THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES MUSIC LIBRARY JULES JORDAN, MUS. DOC. THE HAPPENINGS OF A MUSICAL LIFE By JULES JORDAN, Mus. Doc. (Brown 1895) PROVIDENCE, RHODE ISLAND PALMER PRESS 1922 COPYRIGHT 1922 BY JULES JORDAN All Rights Reserved Printed by the Palmer Press, Providence Music Library __ To the memory of my father and mother, LYMAN JORDAN and SUSAN BECKWITH JORDAN and to my brothers and sisters, REV. D. A. JORDAN, CHARLES B. JORDAN, JULIAN JORDAN, LYMAN F. JORDAN, MRS. SUSAN ANNETTE DUNSTAN, MRS. CHARLOTTE R. HAVENS and JENNIE B. JORDAN, this book is affectionately dedicated. Dear names ! None e'er so dear to me, Recalling youth's felicity, When music was our chiefest joy, A happiness without alloy. 1415941 PREFACE A suggestion from Dr. Jordan last spring that he might write some of his reminiscences for the public press led to my suggesting in return that I might print them for him in book form. If I had in mind a leisurely enterprise, stretching comfortably and indefinitely into the future, I was quickly un- deceived, for, as I find from an entry in my note- book, he began work on the day my proposal was made, and had practically completed the task within the next fortnight. Such an instance of quick and comprehensive com- position seems little short of marvellous. It shows that the writer had his material, consciously or un- consciously, well in hand. It reflects also his extra- ordinary memory for names, dates and facts. In surprisingly few cases did it prove necessary for him to fortify his recollection from memoranda or by consultation with friends and acquaintances. The book, however, was not altogether composed within two weeks. As Dr. Jordan wrote, his mem- ories branched in many directions, and the result was that a number of additional chapters were eventually produced. The volume stands, neverthe- less, as a remarkable example of rapid writing, done with exceptional facility, considering that the au- thor's professional training has been chiefly along other lines. It bears testimony, accordingly, to his intellectual versatility. PREFACE Dr. Jordan's musical career has been unusual if not unique in the breadth of its interests. He has achieved success as a singer, teacher, conductor ana composer. A great host of trained singers have gone forth from his studio, and his influence is trace- able to-day in their technical accomplishments. He has given them more than technique, indeed. He has imparted to them something of his own mental and temperamental equipment, a rich gift. After fifty years of professional life, Dr. Jordan remains as devoted to his art as ever, as keenly in- terested in its progress, and as kindly and sympa- thetically disposed to his fellow men. His heart is young, and his youthful spirit is attested in his keen eye and unfurrowed brow. Mindful of over-edited volumes of this sort, from which the evidences of individuality have been large- ly eliminated, either by the author himself or by a too-cautious adviser, I have preferred; in reading the manuscript of this book, to minimize my advisory functions. I have, however, urged the author to make a frank statement of his professional satisfac- tions and successes, as a matter of record. It would be excessive modesty, indeed, for Dr. Jordan to omit entirely from the story of his life the telling of his triumphs. That he has not set them all down those who know him best will bear witness. Surely in the preface to his book we his friends may offer him our best wishes for a long continuance not only of the "happenings" but of the happiness of his musical life. HENRY R. PALMER January 1, 1922. CONTENTS CHAPTER PAGE I MY PROGENITORS 9 II MEMORIES OF BOYHOOD .... 11 III HOW I CAME TO PROVIDENCE ... 14 IV GRACE CHURCH DAYS 17 V CREATING THE TITLE PART IN BERLIOZ'S "FAUST" 21 VI FIRST PERFORMANCE OF GOUNOD'S "REDEMPTION" 26 VII THE ARION CLUB 30 VIII HOW I BEGAN TO COMPOSE MUSIC . . 39 IX THE POWER OF SIMPLE SONGS ... 44 X CHORUS WORK NEAR AND FAR ... 48 XI MY EXPERIENCE WITH TEACHERS ABROAD 51 THE STORY OF A DISCOVERY ... 56 THE STORY OF AN HONORARY DEGREE . 64 THE ADVANTAGE OF DAILY LESSONS . 68 HOW I GIVE A SINGING LESSON ... 71 TREATMENT OF THE FEMALE VOICE . 74 A SINGER'S SELF-DEVELOPMENT . . 78 THE RESTORATION OF A VOICE . 83 The Development of a Voice .... 86 Two Hopeless Cases 87 XIX A WELL-REMUNERATED SERVICE . . 89 XX ARION CLUB MEMBERS .... 92 XXI ARION REHEARSALS 106 XXII A FAMOUS SINGING TEACHER . . 109 XXIII "RIP VAN WINKLE" 112 XXIV GOLDEN MOMENTS 117 XXV MUSICAL CELEBRITIES I HAVE MET . 122 XXVI MORE CELEBRITIES 130 XXVII IN LONDON AND ELSEWHERE . . 136 XXVIII PRESS AND PUBLIC 139 XXIX SOME SUCCESSFUL PUPILS . . . .142 XXX VARIED MEMORIES 148 XXXI MY HORSES 160 XXXII A TRIBUTE TO THE ORCHESTRA . .166 XXXIII VERSES . 168 CHAPTER I MY PROGENITORS AS A MATTER of record it may be well for me to set down at the beginning some facts concerning my forebears. My father, his father and I believe his grandfather were all born at the old Jordan homestead in Greene, Rhode Island. The family, I have been told, espe- cially the male part of it, was of a wayward inclina- tion until the transforming influence of religious experience changed both my father and grandfather, and I can remember them each only as a power for good, enjoying the respect of everyone. When my father was a young man, his father began to move "up stream," so to speak, settling first in Moosup, Connecticut, and later proceeding to Willi- mantic. It was a large family, my father being the eldest of eight children. All I believe were mu- sical, three or four besides Father having fine voices. Father first married Miss Nancy Kenyon, who bore him three children, VanBuren, George and Nancy. Their mother dying when Van, as we called him, was about eight years old, Father was soon after married to my mother, Susan Beckwith, a direct descendant from Captain Isaac Beckwith of New London, who was, as I learn from the published genealogy of the Beckwith family, the man who built the first ship that 10 THE HAPPENINGS OF A MUSICAL LIFE was ever built in New London. My mother, of saintly character, was but moderately musical, I believe, and all or pretty nearly all of the musical talent of our unusually musical family came from my father and his mother, who, before she married, was Hannah Cap- well of Rhode Island. Father was class leader, choir leader and in fact I have been told a leader in many other of the affairs of the newly organized Methodist Episcopal Church in Willimantic. Ten children were born to my mother, eight of whom are living at the present time, the other two having died in infancy. These eight, with her three step- children, she succeeded in rearing and the family was ever as one, ready to sing, work or play together. I am sure that it used to seem strange to the others, as it did to me, that Grandfather Jordan could not "carry a tune!" We of course had a great respect for him, but I think we should have had more if he could have sung with us. Grandmother used to listen to us though, with rapt attention. I can see her now, a gentle, refined woman, with most beautiful hands, and nails at which as a boy I used to look admiringly, won- dering what made them so shapely and rosy. While Father lacked education, some one had taught him an old-fashioned sol fa method of reading music which used at first to amuse and afterward to interest me, but when I asked him to teach it to me he was "too busy" and I was left to teach myself, which I did be- fore I was ten years old, for I could not be satisfied merely to sing "up and down." I felt instinctively that there must be some method by which one could be absolutely certain, and I as a boy found it. I shall refer to this later. JULES JORDAN At about the age of fifteen CHAPTER II MEMORIES OF BOYHOOD I WAS BORN, one of twins, on Nov. 10, 1850, in Willimantic, Connecticut. There the family lived till I was about four years old, when we removed to the nearby town of Bolton, where my father, who was a stone mason and contractor, was engaged on the building of the Bolton reservoir dam. The work being finished, we returned to live in Wil- limantic, which place I have always called my home. About the first of my musical remembrances is that my twin brother Julian and I were taken when we were between four and five years old to sing at an entertain- ment held in the Universalist church in Bolton. What or how we sang I do not remember ; all I recall is that we each had a pretty dress with a small palm-leaf pat- tern. Then I remember hearing my father sing about the house. When we returned to Willimantic, Julian and I were soon in demand as youthful singers and again I remember our singing at another church entertainment and this time I remember the song. It was "Some Folks" and began "Some folks have gray hairs, some folks do, some folks do. Brooding o'er their cares, but that's not me nor you," pointing to ourselves and to each other and making mistakes in the pointing that I remember convulsed the audience. Thus we sang along through childhood, my voice being 11 12 THE HAPPENINGS OF A MUSICAL LIFE a contralto and Julian's the same, I suppose, though they used to call him a tenor, more to distinguish him, I presume, than anything else. My own voice, I re- member, was considered quite remarkable for a boy's, so that ere long I was invited to go to Hartford to sing in a choir, but for some reason I did not go. When I was about ten years old the Willimantic Camp Meeting was established and as my father had much to do with this and was especially interested in the choir that was formed, I used to sing there and I recall that I would be surrounded by groups of people, some of whom would always offer me money when the singing was over. Sometimes I would take it and some- times I would not, according to my mood. I used to steal away from the Sunday school and go up into the choir loft of the church to "pick out" tunes on the cabinet organ there, always trying to make at least two parts. My father, happening once to come into the audience room below, heard .me doing this and when I went home my mother said : "Julius, your father heard you playing 'Joyfully, joyfully,' and he thinks that some day you may become a musician." This pleased me, for I always had a great respect for Father's opinion, especially about music. Finally my voice began to change and I could not be induced even to try to sing, for it sounded strange and unnatural, and I did not enjoy it. My refusal to sing was ascribed to a boyish obstinacy but I was let alone until, a year or two after, I demurely crept into the choir and began to sing a little. Immediately the leader, Harry L. Wilson, who had been one of my best friends, looked quickly at me and said: "What! A nice tenor!" I hardly knew what he meant, but I saw by his manner that he approved and I was pleased. Soon after this W. A. Potter, who afterward removed MEMORIES OF BOYHOOD 13 to Providence and became in time an excellent musi- cal critic and writer for the Providence Journal, came a-wooing to Willimantic, the object of his woo- ing being Miss Addie Hall, the daughter of Amos Hall, who gave me my first lessons in music. She had a beautiful soprano voice, so beautiful that I used to listen to her as though she were an angel. Mr. Potter, happening to hear me sing, asked me to join in a male quartette and I essayed the first tenor part in "On a bank two roses grew" but with poor success, I thought, for my voice was hardly settled and cer- tainly not equal to sustaining so high a part. Soon after this, Mr. Potter, who had charge of a choir in old Norwich Town, where he lived and where Miss Hall had been engaged as soloist, asked me to join his choir. I made one attempt, but it was so unsatis- factory, to me at least, that I would not try again. CHAPTER III HOW I CAME TO PROVIDENCE TT HAPPENED IN this wise: During the last winter * of my schooling in Willimantic, which town was not far from our farm, I learned to operate the telegraph. This was when I was about eighteen. I found occa- sional employment as an operator, now and then sub- stituting in near-by towns for a year or so, but the next summer my father told me that he should need my help on the farm and though I felt a call elsewhere, reluctantly I consented. One hot day, after a long search for a stray cow which by the way I found and brought home my father, to whom I delivered the animal, said: "There's a telegram, for you in the house." I found that it was from Henry C. Bradford, the manager of the Western Union office in Provi- dence, who asked me to take charge of the summer office in the then large hotel at Rocky Point. I carried the telegram out to Father, who was putting up the cow. He looked at it and said: "Do you want to go?" "Yes," said I. "Very well," he replied, "You may." Next morning he gave me five dollars and I packed a little grip case and started for Providence. I was met here by Mr. Bradford, who took me at once to his house on Point street, where I passed the night. Next morning we went to Rocky Point, where I remained till the office was closed at the end of the season. 14 D. W. REEVES Leader of the American Band of Providence for many years HOW I CAME TO PROVIDENCE 15 It was at Rocky Point that I first heard any real music. D. W. Reeves with his famous American Band was engaged there for every day in the season and the playing of the band was a revelation to my young mind and to my ears as well. I found after a few days that there was an opportunity for me to make some extra money by checking small articles that excursionists wanted to leave with me for safekeeping. Getting permission from the proprietor, each day I gathered quite a sum, and saving this I soon had seventy-five dollars, which I took to Mr. Reeves, asking him to buy me a cornet with it, as I wished to take lessons of him. So I began lessons, getting up early each morning and going far from the hotel among the rocks and trees to practice. At the close of the season Mr. Bradford informed me that he would open a telegraph office in the old City Hotel in Providence, and there he installed me as operator. One day after I had been in this office a short time, I met on the street near the hotel Rev. Edgar F. Clarke, who was then the pastor of the Mathewson Street Methodist Episcopal Church. Mr. Clarke had been the pastor of the Willimantic Metho- dist Church several years before, and of course, as that was the church of our family, he knew me. Surprised at seeing me in Providence, he asked if I had made any acquaintances and invited me to his house that veiy evening, saying that the young people of his church with their friends were to have a party there. I ac- cepted his invitation and during the evening Mr. Clarke, remembering my boyish voice, asked me to sing a song. Having no printed song with me, I sat down at the piano and sang the first thing that came to my mind, Webster's "Sweet Bye and Bye." This seemed to please the company and presently one of the young men, George Chase, came to me, saying that 16 THE HAPPENINGS OF A MUSICAL LIFE he liked my voice and that if I would come with him to Grace Church, where he sang in the chorus choir, the next day, when a service would be held at five o'clock, he would introduce me to the organist, who was looking for a tenor. The next day (Good Friday) I went to the evening service, when Mr. Chase introduced me to L. T. Downes, the organist. The choir in Grace Church at that time was placed in a loft directly opposite the chancel. At the first opportunity that offered, Mr. Downes began a whispered conversation with me and asked repeatedly if I could read music at sight. This I could do, as I had taught myself when ten years of age. Finally Mr. Downes brought to me a book, say- ing : "Here is an anthem that we have always sung on Good Friday ever since I came to Grace Church/' (which was when Bishop Clarke came here from Hart- ford). "But as we have no tenor for the solo in the anthem I had decided not to sing it today. See if you can read it." I saw that it was not difficult and as- sured him that I could. "Very well," said he, "we will sing it." I sang the solo at sight, to his satisfaction, and he at once asked me to come to his house that evening. "If you are what I think you are," he added, I can get this place, (the position as tenor soloist in Grace Church choir) for you." I sang for the com- mittee the Sunday following that Easter and was im- mediately engaged ; and I held the engagement for over twenty years. Thus I came to Providence without a thought of making music a profession, but happily the profession found me, a fact that I have never had reason to regret. RT. REV. DAVID H. GREER, D. D. Formerly rector of Grace Church, Providence, and later Bishop of New York CHAPTER IV GRACE CHURCH DAYS SOON AFTER joining the Grace Church choir, the organist, Mr. Downes, said to me one day: "Your voice is not as good as it was; what's the matter?" "Oh," I replied, "it is probably because I do not sleep enough." "How's that?" he asked. "Why, I get up early to practice and I stay up late for the same pur- pose." "Practice? practice what?" "I'm taking cor- net lessons of Mr. Reeves and I have to practice to keep up in my lessons." "Cornet!" (scornfully). "You don't want to learn the cornet! you should take piano lessons." "But I haven't a piano and if I had I've no place to put one." Mr. Downes arranged with the vestrymen at Grace Church to allow me the use of one of the small Sunday- school rooms. I then hired a piano and began lessons with Mrs. Downes, who was of inestimable assistance to me. She gave me her beautiful touch and with it much wholesome advice, and her influence over me was most beneficial. I began to improve and to play selections that she gave me in a way that must have pleased my young friends, for some of them asked me to give them lessons and insisted, so that ere long I had a small class of beginners. About this time, Mr. Bradford, being short of oper- ators at the Western Union, took me from the City 17 18 THE HAPPENINGS OF A MUSICAL LIFE Hotel, where I had had much leisure, to the main office, where I had not a moment to myself. I knew that I could not keep on improving in my music with- out more time for practice than this new arrangement afforded me, so, after due deliberation, I gave up telegraphing and, having secured a few more begin- ners on the piano, I managed to get along with what the lessons yielded me and my salary at Grace Church. I now had plenty of time to practice and plenty of time to sleep, and so my playing improved and my singing as well. I hadbeen going along in this comfortable way for a year or more, when Mr.Downes advised me to attend a summer school of music that was to be held in East Greenwich for a few weeks. Most of the teachers came from the Eben Tourjee Conservatory of Boston, after- ward the New England Conservatory. There were in the faculty Carl Zerrahn, Charles N. Allen, George W. Whiting, J. C. D. Parker, George L. Osgood and others. Mr. Downes particularly wanted nle to study sing- ing with Mr. Osgood, who had but just returned from study with the elder Lamperti in Italy. I had always followed the advice of so good a friend as I had found Mr. Downes to be, and was glad to go to East Green- wich, where I began real vocal lessons for the first time. I believe that I made rapid improvement and was told so by those who heard me, but Mr. Downes. having been made unhappy on account of Osgood's criticisms concerning his Downes's vocal knowl- edge, advised me to discontinue my studies. This I was loath to do and after the close of the school con- tinued with my lessons, going to Boston for them. This and other reasons finally caused a break in my re- lations with Mr. Downes and I left Grace Church, GRACE CHURCH DAYS 19 joining at once a quartette choir in the First Univer- salist Church, where I was made leader, much against my wishes, the second year of my engagement. Mean- while Mr. Downes had resigned from Grace Church and after a few months of unsettled conditions there Dr. David H. Greer, the rector, who had always been a firm friend of mine, sent for me to return to my Grace Church position, asking me to take full charge of the choir as well. This I hesitated to do as I had had none of the requisite training or experience. I was finally per- suaded, however, and got a choir together and re- hearsed it. But I had no satisfactory organist. What was I to do! Fortunately on the Friday afternoon preceding my first Sunday with the new choir Albert Stanley appeared in Providence, applied to me for the position of organist, and (without rehearsal) played for the service, which was carried through with- out a flaw and to the great satisfaction of everyone. Mr. Stanley and I worked together in perfect accord until he was called to take charge of the music depart- ment at the University of Michigan at Ann Arbor, where he has since remained. The success that followed the new Grace Church choir of course stimulated the public's interest in my eiforts and resulted in an ever-increasing business for me as a teacher of singing. Indeed so rapidly did my singing class increase that I was obliged to devote my entire time and attention to it, discontinuing the piano lessons I had been giving. I had also discarded the cornet much to the dis- appointment of Mr. Reeves, who thought at first that I had made a mistake. He afterward was among the first to acknowledge that I had done wisely and I cannot let the opportunity here presented pass without 20 THE HAPPENINGS OF A MUSICAL LIFE paying my tribute of admiration to the memory of so fine a musician and so whole-souled a man as was "Wally" Reeves, beloved by everyone who knew him and one whose great loss to the community has never been made good. CHAPTER V CREATING THE TITLE PART IN BERLIOZ'S "FAUST" GEORGE L. OSGOOD of Boston, with whom I was studying singing, had organized the Boylston Club, a choir of mixed voices that began to give each year a series of choice concerts with works of Pales- trina, Mozart, Franz, Rheinberger and many other of the modern composers. I was invited to join this choir and did so, singing with it at several of its concerts. It was then that I learned to appreciate and love choral music. I sang solos at several of these concerts. I also began to sing in various other concerts and I gave in Providence three Schubert song recitals about this time, presenting at the first the entire cycle of the Miller songs, at the second the "Winter's Journey" and at the third the "Swan Songs." These recitals gave me more than a local reputation and they were followed by recitals for three seasons at the Newport Casino, which were well attended by critical audiences. Coming from Newport to Providence on the boat one afternoon, a pupil of mine, Dr. A. E. Ham of Providence, fell into conversation with me, asking if I would direct a small choir of singers who desired to practice part songs. I consented and soon we began rehearsals in the chapel of Grace Church. These were attended with much success and soon the room was wont to be filled with visitors, who demanded that we 21 22 THE HAPPENINGS OF A MUSICAL LIFE give a concert. The club was christened the "Arion." We organized on a business plan at the outset and thus began the existence and career of the Arion Club, about which more will follow. An old friend, Rev. George E. Reed, pastor of the Methodist Episcopal Church in Willimantic at the time I left that place for Providence, called on me one day when passing through Providence. He was living then in Stamford, Connecticut, and being well pleased to find that I had improved my time and had learned to sing he invited me to pay his family a visit the coming summer. While in Stamford I met some prominent musical people from New York and fortu- nately gained the interest of a leading New York family, that of Judge Henry Howland. Mrs. How- land was a pianist of the first rank, though she called herself only an amateur. She played for me and was interested enough in my singing to invite me to their house in New York when the season should open. I returned to Providence happy tha,t I had made so many new friends but had nearly forgotten that I was to be invited to New York when there came a letter from the Howlands fixing the time of my visit. Of course I met the appointment. I found that plans had been made for me to meet many of New York's musical people, and dinner parties and musicales fol- lowed each other closely all through the week. The evening before my departure for home the Howlands were dining alone for the first time, I think, since my coming among them. Judge Howland asked his wife if she was satisfied with what she had been able to do toward making me known. "Yes," said she, "only I am greatly disappointed that Dr. Damrosch hasn't been able to come and I wanted his opinion more than any one's." "Well," said Judge Howland, "why JULES JORDAN IN 1880 About the time he sang in the first American production of Berlioz's "Faust" BERLIOZ'S "FAUST" 23 not start an hour earlier in the morning and call on him ; he lives but two blocks above the Grand Central Station." We did so. Dr. Damrosch came to the door himself at our ring. He was very cordial to Mrs. Rowland but when she told him her errand he eyed me curiously and took out his watch, saying: "I am giving a lesson, but I can spare three minutes." Mrs. Rowland looked at me and smiled. We passed inside. Dr. Damrosch took a seat resignedly beside his pupil. Mrs. Rowland went to the piano and I began a Rubinstein song. This finished, Dr. Damrosch asked for another and yet another. He then asked if I knew the " Messiah." I sang "Comfort Ye" and "Every Valley." He then came to the piano, saying: "I want to try his voice to determine its range." That morning it seemed that there was no limit to what I could do, and I sang, in all, more than half an hour. At the conclusion he thanked Mrs. Rowland for bringing me to him, took my address and said that I should soon hear from him. I came home to Prov- idence happy because I had made more friends, but had again nearly forgotten all about it when a letter came from Dr. Damrosch asking me to sing the part of "Faust" in Berlioz's "La Damnation de Faust," which he was preparing with the New York Oratorio Society, together with the New York Arion Society and the Philharmonic Orchestra, to produce at Steinway Hall, New York. This was in 1880. I knew nothing about the work but was so delighted at the invitation that I wrote at once accepting. In a day or two I received a letter from Dr. Damrosch with a manuscript copy of the part written in the doctor's peculiar German hand and without accompaniment. I saw that it was a long and very difficult part and, written in this way, I could get but a faint idea of it and wrote Dr. Damrosch 24 THE HAPPENINGS OF A MUSICAL LIFE saying so. He replied that the work had been trans- lated and was in press and said that he would send a copy as soon as possible. I could not wait for this but ordered at once a French copy. When it came I was astounded at the difficulties of the part and wrote at once asking Dr. Damrosch to be released from my promise to sing it. Then followed several letters of encouragement from him and I began to study the part in earnest. I was progressing but slowly when one day I happened to see in the New York Herald an announcement of the first perform- ance in America of Berlioz's "Faust" with my name for the title role. To say that my heart went down and out at my feet but feebly expresses what I felt, but I went immedi- ately to a telegraph office and wired : "Please take my name out of the paper; cannot sing Faust." A sharp letter from Dr. Damrosch followed. He should hold my letters as a contract. I need not fear, he knew better than I what I could do. I must come to him and he would show me how he wanted it sung. Most fatherly and kind, though he would hold me to my word. After I had the work pretty well in hand I went to New York and there at Dr. Damrosch's house with Franz Remmertz, who sang the part of Mephisto, we began to work together. I found in it an inspiration that made it easy for me to surmount all difficulties. No one could possibly be kinder than was Dr. Dam- rosch or more helpful and companionable than Rem- mertz. There were some amusing things that happened at these rehearsals occasionally, though for the most part the time was filled with serious study. For in- stance, in the work there occur at one place in the part of Mephisto the words: "Come, let us listen to DR. LEOPOLD DAMROSCH First Conductor of the Metropolitan Opei-a, New York BERLIOZ'S "FAUST" 25 our cooing doves." Remmertz pronounced this line as follows : "Come, let us leesten to our cawing tawves." At this Damrosch glanced sharply at me and saw me smiling. Immediately he exclaimed, "Remmertz, Rem- mertz, dot iss not 'cawing tawves' (with a rising in- flection), but it iss cawing tawves (a falling inflec- tion) ." At this I burst out laughing and they joined me heartily. Things went on thus happily till finally we were summoned to Steinway Hall for rehearsals with the orchestra. We had them each morning for three or four days. It was in the month of February. Stein- way Hall seemed to have no provision for warmth and I sat, well wrapped up to be sure but chilly withal. I felt that I was taking cold and went to Dr. Dam- rosch about it. He was frightened. They had worked up a tremendous interest about the coming perform- ance, which was to take place in three days, and I was the only singer in the country that knew the part. He sent word to Mrs. Howland, who took me home and had me attended by the family physician, Dr. Draper. He succeeded in keeping the cold from my vocal chords, but I had a high fever and was consequently weak; yet in this condition I sang in that memorable first per- formance. There was one compensation, however; I was too ill to be nervous. I had dreaded the perform- ance on that score, but I seemed to have no nerves and but little voice, though I afterward sang the work at my best. CHAPTER VI FIRST PERFORMANCE OF GOUNOD'S "REDEMPTION" I HAVE MENTIONED in the last chapter the fact that I had the honor of creating the part of "Faust" in Berlioz's "La Damnation de Faust" at its first pro- duction in America, at Stein way Hall, New York, in 1880. Another first performance of a famous oratorio, "The Redemption," by Gounod, was given in Boston, a year or two after, if I remember correctly. Joseph Lennon, a well known musician of Boston, was at that time the conductor of the Boston Oratorio Society, composed for the most part of singers belonging to the various Catholic Church choirs of the city. Mr. Lennon conceived the very laudable plan of giving with his Catholic singers a first performance of this sacred work of a most eminent Catholic musician. There was a great interest aroused. I had recently sung at an important concert in Boston with Theodore Thomas conducting and that gave me the chance to sing in the Gounod performance. A final rehearsal was appointed in Music Hall and everything promised well. I had made an exhaustive study of the part, for the first time doing without coaching or teaching, for I had reached the conclusion that if there was anything in me of originality, it was time that I found it out. Shortly before this I had come to a question about the production of my voice in 26 GOUNOD'S "REDEMPTION" 27 the middle register and needed advice. In my studies I found that there were two distinct ways of tone pro- duction beginning at about "b," first space above the bass clef. This tone I could make with all its reson- ance felt forward in the mouth but without much firm- ness, or I could make it firmly with a feeling of depth. I asked my teacher one day which was correct, singing the "b" both ways, one after the other. He seemed to listen carefully and then said : "They are both alike." "But," said I, "how can that be, when the feeling of each is as different as black and white are different to my vision?" "Oh, you imagine it," was his reply. Thus left to my own decision I thought that the for- ward feeling tone must be the correct one because I felt nothing in my throat, while sustaining it; and though I had to change the feeling before I could pro- duce the higher tones, still I was afraid that the feel- ing deep in my throat when using the other method of production must be wrong simply because I did feel something in my throat, so I was careful to sing all these middle tones feeling them forward in the mouth only. The Redemption begins with page after page of recitative, the reciting note being this same "b" men- tioned above. I found that when I sang this "b" with the forward feeling tone I would tire before I had reached the second page. Trying then the other tone I discovered that I did not tire at all and that the more I used it the better it became. Here then I had found the true answer to my question as to which was correct. I sang day after day in my studies the entire long role and never felt the least fatigue; and when- ever I have sung the Redemption I have found my audiences appreciative not only of my voice but of my rendering of the many recitatives. I remember 28 THE HAPPENINGS OF A MUSICAL LIFE that at the first rehearsal with orchestra the director, Mr. Lennon, came to me when it was time for the other tenor soloist, (there being in the work some short but beautiful passages alloted to a second voice, that of the Penitent Thief, while the main tenor solo portion of the oratorio is allotted to the part of the Narrator) , saying: "The other tenor does not want to undertake this Penitent Thief solo; will you sing it?" "Why, what's the matter?" I will not give his answer, but I was not sorry to undertake the added task, for the tenor melody beginning "Wilt Thou remember me" is the most beautiful of all the solos and I had been re- gretting all along that it was not in my part. Another incident of that rehearsal comes to mind as I write. One of the other soloists, an Englishman, came to me after the rehearsal with prodigious com- pliments and finished up by saying: "But, you're not an American!" I protested that I was. He went on to say that he never had heard an American sing as well. Possibly, however, he had o^ily just arrived in America, for there were many American tenors at that time with far better voices than mine, but because I had studied every accent and inflection of the words of my part and had confidence at last in the use of my voice I sang the role with all its appealing pathos as naturally as I possibly could, and it pleased. I must not forget to say that the importance of this first performance had aroused some opposition on the part of another and older singing society in Boston that I suppose coveted the honor of a first American production. At any rate an injunction was put on the performance because of some irregularity about the use of the orchestral parts, I believe, and the work after some postponement was finally given in the Bos- GOUNOD'S "REDEMPTION" 29 ton Theatre and with only the accompaniment of two grand pianos! One other incident in connection with this and sub- sequent performances may not be thought out of place. Ivan Mowrowski, himself an excellent artist who sang the bass Narrator's part at several Redemption per- formances, evidently liked my singing of the tenor parts, for on more than one occasion when I was walking along the street in Boston I heard a voice somewhere behind me saying: "No one ever sang the Redemption as well as you did," and each time it was the voice of Mr. Mowrowski. A compliment from such a source was one to be proud of and should this meet his eye he will know that I appreciated it. CHAPTER VII THE ARION CLUB IN RECORDING the history of the Arion Club with which I have been associated since its organization I can do no better, it seems to me, than to take advan- tage of an account that appeared in connection with its fortieth anniversary in 1921 in the Providence Journal. This account by one of the Journal's staff is so well and accurately written that I can endorse it unqualifiedly. Here it is : Neither jazz nor moving pictures are admired by Dr. Jules Jordan. Both are false quantities, he main- tains, and although both have their apologists who claim that they add zest to living, Df. Jordan declares that his life without either has been zestful and ad- venturous beyond the aspirations of most men. The veteran conductor of the Arion Club is celebrating his 40th anniversary with Providence's leading musical society this year and the club's concert at Infantry Hall next Tuesday evening will be the club's tribute to the man who made it. Four decades spent as impresario, conductor, coach, singer, business manager and soother of many a cruelly torn temperament is not only a career but a career's reward, declared Dr. Jordan recently in an hour's talk in which he recalled the past of the Arion Club, its members, its guests, its triumphs and its 30 THE ARION CLUB 31 perils. The Arion Club was founded on the love or music and has prospered always because it attracted singing and acting talents which found complete com- pensation in creating music. Dr. Jordan is proud of the club and proud of his work as its director but is proudest, perhaps, in his knowledge that he has not earned a penny from his 40 years connection with the organization. He has conducted every concert of the Arion's long and imposing list. Early in the winter of 1880 a group of Providence singers, wishing to learn more about the art, met in- formally at Grace Church chapel, and sang part songs. They progressed so rapidly that friends and music lovers became interested. On nights when the singers gathered for their evening of song they found an audience awaiting them. The audience grew to such proportions that the singers decided the city had music lovers enough to support a big choral club. This was the inception of the Arion Club. Shortly after its for- mation Dr. Jordan arranged a programme of songs for public recital. The first concert was given at the building now occupied by the Providence Boys' Club, which was then known as the Amateur Dramatic Hall and which, later as the Talma Theatre, witnessed the rise of The Players. The concert was held on Feb. 16, 1881, and drew a large crowd. The programme consisted wholly of part songs and included the lieder of the masters Schubert, Schumann, Mendelssohn, Rheinberger and Rubinstein. Dr. Jordan conducted and Robert Bonner, the club's first President, played the viola in the supporting or- chestra. The event brought forth congratulations for the chorus, praise for the conductor and his musicians and support from many influential people, who imme- 32 THE HAPPENINGS OF A MUSICAL LIFE diately grasped the value of such an organization ot musicians in the social life of the city. Luck attended the club's infant days and powerful support was given Dr. Jordan in his plans by the late Colonel William Goddard and the late Bishop David Hummel Greer, who was at that time rector of Grace Church. Without these men, Dr. Jordan declares, the achievements of the Arion Club would have been im- possible. Colonel Goddard had an extremely powerful and an unusually fine bass voice, and he sang with the club in many of its concerts. He was, besides, a keen adviser, whose combined gifts of musician and business man were much to the club's advantage. His support and that of Bishop Greer were invaluable at many a period of storm and stress. At one time an apparent slackening of interest was noticeable in the membership, and in the public, also. It was suggested at one of the rehearsals that the club disband, and only the encouragement of Bishop Greer and his in- sistence that the organization should hold together saved the day. Arionites were lucky in the calibre of their officers. The roster of Presidents included the names of Robert Bonner, the late Colonel William Goddard, the late Johns H. Congdon, H. N. Campbell, Jr., the late Emery Russell, Horace F. Carpenter and George A. Jepher- son. During its 40 years' existence it has given more than 150 concerts. The list of its guest singers would shatter the shade of Oscar Hammerstein and bring grief to the heart of Signor Gatti. Among the so- pranos who appeared at Arion Club concerts were Mmes. Marcella Sembrich, Nellie Melba, Lillian Nor- dica, Emma Juch and Clara Louise Kellogg. Its famous tenors were the incomparable Italo Campanini, j.S| 31! ffi o s_i a> % v h S^ 55 " < .- & 0*08 c - 0) 4J ^ lag'p H s id ^ JS t) s o -4-* s -c -1-1 C3 O * c O fyi 6 o +J rt M y ~ ^ ffi c" a IS J= c -3 - o> J= p 3 1 -? w ^ -(-> V. o M JO a fc S o.= Sili W ^ o H o w g w ^ C 2 o fc -S S