas and, 217. 
Moravia, 157, 262. 
Moravian Church (Bethlehem), concert 

in, 350, 409. 
Moravian Seminary, The (Bethlehem, 

Pa.), 25, 331, 350; Alice and Emma 

Thursby students at, 26; Emma's last 

days at, 31, 33; May Festival at, 29; 

musical training, 26; religious training, 

2 7 f. 

Morena, Berta, 377. 

Morgan, George W., 74, 75, 116, 165, 383. 
Morgan, John P., 386. 
Morgan, Maud, 239, 325, 328, 340, 405; 

debut of, 165. 

Mormon Church (Salt Lake City), 141. 
Mormon Tabernacle (Salt Lake City), 

concerts in, 141, 339, 364, 390, 405, 411. 

See also, Salt Lake Choral Society. 
Morrisania (N. Y.), 179. 
Morristown (N. J.), 393, 394, 400, 406, 

Morton, Levi (American Minister to 

France), 319; wife, 319. 
Moscheles, Felix, 255. 
Mosely, Mr., 52. 

"Mother's Prayer" (Ole Bull), 150, 
Mott, Dr., 345. 
Moulierat, M., 207. 
Moulton, Mrs., 231. 

Mt. Pincio, 102. 
Mt. Vernon (N. Y.), 405, 410. 
"Mountains of Norway, The" (Bull), 252, 
Mozart, Wolfgang Amadeus, 112, 123, 131, 

137 141* M& 150* *59> *66 178, 185* 
189, 191, 192, 197, 198, 200, 204, 206, 
207, 208, 216, 217, 224, 230, 234, 240, 
267, 273, 280, 298, 318, 325, 326, 330, 
33 1 * 35 * 37 8 Emma Thursby visits 
grave of, 88. 

Mozart's music, Thursby's appre 
ciation of, 358; identified with, 131, 
158; singing it in composer's native 
city, 26 if. 

Mozartian vocalist, Emma Thursby the 
greatest of her day, 132. 

Mulhausen (Alsace-Lorraine), 401. 

Mugnoz, Signor, 377. 

Mulder, 142. 

Munzig, George, 333, 

Murray, Oscar J., 412. 

Murska, lima de, 176. 

Music Hall. See, Boston, Providence. 

"Music Murmurs" song, 25. 

Musical Association (Vienna), 262. 

Musin, M., 320, 321. 

Muzio Scevola (Handel), 133, 240. 

"My Country Tis Of Thee," 228. 

"My Heart Ever Faithful" (Bach), 329. 

"My heart has its love" (Engel), 230. 

My Master (Vivekananda), excerpt from, 

"My Mother Bids Me Bind My Hair" 

(Haydn), 121, 124, 330, 378. 
"Mynah" (talking bird), presented to 

Emma Thursby, 359; remarkable 

powers of, 359, 363; death of, tribute 

to, 379- 
"Mysoli," Aria, 354. 

Nabucco (Verdi), 93. 
Najera, Marquise de, 285. 
Namara, Marguerite, 377. 
Nanaimo (Brit. Columbia), 365, 412. 
Nantes (France), concert at, 218, 397. 
Naomi, role of, 134. 


Naples (Italy), 93, 94, 96, 97, 100, 101, 
103, 104. 

Nassau (N. Y.) f 30. 

National Air (of Norway), 297. 

National Anthem, a new, 245. See also, 

National Republican (Washington, D. C.) 
cited, 328. 

National Theatre (Washington), 361,410. 

Nativity, The (Paine), 336. 

Nature School, Geraldine Farrar a mem 
ber of, 371. 

Neaga (Hallstrom), 344. 

"Nearer, my God to Thee," 121, 346, 381. 

Nebraska, 140, 247, 248, 342. 

Neptune Engine Company No. 7, John 
Thursby a member of, 60. 

Nesvadba, Joseph, 112. 

Neue Freie Presse (Vienna), excerpt from, 

Neue Saa! des Conversationhauses (Ba 
den-Baden), concert in, 259, 400; regal 
audience of, 259. 

Neupert, Edmund, 328, 336. 

Nevada, Emma, 350, 366; d^but in Son- 
nambula, 345. 

New Albany (Indiana), 120. 

New Bedford (Mass.), 135, 389, 391, 407, 


New Berlin {N. Y,), 412. 
New Hampshire, 342. 
New Haven (Conn,), 57; concerts in, 135, 

5% 394> 44- 

New Jersey, 7, 75, 107, 342, 361. 
New London (Conn.), 390. 
"New School" of music, in, 137. 
New Year's Day, 136, 154, 199; Emma 

Ttmrsbf makes social de*but in New 

York (1875), n8f. 
New York (City), 5, 7, 10, 12, 14, 18, 36, 

55> 59 &J> 68* % 7* > 73> 77> 86, 109, 

111, 113, 115, 1 16, 12O, 122, 130, 136, 
137, 139, 140, 142, 143, 146, 149, 153, 
l6g, 171, l80, 227, 241, 249, 258, 277, 

284, 285, 301, 316, 323, 336, 339, 342, 

343* 545* $62* $63 366> 37*> 375> 37^> 
379; concerts in, 108, 131, 135, 138, 

144, 150, 160, 161, 164, 174, 177, 181, 
182, 183, 184, 185, 23 9 f, 328, 351, 379, 
382, 383. 384, 385, 386, 387, 388, 389, 

39> 391- 392. 393. 394> 395- 39 8 > 399. 
400, 403, 404, 406, 409, 410, 412, 413; 
Emma Thursby appears as soloist in 
von Bulow's first "musical soir<e," 
i33f, Emma Thursby brings Geraldine 
Farrar to study in, 372, Emma Thurs 
by establishes famous "Thursby Fri 
days" in, 351, Emma Thursby 's first 
important concert in, 78, Emma 
Thursby in Command Concert in 
honor of Emperor and Empress of 
Brazil, 144, Emma Thursby makes so 
cial dbut in, 119, Emma Thursby 
moves family to, 340, Emma Thursby 
receives welcome home celebration in, 
324, Emma Thursby returns with Eu 
ropean reputation secure, 237; Jane 
Thursby arrives with body of husband 
in, 60; marriage of Maurice Strakosch 
and Amalia Patti in, 157; New Year's 
Day (1875) in, i i8f ; opening of Metro 
politan Opera House in, 341; pre 
miere of Walter Damrosch's Scarlet 
Letter in, 370; Strakosch arranges the 
"Grand Historical Concert Cyclus" at 
Chickering Hall, ssgff; "Thursby-Bull 
Concert" in, 250. 
New York (State), 45, 48, 50, 58, 77, 248, 

336, 342* 350. 352, 355- 

New York State Building (at World's 
Columbian Exposition), 366, 412. 

New York Academy of Music, 341, con 
certs in, 184, i85f, 244, 392, 393, 395, 
399, 403, 404; Emma Thursby risks 
reputation to give her own "grand con 
cert" in, i77ff; managers try to per 
suade Emma Thursby to appear in 
opera, 342. 

New York Daily Tribune f cited, 178. 

New York Evening Post, cited, 18. 

New York Harmonic Society Soiree, 382. 

New York Herald, 202, 220, 244; cited, 
187, 237^ critic of, quoted, 165; ex 
cerpt from, 185. 


Sew York Leader, excerpt from, 60. 
New York Life Insurance Company, edi 

fice of, 175. 
New York Oratorio Society, concerts, 160, 

"New York Parlour English Opera Com 

pany, The," opening of, 83, See also, 

John Claik. 
New York Philharmonic Club, 325, 326, 

New York Philharmonic Orchestra, 117, 

35 1 - 
New York Philharmonic Society, 328, 

New York Sun, excerpt from, 175, 

New York Times, 229; excerpt from, 160. 

New York Tribune, cited, 240. 

New York World, 239. 

New Zealand, 352. 

Newark (N. J.), 342, 392, 393, 394, 398, 

Newburgh (N. Y.), 409. 

Newcastle (England), 343. 

Newman, Monica, 83. 

Newport (R. L), 340, 405. 

Newton (N. J.), 384. 

Niblo's Garden (N. Y.), 35. 

Nice (France), 319, 320, 403. 

Nicolini, Ernest, 173, 255, 315, 331. 

Niessen-Stone, Mrs., 377. 

Nightingale, presented to Emma Thurs- 
by, 266. 

"Nightingale, The" (Taobert), 150. 

Nikisch, Arthur, 363. 

Nilsson, Christine, 81, 192, 217, 255,, 257, 
259, 268, 279, 285, 300, 332, 341; com 
pared with Emma Thursby, 178 (audi 
ences), 212, 257, 259, 325, 327; com 
pared with Jenny Und, 85; invited to 
sing at Grand Gala Opera, 3028; 
rivalry with Emma Thursby, 304, 306, 

307 3<>9f> 3*3- 
Nims' stables, 334. See also, Mme Ruders- 

dorffs will. 
Nishioi,, 381. 
Noel (Saint-Saens), 182. 
Noll, Joseph, 63. 

Nogueiras, Countess das, 353. 
Nogueiras, Viscount das, 349, 353. 
"Non paventar" (Magic Flute), 133, 141, 

Nordica, Lillian (Norton), 195, 286, 366, 

370, 372* 377- 

Nona, Jane, 377. 

Nordstern, Der (Meyerbeer), 256. See also, 
toile du Nord, L. 

Norfolk (Conn.), 412. 

Norfolk (Va.), 395, 407, 411. 

Norma (Bellini), 81, 233. 

Xormanna Sangerkor (La Crosse, Wis.), 
Emma Thursby serenaded by, 365, 412. 

Norrkoping (Sweden), 402. 

North Presbyterian Church (New York), 
benefit concert in aid of, 384; Emma 
Thursby accepts offer to sing at, 68. 

Northampton (Mass.), 410, 

Norton, Lillian. See, Nordica, Lillian. 

Norton, Sarnmie, 49, 52, 58. 

Norway, 225, 231, 252, 254, 255, 258, 293, 
300, 312, 314, 321, 323, 343; concerts in, 
288 (Emma Thursby 's Norwegian d- 
but), 344; National Air of, 297; na 
tional hero of, 288. 

"Norwegian Herdsman's Song" (Cele 
brated Echo Song), Emma Thursby 
first to sing it in U. S. since Jenny 
Lind, 346. 

Norwegian Minister to U. S., 347. 

Notre Dame (Paris), 87, 195, 373. 

Nova Scotia, 349. 

Nozze di Figaro (Mozart), 112, 230, 330. 

Noyes, General Edward Follensbee, 202. 

"Nuptial Cfeoras" (Lohengrin), 125. 

Nykoping (Sweden), 402. 

"Nymphes et Sylvains" (Bemberg), 378, 

"Nymphs and Fauns" (Bemberg), 370. 

Oakes, C. H., 384. 

Oakland (Gal.), 391. 

Oakledge (residence of Dr. Porter), 77. 

Oakley, Sir Herbert, 199. 

Oberlin (Ohio), 406. 

"Ocean Queen" (ship), 60. 

Ode on Saint Cecilia's Day (Handel), 336. 


Odell, Professor George C. D. ; quoted, 

Odense (Denmark), 311, 402. 

Odeon, the (Brooklyn), Old Folks Con 
cert at, 53. 

0dmann, Arwid, 287. 

Oeuvre de 1'Adoption des Petites Filles 
Abandonnees, L* (Paris), benefit con 
cert for, 286, 401. 

Offenbach, Jacques, and Theodore 
Thomas, story about, 339. 

Ogden (Utah), 140. 

"Oh, Had I Jubal's Lyre" (Joshua), 159. 

"Oh hush thee my baby" (premiere), 
written for Emma Tfiursby (Pease), 

Ohio, 248, 342. 

Oil City (Pa.), 406. 

Okakura-Kakuzo, 377, 378, 379. 

Old Bay State Course, concerts, 398, 403, 

Old Bushwick Dutch Reformed Church, 
8, 9, 13; Emma Thursby baptized in, 
n; concerts in, 15 (at the age of 5), 
benefit concert, 367, 385, 412; funeral 
of John Barnes Thursby in, 6of; mar 
riage of John B. Thursby and Jane 
Ann Bennett in, 10; music committee 
ol, 15. 

Old Busliwick Reformed Church. See, 
Old Bushwick Dutch Reformed 

OM Folks Concert, 53. See also, Odeon, 

"Old Folks at Home" (Sauret), 147. 

"Old Dog Tray," Quickstep, 23. 

Old Hall (Bergen), 344. 

"Old Homestead, The," Song, 24. 

Olean {N, Y.), 406. 

Oliver, Mrs. William N., 83. 

Ombra, U, 104. 

Omaha (Neb.), concerts, 140, 247, 390, 
399* 407- 

"On Croit A Tout Lorsqu'on Aime" 
(Jean de Nivelle), 318, 330. 

"On Mighty Pens" (Creation), 160. 

"On the Beautiful Blue Danube" 
(Strauss), 125. 

Oneida (N. Y.), 412. 

Opera, 216, 286, 303, 315; America's con 
tribution to, 65, 366, 375; artistic op 
portunities of, 80; financial rewards 
from, 67, 227f, compared with concert 
field, 279; in Brooklyn, 64, 81; in Eng 
lish, 64; season in America (1871-72), 
84f, in London (1880), 254f, in N. Y. 
(1883-84), 341, 342, (1930-3 1 ). 381. 

and Clara Louise Kellogg, story 

about, 68. 

and Emma Thursby: ambitions 

and attitude toward, 8off, 218, 227f, 
237 f 339* 345 J attitude of the press 
toward, 278, 324^* Ina Thursby's opin 
ion of Emma's going into opera, 322; 
Mme Rudersdorff advises Emma 
Thursby to study for, 152, 226; Mau 
rice Strakosch's opinion of Emma 
Thursby's going into opera, 279, 282, 
339 345 ; moral scruples no longer a 
handicap, 279; performances attended 
by Emma Thursby, 81 f, 89, 93, 94, 98, 
104, 117, 190, 192, 247, 249, 255, 329, 
33 if, 341, 345, 370; persistent demand 
for Emma Thursby to sing in, 26gf; 
petitioned by Formelle and Ambroselli 
to appear in opera, 278 (her reply to, 
282), petitioned by Gounod to sing 
Marguerite in Faust, 214, petitioned by 
Hallstrom to sing in Neaga, 344, peti 
tioned by managers of Academy of 
Music and Metropolitan Opera House 
to appear in, 342, petitioned by 
Thomas to appear in, 278, 283, peti 
tioned to create r61e of Frangoise de 
Rimini, 269, petitioned to sing r6ie of 
"Queen of the Night," s6gf, refuses 
Count von Hulsen's offer to defray 
expenses of training for, 116, studies 
rdle of Ophelia, 218, temperamentally 
and dramatically fit for, 279. 

and Jenny Lind, 81. 

Opra Comique, 209. 


Opera Company, English. See, English 
Opera Company. 

Opera Company of Wiesbaden, 257. 

Opera Company, Wachtel. See, Wachtel 
Opera Company. 

Opera, French, 226. 

Opera, Gala, (Stockholm), performance 
of, (Nilsson sings at), 304, 305; Swedish 
singers only in, 305. 

Opera, German, unsuited to Emma 
Thursby's voice; under dominance of 
Wagner, 116. 

Opera Houses: Albaugh's Grand Opera 
House (Washington, D. C.), 347* 48 
at Barcelona (Spain), 280, 401; De 
Bar's Opera House (St. Louis), 12 0,588; 
Frankfurt (Germany), 265, 401; Grand 
Opera House (Paris), 278, 283, 286; La 
Scala (Milan), 85, 96; Metropolitan 
Opera House (N. Y.), 341, 542, 351, 
372, 409, 410; Royal Opera House 
(Madrid), 284, 285, 401; Royal Opera 
House of Stockholm, 296, 302, 304, 310, 

3i3 402- 

Opera, Italian, 64, 226; in America, 84f; 
Mme Artdt exponent of, 256. 

Opera parties, 262. 

Opera, Strakosch Italian, 158. 

Opera Troupe, English. See, English 
Opera Troupe. 

Ophelia (Hamlet), 152, 214, 269, 325; 
Emma Thursby studies r61e of, 218. 

Orange (N. J.), 383, $89, 391, 3gs, 394, 

Orange City (Florida), 410. 

Oratorio, 26, 71, 139, 148, 154, 157, 159, 
237, 251; Emma Thursby's appear 
ances in, 72 (first complete perform 
ance), 123, 134, 135, 136, 148, 149, 154, 
157, 159, 160, 161, 166, 167, 181, 182, 
247, 25of, 328, 336, 383, 389, 393, 394, 

399> 4<*>- 
, Emma Thursby's forte, 136, her 

singing adapted to, 160. 

, Fanny Kellog in, 227. 

, Mme RudersdorfF greatest singer 

in, 126. 

season (1877), 3L &2. 

See also, Cecilian Society of 

Philadelphia; Handel and Haydn So 
cieties; Oratorio Society of New York. 

Oratorio Society of New York, concerts, 
*35> 239, 399. 

Orchestras, 72, 123, 133, 166, 169, 197, 
200, 220, 233, 238, 240, 245, 251, 257, 
266, 267, 279, 281, 282, 283, 287, 291, 
315. See also, Boston Symphony; Co- 
lonne, Edouard; Halle, Charles; Kin 
der, Bartlett; Liverpool Philharmonic; 
New York Philharmonic Societv; Pas- 
del oup; Thomas, Theodore. 

Oregon, 365. 

Organ, 15, 74, 150. 

"Organ Exhibition" (Bethesda Church), 

Orlando (Fla.), 410. 

Orleans (France), 218, 354. 

Ormond (Fla.), 411, 412. 

"Orpheus with his lute" (Sullivan), 199. 

Orthodpx Christianity, subject of, 368. 

Oscar, King of Sweden, 288, 302, 308, 
311; and Emma Thursby, story about, 
306, 309, invites Emma Thursby to 
Opera Ball, 304, receives Emma 
Thursby at Palace, 344. 

Oscar, Prince of Sweden, 308. 

Osgood, Mrs., 189. 

Osgood, Emma, 229. 

Oshkosh (Wis.), 407. 

"Ostrich Feather Gallop"- Duett, 23. 

Oswego {N. Y.), 21. 

Othello, 82. 

Otlmiel, 159. 

Ottawa (Canada), 404, 406. 

Oumiroff, Bogea, 377. 

Ouverture du Vaisseau-Fantdme (Wag- 

. ner), 210, 

Ovington, Mr. (Edward), 282. 

Ovingtoo, Mrs. Edward, 218, 257, 258, 
301, 397; funeral of, 283. 

Ovington, Jeannie, 257, 281, 351, 352, 
353, 360; excerpt from letter from Rev. 
Beecher, 346. 

Ovingtons, the, 202, 265, 283. 


Oyley, Baron d', 319. 

Oyley, Baroness d\ 202, 319, 353. 

Oxford (England), 192, 396. 

Pachmann, Vladimir, 321. 

Packer Institute, 109. 

Paine, Prof. John K. 137, 336. 

Palace Hotel (San Francisco), 336, 338. 

Palais de Castille, 318. 

Palais du Trocadro (Paris), concerts, 

276, 32 if, 373,401. 
Palatine Hill, 101. 
Palestrina, Giovanni, 329. 
Palette Club (N. Y.), Summer Night's 

Festival of, 124, 388. 
Palmers, the, 94. 

"Palo Alto Quickstep" Duett, 23. 
Pankhurst, Christabel, 377. 
Pankhurst, Emeline, 377. 
"Pantheon," the, 101. 
Papin, Ad., 219. 

Pappenheim, Mme Eugenie, 143. 
Pardon de Ploermel (Meyerbeer), Waltz 

from, 217. 
Parepa, Mme Euphrosyne, 71, 72, 82, 85, 

94. 327. 
Parepa-Rosa, Mme, 85. See also, Parepa, 

Mme Euphrosyne. 
Parigino, 148. 
Park, 33, 51, 57, 9*, 96, 109, i6, 173, 196, 

199, 3600, SOI, 231, 222, 22g, 233, 237, 
256, 263, 2%, 277, 278, 28l, 282, 283, 

*&4 301, 303, 307, 311, 312, 316, 317, 
322, 323, 337, 339, 341, 342, 343, 344, 
345* 54 6 ' 359* 375* concerts, 204!! 
(Emma Thursby's Paris dbut), 209*! 
(second appearance}, 2i5#, 273, 274, 
27$f, *86, 318, 319, 521, 373f (Emma 
Thursfoy's farewell concert), 396, 597, 
401, 402, 403, 413; death of Maurice 
Strakosch in, 360; Thursby ap 
proaches Paris delsut unheralded, 203; 
Emma Thursby's first visit to, 87, 88f; 
Emma Thursby guest at Stanley Club 
in, 22of, 276; Emma Thursby studies 
with Maurice Strakosch in, $52f; Ex 
position in, 187, 195; John and Jane 


Thursby in, 375, 54, leave, 58, 60; oc 
cupation by German troops of, 82; 
performance of Tchaikowsky's Temp 
est in, 202; reluctant to accept foreign 
artists, 202. 

Paris- Journal, excerpt from, 2o6f. 

Parisian Romance, The (Richard Mans 
field in), 332. 

Park City (Utah), 411. 

Parker, Miss, 146. 

"Parliament of Religions," Emma Thurs 
by's meeting with Swami Vivekananda 
at, 366. 

Parlow, Kathleen, 377. 

Parma, Duke de, 373. 

Parsons, Mrs. Theodore, 377. 

"Parting Song/' 24. 

"Party Cotillion," 23. 

Pasdeloup, Jules, 196, 210, 211, 212, 214, 
216, 373; presents Emma Thursby with 
gold medal, 217. 

Pasdeloup bracelet, loss of, 365. 

Pasdeloup Concerts (Paris), 201, 210, 
401; prestige of, 209. 

Pasdeloup Orchestra (Paris), 215, 217, 
273* 396. 

Patey, Mme Janet Monach, 233, 234. 

Patron Saint of Milan. See, St. Charles 

Patron Saint of Music. See, Saint Cecilia. 

Paterson (N. J.), 394, 404, 406, 409. 

Patti, Carlotta, 352. 

Patti, Adelina, 77, 255, 276, 279, 285, 329, 
331, 341; compared with Emma Thurs 
by, 178 (audiences), 207, 208, 212, 257, 
*59> 260, 267, 270, 325, 328; debut of, 
78; Emma Thursby's criticism of, 314^ 
Emma Thursby first hears, 192; Mme 
Rudersdorff's indictment of, 172; Mau 
rice Strakosch as manager and teacher 
of, 157, 172, 173, 242; not received so 
cially in Europe, 315; rivalry with 
Emma Thursby, 277, 307, 315. 

Patti, Amalia. See, Strakosch, Amalia. 

Paul and Virginia (Masse), 331. 

Peabody, O. W., 184. 

Pearl of Bagdad, The (Loretz), 82. 

Pease, Alfred H., 183, 330; composes song 

for Emma Thursby , 181. 
Pedro, Dora, Emperor of Brazil, 142, 144, 

252, 39 i- 
Peekskill (N. Y.), Rev. Beecher's farm at, 

Pelhamville (N. Y.), Emma Thursby in 

railroad accident at, 350. 
Penn Yan (N. Y.), 409, 
"Pennland" (ship), 352, 410. 
Pennsylvania, 25, 27, 138, 248, 340, 342, 

"Penthesilea" Overture (Goldmark), 240. 

Peoria (111.), 399. 

Perkins, Charles C., 335. 

"Perkins, Eli" (Melville D, Landon), let 
ter to Emma Thursby, 130. 

Perle du Br&il, La (David), 341. 

"Persian Piano," the Thursby 's, 69. 

Peschard, Mme, 215. 

Peschka-Leutner, Mme Minna, 131, 176. 

Petersburg (Va.), 407. 

Petit Journal, Le (Paris), excerpt, 206. 

Petition of appreciation to Emma 
Thursby from Boston admirers, 184. 

Phaeton (Saint-Saens), 178. 

Phelps, Elizabeth, 232. 

Philadelphia (Pa,), 120, 138, 161, 169, 
171, 174, 240, 329, 366; Centennial Ex 
hibition in, 160, 168; concerts, 135, 143, 
149, 164, i68f, 251, 327, 328, 346, 388, 
389, 390, 391, 393, 394, 398, 400, 403, 

404, 405, 407, 408, 409, 412; Emma 
Thursby breaks bonds of local reputa 
tion in, 117; first telephone exhibited 
in, 1 60. 

Philadelphia Academy of Music, concerts 
in, 117, 124, 135, 149, 346, 388, 389, 

39 39* > 393> 394> 39 s * 4, 4O3 4<H* 

405, 407, 408, 409, 412. 

Philadelphia Press, cited, 161, 327. 

Philharmonic Society of Vienna, 197. 

Phillipps, Adelaide, 65, 75, 138; her sing 
ing compared with Emma Thursby's, 

Phiilipps, Mathilde, 165, 183, 336. 

"Phillis an das Clavier" (Mozart), 326. 

Philosophy, subject of, 369. 
Phonograph, the, Emma Thursby's voice 
recorded for, 184; demonstration of, 


Physical Science, subject of, 369. 
"Piacer del del" (L'toile du Nord), 235. 
Pianist, Emma Thursby's preference for 

accompaniment, 315. 
Piano, pianoforte, 43, 58, 70, 89, 133, 160, 

163, 164, 178, 224, 229; Thursby pianos, 

63, 69, 90. 
* 4 Pic-nic Polka," 24. 
Piccini, Giovanni, no, in. 
Piccolomini, Mile Marietta, 64. 
Pickard, Rev., 61. 
Pierce, Henry L., 184. 
Pierette (gowns), 164. 
Pietro il Grande, Aria and Variations 

from (Vaccai), 124, 
Pinafore, HMJS. (Gilbert and Sullivan), 

Pirates of Penzance, The (Gilbert and 

Sullivan), 247. 
Pittsburgh (Pa.), concerts, 120, 251, 388, 

394' 395> 399* 4<*. 
Pittsburgh Telegraph f correspondent of, 

quoted, 161. 
Pittsfield (Mass.), 408. 
"Place Danger Around Me" (Othniel), 


Plainfield (N. J.), 386. 

Plante, F., 279. 

Platen, Count and Countess de, 308. 

Plays, performances attended by Emma 
Thursby, 82, 117, 329, 332, 341. 

Plymouth Church (Brooklyn), 64, 68, 86, 
108, 145, 184, 238, 328, 355, 357, 358, 
364, 381; concerts in, 74f ("Grand Com 
plimentary Testimonial Concert" to 
Emma Thursby), 107 (Complimentary 
concert to Emma Thursby), 185, 383, 
3%* 385> 386, 389* 39*> 39& 404; con 
gregation's loyalty to Beecher, 114; 
Emma Thursby engaged as soloist at, 
69, joins, 74, makes dbut in, 72, ter 
minates contract with, 76; membership 
of, 69; musical family of, 73; one of 


most famous churches in America, 69; 
simy told by Beecher about, 75, 
Plymouth (Church) Sunday School, An 
nual Festival of, 74. 

"Plymouth Rock" (excursion steamer), 

concert on, i24f, 388, See, Palette Club. 

Poem, **A Greeting," dedicated to Emma 

Thursby, quoted, 3*6f. 
Polacca (Mignon), 198, 253. 
PolHni, 315. 
Polonaise (Mignon), 78, 108, 117, 140, 

150, 238, 320, 365. 
Ponchielli, Amilcare, 93, 98. 
Pond, Major, 227, 272, 339. 
Pope, the, loo. 

Port Townsend (Washington), 364, 411. 
Portbou (Spain), Custom House at, 278. 
Porter, Admiral David, 356. 
Porter, Dr. See, Porter, Rev. Elbert J. 
Porter, Rev. Elbert J., 68, 83, 84, 243, 
385; excerpt from letter to Emma 
Thursby, 77. 

Porter's Church, Dr., 83. See also, Bed 
ford Avenue Reformed Dutch Church. 
Portia {Merchant of Venice), 341. 
Portland (Me.), concerts, 75 (Emma 
Thursby's first concert any distance 
from home), 135, 385, 389, 391, 4^7- 
Portlarjd (Oregon), 365, 411. 
Portsmouth (N. H.), 36$, 407. 
Pondam (N, Y.), 75, 385, 404. 
Potsdam (Prussia), 87. 
Potter, E. C, 361. 
PottsvOte (Pa.), 412. 

P0tJgakecpsse (N. Y.), 327, 393, 403, 406. 
Potigfakeepsie Daily Eagle, slogan of, 

cited, 327. 

Poznaski, Joseph, 78. 
Prague (Bohemia), 88, *% 400. 
Praa ancestry, 6. 

Praa, Anna, 7. See also, Bennett, Anna. 
Praa, Captain Peter, leading citizen of 

Eastern District of Brooklyn, 6f. 
Praa, Maria (Hey), wife of Captain Peter 

Praa, 6. 

Praa, Pieter, father of Captain Peter, ar 
rival in America, 6. 

Praas, the (ancestors of Emma Thurs 
by), 6. 

Prayer and Barcarole (L'toile du A T ord), 

Prt aux Clercs, Le (Herold), 154, 166, 

Preludes, Les (Liszt), no, 111. 

Press, the, 270, 282; American, 15?, iisf, 
121, 122, 159, iGo, 161, 165, 175*1, 178, 
i8if, 187, sioff, 238F, 240, 245!!, 249, 
325, 326f, 328; Austrian, 262; Belgian, 
274; British, 189, icjof, 197, 236; 
French, 196, 201 f, 2o6ff, 214, 215, 2672, 
318, 354; German, 257, 259, 260, 261; 
Scandinavian, 287, 288, 2goff, 2g8f, 300. 

Prevalti's Italian Hotel (London), 235, 


"Prima Donna Assoluta," Emma Thurs 
by as, 157. See also, Thursby-Strakosch 

"Primavera, La" (Torry), 79. 

Princeton (N. J.), 392, 394, 404, 408, 412. 

Princeton University, 347. 

Proch, Heinrich, 110, in, 112, 121, 131, 
147, 150, 175, 176, 192, 205, 206, 207, 
208, 209, 210, 213, 217, 230, 233, 277, 
281, 284, 287, 299, 318, 320, 331. 

Prodi's Variations, no, 112, 117, 121, 
135, 141, 147, 150, 175, 176, 192, 2o6ff, 
213, 230, 233, 277, 287, 299, 318, 320, 
331; Emma Thursby's first rendition 
of, 108, in Paris, 2off; identified with 
Gilmore, 131. 

Procopeia Club of Boston, Emma Thurs 
by a guest of honor, attends lectures of 
Swami Vivekananda at, 370; meeting 
of Sarah Farmer and Geraldine Farrax 
at, 371. 

Promenade Concerts. See, Riviere, M. 

Promessi Sposi, I (Ponchielli), first per 
formance of, 93. 

ProroJc, Count Byron Kuban de, 377. 

"Protect Us Through the Coming 
Night," 72. 

Providence (R. I.), 45; concerts, 135, 149, 
177, 250, 363, 389, 390, 392, 393> 4oc, 


Providence Music Hall (Providence, R.I.), 
concerts in, 135, 389, 390, 392, 393, 400, 
406, 49- 

Provoost, David, 7. 

Prumier, Conrad, 219. 

Public, the, Emma Thursby's statement 
to, 338, 

Puente, Giuseppe del, 230, 341. 

Purcell, Henry, 233. 

Puritani, I (Bellini), 25, 255. 

"Quartett in G Minor" (Mozart), 133. 

Queen Mary's song (Holyrood), 198. 

"Queen of the Night" (Magic Flute), 191, 
197; Emma Thursby petitioned to sing 
r61e in ten consecutive performances, 


Queenstown (Ireland), 87, 253, 254. 
"Quest' annel" (II Talismano), 234. 
"Qui est homo" (Stabat Mater), 229. 
Quincy (111.), 395. 399> 46- 

"Racine" (Evening Record music critic), 

quoted, 176. 

Raff, J. J., 178, 224, 268, 330, 378. 
Railroad accident, Emma Thursby in, 


Raleigh (N. C), end of Civil War at, 66. 
Ramakrishna (Hindu philosopher), 366; 

teachings of, 367. 
Randegger, Alberto, teacher of Emma 

Thursby in London, 182, 188, 190, 192, 

i99> 224. 

Randers Denmark), 311, 402. 
Rankin, Mr., 55. 
Raphael Santi, 87, 101. 
Rappet Le (Paris), excerpt from, 214. 
Rappold, Marie, 377. 
"Rational Parody Founded On The New 

Musical Nondescript, A,** 246f. See 

also, "Columbia." 
Ravelli, 255. 

Read, Fanny, 202, 217, 353, 396. 
Reading (Pa.), 407. 
Reber, Henri, 219. 
Recipe for Strengthening, 25. 
Reddish, Meta, pupil of Emma Thursby, 


Redeker, Miss, 198. 

Redfern (gowns), 366. 

Redpath Lyceum Concerts, 391, 392, 398. 

Redemption, The (Gounod), 336. 

Reeve, D. W., 390, 392. 

Reeves, Sims, 198, 224. 

Regent's Park (London), 34, 36. 

Reid, Mrs., 383. 

Reid's Concert, Mr., 392. 

Reinecke, Carl, 330, 

Remsen, Miss C., 23, 24, 25. 

Repetti, 104. 

Reporter, his observation on Emma 

Thursby's dramatic capabilities, 

quoted, 324!:. 

"Republic" (ship), 336, 342, 407. 
Requiem (Mozart), 234. 
Reszke, Edouard de, 369. 
Reszke, Jean de, 369, 370. 
"Reveil du Lion, Le" (Chevalier de 

Kontski), 340. 
Revue et Gazette Musicale (Paris), 196; 

excerpt from, 207^ 
Reyer, Etienne, 219. 
Rheinischer Kurier (Ems), excerpt from, 


Rhode Island, 149, 177. 
Ricci, Frederico, 287. 
Rice, Alexander H., 184. 
Richard, Mme, 274. 
Richard HI, 78, 82. 
Richardson, Mrs. W. E., 333. 
Richelieu, Duchess de (Douglas Wise), 

pupil of Emma Thursby, 375, 377, 381. 
Rkhelieu, Duke de, 377. 
Ridifidd Springs (N. Y.), 349* 4P&- 
Richmond (Va,), concerts, 249, 394, 400, 


Ridgewood (N. Y.), 30. 
Rignault, 219. 

Rigoletto (Verdi), 18 1, 287, 330, 531. 
Rinck, Johann, 73. 
Ring des Nibelungcn (Wagner), proposed 

first production in London by Maurice 

Strakosch of, 269. 
Rivals, The, 329. 
Rivarde, 77. 


Rive^King, Julia, testimonial concerts to, 


Riverside (Cal.), 411. 
Riviere, M., 235. 
Riviere Orchestra, 5, 235. 
Riviere's Promenade Concerts, 234, 235, 

397> 39& 

Robert le Diable (Meyerbeer), 324. 
Roberto el Diarolo (Meyerbeer), 81, 98. 
Roberts Lyceum Course, 403, 405. 
Robespierre, overture (Litolff), 178. 
*'Robin Adair," 233. 
Robinson's Church, 69, 
Rochester (N. Y.), 350, 394, 395, 399, 404, 


"Rochester Schottish," 23. 
Rockaway (N. Y.), 384. 
Rockaway Beach (N. Y.), 14, 166. 
Rockford (TIL), 407. 
Rcckledge (Fla.), 410. 
Rockvilie Centre (N. Y.), 387. 
Rockwell, Mr., 332. 
Rockwells, the, 502, $77. 
Rockwood, George G., 73, 74. 
Rode, Pierre, 121, 142, 216, 217. 
Rodelinda (Handel), 191, 197. 
Romerbad (Austria), 88. 
Rogers, Dr., 383. 
Rokkaku, Shisui, 377, 379. 
Rome (Italy), 98, 99, 100, 101, 104. 

e GMictUS* Valse (Gotmod), 

Juliette," Vatee (Gounod), 79. 
Ronsard, reference to, 319. 
Roosevelt, Mr. and Mrs. Robert, 353. 
Roothaaan, J>. W. 234. 
Rope industry, beginnings of, Brooklyn 

an important seat o, 7f 
Ropewalk (Ttorsby's), 8, so. 
Rosa, Carl, 84, 85, 148, 188; offers to 

manage tour for Emma Thimby, 218, 
Rose, 219. 

"Rose of Castilk" (BaHe), 272. 
Rosenhain, Jacob, 260. 
Rosina, r6Ie of, 325. 
Ross Street Presbyterian Omrch (Brook- 

JT) 54*. 545- 3^3' 5 

Rossini, Gioacchino, 6 r 108, no, in, 
112, 142, 147, 229, 233, 252, 256, 321, 

Rothschild, Baroness Willy de, 318, 331. 

Roubaix (France), 354, 410. 

Roughing It, 149. 

"Row, Row Your Boat," 23. 

"Row the Boat, Row" Song, 23. 

Royal Albert Hall (London), 229, 397. 

Royal Opera House (Madrid), 284, 285. 

Royal Opera House (Stockholm), 296, 
burning of, 310; concerts, 302, 304, 313, 
402; King's loge in, 304; Masked Ball 
at, 310. 

Royal Quadrille, Emma Thursby dances 
in, 306. 

Royal Society of Musicians (London), 

19, 396- 

Roze, Madame Marie, 229, 255, 272, 323. 
Rubinstein, Anton, 133, 150, 224, 262, 


Rudersdorff, Mme Enninia (mother of 
Richard Mansfield and teacher of 
Emma Thursby), 137, 150, 154, 166, 
168, 170, 180, 250, 251, 303, 323; anec 
dote about, 127; appearance, 127; 
birth, 126; brought to America by Gil- 
more, 125; business acumen, 129; char 
acter, 127, 332, 350; charm, 127; criti 
cisms of the managerial profession, 
171 f, of Maurice Strakosch, i7if, 242, 
of Max Strakosch, 272; death of, 320; 
fire losses (at "Lakeside"), 226, 271; 
fondness for America, 128; hobbies 
and tastes, 127, 271; last will and testa 
ment of 332ff; her London dbiit, 
126; marriages, 126; musical career and 
experience, reputation as operatic and 
oratorio singer, voice, 126; on English 
Opera, 272; parentage, 126; pupils of, 
145; concerts by, i46f, 161, 391, 393; 
sincerity, 241; spirit, 126, 145; takes 
residence at "Lakeside," testimonial 
concert to, i46f, 391. 

and Emma Thursby: advice to, 

132, 138, 148, 154, 155, 167, 173, i93i 
223, 226, 242^ affection for, 243; be- 


lief in, 129; criticism of, 163, 242; 
Emma Thursby's gratitude to, 195; 
liking for, 127; periods of study with, 
127, 144, 161, 182, 183; friend and ad 
mirer of Emma Thursby, 128; first 
meeting and lesson with, 127; her part 
in arranging Emma Thursby's Euro 
pean Concert tour, 187; letters to 
Emma Thursby, 132, i$8f, i48f, 1518, 
i55f, i62ff, i7iff, igsf, 223f, 226f, 2410% 
270!!; loss of her gift to Emma 
Thursby, 379f; makes first reference 
to "Mia speranza adorata," 131 f; ne 
gotiates "$100,000 Thursby Contract" 
with Maurice Strakosch, 158; recom 
mends Jarrett as manager for Emma 
Thursby, 193^ 223f, 22$; recommends 
Randegger as teacher for Emma 
Thursby, 188. 

Rudersdorff, Mathelde (sister of Mme 
Rudersdorff), bequest from will, 333. 

Rummel, Franz, 238, 248. 

Runcio, Signor, 230. 

Russia, 20, 223, 224, 345. 

"Russian Airs" (Wieniawski), 146. 

Russian Court, 126, 

Russian Legation (in Washington, D. C), 


Ruth, rdle of, 134. 
Ruth and Naomi "Scriptural Idyll" 

(Damrosch), 134. 
Rutherford (N. J.), 384. 
Rutland (Vt.), 404. 
Ruy Bias (Mendelssohn), 98, 200. 
Ryan, Desmond, 202, 209; tribute to 

Emma Thursby, speech to Stanley 

Club quoted, 22of. 

"Sacred concerts," 121; disapproval of in 

Detroit, 122. 

"Saeterbes0get" (Bull), 344. 
Saffo (Piccini), no. 
Safonov, Vassily, 377. 
"Sagadahoo" (boat), 284. 
St. Albans (Vt.), 406. 
St. Augustine (Fla.), 410, 411, 412. 
St. Bartholomew's Church (N. Y.), 375. 

St. Catherine's (Canada), 395. 

St. Cecilia (patron saint of music), Emma 

Thursby named for, n; painting of 

(Dolci's), 87. 
Saint Cecilia Vocal Society, 388, 389, 390, 

St. Charles Borromeo (Patron Saint of 

Milan), 91. 
SC Clair, Ada, 335. 
St. James Hall (London), concert at, 188, 

192, 198, 224, 396, 397. 
St. John of Nepomuk, legend of, 88. 
St. John f s (N. B.), 408. 
St John's Methodist Episcopal Church 

in Brooklyn, concert at, 72, 387. 
St. Johnsburg (Vt.), 409. 
St. Joseph (Mo.), 399, 407. 
St. Joseph's Roman Catholic Convent, 

Emma Thursby's attendance at, 54. 
St. Louis (Mo.), 120, 121, 158, 1 81, 247, 

248, 350, 388, 392, 393, 395, 399, 409. 
St. Paul, burial place of, 103. 
St. Paul (Minn,), concerts in, 247, 365, 

366, 399, 407, 412. 

St. Paul, oratorio (Mendelssohn), 251. 
St. Paul Philharmonic Society, 407. 
St. Peters (Rome), 98, 100. 
Saint-Saens, Camille, 178, 182, 210, 279, 

286, 287. 
Sala Beethoven (Barcelona), 278, 279, 

Salle Franklin (Bordeaux), concert in, 

274, 401, 402. 
Salt Lake Choral Society, June Festival 

of, 364, 411. See also, Mormon Taber 
Salt Lake City, coiKerts in, 339, 364, 390, 

405, 411; reception at, 140!. 
"Salute to the Glorious Centennial Year 

1876," 143. 

Salvayre, Gervais, 286. 
Salvini, 285. 

Samary, Mile Jeanne, 215. 
Samson (Handel), 234. 
Samuels, Homer, 377. 
San Bernardino (Cal.), 411. 
San Carlo. See, St. Charles Borromeo. 


San Diego (Cal.), 411. 

San Francisco (Cal.), 130, 140, 141 

(growth of), 144, 353; concerts in, 14 if, 

San Jose (Cal.), 411. 
San Luis Obispo (Cal.), 411. 
Sandy Hook (N. J.), 303, 324. 
Sanford (Fla.), 410. 
Sangiovanni, Antonio (teacher of voice), 

88, 98, 107; Emma Thursby begins 

study with, 93; quoted, 94. 
Santa Barbara (Cal.), 411. 
Santa Cniz (Cal.), 411. 
Santley, Charles, 82, 85, 192, 198, 224, 

233* 234- 

Sapio, Romulado, 377. 
Sapolini, Dr., 104. 
Saradananda, Swami, 377. 
Sarasate, Pablo, 78, 224, 280, 281. 
Saratoga (N. Y.) f 114, 115, 116, 349, 387, 

Saratoga Rowing Association, benefit ball 

for, 115*. 

Sargent, Miss, 146. 
Sassoli, Ada, 377. 
Satanella (Balfe), 272. 
"Saterjantans Sondag" (Bull), 291, 292. 
Sauret, Emile, 145, 146, 147. 
**Save me, O Lord" (Randegger), 182. 
Saxophone, 112, 113, 142. 
Saxe-WeSiEaiv Grand Duke of, 401 ; story 

about Emma Thursby and, 264. 
Ssxe-Weimar, Grand Duchess, 264. 
Saxe- Weimar, Princes Alexander, Bem- 

brd, Hermann of, 259. 
Saxony, King and Queen of, concert in 

honor of, 320, 403. 
Sawyer, Captain Silas, 334. 
Scakfci, Sofia, 331, 341. 
Scandinavia, 290, 307, 31 1, 315, 318, 352. 
Scorlet Letter, The (Damrosch), New 

York premiere of, 370. 
Scena and Cavatina for Climene, from 

Stiff Q (Piorfni), no. 
Scena De La Folie (Hamlet), 251, 252, 

Scenas, repertoiiie o& 139. 

Schaffer, Josephine, pupil of Emma 

Thursby, 375, 377. 
"Schelm, Der" (Reinecke), 330. 
Schirmer, Gustave, 143, i48f; music store 

of, 143. 

Schmelz, Reinhard, "First Grand Sym 
phony Concert," Emma Thursby as 

soloist of, 150, 391. 
Schubert, Franz, 330; grave of, 88. 
Schumann, Robert, 224, 234; Clara, wife 

of, 88. 

Schwab, Mr., 170. 
Schwab, Frederick, 267. 
Scopas, 335. 
Scotland, 152, 255, 
Scranton (Pa.), 340, 405. 
Scroll, presented to Emma Thursby, in 
scription on quoted, 348; 349. 
"Se il del," Aria (Alessandro nelle Indie), 


Seaman's Fund, benefit concert for, 18. 
Seasons, The (Haydn), 251. 
Seattle (Washington), 365, 412. 
Second Concerto in D minor, Op. 22 

(Wieniawski), first performance of, 

i oof. 
"Sei Troppo Bella," Canzone (Gordi- 

giani), 147. 
Sembrich, Marcella, 255, 279, 341, 366, 

Semirarmde (Rossini), 321, 331; Patti's 

first performance in, 192. 
Semir amide, Overture (Rossini), 112. 
Seraglio, II (Mozart), 132, 200; Seraglio 

Song, 211. See also, Enlevement au 

Serail, 1'. 

Serenade in D Minor (Volkmann), no. 
"Serenade on the Beach" (Kjerulf), 292. 
Servais, Joseph, 215. 
Sessi, Marianne, 260. 
Seward, Mr. Theo. F., 383. 
Sextett (Mme Rudersdorff's), 148. 
Shadow Song (Dinorah), 96, 158. 
Shaffer, Dora Becker. See Becker, Dora. 
Shakespeare, 79; quoted, 292. 
"Shakespearean Soiree, 1 * 78, 79, 385, 386. 

See also, Goldsmith, Oliver B. 


"She Wandered Down the Mountain 

Side" (Clay), 79, 185. 
Sheldon, Mis., 277, 316. 
Sheridan, General Philip Henry, 356. 
Sherman, Ed., 43, 54. 
Sherman, General William Tecumseh, 


"Shining Shore, The," 358. 
"Si t'amo, o Cara" (Muzio $cevola)> 133, 

"Si vous n'avez rien a me dire" (Be 

Rothschild), 3 18,331. 
Sieber, Professor Ferdinand, 87. 
"Signal March," 23. 
Silver, 53; the Misses Silver, 53. 
Simpson, George, 72, 107, 135. 
Singer, Teresa (and sister), 92. 
Sinico, Madame, 229. 
Sisters of Charity, benefit concert for, 


"Sistine Madonna" (Raphael), 87. 
Sivori, Camillo, 219. 
Skillman, Captain, military company 

of, 7- 

Slezak, Leo, 377. 

Sloman, Robert, 78. 

Smith, Mr. (Lottie's father; "Papa** 
Smith), 104, 238, 244, 304. 

Smith, Mrs, (Lottie's mother; "Mama" 
Smith), 105, 109, 136, 238, 244, 329. 

Smith, Mrs. H. M., 251. 

Smith, Hyatt, 386. 

Smith, Lottie, 89, 91, 93, 94, 95, 96, 98, 
i oi y los, 105, 119* 136; her illness, 104, 
106; her death, 105, 109. 

Smiths, the, 106, 136, 329. 

"Snow Flakes" (Cowen), 378. 

Socie^ des Beaux-Arts (Nantes), con 
certs of, 218, 397. 

Soci&e' des Concerts of the Conserva 
toire National de Musique, 401; 
awards Medal to Emma Thursby, 275; 
invites Emma Thursby to sing, 273; 
letter to Emma Thursby, 274^ 

Soci&6 des Concerts Populaires (Mar 
seilles), 319, 403. 

Sod&e" Nationale des Amis de I'Enfance, 

209, 396. 
Socie'te Philharmonique of Limoges, 353, 

Socie*t6 Pour La Propagation De L'Allait- 

ment Maternel, benefit concert for, 

322, 403- 

Society o Friends of Music, 400. 

Society for Preservation of Virginia An 
tiquities, benefit concert for, 411. 

Sognef jord (Norway), 297. 

Sohst, Mr. Adolph, 112, 113, 124, 135. 

"Soirees De Dance, Les"- Duett, 24. 

Solms, Prince and Princess de, 259; 
Princess Solms, 323. 

Solomon (Handel), 251. 

"Solveigs Sang" (Grieg), 298, 379. 

"Somebody," 181. 

Somerset, Lady Henry, 369. 

"Song and its relation to the Human 
Heart," Beecher sermon, excerpt from, 


"Song of the Lark," 29. 
"Song of Victory, A" (Hiller), 166. 
Sonnambula, La (Bellini), 152, 192, 243; 

dbut of Emma Nevada in, 345. 
Souder, Miss, 146. 

"Sounds from the Valley"- Waltz, 24. 
South America, 375. 
South Berlin (Mass.), 334. 
South Brooklyn (N. Y.), 388. 
South Orange (N. J.), 389, 
South Presbyterian Church (Brooklyn), 

Fm-ma Thursby soloist at, 68. 
Southampton (England), 43, 323, 345. 
Southboro (Mass.), 272. 
Southern Veteran Soldiers' Home, 342, 

Spain, 256, 264, 270, 271, 274, 277, 281, 

282, 283, 285, 290, 301, 312, 315; King 

of, 285; Court of, Emma and Ina 

Thursby received in, 285. 
Spanish proverb, 285. 
"Spanish Song" (Ynzenga), 330. 
Spaulding, Albert, 377. 
Speaks, Oley, pupil of Emma Thursby, 

375> 377- 


Spear, Dr., Pastor of South Presbyterian 

Church, 68. 
Spelman, Mr, f 83, 84. 
"Sperai vicino il lido/' Aria (Mozart), 

9* *97- 

Spiritualism, subject of, 369. 

Spliigen Pass, 88. 

Spohr, Louis, 200, 224. 

Sport, Le (Paris), excerpt from, 207. 

Sportsman, The (London), cited, 236. 

Spravaka, Ella, 377. 

"Spring Valse, The" /Carrerio}, 147. 

Springfield (Mass.), 45; concerts, 135, 389, 
400, 404. 

Springfield (Ohio), 406, 

Stabat Mater (Rossini), 229, 233, 384. 

"Staccato Polka" (Mulder;, 142. 

Stael, Madame de, 249. 

Stamford (Conn.), 395. 

Standigl, Josef, 351. 

Stanley, Helen, 377. 

Stanley, Henry M., 232. 

Stanley Club (Paris), 0esmond Ryan's 
after-dinner address to, Emma Thurs- 
by first woman guest of, 220; Ina and 
Emma Thursby dinner guests at, 276 

Stantoo, Elizabeth Cady, 366. 

Stapleton (N. Y.), 177, 393, 410, 

Star Course Concerts, 409, 410, 411, 412. 

**Sear of the North, The," 264. 

"Star-Spangled Banner, The," Emma 
Thursby fails to remember all verses 
of, 228, identified with, 260, 261, her 
renditions of, 123 (Sumter Club), 236, 
254, 277 (Stanley Dinner), 342; sung by 
Geraldine Farrar at the White House, 


State Opera House (Berlin), 1 16. 
Staten Island (N, Y.), 54, 392, 3^4. 
Steams, Mr. F. A., 387, 
Steinway Hall (N. Y.), concerts in, 135, 

150, 160, 181, 182, 238, 239, 247, 250, 

3^4- 385, 387, 389, 390, 391, 392, 393, 

394* 398. 399. 400- 

Sterling, Antoinette, 74, 75, 198, 224. 
Steweras, John Leavitt (American Min 

ister to Sweden), family of, 300; invites 
Ina Thursby to Grand Ball in Stock 
holm, 308. 

Stewart, Mr., his church, 69. 

Stewart, Mrs., A. T., 115. 

Stewart's, 156. 

Stockholm (Sweden), 287, 289, 295; con 
certs in, 300 (de"but), 302, 304, 310, 313, 

344, 346, 402, 408; Grand Gala Opera 
and Ball in, 304!!. 

Stocton, Fannie, 57. 

Stoddard, A. E., 123, 134. 

Stoessel, Albert, 377. 

Stone Ridge (N. Y.), 387. 

Storrs, Mr., 84. 

Storrs, Rev. Richard S., critic of Beecher, 

124; pilgrimage to Fort Sumter, 66, 


Story, Miss E., 25. 
Stradella (Flotow), 81. 
Strakosch, Mme Amalia (Patti), 64, 231, 

345, 353, 373; Emma Thursby 's loyalty 
to, 314^ excerpt from letter to Emma 
Thursby, 362; marriage to Maurice 
Strakosch, 157. 

Strakosch, Carl, 339. 

Strakosch, Maurice (manager and teacher 
of Emma Thursby), 162, 167, 181, 226, 
231, 237, 245, 247, 252, 255, 261, 265, 
270, 272, 285, 293, 294, 297, 301, 307, 
308, 309, 311, 312, 316, 352, 373; abili 
ties as business man, manager, and 
musician, 157, 248, 26*0, 313; arranges 
concert in honor of Emperor and Em 
press of Germany, 257, in honor of 
Queen Victoria of England and King 
and Queen of Saxony, 320; arranges 
series of "Telephone Concerts," 160, 
"The Grand Historical Concert Cy- 
clus" at Chickering Hall, 329; arrives 
in England with Emma and Ina 
Thursby, 254; arrives in Paris to man 
age tour of Norway and Sweden, 344; 
birth, 157; called "Christopher Colum 
bus of the golden throats," 324; death, 
360; decision to remain in Europe, 
258; discovers "Norwegian Herdsman's 

Song," 34 6 ; disapproval of Adelina 
Pattis marriage, 157; failing health of, 
345- 353 359 3&>; first to propose 
Metropolitan Opera House, 541; goes 
to London for proposed production of 
Ring des Nibelungen, 269; looks to 
America for future concerts, 256; Mme 
Rudersdorff's criticism of, 172, 242; 
management of Adelina Patti, 157, 172, 
173; marriage to Amalia Patti, 157; 
opera company of, 85; opinion of 
Emma Thursby's going into opera, 
279, 282, 339; poor health renders him 
unable to aid Emma Thursby prepare 
for opera, 345; quoted, 315; refuses 
offer of Hamburg opera house for ex 
tended Thursby engagement, 317; re 
turns to America, engages De Kontski 
as assisting artist, 340; sails for Amer 
ica, 233; sails for Europe to sound out 
musical situation, 336; sails for New 
York to book tours for Emma Thurs 
by, 323; secures apartments of King of 
Belgium for Emma and Ina Thursby, 

and Emma Thursby: compliments 

her on her singing of Mozart's music, 
158; first contract between ($100,000 
Thursby Contract), assisting artists, 
158, breach of, i69ff, 179^ Emma 
Thursby as "Prima Donna Assoluta," 
157, Emma Thursby refuses to release 
him from, 174, inability to secure en 
gagements for Krnma Thorsby ia Eu 
rope, 169, largest concert fee ever of 
fered an American singer, 158; suggests 
altering terms of, 170; her admiration, 
loyalty, and respect for, 313, 314; her 
concert in birthplace of, 262; her 
kindly feeling toward, 225; her need 
of, 183, 350, 362; her second contract 
with, 232; Strakosch, an indispensable 
figure in all Thursby concerts, 313. 

Strakosch, Max (brother of Maurice), 85, 
170, 223, 272, 339. 

Strakosch, Robert (son of Maurice), 169. 

Strakosch, Siegfried, 311. 

Strakosch Italian Opera, 158. 

Strakoschs, the, 322. 

Strassburg (Alsace-Lorraine), 267, 268, 


Strauss, Johann, 116, 125. 
Strong, Susan, 378. 
Strong Place Church (Brooklyn), 69. 
Struve, M. de (Russian Minister to the 

U. S.}, 347> 349- 

Struve, Madame de, 347. 

Students Hall (Lund), 313. 

Stud well, Clementine, 226. 

Stuttgart, (Wurtemberg), 401. 

Suite for Violin, Op. 180 (Raff), 224. 

"Suite pour orchestre dans le style 
ancien" (Saint-Saens), 210. 

"Suite in D minor" (Handel), 133. 

**Sull Aria," Duetto (Mozart), 146, 159. 

Sullivan, Algernon Sydney, quoted, 245. 

Sullivan, Arthur, 178, 188, 190, 193, 199, 
233, 247; excerpt from letter to Emma 
Thursby, 222f; letter from Frederic 
Clay, 186. 

Sumter Club, the, Emma Thursby sings 
The Star-Spangled Banner at tenth an 
niversary of, i23f, 388. 

Sunday Concerts, 121, 122. See also, 
"Sacred Concerts." 

Susanna, role of (Le Nozze di Figaro), 


Susini, Signor, 63. 
Svendsen, Johan, 291, 298, 299. 
"Swallow Song" (Oakley), 199. 
Sweden, 231, 252, 288, 300, 301, 307, 311, 

312, 313, 344. 

Sweden, court of, 306, 311. 
Sweden, Crown Prince of, 304, 308, 313; 

Emma Thursby dances with, 306, 309; 

marriage of, 302. 
Sweden, Crown Princess of, 304, 306, 308, 

309, 313; marriage of, 302. 
Sweden, Queen of, 308, 311. 
Sweden, Royal family of, 304, 306, 308, 


Sweden, Young Princess of, 308. 
Swedish Minister to U, S., and wife, 347. 
Swedish Nightingale. See, Jenny Lind. 


Sweet/George, 385. 

"Sweet Bird" (Handelj, 337. 

"Sweet Kate of Norton Vak," 25. 

Swert, Jules de, 260. 

Switzerland, 196, 520, 575. 

Sylvia (Delibes), first performance of in 

English, 254. 
Sylva, Eloi, 351, 
Syiva, Marguerita, 378. 
Symphonic en ut mineur (Beethoven), 


Symphonic (ineclite) (Haydn), 273. 
Symphonic Religieme (Bourgauh-Du- 

coudray), first performance of, 199, 
Symphony in C, Jupiter (Mozart), 240. 
Symphony in D (Beethoven), 203. 
Symphony in E flat, No. 8 (Haydn), 200. 
Symphony No* i (Schumann), 234. 
Symphony No. 2, Op. 73 (Brahms), world 

premiere of, 197, 

Symphony No, 7, in D (Haydn), 191. 
Symphony No. 8 in F. Op. 93 (Bee 

thoven), no. 
Symphony No. g, Qioral (Beethoven), 

198, 234, 251. 

Symphony Ocean (Rubinstein), 224. 
Symphony Pn&torolc (Beethoven), 210. 
Symphony Society of New York, concerts 

of, 239, 240, 331, 398, 404. 
Syracuse (N. Y.), 21, 177, 393, 395, 399, 

**$yractise Potka w Duett, 24. 

Taioo d'amor Volupino," 148. 
"Tableau Parlant, Le,"Air from (Gretry), 


Tacoma (Washington), 365, 412. 
Tagtlafsietja, Gimo, 160, 165, 175, 
Tafead* Pan!, TJ^ 
Tagote, RahlodraBath, 378. 
Talazac, 274, 276, 321. 
Talbot, I. T., 335. 
Talwwwmo, 11 (BaMe), 192, 234. 
Talmage, Rev. Th<3raas Dewitt, 35$. 
Taa^xarlick, Earkio, 215. 

(Ledair), 229, 

), 257, 260, 321, 326, 

"Tarantelle" ( 
330, 3S* 35i- 
Tarantelle (Chopin), 178. 
Tarb< des Sablons, Duchess, 286. 
Tasmania, 352. 
Taubert, Karl G. W., 150, 154, 197, 254, 

268, 318, 330, 363, 378. 
Taunton (Mass.), 409. 
Tailor, Baron, 219. 
Taylor, David, 277, 284, 312, 316. 
Taylor, Rev. William Mackergo (Broad 

way Tabernacle), 139. 
Tchaikowsky, Peter, 202, 256. 
Teatro Dal Verme (Milan), 93. 
Te Dtum (Purcell), 233. 
Telephone, dispute between Bell and 
Gray over discovery of, exhibition o 
first instrument, 160; first demonstra 
tions of, i6of, "broadcasting" by, 250. 
"Telephone Concerts," Emma Thursby 
vies with new invention as "prima 
donna," i6of, 250. 
Tempest (Tchaikowsky), first perform 

ance of in Paris, 202. 
"Temple of Apollo," 64. See also, Brook 

lyn Academy of Music 
Tennyson, Alfred Lord, quoted, 236. 
Terre Haute (Ind.), 120, 388. 
Terry, Ellen, 341. 
Thalberg, Sigismund, 146. 
Theatre du Chatelet (Paris), 202, 373; 
concerts in, 2O$ff, 220 (Paris dbut), 
217* 318,396,403. 
Theatre Franchise (Nice), 320, 403. 
Theatre National de FOpera (Paris), 278, 

283, 286, 321. 

Thema and Variations (Forrestier), 112. 
Theme vari (Prodi), 210. See also, 

Proch's Variations. 
Thenard, Mile, 228, 229. 
Theosophy, subject of, 368. 
Theuriot, M. A., 229. 
"Third Grand Concert," 123. See also, 
Handel and Haydn Society of 

Thomas, Ambroise, 196, 219, 251, 262, 
68, 269, 351, 373, 396; letter to Emma 


Thursby, 216; petitions Emma Thurs- 
by to sing in opera, 278, 283. 

Thomas, Mmc Ambroise, 262. 

Thomas Ch., 219. 

Thomas, J. R., 72. 

Thomas, John, 230, 397. 

Thompson, Joseph Parish, 232. 

Thomas, Theodore, 123, 133, 177, 178, 
272, 336, 337; and Offenbach, story 
about, 339; unfortunate situation 
caused by his "no encore" policy ap 
plied to Emma Thursby, 337^. 

Thomas concerts (in San Francisco), 
Emma Thursby's statement to the 
public about the "no encore" policy 
of, 338- 

Thomas Music Festival, Theodore, 405. 

Thomas Orchestra, Theodore, concerts 
of, 110, 124!", 134, 135, 137, 149, 151, 

i7 8 > 337 339 39> 39^ 39*> 393- 
Thomas and Parepa Concerts, Theodore, 


Thompson, Sarah E., 74, 75. 
Thompson, Baron and Baroness de, 252. 
Thornton, Sir Edward (British Minister 

to the U. S.), 252. 
Thorp, Amelia Chapman, 289, 297, 301, 

3% 4*2- 

Thorp, Senator Joseph, 232, 289, 297, 

Thosby, Samuel, 6, 7. See also, Thursby, 

"Thou seem'st to me a Flower" (Rubin 
stein), 150, 

Thursby, Alice (sister of Emma), 35, 37, 

43> 47 48, 5* 53* 54* 57 A 9 1 * 94> 
96, 119, 154, 180, 183, 244, 276, 343; at 
tends Miss Duryee's school, 23, attends 
Moravian Seminary, 26; beginning of 
musical education, 25; birth, n, birth 
day gift to, 301; death and funeral of, 
346; devotion to Emma, 345; forced to 
give up school, 29, 62, and musical 
training, 62; goes on tour with Emma, 
120, 139, oil vacation with F.m ma at 
Woodsburgh, 125, to Europe with 
Emma and Mrs. Thursby, 186, to Sara 

toga with Emma, 114; her voice, 49; 
illness of, 33, 345; letters from 
to, 261 (excerpt), 289^ 3Q$ff, 3142, 
from Ina to, 2643, 28of, s82f, 307^, 
322; performs in Duryee school con 
certs, 232; tours Europe, 196, 199, 225, 
231, 232, 236. 

Thursby, Alice Mary (daughter of John 
and Hannah Thursby), death of, 8. 

Thursby, "Allie." See, Thursby, Alice. 

Thursby, Archbishop, 4. 

Thursby, Elizabeth Jane Ann (aunt of 
Emma Thursby), 8, 40, 43. 

Thursby, Emma (eldest sister of Rev. 
William Thursby), 4. 

Thursby, Emma (mother of Rev. Wil 
liam Thursby), 4. 

Thursby, Emma Cecilia. 

ancestry, her first interest in, 3; lineage, 

appearance, 70, 161, 209, 211, 239 (per 
sonal graces), 244, 246, 268. See also, 
dress, characteristics and personality. 

baptism in Old Bushwick Dutch Re 
formed Church, n; baptized "Emma 
Cecilia" after the patron saint of 

birth, in birthday of, celebrated, 120; 

characteristics and personality: 57, 77, 
221, 315, 318, 348, 
attentiveness, 15, 
bearing, 291, 
charm, 186, 249, 287, 318, 
confidence, 112, 153, 203, 
courage, 349, 350, 
daring, 112, 177, 331, 
determination, 15, 63, 65, 120, 
diligence, 65, 
earnestness, 218, 
endurance, 87, 130, 
energy, 15, 70, 87, 107, 120, 380, 
enthusiasm, 15, 70, 87, 
faithfulness, 63, 
fortitude, 366, 380, 
generosity, 115, 
grace, 236, 239, 
impatience, 65, 


characteristics and personality (cont.): 
loveliness, 297, 
loyalty, 314, 
memory, *5 3*5* 
modesty, 75, 107, 161, 204, 215, 249, 

287* *97, 

naturalness, 75, 249, 
nervousness, 16, 
perseverance, 63, 120, 137, 
poise, 107, 

presence of mind, 350, 
self-assurance, 112, 149, 
self-reliance, 63, 
sincerity, 218, 
spirit, 347, 352, 354, 
sympathy, 350, 
timidity, 16, 119, 149, 153, 
unaffectedness, 76, 107, 186, 204, 
vitality, 222, 352, 
zeal, 63, 73; 

childhood: i2ff, 20; attends celebration 
of arrival of Jenny JJnd in America, 
*7f; chosen May Queen at The Mo 
ravian Seminary, 29; definite purpose 
to be a singer, 17; effect of death of 
grandfather on, 2if; sings in first con 
cert at age of 5, 15; 

death and funeral, 381; 

dress, 115, 138, 161, 177, 204, 211, 243, 
246, 266, 268, 305, 308, 366; 

health, *& 147, 359; illness, 33, 352, 354, 

voice: 152, 179, 186, 202, 249, 258, 322, 


ability, 197, 

accents, 160, 204, 

adapted to oratorio, 160, 

arpeggios, 261, 

beauty, 297, 

bravura, 165 ftfae best bravura singer 

oo our concert stage"), 197, 
breathing, 107, 261, 
brilliancy, 121, 175, 176, 205, 267, 291, 
clarity and clearness, 121, 160, 175, 291, 

COmpaSS, 121, 160, 176, 1%, 189, igj, 

197' *7 &&> *57 6o, 261, 262, 267, 

voice (cont.): 
delicacy, 176, 
delivery, 160, 
dignity, 160, 

discovery of at age of five, 14, 
Edison requests her to make record of 


enunciation, 239, 
feeling, depth of, 175, 189, 206, 207, 


fervor, need of more, 159, 
flexibility, 121, 191, 207, 257, 267, 
fluency, 175, 191, 204, 205, 206, 208, 


freshness, 185, 291, 
German opera unsuited to, 116, 
intelligence of rendering, 159, 
intervals, 176, 262, 
intonation, 121, 159, 191, 327, 
Julius Meyer's accomplishments with, 


legato, 261, 

limpidity, 207, 

nuances, 267, 

phrasing, 107, 160, 239, 327, 

pizzicato, 274, 

portamento, 262, 

power, 160, 189, 328, 

precision of execution, 176, 191, 206, 
207, 208, 214 (compared with pre 
cision of a fine Swiss clock), 236, 239, 
287, 288, 327, 328, 351, 

purity, 75, 121, 185, 204, 205. 267, 

quality, 121, 178, 189, 197, 257, 287, 

roulades, 176, 205, 291, 

runs, 176, 261, 262, 

scales, 262, 327, 

shake, 261, 

spontaneity, 176, 

staccato, 178, 205, 261, 262, 291, 300, 

style, 121, 159, 178, 189, 207, 208, 209, 
221, 239, 257, 260, 261, 267, 290, 354, 

surety and ease of delivery, 165, 176, 

technique, 260, 261, 291, 300, 

tempi, 261, 


timbre, 185, 206, 207, 208, 209, 267, 274, 

288, 328, 
tone, 75, 121, 160, 185, 204, 205, 257, 

trills, 176, 262, 267, 291, 300, 
virtuosity, 206, 208, 216, 257, 274, 
warmth, 159, 160, 

Thursby, Emma Cecilia, "Album," selec 
tions from Emma's album quoted, 27f; 

, appellations: 

"American Nightingale," 19, 248, 260, 
285, 381, 

"American Patti/* 210, 

"American Prima Bonna," 4, 237, 

"Columbia's Jenny Lind," 327, 

"Concert Singer of America Par Excel 
lence," 327, 

"Country's Greatest Concert Singer," 331, 

"Greatest Concert Singer of her day," 

"Greatest Mozartian vocalist of her day," 


"La Belie Puritanne/' 324, 
"La Reine immaculee du chant," 324, 
"Most Eminent Concert Vocalist," 158, 
"Musical Lady," 179, 
"New Star of Song," 207, 
"Queen of the Concert Room," 327, 
"Representative of the Greek ideal," 291, 
"Soloist at Beecber's Church," 73, 
"The Thrush," 210, 
"World's Greatest Living Concert 

Singer," 248, 327, 

Emma Cecilia Thursby f compared to: 
a bell, 175, 
a flute, 167, 212, 262, 
Jenny Und, 261, 262, 267, 
a nightingale, 205, 206, 212, 213, 268, 291, 
Nilsson, 257, 259, 325, 327, 
Parepa, 327, 
Patti, 207, 208, 209, 257, 259, 267, 325, 


the roc, 212, 
a skylark, 175, 211, 
a Swiss clock, 214; 
Thursby, Emma Cecilia, breaks boads of 

local reputation, 117; 

-, "broadcasts." See, Telephone, and 

"Telephone Concerts." 
Thursby, Emma Cecilia, Concerts: 
appearances, i$S, 235, 72, 75, 78, 79, 108, 

no, 112, 117, 121, 123, 124, 131, 133, 

134. i35> *37> MO, HI 142, i4&> !47> 
149, 150, 154, 158, 159, 166, 178, 181, 
182, 185, 189, 190, 191, 192, 197, 198, 

199, 2OO, 204, 205, 210, 215, 2l6, 224, 

228, 229, 234, 235, 238, 240, 243, 251, 
252, 254, 256, 273, 287, 292, 297, 298, 
299, 318, 321, 324, 326, 328, 329, 330, 

33*> 336, 337* 34i> 344 346, 351; see 
also, Chronology, 382-413; 

audiences in America, 72, 75, 78, 108, 

110, in, 122, 134, 135, 140, 143, 154, 

158, 160, 161, 166, 167, 169, 175, 176, 

177, 178, 181, 238, 239, 241, 243, 245, 

250, 3*5' 326, 327, 328, 337, 349, 351, 
360, 361, 364, 365, 367; 

audiences in Europe, 197, 202, 203, 205, 

210, 211, 212, 214, 220, 221, 234, 259, 

260, 262, 277, 280, 281, 282, 283, 284, 

285, 287, 289, 291, 292, 293, 294, 295, 
297, 298, 299, 302, 309, 313, 318, 319, 

320, 334, 373; 

co-artists of Km ma Thursby in, 230", 72, 
73> 74, 75> 7 8 > 10 7> *8 123, 124, 135, 
137, 138, 142, 143, 146, 147, 149, 150, 
151, 154, 158, 159, 160, 161, 165, 166, 
167, 168, 175, 177, 178, 181, 182, 183, 
198, 199, 200, 209, 215, 217, 229, 230, 
232, 233, 234. 238, 239, 248, 250, 251, 
252, 260, 6i, 266, 273, 274, 276, 279, 

286, 319, 320, 321, 325, 328, 329, 336, 
340, 346, 349, 350, 351, 353, 363, 364, 


Barcelona (Spain), 279!^ 
Bergen (Norway), s88ff, 
Boston (Mass,), 121, 
Ghrfstiania (Norway), 298, 
Copenhagen (Denmark), 287, 
Ems (Germany), 256, 
London (England), i88f, 
Paris (France), 203 ff, 
Stockholm (Sweden), 300; 


increasing demand for her services in, 

last appearance before a large concert 
audience, 370; 

last concert in Paris, 373; 

repertory, 315; 

tours: in America, 120 (first "Grand 
Tour"), 238, 240, 241, 247, 248 (dis 
comforts of), 325, 326, 327, 328, 331, 
340, 341, 342, 346, 347, 349, 350, 351, 
360, 361, 362, 363, 364, 365, 366, 367; 

tours: in Europe, 189, 190, 191, 192, 196, 
i97> 19& i99 200, 204, 210, 215, 216, 
217, 218, 256, 259, 260, 261, 262, 263, 
266, 267, 270, 273, 274, 279, 285, 286, 
287, 288, 292, 297, 300, 302, 304, 307, 
3". 3*3> 3*7> 3i8, 319, 320, 321, 344, 
353' 354 

tours: in The Orient, 378f; 

Thursby,Emma Cecilia, diary of, quoted: 
69* 7 7 1 * 7* 81, 82, 83, 84, 87, 88, 89, 
93, 98, 109, 120, 127, 199, 206, 225; 

, earnings, 68, 75, 76, 78, 83, 108, 

114, 122, 139, i57f, 178, 181, 235, 350, 
35 if, 364, 365; 

, education, 12, 52, 70; attends 

Miss Duryee's school in Flatbush, 23f, 
The Moravian Seminary in Bethle 
hem, Pa,, 26ff, St. Joseph's Comment, 
Brooklyn, 47, 54; first Italian lessons, 
i6a; interrupted, 6$; 

, musical, at Miss Duryee's school, 

25; at Moravian Seminary, 26; inter 
rupted, 6sf, 65; with Errani, 77f, 84, 
106, 108, 363; with Hustache, 218; 
with Lamperti, 89, 93; with Loretz, 57; 
with Meyer, 70; with Randegger, 188, 
190, 199* 224; with Rivarde, 77; with 
Riidefsdorff, 126, 144, 147, 161, 182, 
1%; with Sangiovanni, 93, 107; with 
Strakosch, 162, 352f 360; 

religious, i3f, 27&; Hindu phi 
losophy, 366!, 369, 370; 

Tkvrsby, Emma Cecilia, family: 

attends wedding of cousin Mary Eliza 
beth Bennett to Jotin Van Cott Com- 
lort in Paris, 353. 

devotion to, 119, 130, 154, 316!, 
meets English cousins, 3ff, 198 (in Brigh 
ton, England), 

responsibilities to, 76, 117, 180, 183; 
Thursby, Emma Cecilia, "firsts": 
first American ever asked to sing before 
"Conservatoire National de Musique" 
(Paris), 277, 

first American to receive Commemora 
tive Medal from Socie'td: des Concerts, 


first American to sing in Gewandhauses 
Concerts (Leipzig), 266, 

first appearance any distance from 
Brooklyn, 75, 

before important New York audi 
ence, 78, 

in complete oratorio, 72, 

in Europe, 189, 

with Adelaide Phillips, 138, 

with Charles Santley, 192, 

with Colonne, 2O2ff, 

with Dr. Damrosch, 123, 

with Ole Bull, 72, 

with Pasdeloup, 209]^, 

first concert appearance in Europe, 189, 

first concert under Strakosch manage 
ment (Cincinnati), 158, 

first earnings, 68, 

first engagements under Henry Jarrett, 

first essay in Wagner, 200, 

first heard by Strakosch at Broadway 
Tabernacle, 156, 

first important N. Y. engagement cred 
ited to Errani, 78, 

first position as church singer, 68, 

first rendition of Aria and Variations 
from Pietro il Grandi, 124, 

first rendition of "Mia speranza adorata," 
137, in Paris, 2042* 

first rendition of Proch's Variations, 108, 
in Paris, 2055, 

first service in Broadway Tabernacle, 

sings in first musical soiree of Dr. von 
Biilow, 132, 


sings in first performance of Bourgault- 
Bucoudray's Symphonic Religieme, 


sings in Fiench for first time, 273, 
first woman guest of Stanley Club, 220; 
Thursby, Emma Cecilia, gifts, 217, 266f, 

275, 281, 284, 296, 307, 333ff, 348, 359; 

losses* 365, 379!; 
- , letters: 
from Emma Thuisby, 

to Alice, gSff, 261 (excerpts), 289^ 303*?, 

from Sorit des Concerts of the Con 
servatoire National de Musique, 


(from) Testimonial Letter on behalf of 
the people of Washington, D. C., 

to Edward W. Bok, 357!!, 
to her grandmother, 120 (excerpts), 
to her mother, gSff, 258!, 263 (excerpt), 
to Ina, 8$ff, 948, gSff, 
to Mrs. Ole BuH, 225?, 230!, 347^ 374, 
to parents, 5 iff, 575, 
to Strakosch, 173^ 
to Emma. Thursby, 
from Achille Errani, 143^ 
from Agence Des Theatres, 278f (For- 

inelle & Ambroselli), 
from Ambroise Thomas, 216, 
from Amalia Strakosch, 362 (excerpt), 
from Arthur Sullivan, 222f (excerpt), 
from Association Des Artistes Musi- 

ciens, 2i8f, 

from Boston admirers, 184, 
from Dr. Leopold Damrosch, 140, 
from Edward W. Bok, 355*? , 
from F^nrma Abbott, 97?, 
from Frederic day, 186, 
from her father, gf, 
from Letitia D. Wright, 179, 
from Madame Rudersdorff, 132, *38f, 

i48f, isiff* i55f, i62ff, 

223f, 226f, 24lff, 27Off, 

from Maurice Strakosch, i6gff, 
from Melville D. Landon, 150, 
from Mrs. Eugene Blake, 350! (ex 


from Patrick Gilmore, 244f, 
from Philharmonic Society, 189!, 
from Richard Mansfield, 335, 336 (ex 

from Sarah Fanner, 379 (excerpts), 

Thursby, Emma Cecilia, marriage, its 
meaning to her, 109; 

- , member of "Advisory Council on 
a World's Congress of Representative 
Women," 366; 

- ,name a household word, 341; 

- , rating as a concert singer, 325; 

- .social activities, 70, 117, 119 (so 
cial dbut in N. Y.), 136, 146, 181, 199, 
202, 2o8, 215, 2241, 232, 238, 247, 251, 
255, 262, 2% 285, 286, 3042, 328f, 349 
36i 3$4> 37> 57* 375 $81; plays, per 
formances attended by, 82, 117, 329, 
332, 341; "Thursby Fridays," 351, 361, 
3^9' 375* 37$ff O^t of noted guests); 

- , teaching: 

in Brooklyn, 69, 75, 108, 1 16; interrupted, 

in New York, 369 (announces intention 
of teaching), 370, 371, 372, 374f; re 
wards of teaching, 374^ professorship 
at Institute of Musical Art, 374; 

Thursby, Emma Cecilia, and Reverend 
H. W. Beecher, her loyalty to, 114, her 
tribute to, 357ff; See also, Beecher, 
Rev. H. W.; 

- and Bdtenian family, stoty about, 

-and Ole Bull, first appearance 

with, 72, friendship with, 72, last con 
cert with, 252, wins compliment from, 
72; Thursby-Buir* association, 150, 
artistic and financial success of, 250, 
252* Strakosch plans Scandinavian tour 
for, 252; See also, Bull, Ole; 

and Sara Thorp Bull, friendship 

with, 150, goes to Japan with, 378, 
guest at **Elmwood," 241; 

and Patrick Gilmore, engages his 

band for her concerts, naf, her ap 
pearances with his band, 117, 120, 121, 


life insurance policy taken out for 
Emma Thursby by Gilmore, 122; see 
also, Gilmore, Patrick: 
Thunby, Emma Cecilia, and Edvard 
Grieg, Edvard Grieg presents Emma 
Thursby with unpublished manu 
script of "Eit Syn" (Op. 33, no. 6), 

- and Dr. H - , her friendship 
with, io8f, 117; 

- and Mozart, admiration for his 

music, 358, realizes ambition to sing 
in Mozart's native city, 261, wins high 
est distinction in Mozart repertory, 

and Mine Rudersdorff. See, Mme 

Rudersdorff and Emma Thursby; 

and Maurice Strakosch, the 

$100,000 Thursby-Strakosch Contract, 
157!; see also, Strakosch and Emma 

and Theodore Thomas. See, 

Thomas, Theodore; 

and Mark Twain. See, "Twain- 

Thursby Combination"; 

and the opera: determines to 

study for opera, 344f, reasons for ab 
juring opera, 237f; see also, Opera and 
Emma Thursby; 

and oratorio: 

appearances in, 72 (first appearance in 
complete performance), 123, 134, 135, 
136, 148, 149, 154, 157, 159, 160, 161, 
166, 167, 181, 182, 247, 250, 328, 336, 
3%. 3% 393> 394* 399> 4<>; 

attaefe e?ery worthwhile performance 

bear singing adapted to, 160; 

makes oratorio singing her forte, 136; 

Thmx&by, Emma Cecilia, and railroad ac 
cident, 350, her aid to Eugene Blake, 


Thursby, Hannah Galbreath (grand 
mother of Kmrna Tharsiby), 5, 21, 33, 
46, 1, 523, "Granctaother/* 39, 43, 50, 
52, 57, 94; death of, 269; letter from 
Eisma to, 120 (excerpt), from son to, 

4if; marriage to John Thursby, 8. 

Thursby, Helen (wife of Rodney), 52, 57. 

Thursby, Ina Love (sister of Emma), 33, 
36- 38, 39, 40, 42, 44 45* 47 49- 52, 53, 
57, 76, 119, 154, 173, 183, 244, 255, 272, 
279, 289, 292, 297, 304, 305, 306, 314, 

aids Emma arrange "Dramatic Expres 
sion" lectures, 369; 

arranges exhibition of Japanese Art in 
New York, 379; 

attends public school, 62; 

attends wedding of cousin Mary Eliza 
beth Bennett, 353; 

birth, 12, 23; 

concern for Emma's health, quoted, 285; 

devotion to Emma, 263, 380; 

dress, goSf; 

duties as companion to Emma, 248; 

gives first reception with Emma at 
Gramercy Park, 351; 

guest at Cercle Philharmonique dinner, 

guest at Stanley Club dinner, 276, 277; 

her account of Grand Opera Ball in 
Stockholm, 3o8ff; 

her account of Hotel de Russie, 264f; 

her account of Emma's concerts, 2645, 
276ff, 28off, 282ff, 2Q3ff, 302, 310; 

her hands, 277; 

letters from Emma to, 8$ff, g4ff, 98ff. 

letters to Alice, 2645, 28of, 282f, 307!!", 

letters to her brother, 2936:; 

letters to her mother, 276ff, 2832, 301 ff, 

31 iff; 

opinion of Emma's going into opera, 


leceived at Court of Spain, 285; 
receives invitation to attend Grand 

Opera Ball in Stockholm, 308; 
receives "Mynah" as gift at Ems, 359; 
returns to America, 198, 323; 
sacrifices her own career, 248; 
trips taken with Emma: 

to Europe, 195, 196, 252, 254, 342, 343, 
35*> 373, 380, 


to Greenacre, 370, 371, 

to Japan, 378, 

to Lake George, 340, 

to Maine and White Mts., 349, 

to Pacific Coast, 336, 363, 

to Saratoga, 114; 

\oice, her coloratura voice compared fa 
vorably with Emma's, 180. 

Thursby, James Sidney (uncle of Emma), 

Thursby, Jane (wife of Samuel Thurs 
by)* 7- 

Thursby, Jane Ann (mother of Emma), 
54. 35 36, 37, 38, 42, 46, 47, 51, 55, 58, 
61, 244, "mama, mother" 39, 40, 43, 44, 

45^ 49> 5<>, 57 T 6 ' 9> 94* &> "9> w, 
139, 180, 183, 188, 196, 199, 225, 227, 
231, 232, 264, 289, 305, 307, 316, 317; 
death of, 343; decision to send Alice 
and Emma to The Moravian Semi 
nary, 25, 26; decisions for the future, 
62; demands upon, 63; departs for Eu 
rope with husband, 33; grief over hus 
band's death, 59; her courage, 59; her 
marriage to John Barnes Thursby, 
10; her responsibility to her children, 
61; leaves for Europe with Emma and 
Alice, 186; letters from Emma to, 2$8f, 
263 (excerpt), letters from Ina to, 2762, 
sB$S, soiff, 31 if; returns home with 
body of husband, 60; returns home 
with Emma, 236; tours Europe with 
Emma, 188, 196, 199, 225, 231, 232, 
tours U. S. with Emma, 336. 

Thursby, John (brother of Emma), 38, 
39> 43* 49> 53 62, 76, 244, 259, 317, 352; 
birth, 11; death, 380; established in 
hat business, 183; goes to military 
school, 47; invaluable aid to Emma's 
career, 180. 

Thursby, John (grandfather of Emma), 
17, 18, 20, 22; business difficulties of, 
21 ; death of, 21; engaged in rope in 
dustry, 7f; European voyage for busi 
ness and health, ai; first appearance in 
Bushwick records of, 7; letters from 
son, John, aof (excerpts), marriage to 

Hannah Galbreath, 8; member of Cap 
tain Skillman's Military Company, 7; 
receives invitation to dinner in honor 
of Captain of the "Atlantic," 18; re 
turns from Europe on ship with Jenny 
Lind, 17; success as business man and 
father, standing in the community, 9. 
Thursby, John Barnes (father of Emma), 
62, 76; advice to Alice, 49; bill for 
home furnishings, lof; birth, 8; child 
hood, 8; concern over business and 
family, 22f; death, 58f; decision for 
children's education, 26; departs with 
wife for Europe to regain health, 33f; 
early training in his father's business, 
8; family business depression, 3f, 34; 
funeral of, 6o; his account of sojourn 
in Europe, 34*1, 48!, 548; his objec 
tions to Emma's singing too soon in 
public, 15, 48; holds public office, 25; 
letter from Captain Hall to, 455, let 
ters to his brother, Samuel, 54^, letters 
to his daughters, 38!?, 42ff, 48ff, letters 
to Emma, sgt, letter to his father (ex 
cerpt), 2of, letters to his mother, 34^, 
41 f; marriage to Jane Ann Bennett, 
10; member ol music committee of Old 
Bushwick Reformed Church, 15; rec 
ord of birth of children, nf, 23; secret 
hopes for Emma to become an Ameri 
can Nightingale, 19; struggle against 
ill health, 21, 25, 33, 35, 37, 50, 51, 55, 

Thursby, John, and Sons, 9, 32. 

Thursby, Sir John (son of Rev. William 
Thursby), 6. 

Thursby, Lady (wife of Sir John), 6. 

Thursby, Lewis (brother of Emma), 38, 
39> 44. 49> 53. 62, 76, 92, 96, 244, 259; 
birth, 12; Emma's concern for, 3i6f; 
established in orange business, 183; 
goes to military school, 47; invaluable 
aid to Emma's career, 180; letter from 
Ina to, *93fL 

Thursby, Lou, Louis, see Thursby, Lewis. 

Thursby, Lewis Pease (uncle of Emma), 
8, 317- 


Thursby, Mary, 7. See also, Gibson, 

Thursby, Maiy Doughty (aunt of Em 
ma)* 8, 39, 40, 42, 50. 

Thursby, Robert Galbreath (uncle of 
Emma), 8. 

Thursby, Rodney (uncle of Emma), 8, 

5*> 57- 

Thursby, Samuel (Thosby), 5, 6 (record 
of burial), 7. 

Thursby, Samuel Irving (uncle of Em 
ma), 8, 31, 34, 35, 44, 45, 46, 51, 52, 53, 
54; letter from U. S. Vice Consul advis 
ing him of death of brother, John, $8f; 
sends Emma's brothers to military 
school, 47. 

Thursby, Mrs. Samuel, 356. 

Thursby, Reverend William, 3ff; letter 
to Emma from, 4. Mrs. William Thurs- 


Thursby family, the, accompanies Emma 
to Europe, 183, 195, 196, 200, 221, 257; 
aids Emma in her career, 180; attitude 
toward Emma's career, 119; business 
and financial standing of, 20; daily life 
of, 23, 47, 62f, 201, 203, 237, 244, 255, 
312, 329; devotion and dedication to 
brilliant career of one, 180; family 
unity, 1 80; family financial crisis, 6*7; 
follows career of Jennie lind, 19; 
mutual understanding of, 180; resi 
dences of: Gramercy Park, N. Y., 340, 
341, 346, 351, 381; Grand St., Williams- 
burgh, 10, 12, 54, 62, 63, 136, "Living 
Parlor," **North Front Parlor,*' de- 
soSxsi, , "Wing Room" in, 56; 43 
Lee ATPC^ BiookJym, 68, 183, 340; sac 
rifices* s$mt strong' ties of, 119; 
Ttiraijy sisters, 256, $69; Thursby 
tree, 3, 269. 

and family connections: Antk 

Butcher, 57; Aunt Ann, 40, 52, 57; 
Aunt Becky, 40; Aunt Betsey, 40; Aunt 
Elizabeth, 40, 43; Aunt Letty, 40; Aunt 
Maggy, 40, 43, 48; Aunt Margaret, 40; 
Aunt Mary, 39, 52; Aunt Mary Jane, 
52; Aunt Rachel, 40; Aunt Sarah, 40; 

Dyer, 48; Elizabeth, 21; Huff, 48; Mary 
Jane and Sam Bennet, 48; Mr. C and 
Belle, 88; Robbie, 57; Uncle Henry, 
40; Uncle Pete, 43; Uncle William, 43, 
52, 5& 

Thursbys, the, advent in Bushwick, 7; 
ancestry, 3, 5f; knowledge of Japanese 
culture, 378; of England, 3f, 198. 

Tientsin (China), 378, 413. 

Tietjens, Mme Therese, 126, 192, 380. 

Tilton, Theodore, suit against Henry 
Ward Beecher, 114, 125. 

Tilton, Mrs., 114. 

Timothy, Martha Henry. See, Henry, 

Titusville (Pa.), 407. 

Tivoli Gardens (Copenhagen), 287 (Scan 
dinavian debut), 401, 402. 

Toccata in F (Bach), 240. 

Todd, Naomi, 89, 92, 93, 98, 104. 

Todesco, Baron and Baroness de, 262. 

Toedt, Matilda E., 73, 74, 82; testimonial 
concert to, 384. 

Toldt, Theodore, 329. 

Toledo (Ohio), concerts in, 251, 395, 400, 

Topeka (Kansas), 247, 399, 407. 

Toronto (Canada), 247, 395, 399, 404, 409. 

Tony, Jane Sloman, 79. 

Tracey, Minnie, 374, 378. 

Tracy, Miss, mother and sister, 101. 

Train, Charles R., 334, 335. 

Train, Harry, 194, 334. 

Trask, Charles H., 55, 60. 

"Travailleurs de la Mer, Les" (Cusins), 

Trawata, La (Verdi), 108, 255, 329, 331; 
performance of banned at Brooklyn 
Academy of Music, 81. 

Trebelli, Mme Zelio, 5, 228, 229, 230, 234, 
255. 320, 321. 

Tremont Temple (Boston), concerts in, 
121, 360, 363, 366, 387, 409, 410, 411, 

Trenors Hall (Williamsburgh), 53. 

Trenton (N. J.), 406. 

Treville, Yvonne de, 378. 


Trial by Jury (Gilbert and Sullivan), 247. 

Trine, Ralph Waldo, 370. 

Trinity Church (N, Y.), 6. 

Trinity Churchyard, 5; Register of Bur 
ials of, 6. 

Tristan and Isolde (Wagner), 370; played 
for first time in Brooklyn, no. 

Trondhjem (Norway), 344, 408. 

Trovatorc, II (Verdi), 81, 324, 331. 

"Trovatore, II," Schottish, 24. 

Troy {N. Y.), 21, 177, 393, 399, 403, 409. 

Trumpet, 124, 167. 

Truslow, Mrs., 54. 

"Tu del mio Carlo" Aria (Verdi), 146. 

Tubeuf, 219. 

Tucker, Mrs. Cummings H., 384. 

Tucker, Eliza, 8. See also, Galbreath, 

Tucker, Wm. W., 184. 

Tuileries, Jardin des (Paris), 203, 221. 

Turgenief, Ivan, 217. 

Turner, Miss, 155. 

Twain, Mark, 102; appearances with Thursby, 149!. 

"Twain-Thursfoy Gombinatiofi," 149!, 

39i 392- 

"Twickenham Ferry," 243. 
Tyrol Alps, 88. 

Ukraine, the, 126. 

Ullman, Jacob, 193, 223, 226; petitions 

Emma Thursby for grand tour, 218. 
"Una Folia a Roma*' (Ricci), 287. 
"Una Notte a Venezia" (Arditi), 178, 252. 
"Una Remota Antica RIcordanza" (The 

Flying Dutchman), 200. 
Underwood, Miss, 57. 
Union Hall (Boston), 161,393. 
Union Square Theatre (N. Y.), 332, 
United States, 86, 157, 187, 252, 341; 

period of progress and development in, 

12. See also, America. 
United States Consulate (Liverpool), 58. 
United States Hotel (Saratoga), 349, 408, 
Upsala (Sweden), 301, 302, 313, 402. 
Utica (N. Y.), concerts in, 177, 393, 394, 

409, 412. 

Vaccai, Nicolo, 77, 124. 
**Vada si via diqua" (Martini), 330. 
Valencia (Spain), 270, 284, 285, 401. 
Valentine, role of (Les Huguenots), 214, 


Valentine, Mrs,, 408. 

** Vaisseau-Fantome, Ouverture du" (Wag 

ner), 210. 
Van Cotts, the, 6. 
Van Dyke, Miss, 23. 
Van Nest, Mrs,, 404. 
Van Tuyl party, the, 101, 103. 
Van Zandt, Jennie, 65, 286. 
Van Zandt, Marie, 229. 
Van Zandt, Wynant, 7, 
Vancouver (British Columbia), 365, 411. 
Vandenhoff, George, quoted, 245. 
Vanderbilt Line, the, 46. 
Vanderveer, Miss E. V. B., 23, 24. 
Vandeul, Baroness de, 215, 396. 
Variations, "Deh Torna" (Proch), 147. 

See also, Proch 's Variations. 
"Variations pour deux Pianos, sur un 

theme de Beethoven" (Saint-Sagns), 

Vatican, the, Emma Thursby's visit to 


Vaucorbeil, Auguste Emmanuel, 219. 
Vedanta philosophy, Emma Thursby's 

introduction to, 366; influence in her 

life, 369, 
"Venetiansk Serenade" (Svendsen), 298, 

Venice (Italy), 88, 104. 

Verdi, Giuseppe, 93, 112, 146, 171, 298, 

33> 331- 

Verhulst, Johannes, 270. 
Vermont, 362. 

Vexon, Pierre, 215, 396, 403. 
Verona (Italy), 88. 
Verrimst, 219. 
Versailles (France), 195. 
Vevey (Switzerland), 88. 
Viard-Louis, Mme Jenny, conceits, 198, 

Viardot, Paul, 215, 274, 


Viardot, Mmc Pauline, 209, 217, 274, 321, 
326, 330, 353 (Mmc Viardot-Garcia); 
Emma Thursby sings for, 216. 

Victor Emanuel, King of Italy, 88. 

Victoria, Grown Princess of Germany, 

Victoria, Queen of England, concert in 

hofxw of, 320. 
Vienna (Austria), 88, 149, 260; concerts 

in, Emma Thursby realizes ambition 

to sing in Mozart's native city, 261, 

400; world premiere of Brahm's Sym 

phony No. 2, Op. 73 in, 197. 
Vienna Conservatory, 157. 
Vieuxtemps, Henri, 71, 125, 176. 
Viggo, Princess. See, Green, Eleanor. 
Vilas, Wm. F, f 549. 
"Village Smith," the, 148. 
"Villanelle" (Deir Acqua, E.), 370. 
Villard, M., 207. 
Vinci, Leonardo, 224, 
Vinci, Leonardo da, 88. 
Vinje, Aasmund, 296, 
Viola, 133. 

"Violet, The" (Mozart), 198. 
Violin, 58, 70, 133, 150, 154, 176, 200, 224, 

228, 229, 234. 
Vic4oQcel!o, 108, no, 133. 
Virginia* 34*. 
**Vita 71W bracelet, gift to F.mima 

Thursby, 333, 335. 
Vivekananda, Swami (Hindu monk), 378; 

Emma Thursby's meeting with, 366; 

his influence in her life, 366, 369; lec 

tures at Procopeia Club, Boston, 370. 
Vocal Society of New York, Glees and 

Madrigals, 38$. 
Vocal IMom of New York, initial con 

cert of, i%, 394. 
Vocal Union of Philadelphia, concert 

with, 135, 143, 389, 991. 
**Voglein w (Taubert), 268. See also, "Bird 

Vogritsca* Maximilian, 182* 
**Vc4 die sapete w (Le No&c di Figaro), 

Volkmann, no, in. 
Voorhies, Jeremiah, 60. 

"Wacht am Rhein, Die," 261. 

Wachtel, Theodor, 82, 261, 267. 

Wachtel Opera Company, 143. 

Wade, Miss M. A., 24. 

Wagner, Richard, no, in, 125, 137, 148, 
210, 269; dominance of German opera 
by, 1 16; Emma Thursby's first essay 
into music of, 200. 

Wagnerians, the, no. 

Waite, M. R., 349. 

Waldemar (Fridoliri), rdle of, 192. 

Wales, Prince of, 270. 

Wall, Miss, 54- 

Wall, Mrs,, 54. 

Wallace, Wm., 330. 

Waltz (Chopin), 178. 

War of 1812, 7. 

Ware, Harriet, 378. 

Ware, Mrs., 397. 

Warren, S. B., 184. 

Warren (Pa.), 407. 

Warren's, 155. 

Warsaw (N. Y.), 409. 

Washington, George, 11, 22; statue of, 

Washington (D. C.), 376; concerts in, 120, 
181, 240, 241, 249, 250, 327, 328, 341, 
342, 347f (Grand Testimonial Concert 
to Emma Thursby), 361, 366, 388, 394, 
398, 400, 403, 404, 406, 407, 408, 410, 
412; Kmma Thursby given reception 
by Pres. and Mrs. Hayes, 181; 
Thursby takes Geraldine Farrar to 
sing for Pres. and Mrs. McKinley, 372. 

Washington (State), 364, 365. 

Washington Monument for France, bene 
fit concert for, 361, 410. 

Washington newspaper, cited, i8if. 

Washington Post, cited, 327. 

Washington Sunday Chronicle, cited, 


Water. See, Great Water Celebration. 
Watercolors (Richard Mansfield's), 156. 
Watkins, Enid, 378. 


Watt, George, 396. 

"Way Down Upon the Suwanee River," 

325* 34*- 

"Wealthy Men and Women of Brooklyn 
and Williamsburgh, The/' cited, 9. 

Webb, Edwin B., 184. 

Weber, Carl Maria von, 125, 142, 178, 
240, 273; grave of, 88. 

Weber, Aloysia. See, Lange, Mme. 

Weber, Marie, 333. 

Weber Quartette, 124, 386. 

Weimar (Saxe-Weimar), 264, 401. 

Weiss, Mrs., 27. 

Weldon, Georgina, 235. 

Wellesley (Mass.), 403, 408. 

Welsh, John, (American Minister to Eng 
land), 199, 228. 

"Wenn Ich Ein Voglein Ware" (Killer), 

West, Captain, of the steamer "Atlantic," 


West, Victoria S., 349. 

West Point (N. Y.), 409. 

West Virginia, 342. 

Western Washington Industrial Exposi 
tion, 365, 412. 

Westminster Palace Hotel (London), 
concert at, 228, 255, 400. 

Wheaton (111.), 412. 

Wheeler, Andrew C. ("Nym Crinkle"), 


Wheeler, Mr. and Mrs. J. G., 389. 

Wheeling (W. Va.), 406. 

"When first I saw your face** (Old Eng 
lish Bitty), 146. 

"When the Swallows Homeward Fly," 

White, Mr., 34, 41, 45. 

White, Miss E. U., 24. 

White-Cervantes Grand Concerts, 389. 

White House, The (Washington, D. C.), 
Blue Room in, 372; concerts in, 181, 
372, 394, 408; East Room in, 181; 
Emma Thursby given musical recep 
tion at, 1 8 if; Geraldine Farrar sings 
at, 3721 

White's Consumptive Home, Mrs. 

(Brooklyn), benefit concert for, 363, 


Whitney, Mrs. F. P., 159. 
Whitney, Myron W., 159, 165, 167, 251, 

356> S&t- 

Whitney, W. C., 349. 
Whittier, John Greenleaf, 363. 
**Whoa Emma," song, 253. 
Wieck, Friedrich, 88. 
Wieck, Marie, 88. 
Wieniawski, Henri, 133, 146, 182, 183, 


Wiesbaden (Germany), 257, 258, 259, 
263, 265, 354, 400. 

Wiggin, Kate Douglas, 370. 

Wild, William, 383. 

Wilde, Commander A., 288. 

Wilder, J. M., 83. 

Wilding, Sty., U. S. Vice Consul, letter 
from to Samuel Thursby notifying 
him of death of John B. Thursby, 58^ 

Wilhelmj, August, 352. 

Wilkie, Alfred, 167. 

Wilkinson, Emma, 346, 356, 387. 

"Will die Nachtigall belauschin" (Hil- 
ler), dedicated to Emma Thursby, 267. 

Willard, Frances E., 366, 369. 

William I, Emperor of Germany, 87, 
257, 259, 302, 340; his suite at Hotel 
de Russie occupied by Emma and Ina 
Thursby, 264^ requests Emma Thurs 
by to sing "The Star-Spangled Ban 
ner," 26of. 

William, Prince of Orange, 5. 

William Tell (Rossini), 81. 

Williams, Mr., 82, 104, 304. 

Williams, Anna, 233. 

Williamsburgh Harmonic Society, 30, 57, 
60, 64; concert by, 48; "Macbeth," 53. 

Williamsburg. See, Brooklyn, Bushwick, 

Williamsburg (Va.), 411. 

WilHamsburgh, 6, 9, 37, 38, 41, 42, 48, 
54 55* 56, 60, 65, 67, 119, 136, 345, 367; 
consolidation with City of Brooklyn, 
25; establishment of public school sys- 


tern in, 12; growth of, i2f; John 
Thursby establishes home in, 10, be 
comes first supervisor of 10th District 
of, 25. See also, Brooklyn. 

Williamsport (Fa.), 405. 

Willis, 268. 

Wilmington (Del.), 595, 400, 403, 406. 

Winant, Emily, 238, 251, 272, 325, 328, 

3*9 336 35- 

Winch, Mr. John F., 165, 251. 

Winch, Mr. William J., 165. 

Winder, J.H., 1 16. 

Winona (Minn.), 399. 

Winter Park (Fla.), 411. 

Wise, Mr., 44. 

Wise, Douglas. See, Richelieu, Duch 
ess de. 

Wisconsin, 248, 342, 365. 

"With Verdure dad" (Creation), 121, 

149* 33*- 
Wittkowska, Marta, pupil of Emma 

Thursby, 375, 378. 
Wolff-Parlaghy, 378. 
Wolle, Mr., report from, 29, 30. 
Wolle, Brother Francis, 26; his writings 

in Emma Thursby's "Album,** quoted, 

Wolle, Brother Sylvester, principal of 

The Moravian Seminary, 26, 33. 
Wolfe, J. Frederick, 550. 
Wood, Honorable Fernando, 241. 
Woodford, General Stewart L., program 

note attributed to, quoted, 78. See also, 

Goldsmith, Master Oliver B. 
Woxlsbtirgh (L. L), 1*5. 
WoodsiHirglt Pavilion (L. L), 125, 

Woodward's Garden (San Francisco), 
concert in, 141, 391. 

Worcester (Mass.), concerts in, 250, 390, 
394, 400, 404, 405. 

World War, 378. 

World's Columbian Exposition (Chi 
cago), concerts at, 366, 412; Emma 
Thursby a member of the "Advisory 
Council on a World's Congress of 
Representative Women," 366; New 
York State Building at, 366. 

Worth (gowns), 115, 325, 366. 

Wrentham (Mass.), 126, 127, 128, 242. 

Wright, Mr., 72. 

Wright, Letitia D., letter to Emma 
Thursby, 179. 

Wiirzburg (Bavaria), 265, 401. 

Wyville, Carrie M., 349. 

Yansen, Nils, 292. 

Ynzenga, 330. 

Yokoyama, Taikan, 378, 379. 

York Cathedral (England), 4. 

Young, Brigham, 141. 

Youngstown (Ohio), 405. 

Ysae, Eugene, 273, 274, 353. 

"Ysstou Kosmo," Greek song (Baurgault- 
Ducoudray), 330. 

Yurka, Blanche, pupil of Emma Thurs 
by* 375- 

Zampa (Eterold), 81. 

Zanesville (Ohio), 406. 

Zerrahn, Carl, 123, 132, 137, 159, 166, 

182, 251. 

Zimbalist, Efrem, 266. 
Zurich (Switzerland), 321, 403. 
Zundel, John, 73. 










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