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+The Project Gutenberg EBook of Garcia the Centenarian And His Times, by 
+M. Sterling Mackinlay
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Garcia the Centenarian And His Times
+       Being a Memoir of Manuel Garcia's Life and Labours for the
+       Advancement of Music and Science
+
+Author: M. Sterling Mackinlay
+
+Release Date: September 3, 2011 [EBook #37298]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK GARCIA THE CENTENARIAN ***
+
+
+
+
+Produced by Chuck Greif and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive)
+
+
+
+
+
+
+
+
+Antoinette Sterling
+
+AND OTHER CELEBRITIES
+
+BY
+
+M. S. MACKINLAY, M.A.
+
+_In demy 8vo, cloth gilt and gilt top, with =16= Illustrations and
+interesting facsimiles in text, =16s.= net._
+
+_Some Press Opinions_
+
+"Mr Sterling MacKinlay has written a charming account of the great
+contralto. He has written his book in a light and interesting vein, and
+has so much to tell, so many good stories to repeat, that it is sure of
+a large reading public."--_Daily Chronicle._
+
+"Told with sympathy and moderation, enlivened by anecdote and
+humour."--_Tribune._
+
+"A delightful book of reminiscences."--_Daily Mail._
+
+"Written with refreshing candour, well worth reading."--_Spectator._
+
+"A delightful book. It is brightened with anecdotes of all kinds, while
+the record of its principal subject is as impressive as it is
+interesting."--_Truth._
+
+"Interesting reading of the kind so entertaining, illustrated with good
+portraits: brightly written: will doubtless find a wide circle of
+admirers."--_Standard._
+
+"The easy, chatty style of the book, the descriptive touches, the fund
+of anecdote, the artless and spontaneous narrations of the great singer
+herself, all contribute to make the volume attractive. Nowhere is there
+anything heavy or dull."--_Birmingham Post._
+
+"Exceedingly interesting, and lightened up by many a lively anecdote. It
+is impossible to give anything like an adequate list of the notable
+names that crop up; they include most of the great artists, actors,
+singers, writers, and scientists of the present day."--_Glasgow Herald._
+
+London: HUTCHINSON & CO., Paternoster Row
+
+
+
+
+Garcia the Centenarian
+
+And His Times
+
+[Illustration: THE CENTENARY PORTRAIT OF MANUEL GARCIA BY JOHN S.
+SARGENT.
+
+SIGNED BY THE MAESTRO SIX WEEKS BEFORE HIS HUNDRED-AND-FIRST BIRTHDAY.
+
+_Copyright, 1905 by Photographische Gesellschaft._
+
+handwritten signatures of subject & artist included as well]
+
+
+
+
+Garcia the Centenarian
+
+And His Times
+
+Being a Memoir of Manuel Garcia's
+Life and Labours for the Advancement
+of Music and Science
+
+BY
+
+M. STERLING MACKINLAY
+
+M. A. OXON.
+
+AUTHOR OF 'ANTOINETTE STERLING AND OTHER CELEBRITIES'
+
+_WITH ILLUSTRATIONS_
+
+WILLIAM BLACKWOOD AND SONS
+
+EDINBURGH AND LONDON
+
+MCMVIII
+
+[Illustration: THEIR MAJESTIES THE KING AND QUEEN OF SPAIN.
+
+(FROM A PHOTOGRAPH SPECIALLY FORWARDED TO THE AUTHOR BY HIS MAJESTY.)
+
+_Franzen, Madrid._]
+
+Dedicated
+
+_TO_
+
+_H. M. THE KING OF SPAIN_
+
+_BY GRACIOUS PERMISSION_
+
+
+
+
+PREFACE.
+
+
+In presenting this Memoir of Don Manuel Garcia, I wish to thank those
+friends and pupils of the Maestro who have assisted me with
+reminiscences, photographs, and other material. But especially I would
+thank Mrs Alec Tweedie for the kind way in which she read through the
+MS., when it was still in a rough state, and made many invaluable
+suggestions with regard to its arrangement and improvement generally.
+
+M. S. M.
+
+OXFORD AND CAMBRIDGE MUSICAL CLUB,
+LEICESTER SQUARE,
+_March 1908_.
+
+
+
+
+CONTENTS.
+
+
+FIRST PERIOD. PREPARATION. (1805-1830.)
+
+CHAP.                                                               PAGE
+
+I. INTRODUCTORY                                                        3
+
+II. GARCIA'S CHILDHOOD IN SPAIN (1805-1814)                           13
+
+III. NAPLES (1814-1816)                                               25
+
+IV. PARIS AND LONDON (1816-1825)                                      40
+
+V. OPERA IN AMERICA (1825-1826)                                       57
+
+VI. NEW YORK AND MEXICO (1826-1827)                                   73
+
+VII. OPERATIC CAREER ABANDONED (1828-1830)                            86
+
+
+SECOND PERIOD. PARIS. (1830-1848.)
+
+VIII. MARIA MALIBRAN'S TRIUMPHS (1830-1836)                          105
+
+IX. PAULINE VIARDOT-GARCIA (1837-1841)                               125
+
+X. JENNY LIND (1841-1842)                                            139
+
+XI. SOME FAMOUS PUPILS (1842-1848)                                   156
+
+XII. CLOSE OF PARIS CAREER (1848)                                    169
+
+
+THIRD PERIOD. LONDON. (1848-1895.)
+
+XIII. ARRIVAL IN ENGLAND (1848-1854)                                 183
+
+XIV. THE LARYNGOSCOPE (1854-1857)                                    201
+
+XV. CHARLES SANTLEY AND ANTOINETTE STERLING (1857-1873)              214
+
+XVI. TWENTY YEARS OF MUSIC (1853-1873)                               225
+
+XVII. THREE-SCORE YEARS AND TEN (1874-1890)                          237
+
+XVIII. AN OCTOGENARIAN AUTHOR (1890-1895)                            256
+
+
+FOURTH PERIOD. RETIREMENT. (1895-1906.)
+
+XIX. A NONAGENARIAN TEACHER (1895-1905)                              277
+
+XX. THE CENTENARY HONOURS (MARCH 17, 1905)                           298
+
+XXI. LAST DAYS (1905-1906)                                           318
+
+
+INDEX                                                                325
+
+
+
+
+LIST OF ILLUSTRATIONS.
+
+
+CENTENARY PORTRAIT OF MANUEL GARCIA                        _Frontispiece_
+Painted by John S. Sargent.
+
+                                                            TO FACE PAGE
+
+THEIR MAJESTIES THE KING AND QUEEN OF SPAIN                  _Dedication_
+
+MANUEL GARCIA'S MOTHER                                                12
+
+MANUEL GARCIA'S FATHER                                                24
+
+MARIA MALIBRAN                                                       106
+
+PAULINE VIARDOT                                                      124
+
+JENNY LIND                                                           138
+
+MANUEL GARCIA                                                        200
+From a Drawing by Mme. Viardot.
+
+CHARLES SANTLEY                                                      216
+
+ANTOINETTE STERLING                                                  220
+
+CHARLES HALLÉ AND MANUEL GARCIA                                      222
+From a Drawing by Richard Doyle.
+
+HERMANN KLEIN                                                        238
+
+MADAME MELBA                                                         268
+
+FACSIMILE LETTER WRITTEN BY MANUEL GARCIA AT 91                      278
+
+FACSIMILE LETTER WRITTEN AT 99                                       294
+
+FACSIMILE LETTER WRITTEN AT 94                                       296
+
+FACSIMILE PAGE OF MUSIC WRITTEN IN HIS HUNDREDTH YEAR                312
+
+FACSIMILE LETTER WRITTEN IN HIS HUNDRED-AND-SECOND YEAR              322
+
+
+
+
+LIST OF WORKS CONSULTED.
+
+
+    'Albion.' (An American weekly newspaper published from 1823-1826.)
+    Appleton's 'Cyclopedia of American Biography.'
+    'Athenæum' (1848).
+    Brewer's 'History of France.'
+    Burney's 'History of Music' (1776-1789).
+    Colletta's 'History of Naples' (1734-1825). Horner's translation.
+    'Diversions of a Music Lover.' By C. L. Graves.
+    Eitner's 'Quellen Lexikon.'
+    Elson's 'History of American Music.'
+    Fétis' 'Biographie Universelle des Musiciens.'
+    'Fitz-Greene Halleck's Memoirs.' By General James Grant Wilson.
+    Fuller-Maitland's revised edition of Grove's 'Dictionary of Music.'
+    'Harmonicon' Musical Magazine (1823-1833).
+    Haydn's 'Dictionary of Dates.'
+    'Jenny Lind's Memoirs.' By Holland and Rockstro.
+    'Le Guide Musical.'
+    'Londina Illustrata.' By Wilkinson. (1819-1825.)
+    'Madrid.' By a Resident Officer. (1833.)
+    Mapleson's 'Memoirs.'
+    'Marchesi and Music.'
+    Mendel's 'Musikalisches Conversations Lexikon.'
+    'Mexico.' By Maria Wright.
+    Morse-Stephens's 'European Revolution.'
+    'Musical Reminiscences of Earl of Mount-Edgcumbe' (1824).
+    'Paris.' By G. L. Craik. (1834).
+    'Recollections.' By Bessie Palmer.
+    Sir Felix Semon's 'Zum hundertsten Geburstage Manuel Garcia's.'
+      (Privately printed.)
+    'Sixty Years of Recollections.' By Ernest Legouvé.
+    'Student and Singer.' By Sir Charles Santley.
+    'Thirty Years of Musical Life.' By Hermann Klein.
+    Wyndham's 'History of Covent Garden.'
+
+
+
+
+FIRST PERIOD
+
+PREPARATION
+
+(1805-1830)
+
+
+
+
+CHAPTER I.
+
+INTRODUCTORY.
+
+
+MANUEL GARCIA, the Centenarian.
+
+How much do those words imply!--words which it is impossible to pen
+without a feeling of awe.
+
+Garcia, a member of that family of Spanish musicians whose combined
+brilliancy has probably never been equalled in the annals of the musical
+world. The father and founder of the family, renowned as one of the
+finest tenors of his day; as a prolific composer, and as a singing
+teacher of distinguished ability, as well as conductor and impressario;
+in fact, a fine vocalist and an equally fine musician, which in those
+days was something of a _rara avis_.
+
+The eldest daughter, Maria Malibran, a contralto whose brief career was
+one series of triumphs, while her gifts as a composer were shared by her
+sister, Pauline Viardot-Garcia, whose singing drew forth the praise and
+admiration of all, and whose retirement from the stage and concert
+platform brought with it fresh honours in the field of teaching, wherein
+she showed herself a worthy exponent of the high ideals of the Garcias.
+
+And what of Manuel himself? The subject of our Memoir has a triple
+claim that his name should be inscribed on the roll of fame. As
+professor of singing, he is acknowledged to have been the greatest of
+his time. In the musical firmament he has been the centre of a solar
+system of his own,--a sun round which revolved a group of planets, whose
+names are familiar to all: Jenny Lind, Maria Malibran, Mathilde
+Marchesi, Henriette Nissen, Charles Santley, Antoinette Sterling, Julius
+Stockhausen, Pauline Viardot, and Johanna Wagner--these are but a few of
+them.
+
+Many, too, out of the number have themselves thrown off fresh
+satellites, such as Calvè, Eames, Henschel, Melba, Scheidemantel, van
+Rooy. One and all have owed a debt of eternal gratitude to Manuel Garcia
+and his system.
+
+Again, as a scientific investigator he has given us the Laryngoscope,
+which Huxley placed among the most important inventions of the medical
+world. Indeed, it is no figure of speech, but a statement of
+demonstrable fact, that millions have been benefited by his work.
+
+Thirdly, as a centenarian, he is without question the most remarkable of
+modern times.
+
+Of the men who have attained to that rare age, those who possess any
+claim upon our interests beyond their mere weight of years are but a
+comparative handful.
+
+Of musicians one alone has approached him in longevity, Giacomo Bassevi
+Cervetto, who died on January 14, 1783, within a few days of his 101st
+birthday, but with little distinction beyond this fact. As to the rest
+who go to make up the tale of the world's centenarians of recent years,
+it has been generally a case of the survival of the unfittest--
+
+    "In second childishness and mere oblivion,
+    Sans teeth, sans eyes, sans taste, sans everything."
+
+How different Manuel Garcia when he celebrated his 100th birthday: in
+the early morning, received by the King at Buckingham Palace; at noon,
+entering the rooms of the Royal Medical Society with short, quick steps,
+walking unaided to the dais, mounting it with agility and then sitting
+for an hour, smiling and upright, while receiving honours and
+congratulations from all parts of the globe. Which of those who were
+present will ever forget how he attended the banquet that same evening,
+in such full possession of his faculties and bodily strength as to make
+his own reply to the hundreds assembled to celebrate the occasion? Could
+anything have been finer than this sight of Grand Old Age?
+
+Now the fame of each individual member of the Garcia family would seem
+to demand that, in addition to the story of the Maestro's own career,
+considerable details should be given regarding that of his father and
+sisters. Surely the three last have claims to our attention beyond the
+mere fact of being in the one case a parent who exercised a very
+important influence upon Manuel Garcia's character and choice of career
+in early days, and who was, moreover, the fountainhead from which flowed
+the stream of musical talent that in the children broadened out into so
+grand a river,--in the other case, the sisters, who were bound not only
+by ties of kinship but by a debt of gratitude for the part which their
+brother played in their vocal training.
+
+This brings us to the first point, Señor Garcia's position as a teacher.
+There is a trite proverb to the effect that the proof of the pudding is
+in the eating. It is so in the present case. One can state the fact that
+he has been a great master, one can lay down a general outline of his
+teaching and applaud the soundness of his methods, but after all the
+outer world will in such matters be apt to judge by results alone. Or
+let us put it in another way. His knowledge is like the foundations of a
+house: experts may examine it closely and admire good points, but to a
+great extent the successes of his pupils are the bricks by which alone a
+wide reputation is built up.
+
+For this reason I propose to sketch briefly the career of the more
+famous among those who studied under the old Spaniard, and in doing so I
+trust that the above circumstances will be considered sufficient excuse
+for the digressions which will be made at various points.
+
+We now come to a second consideration.
+
+The discovery of the laryngoscope, owing to its far-reaching results, is
+of such importance that the chapter dealing with it is bound to contain
+matter which will naturally appeal to the special rather than to the
+general reader. The desire that the many may not suffer for the sake of
+the few to a greater extent than is absolutely necessary has prompted me
+to quote but briefly from the text of the important technical papers
+which he presented to the Royal Society in 1854 and to the International
+Medical Congress in 1881.
+
+In the former of these he sets forth a detailed account of the results
+which he himself obtained in connection with the human voice from the
+use of the instrument; in the latter he has told the story of the
+invention and given a full description of the laryngoscope.
+
+Last of all, there is the question of his remarkable age. As a
+centenarian, he passed through many great historical events, and
+witnessed a number of changes not only in the musical world, but in the
+general advance of civilisation. To mention but a few cases of the
+former: his childhood in Spain was passed amid the scenes of the
+Napoleonic invasion, followed by those of the Peninsular War, while his
+boyhood in Naples caused him to witness the execution of the ex-king
+Murat, a few months after the despotic brother-in-law's final overthrow
+at Waterloo. His first visit to England was made when George III. was on
+the throne; his nineteenth year saw the death of Louis XVIII.; while his
+arrival in America to take part in the first season of Italian opera
+ever given there was at a time when New York was a town of 150,000
+inhabitants, and the United States were preparing to celebrate the
+jubilee of the Declaration of Independence. In early manhood he joined
+the French Expedition against Algiers, and on his return found himself
+in the midst of the July Revolution, which resulted in the expulsion of
+Charles X. from the capital and the placing of Louis Philippe on the
+throne; while he spent his last months in Paris as a member of the
+National Guard during another revolution, that of 1848, which ended in
+the flight of Louis and the proclamation of the French Republic.
+
+The first fifteen years of residence in London saw the English nation
+throw down the glove to Russia, enter on the Crimean War, and bring it
+to a successful close with the fall of Sebastopol, which was followed by
+such events as the Indian Mutiny; the accession of William I. to the
+throne of Prussia, with Prince Bismarck as his chief adviser; the
+capture of Pekin; the American Civil War; the death of the Prince
+Consort, and two years later the marriage of the heir to the throne of
+England to the beautiful Princess of the Royal House of Denmark.
+
+He was in his sixty-first year when Lord Palmerston died; as for the
+Franco-Prussian War and the Siege of Paris, they were looked on by him
+in his old age as things of but yesterday; while at various periods of
+his life he resided in Madrid, Naples, Paris, New York, Mexico, and
+London.
+
+Again, in his work as a teacher, there came for lessons not merely the
+children of old pupils, but many even whose parents and grandparents had
+studied under him; while before his life was brought to a close England
+had been ruled by five successive sovereigns.
+
+His father, whom we shall refer to in this Memoir as the elder Garcia,
+was born at Seville on January 22, 1775--over a hundred and thirty years
+ago. At the time of his birth Seville could not boast a single piano.
+Such a thing seems hardly credible to us who live in the twentieth
+century, when it is the exception rather than the rule to come across a
+house that does not boast an instrument, which is at any rate
+sufficiently recognisable from its general contour for one to feel
+justified in saying, "Let it pass for a piano."
+
+Whence the elder Garcia obtained his musical talent it is impossible to
+learn. Whatever the previous generations may have been, there is no
+record of their having made any mark among the musicians of their time.
+Garcia is a fairly common Spanish name, and we find mention of several
+musicians of the eighteenth century, and even earlier, who bore that
+cognomen; none of these, however, can possibly have had any direct
+relationship to the family in which we are interested, and for an
+obvious reason. "Garcia" was only a _nom de guerre_ which had been taken
+by the founder of the family when he entered upon a musical career, his
+baptismal name having been Manuel Vicente del Popolo Rodriguez. The fame
+of the new name, however, soon eclipsed the old, and hence in due course
+it came to be adopted by him and his descendants as their regular
+surname.
+
+In the spring of 1781 the "elder" Garcia, being now six years old,
+became a chorister in the cathedral of his native town. Here he quickly
+began to display an extraordinary talent and precocity, his first
+musical training being received at the hands of Antonio Ripa, and
+continued under Juan Almarcha, who succeeded Ripa as Maestro di Cappella
+at the cathedral. These two men were considered the first teachers in
+Seville, and under their able tuition his powers developed so rapidly,
+that even in his early teens he was already acquiring a reputation in
+his town not only as singer, but as composer and _chef d'orchestre_.
+
+During the years which Garcia was thus spending in patient study, the
+neighbouring kingdom of France was approaching nearer and nearer to that
+vast upheaval which was to bring such fatal consequences. The populace
+had long been smouldering with discontent against the hated aristocrats,
+and at last in 1789 the country flamed up in that terrible revolution
+which culminated in that wonderful episode, the storming of the Bastille
+on July 14.
+
+When this historical event took place the elder Garcia was in his
+fifteenth year. Two years later he made his _début_ at the theatre of
+Cadiz in a "tonadilla" into which a number of his own compositions had
+been introduced. Not long after this he made his first appearance at
+Madrid in an oratorio, while his earliest opera was performed there
+under the title of "Il Preso." Such was his success in the Spanish
+capital that he was quickly recognised as one of the greatest tenors his
+country had ever produced.
+
+The following year, 1792, found France overtaken by a succession of
+catastrophes: the invasion by Austria and Prussia, the storming of the
+Tuileries, the September massacre, and that tragic end of the French
+Monarchy, for the time being, with the execution of Louis XVI.
+
+The last years of the eighteenth century were spent by the elder Garcia
+in building up an ever-increasing reputation throughout Spain; while
+during this period European history continued to raise fresh landmarks
+for future generations to bear in wondering memory, for when he was
+nineteen there came the execution of Robespierre, and the splendid
+victory of Lord Howe over the French fleet, followed in 1789 by another
+glorious naval achievement in the Battle of the Nile.
+
+The first years of the new century brought with them the close of the
+elder Garcia's bachelor life with his romantic marriage to Joaquina
+Sitchès. The story of the meeting and courtship is one of singular
+charm.
+
+Joaquina, who was Spanish by birth, was gifted with a somewhat mystical
+temperament, and early declared her wish to pass her life in a convent.
+Her parents raised no objection to her taking the veil, and she
+forthwith commenced her novitiate.
+
+In due course the time arrived when, according to custom, she must go
+out into the world again for a while, in order to prove whether her
+desire for the religious life was genuine. Accordingly the beautiful
+young novice went much into society, making her appearance at balls,
+parties, theatres, and the other gaieties of the capital.
+
+One evening she was taken for the first time to hear Garcia sing. He
+made a deep impression upon her, and an introduction followed, which led
+to her falling violently in love with the singer. He on his side became
+no less completely a victim to her charms, and lost no time in declaring
+his passion, and that was the end, or should one not perhaps say, the
+beginning? Joaquina paid a last visit to the convent to bid good-bye to
+the mother-superior, and soon afterwards the lovers were united.
+
+Señorita Sitchès was possessed of great natural gifts as a singer, and
+after her marriage became desirous of associating herself with his
+career. She therefore determined to put her musical talents to use and
+went on the stage, where she soon became a worthy second to her husband.
+
+And so we come to the year 1805, which brings with it the birth of a
+son, the subject of this Memoir.
+
+[Illustration: MANUEL GARCIA'S MOTHER.]
+
+
+
+
+CHAPTER II.
+
+CHILDHOOD IN SPAIN.
+
+(1805-1814.)
+
+
+MANUEL PATRICIO RODRIGUEZ GARCIA--to give his full name--was born on
+March 17, 1805, four days before the death of Greuze. The place of his
+birth was not Madrid, as has been so often stated, but Zafra, in
+Catalonia.
+
+What of the musical world in 1805? Beethoven had not yet completed his
+thirty-seventh year, Schubert was a boy of eight, Auber, Bishop, Charles
+Burney (who had been born in 1726), Callcott, Cherubini, Dibdin, Halévy,
+"Papa" Haydn, Meyerbeer, Paganini, Rossini, Spohr, Weber, these were all
+living, and many of them had yet to become famous. As for Chopin,
+Mendelssohn, Schumann, and Brahms, they were not even born; while
+Gounod, Wagner, and Verdi were still mere schoolboys when Garcia was a
+full-blown operatic baritone.
+
+The year of Manuel's birth was the one in which the elder Garcia
+composed one of his greatest successes, a mono-drama entitled "El Poeta
+Calculista." It was this work which contained the song that achieved
+such popularity throughout Spain, "Yo che son contrabandista." When the
+tenor used to sing this air he would accompany himself upon the guitar,
+and by the fire and _verve_ with which the whole performance was given,
+he made the audiences shout themselves hoarse with excitement.
+
+Among the most enthusiastic of his listeners were the weak old dotard
+Charles IV., King of Spain, and his son, the bigoted and incompetent
+Ferdinand, who had already made himself a popular favourite and
+commenced his intrigues against the Throne. Above all, one must not
+forget Don Manuel de Godoy, Prince of the Peace, who was carrying on a
+shameful intercourse with the Queen, and was undoubtedly at the time the
+most powerful man in the kingdom.
+
+The two most faithful allies of England at the beginning of the
+nineteenth century were the small kingdoms of Portugal and Sweden.
+
+In view of the sea-power which the Island Empire had gained since the
+Battle of Trafalgar, Napoleon decided that the strength of this alliance
+must be broken. Accordingly, on October 29, 1807, the Treaty of
+Fontainebleau was signed, by which it was agreed that the combined
+armies of France and Spain should conquer Portugal. The little kingdom
+was then to be divided into three parts: the northern provinces were to
+be given to the King of Etruria in exchange for his dominions in Italy,
+which Napoleon desired to annex; the southern districts were to be
+formed into an independent kingdom for Godoy, the Prince of the Peace;
+and the central portion was to be temporarily held by France.
+
+In pursuance of this secret treaty a French army under General Junot
+marched rapidly across the Peninsula.
+
+On receiving the news that the invaders were close to Lisbon, the Prince
+Regent, with his mother, the mad queen, Maria I., sailed for Brazil with
+an English squadron. Hardly had the Regent left the Tagus when Junot
+entered Lisbon on November 20, meeting with a favourable reception at
+the hands of the Portuguese, who resented the departure of the Prince
+Regent, and had no idea that there was a secret design to dismember the
+kingdom.
+
+When the Franco-Spanish plans had thus reached a successful point in
+their development, the elder Garcia decided that the time was ripe for
+him to seek that wider success which he was ambitious of achieving. He
+had already made his name in Spain both as a singer and composer; but
+this did not satisfy him. Paris had long been the goal on which he had
+set his mind. And what more favourable opportunity was likely to arise
+than the present, when the successes of the alliance would naturally
+predispose the French people to give a warm welcome to any Spaniards who
+visited the country at such a moment? Accordingly he made his last
+appearance in Madrid in a performance of oratorio, and at the close of
+1807 set out for Paris.
+
+Soon after his arrival in the French capital he had an opportunity of
+making his _début_, for on February 11 he appeared in Paër's "Griselda."
+How bold a stroke this was may be realised from the fact that, apart
+from his never having properly studied singing up to this time, he had
+not yet sung in Italian.
+
+The applause of Napoleon in the French capital proved to be no less
+enthusiastic than had been that of Charles IV. in Madrid--indeed, so
+great was the tenor's success that he was appointed to the post of
+_directeur du chant_ in less than three weeks, as well as becoming the
+leading tenor at the Théâtre Italien.
+
+The following month brought with it the birth of his first daughter,
+Maria Felicita, who was destined to become famous under the name of
+Malibran. Some ten months later the mono-drama, "El Poeta Calculista"
+was given in Paris for the first time, on the occasion of the elder
+Garcia's benefit. Its reception may be judged from the fact that the
+performance of the operetta had to be interrupted for several minutes,
+so greatly was the singer fatigued by the constant ovations and
+insistent demands for encores. The success which he achieved during this
+first season in Paris laid the foundation of a world-wide fame.
+
+Now, when Señor and Señora Garcia left Spain at Christmas 1807, they
+decided that it would be best not to take with them so young a child as
+Manuel then was, and accordingly he was left behind in Madrid with his
+grandparents, in whose charge he remained until his tenth year. This
+resulted in his passing through some historic scenes, by the memories of
+which, in his old age, he formed a link with the past which seemed
+wellnigh incredible.
+
+Those were years of war and bloodshed, for, during his childhood, Spain
+was convulsed first by the throes of the Napoleonic invasion, and then
+by the successive campaigns of the Peninsular War.
+
+Let us take a glimpse of the swift march of events, of which he must
+have not only heard reports, but in many cases been the actual witness
+during his sojourn in Madrid.
+
+First, however, we will try to get some idea of the Spanish capital as
+it was in the early years of the nineteenth century.
+
+We obtain the best impression from a book published in the year 1835,
+"embodying sketches of the metropolis and its inhabitants," by a
+resident officer.
+
+The most striking feature of Madrid at this time, according to this
+writer, was the irregularity in the height of the buildings. It was not
+uncommon to see a wretched tumble-down-looking house supporting itself
+against the palace of a grandee, displaying its checkered, moss-grown,
+weather-stained tiling in mockery of the marble and sculpture of its
+next-door neighbour.
+
+"The quarters of Madrid known under the name of the 'Rastro' and
+'Barrios Bajos' presented a most unwholesome and ungainly appearance,
+being chiefly composed of hovels, with mud walls and tiled roofing,
+which contained but a ground-floor, and were inhabited by the dregs of
+the population. They were the purlieus of vice and crime, and were not
+only a disgrace to the capital, but would have been so to any sixth-rate
+town in the kingdom. This, and the great disparity in the buildings of
+Madrid at that time, may be accounted for by calling to mind the
+capricious way it commenced its importance as a capital.
+
+"It had struggled on, a second-rate town, until the Emperor Charles V.
+of Germany (Charles I. of Spain), suffering under a severe fit of the
+ague, which he had caught in Valladolid, the royal residence at that
+time, came to Madrid for change of air, and recovered; in consequence of
+which he continued to reside there till his death. Philip II. decided
+its prosperity by ultimately making it the seat of the Court, and after
+this it was augmented by bits and scraps as a building mania came on, or
+as the times permitted."
+
+The same discrepancy prevailed in the style and mode of living:
+everything was in extremes, both in houses, equipages, clothing, eating,
+and drinking. Luxury and misery, comfort and squalidness, were
+constantly elbowing each other.
+
+As to the inhabitants, had an Englishman been transported blindfolded
+into Spain and his bandage taken off when set down in Madrid, he might
+readily have believed himself in a seaport town from the great variety
+of costumes.
+
+"The _Valencian_, with his gay-coloured handkerchief rolled about his
+head in the Moorish fashion, a brilliantly striped _mantã_ thrown
+gracefully over his shoulder; the _Maragato_, looking for all the world
+like a well-fed Dutch skipper in flesh and costume; the man of
+_Estremadura_, his broad buff belt buckled about his loins, and a string
+of sausages in his hand; the _Catalonian's_ wild Albanian look and cut,
+a red woollen cap falling on his shoulder in the way of the Neapolitan
+mariners; the _Andalusian's_ elegant dress, swarthy face, and
+immeasurable whiskers; _Galicia's_ heavy, dirty son, dragging after him
+at every step a shoe weighing from two to three pounds, including nails,
+doublings, and other defences against a treacherous and ruinous
+pavement. All these might well have been taken for the inhabitants of
+regions hundreds of leagues asunder, differing as essentially in
+language as in costume."
+
+But one of the most remarkable features of Madrid was the predominance
+of large convents in the finest situations and best streets, often
+monopolising more space than should have fallen to their share. The
+fronts of the holy houses extended themselves widely up and down the
+street, causing a dead blank, and destroying the symmetry of the
+_calle_. The monotonous appearance was, however, frequently relieved by
+the close-shaven heads of some of the "fathers" appearing at the little
+windows of their cells, condescending to look upon what was passing
+outside--faces, some fat, ruddy, and shining, others pale and sallow,
+with strange black beards and flashing eyes.
+
+The nunneries, in point of usurping place and selecting the most
+frequented quarters of the town, yielded nothing to the male convents.
+There were no less than three of them in the Calle Alcala, perched in
+the very midst of the thoroughfare to and from the Prado.
+
+The sisters used to have a number of latticed windows towards the
+street, whence they might see without being seen. These celestial
+spouses, as they called themselves, were very troublesome neighbours,
+for they were so chary of being seen, even when walking in their garden,
+that, not contented with running up a wall twenty feet high at least and
+spoiling a whole street, they insisted on doing the same service to all
+the houses which had the misfortune to be within eyeshot of them. Hence
+there would be seen whole balconies completely boxed up with sheet-iron
+opposite a long dead wall, with a few ascetic-looking cypresses peeping
+over it.
+
+Here, then, we have some of the principal features of Madrid at that
+time, and it was not till several years after Manuel Garcia had left the
+capital that the first stir towards improving the place was made; for we
+read how in 1835 "commodious flagways are being laid down for the
+convenience and security of passengers. Moreover, the convents are to be
+pulled down," the same writer continues. "Few of these buildings merit
+respect from the shovels. Their architecture is vulgar and extravagant
+where the long dead walls do not constitute their only claim to
+admiration. Still I must confess I like to see a host of cupolas and
+minarets sparkling and towering in the glorious sunset. Nor does the
+flowing costume of the friars--black, blue, white, and grey--show amiss
+in the motley crowd of picturesque costumes paraded in the streets.
+Murillo has immortalised the cowl and cassock, and custom has rendered
+both favourites with the mass of the people, who will long regret the
+monks and their soup doled out at the convent gate."
+
+And now to return to the point at which we left our narrative to set
+down these few details of Madrid at the time Manuel Garcia was residing
+there with his grandparents.
+
+Spain had been the consistent ally of France since the Treaty of Basle
+in 1795. Nevertheless, Napoleon deliberately determined to dethrone his
+faithful friend, Charles IV.
+
+Court intrigues gave him a splendid opportunity for interfering in the
+affairs of Spain. The heir to the throne, Ferdinand, Prince of the
+Austrians, hated his mother's lover, Godoy, and for sharing in a plot
+against the favourite was thrown into prison. He appealed for help to
+Napoleon, and Charles IV., on his side, did the same. Upon this,
+Napoleon began to move his troops across the Pyrenees, and a French
+army, under the command of Murat, approached Madrid. The population of
+the Spanish capital at once rose in insurrection and maltreated Godoy,
+who fell into its hands. Manuel Garcia was at this time just entering
+his fourth year, and the rising which he thus witnessed was one of his
+earliest memories.
+
+Charles IV. at once abdicated, and was quickly forced to cede the crown
+to "his friend and ally," Napoleon, who conferred it on his brother
+Joseph, King of Naples, on June 6th.
+
+But it was one thing to proclaim Joseph King of Spain, another to place
+him in power. The patriotism of the Spanish people was stirred to its
+depths, and they declined to accept a new monarch supported by French
+troops. In every quarter insurrections broke out and _juntos_ were
+formed.
+
+One was able to get a graphic picture of the horrors of that outbreak
+from the reminiscences which Señor Garcia used to give, for it made an
+impression on his childhood which remained undimmed throughout the
+successive years of his life. Indeed, it was more than ninety years
+later that I recall his speaking of these scenes one afternoon when the
+ill-starred war, which his beloved country was at the time carrying on
+against the United States, brought to his mind the memory of that other
+war nearly a century before.
+
+"During the weeks which succeeded Joseph Bonaparte's assumption of the
+Spanish throne," he said, "there arose great bitterness between the
+peasants and the invaders. Daily, when the roll-call was read, a number
+of French soldiers failed to answer to their names: during the preceding
+night the unhappy men would have been murdered in their beds by the
+inmates of the houses in which they had been quartered in the
+surrounding villages."
+
+The French exacted terrible reprisals for this, and he vividly recalled
+the long line of men, youths, and even boys who were forced to run the
+gauntlet between the rows of soldiers on their way to wholesale
+execution. "Shoot every one old enough to hold a gun." So ran the cruel
+order, given out day after day to the soldiers in many districts.
+
+On the 2nd of May a wholesale massacre of the French took place in
+Madrid, and the survivors were driven out of the town by the mob. In
+consequence of this, Murat was forced to retire with his soldiers
+beyond the Ebro, while the province of Asturias rose _en masse_.
+
+But mobs and undisciplined militia can never stand against regular
+troops. The Spanish army was defeated, and on the 20th of July young
+Garcia witnessed the entrance of Joseph Bonaparte into the capital as
+King of Spain.
+
+That same day, however, brought serious disaster to one of the flying
+columns which had been sent out in various directions. The Spanish
+insurgents at once rose in every quarter, and a guerilla warfare was
+begun which proved more fatal to the French army than regular defeats
+would have been. Napoleon for the first time had to fight a nation in
+arms, and Joseph Bonaparte was forced to evacuate Madrid within three
+weeks of making his royal entry, and to retreat beyond the Ebro, as
+Murat had done two months before.
+
+Here he was joined by his brother-in-law with 135,000 men, and a rapid
+advance was made on Madrid, with the inevitable result that the Spanish
+capital was forced to capitulate, and on December 13 the young Manuel
+had the excitement of seeing the entry of the great Napoleon into the
+town at the head of the French troops.
+
+The events of the next three years of the Peninsular War were not
+witnessed by him, for the place remained in the hands of the French
+until 1812, when he saw Madrid evacuated by Bonaparte, and occupied on
+August 12 by Wellington and his troops after the battle of Salamanca.
+
+With his main army the English general now advanced on Burgos, which,
+however, resisted all his assaults; and the Anglo-Portuguese army had to
+retire once more into Portugal, while for the last time Joseph returned
+to the Spanish capital.
+
+In the summer of 1813 Wellington broke up from his quarters, and,
+marching in a north-easterly direction, attempted to cut off all
+communication between France and Madrid. The movement completely
+overthrew the French domination in Spain, and Joseph Bonaparte fled with
+all the troops he could collect. Wellington followed, and came up with
+the French army at Vittoria, where he defeated them.
+
+This victory, by which the invaders were driven back into France, was
+followed by a burst of national enthusiasm. The Spanish guerillas
+destroyed every isolated French post, and on October 8, 1813, Wellington
+crossed the French borders with his army.
+
+A few months later Ferdinand VII. was restored to the throne of Spain.
+
+Such were the events through which his native land was passing during
+the childhood of Manuel Garcia, and which he was able to recall in after
+life.
+
+What memories and experiences must he have had to pour into the ears of
+his parents when, in the summer of 1814, he was summoned to join them at
+Naples, where they had settled two years previously, having been forced
+to leave Paris owing to the strong feeling against Spain!
+
+[Illustration: MANUEL GARCIA'S FATHER.]
+
+
+
+
+CHAPTER III.
+
+NAPLES.
+
+(1814-1816.)
+
+
+When Manuel Garcia joined his parents in Italy in the summer of 1814,
+being at the time in his tenth year, he found Naples under the rule of
+King Murat.
+
+Here he saw for the first time his sister Maria, who was now six years
+old, while his father he found installed in the position of principal
+tenor in the chapel choir of King Murat. The elder Garcia had held this
+post for about two years, having been appointed immediately on his
+arrival from Paris. Since then he had been devoting himself to a
+complete study of the art of singing under his friend and teacher,
+Ansani.
+
+This celebrated tenor was able to hand on to him the Italian vocal
+traditions of that "Bel Canto" school which had come down from the old
+Neapolitan maestro, Porpora.
+
+Soon after Manuel came to Italy he was taken by his father to see
+Ansani, who not only heard him sing, but gave him a few informal
+lessons. It was a case of winter and spring, for while the pupil was in
+his tenth year, the teacher was approaching his seventieth. With this
+fact we are brought face to face with an almost incredible link with the
+past. Ansani was nearly twenty when Porpora died, in his eighty-second
+year. A remark which Manuel Garcia once made rather points to the
+possibility that Ansani may have had a few lessons from Porpora himself.
+Whether this was absolutely true I know not,--at any rate it may well
+have been so. Accept the supposition, and those who had the honour of
+studying under the "centenarian" would at once be placed in a position
+to say that they were pupils of one whose master had himself received
+lessons from a man born in 1687. The possibility is a fascinating one.
+
+Giovanni Ansani himself was an interesting personality. Born in Rome
+about the middle of the eighteenth century, it has been reported that he
+once met Bach. As, however, the German composer died in the year 1750,
+about the time that Ansani was still busying himself with the
+feeding-bottle--or its eighteenth-century equivalent--the story must be
+regarded with some suspicion, to say the least of it.
+
+After a musical training received in Italy, he sang in various parts of
+the Continent. Twenty years before the close of the century he made his
+appearance in London, and at once took the first place. He soon left,
+however, on account of disputes with Roncaglia.
+
+In 1781 he returned to England, and Dr Burney, who heard him sing in
+that year, has described him as the sweetest, albeit one of the most
+powerful, tenors of his generation. He was a spirited actor, and had a
+full, fine-toned, and commanding voice, while, according to Gervasoni,
+he had a very rare truth of intonation, great power of expression, and
+most perfect method both of voice emission and vocalisation. His wife,
+Maccherini, was also a singer, and accompanied him to London on his
+second visit. He himself was always noted for a quarrelsome disposition,
+and as a prima donna his wife had an almost equally bad temper. Such
+jealousy in fact existed between them that, when either was applauded
+for singing, the other was accustomed to go into the pit and hiss.
+
+In 1784 Ansani appeared at Florence, and toured Italy. At the age of
+fifty he retired and settled in Naples, where he devoted himself to
+teaching. It was some twelve years later that he began to give lessons
+to the elder Garcia.
+
+When Manuel joined his parents, he at once commenced to study singing
+under his father's guidance. The training of those days was a much
+slower process than that which is deemed necessary at the present time.
+Months, indeed years, would be spent in the practice of simple solfeggi,
+to be followed by exercises in rhythm and studies for intonation.
+
+The monotony of the first portion of this training evidently became very
+wearisome in time, for Señor Garcia would afterwards recall how one day,
+after being made to sing an endless variety of ascending scales, his
+desire for a change became so great that he could not resist bursting
+out, "Oh dear! mayn't I sing down the scale even once?" The training of
+those days was indeed a hard one, but it turned out artists who had a
+very wonderful command over their voices.
+
+After a time Manuel began to find these severe studies irksome. He
+seems, moreover, to have had no particular vocation for the lyrical
+stage, and the bent of his mind, even at that early period, had a
+leaning towards science.
+
+As a boy, he had a soprano voice of beautiful quality, and it has been
+asserted that during the stay in Italy he was appointed to a place in
+the cathedral choir. Absolute verification of this statement is
+practically impossible to obtain, though there seems no reason for
+doubting its truth. On the other hand, there is a strong likelihood that
+it may have been confused with the fact that the _elder_ Garcia (whose
+name was also Manuel) was in the chapel choir.
+
+From this time the training of his voice continued practically without
+intermission, under his father's tuition, till his twentieth year. It
+was largely due to the fact that work was not stopped during that
+dangerous period at the commencement of puberty, that he assigned the
+break-down of his voice in after years.
+
+The elder Garcia took the greatest delight and pride in the early
+education and musical training of his son, and among many other valuable
+lessons, he impressed upon him that a singer must not only know how to
+use his voice, but must, above all, be a thorough musician.
+
+As we have already seen, Manuel was taken to see Ansani, who gave him a
+few lessons. In addition to this, much help was received from
+Zingarelli, when the elder Garcia was too busy to take him. His
+intelligent brain could therefore make a blend of Spanish and Italian
+methods. To this he added in after life his own observations on the
+human voice, and applied the scientific theories which he formed and
+eventually corroborated by means of his laryngoscope. It was by the wise
+combination of this knowledge that he was able to evolve the magnificent
+Method which produced Jenny Lind.
+
+Zingarelli was a man whose name is worth pausing over for a moment, for
+some episodes of his life are of considerable interest. In 1804 he had
+succeeded Guglielmi as Maestro di Cappella of the Sistine Chapel in
+Rome.
+
+When Napoleon in the zenith of his imperial power gave his son the
+pompous title of "King of Rome," he ordered rejoicings throughout his
+kingdom, and a "Te Deum" was arranged to be sung at St Peter's in Rome.
+When, however, the authorities, both French and Italian, were assembled
+for the performance of this servile work, Zingarelli refused to have
+anything to do with it, and added that nothing would induce him to
+acknowledge the rule of the Corsican usurper. Upon this he was arrested,
+and, by Napoleon's orders, taken to Paris. Here he was immediately set
+free and granted a pension, owing to the fact that Napoleon preferred
+his music to that of any other composer.
+
+In 1810 he left Paris for Naples, where three years later he was
+appointed director of the Royal College of Music, and he was holding
+this important post when Manuel came from Spain. Some eighteen months
+later, just before the Garcia family left for Paris, he succeeded
+Paisiello as Maestro di Cappella at the Neapolitan Cathedral; and these
+two positions he continued to hold until his death at the age of
+eighty-five.
+
+During the sojourn in Italy the elder Garcia was not only in Murat's
+private choir, but was also _primo tenore_ of the King's Opera Company
+at the San Carlo. I remember Señor Garcia one day giving an amusing
+account of his father's first appearance there.
+
+Before he set out for his opening rehearsal he had come to the
+conclusion that it would be a splendid thing if he could hit upon some
+way of proving to the members of the orchestra that he was not one of
+the ordinary small fry possessed of a voice and little else. He wanted
+to gain their respect both as a musician and as a singer. This is how he
+managed to accomplish his desire.
+
+His opening aria in the opera to be rehearsed was in the key of E flat.
+The orchestra played the introductory bars, and waited with a casual
+interest for the new singer's opening phrase. The tenor commenced, but,
+instead of doing so in the key in which they were playing, he began to
+sing a semitone higher, in E natural. At first they were horrified at
+the discords which resulted. Gradually, however, as the aria went on,
+and the vocalist still sang exactly a semitone above the key in which
+they were playing, it began to dawn upon them that, instead of being
+sharp through nervousness or lack of ear, he was keeping a half tone
+too high intentionally throughout the piece. Consequently, when they
+heard him continue in E natural, without a moment's hesitation, or a
+single false note (for so great a musician was he that he could abstract
+himself entirely from his surroundings and from the sound of the
+instruments), their disgust turned to surprise, then admiration, and
+finally enthusiasm. When the aria was concluded there was an enormous
+burst of applause and the wildest excitement among them all, for they
+saw what a really great singer they had found in this newcomer. Of
+course he sang the remainder of his part in the proper key, but by this
+novel entry he won the lasting respect of his comrades.
+
+The anecdote afforded a good illustration of his exceptional powers. The
+elder Garcia was certainly a wonderful man, and in some ways a unique
+figure in the history of music, for it is doubtful if any other singer
+has duplicated his extraordinary talent and versatility. Attention has
+already been called to the fact that he was conductor and impresario. As
+a composer he was responsible for over forty operas, of which number
+seventeen were Spanish, nineteen Italian, and seven French; and in many
+cases he was even responsible for the libretto. The greater number of
+these works were performed in Spain, France, and America.
+
+When he was in Paris "El Poeta Calculista" was given, as we have already
+said, with the greatest success in 1809, and three years later "The
+Caliph of Bagdad" received no less appreciation. His power as an actor
+was equal to that as a singer, while his Spanish temperament gave a
+fire to his impersonations which could not but awaken enthusiasm.
+"J'aime la fureur andalouse de cet homme," wrote a contemporary critic;
+"il aime tout."
+
+But of all his qualities that which perhaps stood out most was a
+remarkable gift of extemporisation. It was this which first attracted
+the notice of Rossini, and led him to write the tenor _rôle_ in
+"Elisabeth" for the elder Garcia. The result was so satisfactory that
+when he set to work on his next opera, "Il Barbiere di Seviglia," he
+wrote the part of Almaviva specially for him.
+
+The story of this production, as Manuel Garcia related it, was an
+interesting one.
+
+In the December of 1815 Rossini had bound himself to produce a new opera
+by the 20th of the following month. He hesitated at first about
+accepting a libretto which Paisiello had treated so successfully, but
+having obtained that composer's permission he wrote the entire score in
+a fortnight. To avoid all appearance of rivalry with Paisiello he named
+his work first of all, "Almaviva, or The Useless Precaution"; and it was
+accordingly produced under this title in Rome at the Argentina Theatre
+on February 5, 1816, with the following cast:--
+
+    _Rossini_             Signora Giorgi Righetti.
+    _Berta_               Signorina Rossi.
+    _Figaro_              Signor Luigi Zamboni.
+    _Bartolo_             Signor Botticelli.
+    _Basilio_             Signor Vitarelli.
+    _Count Almaviva_      Signor Garcia.
+
+The theatre was packed with the adherents of the older composer, who
+resented the new effort as an intrusion on his rights. In consequence of
+this the work was unmercifully damned, but it was kept on the stage and
+continually grew in favour until it became one of the most popular comic
+operas ever written.
+
+These two operas, "Elisabeth" and "Il Barbiere," were not by any means
+the only ones in which the elder Garcia undertook the tenor _rôle_ at
+the initial performance, for in the course of the long career which
+followed he had the honour of creating a number of other parts.
+
+As a singer, according to his son, his forte lay in the rendition of the
+lighter and more florid music, the voice being remarkable for its
+extraordinary flexibility. It was this faculty which gave his inventive
+powers their full scope in the extemporisations which he was wont to
+introduce into the various arie. This custom, it may be well to point
+out, was quite in accordance with the tastes and actual wishes of the
+composers of that time.
+
+Among the old musicians it used to be customary to write a mere outline
+or suggestion of the voice part. Particularly was this the case when
+there was a return to the original theme, while it applied equally to
+the conventional ending found in nearly all arie of that time. The
+singers were expected to elaborate the simple melody given them, and to
+raise upon this foundation a graceful edifice, adorned with what
+ornaments their individual taste dictated, and suited to their own
+powers of execution.
+
+The following illustration will prove the truth of the above assertion.
+It is a story from the lips of the maestro.
+
+While his father, the elder Garcia, was at Naples, one of the old
+Italian composers came to produce a new opera.
+
+At the opening rehearsal the tenor was given his part to read at sight.
+When his first aria had been reached he sang it off with perfect
+phrasing and feeling, but exactly note for note as written. After he had
+finished the composer said, "Thank you, signer, very nice, but that was
+not at all what I wanted." He asked for an explanation, and was informed
+that the melody which had been written down was intended merely as a
+skeleton which the singer should clothe with whatever his imagination
+and artistic instinct prompted. The writer of the music asked him to go
+through it again, and this time to treat it exactly as though it were
+his own composition.
+
+The elder Garcia was skilful at improvising: consequently, in giving the
+aria for the second time, he made a number of alterations and additions,
+introducing runs, trills, roulades, and cadenzas, all of which were
+performed with the most brilliant execution. This time, when the end of
+the music was reached, the old composer shook him warmly by the hand.
+"Bravo! Magnificent! That was my music, as I wished it to be given."
+
+It may be noted that Lord Mount-Edgcumbe, in his 'Musical Reminiscences'
+(published in 1824), refers more than once to the same thing. In
+speaking of the famous male soprano, Pacchierotti, who made his _début_
+in London in 1778, the following passage occurs:--
+
+     His voice was an extensive soprano, full and sweet.... His powers
+     of execution were great; but he had too good taste and too good
+     sense to make a display of them where it would have been
+     misapplied, confining it to one _bravura_ song (_aria d'agilità_)
+     in each opera, conscious that the chief delight of singing lay in
+     touching expression and exquisite pathos.... He could not sing a
+     song twice in exactly the same way, _yet never ... introduced an
+     ornament that was not judicious and appropriate to the
+     composition_.
+
+Again Lord Mount-Edgcumbe writes:--
+
+     Many songs of the old masters would be very indifferently sung by
+     modern performers, not on account of their difficulty but their
+     apparent facility. Composers when writing for a first-rate singer
+     noted down merely a simple _tema_ with the slightest possible
+     accompaniment, which, if sung as written, would be cold, bald, and
+     insipid. It was left to the singer to fill up the outline, to give
+     it the light and shade and all its grace and expression, which
+     requires not only a thorough knowledge of music but the greatest
+     taste and judgment.
+
+But to return to the elder Garcia and his family.
+
+It was during this stay at Naples that little Maria made her first
+public appearance, when she was barely five years old. The anecdote was
+one which Manuel Garcia was very fond of relating.
+
+The opera in which the diminutive vocalist made her _début_ was Paër's
+"Agnese," in which there was a child's part.
+
+In the second act there is a scene where the husband and wife have
+quarrelled and are reunited through the intervention of their daughter.
+The tiny Malibran attended the rehearsals and knew the whole opera by
+heart. On the night of the performance the prima donna either forgot her
+part or hesitated a moment. Lo! the little girl instantly took up the
+melody, and sang with such vigour and resonance that the entire house
+heard her. The prima donna was about to interrupt when the audience
+shouted, "Bravo! don't stop her. Let her go on."
+
+It was a period in which the public loved infant prodigies, both musical
+and dramatic, and Marietta was actually permitted to sing the part of
+Agnese throughout the rest of the scene--a piece of audacity which
+delighted the hearers and called forth an exhibition of true Italian
+enthusiasm. Two years after this the tiny musician commenced to study
+solfeggi with Panseron, while Hérold gave her the first instruction on
+the piano.
+
+In the autumn of the year 1815 an event occurred which brought the
+Garcia family into a vivid realisation of the changes which had been
+taking place in European affairs during the earlier part of the year,
+with the battle of Waterloo.
+
+Scarcely had the news of Napoleon's downfall reached Naples when the
+townsfolk witnessed the closing scene in the life of his brother-in-law.
+The month in which Napoleon landed in France King Murat declared war
+against Austria, whose queen, it will be remembered, had but recently
+died. He was defeated at Tolentino, and retired first to France, then to
+Corsica. In the autumn the brilliant but headstrong ex-king of Naples
+was mad enough to make an attempt to regain his forfeited throne, on
+which Ferdinand had been reinstated by the Congress of Vienna. Having
+landed with about thirty followers on the coast of Lower Calabria, he
+was almost instantly arrested by a detachment of the Neapolitan troops,
+by whom he was handed over to a court-martial and sentenced to death.
+
+The closing scene is well described in Colletta's 'History of Naples':--
+
+     After the passing of the sentence the prisoner was led into the
+     courtyard of the castle of Pizzo, where a double file of soldiers
+     was drawn up, and, as he refused to have his eyes bound, he looked
+     calmly on while their weapons were made ready. Then, placing
+     himself in a posture to receive the balls, he said to the soldiers,
+     'Spare my face and aim at my heart.' After these words the muskets
+     were discharged, and he who had been King of the two Sicilies fell
+     dead, holding in his hand the portrait of his family, which was
+     buried with his sad remains in the very church which had owed its
+     erection to his piety. Those who believed in his death mourned it
+     bitterly, but the generality of the Neapolitans beguiled their
+     grief by some invention or other respecting the events of Pizzo.
+
+Manuel Garcia was in his eleventh year when the tragedy took place, and
+in after years would recall the sensation which the gruesome incident
+made among the Neapolitans.
+
+Almost immediately after Murat's death the Neapolitans found cause for
+great affliction and terror in the appearance of the plague, which
+seemed to them almost a judgment from Heaven.
+
+The epidemic had only ceased a few months in Malta when it broke out
+again in Dalmatia, spreading thence from place to place, till it
+attacked the inhabitants of Cadiz at one extremity of the Mediterranean
+and Constantinople at the other. At the same time it reached Noia, a
+small city of Puglia, situated on the Adriatic.
+
+Eagerness for gain by men carrying on illicit trade caused its
+introduction with some goods from Dalmatia.
+
+The first death occurred on November 23, 1815, but a cordon was not
+placed round the city till six weeks later; traffic went on as usual,
+people left the city and returned, and merchandise was carried into the
+provinces and as far as Naples. Fortune, however, or divine providence,
+saved the kingdom and Italy, for out of the number of men and quantity
+of goods leaving Noia, none happened to be infected.
+
+At last, on January 1, precautionary measures were taken, and the
+unhappy city was surrounded by three circuits of ditches, one at a
+distance of sixty paces, the next at ninety, and the third, which was
+rather a boundary-line than a barrier, at ten miles. Sentries were
+placed along these, and numerous fires lighted up the country at night.
+Whoever dared to attempt passing the line was punished with death; and
+more than one case is recorded of a poor wretch, maddened with the
+horrors of the town, rushing across the boundary-line, only to fall
+instantly under the musket-fire of the soldiers.
+
+Throughout the winter the Garcias, in common with the other inhabitants
+of Naples, lived in constant fear that the plague might break out in the
+town.
+
+Since, with the coming of spring, the danger showed little sign of
+ceasing, the elder Garcia determined to leave the country and remove
+with his family to Paris, from which he had been more than four years
+absent. It must have been just about the time of their departure that
+the theatre in which the tenor had been appearing during four successive
+seasons was destroyed by fire.
+
+The scene which took place is well described by Colletta. The opera
+company, it appears, were on the spot rehearsing when the fire broke
+out, and at once fled in consternation. Their cries, with the volumes of
+smoke issuing from the building, made the danger known, and people
+hastened from all parts of the city, but too late. The conflagration
+spread, the king and royal family left the palace which adjoined the
+theatre, and the fire, catching the whole of the immense structure that
+composed the roof, sent forth raging and brilliant flames, which were
+reflected on the Monte St Elmo and in the sea below. The sky, which had
+been calm, became stormy, and the wind blew the flames in the direction
+of Castel Nuovo, until they licked the bare walls of the castle.
+
+Happily the danger did not last long, for in less than two hours the
+noble structure was burned to ashes; and the mistake of having from
+financial avarice abolished the company of firemen was now acknowledged
+too late.
+
+The king ordered the theatre to be rebuilt in the shortest possible
+time, and in four months it rose more beautiful than ever, though Manuel
+Garcia was never to see it after its phoenix-like reappearance.
+
+
+
+
+CHAPTER IV.
+
+PARIS AND LONDON.
+
+(1816-1825.)
+
+
+In the spring of 1816 the elder Garcia left Naples, and with his family
+set out for Paris, which he had decided to make his home once more.
+
+When he had last been in that city, upwards of four years previously,
+Napoleon had still been all-powerful; when he returned Louis XVIII. was
+on the throne and Bonaparte in hopeless exile at St. Helena.
+
+After he had settled down he continued the singing lessons of his son,
+whose general education was looked after by private tutors,--Reicha,
+Basbereau, and others. As to himself, he was at once engaged as _primo
+tenore_ at the Théâtre Italien, then under the management of
+Catalani,--a woman whose story we will dwell on for a moment.
+
+At the age of twelve she had been sent to a convent near Rome, being
+introduced by Cardinal Onorati. Here her voice soon became a great
+attraction owing to its extraordinary purity, force, and compass, which
+extended to G in altissimo. On leaving the convent, where sometimes the
+congregation had openly applauded her splendid notes in the services,
+she found herself compelled to perform in public, owing to the sudden
+poverty of her parents.
+
+At the age of sixteen she obtained her first engagement at the Fenice
+Theatre in Venice, and thence she went to other opera houses in Italy,
+meeting everywhere with wonderful success.
+
+In the year of Manuel's birth, Catalani signed her first agreement with
+the managers of the King's Theatre in the Haymarket at £2000 per annum,
+and remained in England for seven years. She was, however, a prima donna
+of the deepest dye, capricious as she was extravagant. Neither would her
+disposition endure the possibility of rivalry, nor would the size of her
+increasing demands allow the managers to engage any other singers of
+position. At last with the close of 1813, having unsuccessfully
+attempted to purchase the King's Theatre outright, she fell out with the
+directors and left London.
+
+With the fall of Napoleon she went to Paris, where Louis XVIII. gave her
+the management of the Théâtre Italien, with a subvention of 160,000
+francs. Subsequently, during the Hundred Days, she fled before the
+advance of the despot, fearing his wrath, and paid a tactful visit to
+Germany and Scandinavia. It was only after the capture of the Emperor
+that she dared return, and even then she did so by way of Holland,
+instead of coming direct, lest at the last minute he might somehow free
+himself and come back into power. However, all was well, Catalani
+returned to her position at the Théâtre Italien, and at once engaged
+Garcia _père_ on his arrival in Paris.
+
+In the autumn of the year the tenor and his family paid their first
+visit to England, but only made a short stay. The little daughter Maria,
+who was now eight years old, accompanied them, and was left in England
+for some years, her education being carried on in a convent school at
+Hammersmith. It was to this fact that in after life she owed her success
+in this country as a singer of oratorio and English songs.
+
+Upon the elder Garcia's return to Paris, the "Caliph of Bagdad" was
+revived, as well as another of his operas, "Le Prince d'Occasion." As
+_primo tenore_ of Catalani's troupe, he appeared as Paolino in
+Pergolesi's "Matrimonio Segreto," and sang in all the operas which were
+in vogue at that time,--a very different repertoire to that which
+audiences are accustomed to hear nowadays.
+
+At last an unfortunate quarrel arose between Catalani and himself, and
+at the end of 1817 he went once more to England. This was only a few
+months after "Don Giovanni" had been given in England for the first time
+at the Italian Opera House, with Mesdames Fodor, Camporese, and Pasta;
+Signori Crivelli, Ambrogetti, and Agrisani.
+
+His success in London was great during the ensuing season. He made his
+_début_ with Mme. Fodor in "The Barber of Seville," his performance of
+Almaviva being, according to a critic of that time, "commensurate with
+his transcendent talent," while he appeared in other operas with equal
+_éclat_. During the same season he created a further sensation by
+singing at the chapel of the Bavarian Embassy in Warwick Street, where
+several masses of his own composition were given.
+
+In 1819 he returned to Paris and became once more a member of the
+company at the Théâtre Italien, Catalani having failed and resigned the
+reins of management during his absence in England. Here he repeated his
+old success in "Otello" and "Don Giovanni," and also took part, on
+October 26, in the first performance of "Il Barbiere" ever given in
+Paris, at the Salle Louvois. It was again received coldly, as had been
+the case on the original production in Rome three and a half years
+before. Once more the critics demanded the "Barbiere" of Paisiello,
+which was accordingly put on the stage at the Théâtre Italien, only to
+meet with dismal failure; and thus in the end Rossini triumphed with it
+in the French capital, as he had in that of Italy.
+
+The cast of this Parisian _première_ was as follows:
+
+    _Rosina_                Mme. Ronzi de Begnis.
+    _Figaro_                Signor Pellegrini.
+    _Bartolo_               Signor Graziani.
+    _Basilio_               Signor de Begnis.
+    _Almaviva_              Signor Garcia.
+
+In addition to appearing at the opera Garcia _père_ continued to compose
+prolifically. "La Mort du Tasse" and "Florestan" were produced at the
+Grand Opera, "Fazzoletto" at the Théâtre Italien, and "La Meunière" at
+the Gymnase, while three others were finished but never performed.
+
+Moreover, he devoted a good deal of attention to teaching singing, his
+fame attracting a number of pupils, while at the close of the year 1819
+he published a book on his 'Method of Singing.'
+
+In the spring of the following year, in which took place the accession
+of George IV. to the throne of England, Manuel Garcia paid a flying
+visit to Spain. It was destined to be the last time he ever saw his
+native country. The fact is a curious one when we remember his intense
+love for Spain, which was so strong that, in spite of his spending the
+last fifty-eight years of his life in England, nothing would have
+induced him to become a naturalised British subject.
+
+On his return from Madrid he commenced the study of harmony, for, as has
+been already stated, his father was a firm believer in the necessity of
+every singer being a musician in the broadest sense of the word. For
+this work he was placed under François Joseph Fétis, who had just
+succeeded Elen as professor of counterpoint and fugue at the
+Conservatoire. This was six years before Fétis became librarian of the
+institution--a position in which he was enabled to prepare his famous
+'Biographie Universelle des Musiciens,' which is one of the greatest
+monuments to the achievements of musical genius ever reared. He was
+indeed a remarkable man, who displayed talent not only as teacher, but
+composer, historian, critic, and author of various theoretical works.
+
+In 1821, the year of Napoleon's death, Manuel's youngest sister was
+born--Michelle Ferdinande Pauline,--who was in after years to become no
+less famous than Maria. The second and third names were given her in
+honour of her sponsors, Ferdinand Paër and Princess Pauline Galitzin.
+
+In the spring of 1823 the elder Garcia was again appearing at the
+King's Theatre, and during the season he founded his famous school of
+singing in London. It was at this time, too, that he first began
+seriously to take Maria's musical training in hand, since she was now
+approaching her fifteenth birthday. His daughter soon showed the
+individuality of her genius, in spite of a certain fear inspired by her
+father's somewhat violent disposition.
+
+He made his reappearance at the King's Theatre in May in Rossini's
+"Otello," given with the following cast:--
+
+    _Otello_            Signor Garcia.
+    _Desdemona_         Mme. Camporese.
+    _Elmiro_            Signor Porto.
+    _Roderigo_          Signor Curioni.
+    _Iago_              Signor Reina.
+    _Emilia_            Signora Caradori.
+    _Doge_              Signor Righi.
+
+In speaking of his return to London, the 'Harmonicon' tells us:
+"Garcia's voice has an extensive compass and considerable power, and is
+round and clear. Its flexibility is remarkable."
+
+On June 5 we find the tenor taking part in the first performance of
+Rossini's semi-serious opera, "Ricciardo e Zoraide," with this cast:--
+
+    _Agorante_          Signor Garcia.
+    _Ricciardo_         Signor Curioni.
+    _Ernesto_           Signor Reina.
+    _Ircano_            Signor Porto.
+    _Zoraide_           Mme. Camporese.
+    _Zomira_            Mme. Vestris.
+    _Fatima_            Mme. Graziani.
+
+Four weeks later he is appearing at the _première_ of another of
+Rossini's works with the strange title, "Matilde di Shabran e Corradino,
+ossia Il Trionfa della Belta," with the principal parts distributed
+thus:--
+
+    _Matilde di Shabran_           Mme. Ronzi di Begnis.
+    _Corradino_                    Signor Garcia.
+    _Isidoro_                      Signor di Begnis.
+    _Raimondo_                     Signor Reina.
+    _Edvardo_                      Mme. Vestris.
+    _Contessa d'Arca_              Signora Caradori.
+
+From all this, it will be seen that Manuel Garcia lived in a musical
+world day and night. Awake or asleep, music and musicians surrounded the
+boy.
+
+At the close of the London season his father returned to Paris.
+
+An exceptional insight into the musical and artistic circles of the
+French capital at this time, when Manuel was a young man of eighteen, is
+given by the following paragraph from a paper of that day:--
+
+"On November 15 some of the principal musical composers and theatrical
+performers of Paris united to give a dinner to Signor Rossini, in the
+great room of M. Martin, Place du Châtelet.
+
+"Signor Rossini was seated between Mdlle. Mars and Mme. Pasta. M.
+Lesueur, placed exactly opposite to him, had Mme. Colbran Rossini on his
+right and Mdlle. Georges on his left; Mmes. Grassari, Cinti, and Denuri
+sat next to these. MM. Talma, Boieldieu, Garcia, and Martin were in the
+midst of this group of elegance and beauty. All the arts, all the
+talents, were represented by MM. Auber, Hérold, Cicéri Panseron, Casimir
+Bonjour, Mimaut, Horace Vernet, &c.
+
+"When the dessert was served, M. Lesueur rose and gave the following
+toast--'To Rossini! whose ardent Genius has opened a new path and formed
+an epoch in the art of music.'
+
+"Signor Rossini replied by this toast--'To the French School, and to the
+prosperity of the Conservatoire.'
+
+"M. Lesueur then gave--'Gluck.'
+
+"Signor Garcia proposed--'Gretry! the most sensible and one of the most
+melodious of French musicians.'
+
+"Signor Rossini then gave--'Mozart.'
+
+"M. Boieldieu offered his toast in the following words--'Mehul! I see
+Rossini and the shade of Mozart applaud this toast.'
+
+"M. Hérold proposed--'Paisiello! Full of ingenuity and passion, he
+rendered popular in all parts of Europe the Italian School.'
+
+"Finally M. Panseron (for M. Auber) gave--'Cimarosa! the precursor of
+Rossini.'"
+
+With this the proceedings were brought to an official close and an
+unofficial commencement of others, which were doubtless continued into
+"the sma' wee hours."
+
+In the January of 1824 the Garcias returned to England once more, for we
+find the following announcement made in one of the London musical
+papers--
+
+"The Italian Opera (King's Theatre) is to open towards the end of the
+present month. Signor Rossini is engaged as composer and director of
+the music: he is to superintend the performance of his own operas, and
+to produce a new one. The engagements both for the opera and the ballet
+are upon a liberal scale. Among these are--
+
+    _Mesdames_--Ronzi di Begnis, Colbran Rossini, Pasta, Vestris, &c.
+    _Signors_--Garcia, Curioni, Franceschi, Remorini,
+        di Begnis, Porto, &c.
+    _Conductor_--Signor Coccia.
+    _Leader_--Signor Spagnoletti.
+    _Poet_--Signor Vestris.
+    _In the Ballet will appear_--Mme. Ronzi Vestris; Mdlle.
+        Legras, Mdlle. Idalise Grener, Mdlle. Noblet; M.
+        Albert, M. Charles Vestris, M. Ferdinand, &c.
+    _Principal Ballet-master_--Mons. Aumer."
+
+The season opened on January 24 with "Zelmira," a new opera conducted by
+"the universally fashionable composer of the day, Signor Gioacchiso
+Rossini."
+
+How strangely reads the repertoire of the representations given at the
+King's Theatre during the next months! Two only are heard at Covent
+Garden nowadays, and those but rarely--"Don Giovanni" and "II Barbiere,"
+which latter was given with Mme. Vestris as Rosina, di Begnis as
+Bartolo, Benetti as Figaro, and Garcia in his old part of the Count. One
+may perhaps add to the number of those still heard occasionally the
+"Nozze di Figaro"; but this is only given at the most attenuated
+intervals.
+
+As for the rest, what can we say of Zingarelli's "Romeo e Giulietta"
+and Rossini's "Otello," in which Mme. Pasta makes her _rentrée_? Add to
+these "Ricciardo e Zoraide," "Semiramide," "Turco in Italia," "La Donna
+del Lago," and "Il Fanatico per la Musica" which Catalani chooses for
+her reappearance.
+
+But there are other musical events worthy of attention during these
+months.
+
+We read that "Master Liszt, the young German pianist, had a concert at
+the Argyll Rooms, when he exhibited talents that astonished all the
+leading professors who were present."
+
+Further, we find Signor Rossini giving two subscription concerts at
+Almack's Rooms,--how strangely the names of the fashionable concert
+rooms of the past sound to us now!--"Tickets two guineas."
+
+They are announced "To Begin at Nine o'clock"; while the composer has
+the assistance of the leading operatic artistes of the day--Catalani,
+Pasta, Vestris, Garcia, di Begnis, _et hoc genus omne_.
+
+But what is of especial interest is the fact that Rossini not only
+conducted, but _sang_. He gave "a cavatino (_sic_) from Figaro," and a
+duetto with Mme. Catalani, "Se fiato in corpo avete" by Cimarosa.
+
+The second of these subscription concerts, given on June 9, 1824, is
+worthy of our attention, for we find "Mdlle. Maria Garcia" making
+apparently her first appearance in London, taking part with her father
+in a duet, "Di Caprici," and adding a solo, "Nacqui al'affano," both by
+Rossini.
+
+With the close of the London season the elder Garcia returned to Paris.
+Here his "Deux Contrats" was performed at the Opéra Comique. But the
+early autumn of this year is principally memorable for the fact that he
+allowed his daughter to make her first appearance in Paris as a
+professional singer,--the concert in which she took part being given at
+a musical club which he had just established in that city.
+
+Two months later the entire family went to London, and here Maria's
+musical education was continued in the singing-class which her father
+had established. The elder Garcia was again engaged as first tenor at
+the Royal Opera, his salary having now risen from £260 (1823) to £1250.
+Here he continued to gain still greater fame as a teacher, while his
+fertility as a composer was shown by two Italian operas, "Astuzia e
+Prudenza" and "Un Avertimento."
+
+On June 7, 1825, Maria had the opportunity of making her _début_ in
+London at the King's Theatre, as Rosina in "Il Barbiere," under the
+directorship of Mr Ebers.
+
+It was owing to a fortuitous combination of circumstances--the sudden
+return of Mme. Pasta to Paris, Ronzi losing her voice through illness,
+Vestris seceding to the stage, and Caradori, an excellent _seconda
+donna_, being _hors de combat_--that Maria found herself engaged to fill
+the gap.
+
+Manuel Garcia, by the way, in after years used sometimes to recall the
+effect which Pasta's singing made on him, when he heard her in his
+youth. He spoke of her as possessing a voice of ravishing beauty,
+together with perfection of fioriture and grandeur of dramatic
+conception, but in spite of this there was no doubt in his mind as to
+his preference for the singing of Maria. Indeed, he would always declare
+that his sister was the most natural and most precocious genius with
+whom he had ever come in contact.
+
+With her _début_ at the King's Theatre Maria achieved a triumphant
+success, which was witnessed by her brother; and she was engaged by the
+management for the remaining six weeks of the season for a sum of five
+hundred pounds.
+
+Once more we find that curious repertoire of operas in favour at that
+time which contrasts so strangely with the taste of the present day, and
+serves to illustrate the important changes in the form and character of
+music which Manuel Garcia witnessed during his life.
+
+We may, moreover, in this year trace the first introduction of
+Meyerbeer's music to English audiences, for we read in the July
+'Harmonicon'--
+
+"On the 23rd of last month there was brought out 'Il Crociato in
+Egitto,' the new grand opera of Meyerbeer, a composer whose name was
+completely unknown in this country only a few weeks ago.... Mdlle.
+Garcia, disguised in male attire, performed the part of Felicia with
+great ability, both as a singer and actress."
+
+Turning from opera to the concert world of 1825, we learn that "The only
+regular subscription concerts now supported in London are the Ancient
+and the Philharmonic," though we find Mme. Catalani during May giving a
+series of four concerts at the Argyll Rooms, assisted by Mrs Salmon, Mr
+Sapio, and Signor Remorini.
+
+In the way of private musical entertainments, the Duke of Devonshire
+gave a fashionable concert in May, with Pasta, Velluti, the last male
+soprano who ever trod the boards in opera in this country, Puzzi, and a
+pianist with the mellifluous cognomen "Szymanowska"; while on June 15, a
+state concert was given by his Majesty King George IV. at--Carlton
+Palace!
+
+Among the artists taking part in the latter we find Signor and Mdlle.
+Garcia, Caradori, Begrez, di Begnis, Curioni, Remorini, Velluti, and
+Crivelli.
+
+At the end of the season the elder Garcia, together with his wife, son,
+and daughter, sang at several provincial concerts, and their names
+appear in the programmes of two of the Gentlemen's Concerts at
+Manchester on August 15 and September 9.
+
+Four members of the family appearing together was surely a remarkable
+event!
+
+In the same month Maria was one of the soloists at the second York
+Festival.
+
+The committee had tried to get Catalani, but, after pecuniary terms had
+been arranged, the treaty failed in consequence of a stipulation on her
+part that several songs should be transposed into a lower key to suit
+her voice.
+
+"The committee had conceded," says the 'Harmonicon,' "to the condition
+with regard to detached airs, but refused for those which are connected
+with choruses. Then they tried to get Mme. Pasta, but this was refused,
+as they could not give her permission to come without materially
+compromising the interests of the Italian Theatre Royal. Thus
+disappointed, they entered into negotiations with Mr Braham and other
+eminent performers, and finally succeeded in obtaining the following
+assemblage of talent:--
+
+            Mr Greatorex, _Conductor_.
+         Dr Camidge, _Assistant-Conductor_.
+
+            _Principal Vocalists._
+
+    Miss Stephens.                   Mr Braham.
+    Miss Caradori.                   Mr Vaughan.
+    _Mdlle. Garcia._                 Mr Sapio.
+    Miss Travis.                     Mr Knyvett.
+    Miss Wilkinson.                  Mr Terrail.
+    Miss Goodall                     Mr Bellamy.
+       and                           Mr Phillips.
+    Miss Farrar.                     Signor di Begnis.
+
+    A Grand Chorus of 350 voices, and 248 Instrumentalists
+    in the Orchestra."
+
+A perusal of the programme brings home to us the change which has taken
+place in the last eighty years.
+
+Handel naturally figured largely, while Mozart was represented by his
+Jupiter Symphony, Beethoven by his Symphonies in C and D and one of the
+Leonora overtures. Such names, however, as Pepusch, Spontini, and
+Salieri have long since disappeared. Again, the style of Festival
+programme was then of a very mixed, and, as regards some of the numbers,
+of a very "popular" kind. Festivals of the present day are of a much
+more serious character.
+
+Mdlle. Garcia we find set down for such items as "Gratias" by Gugliemi,
+"Alma invitta" from "Sigismondo," "O patria" from "Il Tancredi," a
+terzetto from "Il Crociato in Egitto," and one of her "chevaux de
+bataille," "Una voce poco fa" from "Il Barbiere."
+
+With the York Festival the visit to England was brought to a close, and
+at the end of the month the Garcia family embarked at Liverpool for New
+York, where Manuel was to take part in the first American season of
+Italian Opera.
+
+Before following them there, let us seek a glimpse of some of the
+operatic and theatrical events between the year of Manuel Garcia's first
+visit to England and his trip to America.
+
+In 1816 John Kemble was playing Coriolanus at his London season; Charles
+Kean was at Drury Lane; and at Covent Garden Mrs Siddons reappeared as
+Lady Macbeth, while Charles Mathews brought to an end his contract with
+that theatre.
+
+Next year Henry Bishop's operatic drama "The Slave" was produced at
+Covent Garden, and a novel pantomime entitled "Robinson Crusoe," with
+Grimaldi as Friday. It was, moreover, on June 13 of this season that
+Kemble played Coriolanus for the last time, and retired. In 1818
+Macready appeared in an acting version of "Rob Roy,"--a novel which Sir
+Walter Scott had published shortly before.
+
+This year, moreover, saw the birth of Gounod, and the death of Mrs
+Billington, heroine of so many Covent Garden triumphs. In 1819 several
+oratorios were given under Henry Bishop, with Samuel Wesley the church
+musician as conductor; while on June 9, at the benefit of Mr and Mrs
+Charles Kemble, Sarah Siddons appeared on the stage for the last time in
+her life: a few months before this the beautiful Miss O'Neill retired
+from the boards.
+
+Shelley passed away in 1822 (the year which followed that of the
+coronation of George IV.); while within a few weeks there took place an
+interesting benefit performance, at which "The Rivals" was acted, with
+the following cast:--
+
+    _Sir Anthony_             Munden.
+    _Captain Absolute_        Charles Kemble.
+    _Faulkland_               Young.
+    _Acres_                   Liston.
+    _Lydia_                   Mrs Edwin.
+    _Mrs Malaprop_            Mrs Davenport.
+
+The next year is specially noteworthy for the production, in May, of
+Henry Bishop and Howard Payne's opera, "The Maid of Milan," which
+contained the air "Home, Sweet Home"; while in the following December, a
+tragedy by Mrs Hemans saw the light under the title "The Vespers of
+Palermo."
+
+The year is, however, perhaps most important to us from the, at that
+time, unparalleled constellation of stars who were appearing at Drury
+Lane: Macready, Kean, Young, Munden, Liston, Elliston, Terry, Harley,
+Knight, Miss Stephens, and Mme. Vestris.
+
+In 1824, the year of Byron's death, Henry Bishop left Covent Garden for
+Drury Lane, and Carl Von Weber was engaged in his place, in honour of
+which event "Der Freischütz" was brought out at the English Opera House,
+being also produced in the autumn at Covent Garden, where it was given
+for no less than fifty-two performances during the season of 1824-25.
+
+And what of the salaries which were being received by theatrical stars
+at the beginning of the nineteenth century?
+
+The great Charles Mathews writes at this time of a proposed engagement,
+"Now to my offer, which I think stupendous and magnificent, £17 a-week."
+John Kemble, for acting and managing, was receiving £36; Miss O'Neill,
+at the most brilliant portion of her career, never had more than £25
+a-week; while Mrs Jordan at her zenith had thirty guineas; and Charles
+Kemble, until he became his own manager, never received more than £20
+a-week.
+
+Strange reading, indeed, when we compare it with the salaries which
+theatrical stars were receiving during the last few years of Garcia's
+life.
+
+
+
+
+CHAPTER V.
+
+OPERA IN AMERICA.
+
+(1825-1826.)
+
+
+The earliest operatic performances in America were derived not from
+Italian but from English sources. Elson tells us in his book on American
+music that "The Beggar's Opera," which created such a furore in Great
+Britain, probably was the first entertainment of the kind given in the
+colonies, being performed in New York as early as December 3, 1750, and
+innumerable times thereafter. This was followed by a series of other
+ballad operas.
+
+"From the conglomerate Ballad Opera, often the work of half a dozen
+composers," Elson continues, "New York passed on to a more unified
+art-work, and the operas of Arnold, Storace, and Dibdin were given with
+some frequency. During the British occupation, in revolutionary days,
+the English regimental bands often assisted in the orchestral parts of
+the operatic performances. At a later period many refugees, driven from
+France by the Revolution, were to be found eking out a precarious
+livelihood in the orchestra.
+
+"At the beginning of the nineteenth century Charleston and Baltimore
+entered the operatic field, and travelling troupes came into existence,
+making short circuits from New York through the large cities, but
+avoiding Boston, which was wholly given over to Handel, Haydn, and
+psalms.
+
+"In March 1825 New Yorkers heard a great opera for the first time, for
+'Der Freischütz' came to America by way of England. It was adapted and
+arranged with the boldest of alterations and makeshifts. Extra dances
+were introduced to charm the audience, and the incantation scene was
+often given without singing, as melodrama that is, recitation with
+orchestral accompaniment, while the fireworks let off during the scene
+won public favour at once.
+
+"But the real beginning of opera in New York, and in a certain sense in
+America, occurred in the autumn of this year, when the elder Garcia
+arrived with his well-equipped opera troupe. Well might a critic of that
+day speak of the Spanish tenor as 'our musical Columbus.' The whole
+season of opera during that memorable period was a revelation to the new
+world."
+
+The company which the elder Garcia brought with him from Europe
+consisted of the following principal artists. His daughter Maria, who
+was seventeen years old, undertook all the contralto _rôles_, while his
+wife and Mme. Barbieri were the soprani. He himself was, naturally,
+_primo tenore_, being assisted by the younger Crivelli as the _secondo_.
+The latter artist, the son of Gaetano, one of the best Italian
+tenors, had first met the Garcia family in Naples, where he had spent
+some years in vocal study under Millico and Zingarelli.
+
+During the last year of Garcia's stay in Italy Crivelli had written an
+opera, which was performed by the San Carlo company, of which it will be
+remembered the elder Garcia was a member.
+
+The baritone for the New York season was "Garcia, jr.," as the subject
+of this memoir was advertised, and the cast was completed by d'Angrisani
+as the _basso cantante_, and Rosich as the _buffo caricato_. The chorus,
+which was collected and organised by Garcia only with the greatest
+difficulty, consisted chiefly of mechanics settled in America, who were
+accustomed to serve in choirs and could read music.
+
+Of the circumstances which brought about this scheme of giving Italian
+opera in America we may read in the biography of the poet, Fitz-Greene
+Halleck. In it the author, General James Grant Wilson, tells us that
+Halleck was one of the two thousand New York pupils of Signor Daponte,
+who was for many years professor of Italian literature in Columbia
+College there. "To this Signor Daponte, the personal friend of Mozart,
+and writer of the libretto of 'Don Giovanni,' the poet told me," says
+the biographer, "that we were indebted for the introduction of Italian
+opera here, he having, with the late Dominick Lynch and Stephen Price,
+induced the elder Garcia to visit them with his troupe, and appear at
+the Park Theatre, of which Price was the manager."
+
+When the elder Garcia arrived in New York he was at once visited by this
+Daponte, and it is reported that he rushed up to the Italian librettist
+and embraced him with the greatest warmth, singing all the while the
+aria "Fin ch'han dal vino," the Drinking Song from "Don Giovanni," for
+the words of which Daponte had been responsible.
+
+During October and November, in addition to appearing in oratorio, the
+Garcia family gave a number of concerts, during which the tenor
+delighted to show the perfection of his method. He had a custom of
+striking a single chord, and then with his wife, son, and daughter,
+rendering a difficult operatic quartette, unaccompanied. At the end he
+would strike the chord again, to show that they had not deviated from
+the pitch to the extent of even a hair's-breadth. They certainly formed
+a quartette of pre-eminent ability; indeed, Chorley, one of the greatest
+musical authorities of his day, wrote of them, "The family of Spanish
+musicians are representative artists, whose power, genius, and
+originality have impressed a permanent trace on the record of the
+methods of vocal execution and ornament."
+
+The first mention of their arrival we find in the 'Harmonicon,' which
+had a notice on October 25, to the effect that "The Spanish family of
+the Garcias, consisting of husband, wife, son, and daughter, have been
+engaged by Mr Price."
+
+Some three weeks later a preliminary notice of their forthcoming venture
+appeared in a New York paper called 'The Albion, or British, Colonial,
+and Foreign Weekly Gazette.' In its issue of November 19 there was
+printed the following prospectus, which may be quoted in full, as it
+contains several points of interest:--
+
+"Signor Garcia respectfully announces to the American public that he
+has lately arrived in this country with an Italian troupe (among whom
+are some of the first artists in Europe), and has made arrangements with
+the managers of the New York Theatre to have the house on Tuesdays and
+Saturdays, on which nights the choicest Italian operas will be performed
+in a style which he flatters himself will give general satisfaction.
+
+"For the succeeding eight days the names of persons desirous to take
+boxes or benches for the season of three months, or for one month, will
+be received at the box office at the theatre, and the applicants for the
+longest term and greatest number of seats will be entitled to the choice
+of boxes. The seats in the pit will also be numbered, and may be taken
+for the same periods.
+
+"The price of the box places will be two dollars; of pit, one dollar;
+and of gallery, twenty-five cents.
+
+"The opera of 'Il Barbiera (_sic_) di Seviglia' is now in rehearsal, and
+will be given as soon as possible.
+
+"Tickets of the permanent boxes will be transferable. Performance to
+commence at 8 o'clock."
+
+In the next issue of the paper we read that
+
+"Signor Garcia has the honour to announce to the public that the opera
+of 'Il Barbiere di Seviglia' will be performed on Tuesday next. The
+books are now open, and places may be taken at the Box Office."
+
+The advertisement goes on to state that "the best operas of Cimarosa,
+Mozart, and Paisiello, with others by Rossini, will be immediately put
+in rehearsal."
+
+The opening performance was given at the Park Theatre on November 29,
+1825, the opera being "Il Barbiere," cast as follows:--
+
+    _Almaviva_           Garcia, Senior.
+    _Figaro_             Garcia, Junior.
+    _Rosina_             Maria Garcia.
+    _Bertha_             Madame Garcia.
+    _Bartolo_            Rosich.
+    _Basilio_            d'Angrisani.
+    _Fiorello_           Crivelli.
+
+'The Albion' gave the opera company an encouraging send-off in the
+following naïve announcement:--
+
+"We have been disappointed in not receiving a _scientific_ critique,
+which we were promised from a professor, on the Italian Opera of Tuesday
+night; we shall, however, have something to say later, and meanwhile can
+state that the experiment has proved completely successful, and the
+troupe may be assured of making a fortunate campaign."
+
+It is recorded further that "an assemblage of ladies so fashionable, so
+numerous, so elegantly dressed, has probably never been witnessed in an
+American theatre."
+
+General Grant Wilson gives us some further details of this fashionable
+audience, for, according to him, it included Joseph Bonaparte, the
+ex-King of Spain, and the two friends, Fenimore Cooper and Fitz-Greene
+Halleck, who sat side by side, delighted listeners. Another account
+refers to the representation in these terms:--
+
+"We were last night surprised, delighted, enchanted: and such were the
+feelings of all who witnessed the performance. The repeated plaudits
+with which the theatre rung were unequivocal, unaffected bursts of
+laughter. The best compliment that can be paid to the merit of the
+company was the unbroken attention that was yielded throughout the
+entire performance, except that every now and then it was interrupted by
+judiciously bestowed marks of applause, which were simultaneously given
+from all parts of the house. In one respect the exhibition excelled all
+that we have ever witnessed in any of our theatres--the whole troupe
+were almost equally excellent: nor was there one whose exertions to fill
+the part allotted to him did not essentially contribute to the success
+of the piece.
+
+"Signor Garcia indulges in a florid style of singing: with his fine
+voice, fine taste, admirable ear, and brilliancy of execution, we could
+not be otherwise than delighted.... Signorina Garcia's voice is what is
+denominated a fine contra-alto"--the gentleman is nothing if not
+correct, while we trace in the next words the unquestionable fact that
+he has been comparing notes with our "scientific" friend of 'The
+Albion.' "Her science and skill are such as to enable her to run over
+every tone and semitone with an ease and grace that cost apparently no
+effort." The sentence reads for all the world like a twentieth-century
+eulogy of an ardent motorist, if we substitute for tone and semitone the
+words woman and child.
+
+He concludes with a vivid little sketch of Maria Garcia as she was at
+the age of seventeen:--
+
+"Her person is about the middle height, slightly _embonpoint_; her eyes
+dark, arch, and expressive; and a playful smile is almost constantly
+the companion of her lips. She was the magnet who attracted all eyes
+and won all hearts."
+
+This was Manuel Garcia's operatic _début_: it was not his first
+appearance before the public, for, as we have seen, he had already been
+singing previously at several concerts. It has been asserted by some
+that his _début_ in opera was made in Paris in the preceding year, but
+he himself declared this was untrue; while his sister, Pauline
+Viardot-Garcia, has stated most definitely that it took place in New
+York.
+
+His voice was never powerful: he had sung with charm as a boy, and when
+his voice broke it developed into high baritone--not tenor, as has been
+asserted by many. The latter mistake probably originated in the fact
+that sometimes, as will be related later, he undertook the tenor parts
+when his father felt indisposed; but on these occasions he always
+altered the melody of the higher passages to suit his baritone voice.
+
+In the first and subsequent performances of "Il Barbiere" his artistic
+singing of the air "Largo al factotum" made a considerable stir in New
+York, and his popularity was thereby considerably increased, but from
+the criticisms it is obvious that Manuel Garcia would never have been an
+operatic artist of the first rank, and, as we shall see, he was to find
+his _métier_ in another field of music.
+
+On the last day of the year we read in 'The Albion' that "The celebrated
+opera of 'Tancredi' will be produced at the Park Theatre this evening."
+
+The paragraph which followed immediately after the above announcement
+recalls the mixed receptions which the immortal Kean sometimes
+experienced when he made his earlier appearances on the American
+stage:--
+
+"Mr Kean has returned from Boston. The managers of the Boston theatre
+declare in an address to the public that they had no reason whatever to
+suppose that any serious or organised opposition existed against Mr Kean
+until 4 o'clock of the evening of his appearance.
+
+"That amiable lady and excellent actress, Mrs Hilson, takes a Benefit at
+the Park on Wednesday, on which occasion Mr Kean has offered to perform
+in a favourite part."
+
+In the next issue, January 7, 1826, we find the criticism of the
+performance of "Tancredi." One of the company had apparently discharged
+the duties of scene-painter for the production, and with success.
+
+"'Tancredi' has been performed twice to crowded houses by Senior (_sic_)
+Garcia and his admirable troupe. Nothing could exceed the enthusiasm
+with which it was received. The scenery, painted by one of the troupe,
+is of matchless vigour and beauty, displaying magnificent ruins,
+paintings, &c., so peculiar to modern Italy.
+
+"The corps has received a most efficient auxiliary in the person of
+Madame Barbiere (_sic_). Signorina Garcia takes the part of Tancredi.
+The piece, from its own intrinsic merits and the excellent manner in
+which it is performed, cannot fail to have a good run."
+
+Evidently the Italian language was not a strong point in the office of
+'The Albion.' We have already seen how "Il Barbiere" figured as "Il
+Barbiera," and Madame Barbieri as "Barbiere," while Signor Garcia
+appeared as "Senior." A still stranger mistake occurred in the notice of
+the _première_ of "Otello" on February 11:--
+
+"Rossini's opera of 'Otella' (_sic_) has been produced by the Italian,
+troupe. It was a most fortunate effort, and the piece, we trust, will
+have a good run. Signor Garcia astonished the audience with his masterly
+powers, many of whom had no conception that so much tragic effect could
+be given in recitative.
+
+"After the performance Signor Garcia was addressed by Mr Kean behind the
+scenes, who complimented the highly-talented vocalist on the great
+talent he had that night displayed, and expressed in the warmest terms
+the gratification experienced in listening to him. Several of the troupe
+were present on Wednesday to see Mr Kean in the part of Othello."
+
+In this American _première_ of Rossini's "Otello," one of the greatest
+successes of the season, we find the parts distributed as follows:--
+
+    _Otello_              Signor Garcia.
+    _Iago_                Signor Garcia (junior).
+    _Elmiro_              Signor Angrisani.
+    _Doge_                Signor Crivelli.
+    _Roderigo_            Madame Barbieri.
+    _Emilia_              Signora Garcia.
+         and
+    _Desdemona_           Signorina Maria Garcia.
+
+It must be many years since any operatic version of "Othello" has been
+performed other than that of Verdi, which was produced in Milan exactly
+sixty-one years after the performance of Rossini's setting just
+described. Indeed at the date of this American _première_, Giuseppe
+Verdi was but a lad entering his teens.
+
+Another important production of the season was "Don Giovanni," given on
+May 23, with the elder Garcia in the title-_rôle_. His son appeared as
+Leporello, and, as the criticism in 'The Albion' stated four days later:
+"In the part of Saporello"--the office shines once more in
+spelling--"the younger Garcia exhibited more musical ability than he has
+been generally thought to possess. His duet with Don Giovanni in the
+banquet scene was spirited enough."
+
+Some other portions of this critique read rather quaintly. It will be
+remembered how the editor of the paper was perturbed after the opening
+performance of the season at not receiving the "scientific critique,
+which we are promised from a professor." He is evidently "still harping
+on my daughter," for one reads with infinite regret that--"To enter into
+any minute examination of 'Don Giovanni's' _scientific_ merits is beyond
+our space and purpose"; while later we learn that "Madame Barbiere's
+taste is pure, and her _science_ considerable."
+
+The critic comes to the regrettable conclusion that "Garcia Senior is
+not at home in the simple melodies of Mozart," the reason which he gives
+for this fact being set forth in a delightful bit of phraseology,--"He
+must have a wide field for display: he must have ample room to verge
+enough for unlimited curvetings and flourishes."
+
+Maria was able to satisfy this most learned and scientific judge, and we
+may presume that she found sufficiency of verging-room in Mozart, for we
+are told, "Mdlle. Garcia's Zerlina, though not so simple and rustic as
+Fador's (_sic_), the great Zerlina of Europe, is much more pleasing and
+fascinating. It was admirably acted, which for a singer is high praise.
+The celebrated 'Batti, batti,' was never better sung."
+
+"In proportion as she is excellent," the notice concludes, "must we
+regret that a few nights longer and she will disappear from the public
+gaze."
+
+Why the good gentleman should have been so perturbed it is a little
+difficult to see, for the season did not terminate for four months.
+Perhaps the explanation is that, just as other scientific men declared
+that the seven days of the World's Creation really meant seven periods,
+each extending over hundreds of years, so this one in saying "a few
+nights," took each night to stand for a period of a month. After all, as
+has been observed in Lewis Carroll's immortal book, it is only a
+question of who is to be master, the man or the word.
+
+On August 26 we are informed that "'Il Barbieri de Siviglia'"--mark the
+dazzling array of fresh mistakes in spelling--"was performed last night
+for the fortieth time without any abatement of attraction."
+
+Finally we are told of the approaching end of the season:--
+
+"_Sept. 16th._--The Italian operas are about to close in this city. We
+believe it is not finally arranged how the troupe is to be disposed of,
+but the Philadelphia papers express strong hopes of having this
+delightful entertainment"--enchanting phrase for such an occasion--"in
+that city." The following is Signor Garcia's card:--
+
+"'Signor Garcia respectfully announces to the public that his engagement
+is limited to five representations of Italian operas, and will
+positively conclude on the 30th inst. On Saturday, September 16th, the
+benefit of Garcia, jun.'"--this was how Manuel appeared on the bills
+throughout the New York season--"'Tuesday the 19th, benefit of Mme.
+Garcia; Saturday the 23rd, benefit of Signor Garcia, Tuesday the 26th,
+benefit of Signorina Garcia, concluding Saturday the 30th, this being
+positively the last night of performance.'"
+
+And so, on September 30, 1826, the first American season of Italian
+opera was brought to a close, after lasting ten months,--seventy-nine
+performances in all.
+
+As to the repertoire, we have already set down the names of "Il
+Barbiere," "Don Giovanni," "Tancredi," and "Otello"; besides these we
+find Zingarelli's "Romeo e Giulietta," which in later years was to be
+ousted as completely from the field by Gounod's version as Rossini's
+"Otello" was fated to be by Verdi's. The list was completed by
+"Cenerentola," "Semiramide," "Turco in Italia," and two operas specially
+written by the elder Garcia, with a view to showing off his daughter's
+talents, "L'Amante Astuto," and "La Figlia dell' Aria."
+
+As to the composition of the orchestra, we learn that it consisted of
+seven violins, two violas, three violoncellos, two double-basses, two
+flutes, two clarinets, one bassoon, two horns, two trumpets, and
+drums,--twenty-four performers in all. The first violin and leader was
+De Luce, while a M. Etienne presided at the pianoforte. That the
+orchestral standard was by no means as high as that of the vocalists,
+may be readily surmised from the following criticism of one of the
+earliest performances:--
+
+"The violins might be a little too loud; but one soul seemed to inspire
+and a single hand to guide, the whole band being throughout the magic
+mazes of Rossini's most intricate flights under the direction of M. de
+Luce; while M. Etienne presided in an effective manner at a piano, of
+which every now and then he might be heard to touch the keynote by those
+whose attention was turned that way, and just loud enough to be heard
+throughout the orchestra, for whose guidance it was intended."
+
+As has been already stated, the performance took place on Tuesday and
+Saturday evenings. The latter was a very great mistake, owing to the
+strong religious feelings of the city, which kept the inhabitants from
+going out on this evening for fear of interfering with preparation for
+the Sabbath. As we may read in a notice of the season, which was sent
+over by the New York correspondent to one of the English papers:
+"Saturdays were fixed on in imitation of London, but on the night which
+is your best nobody goes to the theatre, for we are very _serious_ in
+this city, and do not go to the late amusements on Saturday."
+
+However, in spite of this _contretemps_, the season turned out a
+complete success, for the 79 performances brought in gross receipts of
+56,685 dollars (ranging from 1962 dollars on the best night to 250
+dollars on the worst), which made an average of some 700 dollars at each
+representation.
+
+It is rather ludicrous to read some of the articles which appeared in
+the New York papers during the earlier months of the Italian Opera. In
+them advice was given to those who had written asking questions as to
+how to dress in a fashionable way for the opera nights, according to the
+European manner, and how to behave during an opera performance.
+
+In fact, it was thought "the thing" to go to the Park Theatre season,
+and the whole affair created the greatest excitement among the
+fashionables of Manhattanville.
+
+Finally, we read towards the end of September of the future plans of the
+company:--
+
+"They have been invited to New Orleans and also to Mexico, and it is
+believed that they will go to the latter place when their engagement
+here is over."
+
+With the 1st of October 1826 the New York opera season had become a
+thing of the past, and on October 2 the dramatic season of Macready, a
+thing of the present, for on that date the tragedian trod the boards of
+an American stage for the first time. One cannot perhaps bring the
+chapter to a more seemly close than with the announcement which the
+ever-fascinating 'Albion' made in speaking of the opening performance:--
+
+"Mr Macready appeared in the character of Virginius, in the presence of
+an audience of the most respectable description, and comprising all the
+talent and critical acumen of this great city." One can only pray that
+the scientific acumen was not absent on that memorable and respectable
+occasion.
+
+
+
+
+CHAPTER VI.
+
+NEW YORK AND MEXICO.
+
+(1826-1827.)
+
+
+Picture to yourself Señor Garcia sallying forth into the streets of New
+York on February 4, 1826, and purchasing a paper, to be confronted with
+this piece of up-to-date intelligence:--
+
+"The following despatch was transmitted from Strasburg to Paris on
+Saturday afternoon, 'The Emperor Alexander I. of Russia died at Taganrog
+on December 1st, after a few days' indisposition.' The express which
+brought this intelligence left Warsaw on the 8th inst."
+
+Here, then, we find that it has taken exactly nine weeks for important
+Russian news to reach New York. A fortnight later a short article
+appeared in one of the American papers which gives a rather good insight
+into the state of civilisation at that period. It has been sent over by
+a London correspondent. Above the contribution is the heading, in large
+type, "STEAM GUN EXPERIMENTS." I quote some of the more interesting
+portions:--
+
+"At length this formidable weapon, destined, if ultimately adopted, to
+change the whole system of modern warfare, has been so perfected by Mr
+Perkins that the effects of its projectile power from a musket bore and
+with a lead ball may be fully judged. A trial was made last month at Mr
+Perkins' manufactory in the Regent's Park before the Duke of Wellington
+and staff." A strange piece of reading indeed.
+
+"The adoption of the most destructive implements possible in war will be
+most friendly to humanity, by shortening its duration. Offensive war
+will profit much less than defensive. A fort may be made impregnable
+against an attacking force, and a breach (could such a thing be made
+under the fire of steam artillery) could not be stormed. It is
+impossible to foresee what changes this discovery may not make in the
+history of nations.
+
+       *       *       *       *       *
+
+"It is not exceeding the bounds of probability to suppose that we shall
+ere long as commonly see vessels propelled by Perkins' steam-engines
+undertaking the most distant voyages, as we now see them employed on our
+coasts. In this case, calms, contrary winds, and tides will be
+comparatively of little consequence, since a steam vessel, under such
+favourable circumstances, can always make some way on her voyage or
+retreat into harbour."
+
+Here I may be permitted to quote a series of paragraphs culled from 'The
+Albion' of March 25 of this same year, as being good specimens of the
+news which the maestro was accustomed to read. They give a series of
+vivid glimpses into the days when he was a young man. First, let us see
+some of the tit-bits of up-to-date gossip and fashionable news which
+the London correspondents have to retail to their subscribers in New
+York:--
+
+"Mr Charles Mathews, the celebrated comedian, is on a visit to Sir
+Walter Scott at Abbotsford."
+
+"Madame Pasta was expected to be in London by the first of April."
+Inauspicious date!
+
+"His Majesty [this would be George IV.] on his return to town will
+occupy apartments at St James's. Carlton House will not again be the
+Royal residence."
+
+"The expense of postage of letters through the medium of the Twopenny
+Post Office by Alderman Thompson's Committee, when he first announced
+himself as one of the candidates for the presentation of the City,
+amounted to no less a sum than £128."
+
+"_Industry and Talent._--It is a notorious fact that Sir Walter Scott
+unites drudgery with lofty genius, and has put his hand to almost every
+department of literay (_sic_) labour, without being scared by occasional
+want of success."
+
+Farther on we find this heading, in large type, under "Intelligence
+received, by the _Bayard_, from Havre"--
+
+    "SPEECH OF THE KING OF FRANCE,
+
+    "Delivered at the opening of the Chambers,
+    January 31st."
+
+Then follows a full report of the address which Charles X. had given
+eight weeks before.
+
+Next we come to a piece of geographical discovery:--
+
+"The operations of the British armies against the Burmese enable us to
+correct many errors and to add to our limited knowledge of the
+geography of the East. A short time since, we announced the important
+fact that a branch of the Irrawaddy had been discovered to discharge
+into the Bay of Bengal. This discovery has been fully confirmed, various
+stragglers from Sir Archibald Campbell's army at Prome having found
+their way to the coast in that direction, and there got on board English
+vessels."
+
+The last quotation which I will make from the issue of that date refers
+to the "Seizure of a slave vessel in England." In it we read how "The
+French vessel was boarded and subsequently seized by Lieutenant Rye of
+the coastguard service. She was found well fitted out with all the
+ordinary furniture of a slave-trader, her hold adapted in the usual way
+to the reception of slaves. Among her other stores there were, of
+course, found manacles and shackles in great abundance: a long chain to
+confine the unfortunate creatures in gangs, with all the usual
+implements of negro torture that would not be understood by their names,
+we are happy to say, by most of our readers."
+
+These, then, were the special plums of "Latest Intelligence" from
+Europe, which the twenty-year-old Manuel no doubt devoured with keenest
+relish on that morning eighty odd years ago.
+
+I should like to make one more quotation from the same paper, two months
+later, for it gives us a glimpse of both the artistic and military
+doings of Europe at this time. The article in question is an
+appreciation of the President of the Royal Academy.
+
+"Sir Thomas Lawrence is confessedly at the head of the English school of
+portrait-painters. He is about forty-seven years of age. The Kembles and
+Mrs Siddons have been his favourite associates. At one time he was a
+particular friend of the late Queen Caroline. His portraits of George
+IV. are excellent. In 1818 he was commissioned to visit the Congress of
+Aix-la-Chapelle for the purpose of painting the monarchs, warriors, and
+statesmen of Europe. During that visit the doors of his _atelier_ were
+open to his friends, and it is impossible to fancy a more interesting
+sight than his morning levée. The Emperors of Russia and Austria, the
+King of Prussia, Wellington, Richelieu, Blücher, Bernstoff, and a long
+train of distinguished personages, were almost always to be met there."
+
+During the opera season of 1826 two strange events took place which
+Señor Garcia would recall in after-years. At the time the one filled the
+inhabitants of New York with the wildest excitement, the second with the
+deepest gloom.
+
+On April 8--three weeks, that is to say, after the future centenarian
+had celebrated his twenty-first birthday--the extraordinary duel took
+place between John Randolph, United States Senator from Virginia, and
+Henry Clay, Secretary of State. The meeting was on the right bank of the
+Potomac within the state of Virginia, above the Little Falls
+Bridge--pistols, at ten paces. Each of the principals was attended by
+two seconds and a surgeon, while Senator Benton was present as a mutual
+friend. Needless to say, it ended in the way which was to become so
+fashionable among French duellists in later years. The daring
+combatants escaped scatheless and shook hands,--the gentlemanly
+Anglo-Saxon alternative for each rushing into the other's arms with a
+wild cry of "Mon ami! mon ami!" and saluting his late adversary with an
+affectionate kiss on either cheek.
+
+As to the second event, one cannot do better than let the story be told
+by the notice which appeared in one of the New York newspapers:--
+
+          "JUBILEE OF DECLARATION OF INDEPENDENCE.
+
+              "FOURTH OF JULY CELEBRATIONS.
+
+           "SUDDEN DEATH OF TWO EX-PRESIDENTS.
+
+     "The death of John Adams, late President of the United States, took
+     place on July 4. He was the second President of the United States
+     and the first Minister sent by this country to Great Britain after
+     the acknowledgment of the Independence.
+
+     "He departed this life, full of years and honours, on the evening
+     of the 4th inst., as the bells were ringing for the conclusion of
+     the celebration of the auspicious day. The venerable patriot rose
+     in his usual health, rejoicing that he had been spared to witness
+     the jubilee of his country's freedom. Towards noon he became ill,
+     grew gradually worse, and at six fell asleep. He was one of the
+     earliest and ablest and most fearless champions of his country's
+     freedom, and his name fills a wide space in its history. Only two
+     of the signers of the Declaration of Independence now survive.
+
+                   "DEATH OF MR JEFFERSON.
+
+     "Mr Jefferson, late President of the United States, died at his
+     residence in Virginia, on July 4, at 10 to 1 o'clock. It is a
+     strange coincidence that these two venerable personages should have
+     paid the debt of nature on the same day, and that day the Fiftieth
+     anniversary of that Independence which they so essentially
+     contributed to achieve."
+
+On September 30, as we have seen, the New York venture of Italian Opera
+was brought to a conclusion.
+
+A few days later the elder Garcia set off for Mexico, where he had
+arranged to initiate a season at the Opera House. He was accompanied on
+the journey by the whole troupe, with the exception of his daughter
+Maria.
+
+The reason of her remaining behind was that on March 23 of that year she
+had given her hand to Monsieur Malibran, a French merchant three times
+her own age, and by repute a very wealthy man. It can scarcely have been
+a love-match, for the union appears to have been a most unhappy one from
+the start. As to the reason for the marriage, some light has been thrown
+by Fitz-Greene Halleck's biographer, in a conversation which I had with
+him recently.
+
+It will be remembered that Halleck was present at the opening night of
+Italian opera in America, in the company of his friend Fenimore Cooper.
+The latter must have been busy correcting the proofs of his latest book,
+'The Last of the Mohicans,' since this was published in New York soon
+after the New Year,--a literary event which of course Manuel Garcia
+could quite well remember.
+
+Halleck at once fell under the spell of Maria's voice and personality.
+Of his admiration for her singing he wrote these lines, alluding to his
+own death:--
+
+    "And when that grass is green above me,
+    And those, who bless me now and love me,
+      Are sleeping by my side,
+    Will it avail me aught that men
+    Tell to the world with lip and pen
+      That once I lived and died?
+
+    No! if a Garland for my brow
+    Is growing, let me have it now,
+      While I'm alive to wear it;
+    And if, in whispering my name,
+    There's music in the voice of fame
+      Like Garcia's, let me hear it."
+
+Was ever a more beautiful compliment paid to a singer?
+
+It was not long before the poet obtained an introduction to his ideal.
+The acquaintance thus began quickly ripened, and Fitz-Greene Halleck
+became deeply attached to her. This warmth of feeling was undoubtedly
+returned, and there seems every probability that Maria, girl of
+seventeen as she was, might have been well content to wed the American
+poet. Her father, however, intervened, and sternly refused to allow
+things to go farther.
+
+Here we have a possible explanation of the tragedy which ensued.
+Monsieur Malibran came upon the scene and offered himself, and Maria
+perhaps decided to accept him in order to escape from the discipline of
+an exacting parent. There certainly must have been some very powerful
+reason at work to bring about her union with a man older than her own
+father, at an age when youth and romance would naturally appeal to her
+most strongly, and such a wedding of May and December could not but
+appear repulsive in the extreme. Certainly it can hardly have been the
+man's reputed wealth which tempted her to take such a step, seeing that
+she was already well advanced on the road to becoming one of the
+greatest operatic stars of her day.
+
+After the wedding and her family's departure for Mexico, the unhappy
+Maria discovered that her husband's affairs had for some time past been
+in a very bad state, and that he had really been counting on the income
+which would accrue from her talents. Matters grew rapidly worse, and
+within a year of the marriage he was declared bankrupt and thrown into
+prison. Under these circumstances Maria at once, of her own accord,
+determined to resign, for the benefit of her husband's creditors, the
+whole of the provision which had been made for her by the marriage
+settlements. It was a noble act, which gave rise to strong
+manifestations of favour and approbation on the part of the American
+public.
+
+For some months after this she remained in New York, singing on Sundays
+at Grace Church, and occasionally appearing at the Bowery Theatre in
+English operettas, such as "The Devil's Bridge" and "Love in a Village."
+
+By this time, however, the youthful contralto had had her eyes
+thoroughly opened as to the character of the man to whom she had given
+herself, and at last she bravely decided to cut the Gordian knot by
+leaving her husband and returning to Europe.
+
+Accordingly her final appearance on the American stage was announced for
+September 28, 1827, and on this night she took her farewell benefit at
+the Bowery Theatre, in Boieldieu's "Jean de Paris." Of the closing scene
+of that evening we read--
+
+"When the programme had been completed, the Signorina came forward and
+seated herself at her harp, but seemingly overcome with emotion again
+rose. Mr Etienne, the pianist, thereupon took up the prelude to a
+farewell song, specially written for the occasion, and this, on
+regaining her composure, she sang in a most touching and effective
+manner."
+
+Within a few days of this performance Maria set out for Paris, where, as
+we shall see, she was to be joined almost immediately by her brother.
+
+And now we will turn to the fortunes of the rest of the Garcia family,
+who had left New York to inaugurate a season of opera in Mexico.
+
+Upon arriving at the end of the journey, the elder Garcia soon found
+that the duties of impresario, composer, conductor, chorus master, and
+even machinist and scene-painter, must all centre in himself.
+
+But this was not the worst, for at the very outset a calamity fell upon
+the company which with any one else would have been sufficient to bring
+the season to a close before it had opened, as an Irishman might have
+put it.
+
+On reaching the Opera House in Mexico city, they at once began to
+prepare for their forthcoming season. Everything was unpacked, and they
+commenced going through scenery, dresses, properties, and the rest. All
+these they found in order. When, however, they began to look for the
+music score and orchestral parts, they found, to their horror, that
+nearly the whole of the music had been left behind or lost _en route_.
+
+What was to be done? Their season was advertised to commence in a few
+days, and without music it was utterly impossible. The artists were in
+despair, and completely lost their heads. The elder Garcia alone
+remained calm in the midst of turmoil. They could not perform without
+music; very well, he must write out fresh copies of the scores as best
+he could. What was advertised for the first night? "Don Giovanni"?
+_Bien_; then he would make a start on that. Without losing a moment he
+set to work, and actually reproduced the whole of the full orchestral
+score from memory! As each number was finished it was given out to
+copyists, who prepared the separate parts for the various instruments.
+
+This task being ended, the marvellous man set to work on "Otello" and
+"Il Barbiere," which with the first named had always been the most
+important in his repertoire. How successfully he carried out his
+self-imposed task may be judged from the fact that when "Don Giovanni"
+was given, no one present could tell that it was not the original score.
+As if this had not been enough work, he promptly proceeded to compose
+eight operas for his company to perform; nor was this all, for finding
+that the words of the Italian operas were not understood, and that the
+people had not the northern affectation of liking them better on that
+account, he translated into his native Spanish every work which was
+performed. And here a few words may be said upon the memorising of new
+operas.
+
+It was customary in those days for managers to allow their artists nine
+days to learn a two-act opera. For three acts the time would be
+increased to twelve days, and for four acts sixteen. That the elder
+Garcia did not always allow so much is borne out by the statement which
+Maria Malibran used to make that, on one occasion, her parent bade her
+learn a _rôle_ in two days and sing it at the opera.
+
+"I cannot do it, father."
+
+"You _will_ do it, my daughter; and if you fail in any way, I shall
+_really_ strike you with my dagger when I am supposed to kill you on the
+stage."
+
+"And he would have done it, too," she would add, "so I played the part."
+
+Manuel himself was ever a phenomenally quick "study" in the memorising
+of any fresh _rôle_. Short though the periods would be which were
+allowed in the ordinary way for learning a work, they were for him a
+great deal too long. He was able to commit to memory the whole of his
+part in two or three days, while at the end of ten he had picked up the
+parts of all the other singers as well, so that if necessary he was
+perfectly able to prompt them during the final rehearsals.
+
+His father used to take advantage of this extraordinary memory, and,
+when feeling indisposed, would say, "You must go on, and take my part
+to-night." The son would proceed to do so, and get through the
+performance successfully, singing the tenor _rôle_, in which he would
+alter the high passages to suit his own voice.
+
+All this hard work, however, was not accomplished without leaving its
+mark, and in a few months he began to feel the effects of the strain
+involved in this perpetual rehearsing and singing not only of his own
+baritone parts but on occasions of the tenor music. His father was a
+hard task-master, and the son, though he had a fine voice, found the
+work involved by an operatic career too hard for his physical resources.
+At last things reached a point at which, as he once told me, he went
+through every successive performance in a state of fear lest his voice
+should leave him suddenly when he was on the stage.
+
+His father and mother laughed at this feeling as absurd, and told him
+that he must study for a time in Italy, and then make his _début_ there,
+as they had set their hearts on it. Partly, therefore, to please them,
+partly, it may be, to comfort and assist Maria, of whose intention to
+set out for Paris in the September he must have been well aware, Manuel
+Garcia left his parents to continue their season in Mexico, and in the
+early autumn of 1827 set out for Europe alone.
+
+
+
+
+CHAPTER VII.
+
+OPERATIC CAREER ABANDONED.
+
+(1828-1830.)
+
+
+Manuel Garcia, in the January of 1828, was present at the operatic
+_début_ of his sister, Maria Malibran, in Paris, the details of which he
+once gave to me. On another occasion he stated most distinctly that he
+left his parents in Mexico about the middle of their stay, set out for
+Paris, and, arriving there not long after his sister, remained with her
+till after her _début_. He added that during this period she continued
+her vocal studies under his tuition.
+
+Under these circumstances one may safely assume that he arrived in the
+French capital either in October or in the early part of November, 1827.
+
+With regard to Mme. Malibran's _début_, the following is the story as he
+gave it. I related the episode in 'Antoinette Sterling and Other
+Celebrities,' from which I am enabled to quote here and elsewhere in the
+present memoir by courtesy of the publishers, Messrs Hutchinson.
+
+Rossini was director both of the Théâtre Italien and of the Grand Opera
+House, where French alone was performed. He was a great friend of both
+Maria Malibran and her brother, and frequently came to visit them at
+their house. Moreover, he heard the young contralto sing many times at
+social functions, often indeed himself accompanying her at the piano.
+Yet, though perfectly aware what a splendid singer she was, the composer
+never made her any offer to appear under either of the two managements.
+
+At last her opportunity of making an operatic _début_ in Paris arrived,
+but from quite another source. Galli, a famous basso of that time, who
+was having a benefit at the Italian Opera House, called one day and told
+her that he would put on "Semiramide" if she would like to sing the
+title part. After consulting with Manuel, she decided to accept the
+offer.
+
+Of the performance itself one of the Paris journals gives a graphic
+account:--
+
+"The singer, at her entrance, was greeted with warm applause. Her
+commanding figure and the regularity of her features bespoke the favour
+of the public. The noble and dignified manner in which she gave the
+first phrase, 'Fra tanti regi e popoli,' justified the reception she had
+obtained, but the difficult phrase, 'Frema il empio,' proved a
+stumbling-block which she could not surmount. Alarmed by this check, she
+did not attempt the difficult passage in the 'da capo,' but, dropping
+her voice, terminated the passage without effect, and made her exit,
+leaving the audience in doubt and dissatisfaction. The prodigious talent
+displayed by Pisaroni in the subsequent scenes gave occasion to
+comparisons by no means favourable to Mme. Malibran. On her reentrance
+she was coldly received; but she soon succeeded in winning the public to
+her favour. In the andante to the air, 'Bel raggio lusinghier,' the
+young singer threw out such powers, and displayed a voice so full and
+beautiful, that the former coldness gave way to applause. Encouraged by
+this, she hazarded the greatest difficulties of execution, and appeared
+so inspired by her success that her courage now became temerity."
+
+From that night she was the idol of the French public.
+
+Another French critic writes, "If Maria Malibran must yield the palm to
+Pasta in point of acting, yet she possesses a decided superiority in
+respect to song."
+
+"Since that time," remarks Mr Hogarth, "the superiority of Malibran to
+Pasta in song became more and more evident; while in respect to acting,
+though no performer has ever approached Pasta in her own peculiar walk
+of terrible grandeur, yet none has ever surpassed Maria Malibran in
+intelligence, originality, vivacity, feeling, and those 'tender strokes
+of art' which at once reach the heart of every spectator. Her
+versatility was wonderful. Pasta, it has been truly said, is a Siddons:
+Malibran is a Garrick."
+
+On the morning following the Parisian _début_ a note came asking Señor
+Garcia to go round to Rossini's rooms. Upon doing so he found him in a
+tremendous state of excitement, and prepared to give Maria Malibran a
+four years' exclusive engagement, at the rate of more than a hundred
+thousand francs per annum, if she would bind herself to sing
+exclusively at the Grand Opera House during that period.
+
+The terms were immense for those days. In spite of this, after careful
+consideration, the contralto decided to refuse them, feeling that it
+would be unwise to abandon Italian and confine herself to French for so
+long a time. She _did_, however, appear for him in a few operas, at
+enormous fees, with, if possible, greater success than before, at the
+Théâtre Italien during April and May.
+
+Now it seemed very extraordinary to Señor Garcia and to his sister that
+Rossini should have heard her sing again and again in society without
+even mentioning such a thing as engaging her, and yet, after hearing her
+at the Opera House in music which she had sung before him on so many
+occasions, he should at once make her a magnificent offer for a term of
+years. Why was it? They could not understand it at all, and accordingly
+asked one day for the explanation.
+
+"It is true," answered Rossini, "that I knew Maria Malibran was a
+brilliant singer from listening to her at private houses. But I had
+never heard her in a big place before a large audience. Consequently I
+felt that I could not make her a definite offer which would at all gauge
+her true value. Either I should be offering her less than she was worth,
+and by this be doing _her_ an injustice, or I should be offering her
+more than she was worth, and so be doing _myself_ an injustice. But now
+that I have heard her sing in front of an audience, and have observed
+what effect they mutually had each on the other, I can offer the very
+largest sum which her singing is intrinsically worth. That is the
+explanation of what I have done."
+
+After remaining for a time to see his sister successfully started on her
+Parisian career, Manuel Garcia set out for Italy, and took up his
+residence there for some months. During this period he made the
+acquaintance of Lablache, whose voice was of the most marvellous power.
+There is a story which the maestro used to tell of the basso and Carl
+Weber which illustrates this fact.
+
+Lablache was originally a double-bass player, and his first appearance
+in opera as a singer came about through a happy chance. A celebrated
+vocalist was suddenly indisposed just before the performance one night,
+and Lablache was induced to take his place and attempt the _rôle_. His
+rendering of the character was entirely successful, and he abandoned his
+old career for this new one.
+
+A few months afterwards Weber, who had known his massive figure in the
+orchestra, heard him sing in opera. After listening to the enormous
+voice and magnificent basso notes, the composer exclaimed, "Mein Gott!
+he is still a double-bass."
+
+The size of Lablache's voice aroused the emulation of Garcia, who, as
+his sister Mme. Viardot puts it, proceeded to play the part of the frog
+that wanted to make itself as big as a bull. In trying to imitate this
+Gulliver of _bassi_ he undoubtedly did further injury to his voice,
+which had already been much overstrained by the hard usage it had
+received in Mexico.
+
+When, therefore, about the beginning of 1829, he made a public
+appearance at Naples, as his parents had persuaded him to do, he did
+not come through the ordeal with much success. "Il débuta à Naples, je
+crois," says Mme. Viardot, "et il eût ce qu'il désirait, un four noir."
+
+The next day Manuel collected copies of the newspaper critiques, which
+were unanimous in recommending him to tempt Fate no more on the stage,
+but to abandon the lyric career for which he was unfitted. These
+articles he dispatched to his father with a letter in which he wrote:
+"You see from these notices that I can never hope to become an operatic
+artiste." ("Je ne puis être artiste.") "From now onward I am going to
+devote myself to the occupation which I love, and for which I believe I
+was born." With this letter he definitely abandoned the operatic
+calling.
+
+He then made his way back to France, and there joined his parents, who
+had arrived from Mexico in the late autumn of 1828.
+
+During the period of the elder Garcia's stay in Mexico, political events
+occurred which were the very reverse of propitious to any musical
+venture.
+
+In 1828 the candidates for the Presidency were Generals Pedraza and
+Guerrero. On the election of the former the opposite party took up arms,
+and a bloody contest ensued, which terminated in the downfall of
+Pedraza's Government and in his flight from the country on January 4,
+1829. The months which followed were full of turmoil, and at last in
+March it became necessary for all Spaniards to leave.
+
+Owing to this state of affairs the elder Garcia, after some eighteen
+months of hard work and considerable financial success, was obliged to
+bring his Mexican season to a hasty conclusion. He accordingly prepared
+at once to journey to the coast with the £6000 which he had made during
+his stay in America.
+
+Owing to the disturbances he had the greatest difficulty in obtaining
+the necessary passports. At last, however, he succeeded, and set off for
+Vera Cruz with his wife and younger daughter Pauline, who was now seven
+years old.
+
+He was provided with a guard of soldiers, which, however, proved to be
+too weak, or, what is far more likely, too faithless, to protect his
+goods. At a place called Tepeyagualo, in the valley of Rio Frio, the
+convoy was attacked by brigands, and he himself obliged to lie flat on
+his face while his baggage was plundered of a thousand ounces of
+gold--the savings of two and a half years' work. Not only this, but the
+men seized everything else which was of value: in fact, he was left with
+practically nothing save a small sum of money which he was carrying in a
+belt around his body.
+
+After this disastrous experience Garcia and his family made their way to
+the coast, embarked at Vera Cruz, and finally arrived in Paris, without
+any financial result to show for all the time they had spent in America.
+The blow of losing £6000 in cash and all his properties affected him
+less than most men: his disregard for money and his love of work for
+its own sake were a byword among his friends.
+
+Upon his return the elder Garcia made a few appearances at the Théâtre
+Italien in "Don Giovanni" and "Il Barbiere." His voice, however, was no
+longer what it had been. He was warmly welcomed by his old admirers; but
+these quickly perceived that his travels and misfortune, if not the
+advance of age, had much impaired his powers. He himself realised the
+change, and almost at once retired from the operatic stage, being in his
+fifty-fifth year, and devoted himself exclusively to the teaching which
+he had already started in Paris before leaving for America.
+
+Among those who studied under him one may recall Mmes. Ruiz-Garcia,
+Rimbault, Favelli, and the Countess Merlin, who in later years was to
+publish a life of Maria Malibran, which can be looked on as little more
+than a fairy romance woven round a fascinating personality. Then there
+was Mme. Meric-Lalande, a brilliant stage soprano, who came to him as a
+natural singer of light opera, and after receiving some stricter
+training from the old teacher, was highly successful in Vienna, Paris,
+and the principal opera houses of Italy.
+
+Of the men, Jean Geraldy is deserving of mention, since he afterwards
+became well known both as vocalist in the operas of Rossini and as a
+composer of many popular songs and operettas.
+
+But of all the elder Garcia's pupils the tenor Nourrit was by far the
+greatest. It was for him that Rossini wrote the part of Arnold in
+"William Tell," and Meyerbeer the parts of Roberto in "Robert le Diable"
+and of Raoul in "The Huguenots"; while he also created the parts of
+Masaniello, and of Eleazar in Halévy's "La Juive."
+
+Nourrit commenced his studies before the elder Garcia set out on the
+American trip. When the teacher returned in 1829, his old pupil, who had
+now been leading tenor at the opera for four years, came to resume
+lessons. Of these Mme. Pauline Viardot still has a strong recollection.
+She was then a child not yet ten years old, but, in spite of this fact,
+used to assist her father by playing for him when he gave his lessons.
+When, therefore, among the others, Adolph Nourrit came to the house, she
+often used to accompany him at the piano at the lessons,--an experience
+which she still recalls with the greatest delight.
+
+Of her many memories of that time none is more interesting than the fact
+that she read off with Nourrit the first melodies of Schubert which
+arrived in Paris, and of which theirs was the only copy in the city.
+
+Nourrit's end was a sad one. After having been leading tenor for many
+years, he resigned eventually because Duprez was associated with him for
+the interpretation of the principal _rôles_; and this fancied slight so
+preyed on his spirits that at last, after singing at a benefit concert
+at Naples, he threw himself out of the window and perished miserably.
+
+While Garcia _père_ was giving lessons to his pupils, he would compose
+at the side of the piano delightful airs which, in the moments when the
+pupils were resting their voices, he would give his daughter to play at
+the piano. Moreover, he used to write for the use of his little Pauline
+many excellent studies; for she had been gently using her voice under
+his guidance since she had been but four years old. One of these studies
+commenced with a shake on the words "Aspri rimorsi atroci; figli del
+fallo mio." And while uttering the phrase he would make her throw
+herself completely into the feeling of the words, as well as into the
+vocal rendering of the music.
+
+As a teacher the elder Garcia was strict and vigorous, a man of rugged
+discipline, so that the musical training which he gave his children was
+of the most rigid and thoroughgoing type.
+
+Something of this has been already alluded to in setting down the
+experience of Manuel's early studies. There is, further, a well-known
+story, doubtless authentic, of a stranger passing near their house in
+Paris, and hearing sobs and objurgations proceeding from within. He at
+once inquired what was the meaning of these noises, and was answered,
+"Ce n'est rien. C'est Monsieur Garcia, qui fait chanter ses
+demoiselles." However that may be, there can be no question of the
+excellent results of his teaching.
+
+As regards the accusations of violence, strictness, and tyranny which
+were brought against him, Madame Viardot asserts that he was much
+calumniated both as a father and as a man. "How often," she says, "have
+I heard my sister Maria remark, 'Si mon père n'avait pas été si sévère
+avec moi, je n'aurais rien fait de bon; j'étais paresseuse et
+indocile.' As for myself," she adds, "I never saw my father lose his
+patience with me while he taught me the solfège, music and singing."
+
+When Manuel Garcia returned to France after his _début_ at Naples, he
+did not immediately begin teaching at the vocal conservatoire which his
+father had started. His predilections had always been scientific, and he
+was passionately fond of all such studies, but specially of anatomy and
+all that had to do with the human body. On his arrival he was suddenly
+seized with an idea that he would prefer a seafaring life, and without
+thinking the matter over twice he resolved to become an officer in the
+French mercantile marine. With this object in view he began the study of
+astronomy and navigation, and pursued the work with so much diligence
+that he obtained a post on a ship. He was, in fact, on the point of
+going on board to take up this new career when his mother and sisters
+besought him with tears and supplications to relinquish his intentions.
+So ardently did they implore him, that when actually starting he was
+overcome with emotion and gave way to their entreaties.
+
+Upon this he settled down with his parents in the Rue des Trois Frères
+in Montmartre, and was of great assistance in helping the elder Garcia
+to give lessons at the vocal conservatoire. The hall porter of their
+house was no less a person than the father of Henry Mürger! Manuel often
+used to catch up the boy Henry in his arms and kiss him as he ran about
+the passages. "Little Mürger was a most charming child," recalls Mme.
+Viardot, "full of fun and the pet of the house. At that time he was
+winning prizes at school, and used to arrive home with his arms full of
+them. Perhaps he was rather ashamed of his origin, for in the day of his
+success he never came to see us. We should have been so happy if he
+had."
+
+And what a day of success it was! After having commenced as a notary's
+clerk, he gave himself to literature, and led the life of privation and
+adventure described in his first and best novel, 'Scènes de la Vie de
+Bohème,' published in the year when Manuel Garcia was celebrating his
+fortieth birthday. During Mürger's later years his popularity was secure
+and every journal open to him, but he wrote slowly and fitfully in the
+intervals of dissipation, and died in a Paris hospital over forty-five
+years ago.
+
+Unhappily Manuel with his nature found, on settling down in Paris with
+his parents, that the somewhat overbearing manner of his father was
+difficult to get on with, considering that he himself was now
+twenty-five years of age.
+
+At last, after a few months, he made up his mind that it would be best
+to absent himself from Paris for a time, in the hopes that this might
+result in a pleasanter state of things on his return.
+
+It happened that the turn which events took in Algiers brought an
+opportunity for carrying out this desire. A dispute arose about the
+payment of seven million francs,--a debt incurred by France in the
+Egyptian expedition. Of this sum 4-1/2 millions had been paid, but the
+balance remained unsettled till certain counter-claims could be
+adjusted.
+
+"After a tedious delay, Hassein, the Dey of Algiers, the principal
+creditor, became impatient,"--I quote from Dr Brewer--"and demanded
+immediate payment. To this request no answer was vouchsafed; and the
+next time the French consul presented himself at court Hassein asked him
+why his master had not replied to his letter. The consul haughtily
+replied, 'The King of France holds no correspondence with the Dey of
+Algiers'; upon which the governor struck him across the face and
+fiercely abused the king.
+
+"An insult like this could not, of course, be overlooked; and it was at
+once decided by the French Government that a squadron should be sent to
+receive the consul on board, and revenge the insult."
+
+As soon as this news became known Manuel talked the matter over with his
+sister, Maria Malibran, and through her influence with the
+Commander-in-chief he was enabled to obtain an appointment in the
+commissariat of the army which was to accompany the expedition.
+
+Accordingly he embarked at Toulon on May 11, 1830, and took part in the
+severe conflicts which ended in less than two months with the
+bombardment of Algiers and its surrender to the French armament under
+Bourmont and Duperré, the deposition of the Dey, and the total overthrow
+of the barbarian government. After the fall of Algiers the young
+Spaniard returned to Paris to find the capital in a state of uproar.
+
+On July 26 the obnoxious ordinances were made known regarding the press
+and the reconstruction of the Chamber of Deputies, which had been
+dissolved in May. This at once let loose the furies of revolution, and
+hostilities were commenced with the raising of barricades on the very
+next day. Repeated conflicts took place between the army and the police,
+the latter ultimately aided by the National Guard. On the last day of
+the month Charles X. retired to Rambouillet, and the flight of the
+Ministry took place. On August 2 Charles abdicated, and five days later
+the Duke of Orleans accepted the crown as Louis Philippe I.
+
+These events were quickly followed by the publication of the
+Constitutional Charter of July and the retirement of the ex-King to
+England. The closing scene of the drama took place in the December of
+the year, when Polignac and the other Ministers, who had been members of
+the administration of 1829, were tried and sentenced to life-long
+imprisonment.
+
+During the last months of 1830 Manuel Garcia attached himself to the
+military hospitals. His reason for taking this step was that he had
+determined to go through a course of preliminary study in the scientific
+side of singing before devoting his life to the career of teaching. At
+the hospitals he took up medicine and some specialised studies which
+embraced the physiology of everything appertaining to the voice and the
+larynx, for he had already perceived the importance of physiology as an
+aid to the rational development of the voice. His labours were crowned
+with success, and contributed much to the determination of the exact
+anatomy of the vocal cords.
+
+During this time he used to carry home in his pockets the most
+extraordinary things from his anatomy class. Madame Viardot speaks of it
+thus:--
+
+"What do you think he brought? You would never guess. The throttles of
+all kinds of animals,--chickens, sheep, and cows. You would imagine that
+these would have disgusted me. But it was not so. He would give me a
+pair of bellows, which I would insert in these windpipes, one after
+another, and blow hard. Heavens! what extraordinary sounds they used to
+emit. The chickens' throttles would cluck, the sheep's would bleat, and
+the bulls' would roar, almost like life."
+
+At the remembrance of these rather gruesome incidents Madame Viardot
+laughs, much in the spirit, one may suppose, of the delicate Spanish
+beauty who applauds the thrusts of the matador at a bull-fight.
+
+With the end of the year 1830 we find the first portion of Manuel
+Garcia's life brought to a close, the period of preparation. During the
+first twenty-five years we have found him brought up in music, learning
+the old Italian method of singing from his father and Zingarelli, with a
+few lessons from Ansani; while harmony he has studied under Fétis. He
+has acquired practical knowledge as an actor and singer upon stage and
+concert platform: he has heard nearly all the greatest operatic artists
+in Italy, France, and England: he has already had some experience of
+teaching, and is well acquainted with the lines followed by the famous
+maestri who have gone before him. Moreover, when he makes his regular
+start as _professeur de chant_ in 1831, he is able to apply his medical
+knowledge to the greatest advantage.
+
+With all these advantages, added to a fine intellect, intuitive
+perception, and extraordinary patience, what wonder that when once he
+embarks on his career as a singing-master he never again looks back, but
+speedily establishes himself as a scientific teacher, with a reputation
+unequalled by any of his contemporaries?
+
+
+
+
+SECOND   PERIOD
+
+PARIS
+
+(1830-1848)
+
+
+
+
+CHAPTER VIII.
+
+MALIBRAN'S TRIUMPHS.
+
+(1830-1836.)
+
+
+And now let us take up the career of Maria Malibran, since the next six
+years of Manuel Garcia's life are chiefly concerned with the triumphs of
+this his first pupil. We have already seen how, shortly after her return
+from America in the early autumn of 1827, she had been joined in Paris
+by Manuel; how the two lived there together for some months, while he
+helped his sister with her singing and coached her in her operatic work,
+and how, after a brilliant _début_ at Galli's benefit in the January of
+1828, the youthful contralto was engaged for the Italian Opera season in
+Paris, commencing in the following April.
+
+In 1829 Maria Malibran returned to London, where she had made her
+_début_ at the King's Theatre four years previously. On this second
+visit she received from Laporte sixty-six pounds a performance for a
+three months' season, two appearances a-week (40,000 francs in all);
+while the principal parts which she undertook were Desdemona,
+Semiramide, Romeo, Tancredi, Ninetta, and Zerlina.
+
+This was the scene of that rivalry with Mme. Sontag which wrung from her
+the words, "Pourquoi chante-t-elle si bien, mon Dieu?" During the London
+season they shared the success, which brought about such coldness
+between them that it took all the tact and diplomacy of the Countess
+Merlin to persuade them to sing the duet from "Tancredi" together in her
+drawing-room.
+
+On January 3 of the following year the two stars again appeared together
+in Paris in "Il Matrimonio segreto," given at the benefit of Mme.
+Damoreau-Cinti. A few days later they took part in "Tancredi." Rarely
+had Sontag given so beautiful a performance as she did in this her last
+appearance in the part before retiring into private life. At the close
+of the evening, as if to beg her rival's forgiveness for her triumph,
+she offered to Malibran, with a charming gesture, the flowers which had
+been thrown at her feet on the stage.
+
+On the 18th of the month Henriette Sontag made her last bow before the
+public, and retired from the operatic world upon her marriage to Count
+Rossi. Thus Maria Malibran found the field clear, and remained without a
+rival among the contralti of her time. After this she appeared regularly
+each season in Paris and London during that brief career in which she
+took the world by storm. Like a meteor she dazzled all by a brilliancy
+beside which other stars seemed dim, and like a meteor she was to pass
+away as suddenly as she had arrived, within nine years of her _début_ in
+Paris.
+
+The salary which the famous contralto used to receive was for those days
+almost unprecedented.
+
+[Illustration: Maria F. Malibran
+
+(FROM AN OLD ENGRAVING WHICH BELONGED TO MANUEL GARCIA.)]
+
+Having received in the operatic season of 1829 sixty-six pounds a
+performance, as already stated, the following year found her salary
+increased to £125 a-night, nearly double what she had had, while in the
+next one she was paid £2775 for twenty-four performances.
+
+Her tours through Italy were a series of triumphs. In Rome she was
+overwhelmed with praise; at Bologna the enthusiasm was such that the
+public subscribed for a bust to be executed in marble and placed in the
+theatre; while at Naples, her grandest triumph of all was achieved on
+the night when she took leave of the audience in the character of
+Ninetta. Six times after the fall of the curtain was she called forward
+to receive the reiterated plaudits and adieus of a public which seemed
+unable to bear the idea of separation from its new idol. The singer, for
+her part, had only strength and spirits left to kiss her hand to the
+assembled multitude, and indicate by expressive gestures the degree to
+which she was overpowered by fatigue and emotion. Nor did the scene end
+within the theatre, for a crowd rushed to the stage-door from all parts
+of the house, and as soon as their favourite's sedan-chair came out they
+escorted it, with loud acclamations, to the Palazzo Barbaja, and renewed
+their salutations as the artist ascended the steps.
+
+Of her first appearance in Milan Señor Garcia gave me a delightful
+account. At that time Pasta was a great favourite in the city, her most
+effective part being Norma. Such enormous success had she made in this
+_rôle_, in fact, that the Milanese always used to allude to her as
+"Norma" instead of making use of her own name.
+
+Upon her arrival Maria Malibran was asked by the director of the Opera
+House in what part she would like to make her first appearance. She at
+once replied, "Norma, signor."
+
+"But, madame, do you forget Pasta?"
+
+"Eh, bien? I am not afraid of Pasta. I will live or die as Norma."
+Bellini's opera was therefore announced.
+
+At the opening night Pasta came to hear the newcomer, and took up her
+position in the middle box of the grand tier amidst loud applause from
+the populace. Maria Malibran made her first entrance without any sound
+of encouragement, and the aria was received in deliberate, stony
+silence. Her next number was the terzetto. After one of the passages
+which she had to render the audience suddenly forgot themselves and
+shouted out, "Bravo!" This was instantly followed by cries of "Hush!"
+"Silence!" The trio came to an end. Not a hand! Instead were heard
+sounds of dispute from all parts of the house: "She is great;" "She is
+nothing of the kind;" "She is better than Pasta;" "She is not;" and
+these remarks went on for the rest of the evening.
+
+Upon the second night Pasta did not come to hear her new rival. This
+time, when Malibran entered and sang her aria, her rendering was greeted
+with immense applause, which continued throughout the evening in
+ever-increasing enthusiasm. At the close she was called before the
+curtain again and again, and when she left the Opera House to drive
+home, the populace took out the horses and themselves dragged her to the
+hotel. From that moment she was the pet of the Milanese public: Pasta's
+reign was over. Señor Garcia added that the latter was a most finished
+vocalist, but cold, whereas the singing of his sister was full of warmth
+and fire.
+
+Strange to say, Maria Malibran soon found herself mixed up with the
+Italian Liberal politics. At Naples already her sympathy for the
+Carbonari had excited some talk. At Milan she was _fêted_ by all the
+aristocracy, who hated the Austrian rule. On the first night of
+Donizetti's "Marie Stuart," while taking the title-_rôle_, she had to
+reproach Elizabeth with her irregular birth, calling her "vile bastard."
+The whole audience at once saw in this expression an allusion to the
+usurpation of Lombardy, and broke out into loud shouts. Next day the
+Austrian governor ordered the scene to be suppressed, and at the same
+time threatened Maria Malibran with prison if she did not submit. The
+singer, however, resisted, declaring that the composer alone could make
+alterations in his work; and in consequence of this action the opera was
+withdrawn from the bill. This only increased her popularity, and in all
+political manifestations the cry would be raised, "Vive Malibran," as in
+after years "Vive Verdi" became synonymous with "Vive Victor-Emmanuel."
+
+Similar difficulties arose in Venice. The governor was afraid of Liberal
+manifestations, and was for that reason opposed to the engagement of the
+contralto at the Fenice Theatre; indeed it was the intervention of the
+Emperor alone which made him waive his objection. A sumptuary law of
+the sixteenth century, which had never been repealed, enacted that all
+gondolas must be painted uniformly black. Maria Malibran wished to
+change this. "I have introduced a novelty here," she writes, "which will
+mark an epoch in my career: I have had the outside of my gondola painted
+grey with decorations in gold. The gondoliers wear scarlet jackets, hats
+of pale yellow, the edges bound round with black velvet, blue cloth
+breeches with red ribbon down the side, in the French style, sleeves and
+collar of black velvet. The awning over the boat is scarlet with blue
+curtains."
+
+When she went out in this for the first time the police at once reminded
+her of the regulations, but she refused to yield, saying that, rather
+than do so, she would leave Venice. The governor was afraid of a public
+riot, such was her popularity, and he feared still more the observations
+of the Austrian Court, so determined to shut his eyes to the matter. But
+the singer had her revenge, for one day when he had gallantly conducted
+her to her gondola, she obliged him to take a seat in it, and then took
+him through all the canals, while they were met by the ironical cheers
+of all whom they passed.
+
+In 1831 Maria Malibran built herself a handsome villa near Brussels, and
+from that time on made it a custom to retire to this home whenever she
+had a few weeks' rest.
+
+Here in the summer of the following year she received a visit from
+Lablache, who was passing through the town on his way south. During
+conversation he suggested that they should make a tour in Italy: the
+idea pleased her, and without more ado they set off with an opera
+company, with the result that they made a perfect triumphal progress
+through the principal cities.
+
+On June 2, 1832, Manuel Garcia's father passed away at the age of
+fifty-seven.
+
+We have already seen what a prominent figure the elder Garcia was in the
+musical world of the early nineteenth century. No less gifted as an
+actor than as a singer, his greatest performances were given in such
+contrasting characters as Almaviva, Don Giovanni, and Otello. Again, as
+a composer he was responsible for over forty operas in Italian, French,
+and Spanish, many of which are still treasured among the municipal
+archives of Madrid. Lastly, as a teacher of singing he made his mark
+both in Paris and London, and a great many of the best qualities of the
+modern school of vocalists depend on the joint teaching of the elder
+Garcia and his son Manuel; for while the latter was the first to conduct
+vocal training on correct scientific principles, the former undoubtedly
+laid the foundation of the school from which sprung Grisi, Sontag, and
+Alboni. Truly a remarkable man, to whose abilities Rossini bore striking
+testimony when he said to Manuel, after the elder Garcia's death, "Si
+ton père avait autant de savoir-faire que de savoir musical, il serait
+le premier musicien de l'époque."
+
+The spring of 1833 saw Maria Malibran at Drury Lane, receiving £3200 for
+forty appearances, in addition to two benefits, which brought an
+additional £2000; and on May 1, we read that she appeared in the first
+performance of an English version of "Somnambula," in which part "she
+drew the town in admiring crowds, tickling the ears of the groundlings
+with the felicity of her roulades."
+
+In this opera she had already appeared in the Italian version with
+greater success even than Pasta, for whom Bellini had written the
+_rôle_. Further, the old Italian musician found in her his ideal
+interpreter for one of his most beautiful works, "Norma," with which he
+had only made a moderate success at La Scala.
+
+On the night of its production in London, as the composer advanced to
+thank her, Maria Malibran rushed towards him with open arms, and sang
+the words, "Ah, m'abbracia."
+
+"Mon émotion fut indescriptible," Bellini said afterwards in speaking of
+the incident. "Je me croyais en paradis. Je ne pus ajouter un mot, et je
+restai comme étourdi."
+
+After the London season of 1833 Mme. Malibran returned to Naples,
+remaining there till the May of 1834, when she went to Bologna and Milan
+till the end of June, while July was spent in London. The following
+August saw her reception at the Court of Lucca, and of this visit a
+charming description is given in a letter written by the violinist de
+Bériot, to whom she had promised her hand as soon as her ill-fated
+marriage with Mons. Malibran should have been dissolved,--a lengthy
+process in those days.
+
+
+     "LUCCA, _August 31, 1834_.
+
+     "DEAR SISTER,--We arrived at the baths of Lucca yesterday, and have
+     been spending two delightful days. It would be impossible to find a
+     reigning prince with more geniality and amiability than the Duke of
+     Lucca. The same might be said of the queen-mother of Naples.
+
+     "The evening which I told you about in my last letter took place at
+     her house on Friday last, Mariette sang ten songs, among the number
+     being the one by Coutiau, which sent everybody into fits of
+     laughter,--not that fashionable affected sort of laugh such as is
+     considered etiquette at the Court functions in France and Belgium,
+     but the hearty gaiety of the people, for here you do not have to
+     put a restraint on yourself at the Court. When you enter the room
+     you make your bow to the Queen and the Duke: after that you put
+     your hat in a corner of the 'salon' and do whatever you like. I
+     should become a furious royalist if we were allowed as much freedom
+     as this at other courts.
+
+     "The day after the 'soirée' the Queen sent by her secretary some
+     splendid presents. Maria received a magnificent diamond cluster for
+     her forehead, while I was given a single stone of great value, set
+     in a ring for the little finger of my left hand; so in future I am
+     always sure to have a brilliant cadenza. Then there was a very nice
+     ornament in the shape of an eagle for Mariette's sister, Pauline.
+     But that was not all, for there was a purse of gold, more than
+     sufficient to cover all the expenses of the journey. That is what I
+     call behaving really handsomely.
+
+     "The rest of the evening was spent at Prince Poniatowski's. The
+     Duke was present. He had been very full of fun during the dinner,
+     over which he presided, sitting at the middle of the table. In his
+     hand he held a big ruler to kill the wasps, of which there are
+     great numbers in this country. He never missed one of them.
+
+     "After dinner he gave himself up to dancing, singing, and romping,
+     taking every one by the hand, as Labarre used to do when he was in
+     good spirits. At last the Duke sat down at the piano and sang a
+     _buffo_ duet from the 'Mariage Secret' in piquant fashion.
+
+     "At this moment a little incident interrupted the music, but added
+     considerable picturesqueness to the evening. A couple of bats flew
+     in at the window, attracted by the light, and amused themselves by
+     fluttering and sporting around our heads.
+
+     "The ladies all took to their heels and fled into the next room,
+     but the rest of the party, including S.A.R., armed ourselves with
+     sticks and whips, and after two hours' conflict succeeded in
+     killing the bats.
+
+     "My letter, my dear Constance, has been interrupted by an excursion
+     into the country, organised on the spur of the moment. We purpose
+     spending two more days at Lucca, at Prince Poniatowski's, with
+     S.A.R., who has made himself as charming as usual.
+
+     "When I was in Paris I bought a cane with a knob made of lead. It
+     took the fancy of the Duke, and I have given it to him. He has
+     given me his own in exchange, and as it has a knob of gold it has a
+     double value.
+
+"CH. DE BÉRIOT."
+
+With 1835 we come to an important advance of Manuel Garcia's position as
+a teacher, the first official recognition of his growing fame. When at
+the close of 1830, fresh from his anatomical studies at the hospital, he
+had joined his father in his work, he at once resolved to apply the
+knowledge thus gained. It was, therefore, his custom to insist that
+every pupil who presented himself should undergo a vocal and medical
+examination, while at the same time he made him submit to a special
+treatment, if the larynx appeared to him to demand it.
+
+This scientific method of approaching singing made a great stir, and he
+soon found himself surrounded by an ever-increasing _clientèle_. With
+his pupils, both amateur and professional, he gained such continuous
+success that at last, in 1835, he was appointed to a professorial chair
+at the Paris Conservatoire, and this naturally marked a very distinct
+step in his career.
+
+It has always been stated that he was given the post by Auber, but
+investigation proves this to be incorrect. Auber was not appointed to
+the directorship of the Conservatoire until the year 1842. At the time
+Señor Garcia joined the staff Cherubini was at the head of affairs,
+having been made director in the year 1821 (after being professor of
+composition there for five years), and he remained in that position
+until the close of 1841, when he retired at the age of eighty-one, to be
+succeeded by the younger composer.
+
+In the year of Manuel Garcia's appointment to the Conservatoire, his
+sister, Maria Malibran, was in London during May and June, having been
+engaged by the management of the Royal Italian Opera at Covent Garden
+for twenty-one performances at a fee of £2775.
+
+How little did those who listened to her in London that summer foresee
+that with the close of the season they were to hear her in the capital
+no more, and that in little over a year her life was to be brought to a
+tragic end! Yet such was to be the case.
+
+After the close of the London season the contralto retired to Brussels
+for a rest, and then in the early autumn set out for Naples.
+
+Immediately on her arrival she received an urgent visit from Giovanni
+Gallo, the director of the little theatre of "St Jean Chrysostôme." The
+interview led to a delightful episode.
+
+The unhappy impresario was on the verge of bankruptcy, and came to beg
+her aid. Maria Malibran refused, but offered to sing for him at his
+theatre for a fee of three thousand francs.
+
+The company and orchestra, who had already half dispersed, were hastily
+reassembled, and de Bériot himself directed the rehearsals for
+"Somnambula." The announcement of the forthcoming performance created
+tremendous excitement,--seats fetched incredible prices; and on the
+night itself the hall was crammed to overflowing. The tenor was so
+affected that he suddenly stopped short, and for some minutes could not
+sing a note. The public began to murmur, and the whole success of the
+evening was in jeopardy, until Malibran came to the rescue. She at once
+commenced to sing the tenor music, and rendered it with such virility of
+accent and gesture that the public shouted with enthusiasm. What was
+more to the purpose, the tenor was able to recover himself after a few
+moments and take up his _rôle_ again. At the fall of the curtain the
+ovation was tremendous,--indeed it seemed as if the applause would never
+come to an end.
+
+Her generous action had been noised abroad throughout Venice, and when
+she went out people fought over bits of her shawl, her gloves, even her
+handkerchief, while all the gondolas formed a guard of honour as far as
+the Barbarigo Palace where she was staying. Scarcely had she entered
+when the Syndic of the gondoliers was announced. On being shown in, he
+presented a golden cup filled with wine, and begged her to touch it with
+her lips. From her balcony she saw the cup passed from hand to hand
+down that long flotilla, stretching away down to the "Riva del Carbone."
+Each boatman took a sip, but so small a one, fearing lest the wine
+should be exhausted before it had circulated among all his comrades,
+that when it came back into the hands of the Syndic it was still half
+full: seeing which, he poured the rest of the wine into the Grand Canal
+as a libation.
+
+The total receipts of the performance were 10,500 francs, but nothing
+less than 15,000 could save the unhappy Gallo from bankruptcy. When he
+presented himself next day with the 3000 francs, as arranged, the
+tender-hearted artist discovered his predicament, and not only let him
+off her fee, but provided him with the further sum necessary for the
+settlement of his debt. Perhaps Alfred de Musset was thinking of this
+act of generosity when he wrote the lines--
+
+    "Cet or deux fois sacré qui payait ton génie
+    Et qu'à tes pieds souvent laissa ta charité."
+
+In remembrance of this memorable performance, the municipality of Venice
+decided that the Theatre of Saint Jean Chrysostôme should be called
+henceforth the Théâtre Malibran.
+
+The ensuing winter the prima donna spent at Milan, where the Duke of
+Visconti, director of La Scala, had offered her a contract for 185
+performances, spread over two and a half years, for which she was to
+receive 450,000 francs. This visit to Milan marked the zenith of her
+fame, and is still referred to as "the glorious year." Here she pursued
+still further the studies, which she had already commenced, with regard
+to the reform of costume and scenery. Towards the realisation of her
+dreams she was supported by the Duke of Visconti, who, besides his
+connection with the opera house, was superintendent of the Academy of
+Art and Science. Reviving the ideas of Talma, she wished to introduce in
+the theatre artistic and archæological truth, and, with this aim in
+view, she had copies made of a quantity of costumes from the archives of
+Venice, and from the miniatures in some old manuscripts. From these
+designs dresses were made for many of the operas, notably "Otello." So
+great an interest did she take in the carrying out of this reform, that
+she always used to refer to it as "la grande affaire."
+
+There are still extant not only a great number of the designs, which
+were copied by her orders, but several albums of sketches for which she
+was herself responsible, and these exhibit considerable dexterity,
+besides giving proof of the deep interest which she took in the scheme.
+
+In the midst of all this work, and of numberless receptions at which she
+was ever the principal attraction, she made frequent appearances at the
+Scala in "Otello," "I Capuletti," "Norma," "Somnambula," and "Giovanna
+Grey." The enthusiasm of the public had never reached such a pitch
+before, and it is from this year that those stamps dated which bore her
+head, and were used to close letters: specimens of these are still to be
+seen, but they are extremely rare.
+
+On the day of her departure her comrades at the theatre presented her
+with a finely executed medal of gold, in which she was depicted in the
+costume of "Norma"; while the governor expressed the hope of seeing her
+quickly back again. But it was never to be consummated.
+
+On March 26, 1836, the contralto's marriage with Monsieur Malibran was
+finally annulled by the courts of Paris. This unworthy husband, soon
+after her return to Europe, had heard of her success in the French
+capital and followed her thither, demanding a share of her professional
+emoluments. With this claim she very properly refused to comply. He had
+obtained her hand by means of deception, and she had acquitted herself
+of any claim he might have had as her husband, by resigning in favour of
+his creditors the property which had been settled on her.
+
+Three days after the marriage had been annulled, she was wedded to
+Charles de Bériot, the violinist, and we read that "the Queen of France
+presented the bride with a costly agraffe, embellished with pearls."
+
+Next day de Bériot and his wife arrived at Brussels, and shortly
+afterwards were heard there for the first time together at a concert
+given for the benefit of the Polonais, and in another performance at the
+Theatre Royal.
+
+Then came that fatal day in April when the singer had a terrible fall
+from her horse, being dragged some distance along the road and receiving
+injuries to her head from which she never recovered, though her
+wonderful energy enabled her to disregard the results for a time. She
+retired to Brussels, and went thence to Aix-la-Chapelle, where she gave
+two concerts with de Bériot.
+
+In September they made a rapid journey from France, arriving at
+Manchester on Sunday the 11th, where she had been engaged as the
+principal attraction for the Festival. The same evening she sang no less
+than fourteen pieces in her room at the hotel to please some Italian
+friends. On the Monday she took part in the opening performance. Next
+day she was weak and ill, but nevertheless sang afternoon and evening.
+On the Wednesday her condition became still more critical, but she
+managed to render "Sing ye to the Lord" with thrilling effect; and this
+was the last sacred piece she ever sang, for that same evening brought
+her grand career to its tragic close.
+
+The scene was one which none forgot who were present on that fatal
+night.
+
+Before Maria Malibran had even reached the hall she had already fainted
+several times. Yet with an indomitable courage she nerved herself to go
+through the coming ordeal. With tears in their eyes, her friends begged
+her to return without attempting the strain for which she was so
+ill-prepared. But no; Maria Malibran refused to break faith with the
+public whom she had served so long, so gloriously. Even though her heart
+was chilled with presage of impending doom, she forced herself to enter
+on her self-appointed task, and carried it through with such success
+that when her final duet had been sung, "Vanno se alberghi in petto,"
+none who had listened to that rich contralto voice guessed that they
+had been present at the closing scenes of their favourite's career.
+
+Her task was over, she had fought in an unequal combat and prevailed.
+But still an enraptured audience clamoured to hear her yet again, and
+the noisy demand grew ever more insistent, until Maria Malibran came
+forward to repeat the closing movement.
+
+As she sang, an agonised expression came over her face, her limbs
+trembled, her efforts became more and more painful. It was the struggle
+of a brave woman against sinking nature, the vivid glare of an expiring
+lamp. Higher and higher rose the voice, paler and paler grew the singer.
+Then came a last wild note of despair: the swan song was ended, and
+Maria Malibran staggered from the platform, to sink exhausted into the
+arms of loving comrades.
+
+A grateful public vied each with the other in doing honour to their
+heroine, but, alas! those thunders of applause fell on ears that heard
+them not. Maria Malibran lay hovering 'twixt life and death.
+
+But the end was not yet. She rallied, and was borne across to her room
+at the hotel, and here she lingered for nine days in a fever before the
+end came. On her deathbed her poor brain was in song-land, and almost
+with her last breath she sang snatches of her favourite airs.
+
+On October 1, 1836, her burial took place at the south aisle of the
+Collegiate Church, Manchester, but the remains were afterwards removed
+to Brussels, where they were reinterred in a mausoleum erected by her
+husband. Here for many years, on each succeeding anniversary of her
+death, the musicians of Brussels were wont to deposit their
+visiting-cards at the grille of the now deserted mausoleum, the cupola
+of which still towers above the surrounding tombs. It was not long after
+the singer's death that "Tom Ingoldsby"--a stripling of seventeen in the
+year of Manuel Garcia's birth--put into the mouth of his Lord Tom Noddy
+the oft-quoted lines--
+
+    "Malibran's dead, Duvernay's fled,
+    Taglioni has not yet arrived in her stead."
+
+Of Maria Malibran's powers as an artist her brother could never speak
+too highly. She was richly endowed with the artistic genius of the
+family, and was possessed of a contralto of marvellous purity and
+richness, being at the same time gifted with great histrionic powers.
+Her singing, as has been already stated, was always full of fire and
+warmth, while, besides her passion, there was gentle pathos, which had
+great effect on the listener. As a girl she was _petite_ and slight,
+with burning cheeks and flaming eyes. Though not a beautiful woman, she
+was extremely attractive. Her head was well shaped, her mouth rather
+large, but her smile very sweet, and she had the most perfect set of
+teeth, while her pretty figure was full of graceful curves.
+
+Her versatility was shown not only in her extraordinary vocal and
+histrionic achievements and skill in vocal improvisation, but in her
+powers as a linguist, while as an artist her sketches were good, and
+sometimes amusing. Moreover, her vivacious temperament and ready wit
+found an outlet in a love of fun and mimicry. An instance of this is
+related by John Parry, the composer and singer of refined comic songs.
+The incident took place at an evening party in Naples.
+
+"Such a merry-making, frolicsome sort of party I never witnessed," he
+says. "We had much _good_ singing, as you may suppose; but Mazzinghi's
+comic duet of "When a little farm we keep"--which I had the honour of
+singing with Malibran--carried all before it, in consequence of the
+exquisite manner in which she sang the _do re mi_ part of it; and when
+she repeated it she executed the florid divisions so delightfully, and
+so brilliantly, yet quite differently from the first time, that the
+company was enraptured.... The prima donna requested Lablache to sustain
+the low F, me to sing B flat, and others the harmonic intervals above,
+then to place the finger on the side of the nose, so as to form a drone,
+while she imitated the squeaking tones of the bagpipes in such a manner
+as to cause the loudest laughter, especially when we sank our voices
+very slowly together, as if the wind in the bellows was nearly
+exhausted."
+
+Maria Malibran was, moreover, a veritable tomboy when she was in the
+company of children, being up to all sorts of tricks, and rested by
+painting beautiful pictures; would dress as a man, and drive the coach
+from place to place, and when she arrived, brown with the sun and dust
+of Italy, would sometimes jump into the sea. Then she would go straight
+to the opera and, having sung "Amina," "Norma," or "The Maid of Artois,"
+as we shall perhaps never hear them sung again, return home to write or
+sing comic songs. At cock-crow she was out galloping her horse off its
+legs before a rehearsal in the morning, a concert in the afternoon, and
+the opera at night.
+
+Such was Maria Malibran, untiring in energy, scarcely resting a moment.
+Little wonder that she did not live to the same age as the rest of her
+family, for she died at twenty-eight, whereas her mother lived to be
+eighty-three, and her sister Pauline is still living, approaching her
+ninetieth birthday, while Manuel entered on his 102nd year before the
+Reaper summoned him.
+
+Well did Lablache say of Maria Malibran, "Son esprit est trop fort pour
+son petit corps."
+
+[Illustration: Pauline Viardot]
+
+
+
+
+CHAPTER IX.
+
+PAULINE VIARDOT-GARCIA.
+
+(1837-1841.)
+
+
+After the death of Malibran in 1836, the ensuing years of Manuel
+Garcia's life were spent in steady progress of fame as a teacher. The
+next event of importance in his career took place four years later.
+These intervening years were, however, brightened by much reflected
+glory, for as the period between 1830 and 1836 saw the triumphs of his
+eldest sister and pupil, Maria Malibran, so this next one brought the
+success of his youngest sister, Pauline Viardot, also his pupil.
+
+Her first lessons had been received as a child at the hands of her
+father, but seeing that she was only eleven years old when he died, it
+may be certainly claimed that her brother was responsible for the
+greater part of her training.
+
+It was in 1837, the year which saw the accession of Queen Victoria, that
+she made her _début_ as a singer at Brussels. This was not, however, her
+first appearance on the platform, for she had already shown herself to
+be an admirable pianist. Her earliest lessons in pianoforte had been
+received in New York from Marcos Vega, being afterwards continued under
+Meyssenberg; but the most important part of her study was done under
+Liszt.
+
+The German pianist had already made considerable success by the time his
+father died in 1827, when he himself was but sixteen years old. The
+event brought a great change in his circumstances, and made it necessary
+for him to keep himself by teaching. His services were at once in demand
+among the best families, and in due course Pauline was placed under him.
+Though she refers to her talent on the instrument as "passable," Liszt
+counted her one of his best pupils.
+
+After studying for some time she made her appearance as a pianist at
+several concerts organised by her sister and de Bériot in Belgium and
+Germany. Composition, too, she learned under Reicha, and it was to him
+that she owed that grasp of the technique of her art by which she was
+able to give full scope to the richness of her own inspiration.
+
+In 1837, as we have already said, her _début_ as a vocalist was made at
+Brussels. After this she went on a concert tour with de Bériot, and sang
+at a concert in Paris in 1838 at the Théâtre de la Renaissance, when her
+powers of execution were brilliantly displayed in a _cadence du Diable_.
+
+After these preliminary appearances, which were designed to make her
+"feel her feet," Pauline Garcia, on May 9, 1839, made her London _début_
+at Her Majesty's Theatre, as Desdemona in "Otello." Her success was
+instantaneous: without hesitation the public favour which had been
+bestowed on her sister was given to her also, with almost greater
+enthusiasm. From the commencement it was conceded that she was a
+remarkable artist.
+
+She was a mezzo-soprano, with fine clear upper notes, and a wonderful
+execution in bravura passages. Moreover, as an actress she was equally
+successful in tragedy or comedy, besides being a perfect musician. And
+yet, as Señor Garcia would remark, there was not in her case a
+"phenomenal voice," as there had been in that of the lamented Malibran.
+It was, according to her brother, by no means a great one, and the voice
+alone would in ordinary circumstances have been placed in the second
+class.
+
+There is a well-known story of a certain painter being asked by one of
+his sitters: "Tell me, with what do you mix your paints to get these
+wonderful effects?" "Madame," was the reply, "I mix them with my
+brains." So, too, Pauline Garcia may be said to have sung with her
+brains.
+
+It was indeed the triumph of mind over matter. With her it was another
+case which went to uphold the truth of the well-known dictum that
+"Genius is the capacity for taking infinite pains." She possessed the
+will-power and determination to rise above all obstacles, as Demosthenes
+had possessed it centuries before, when he made up his mind to become a
+leading advocate, and, in order to attain greater clearness of
+enunciation, spent hour after hour by the seashore, where he would
+recite, his mouth filled with pebbles. With what a result! The Athenian
+ended by becoming one of the world's greatest orators: Señor Garcia's
+youngest sister became one of the world's greatest dramatic singers.
+
+In the autumn of 1839 she went to Paris for a season at the Théâtre
+Italien, for which she had been engaged by the impresario, Mons. Louis
+Viardot, a distinguished writer and critic, and founder of the 'Revue
+Indépendante.' Here she shared in the triumphs of Grisi, Persiani,
+Rubini, Tamburini, and Lablache; while her principal parts were three
+_rôles_ as different as they were characteristic--in the operas of
+"Otello," "Cenerentola," and "The Barber of Seville."
+
+Many tributes were paid by those who heard her. Liszt, under whom she
+had studied the piano, wrote of her in these terms--
+
+"In all that concerns method and execution, feeling and expression, it
+would be hard to find a name worthy to be mentioned with that of Maria
+Malibran's sister. In her, virtuosity serves only as a means of
+expressing the idea, the thought, the character of a work or a _rôle_."
+
+George Sand called her "the personification of poetry and music," and
+set down her impressions on listening to the singer thus: "The pale,
+still,--one might at the first glance say lustreless,--countenance, the
+suave and unconstrained movements, the astonishing freedom from every
+sort of affectation,--how transfigured all this appears, when she is
+carried away by her genius on the current of song!"
+
+Her first appearance in Paris was greeted by Alfred de Musset, the poet
+of Romanticism and warm friend of Victor Hugo, in those well-known
+lines--
+
+    "Ainsi donc, quoi qu'on dise, elle ne tarit pas
+      La source immortelle et féconde
+    Que le coursier divin fit jaillir sous ses pas."
+
+When de Musset wished to crystallise in prose his feelings on hearing
+her sing, he expressed himself in these words--
+
+"Si Pauline Garcia a la voix de sa soeur, elle en a l'âme en même
+temps, et, sans la moindre imitation, c'est le même génie.... Elle
+chante comme elle respire.... Sa physionomie, pleine d'expression,
+change avec une rapidité prodigieuse, avec une liberté extrème, non
+seulement selon le morceau, mais encore selon la phrase qu'elle exécute.
+Avant d'exprimer, elle sent."
+
+Again, Richard Wagner pays a remarkable tribute to her powers in a
+letter to L. Uhl relating to his stay in Paris in 1859, and to the
+attempts to arrange for the production of "Tristan" there. In it the
+composer recounts how the same difficulty of reading the _rôles_ of this
+work was encountered in Germany, which militated much against its
+production. "Madame Viardot," he writes, "expressed to me one day her
+astonishment that in Germany people always spoke of this difficulty of
+reading the music of 'Tristan.' She asked me if in Germany the artists
+were not then musicians? I for my part hardly know how to enlighten her
+on this point; for this grand artiste sang through at sight, with the
+most perfect expression, a whole act of the _rôle_ of Isolda."
+
+Such was the artiste whose _début_ in London in 1839 was followed by so
+brilliant a career.
+
+We now come to 1840--a year made noteworthy in the life of Garcia by
+another important advance in his career.
+
+Since his appointment to a professorship at the Paris Conservatoire, his
+reputation had continued to be steadily consolidated, and his
+_clientèle_ included, besides those who were being trained for the
+musical profession, a great number of amateur pupils, among whom were to
+be found not only some of the most distinguished names in Paris, but
+many members of the royal family itself. Throughout this period he had
+been steadily working to increase his knowledge relative to the
+mechanism of the voice, and at last, in 1840, he found that his
+investigations had reached a point at which they might be found of
+interest to others.
+
+Accordingly, in this year he set down the result of his studies in the
+classical paper which he submitted to the Académie des Sciences de
+France under the title, "Mémoire sur la voix humaine," to which was
+added the rather odd-sounding subtitle, "Description des produits du
+phonateur humain." In it he embodied the various discoveries which he
+had made relating to the larynx.
+
+Among the principal points to which he drew attention were the
+following:--
+
+     (1) The head voice does not necessarily begin where the chest voice
+     ends, and a certain number of notes can be produced in either
+     register.
+
+     (2) The chest voice and the head voice are produced by a special
+     and spontaneous modification of the vocal organs, and the
+     exhaustion of the air contained in the chest is more rapid in the
+     proportion of four to three in the production of a head than a
+     chest note.
+
+     (3) The voice can produce the same sounds in two different
+     timbres--the clear or open, and the sombre or closed.
+
+The memoir on the human voice was duly reported on by Majendie, Savart,
+and Dutrochet at a public meeting which was held on April 12, 1841, the
+result being that this resolution was passed: "The thanks of the Academy
+are due to Professor Garcia for the skilful use which he has made of his
+opportunities as a teacher of singing to arrive at a satisfactory
+physical theory of the human voice." The circumstance gave occasion for
+a somewhat acrimonious discussion concerning certain points of priority
+as between Garcia and MM. Diday and Pétrequin, two French scientists.
+
+This was followed up by the publication of the 'Method of Teaching
+Singing,' in which Garcia cleared up the confusion which had hitherto
+existed between "timbre" and "register."
+
+He defined the expression "register" as being a series of consecutive
+homogeneous sounds produced by one mechanism, differing essentially from
+another series of sounds equally homogeneous produced by another
+mechanism, whatever modifications of "timbre" and of strength they may
+offer. "Each of the registers," he added, "has its own extent and
+sonority, which varies according to the sex of the individual and the
+nature of the organ."
+
+At this time he stated that there were two registers; but in later
+years, with the invention of the laryngoscope and the examination of the
+vocal cords which resulted from it, he altered the original division
+from two to three--chest, medium, and head-voice,--and this is accepted
+by all as scientifically correct according to the definition of
+"register" laid down by him.
+
+The year which found Manuel Garcia presenting his paper to the Académie
+des Sciences saw his sister Pauline married to Monsieur Viardot, by whom
+she had been engaged for her first season at the Paris Opera House.
+Almost immediately after the wedding her husband resigned his position,
+so as to accompany her on her tours through Italy, Spain, Germany,
+Russia, and England.
+
+At Berlin, such was her success, that after her performance as Rahel in
+Halévy's "La Juive," she was serenaded by the whole orchestra. Here,
+too, she astonished all by volunteering at a moment's notice to sing the
+part of Isabelle in "Robert le Diable" in addition to her own of Alice,
+when the artiste who had been engaged for the former _rôle_ was suddenly
+taken ill.
+
+Her actual _début_ in Germany was made at a State concert in Berlin,--an
+official ceremony, but still a private one. The first public appearance
+in the country was made at an evening concert at the Gewandhaus of
+Leipsic in 1843.
+
+Pauline Viardot was twenty-two at the time. With a charming appearance,
+and already ablaze with the reflected glory of her sister, Maria
+Malibran, the _débutante_ quickly roused the sympathetic curiosity of
+her audience to enthusiasm. The entire press praised her virtuosity,
+artistic feeling, and nobility of countenance, but above all they
+expressed admiration for her gift of revealing the innermost beauty of
+the grand musical works in which she lived and felt so profoundly.
+
+They admired, too, that unique talent which wrapped every phrase in the
+exquisite charm and grace which she brought to bear. For that reason the
+bravura air of Persiani's "Inès de Castro," the final rondo from
+Rossini's "Cenerentola," and an unpublished air of Ch. de Bériot, earned
+for her at this first concert as much applause as the great air from
+Handel's "Rinaldo" and the lighter French, Spanish, and German songs
+which she sang in the same programme. These last three varieties of song
+she gave with a national colour so characteristic that, as one of the
+critics said, "Elles parurent chantées par trois voix et par trois âmes
+totalement différentes."
+
+As was her usual custom, she accompanied herself on the piano to
+perfection. Clara Schumann, who took part in the concert, was
+dumfounded, and never forgot the occasion. Another musician who appeared
+that evening was a young violinist, an infant prodigy, twelve years old,
+who was to become in later years the great master, Joseph Joachim.
+
+Between 1840 and 1843 Mme. Viardot added to her successes many fresh
+operas, principal among them being "Tancredi," the "Gazza Ladra," and
+"Semiramide," in which she took the part of Arsace. By the year 1845 her
+repertoire comprised, in addition to those already mentioned,
+"Somnambula" and "Norma," "I Capuletti" (in which she played Romeo),
+"L'Elisire d'Amore," "Lucia di Lammermoor," and "Don Pasquale"; as well
+as in German, "La Juive," "Iphigénie en Tauride," "Les Huguenots,"
+"Robert le Diable," and "Don Juan," in which she played sometimes the
+part of Zerlina, at others Donna Anna.
+
+In 1848 she was in Paris again, and enraptured Meyerbeer with her
+rendering of Fides in "Le Prophète," a _rôle_ which she subsequently
+sustained on over two hundred occasions in all the chief opera houses in
+Europe, being--_teste_ Moscheles--"the life and soul of the opera, which
+owed to her at least half of its great success."
+
+Three years later came another triumph, when, at Gounod's request, she
+created the part of Sapho. In 1855 she added to her laurels "Le Mariage
+Secret." Then came the evenings at the Théâtre Lyrique in 1859, with
+"Orpheo" and "Fidelio," and finally her season of opera in 1861, with
+"Alceste," "Favorita," and "Il Trovatore."
+
+At the end of a career lasting over a period of twenty-five years, the
+artist retired, and in 1865 settled in Baden-Baden as a teacher, her
+principal pupils being Désiré Artot, Marianne Brandt, and Antoinette
+Sterling. Here in her own grounds she had a private theatre built, a
+small square building, capable of holding about a hundred people, in
+addition to a diminutive orchestra, stage, and anteroom. In this hall
+she was wont to give concerts, to which were invited celebrities from
+every land, representatives of the various branches of art and science,
+poets, painters, diplomats, and the like; while on more than one
+occasion the old Emperor of Germany himself honoured her with his
+presence.
+
+At one of these, Mme. Viardot's pupils performed an operetta of her own
+composition, while Mme. Artot sang a scene from an opera, and several
+others from among the greatest German artists took part in the
+programme. These included Joseph Joachim and Ferdinand David, the latter
+of whom was at this time Concertmeister in Leipzig.
+
+Antoinette Sterling, who was then studying with Mme. Viardot, sang an
+Italian aria, in addition to taking part in the operetta. Her hair was
+let down for the occasion, while she wore a costume in the Grecian
+style, surmounted by a red velvet cap. This was the only time my mother
+ever appeared in "stage costume," or suffered rouge to be applied to her
+face.
+
+During this period Johannes Brahms was living in Baden-Baden, and
+Antoinette Sterling has left a description of an episode in connection
+with the friendship of the composer for Mme. Viardot:--
+
+"Herr Brahms at this time looked almost a boy, rather short and thick,
+with a full round face and fair yellowish hair. In honour of Mme.
+Viardot's birthday"--(this was in the year 1869)--"he wrote a small
+chorus for women's voices, and came himself to conduct the rehearsals,
+all of which took place in my rooms. At five o'clock on the birthday
+morning, we walked with Herr Brahms through the grassy fields up to her
+house, and there, under her window, sang the morning serenade. When she
+came down from her room, her face wreathed in smiles, every student
+threw her a bouquet, a stipulated price being given for each of these
+bunches of flowers, so that none should be more gorgeous than the rest."
+
+We have seen the admiration which Pauline Viardot had aroused in many
+composers besides Brahms. One may add to the list the name of Robert
+Schumann, for he dedicated to her his beautiful Liederkreis, op. 24. Nor
+was Señor Garcia's sister unknown as a writer of music, for she has been
+responsible for many beautiful compositions.
+
+After spending some five years in Baden-Baden, Mme. Viardot was forced
+to leave the town on the outbreak of the Franco-Prussian War, owing to
+her husband being of French nationality. They made their way at once to
+London, where Manuel Garcia was residing, and of the months which they
+spent there I shall have something to say later, since Mme. Noufflard,
+the daughter of Lady Hallé, has given some interesting reminiscences of
+that period. When things had become sufficiently quiet again Mme.
+Viardot decided to settle in Paris, and there she has resided ever
+since.
+
+And what of her life in recent years, in her grand retirement? The year
+1905, which saw her brother celebrating his centenary, found her in
+splendid old age after many years of widowhood, approaching her
+eighty-fifth birthday; living in a handsome house in the Boulevard St
+Germain; strong, tall, and of dignified bearing, her hazel eyes still
+retaining their true Spanish brilliance; her voice clear and
+well-sustained; herself full of vivacity, and with a memory no less
+remarkable than that of her brother; full of enthusiasm for music and
+art, a grandmother, with the most charming smile and magnetic gaiety,
+and still able to add to the number of her musical compositions.
+
+A true Garcia.
+
+One might well be tempted to dwell still further on that wonderful
+personality, laying stress on her care as a teacher, on her beneficent
+work among the artists whom she instructed, after they had journeyed
+from all directions, from the New World as well as the Old, to place
+themselves in her hands. One longs to paint her amid her home
+surroundings, in an atmosphere vibrating with music, bathed in art; one
+longs to show that lovable serenity, that wonderful gaiety and
+prodigious activity, which perhaps strike one most of all.
+
+This little sketch of her career will be brought to an end by a
+quotation from a letter, in which one may appreciate the exquisite turn
+which she gives to every phrase and thought:--
+
+" ...Mais où trouver le temps de faire ce qu'on voudrait? C'est à peine
+si on arrive à faire ce qu'on doit! En vieillissant, le temps passe de
+plus en plus vite et vous entraîne d'une course vertigineuse vers le
+_Grand Inconnu!_ sans arrêt, sans repos, sans pitié. Il y aura peut-être
+dans le ciel une immense bibliothèque, où les oeuvres du génie seront
+rassemblées, et je me promets d'y faire de fameuses séances de
+lectures!..."
+
+It is the letter of a moment, but the sentiments, which she expresses so
+beautifully, are those of an eternity.
+
+[Illustration:
+
+_Photo by_          _W. & D. Downey._
+
+Yours sincerely Jenny Goldschmidt]
+
+
+
+
+CHAPTER X.
+
+JENNY LIND.
+
+(1841-1842.)
+
+
+The year 1841 may be looked on as the most important in Manuel Garcia's
+career as a teacher of singing, for it saw the arrival of the soprano
+who was to become the greatest of all his pupils--Jenny Lind. For this
+reason it is my intention to devote a chapter to the events which led up
+to her coming to him for lessons, to the period of study which she spent
+under his guidance, and to the success which followed on the completion
+of this training. For much of the material I am indebted to the
+interesting memoir of the prima donna's career written by Canon Scott
+Holland, through whose courtesy I have been enabled to quote from the
+volume in question.
+
+Born in Stockholm in 1820 of humble parentage, Jenny Lind, at the age of
+nine, was admitted to the school of singing attached to the Royal
+Theatre. Of the incident which brought about her removal and fixed for
+ever the lines of her future career, it is possible for us to read in
+her own words, as they were taken down by her son, to whom she told the
+story at Cannes in the spring of 1887.
+
+"As a child," writes Canon Holland, "she would sing with every step she
+took: one of the forms which the perpetual song assumed was addressed to
+a blue-ribboned cat, of which she was very fond. Here is the rest of the
+story as Jenny Lind related it:--
+
+"'Her favourite seat was in the window of the steward's room, which
+looked out on the lively street leading up to the church of St Jacob.
+Here she sat and sang to the cat; and the people passing in the street
+used to hear and wonder. Amongst others was the maid of Mdlle. Lundberg,
+a dancer at the Royal Opera House, and this girl on her return told her
+mistress that she had never heard such beautiful singing as that of this
+little one when she sang to her pet.
+
+"'Mdlle. Lundberg thereupon found out her name and sent a note to the
+mother, who was in Stockholm at the time, asking her to bring the child
+to sing to her; and when she heard her voice, she cried, "The girl is a
+genius! you must have her educated for the stage." But Jenny's mother,
+as well as her grandmother, had an old-fashioned prejudice against the
+stage, and would not hear of such a thing. "Then you must, at any rate,
+have her taught singing," said the dancer; and in this way the mother
+was persuaded to accept a letter of introduction to Herr Croelius, the
+Court secretary and Singing-master, at the Royal Theatre.
+
+"'Off with the letter they started; but as they went up the broad steps
+of the Opera House, the parent was again troubled by her doubts and
+repugnance. She had, no doubt, all the inherited dislike of the burgher
+families for the dramatic life. But little Jenny eagerly urged her to go
+on; and so they entered the room where the teacher sat. The child sang
+him something out of an opera composed by Winter. When he heard her,
+Croelius was moved to tears, and said that he must take her in to the
+Count Puke, the head of the Royal Theatre, and tell him what a treasure
+he had found.
+
+"'Having been admitted to the manager's sanctum, the first question
+asked was, "How old is she?" and Croelius answered "Nine years." "Nine!"
+exclaimed the Count; "but this is not a _crêche_--it is the King's
+Theatre;" and he would not look at her, she being, moreover, at that
+time what she herself has called "a small, ugly, broad-nosed, shy,
+gauche, under-grown girl." "Well," said the other, "if you will not hear
+her, then I will teach her gratuitously myself, and she will astonish
+you one day." With that Count Puke consented to hear her sing; and when
+she sang he, too, was moved to tears. From that moment she was accepted,
+being taught to sing, educated, and brought up at the Government
+expense.'"
+
+Thus did Jenny Lind tell the crucial event of her life in her own
+graphic manner.
+
+At eighteen she came out as an opera singer, appearing as Agatha in "Der
+Freischütz," Alice in "Robert le Diable," and many other parts. During
+the two years that followed, she caused considerable damage to her
+voice, partly through overstrain, partly through ignorance of the true
+principles of voice-emission. As soon as she realised what had happened
+she determined to go to Paris, for she had been long convinced that
+there was one man alone from whom she could learn all those
+technicalities of the art of singing of which she knew so little and
+longed to know so much. And the name of that man was Manuel Garcia,
+whose fame as a teacher had, even at that early period of his career,
+already travelled to Sweden.
+
+It was not long before her project was put into execution. On Thursday,
+July 1, 1841, Mdlle. Lind, now in her twenty-first year, embarked on the
+steamship _Gauthiod_ for Lübeck.
+
+After a few days of rest and enjoyment she proceeded to Hâvre by
+steamboat and thence by diligence to Paris.
+
+Here we can take up the narrative as it is told by Canon Holland:--
+
+"On leaving Sweden she had brought with her a letter of introduction to
+the Duchesse de Dalmatie (Madame la Maréchale Soult) from her relative,
+Queen Desideria, the wife of Maréchal Bernadotte, who had become King of
+Sweden and Norway in the year 1818, under the title of Karl XIV. Johann.
+
+"As a result of the letter she received an invitation, soon after her
+arrival, for a reception at Madame Soult's house. It was understood that
+she would be asked to sing, and Signor Garcia was specially requested by
+the Duchess to be present that he might hear the new arrival.
+
+"She gave some Swedish songs, accompanying herself on the pianoforte,
+but either through nervousness or fatigue she does not appear to have
+done herself justice, and her singing did not produce a very favourable
+effect upon the assembled guests. Her voice was worn not only from
+over-exertion but from want of that careful management which can only be
+acquired by long training under a thoroughly competent master.
+
+"Such training she had never had. She had formed her own ideal of the
+difficult _rôles_ that had been entrusted to her at the Royal Theatre in
+Stockholm, and had tried to reach that ideal by the only means she knew
+of--very pernicious means indeed. The result was that the voice had been
+very cruelly injured. The mischief had been seriously aggravated by the
+fatigue consequent upon a long and arduous provincial tour; and the
+effect was a chronic hoarseness, painful enough to produce marked
+symptoms of deterioration upon the fresh young voice which had never
+been taught either the proper method of singing or the cultivation of
+style necessary for the development of its natural charm.
+
+"Manuel Garcia was not slow to perceive all this, and he afterwards told
+a lady who questioned him upon the subject that the Swedish soprano was
+at that time altogether wanting in the qualities needed for presentation
+before a highly cultivated audience.
+
+"Soon after this Mademoiselle Lind called by appointment upon the
+maestro, who then occupied a pleasant _deuxième étage_ in a large block
+of houses in the Square d'Orleans, near the Rue Saint Lazare. It was a
+handsome residence, built around a turfed courtyard, with a fountain in
+the centre and a large tree on each side.
+
+"As on this occasion she formally requested the great teacher to
+receive her as a pupil, he examined her voice more carefully than he had
+been able to do at Madame Soult's party.
+
+"After making her sing through the usual scales and forming his own
+opinion of the power and compass of her organ, he asked her for the
+well-known scena from 'Lucia di Lammermoor'--'Perchè non ho.' In this,
+unhappily, she broke down completely--in all probability through
+nervousness, for she had appeared in the part of Lucia at the Stockholm
+Theatre no less than thirty-nine times only the year before, and the
+music must therefore have been familiar to her. However, let the cause
+have been what it might, the failure was complete, and upon the strength
+of it the maestro pronounced his terrible verdict: 'It would be useless
+to teach you, mademoiselle; you have no voice left.'
+
+"It is necessary that these words should be distinctly recorded, for
+their misquotation in the newspapers and elsewhere has led to a false
+impression, equally unjust to master and pupil. The exact words
+were--'Vous n'avez plus de voix,' not 'Vous n'avez pas de voix.' Jenny
+Lind had once possessed a voice, as Garcia realised perfectly clearly,
+but it had been so strained by over-exertion and a faulty method of
+emission that for the time being scarcely a shred of it remained.
+
+"The effect of this sentence of hopeless condemnation upon an
+organisation so highly strung as hers may be readily conceived. But her
+courage was equal to the occasion, though she told Mendelssohn, years
+afterwards, that the anguish of that moment exceeded all that she had
+ever suffered in her whole life. Yet her faith in her own powers never
+wavered for an instant. There was a fire within her that no amount of
+discouragement could quench. Instead, therefore, of accepting his
+verdict as a final one, she asked, with tears in her eyes, what she was
+to do. Her trust in the maestro's judgment was no less firm than that
+which she felt in the reality of her own vocation. In the full
+conviction that if she could only persuade him to advise her, his
+counsel would prove invaluable, she did not hesitate to make the
+attempt, and the result fully justified the soundness of her
+conclusions.
+
+"Moved by her evident distress, he recommended her to give her voice six
+weeks of perfect rest,--to abstain during the whole of that time from
+singing even so much as one single note, and to speak as little as
+possible. Upon condition that she strictly carried out these
+injunctions, he gave her permission to come to him again when the period
+of probation was ended, in order that he might see whether anything
+could be done for her. Intense indeed must have been the relief when
+these six weeks had at last expired.
+
+"Once more Mdlle. Lind sought an interview with the master, and this
+time her hopes were crowned with success. Signor Garcia found the voice
+so far re-established by rest that he was able to give good hope of its
+complete restoration, provided that the faulty methods which had so
+nearly resulted in its destruction were abandoned. With the view of
+attaining this end he agreed to give her two lessons of an hour each
+regularly every week--an arrangement which set all her anxieties at
+rest.
+
+"The delight of the artist at being once more permitted to sing may be
+readily imagined. Though discouraged sometimes by the immense amount she
+had to learn--and, with still greater difficulty, to unlearn--she never
+lost heart; and so rapidly did the vocal organs recover from the
+exhaustion from which they had been suffering, that before long she was
+able to practise her scales and exercises daily for the fullest length
+of time which a singer could manage without over-exerting the voice."
+
+The lessons were commenced about the 25th of August, and were continued
+without a break from then until the month of July, 1842.
+
+Jenny Lind thus describes her first introduction to the new system in a
+letter to her friend, Fröken Marie Ruckman:--
+
+
+     "PARIS, _Sept. 10, 1841_.
+
+     "I have already had five lessons from Signor Garcia, the brother of
+     Madame Malibran. I have to begin again from the beginning, to sing
+     scales up and down slowly and with great care, then to practise the
+     shake--awfully slowly, and to try to get rid of the hoarseness if
+     possible. Moreover, he is very particular about the breathing. I
+     trust I have made a happy choice. Anyhow, he is the best master,
+     and expensive enough--twenty francs for an hour! But what does that
+     signify if only he can teach me to sing?"
+
+A fortnight later she writes to Madame Lindblad:--
+
+     "I am well satisfied with my singing-master. With regard to my weak
+     points especially, he is excellent. I think it very fortunate for
+     me that there exists a Garcia. And I believe him also to be a very
+     good man. If he takes but little notice of us apart from his
+     lessons, well--that cannot be helped; but I am very much pleased,
+     nay, enchanted, with him as a teacher."
+
+And again to Herr Forsberg:--
+
+
+     PARIS, _February 1, 1842_.
+
+     "Garcia's method is the best of our time, and the one which all
+     here are striving to follow."
+
+In a still later letter she writes:--
+
+
+     PARIS, _March 7, 1842_.
+
+     "To-day, four years ago, I made my _début_ in 'Der Freischütz.'
+
+     "My singing is getting on quite satisfactorily now. I rejoice
+     heartily in my voice,--it is clear and sonorous, with more
+     firmness, and much greater agility. A great, great deal still
+     remains to be done; but the worst is over. Garcia is satisfied with
+     me."
+
+The teaching she now received was evidently the exact thing she needed;
+for of the management of the breath, the emission of the voice, the
+blending of its registers, and other technical details upon which even
+the most perfect singers must depend in great measure for success, she
+knew nothing.
+
+We have seen Jenny Lind's opinion of her master: what of Garcia's
+opinion of his pupil? During my own lessons with him he would often
+speak of the Swedish Nightingale, and hold her up as an example in the
+most embarrassing way. Among other things he remarked that he had never
+heard her sing even a hair's-breadth out of tune, so perfect was her
+natural ear. Moreover, when she made a mistake, he only had to point it
+out once, explain the cause of the error, and show how it could be
+rectified: the fault would never be repeated.
+
+Mdlle. Lind's course of study under Garcia lasted in all ten months, by
+which time she had learned all that it was possible for any master to
+teach her. After this period she had improved so wonderfully under his
+magical tuition that, as he himself picturesquely expressed it, she was
+able to look down on her former efforts as from a mountain to a plain.
+The result for which she had so ardently longed, so patiently waited, so
+perseveringly laboured, was attained at last. Her voice, no longer
+suffering from the effects of the cruel fatigue and the inordinate
+amount of over-exertion which had so lately endangered, not merely its
+wellbeing, but its very existence, had now far more than recovered its
+pristine vigour,--it had acquired a rich depth of tone, a sympathetic
+sweetness, a bird-like charm in the silvery clearness of its upper
+register, which at once impressed the listener with the feeling that he
+had never before heard anything in the least degree resembling it.
+
+Few human organs are perfect. It is quite possible that other voices
+may have possessed qualities which this did not--for voices of
+exceptional beauty are nearly always characterised by an individuality
+of expression which forms by no means the least potent of their
+attractions. But the listener never stopped to analyse the qualities of
+Mdlle. Lind's voice, the marked individuality of which set analysis at
+defiance. By turns full, sympathetic, tender, sad or brilliant, it
+adapted itself so perfectly to the artistic conception of the song it
+was interpreting, that singer, voice, and song were one.
+
+"With such rare power at command, she was able, without effort, to give
+expression to every phase of the conception which she had originally
+formed by the exercise of innate genius alone. Her acting had grown up
+with her from infancy, and formed part of her inmost being. She had
+found no one in Paris capable of teaching her anything that could
+improve that, though she thought it necessary to take lessons in
+deportment. The rest she had studied for herself, though she had
+naturally gained experience by observation of others.
+
+"She had acted to herself the part of Norma, which had been the last
+_rôle_ she had undertaken in Stockholm before setting out for Paris, and
+calmly passed judgment upon her own performance. That she was satisfied
+with it one cannot doubt, for she had studied the difficult character of
+her heroine to such good purpose that she had reconciled all its
+apparent incongruities, and elevated it into a consistent whole,
+dramatic and musical, breathing poetry and romance from beginning to
+end, yet as true to nature as she was herself, and no longer fettered by
+the fatal technical weakness which had so long stood between her ideal
+and its perfect realisation. There was no weakness now. The artist was
+complete."
+
+When Jenny Lind was drawing near the close of her studies under Garcia,
+the crucial question arose, Should the finished artist make her _début_
+in Paris? Or should she return at once to Sweden, and reappear in all
+the glory of her newly acquired powers in her beloved Stockholm? There
+were arguments to be brought forward on both sides. The problem was no
+new one. It had been frequently discussed, but her own feeling on the
+subject was very strong indeed. She could not reconcile herself to
+Paris. From the very first she had suspected the hollowness of its
+social organisation. In the September of 1841 she writes--
+
+     "There might be much to say about Paris, but I put it off until I
+     am better able to judge. This much, however, I will say at once,
+     that if good is sometimes to be found, an immeasurable amount of
+     evil is to be found also. But I believe it to be an excellent
+     school for any one with discernment enough to separate the rubbish
+     from that which is worth preserving--though this is no easy task.
+     To my mind the worst feature of Paris is its dreadful selfishness,
+     its greed for money. There is nothing to which the people will not
+     submit for the sake of gain. Applause here is not always given to
+     talent, but often enough to vice,--to any obscure person who can
+     afford to pay for it. Ugh! It is too dreadful to see the
+     _claqueurs_ sitting at the theatre, night after night, deciding the
+     fate of those who are compelled to appear,--a terrible
+     manifestation of original sin."
+
+Six weeks later she writes: "All idea of appearing in public here has
+vanished. To begin with--I myself never relied upon it; but people said
+so many silly things about just one performance, that at last I began to
+feel as if I were in duty bound to try. But monstrous and unconquerable
+difficulties are in the way. In any case I want to go home again. But if
+I can arrange to sing at a concert before leaving, I will do so, in
+order that I may not return home without having at least done
+something."
+
+All through the ensuing months she was still tortured by doubts as to
+the best course to pursue. In the following May she received from the
+directors of the Royal Theatre at Stockholm the offer of a definite and
+official engagement at the Opera House in which her early triumphs had
+been made, but this was not at once accepted.
+
+At the end of June her studies with Garcia came to an end.
+
+During this month it happened that Meyerbeer was in Paris on business
+connected with the production of "Le Prophète." Of the first performance
+of this opera Garcia retained a vivid memory, and, in speaking of it to
+me one day, recalled how, during the preliminary rehearsals, the singers
+all grumbled at its great length. Yet for the memorising and rehearsing
+of this, previous to its being put on the stage, they were given only
+eighteen days,--the same period as for that other lengthy work, "William
+Tell."
+
+On June 15 Herr Lindblad arranged an interview with Meyerbeer, and Jenny
+Lind sang for him the aria from "Roberto" and from "Norma." The composer
+was much pleased with her voice, but seems to have entertained doubts as
+to whether it was powerful enough to fill the auditorium of the Grand
+Opera.
+
+Garcia himself considered her voice still somewhat _fatiguée_, and not
+quite attained to the quality of which in a few months it would be
+capable.
+
+It may have been this which Meyerbeer noticed. At any rate, in order to
+satisfy himself upon the point, he wished to hear her sing on the stage
+of the theatre itself. Accordingly, on the 24th an _audition_ took
+place, in which she gave the three grand scenes from "Der Freischütz,
+"Robert le Diable," and "Norma." Meyerbeer was delighted, and made such
+comments as, "Une voix chaste et pure, pleine de grâce et de
+virginalité," while the next day he spoke of her to Berlioz with the
+greatest enthusiasm. He was anxious for her to make her appearance in
+London soon. Garcia, however, feared that the fame of Grisi would hinder
+his pupil from receiving a real chance. He therefore prevented her from
+making her _début_ there till five years later, when she achieved a
+veritable triumph.
+
+On October 10, 1842, the prima donna opened at the Stockholm theatre
+with a performance of "Norma,"--the very opera in which she had closed
+her appearances on June 19, 1841.
+
+It must have been a direct challenge to the critical world of Stockholm,
+to recognise the change that had intervened between the two
+performances. What that change was we learn from an estimate supplied by
+a most competent and judicious critic, who sang with her often, both
+before and after her visit to Paris. He writes as follows:--
+
+     "When, during the years 1838-40, Jenny Lind enraptured her audience
+     at Stockholm by her interpretation of the parts of Agathe, Pamina,
+     Alice, Norma, or Lucia, she succeeded in doing so solely through
+     her innate capacity for investing her performances, both musically
+     and dramatically, with truthfulness, warmth, and poetry.
+
+     "The voice and its technical development were not, however, in
+     sufficiently harmonious relation with her intentions.
+
+     "In proof of this it was noticed that the artist was not always
+     able to control sustained notes in the upper register--such, for
+     instance, as the A flat above the stave in Agathe's cavatina, 'Und
+     ob die Wolke'--without perceptible difficulty; and that she
+     frequently found it necessary to simplify the _fioritura_ and
+     _cadenza_ which abound in florid parts like those of Norma and
+     Lucia.
+
+     "Nay, there were not wanting some who, though they had heard her in
+     parts no more trying than that of Emilia in Weigl's 'Swiss
+     Family,'--a _rôle_ which, in many respects, she rendered
+     delightfully,--went so far as to doubt the possibility of training
+     the veiled and weak-toned voice in a wider sense.
+
+     "Yet, in spite of this, Jenny Lind, when resuming her sphere of
+     action at the Stockholm theatre, proved not only to have acquired a
+     soprano voice of great sonority and compass, capable of adapting
+     itself with ease to every shade of expression, but to have gained
+     also a technical command over it great enough to be regarded as
+     unique in the history of the world. Her _messa di voce_ stood
+     alone--unrivalled by any other singer.
+
+     "In like manner, in her shake, her scales, her legato and staccato
+     passages, she evoked astonishment and admiration no less from
+     competent judges than from the general public; and the more so
+     since it was evident that, in the exercise of her wise
+     discrimination, the songstress made use of these ornaments only in
+     so far as they were in perfect harmony with the inner meaning of
+     the music.
+
+     "The incredibly rapid development of her voice and technique caused
+     many people to question the value of the instruction she had
+     originally received before going to Garcia. Such doubts, however,
+     must be dismissed as unjustifiable. The true reason why Jenny
+     Lind's singing before she went abroad could not be said to flow in
+     the track which leads to perfection is undoubtedly to be found in
+     the fact that she was a so-called _theatereler_--a pupil educated
+     at the expense of the directors of the theatre itself--and, as
+     such, was unable to escape from the necessity of appearing in
+     public before her preparatory education was completed,--a
+     proceeding no less disastrous to the pupil than contrary to the
+     good sense of the teacher."
+
+Such, then, was the transformation that had come over her rendering of
+Norma. No wonder that Stockholm went wild with enthusiasm, and that from
+that time on her career was one long crescendo of success.
+
+Jenny Lind had the priceless power of taking pains, added to which hers
+was a glorious voice, properly developed under her master's tender care.
+The combination of these gifts, mental and physical, enabled her to
+overcome every obstacle which crossed her path, and to reach the lofty
+position which she retained up to the time of her retirement from public
+life. Her career was the pride of her fellow-countrymen, and the name by
+which she became known, the Swedish Nightingale, acted as a constant
+reminder of her nationality.
+
+The Swedish people paid their tribute to Garcia by making him a
+correspondent of the University of Stockholm, while the Swedish king
+created him "Chevalier de l'Ordre de Mérite (Gustavus Vasa)."
+
+But the thing which the maestro prized more than all else was the
+undying gratitude of his pupil.
+
+
+
+
+CHAPTER XI.
+
+SOME FAMOUS PUPILS.
+
+(1842-1848.)
+
+
+The remaining six years which Señor Garcia spent in Paris before
+migrating to London were important for the musical world.
+
+We have seen how at this point in his career he was able to claim as
+pupils a trio of world-renowned singers--Maria Malibran, Pauline
+Viardot, and Jenny Lind. During the period between 1842 and 1848 this
+number was greatly increased, for there passed through his hands a
+series of artists whose successes were a tribute to their master's
+method and powers of teaching, and to his right to be acknowledged by
+all the world as the foremost _maestro di canto_ of his age. Henriette
+Nissen, Catherine Hayes, Mathilde Marchesi, Johanna Wagner, Julius
+Stockhausen, Barbot, Bussine, and Battaille,--these are the principal
+ones.
+
+Even if his career had ended in '48, instead of being continued in
+England with no less triumphant results, he could well have claimed to
+have brought out a greater number of famous artists than any other
+teacher: only certainly he never _would_ have claimed it, for he was
+ever the most modest of men, the most reticent on the subject of his
+own powers.
+
+And now to say something concerning the career of the pupils whose names
+have been set down above.
+
+Henriette Nissen (afterwards Mme. Siegfried Salomon) had commenced her
+vocal studies with Garcia in 1839, at the same time learning the piano
+under Chopin, and had made immense progress in her singing during the
+two years preceding the arrival of Jenny Lind. Being a favourite with
+the maestro, and a Swede by birth, it is not surprising that Garcia
+hastened to introduce her to Mdlle. Lind, and that she became her most
+intimate friend at this period. For the following details I am again
+indebted to Canon Holland:--
+
+     "The two would frequently sing together, and before long a feeling
+     of generous rivalry sprang up between them, which must have been of
+     infinite advantage to both. Mdlle. Lind makes frequent mention of
+     her fellow-pupil in letters written during this period. 'I go to
+     see her pretty often, and we sing together. She has a beautiful
+     voice. In future we are going to have music together at Herr
+     Blumm's.'"
+
+These meetings at his house became quite an institution. Herr Blumm was
+a Swedish gentleman of kindliest disposition and infinite _bonhomie_,
+who held the appointment of "Chancelier" to the Swedish legation in the
+Rue d'Anjou; and he bestowed on the two young friends innumerable acts
+of courtesy and kindness during their study with Garcia.
+
+"I am going to Herr Blumm's," she wrote again, "where Mdlle. Nissen is
+waiting for us, with an old relation of hers, and we four are going
+somewhere into the country for the day. She is a very sweet girl. The
+divine song draws us to each other."
+
+A charming episode is recounted as having happened at the Christmas of
+1841. When the festival drew near, Jenny Lind's heart was torn by
+yearnings for home.
+
+"Ah! who will light the Christmas tree for my mother?" she wrote. "No
+one, no one! She has no child who can bring her the least pleasure. If
+you knew how she is ever before me! How constantly she is in my
+thoughts! How she gives me courage to work! How I love her, as I never
+loved before!"
+
+In the midst of this cruel burst of home-sickness, good Mdlle. du Puget,
+in whose house she was staying, bethought her of an expedient, and the
+result was seen in the following letter:--
+
+     "Christmas Eve passed off better than I expected, for Mdlle. du
+     Puget went to fetch the dear sweet Nissen, and all of a sudden, as
+     I was standing in my room alone, she came creeping in to me. We
+     sang duets together,--but my thoughts strayed homewards."
+
+It was beautiful, as time progressed, to note the utter absence of
+jealousy which characterised this rare artistic friendship between two
+young students, each of whom had a reputation to ensure, and a name to
+render famous.
+
+In the beginning of 1842, Garcia considered Mdlle. Nissen sufficiently
+advanced to make her appearance, and in April her _début_ was made at
+the Italian Opera as Adalgisa in "Norma," this being followed by an
+immediate engagement for three years under the same management,
+commencing at a salary of from three to four hundred pounds for the
+first year. At the conclusion of this she toured Italy, Russia, Norway,
+Sweden, and England till 1849, when she appeared at Leipsic, and in the
+following years sang at most of the Gewandhaus concerts there, while in
+Berlin she almost rivalled Jenny Lind in popularity.
+
+In the summer of 1842, the year of Nissen's _début_, Catherine Hayes
+came from Ireland, by the advice of Lablache, to place herself under
+Garcia, being at the time seventeen years of age. After four years'
+study she made her _début_ at Marseilles in "I Puritani." Next year she
+appeared at Vienna, and in the following seasons sang in various parts
+of the Continent with success.
+
+Her London _début_ was made in 1849, and during that season she appeared
+at Covent Garden in the _rôles_ of Lucia, Linda, and Amina. She soon
+became one of the most popular vocalists of her day in England, showing
+herself to be possessed of remarkable power, while her chief forte lay
+in the rendering of ballads.
+
+The year 1844 saw the advent of three interesting pupils, the names of
+all curiously enough beginning with the same initial letter,--Barbot,
+Battaille, and Bussine.
+
+Joseph Barbot came to Garcia at the Conservatoire at the age of twenty,
+and soon proved himself to be possessed of a remarkably fine tenor
+voice. At the completion of his training he was engaged at the Grand
+Opera, but soon left it for Italy, where he sang with great success.
+Perhaps the most noteworthy event of his career took place on March 19,
+1859, for on that date he created the title part at the first
+performance of Gounod's "Faust" at the Théâtre Lyrique; while sixteen
+years later he was appointed to a professorship at the Conservatoire as
+successor to Mme. Viardot.
+
+Charles Battaille appears to have commenced earning his livelihood as a
+doctor of medicine, the while he carried on his vocal studies. When he
+had brought these to a close he gave up his practice, and accepted an
+engagement as basso at the Opéra Comique. Here he remained for ten
+years, till an affliction of the larynx caused his retirement. From that
+time on he devoted his life to teaching, having already, in 1851, been
+appointed professor at the Conservatoire. In 1861 he published the first
+portion of a voluminous treatise entitled 'L'Enseignement du Chant,'
+containing some important results of his physiological study. His
+principal claim to fame, however, is the fact that he was chosen by
+Meyerbeer to create the bass _rôle_ in "L'Etoile du Nord," while he won
+special renown in the "Seraglio," of Mozart.
+
+As to Bussine, he was connected for some time with the Opéra Comique,
+and left it for an engagement as principal tenor at the Grand Opera in
+Paris. Moreover, he gave much time to teaching, one of his best known
+pupils being Duc.
+
+The year 1845 saw the advent of one who ultimately became Garcia's
+greatest pupil in the field of teaching--Mathilde Marchesi, or, as she
+was at that time, Mdlle. Graumann.
+
+Her father had been a wealthy merchant, but in 1843 he lost his fortune,
+and his daughter, being at this time seventeen years old, decided to
+adopt the musical profession. She went in the first place to study in
+Vienna, but in 1845 came to Paris to place herself under Garcia, who
+soon discovered in his new student a remarkable aptitude for teaching.
+Of her own recollections of studying under the maestro, Madame Marchesi
+has sent me the following details, some of which have already been
+narrated in her interesting book of reminiscences, published under the
+title, 'Marchesi and Music':--
+
+     "I need scarcely mention how the maestro's clear, intelligent, and
+     thorough method furthered my artistic efforts. His ideas on the
+     female voice and its development were a revelation to me, and they
+     were the foundation of my future career. With Nicolai and
+     Mendelssohn I had only studied classical music; now Garcia
+     initiated me into the style of the Italian school, as at that time
+     a florid execution was the principal aim of all good singers. The
+     compositions of Rossini, Bellini, and Donizetti were the chief
+     objects of study, and I was obliged, therefore, to work away at
+     countless scales, arpeggios, &c., and, what was worse still, with
+     the metronome, which sometimes rendered me almost desperate.
+
+     "Besides Garcia, Bordogni and Banderali were also justly
+     celebrated at this time, but he alone had made a thorough study of
+     anatomy and physiology.
+
+     "All the maestro's pupils were enthusiastic about him, and
+     patiently submitted to the necessity of waiting sometimes for hours
+     in the anteroom, as he permitted no one to assist at his lessons.
+     When at length the anxiously awaited moment had, as we thought,
+     arrived, he often sent us home with the remark, 'I am tired,
+     children; I will see you to-morrow.' Whenever this occurred we were
+     terribly disappointed, but this wonderfully gifted man's next
+     lesson made us soon oblivious of the previous day's deprivation.
+
+     "In the spring of 1847 Garcia fell from his horse and broke his
+     right arm, which accident prevented him for a time from continuing
+     his lessons. He therefore intrusted me with a number of his private
+     pupils. I was very much flattered with this mark of distinction and
+     the confidence thus placed in me, and as he had on various
+     occasions already confided many of his beginners to me, I was not
+     afraid of the responsibility, more especially as I was always able
+     to go to him for advice in difficult cases."
+
+Four years after Mdlle. Graumann had commenced her studies with the
+maestro, she followed him to London, and soon obtained high standing as
+a mezzo-soprano concert singer. In 1852 her marriage took place, and two
+years later she accepted the post of professor at the Vienna
+Conservatoire. From the first her attempts at carrying on the Garcia
+traditions of "Bel canto" singing met with the crown of success, and
+during the succeeding years Mme. Marchesi turned out such pupils as
+Ilma de Murska, Fricci, and Kraus, to bring fresh fame to the already
+glorious banner of Manuel Garcia. 1861 saw her removal to Paris, where
+pupils came from all parts, while about this time her text-book, 'École
+du Chant,' was published.
+
+In 1865 Mme. Marchesi went to teach at the Cologne Conservatoire, where
+Antoinette Sterling came to her for a few lessons; while three years
+later she returned to Vienna to resume her post at the Conservatoire.
+This was resigned in 1878, but she continued to teach there for a time,
+after which she returned to Paris, and took up her work there again.
+
+In addition to those already mentioned, her pupils have included Suzanne
+Adams, d'Angri, Calvé, Ada Crossley, Eames, Evangeline Florence, Frau
+Gerster, Blanche Marchesi, Melba, Emma Nevada, Sybil Sanderson, Francis
+Saville, and Tremelli. Truly a wonderful record to add to the list of
+exponents of Manuel Garcia's method.
+
+In 1847 an important pupil was coming to Señor Garcia's studio--one who
+was destined to do great things hereafter. This was Johanna Wagner, the
+niece of Richard Wagner. Her musical ability already began to make
+itself noticeable at the age of five, when her father and uncle were
+residing at Würzburg; for she used to sing everything she heard, and the
+composer in after years would often laugh as he quoted these childish
+versions.
+
+In 1844, when Johanna was in her seventeenth year, her uncle obtained an
+engagement for her at the Royal Opera in Dresden, where he was
+preparing for the first performance of "Rienzi." Though of but tender
+years she had such success as Agathe in the "Freischütz," that she was
+engaged for three years by the management, and created Elisabeth in
+"Tannhäuser."
+
+On October 21, 1845, fifteen months later, the King of Saxony, who had
+taken the greatest interest in her progress, sent her to France to study
+under Garcia. She arrived at the beginning of February, accompanied by
+her father, who had hitherto been her only instructor. Thanks to the
+assistance which she received from Garcia during her stay in Paris, she
+quickly made her mark.
+
+On her return she went to Hamburg, creating Fides in the German version,
+and taking part in the first performance there of the "Prophète." In
+1850 she left for Berlin, where she was permanently engaged by the
+management of the Royal Opera House. Whilst there Fräulein Wagner was a
+great favourite with the royal family, and frequently sang in private
+for Frederick William IV. and his Queen, being generally accompanied by
+Meyerbeer.
+
+In 1856 the prima donna appeared in London at Her Majesty's Opera House
+in "Tancredi," "Lucrezia Borgia," and as Romeo. In 1859 she married Herr
+Jackmann; two years later she lost her voice suddenly, and started on a
+second career as an actress, in which she made her name no less surely
+than as a singer. In this, Johanna Wagner resembled Geneviève Ward, for
+that famous tragédienne only entered upon a career of acting after
+having sung in opera under the name of Ginevra Guerrabella. With her,
+too, it was owing to loss of voice in consequence of overstrain that
+the change of career was adopted.
+
+The training of Johanna Wagner by Garcia raises an interesting point in
+connection with German singing. Richard Wagner was so delighted upon
+hearing the improvement in his niece's voice on her return from Paris,
+that he wrote the maestro a letter full of the warmest recognition of
+the progress which she had made under his tuition.
+
+But the gratitude did not end here: over twenty-five years later there
+came a very signal proof of the extent to which he had been impressed
+with Garcia's powers, for, when he was making the arrangements for the
+first Bayreuth Festival, he wrote to his old friend, asking whether he
+would undertake the training of the singers who were to take part in it.
+Garcia was so busy with his teaching in London at this time that he was
+unable to accept the offer; but the mere fact that he was asked to do
+this is a very material answer to those who would have it that Wagner's
+music is not supposed to be treated according to the Italian ideals, but
+should be rendered in the style of _Sprechgesang_, which has been a
+current German cry.
+
+After the publication of his 'Mémoire sur la Voix,' Señor Garcia had
+continued to labour incessantly in perfecting his method, and in 1847
+(the year in which Jenny Lind made her triumphant _début_ in London as
+Alice in "Roberto," took the town by storm, and earned the name of the
+"Swedish Nightingale") this culminated in the publication of what is
+without question the most valuable contribution to the books upon the
+study of singing. It was issued in two parts, under the title of
+'Traité complet de l'Art du Chant,' and was dedicated to King Oscar I.
+of Sweden, as a tribute to the nationality of the greatest of the
+maestro's pupils.
+
+The work was translated into various languages, and thereby gained a
+world-wide reputation. The 'Traité' was acknowledged on all sides to be
+invaluable, and it laid the foundations of all important subsequent
+investigations into the emission of the voice.
+
+As to Garcia's treatment of his pupils, he exhibited ever the most
+untiring patience. The infinite pains he took with them never failed to
+win their affection as well as their admiration, and this undoubtedly
+contributed in some considerable degree to the progress which they made
+under his care. A story has been told by Jourdan, which gives a good
+illustration of the great master's care of his pupils.
+
+One day, being upset and ruffled at some remarks made upon his singing
+by the maestro, Jourdan left the class in a temper, and did not return
+for the next lesson. Garcia, noticing his absence, went to his lodging,
+a small room on the fifth floor, and took the young student by the ear,
+saying, "Come along, _méchant garçon_, come and have your lesson."
+
+And now we come to 1848, the year in which Manuel Garcia terminated his
+residence in Paris.
+
+He did so in consequence of the Revolution, which flared up on February
+24, and finally resulted in the flight of Louis Philippe. It was during
+these disturbances that the maestro was sought out by Julius
+Stockhausen, a lad of twenty-two, who was eventually to become one of
+Germany's greatest teachers and singers. Of this period Herr Stockhausen
+sent me some reminiscences, and in reproducing them there is a pathetic
+interest, owing to the fact that two days after their arrival from
+Germany the lieder-singer passed away in his eighty-first year.
+
+     "I first made the acquaintance of the maestro," writes Herr
+     Stockhausen, "in 1848. The year had begun with much unrest, and on
+     February 24 the Revolution broke out. Owing to the absence of the
+     friend under whose roof I was residing at the time, I was obliged
+     to enter the National Guard as a substitute. As such I presented
+     myself before the maestro in full uniform. He received me very
+     kindly, for a relation of mine, Frau Reiter, who had already been
+     studying with him, had spoken a few words of recommendation on my
+     behalf.
+
+     "What struck me most at the first meeting were the steadiness of
+     his glance, the swiftness of his movement, and the rhythm of his
+     tread. He was a man of middle age--forty-three years old, his
+     manner alert, his voice possessing a friendly ring. When I timidly
+     inquired his terms he replied, 'Combien voulez-vous me donner? je
+     n'ai plus d'élèves; ils ont tous fui la révolution.' But, honoured
+     master, you have just been trying a tenor who has a powerful voice.
+     'True; but he has no ear,' replied Garcia. 'When I asked him what
+     his occupation was, he replied, 'Je suis tourneur.' 'Eh bien,' I
+     answered, 'tournez, tournez encore; pas d'oreille, pas de
+     chanteur!'
+
+     "My position as a member of the National Guard and a son of
+     artistic parents seemed to interest the maestro, and he asked me
+     only ten francs a lesson. After a few days studies were commenced,
+     and I used to attend in my regimentals. Unhappily, however, the
+     hardships of bivouacking on those cold winter nights proved very
+     pernicious for my young voice, so that after a few weeks I found
+     myself obliged to cease lessons temporarily. For six weeks I
+     struggled against catarrh and sore throat; but at the beginning of
+     May there came a happy change.
+
+     "On the 26th of the same month I received an invitation from Basle
+     to sing in Mendelssohn's 'Elijah.' Garcia raised no objections to
+     my attempting the task, and went through the difficult passages
+     with me very carefully, showing me further how I might commit the
+     title-_rôle_ to memory in a short time without overtiring the
+     voice. When in due course I sang the Elijah in Basle, the audience
+     had no idea how my voice had suffered during those weeks of
+     military hardship and discipline in Paris."
+
+Such is the characteristic description which Julius Stockhausen gave of
+his first months under Garcia.
+
+
+
+
+CHAPTER XII.
+
+CLOSE OF PARIS CAREER.
+
+(1848.)
+
+
+The first revolution of 1848 broke out in February. The grand Reform
+banquet which had been announced was suddenly prohibited on the 21st of
+the month, the immediate consequence being that revolutionary tumults
+burst out, and the next day brought with it the impeachment and
+resignation of Guizot. This was quickly followed by the throwing up of
+barricades in the streets; the Tuileries were ransacked, the prisons
+opened, and the most frightful disorders committed. At this Louis
+Philippe completely lost his nerve, and abdicated on the 24th in favour
+of his infant grandson, the Comte de Paris, who was not, however,
+accepted by the populace. Upon this the royal family and ministers made
+their escape as best they could, and a week later the ex-king landed at
+Newhaven as "Mr Smith."
+
+On February 26 a republic was proclaimed from the steps of the Hôtel de
+Ville; and this decisive measure was followed by a grand funeral
+procession in honour of the victims of the revolution.
+
+The next three months passed by in comparative quiet. The provisional
+government, which had been formed in the great public commotion,
+resigned to an executive commission, elected by the National Assembly of
+the French Republic, and the perpetual banishment of Louis Philippe and
+his family was decreed.
+
+With June there came an outburst of still more frightful disorder, owing
+to the reconstitution of the National Guard of France, it being enlarged
+from 80,000 to 100,000. Among those who enrolled themselves in this body
+of men was Manuel Garcia; and it is not surprising that he did so, for,
+as all who knew him are well aware, he was a great lover of law and
+order.
+
+The precautionary measure acted as a lighted fuse to a barrel of
+gunpowder. On June 23 the red republicans rose up in arms against the
+troops and the National Guard, more than three hundred barricades were
+thrown up, and firing continued in all parts of the capital during the
+night. Garcia well remembered George Sand standing on the top of a
+barricade surrounded by a band of students, and shouting down to him,
+"N'est-ce pas que c'est magnifique, n'est ce pas que c'est beau!"
+
+Next day the troops under Cardignac and Lamoricière, after suffering
+immense loss, drove the insurgents from the left bank of the Seine. On
+the 25th Paris was declared in a state of siege, while on the following
+day the Faubourg du Temple was carried with cannon, the insurgents
+surrendered, and the revolution was brought to an end.
+
+But at what a cost had peace been restored! The national losses caused
+by the outbreak were estimated at thirty million francs; while during
+the four days of fighting no less than sixteen thousand persons were
+killed and wounded, among the former being the Archbishop of Paris, who
+lost his life while tending the dying on the final day of conflict.
+
+But for all its excitement and bloodshed this four days' revolution
+failed to excite much enthusiasm in the maestro. Perhaps it seemed poor
+fun after those scenes of the Napoleonic Invasion and the successive
+campaigns of the Peninsular War, which he remembered from his childhood.
+He may even have grown weary of such scenes, and considered the whole
+affair badly managed after the other revolutions he had been through.
+Certainly there had been much less fuss when, eighteen years before, he
+had seen Charles X. driven out and Louis Philippe made king. He had
+passed through too many excitements already.
+
+One can almost imagine the scene that must have taken place in the July
+of 1846, when he was informed by a breathless pupil at the beginning of
+a lesson that an attempt had just been made on the king's life by Henri.
+One can picture him shaking his head reprovingly and replying, "Yes; but
+it was not as exciting as some of the other attempts on his life that I
+remember. Let me see, it must have been--yes, it was in the July of
+1835, almost exactly thirteen years ago to the day, that the first one
+took place. Now that really _was_ a fine one! Fieschi fired an infernal
+machine as the king was riding down the Boulevard du Temple along the
+lines of the National Guard. Louis Philippe was accompanied by his three
+sons. They all four escaped, but the Duke of Treviso was shot dead, and
+forty persons were killed and wounded. Now that's what I call something
+_like_ an attempt!
+
+"Then, next year, there was Louis Alibaud, who fired at the king on his
+way to the Tuileries. _Pauvre garçon!_ He was guillotined for his
+trouble.
+
+"There wasn't another attempt for some time, but in 1840, again, Darmès
+fired at Louis Philippe; that was the year before the attempt made to
+assassinate one of the king's sons, the Duke of Aumale; but there was no
+result. Much better leave things to Providence. Why, it was only a year
+later that the heir to the throne was killed without bothering any one
+to risk his neck over it! Yes, he had a fall from his carriage. Bless
+me! you must remember that; it was only six years ago. Then there was
+Lecompte, who had a try at his unhappy majesty when he was going to
+Fontainebleau. How many people did you say were killed to-day when Henri
+made the attempt? None? Dear, dear. It's not like the old days. Well,
+let's get on with the lesson. What songs have you brought?"
+
+If such a scene as this did _not_ take place, it certainly might well
+have done so.
+
+However, what with revolutions, the driving out of kings, and the
+general unrest during the twenty years that followed his return from
+America as a young man of twenty-three, the maestro came to the
+conclusion that the French capital was getting too unsettled to be
+suitable for the giving of singing lessons. At the end of the month,
+therefore, he shook the dust of Paris from his feet and set out for
+London, where he had made up his mind to settle and establish himself as
+a teacher.
+
+With this change of _locale_ the second period in Manuel Garcia's life
+is brought to a close. Before leaving it, we will cast an eye over some
+of the figures prominent in the musical and artistic world of Paris
+during the twenty years in which the centenarian made it his home.
+
+Rossini, as we have seen, was director both of the Théâtre Italien and
+of the French Opera when Garcia joined his sister in Paris at the close
+of 1827. During this time the composer adapted several of his works to
+French taste. Of these, "Moïse" and "Le Siège de Corinth" were the new
+titles given to "Mose in Egitto" and "Maometto Secondo," of which the
+original productions had taken place during the four years following
+Manuel's arrival from Naples as a lad of eleven. Rossini, however, only
+stayed in Paris for eighteen months, and left after the production there
+of his greatest work, "Guillaume Tell," in August 1822, nor did he
+return to settle down and become one of the most notable personalities
+of the city till a quarter of a century later.
+
+Many interesting musical productions took place during Manuel Garcia's
+residence in Paris.
+
+In 1828, the year of his arrival from Mexico, Liszt was a boy of
+sixteen, an infant prodigy, just returned from a visit to England, and
+beginning to teach pianoforte, owing to circumstances already referred
+to in speaking of the lessons which Mme. Viardot had from him.
+
+Berlioz had been sent by his parents some little time before to study
+medicine in the French capital. Instead of doing so, however, he had
+devoted himself to music, and was at this time a pupil at the
+Conservatoire.
+
+Soon after Garcia's arrival there took place the production of one of
+Auber's best known works, "La Muette di Portici," or, as it is usually
+entitled, "Masaniello." The next year, that in which Schubert died, saw
+the completion of "Agnes von Hohenstaufen," the greatest work of
+Spontini, whose opera, "La Vestale," had been greeted with enthusiasm
+and adjudged Napoleon's prize of 10,000 francs twenty-two years before.
+
+In 1830 came Auber's "Fra Diavolo" and Halévy's "Manon Lescaut."
+
+The following year was an important one in many ways, for there were
+produced not only Bellini's two favourite operas, "Somnambula" and
+"Norma" (the "Puritani" was given four years later), but Hérold's
+"Zampa" and Meyerbeer's "Robert le Diable." But this is not all, for it
+saw the advent to Paris of Frédéric Chopin, a young man of twenty-two.
+Here he quickly found fame, and became the idol of the salons, giving
+lessons to a select _clientèle_ of pupils, and employing his leisure in
+composition. He rarely performed in public, though, in Mendelssohn's
+judgment, he was "a truly perfect virtuoso" as well as a thorough
+musician, with a faculty for improvisation such as, perhaps, no other
+pianist ever possessed.
+
+In 1832, a date made memorable on the tablets of literature by the death
+of Goethe and Sir Walter Scott, there came Hérold's "Le Pré aux
+Clercs," while Berlioz obtained the first proper hearing for some of his
+compositions. Their complicated and peculiar nature, however, failed to
+win popular recognition, and he was driven to support himself and his
+wife by writing musical criticisms.
+
+In the summer of 1833 the birth took place of a musician who was to
+become world-famous, Johannes Brahms; while the winter was rendered
+memorable in the artistic circles of Paris by the fatal journey which
+Alfred de Musset made to Italy with George Sand. In the following April
+he reappeared alone, broken in health and sunk in the deepest
+depression. A quarter of a century later, when Garcia had long been
+settled in London, he was to be reminded of the episode by reading the
+version of the events which George Sand gave to the world in the guise
+of a novel, 'Elle et Lui'; to which Paul de Musset at once retorted with
+'Lui et Elle,' in which he asserted that she had been grossly
+unfaithful.
+
+The year, which robbed the world of one musician and brought forth
+another,--for with the death of Bellini there came the birth of
+Saint-Saëns,--was one full of musical interest, for 1835 saw the
+completion of a perfect avalanche of new operas, including Auber's
+"Cheval de Bronze," Halévy's "La Juive" and "L'Etoile du Nord," Adolphe
+Adam's "Postilion de Longjumeau," and two operas by Donizetti, "Marino
+Faliero" and "Lucia di Lammermoor."
+
+In 1836 the first performance took place of Meyerbeer's great opera,
+the "Huguenots," given at the Académie Royale de Musique on February 29,
+with the following cast:--
+
+    _Valentine_                  Mdlle. Falcon.
+    _Marguerite_                 Mme. Doras-Gras.
+    _Urbain_                     Mdlle. Flécheux.
+    _Marcel_                     M. Levasseur.
+    _Nevers_                     M. Dérivis.
+    _Saint Bris_                 M. Serda.
+
+The part of Raoul was played by the elder Garcia's famous pupil, Adolph
+Nourrit.
+
+It is, moreover, the date of the commencement of a fresh episode in the
+life of George Sand (Madame Armandine Dudevant), this time with Chopin,
+who was introduced to her by Liszt.
+
+The "Domino Noir" was produced in Paris in 1837, the year which saw the
+first performance of Mendelssohn's "St Paul" in England, to be followed
+three years later by the "Hymn of Praise," and in 1848, the year of
+Garcia's arrival in London, by the "Elijah."
+
+In 1839 Flotow's "Le Naufrage de la Méduse" was produced; but the year
+is of far more interest to us from the fact that Richard Wagner, a young
+man, twenty-six years of age, first arrived in Paris, resolved to try
+his fortune there with "Rienzi," only to be forced to leave the city
+after a sore struggle of nearly three years, with his opera still
+unperformed.
+
+In 1840, the year of Paganini's death, three operas of Donizetti saw
+light, "La Fille du Régiment," "Lucrezia Borgia," and "La Favorita."
+
+In the next year Auber's "Les Diamants de la Couronne" was performed;
+and a twelve-year-old musician, newly arrived from Moscow, was given an
+opportunity of playing the piano to Liszt, and of being patted on the
+head, while he listened to words of warm encouragement. And the name of
+the boy-pianist? Anton Rubinstein, who died more than twelve years ago,
+at the age of sixty-five.
+
+In 1842, the year in which Massenet was born, Meyerbeer's opera "Le
+Prophète" was finished, which was destined not to be produced at the
+Grand Opera House till seven years later.
+
+In 1843 Donizetti's "Don Pasquale" was brought out, and in the following
+year Flotow's "Stradella" and Félicien David's grand ode-symphony
+"Désert." It saw, moreover, the completion by Richard Wagner of "Der
+Fliegende Holländer," as the next year, in which Tom Hood died, saw that
+of "Tannhäuser."
+
+In 1847 the Parisian public witnessed for the first time Flotow's
+"Martha," while in the last year of Garcia's sojourn in the capital,
+Nicolai's "Merry Wives of Windsor" and Wagner's "Lohengrin" were
+finished; Offenbach was appointed _chef d'orchestre_ at the Théâtre
+Français (this being long before "La Grande Duchesse" and "Madame
+Favart" had been set down on paper); Gounod was still in his twenties,
+and had not yet even composed his first opera, while "Faust" was not to
+be brought out for eleven, and "Roméo et Juliette" for just on twenty
+years. As for Bizet, he was a mere boy of ten.
+
+Allusion has already been made to George Sand, Henry Mürger, and Alfred
+de Musset. One must add to the literary circle of that time such
+personalities as these: Balzac, who first tasted success with the
+publication of 'Les Derniers Chouans,' about a year after Señor Garcia
+had arrived from Mexico, soon following this up with the earliest of his
+great works, 'La Peau de Chagrin'; Théophile Gautier, whose first long
+poem, 'Albertus,' was published about the same time, to be followed, in
+1835, by the celebrated novel, 'Mademoiselle de Maupin,' with its
+defiant preface; Alfred de Vigny, whom Manuel Garcia, as a young man of
+twenty-five, saw abandon for good in 1830 the publication of his
+exquisite poetry, and confine himself after that date to works in prose
+alone.
+
+Then there were Alphonse de Lamartine, statesman, poet, and historian,
+who, in 1829, had declined the post of Foreign Secretary in the Polignac
+Ministry, and by his 'Harmonies Poétiques et Religieuses' achieved his
+unanimous election to the Academy; Lamercier, one of the three chief
+exponents of the Romantic school, with some of his detached passages
+equal in beauty to anything in the language, and others so bizarre as to
+border on the ridiculous; Delavigne, representative of the golden mean
+of French literature, the half-classic and half-romantic school;
+Béranger, the "Horace" of French poetry, whose outspoken ballads
+achieved such immense popularity, that in turn Louis XVIII. and Charles
+X. threw him into prison because of his freedom of ideas,--for probably
+no poet has ever exercised such a power over the destiny of a nation;
+Victor Hugo, engaged in bringing out 'Notre Dame de Paris,' 'Le Roi
+s'amuse,' 'Les Voix Interieures,' in which the poet's diction is held to
+have found its noblest expression, 'Ruy Blas,' almost the most famous of
+his stage rhapsodies, and many another work of world-wide fame; Eugène
+Sue, whose first hit was made in 1842 with the too famous 'Mystères de
+Paris,' followed three years later by 'Le Juif Errant'; the elder Dumas,
+who, during these years, published such works as 'Monte Cristo,' 'Les
+Trois Mousquetaires,' and 'Les Mémoires d'un Médecin'; while in the year
+of the maestro's departure for London, Alexander Dumas the younger was
+bringing out his immortal 'La Dame aux Camélias.' Nor must one forget
+Paul de Kock, Henri Rochefort, who was then only sixteen years old, Zola
+half that age, and François Coppée a child of six.
+
+When we turn to the painting world there is an equal _embarras de
+richesse_. What can one say to such a dazzling list of artists as Rosa
+Bonheur, Horace Vernet, Paul Delaroche, the founder of the modern
+"Eclectic School," Prud'hon, Gericault, Delacroix, Gros, Scheffer,
+Decamps, Corot, Rousseau, Troyon, Duprè, Diaz, Jean François Millet (who
+took his place with Garcia on the barricades during the Revolution of
+'48), nay, even Meissonier himself, whose first contribution to the
+Salon in 1834, a water-colour and an oil-picture, the centenarian
+remembered to have seen, followed two years later by the
+"Chess-Players," the precursor of that long series of elaborate
+genre-pictures, in which he depicted the civil and military life of the
+seventeenth, eighteenth, and nineteenth centuries.
+
+Truly, had Manuel Garcia passed away in the year of the Revolution, in
+accordance with the modern cry of "too old at forty," his career and
+experiences would have still been of surpassing interest. But with this
+year we only see the scene of his triumphs shifted from France to
+England, and have yet to watch him not only carrying through a further
+forty-seven years of work as teacher, but appearing in the new _rôle_ of
+inventor, and then passing on to that last period, ten years of
+wonderful old age.
+
+
+
+
+THIRD   PERIOD
+
+LONDON
+
+(1848-1895)
+
+
+
+
+CHAPTER XIII.
+
+ARRIVAL IN ENGLAND.
+
+(1848-1854.)
+
+
+At the close of June 1848 Manuel Garcia, at the age of forty-three,
+arrived in London, where he was to make a new home and spend the rest of
+his days.
+
+What changes had taken place in the capital since he had last been there
+in the autumn of 1825! When he left George IV. was still king; when he
+returned William IV. had reigned and been succeeded by Queen Victoria,
+who had already been on the throne over ten years, while our present
+king, as Prince of Wales, was six years old.
+
+Let us glance for a moment at the position of musical affairs in London,
+and at some of the artists who were in favour when Garcia arrived.
+
+In the previous year (in which both Mendelssohn and Donizetti had died)
+an important event had taken place, for the Covent Garden Theatre was
+opened as an opera house, and a new period in its history begun.
+
+The scheme had been originated by Signor Persiani, who took the lease of
+the place in partnership with Galletti; then, finding that they had
+embarked on an enterprise which was too much for them to carry through
+without assistance, they brought in Messrs Cramer, the music publishers,
+to help finance the undertaking.
+
+As to the company which took part in the opening season, Signor Costa
+left Her Majesty's Theatre in order to fill the responsible post of
+conductor of an orchestra which had M. Prosper Sainton as principal
+violin; and of the artists themselves the stars were Grisi, Mario,
+Tamburini, and the Persianis, while Mdlle. Alboni made a triumphant
+_début_, and proved herself another strong card to strengthen the hand
+of the new management.
+
+With the launching of this enterprise a triangular duel was fought
+between Covent Garden, Drury Lane under Bunn, and Her Majesty's under
+Lumley, who, after the famous "Bunn Controversy," had been successful in
+securing a trump-card with Garcia's now world-famous pupil, Jenny Lind.
+
+Next let us conjure up the artistic circles of London, among which Señor
+Garcia found himself in 1848. What names of the past we find when we
+glance in turn at science and literature, the stage and music. In one
+and all it was an age of giants.
+
+The scientific world could boast such lights as Brewster, Darwin,
+Faraday, Sir John Herschel, Huxley, Miller, Owen, and Tyndall.
+
+Literature poured forth a veritable Niagara of Prose writers: Charlotte
+Brontë, Carlyle, Dickens, Disraeli, Grote, G. P. R. James, Douglas
+Jerrold, Charles Kingsley, Charles Lever, Bulwer Lytton, Macaulay,
+Martineau, John Stuart Mill, Ruskin, and Thackeray; while Poetry was
+scarcely less prominent with Arnold, P. Bayley, the Brownings, Clough,
+Tom Hood, Horner, Alexander Smith, Sir H. Taylor, and Tennyson.
+
+_En passant_, we may note the following pieces of literary news, culled
+from newspapers published during the month in which Manuel Garcia landed
+in England.
+
+     The Nestor of literary France died in Paris on Tuesday last,
+     Monsieur de Chateaubriand.
+
+       *       *       *       *       *
+
+     Ralph Waldo Emerson will deliver a lecture at Exeter Hall on
+     "Domestic Life."
+
+       *       *       *       *       *
+
+     Review of the last new Transatlantic poem, "Evangeline," by
+     Longfellow.
+
+       *       *       *       *       *
+
+     Macaulay's 'History of England.' Volumes one and two. Just
+     published.
+
+       *       *       *       *       *
+
+     "NEW HISTORICAL ROMANCE," by the Author of 'Rienzi.'
+        Now ready at all libraries. In three volumes.
+
+                     'HAROLD.'
+
+          _The Last of the Saxon Kings._
+
+         By Sir Edward Bulwer Lytton, Bart.
+
+Of the Stage we get a strange glimpse from the advertisements in the
+papers of July 1848. Three things are specially noticeable in them.
+Practically all the theatres boast "a regal air," a large proportion
+are managed by ladies, and the bill of fare laid before the voracious
+public is, to put it mildly, somewhat of an embarras de richesse.
+
+Opera seasons are, of course, running at Her Majesty's Theatre and the
+Royal Italian Opera, Covent Garden. Leaving these and other musical
+matters of 1848 for the moment, let us reproduce some of the
+advertisements from the papers of that July, for we shall obtain in this
+way the best insight into the places of amusement of that time.
+
+     THEATRE ROYAL, DRURY LANE.
+
+     BENEFIT OF Mr MACREADy.
+
+     His last appearance previous to his departure for America.
+
+     THEATRE ROYAL, HAYMARKET.
+
+     Mr B. WEBSTER (_Sole Lessee_).
+
+     "THE WIFE'S SECRET."
+
+    _Sir Walter_        Mr Charles Kean.
+    _Jabez_             Mr Webster.
+    _Neville_           Miss Reynolds.
+    _Lady Eveline_      Mrs Charles Kean.
+    _Maude_             Mrs Keeley.
+
+     ROYAL LYCEUM THEATRE.
+
+     Under the Management of Mme. VESTRIS.
+
+     "The Captain of the Watch," after which "The Beggar's Opera," to
+     conclude with "Anything for a Change."
+
+     THEATRE ROYAL, SADLER'S WELLS.
+
+     Under the Direction of Miss RAINFORTH.
+
+     Rossini's opera of "Cinderella," after which "No Song, no Supper."
+
+     THEATRE ROYAL, ADELPHI.
+
+     Under the Management of Mme. CELESTE.
+
+     "The Harvest Home," after which "Going to the Derby," to conclude
+     with "The Married Bachelor."
+
+     THEATRE ROYAL, MARYLEBONE.
+
+     Under the Management of Mrs WARNER.
+
+    _Macbeth_            Mr Macready.
+    _Lady Macbeth_       Mrs Warner.
+
+     After which "The Spoiled Child."
+
+     ROYAL SURREY THEATRE.
+
+     Shakspere's original version of "The Life and Death of King Richard
+     Third," after which "A Grand Ballet," to conclude with Boz's
+     "Oliver Twist."
+
+     ROYAL OLYMPIC THEATRE.
+
+     Mr H. Spicer's new play, "The Lords of Ellingham," to conclude with
+     the Drama, "The Miller and His Men."
+
+     ST JAMES'S THEATRE.
+
+     (French Plays.)
+
+     "L'Almanach des 25,000 Addresses," concluding with "L'Enfant de
+     Quelqu'un," with M. Grassot, M. Sainville, and M. Ravel.
+
+     To commence at 7.30.
+
+     PRINCESS'S THEATRE.
+
+     "La Vivandière," to conclude with the "Spirit of Gold," a Ballet,
+     and other entertainments.
+
+     ROYAL GRECIAN SALOON.
+
+     An entirely new opera in three acts by Auber, "Le Chevalier
+     d'Essone," with a Farce and a Divertissement.
+
+     Commencing at 6.30.
+
+     ASTLEY'S ROYAL AMPHITHEATRE.
+
+     An entirely new grand spectacle, entitled "Marmion; or the Battle
+     of Flodden," with other entertainments in the Ring.
+
+
+     THE DIORAMA, REGENT'S PARK.
+
+     (New Exhibition.)
+
+     "Eruption of Mount Ætna."
+
+
+     COAL-HOLE TAVERN, STRAND.
+
+     (Opposite Exeter Hall.)
+
+     Chair taken by JOHN RHODES every Evening.
+
+     Glees, Duets, Solos, Catches, Comic Songs, &c., executed by the
+     most numerous company of vocalists in the Metropolis, under the
+     direction of Mr Warren, R.A.
+
+
+     MADAME WARTON'S WALHALLA.
+
+     (Leicester Square.)
+
+     "Tableaux Vivants."
+
+
+     CREMORNE GARDENS.
+
+     Grand Aquatic Tournament.
+
+     Magnificent Water Pageant.
+
+The following paragraph appeared on July 29, and from it we get an
+insight into the aftermath which the months of revolutionary disturbance
+had bequeathed to the city Garcia had left only four weeks before.
+
+
+     "_From a Paris Correspondent._
+
+     "The theatres here seem struggling to get on their legs again. The
+     only speech that was listened to attentively during my visits to
+     the Assembly was that by Victor Hugo, advocating an annual grant of
+     680,000 francs to the Paris theatres."
+
+Let us now look at the musical events which were taking place during the
+first weeks after Manuel Garcia's arrival in London.
+
+We find many interesting announcements in the concert world; and it is
+strange to note that practically none of the halls in which they were
+given survive at the present day. On June 23 M. Chopin gives his
+_matinée_; while the Philharmonic Society informs the "subscribers and
+the public" that their eighth concert will take place at the Hanover
+Square Rooms, on June 26, with the following programme:--
+
+     Sinfonia in A, No. 2, Mendelssohn; overture, "Leonora," Beethoven;
+     sinfonia in C minor, Beethoven; overture, "The Ruler of the
+     Spirits," Weber.
+
+     _Vocal performers._--Mme. Castellani and Signor Mario.
+     _Conductor._--Mr Costa. Tickets, £1, 1s. each.
+
+On the same day there takes place in the Great Concert Room of Her
+Majesty's Theatre, Mr Benedict's Grand Annual Morning Concert, with the
+following artists:--
+
+     "Tadolini, Cruvelli, Vera, de Mendi, Schwartz, Sabatier, Mme.
+     Lablache, Miss Dolby, the Misses Williams, Mme. Doras-Gras,
+     Gordoni, Marras, Brizzi, Lablache, Caletti, Belletti, Ciabatta,
+     Pischek, and John Parry."
+
+Three days later Monsieur Berlioz gives a recital at the Hanover Square
+Rooms.
+
+During the same week we find the Musical Union giving a Grand Matinée at
+Willis's Rooms, with vocal music, sung by Mme. Viardot-Garcia and
+Mdlle. de Mendi: instrumentalists, Molique, Sainton, Hermann, Deloffre,
+Hill, Mellon, and Piatti; pianist, Charles Hallé; accompanist, Benedict.
+
+Soon after this Thalberg gives a recital; while "John Parry, the
+laughter-provoking and ingenious," holds his concert in the Hanover
+Square Rooms. "His new 'whimsy' (for he is the Hood of musicians in his
+amount of whim, and whim cannot exist without genius) is 'The Rehearsal
+of an Operetta.'"
+
+There is also a notice of Exeter Hall: "Mr Hullah's choralists
+celebrated the anniversary of laying the first stone of their new music
+hall with the best miscellaneous English concert that one recollects....
+Mr Sims Reeves, who seems wisely taking the tide at the flood, and by
+increased care justifying his increasing success, was an attraction,
+singing among other music Purcell's 'Come if you dare,' with spirit
+enough to 'rouse a shire.'"
+
+Then there is a season of Promenade Concerts at the Royal Adelaide
+Gallery, Strand, not to mention "M. Jullien and his unrivalled band" at
+the Royal Surrey Gardens.
+
+'Musical Gossip' of July 1848 contains some items, the first of which
+cannot fail to bring an ironical smile to the face of modern composers.
+
+"We have year after year adverted to the unsatisfactory state of the law
+of musical copyright in this country."
+
+"It is now stated that Mdlle. Lind has at last declined to take an
+engagement at Norwich: the sum of £1000 was offered her."
+
+"A correspondent at Florence writes: 'Old Rossini is here enjoying his
+well-earned _otium cum dignitate_.'"
+
+Now let us turn to operatic matters in that far-off season of 1848.
+
+Mr Delafield had undertaken to finance the Covent Garden venture, for
+which a bevy of great names had been secured. As in the preceding season
+Garcia's pupil, Jenny Lind, had been the principal star at Her
+Majesty's, so in this year another pupil, his sister, Pauline Viardot,
+was the star at the rival establishment. In addition to her there were
+Alboni, Persiani, Grisi, Mario, Ronconi, Marini, and Castellani.
+Unhappily, things did not run as smoothly as might have been wished:
+Michael Costa and Delafield were at loggerheads, and in July, soon after
+Garcia arrived from Paris, a financial crisis occurred which was only
+averted by the assistance of Gye.
+
+On the 20th of the month the first important operatic event took place
+of the many which the maestro was to witness here during the last
+fifty-eight years of his life. As the "Huguenots" had been produced
+twelve years before in the original French version during his stay in
+Paris, so now, with his advent to London, Meyerbeer's masterpiece was
+given for the first time at Covent Garden in its Italian version, under
+the title "Gli Ugonotti," with the part of Urbain transposed for Alboni,
+and an additional cavatina written specially for her. The cast on this
+occasion was as follows:--
+
+    _Valentine_         Mme. Viardot-Garcia.
+    _Marguerite_        Mme. Castellani.
+    _Urbain_            Mdlle. Alboni.
+    _Raoul_             Signor Mario.
+    _Marcel_            Signor Marini.
+    _Nevers_            Signor Tagliafico.
+    _Saint Bris_        Signor Tamburini.
+
+As to the rival operatic season at Her Majesty's Theatre, it will be
+sufficient if we quote a rather typical critique of one of the
+representations:--
+
+"'Poor Don Pasquale,' Donizetti's prettiest musical comedy (!),
+'produced to fill an off-night,' was an exclamation there was no
+escaping from on Tuesday evening. Why was it produced at all? To us the
+performance was an execution in the Tyburn acceptation of the word.
+
+"But a murder far more heinous has been committed at Her Majesty's this
+week. Poor M. Meyerbeer, how must his ears have tingled when his
+'Roberto' was given with one principal character--involving two entire
+acts, the two principal soprano songs of the opera, and its only grand
+finale--coolly swept away! By past musical performances we were apprised
+that neither Mr Lumley nor Mr Balfe recognises the difference between
+one of the flimsy Italian operas and those thoughtful works in which
+sequence, contrast, and stage effect have all been regarded by the
+composer.... If no prima donna equal to 'En vain j'espère' and 'Robert'
+be in the theatre, wherefore give the work at all, unless 'the Swedish
+lady' is _in extremis_ for a new attraction? Why not withdraw as
+superfluous all solos in Mdlle. Lind's operas save Mdlle. Lind's own?
+Why not mount 'Don Juan' without Donna Anna's arias? Rapacious as these
+propositions sound, they are as defensible as the liberties taken with
+Meyerbeer."
+
+We find the first mention of Señor Garcia's arrival made in the 'Musical
+World' of July 1, in these words:--
+
+"Manuel Garcia, the celebrated professor of singing in the Conservatoire
+of Paris, has arrived in London. He is brother to Malibran and Pauline
+Garcia, and was teacher of Jenny Lind."
+
+On July 15 the 'Athenæum' gives further details: "We are informed that
+Monsieur Garcia meditates settling here as professor of singing."
+
+With the publication of this news the maestro was besieged with
+applications from those who were desirous of becoming pupils. He was at
+once regarded as the foremost professor in the capital, and his house in
+George Street, Hanover Square, not only saw numbers of students anxious
+to enter the profession, but was equally sought out by the aristocracy
+and wealthy classes of society, as had been the case in Paris.
+
+On November 10, 1848, he was appointed a member of the professional
+staff at the Royal Academy of Music.
+
+The institution had only been founded twenty-five years previously, when
+Garcia was eighteen, receiving its charter of incorporation seven years
+later.
+
+It was very different from the Academy as we know it now. Up to the
+January of the year in which Garcia joined, it had had in all 767
+pupils. It may be of interest to those who have been connected with it
+during recent years, to learn that the total number of new pupils
+admitted to the Academy during 1847 were forty, of which thirteen only
+were members of the sterner sex. Assuming that every pupil stayed at the
+Royal Academy of Music for a three years' course--the assumption is
+rather more than doubtful--we should find the average number of pupils
+per term during the first twenty-five years of its existence to have
+been exactly ninety. Compare that with the five hundred or more who
+attend at the present day.
+
+The principal of the Academy at that time was Cipriani Potter, and we
+find some strangely bygone names upon the staff of professors. Sir Henry
+Bishop, Mons. Sainton, Moscheles, Goss, George Macfarren, Signor
+Crivelli, Sir George Smart, Mme. Dulcken, J. B. Cramer, Julius Benedict,
+Lindley, Chatterton, J. Thomas (the harpist), Signor Puzzi, and as an
+assistant professor of the pianoforte, Walter Macfarren. These were some
+of the colleagues with whom Garcia found himself associated when he
+commenced his work at the Academy.
+
+At the beginning of 1849 there came a reminder of the scenes of
+revolution through which the maestro had passed a few months before, for
+Julius Stockhausen followed him to England, to pursue in the quieter
+atmosphere of London those studies which were so rudely broken up by the
+alarums and excursions of his duties with the French National Guard.
+Stockhausen continued to have lessons from the maestro till 1851, and
+during this period sang at various concerts, by means of which
+appearances he quickly began to make his mark. During the last year of
+his studies he sang for the Philharmonic Society no less than three
+times.
+
+The close of 1852 saw his first appearance on the operatic stage at
+Mannheim; while between the years 1857 and 1859 he was engaged at the
+Opéra Comique in Paris, making especial success as the Seneschal in
+"Jean de Paris." In 1862 he settled in Hamburg as director of the
+Philharmonic Concerts there and of the "Sing-akademie," a position which
+he held till the end of the 'Sixties. During this period he took many
+concert tours with Mme. Schumann, Brahms, and Joseph. In 1870 he was
+back in England, and stayed till the close of 1871, singing once more at
+the Philharmonic, Crystal Palace, and other leading concerts. Three
+years after this he went to live in Berlin, to take direction of the
+vocal society founded by Stern. Thence he migrated to Frankfort as
+professor of the Conservatorium, presided over at the time by Raff; and
+it was in Frankfort that he spent the rest of his days.
+
+His principal pupils were van Rooy, Scheidemantel, and George Henschel;
+and as a teacher he was generally acknowledged to be the foremost of his
+time in Germany, as Mathilde Marchesi was in France. It is therefore a
+matter of some note that during the years in which Manuel Garcia was
+himself the finest teacher in England, he should, through these two
+pupils, have had his banner thus upheld upon the Continent.
+
+Among the most promising of Garcia's earliest pupils at the Royal
+Academy was Kate Crichton, who came to study under him at the
+commencement of 1849--the year in which Sims Reeves made his operatic
+_début_ and music-lovers mourned the death of Chopin.
+
+Miss Crichton soon showed that the maestro had not left behind him in
+Paris his cunning in the training of voices. As the time approached at
+which the idea of her _début_ was taking shape, the advice of Garcia
+upon the point was sought by her father. The letter in which was
+embodied his reply may be quoted as showing the deep interest and sound
+advice which was ever displayed in his relations with his pupils:--
+
+     MONSIEUR,--Veuillez avoir la bonté d'excuser le retard de ma
+     réponse; une indisposition en a été la cause.
+
+     Je regrette que le manque de courage tienne en échec les moyens de
+     Mademoiselle Browne et comme Mr Hogarth je juge que l'exercice
+     fréquent devant le public est le meilleur moyen de vaincre sa peur.
+
+     Mais aussi je pense que les premiers essays (_sic_) de Mademoiselle
+     Browne vont être fort incomplets et par une sorte dans l'usage de
+     procédés qu'elle ne domine pas encore complétement et par la
+     terreur que bien a tort lui inspire le public.
+
+     Or pensez vous qu'il faille donner à ses premiers essays (_sic_)
+     tout le rétentissement possible, ou ne trouvez vous pas qu'il
+     serait plus prudent de les faire à petit bruit laissant à la
+     débutante le temps d'acquerir l'applomb (_sic_) qui lui manque
+     avant de lancer son nom à la grand publicité.
+
+     Je vous soumets ces réflexions en vous laissant d'ailleurs la
+     faculté de faire usage de mon nom si vous le croyez utile aux
+     interests de votre enfant.
+
+     J'ai l'honneur d'être, Monsieur, Votre trés humble Serviteur,
+
+     M. GARCIA.
+
+At last her teacher thought her ready to make the trial. An engagement
+was secured under the management of Alfred Bunn, and on January 23,
+1852, Kate Crichton made her _début_ on the opening night of the Drury
+Lane season in "Robert le Diable." As to her success we may quote 'The
+Times':--
+
+"As Princess Isabelle, Miss Crichton (in whose person we recognised Miss
+Browne, the most promising pupil of the vocal art in the Royal Academy
+of Music) made her first appearance on any stage. She was successful to
+a degree which, since the _début_ of Mr Sims Reeves in 1849, has had no
+parallel on the English stage."
+
+Unhappily Miss Crichton's career, so brightly begun, was brought to a
+sudden close by her catching a malignant fever at Milan, resulting in
+the loss of her vocal powers. Had it not been for this, there is no
+doubt that she, too, would have been among that wonderful band of pupils
+who won fame in the operatic world for their maestro and themselves.
+
+Miss Crichton, however, during her years of study seems to have caught
+the bacillus of old age from her master, for, upon ultimately regaining
+the beauty of her voice after many years of retirement, she continued to
+sing to her friends until within a few months of her death in her
+eightieth year. Among other eminent pupils who acquired from Garcia the
+bad habit of longevity, one may recall Stockhausen, who lived to pass
+his eightieth birthday; Charles Santley and Bessie Palmer, who are well
+on in the seventies; and Pauline Viardot, who is not so very far off
+her ninetieth year. Who will assert that old age is not catching?
+
+1850 was a year interesting to musicians from the fact that Frederick
+Gye, the new manager of Covent Garden, produced Halévy's opera, "La
+Juive," while the great German basso, Herr Formes, made his English
+_début_; but the year was memorable for England at large, from the fact
+that it saw the death of two of her best-known men--Robert Peel and
+Wordsworth.
+
+With the following year--in which Turner passed away--the subject of
+this memoir was included for the first time in the census of the United
+Kingdom. It affords a curious comparison with the numbers of the present
+day, when we note that the Return, taken a month before the opening of
+the Great Exhibition, gave the population as 27,637,761, the last figure
+of which shows the advent of the maestro with unmistakable clearness.
+
+1852 again brought Garcia's name before the English public as it had in
+1848. Just as in that year three rival opera companies in London had
+fought for the possession of his pupil Jenny Lind, so now the two
+managers--Gye and Lumley--strove for the possession of another of his
+pupils, Johanna Wagner, whose name was the only one rivalling that of
+the Swedish Nightingale in its magnetic hold upon the musical world.
+
+The January of the following year, 1853, brought another pupil, Bessie
+Palmer, the contralto. She tells the story of her difficulties in
+becoming his pupil in her book of 'Musical Recollections':--
+
+"By the advice of C. L. Gruneisen, the critic of 'The Morning Post,' I
+entered the Royal Academy of Music as a student. When I commenced
+studying in September 1851, Manuel Garcia's class, which I had chosen to
+enter, was full, so I was placed in Mr Frank Cox's class for six months.
+Then Signor Crivelli heard me at one of the Academy weekly concerts, and
+suggested that I should become his pupil next term. Imagine my surprise
+when the old man positively asserted that my voice was soprano, and made
+me learn many of Grisi's songs.
+
+"After some months I found my voice becoming thin and scratchy and my
+throat in a constant state of irritation. At last, in January of 1853, I
+wrote to M. Cazalet, the superintendent, requesting that I should be
+placed in Signor Garcia's class, as Signor Crivelli had quite altered
+the tone and quality of my voice, and had made a mistake. M. Cazalet
+answered that the committee refused to permit me to go into Signor
+Garcia's class, and unless Signor Crivelli would kindly take me back as
+his pupil I could not return to the Academy. Of course I wrote at once
+and said I would _not_ rejoin Crivelli's class, and certainly would not
+return at all.
+
+"On leaving the Academy I went to Garcia's house and explained to him
+how my voice had been changed. He made me sing a few bars, and then told
+me I must rest entirely for some considerable time, not singing at all,
+and not talking too much, so as to give the throat, which was out of
+order, complete rest. After six months of quiet I went again to him,
+when he tried my voice and said I could now begin to practise. I
+therefore commenced lessons at once, and soon found it improving,
+thanks to the careful way in which he made me practise, bringing the
+voice back to its proper register, and giving me Italian contralto songs
+after many lessons."
+
+With this episode we are brought to the year which medical men will
+consider the most important one in Manuel Garcia's life, as it was in
+1854 that he perfected his great discovery.
+
+[Illustration: MANUEL GARCIA.
+
+(REPRODUCED FROM AN ORIGINAL SKETCH BY PAULINE VIARDOT SOON AFTER THE
+INVENTION OF THE LARYNGOSCOPE.)]
+
+
+
+
+CHAPTER XIV.
+
+THE LARYNGOSCOPE.
+
+(1854-1857.)
+
+
+It was in 1854 (the year which saw the ultimatum of England and France
+presented to St Petersburg, the prelude to the Crimean War) that the
+important invention was made--or, as the maestro with characteristic
+modesty described it, "the idea dawned on him"--of the laryngoscope.
+
+As to its lasting value to the world at large, it will be sufficient to
+point out that since that year, according to reliable estimates, 3 per
+cent of the entire human race have been benefited by the invention.
+
+With regard to the history of the discovery, an account of the earlier
+attempts which had been made has been set down in the number of the
+'British Medical Journal' published at the time of the Garcia Centenary.
+
+Before proceeding further, it may be well to warn the reader that the
+next few pages are bound to deal with a certain amount of technical
+detail which it is impossible to avoid in relating this portion of the
+maestro's career.
+
+Although the dentist's mirror was in use among the ancient Romans, the
+first trace of an attempt to examine the throat by means of reflected
+light is found about the middle of the eighteenth century.
+
+In 1734 Levret, whose name is still held in honour among obstetricians,
+described a speculum, consisting of a plate of polished metal, which
+"reflected the luminous rays in the direction of the tumour," and
+received the image of the tumour on its reflecting surface. Levret seems
+to have used the mirror, not as a means of diagnosis, but as a guide in
+the application of ligatures to tumours in the throat. At any rate, his
+invention bore no fruit.
+
+Half a century later Bozzini, of Frankfort-on-the-Main, devoted much
+attention to devising means of illuminating the main canals of the human
+body. In 1807 he published a description of an apparatus by which the
+throat and the posterior nares could be examined by reflected light. The
+official heads of the profession laughed away his invention, which,
+though cumbrous, deserved a better fate.
+
+In 1825 Cagniard de Latour introduced a little mirror into the back of
+the throat, hoping with the aid of the sun's rays and a second mirror to
+be able to see the epiglottis, and even the glottis, but failed. In 1827
+another unsuccessful attempt was made by Senn of Geneva; and two years
+later Benjamin Guy Babington exhibited at the Hunterian Society of
+London an instrument very like the laryngoscope now in use: he employed
+it in many cases, but for some reason seems to have left no record of
+them.
+
+In 1832 Bennati of Paris stated that he could see the vocal cords by
+means of a double-tubed speculum, invented by a patient suffering from
+laryngeal phthisis. Trouseau, however, proved to his own satisfaction
+that the epiglottis must always make it impossible to see the inside of
+the larynx.
+
+In 1838 Baumès of Lyons showed a mirror with which he said the larynx
+could be examined.
+
+In 1844 Warden of Edinburgh reported two cases in which he said he had
+been able to make "satisfactory ocular inspection of diseases affecting
+the glottis," by using two prisms of flint glass. In the same year Avery
+of London devised a laryngoscope in which a laryngeal mirror was
+combined with a lamp and reflector: the apparatus embodied the essential
+features of the modern laryngoscope, but its clumsiness made its
+practical application difficult, and in many cases impossible.
+
+Up to 1850, then, the different attempts had met with failure in varying
+degrees. When Garcia attacked the problem he was quite ignorant of the
+fact that others had been at work, and his reason for wishing to
+overcome the difficulty and catch a glimpse of the glottis was perfectly
+different from theirs. His was one connected entirely with his work as a
+teacher of singing. Ever since he had given attention to the scientific
+aspects of voice-emission, he had longed to see a healthy glottis in the
+very act of singing. The idea of employing mirrors for the purpose of
+studying the interior of the larynx came to him in 1854. The following
+is the story of the discovery as he related it one day:--
+
+"During all the years of study and investigation of the problems of the
+voice-emission," he said, "one wish was ever uppermost in my mind--'if
+only I could see the glottis!'"
+
+One day in the September of 1854, when on a visit to Paris, he was
+standing in the Palais Royal. Suddenly there came to him an idea. "Why
+should I not _try_ to see it?" How must this be done? Why, obviously by
+some means of reflection. Then, like a flash, he seemed to see the two
+mirrors of the laryngoscope in their respective positions as though
+actually before his eyes. He went straight to Charrière, the surgical
+instrument maker, asked whether they happened to possess a small mirror
+with a long handle, and was at once supplied with a dentist's mirror,
+which had been one of the failures of the London Exhibition of 1851. He
+bought it for six francs.
+
+Returning home, he placed against the uvula this little piece of glass,
+which he had heated with warm water and carefully dried. Then with a
+hand-mirror he flashed on to its surface a ray of sunlight. By good
+fortune he hit upon the proper angle at the very first attempt. There
+before his eyes appeared the glottis, wide open and so fully exposed
+that he could see a portion of the trachea. So dumfounded was he that he
+sat down aghast for several minutes. On recovering from his amazement he
+gazed intently for some time at the changes which were presented to his
+vision while the various tones were being emitted. From what he
+witnessed it was easy to conclude that his theory, attributing to the
+glottis alone the power of engendering sound, was confirmed, and thence
+it followed that the different positions taken by the larynx in the
+front of the throat had no action whatever in the formation of the
+sound. At last he tore himself away, and wrote a description of what he
+had seen.
+
+Six months later, on March 22, 1855, his paper, "Physiological
+Observations on the Human Voice," was submitted to the Royal Society of
+London. In it was set down the scientific thesis of his discovery in
+language which would have done credit to expert anatomists and
+physiologists.
+
+On May 24 this was read before the Society by Professor Sharpey at a
+meeting held under the presidency of Lord Wrottesley, and was duly
+published in the 'Proceedings of the Royal Society,' vol. vii.
+
+Investigation shows that primarily it is an account of the oral cavity
+and of the physiology of the voice, exemplified by the mechanical
+contrivance of the author's own thoughtful invention, actually used in
+an autoscopic manner with the idea of elucidating the action of the
+larynx during vocal effort.
+
+As far as Garcia was concerned, the laryngoscope ceased to be of any
+special use as soon as his first investigations were concluded. By his
+examination of the glottis he had had the satisfaction of proving that
+all his theories with regard to the emission of the voice were
+absolutely correct. Beyond that, he did not see that anything further
+was to be gained beyond satisfying the curiosity of those who might be
+interested to see for themselves the forms and changes which the inside
+of the larynx assumed during singing and speaking. The method of making
+scientific use of the voice is due to his discovery and ocular
+verification of the action of the vocal cords and of the glottis in the
+emission of sound.
+
+As to the subsequent use of the laryngoscope in another sphere of
+investigation, and the far-reaching results which are due to it, it was
+nearly two years before the possibility of making practical use was
+seen. The medical profession was slow to realise what an invaluable
+instrument of observation the musician had provided, and at first it was
+treated by superior persons as nothing more than a physiological toy; in
+fact, as so often happens when a discovery is made by some one not
+belonging to the craft, Garcia's communication was originally received
+by the doctors with indifference, if not with incredulity.
+
+It might have been expected that the uses to which the instrument could
+be put for diseases of the throat would forthwith have been perceived,
+and its value as a means of diagnosis appreciated. Yet, but for an
+accident, the paper might have lain buried in the dusty tomb of the
+'Proceedings' of the Royal Society.
+
+It is generally said that Türck of Vienna, coming by chance across it
+two years after the date of its presentation, was inspired to apply the
+invention to the examination of the upper air-passages. "This," says the
+'British Medical Journal,' "is not accurate. Türck had been working
+independently on much the same lines as Garcia, and had even devised a
+laryngoscope. He showed the instrument to a friend, who at once informed
+him that the invention was not new, and directed his attention to the
+paper in question."
+
+Türck continued his experiments for a time; and it was in this year,
+1857, that the instrument was actually used for the first time for
+diagnostic purposes. He seems, however, to have given up his experiments
+later, owing to the want of sunlight in the winter.
+
+Soon after this, Professor J. N. Czermak of Buda-Pesth, another great
+physiologist, visited Vienna, and was shown the instrument, in which he
+was keenly interested. With it he made the observations which he
+published. This fact gave rise to one of those bitter controversies as
+to priority, of which the history of science offers so many examples.
+
+The famous dispute had the immediate effect of directing the attention
+of the whole world to the laryngoscope. As to the rights of the matter,
+it would appear that while there is no doubt that Czermak owed his
+knowledge of the method to Türck and indirectly to Garcia, he made the
+important modification of substituting artificial illumination for the
+uncertain light of the sun.
+
+One thing is certain, and that is that to Czermak belongs the credit of
+making known to the world the laryngoscope, and to some extent the
+possibilities lying hidden in the little mirror. He visited the
+principal medical centres of Europe, and, luckily being gifted with a
+capacious and exceptionally tolerant throat, he was able to give
+convincing demonstrations of the value of the discovery, and its
+scientific and practical possibilities. If Garcia was the founder,
+Czermak was the apostle, of laryngology.
+
+As to the demonstrations with the instrument, many amusing incidents
+have taken place. Two in particular I remember hearing Garcia relate.
+
+His pupil Charles Battaille, to whom reference has been already made in
+an earlier chapter, was most enthusiastic over it, and, having been a
+medical student at one time, considered himself well qualified to
+demonstrate its virtues. Hearing that the Turkish Ambassador in Paris
+was going to give a dinner to the most prominent French inventors of
+that time, he obtained permission to show off the uses of the new
+exhibit during the evening. After pointing out that it would
+revolutionise the scientific study of the throat, he proceeded to force
+the instrument down the gullet of an unfortunate Court official who had
+barely finished dinner. The result was disastrous.
+
+The other story was a comical experience of a well-known specialist.
+
+Like all very sensitive areas of the human body, the organ of the voice
+is sometimes invaded by special symptoms, notably in hysterical
+patients.
+
+When the laryngoscope became a speciality, a young lady who for two
+whole years had lost all power of articulation was brought up to London
+by her mother for advice and treatment. The experienced laryngologist to
+whom she was introduced placed her in proper position before his lamp,
+while the parent poured out the prolonged tale of affliction. Without
+taking any apparent notice of the latter, he placed the mirror in the
+girl's throat with the usual request, delivered in a cool and commanding
+tone, "Say 'aw,' please"; when the young lady snappishly drew back her
+head with, "How can I with that thing in my throat?"--followed by, "Oh,
+dear, I've spoken!" The specialist turned at once to the anxious parent,
+and told her she might take her daughter home cured,--as she proved to
+be.
+
+In the present state of our knowledge of such matters, it is rather
+startling to remember that two and a half centuries ago the famous
+physician of Norwich, Sir Thomas Brown, thought it a part of his duty,
+as an advanced teacher of his contemporaries, to devote a chapter of one
+of his books to stating and proving that food and drink did not descend
+into the body by two separate tubes. It appears that at that date the
+majority of the British public actually believed that, as Nature had
+placed two pipes in the neck, solids were transmitted by one and fluids
+by the other during the ordinary act of swallowing.
+
+Most people nowadays are aware that the vibrations of the elastic bands,
+of which there is one on each side beneath the membrane of the upper
+part of the larynx, produce the sounds of the voice by their effect on
+the air issuing from the lungs. Certain qualities of tone, and of course
+the pitch of a note, are determined by their length and tension, while
+the special characteristics which make the voice of each individual
+definitely recognisable are due to the varied forms of the several parts
+of the throat, nose, mouth, &c., above that level. Again, the "breaking"
+of the voice of a boy on reaching the threshold of adolescence is due
+to the mechanical effect of the elongation of the elastic bands above
+referred to--so-called "vocal cords,"--produced by the forward growth of
+the cartilages of the larynx which determine the formation of the
+"Adam's apple." All these simple facts were absolute mysteries
+previously to the enlightening device of Manuel Garcia.
+
+Though Czermak took up the laryngoscope and added to its general
+feasibility by the introduction of artificial light, it still had many
+obstacles to overcome, but in this it only shared the common fate of all
+innovations. A number of the men who bore the heat of the day in the
+early time of storm and stress are still alive, and must rejoice in the
+fulness of recognition which their speciality has gained.
+
+Intralaryngeal medication and surgery soon followed the discovery of the
+diagnostic properties, and its principles were extended to the
+elucidation and treatment of diseases of the parts situated between the
+nose and throat.
+
+Professor Osler has told us that if we take the sum of human achievement
+in science and the arts, and subtract the work of those above forty,
+"while we should miss great treasures, even priceless treasures, we
+should practically be where we are to-day." The achievement of Garcia
+supplies a striking comment on these hasty words. He was ten years over
+the limit fixed by the professor when by his invention he opened up a
+new world to scientific exploration. Subtract the laryngoscope from
+medicine, and what a gap is left in modern methods of diagnosis and
+treatment! Before its invention threw light into places which had been
+dark since the birth of the human race, the larynx was an undiscovered
+country, and its diseases lay beyond the limits of medical art.
+
+"Had Garcia's work ended when he was forty, we should still not
+improbably be powerless to deal with functional aphonia, with laryngeal
+growths, with tuberculosis of the larynx, and with many conditions in
+the upper air-passages which can now be treated satisfactorily, because
+they can be seen. What is more important, we should be without a means
+of diagnosis which has proved invaluable in the detection of unsuspected
+disease of the brain and in the elucidation of obscure mediastinal
+affections. Abductor paralysis of a vocal cord is often the only
+appreciable symptom in the early stage of tabes, and it may give the key
+to the situation of a growth in the fourth ventricle, the medulla, or
+the cerebellum. Faint appearances, discoverable only by laryngosocopy,
+may furnish the first indication of pulmonary tuberculosis before any
+physical signs are present. The state of the larynx, in fact, is often a
+danger-signal to those who can read its meaning. The laryngoscope may
+also reveal the presence of an aortic aneurism or a mediastinal tumour.
+Its value in medicine is greater than that of the ophthalmoscope,
+because its application is wider, and the indications which it supplies
+are often more definite."
+
+While touching general medicine at many points, laryngology is also to a
+large extent an autonomous territory in the great federation of the
+human organism. The extensions of Garcia's discovery which have been
+made in so many directions, have given it a field of usefulness vaster
+than was dreamt of by those who first applied the laryngoscope to
+medicine.
+
+As to the development of the instrument, Manuel Garcia, the discoverer
+of the hidden land, attained his results by the most simple means. He
+merely placed the little dentist's mirror (previously heated) with a
+long handle against the uvula, holding it at an angle of 135 degrees,
+and then, by means of an ordinary hand-mirror, flashed a ray of sunlight
+upon its surface. Next Czermak and Türck took the matter up, and made
+certain improvements in the instrument, substituting artificial light so
+as to render it useful independently of the sun. The laryngoscope was
+illumined by a concave mirror fastened to the forehead of the observer.
+This mirror received the rays of a lamp situated close to the head of
+the subject, and focussed their concentrated light on to the
+laryngoscope. The position to be given to the patient was definitely
+fixed by these workers.
+
+With the advent of electric light fresh perfections were introduced;
+while in 1896 Kirstein, of Berlin, discovered a novel method of
+laryngeal investigation which led to the establishment by Killian, in
+1902, of a new method of "bronchoscopy," which permits of the direct
+exploration of the "bronchiæ."
+
+But all these discoveries are only a continuation of that invention
+which assures to Garcia a glorious name in the history of medicine.
+
+With the advent of March 17, 1905, which saw not only Manuel Garcia's
+hundredth birthday, but the fiftieth anniversary of this discovery, the
+acorn which he had planted in the middle of the nineteenth century had
+grown to a stately and wide-branching oak-tree. We shall see later, when
+we come to the description of this event, how medical representatives
+from every part of the world combined to do honour to him as the author
+of a most fruitful addition to the resources of medical art and as the
+initiator of a great advance in medical science. It must have brought
+the centenarian a great and justifiable pride when on that day he looked
+on the representatives of the Laryngological societies encircling the
+world, who united to call him Father.
+
+
+
+
+CHAPTER XV.
+
+CHARLES SANTLEY AND ANTOINETTE STERLING.
+
+(1857-1873.)
+
+
+1841 became a memorable date in the earlier period of Manuel Garcia's
+career as a teacher, as bringing Jenny Lind to his studio in Paris. In
+the same way, 1857 stood out in the later portion, as bringing to him
+the first pupil in London who was to achieve a world-wide reputation,
+Sir Charles Santley. In making this statement I leave out of account
+Julius Stockhausen, since his lessons had been commenced in Paris.
+
+The circumstances which brought about the advent of Santley are related
+in his 'Reminiscences':--
+
+     "One morning in the autumn of 1857 I received a message to go round
+     to Chorley's house immediately, as he had something of importance
+     to communicate. It was to the effect that Hullah was going to
+     perform the 'Creation': he could not offer me any terms, but if I
+     was satisfied with this opportunity of making an appearance in
+     public, he would be pleased to accept my services to sing the part
+     of Adam."
+
+Santley accepted at once, having only a few weeks before returned from
+Italy, where he had been studying under Nava.
+
+     "I went to try over the duet with the lady who was to represent my
+     _malheureuse cotelette_, and found someone seated in the
+     drawing-room, who made me a distant bow on my entrance. After a few
+     moments' hesitation I ventured to remark, 'Miss----, I presume.'
+     'No,' she replied, 'I am Miss Messent, and I understand I am to
+     have the pleasure of singing the duets in the last part of the
+     "Creation" with you. Miss---- was to have sung them, but for some
+     unexplained reason has given up the engagement.'"
+
+The reason the baritone only learned some years after. Miss---- had made
+a small reputation already, which she declined jeopardising by singing
+duets with a young man fresh from Italy.
+
+     "I dined with Chorley on the evening of the concert, and met Manuel
+     Garcia, who accompanied us to St Martin's Hall.
+
+     "I succeeded better than I had dared to hope. When I walked home
+     with Chorley and Garcia after the performance, the latter expressed
+     himself as pleased, but pointed out certain defects to be overcome,
+     at the same time offering to render me any assistance in his
+     power."
+
+It was an offer of which Santley promptly availed himself, and he
+commenced lessons forthwith, the maestro being at the time in his
+fifty-third year, his pupil a lad of twenty-three. The profit which was
+received during those lessons the baritone has never forgotten. As to
+his personal memories of the maestro,--"It would require a whole book
+to say what I should be bound to say," he wrote to me in a letter during
+the preparation of the present memoir.
+
+The feelings with which the world-renowned baritone regards his old
+master may best be summed up in the words inscribed on the photograph
+which used to stand on the grand piano in Señor Garcia's home: "To the
+King of Masters." Moreover, I remember his remarking one day, while I
+was studying under the maestro, "You are learning from the greatest
+teacher the world has ever known." Nor is he less ardent in his
+admiration for Mme. Viardot-Garcia. "No woman in my day has ever
+approached her as a dramatic singer," he once said; "she was perfect, as
+far as it is possible to attain perfection, both as vocalist and
+actress."
+
+Santley is himself remarkable as a man no less than as an artist. After
+having made a name which will ever be honoured and reverenced throughout
+the musical world for high ideals nobly sustained, he is, though over
+seventy, still able to make before the public occasional appearances, in
+which he shows how the old Italian method, coupled with a fine intellect
+and dramatic instinct, can triumph over mere weight of years. As one
+listens it seems impossible to believe that a man who sings to-day with
+all the fire, vigour, and passion of youth, can have been before the
+public for anything like so long a period as half a century. Up to the
+present time Sir Charles Santley remains unquestionably the greatest
+baritone this country has produced.
+
+[Illustration: _Photo by Chancellor, Dublin._]
+
+Shortly after Santley had commenced lessons under the renowned teacher,
+he received an invitation to a party at Chorley's to meet a pupil of
+Garcia, Gertrude Kemble, who was about to make her _début_ at St
+Martin's Hall in the Christmas performance of the "Messiah."
+
+"I would have much preferred staying at home with a book," he writes. "I
+had made my first appearance at the Crystal Palace in the afternoon, and
+felt depressed with the poor impression I had made. The party, which had
+been arranged to give Miss Kemble an opportunity of singing before a
+small assembly previously to confronting the larger audience at St
+Martin's Hall, included the famous Adelaide Kemble, Virginia Gabriel,
+John Hullah, Mr and Mrs Henry Leslie, and others.
+
+"I felt great sympathy for the poor trembling girl who was about to
+undergo an ordeal for which she was not physically prepared. I learned
+afterwards her voice had been much strained by an incompetent professor
+during her long residence in Hanover. Manuel Garcia had done wonders
+with it since her return to England, but she still had great difficulty
+in controlling the upper register, which naturally added considerably to
+her nervousness. Nevertheless she sang exceedingly well and with great
+intelligence.
+
+"This party," he concludes, "which I would willingly have shirked,
+proved a very important event for me,--in less than eighteen months Miss
+Kemble became my wife."
+
+The year 1859 was memorable for the fine work of Garcia's two
+pupils--Pauline Viardot and Battaille. The former revived Orphée, and
+achieved so great a success in the part that it stood out afterwards as
+one of her most famous _rôles_. The latter brought out a book on singing
+which reflected the greatest credit not only on himself but on the
+maestro from whom he had received inspiration and knowledge.
+
+The next year, which saw the capture of Pekin in far-off China, brought
+with it a strange coincidence. As we have seen, some improvements in the
+laryngoscope had followed its invention, due to the labours of Türck and
+the experimental skill and acumen of Czermak, and in due course
+questions of priority became a bone of contention, as they had done
+nearly two decades previously in connection with Señor Garcia's 'Mémoire
+sur la Voix humaine.'
+
+For the annual prize awarded in 1860 by the Paris Academy of Sciences,
+under the Montyon foundation, Türck and Czermak submitted contributions
+on the art of laryngoscopy. But nice points of priority were brushed
+aside by the Academy, and to each there was awarded a "mention
+honorable," accompanied by a gift of money.
+
+This action seems to have prompted Garcia to put forward a claim for the
+prize in Experimental Physiology to be awarded for the year 1861.
+Accordingly he presented a memoir, in which he recapitulated his pioneer
+work, and expressed the hope that the favours meted out to the
+before-mentioned authors might be extended to himself. The matter does
+not, however, appear to have gone any further.
+
+In this year another of his famous pupils, Mathilde Marchesi, brought
+out a book on singing, 'L'École du Chant,' founded on her master's
+teaching, and with it achieved notable success.
+
+With 1862 there came the first tardy recognition which Manuel Garcia
+received from the medical world for the inestimable boon which he had
+conferred on them by his invention: the diploma of Doctor of Medicine,
+_honoris causa_, was bestowed on him by the University of Königsberg.
+But as the year brought in its train this pleasure, so, too, it had its
+compensating sorrow, for on the 10th of May, at Saint-Josse-ten-Noode in
+Belgium, his mother passed away at the ripe old age of eighty-four.
+
+1868, in which Disraeli assumed the helm of State as Prime Minister, saw
+the advent of Antoinette Sterling, who came on to Garcia from Cologne,
+where she had been studying under Mathilde Marchesi.
+
+The letter which the maestro sent to Signor Marchesi, after hearing the
+contralto, I am able to quote:--
+
+
+_Translation._
+
+     LONDON, _July_ 17, 1864.
+
+     _To_ SIGNOR S. DE C. MARCHESI, Professor at the Conservatoire of
+     Music, Cologne.
+
+     MOST ESTEEMED SIGNOR MARCHESI,--Miss Sterling, whom I have already
+     heard several times, possesses a beautiful voice, but she is still
+     a beginner. In every way I will do what little I can to continue
+     the very excellent direction given to the studies of the young lady
+     by your wife, to whom I beg you to present my most distinguished
+     salutations. Pray accept the same yourself from your sincere
+     friend,
+
+     MANUEL GARCIA.
+
+     I am very grateful for the recommendation. Farewell.
+
+Antoinette Sterling ever regarded Señor Garcia with the greatest
+affection and esteem, and used to delight in recalling the following
+memories of the days when she had studied with him. I have set them down
+before in the little memoir of her career already published.
+
+When Miss Sterling, as she then was, went to the maestro for lessons, he
+was so carried away with the voice of his new pupil that he could not
+bring himself to keep her to exercises, as was his custom in the case of
+others. Almost at once he began taking her through all the Italian
+operatic _rôles_. One day she was struggling to execute a particularly
+difficult phrase, and at last burst out crying, "You ought not to give
+me these songs until I have mastered the exercises properly." "You're
+quite right," he answered, and took her back to the exercises once more.
+
+Until Antoinette Sterling commenced her training under him she used the
+full extent of her voice, singing from the D below middle C to the top
+soprano C sharp--a range of three octaves. She sang all the contralto
+arias from opera and oratorio, and at the same time felt equally at home
+with the soprano _rôles_.
+
+[Illustration: Photo by Elliott & Fry, Baker Street, London, W.
+
+Handwritten: Antoniette Sterling MacKinlay]
+
+The first thing her new master did on hearing her was to make the
+remark, "If you continue as you have been doing, do you know what will
+happen? Look at this piece of elastic. I take it firmly at the two ends
+and stretch it. What is the result? It becomes thin in the middle. If I
+were to continue to do this constantly, it would get weaker and weaker,
+until finally it would break. It is thus with the human voice.
+Cultivate an extended range, and keep on singing big notes at both
+extremes, and the same thing will occur which we have seen with the
+elastic. Your voice will gradually weaken in the middle. If you persist
+in this course long enough, it will break, and the organ be rendered
+useless." For this reason he strongly advised her to abandon the higher
+notes, confining herself to genuine contralto music. Moreover, with the
+reduced range, he told her strictly to avoid practising on the extremes,
+to use them as little as possible, and build up her voice by exercising
+the middle portion of it. It is an invaluable hint for all singers. His
+pupil realised the wisdom of what he said, and from that time onwards
+ceased to use the top half octave of her voice.
+
+After a return to America, during which she was engaged to sing at Dr
+Ward Beecher's church, she came over to England again to make her
+_début_. Señor Garcia heard of the forthcoming appearance of his old
+pupil, and tried to find out her address. She in her turn had lost that
+of the maestro. In consequence of this they did not have an opportunity
+of meeting again till the eventful evening had passed, and all London
+was ringing with the new contralto's praises. He had, of course, been
+present at Covent Garden, and at the end of her first song went round to
+the door of the artist's room to congratulate her. The attendant met him
+with the stereotyped reply, "We cannot let any one in." "But I insist--I
+_must_ see her. She is my pupil." The request, however, was met with
+stolid indifference, and he was obliged to return to his seat.
+
+When, finally, they did meet again, she at once recommenced her lessons,
+and these were continued, as regularly as engagements would permit,
+until seven years after her _début_.
+
+On July 5, 1869, Manuel Garcia was elected a member of the Committee of
+Management at the Royal Academy of Music, with which he had now been
+connected for twenty years.
+
+Twelve months later he was brought to a sudden realisation of the
+catastrophe that shook Europe, for July saw the commencement of the
+Franco-Prussian War, all the French being ordered to leave German
+territory. In consequence of this edict Mme. Viardot was obliged to move
+from Baden-Baden, where she had been teaching; and, like many others,
+she made her way to England. On her arrival there with her husband she
+settled down in London near her brother, till the march of events
+rendered it possible for her to return to the Continent.
+
+Of this period Mme. Noufflard, daughter of Lady Hallé, has given some
+recollections.
+
+"While Mme. Viardot was taking refuge in London, her house was the
+rendezvous of every talent; and I well remember one evening, when
+serious music had given way to fun, Saint-Saëns sitting at the
+pianoforte to improvise the 'rising of the sun in a mountainous
+country.' In the twinkling of an eye Manuel Garcia cut out a large halo
+from a newspaper, and was seen slowly emerging from behind a high-backed
+chair, his full face, with its paper decoration, disclosing itself at
+the top, as the last triumphant chord was struck.
+
+[Illustration: CHARLES HALLÉ AND MANUEL GARCIA PLAYING CHESS.
+
+(REPRODUCED FROM AN ORIGINAL SKETCH BY RICHARD DOYLE.)]
+
+     "I recollect him also as the talented and patient teacher, always
+     full of interest even in those whose efforts were feeble. To his
+     musical talents was added the charm of courtly manner,
+     never-failing wit, and love of fun. The last he gave a fresh proof
+     of but two or three years ago, when in answer to the pleasure shown
+     by some friend, who had not seen him for some little time, in
+     meeting him again at a _soirée_, he replied with the characteristic
+     foreign shrug of the shoulders, 'Que voulez-vous? Je suis trop
+     occupé pour avoir le temps de mourir.'"
+
+Mme. Noufflard also tells how the maestro used to visit her parents at
+Greenhays in Manchester:--
+
+     "I was too young at the time to remember any details of those very
+     interesting days; but my earliest recollections of Signor Garcia
+     are those of the delight with which we children always greeted him,
+     as he was ever ready to enter into our pursuits and to enjoy a
+     romp. I remember, as quite a child, having undertaken to teach him
+     German, and the solemnity with which he took his so-called lesson
+     each day, although the teacher knew far less of the language than
+     did the pupil. As we grew older he would often take us to his rooms
+     near Manchester Square, and explain the invention and uses of his
+     laryngoscope with as much care and precision as if we were the
+     whole College of Surgeons listening to him."
+
+What need to recapitulate the events which followed on the outbreak of
+the Franco-Prussian War? In less than three months Paris was besieged, a
+calamity followed in October by the pitiful surrender of Metz.
+
+With the January of 1871 came the capitulation of Paris, followed by the
+conclusion of peace in February, the revolt of the Commune, and the
+second siege of the capital in March.
+
+Señor Garcia must have been glad indeed that he had come to England
+nearly a quarter of a century before, and was thus able quietly to
+pursue his work as a teacher, instead of remaining in Paris to be upset
+once more, as he had been with the Revolution of '48.
+
+
+
+
+CHAPTER XVI.
+
+TWENTY YEARS OF MUSIC.
+
+(1853-1873.)
+
+
+At this point it may be of interest to recall the principal musical
+events which took place during the earlier years of Manuel Garcia's
+residence in London.
+
+The year of the invention of the laryngoscope is principally of interest
+to musicians from the fact that Gye was able to secure for his opera
+company a valuable aid in that greatest basso of any time, Luigi
+Lablache, then sixty years of age.
+
+The following year brought the London _première_ of "L'Etoile du Nord,"
+and of Verdi's new opera, "Il Trovatore"; it is additionally memorable
+for the advent of Cerito, on whom the mantle of Taglioni and Vestris had
+fallen as a _première danseuse_.
+
+1856 brought in its train a series of catastrophes to music-lovers.
+During the twelve months there died not only the veteran tenor, Henry
+Braham, in his eightieth year, but, what was a far greater loss, the
+immortal Robert Schumann, after two years spent in a private asylum near
+Bonn; moreover, a further blow was dealt by the burning down of Covent
+Garden for the second time, the ruins being visited next day by her
+Majesty, Prince Albert, and the Princess Royal.
+
+The Opera House was rebuilt and opened once more in 1858, the year in
+which Lablache died. The Covent Garden season commenced on May 15 with a
+notable body of artists, which included Grisi, Didiée, Parepa, Victoire,
+Mario, Formes, Rossi, Tamberlik, and Costa; while in the early autumn
+the Birmingham Festival was held, with Pauline Viardot and Sims Reeves
+as the stars.
+
+In the last month of '58 we find the Pyne-Harrison Company giving a
+season of English opera, with W. Harrison, George Honey, Weiss, and
+Louisa Pyne as the leading attractions, and Alfred Mellon in the
+conductor's seat.
+
+The next year (1859) brings the production in Italian of Meyerbeer's new
+opera, "Dinorah," at Covent Garden; while in the autumn the
+Pyne-Harrison Company give it in an English version provided by Chorley,
+with Charles Santley making his operatic _début_ as Haël. This is
+followed at Christmas by Hallé's production at Manchester of an English
+version of Gluck's "Iphigénie en Tauride," in which two of Garcia's
+pupils take part--Catherine Hayes and Charles Santley.
+
+In the following February Wallace's "Lurline" was produced, and later in
+the year Flotow's "Stradella." March 29 is an interesting date, for it
+gives us a sight of the theatrical names which were prominently before
+the public at this time. On that day a monster benefit was organised, at
+which the following stars took part: Webster, Phelps, T. P. Cooke,
+Toole, Mrs Mellon, Miss Glyn, Louisa Pyne, Charles Mathews, Catherine
+Hayes, W. Harrison, and Buckstone.
+
+A few weeks later, during the Italian opera season, came the first
+appearance in England of Faure, as Haël, a part which Meyerbeer had
+specially written for him in "Dinorah."
+
+One may perhaps be allowed to note in passing that 1859 brought with it
+the first appearance of Henry Irving on the London stage. In the winter
+season of 1860 Her Majesty's was running English opera with a fine cast,
+which included Lemmens-Sherrington, Mdlle. Parepa, Reeves, Santley,
+George Honey, J. G. Patey, and Chas. Hallé as conductor.
+
+With 1861 we come to the English _début_ of the greatest star of the
+last half of the nineteenth century, for on May 14 Adelina Patti made
+her first appearance at Covent Garden, as Amina in "La Somnambula," amid
+such enthusiasm as to ensure her the premier place among the operatic
+artists of her day. And indeed after this memorable date the _diva_
+continued to appear for no less than twenty-five consecutive seasons at
+Covent Garden, her name proving an infallible draw, no matter in what
+opera she chose to appear.
+
+During the same season Grisi gave a series of eight farewell
+performances, creating an enormous _furore_; moreover, Delle Sedie came
+over for Mapleson's season at the Lyceum, being afterwards engaged for
+Covent Garden. At the latter house the autumn season opened with "Ruy
+Blas," followed later by "Robin Hood," with a cast including Mme.
+Guerrabella (Geneviève Ward), Haigh, Honey, and Santley, and this in
+turn gave way to the production of Balfe's new opera, "The Puritan's
+Daughter," which had a run of no less than fifty-seven performances.
+
+The following February, 1862, saw the production of another of Balfe's
+operas, the "Lily of Killarney," the plot being that of the "Colleen
+Bawn," which had just had a huge success at the Adelphi Theatre.
+
+The artists engaged for the Covent Garden season of Italian opera
+included such names as Patti, Tamberlik, Mario, Faure, Formes, and
+Gordoni; while in the autumn of the year Mapleson gave a season of opera
+with Tietjens, Alboni, Giuglini, and Santley.
+
+For 1863 may be writ large the five letters FAUST. Mapleson tells the
+story of its production in his memoirs. Thomas Chappell had bought the
+English rights for £40, after seeing it at the Théâtre Lyrique. The
+music of an opera is worth nothing until the opera itself has become
+known, and Messrs Chappell opened negotiations with Mr Frederick Gye for
+its production during the Royal Italian Opera season.
+
+The work had not, however, made much impression at the Lyrique, and Gye,
+on his return from Paris, assured his stage-manager, Augustus Harris,
+that there was nothing in it but the "Soldier's Chorus," and refused to
+have anything to do with it. Mapleson on hearing it felt convinced it
+would be an immense success; and Chappells were ready to pay £200
+towards the cost of its production, and to give £200 more after four
+representations. He therefore engaged his company, and put it into
+rehearsal at Her Majesty's.
+
+A few days before the date fixed for the production, he found that only
+£30 worth of seats had been taken. Then came a Napoleonic scheme. He
+announced at once four successive performances, and gave the astounding
+instructions at the office that for the first three out of these four
+not one place was to be sold beyond those already taken. The rest of the
+tickets he took home in a carpet-bag and distributed far and wide over a
+gigantic free list. At the same time he advertised in 'The Times' that,
+in consequence of a death in the family, two stalls for the first
+representation of "Faust"--the opera which was exciting so much interest
+that all places for the first three representations had been bought
+up--could be had at 25s. each.
+
+Meanwhile demands had been made at the box-office for places, and the
+would-be purchasers were told that everything had gone up to the fourth
+night: this they repeated to their friends, and the opera began to be
+seriously talked of. The first performance was received with applause,
+the second still more warmly, and the third gained additional favour. No
+further device was necessary for stimulating curiosity: the paying
+public flocked, and it was given for ten nights in succession, after
+which it was constantly repeated until the termination of the season.
+
+The following was the cast of the _première_ at Her Majesty's:--
+
+    _Marguerite_                  Tietjens.
+    _Siebel_                      Trebelli.
+    _Faust_                       Giuglini.
+    _Mephistopheles_              Gassier.
+    _Valentine_                   Santley.
+
+Not to be outdone, Gye at once produced his own version at Covent
+Garden, with Carvallo as _Marguerite_, her old part in the original
+Paris production, Didier as _Siebel_, Faure as _Mephistopheles_,
+Graziani as _Valentine_, and Tamberlik as _Faust_.
+
+The year is also noteworthy for the fact that Pauline Lucca made her
+_début_ as Valentine in the "Huguenots," while Mdlle. Artot, the pupil
+of Mme. Viardot, also made her first appearance here.
+
+With 1864 (in which Meyerbeer passes away) we find the Italian Opera
+Company including Patti, Lucca, Tamberlik, Faure, Graziani, Mario, and,
+of course, Costa, with an interesting addition at the organ in Arthur
+Sullivan; while to the younger generation, at any rate, a strange
+realisation of those bygone days is given by the announcement of a gala
+performance to Garibaldi.
+
+At Her Majesty's there is an interesting _première_, the first
+performance of "Faust" in English, with the following cast:--
+
+    _Marguerite_                    Mme. Lemmens-Sherrington.
+    _Siebel_                        Mme. Lucia.
+    _Mephistopheles_                M. Marchesi.
+    _Valentine_                     Mr Santley.
+    _Faust_                         Mr Sims Reeves.
+
+The next year brings the production of Meyerbeer's "L'Africaine" at
+Covent Garden, and of Gounod's "Mock Doctor" by the Royal English Opera
+Company. At Her Majesty's, moreover, Ilma di Murska makes her first
+appearance as Lucia, and Giuglini is obliged to give up the season there
+through illness; while among the operatic stars of the year we find
+Wachtel, Graziani, Ronconi, and Mario.
+
+1866 sees the _début_ at Covent Garden of Carlotta Patti, coming with a
+considerable reputation as a concert singer; while among the artists of
+the season are Naudin, and Nicolini, who afterwards married Adelina
+Patti. At Her Majesty's, the company includes Gordoni, Santley, Gassier,
+Tietjens, and Grisi, who is announced for a limited number of
+performances; while the Irish basso, Foley, makes a hit in "Il Seraglio"
+under the Italianised nomenclature, "Signor Foli."
+
+Next year, in which the death of Sir George Smart is chronicled, Covent
+Garden announces--on July 11--the first production of Gounod's "Romeo et
+Juliette" in an Italian version, with Mario and Patti in the
+title-_rôles_. At the rival house Mapleson has collected a fine company
+in Tietjens, Sinico, Gassier, Santley, Gordoni, Mongini, and two
+_débutantes_, Clara Kellogg, fresh from her American triumphs, and
+Christine Nillson, who makes her first appearance in "Traviata."
+
+On December 6 a terrible calamity occurred in the London musical world,
+with the burning down of Her Majesty's Theatre. At the beginning of the
+month, during a rehearsal of "Fidelio," Mapleson's insurance-agent
+called to complete the insurance of the house. Colonel Mapleson agreed
+to insure for £30,000; but as the costumier's list was not at hand, and
+the costumier himself was out at dinner, the agent suggested that the
+manager should give him £10 "on account," and thus keep the matter open
+till the following Monday, when he--the agent--would call again.
+Mapleson replied, jokingly, "There is no fear," and the agent left
+without the advance.
+
+At half-past eleven the same evening Mapleson, who was dining in St
+John's Wood, was called by an excited servant to look out of the window,
+and saw the sky red in the distance. Her Majesty's Theatre was on fire!
+The manager hurried to the scene of the conflagration, and found the
+house in full blaze. Without a moment's delay he despatched Mr Jarrett,
+his acting-manager, to Mr F. B. Chatterton, then the lessee of Drury
+Lane, to endeavour to secure that theatre from March till the end of
+July. It was of great importance that the emissary should reach
+Chatterton, who lived at Clapham, before that astute manager could learn
+of the fire; for had he been aware of Mapleson's extremity, he would, of
+course, have raised his terms accordingly.
+
+On arriving at Chatterton's house early in the morning, the first thing
+Jarrett saw, lying on a table in the hall, was a copy of that day's
+'Times.' On this he threw his overcoat, in order to hide the paper from
+view, and waited for the manager of Drury Lane to descend and receive
+him. Without appearing at all anxious, Mr Jarrett quietly concluded an
+agreement by which Mapleson secured the use of Drury Lane Theatre for
+the following spring and summer seasons, with a right to renew the
+occupation for future years. This document was in Mapleson's hands by
+nine o'clock, and it was not till half-past ten that Chatterton learnt
+of the fire.
+
+The Monday after, the insurance-agent called on Mapleson and offered him
+his sympathy, since, if the manager had paid down the £10 on account of
+the proposed insurance, he would have received a cheque for £30,000!
+Mapleson replied that he was exceedingly glad that he had _not_ paid the
+deposit, as he certainly would have been suspected of setting the
+theatre on fire, and would never again have been able to set himself
+right with the public.
+
+In 1868 (the year of Rossini's death), the date is rendered memorable by
+the _début_ of Minnie Hauk and the discovery of Mme. Scalchi, who was
+singing at the time in a building that was little more than a circus;
+while Costa resigned his position as conductor, owing to a quarrel. His
+place was taken by Arditi and Vianesi, who shared the duties of
+conductor.
+
+In 1869 Mapleson and Gye resolved to join forces, the result being a
+probably unexampled collection of stars. Ambroise Thomas's "Hamlet" was
+given for the first time in England with Christine Nillson as Ophelia,
+and "Don Giovanni" was performed with the following extraordinary cast,
+which has never been equalled in brilliancy:--
+
+    _Donna Anna_                Tietjens.
+    _Donna Elvina_              Nillson.
+    _Zerlina_                   Patti.
+    _Don Ottavio_               Mario.
+    _Don Giovanni_              Faure.
+
+But these do not by any means exhaust the list of stars who took part in
+the season under the joint management. To the above quintette we must
+add Lucca, Scalchi, Ilma di Murska, Sinico, Tamberlik, Foli, Santley,
+and Mongini, while Costa and Arditi alternated the conducting. The
+season is probably unexampled in the whole annals of opera.
+
+The next year, 1870 (in which Balfe died), saw the production of Verdi's
+"Macbeth" and of Ambroise Thomas's "Mignon," with Christine Nillson and
+Faure in the leading _rôles_, under the Gye-Mapleson management. During
+this year, moreover, a brilliant benefit was given to Charles Mathews,
+and from the list of star performers we can obtain some further idea as
+to the rise and fall of the theatrical artists which Garcia witnessed as
+he passed through life.
+
+Charles Mathews, of course, took part himself, and was assisted by Barry
+Sullivan, Lionel Brough, Mrs Mathews, Mrs Chippendale, Ben Webster, Mrs
+Mellon, Mme. Celeste, together with the Bancrofts.
+
+With 1871 (the year in which Auber died) Mario bade farewell to Covent
+Garden audiences, before whom he had appeared for no less than
+twenty-three out of the twenty-four seasons the Royal Italian Opera had
+been in existence.
+
+The Italian tenor was a great friend of Garcia, and the latter used to
+tell many anecdotes of him. One of these I will quote. When in London
+once, Mario and his wife, Grisi, decided upon giving a wonderful
+luncheon to a large party of their friends, among the number being Señor
+Garcia. The total cost may be imagined from the fact that they paid £80
+for some dessert and other light delicacies for the table, sent
+specially over from Paris. After all had assembled Grisi suddenly
+exclaimed, "It is far too hot to eat anything here. Let us drive out to
+Richmond for lunch. It will be far pleasanter." No sooner said than
+done, and carriages sufficient to accommodate the entire party were at
+once ordered. A telegram was sent on in advance, so that on their
+arrival at Richmond another magnificent lunch was awaiting them. Mario,
+without a thought, left behind at his own house the two-hundred guinea
+luncheon to waste its sweetness on the servants' hall.
+
+It was in this year that the terrors of the Franco-Prussian War, to
+which we have already alluded, drove to London large numbers of
+refugees, many of them celebrities connected with the leading musical
+and dramatic institutions of Paris. It was a golden opportunity for
+music-lovers. At Covent Garden there were Adelina Patti, Lucca, Scalchi,
+Tamberlik, Mario, Bettini, Faure, Cotogni, Tagliafico; at Her Majesty's,
+Christine Nillson, Tietjens, Trebelli, Marimon, Ilma di Murska, Mongini,
+Gardoni, Capoul, Wachtel, Agnesi, Rota, Santley, Foli, and Carl Formes.
+In the concert-room there were to be heard the still marvellous voices
+of Alboni, Carlotta Patti, and Sims Reeves; or the glorious playing of
+Sivori, Vieuxtemps, Wieniawski, Neruda, Joachim, Clara Schumann, and
+Alfredo Piatti.
+
+Then among the French refugees were the members of the Comédie
+Française, and these gave a memorable series of representations at one
+of the London theatres, selecting for it most of the gems of their
+matchless repertoire, with casts that included such artists as Got,
+Delauny, Mounet-Sully, Worms, Febvre, the Coquelins, Sarah Bernhardt
+(who during this season was making her London _début_), Blanche Pierson,
+Bartet, Barretta, Reichemberg, and Samary.
+
+The following year, 1872, saw the _début_ at Covent Garden of Albani.
+Later in the year, after the close of the opera season, a "fantastical
+spectacle" by Dion Boucicault and Planché was produced at the Opera
+House, under the title of "Babil and Bijou," in which took part Mrs
+Howard Paul, Lionel Brough, and Joseph Maas.
+
+Finally, in 1873, Gye gathered round him a bevy of stars which included
+Patti, Lucca, and Albani; Scalchi, Sinico, and Monbelli; Nicolini,
+Bettini, Graziani, Cotogni, Maurel, and Faure.
+
+
+
+
+CHAPTER XVII.
+
+THREE-SCORE YEARS AND TEN.
+
+(1874-1890.)
+
+
+"Every year a man lives, he is worth less." This is what Manuel Garcia
+used to assert when he was drawing near to the completion of those
+three-score years and ten which have been set down as the natural span
+of human life. As far as his own career was concerned, however, the
+statement was singularly lacking in truth. His mode of living at the age
+of seventy has been well described by Hermann Klein, his pupil, friend,
+and collaborator in the final text-book, 'Hints on Singing,' published
+some twenty years later, when the veteran musician was over ninety years
+of age.
+
+Mr Klein has been kind enough to send over from New York some
+interesting reminiscences for insertion in this chapter.
+
+In the year 1874 Mr Klein's parents occupied a large house at the corner
+of Bentinck Street and Welbeck Street, Cavendish Square, and I will
+leave the sometime musical critic of 'The Sunday Times' to tell the
+story of the next few months.
+
+"I find by a letter of my mother's," he writes, "that Señor Garcia first
+called to see her at 1 Bentinck Street in November 1873, and took the
+rooms on the ground floor on a yearly agreement from the following
+March. He moved in punctually on Lady Day 1874, bringing with him his
+trusty Erard grand piano (which had even then seen considerable wear,
+but continued to serve him faithfully at 'Mon Abri' to the last); also
+the noble bust of Beethoven, which used to stand upon a marble ledge or
+shelf fixed permanently to the wall between the two windows. The piano
+stood in the middle of the room, and he always took care to place his
+pupils so that the light fell full upon their faces. I recollect my
+mother asking him if he would like another mirror besides the one over
+the mantelpiece. He replied, 'No, it is not necessary. I don't want my
+pupils to be looking at themselves all the time. They have to look at
+me.'
+
+"His lunch invariably consisted of the same simple fare--some
+sponge-cakes and a pint of milk, which would be fetched from a baker
+close by by my younger brother Charles. I asked Señor Garcia once if he
+did not feel hungry long before dinner, teaching as he did all day on
+such slender diet. 'No,' he answered, 'I don't feel half the discomfort
+from waiting that I should if I took a hearty meal in the middle of the
+day and then tried to teach immediately afterwards. Besides, I don't
+really need it. Most singers and teachers of singing eat more than they
+should. A man with moderate teeth, such as I have, can grow old on
+sponge-cake and milk!' And he lived for more than thirty years after
+that to prove the truth of his remark.
+
+[Illustration: Photo by Davis & Eickenmeyer.
+
+Handwritten signature: to M Sterling MacKinlay, esq. with Kindest
+regards of Hermann Klein New York, '06]
+
+"At this time he had entered on his seventieth year, but in appearance
+was not past fifty. He had a light buoyant step, always walked quickly,
+and had a keen observant eye, which, when he spoke, would light up with
+all the fire and animation of youth. His dark complexion and habit of
+rapid gesticulation bespoke his southern origin. He was at home in
+Spanish, Italian, English, and French, but preferred the last. His
+modesty was remarkable. He could rarely be induced to talk of himself,
+but was firm in his opinions. In argument he was a close reasoner, and
+would be either a doughty opponent or a warm advocate; the middle line
+never attracted.
+
+"His activity during the Bentinck Street period was amazing. Except on
+his Academy days he taught at the house from morning till night, and
+never seemed to know the meaning of the word fatigue. As to relaxation
+or recreation, I never knew him to indulge in any, save on the extremely
+rare occasions when I could persuade him to attend an operatic
+performance or some special concert, such as one at the Crystal Palace,
+when Anton Rubinstein conducted his own endless 'Ocean' symphony. His
+criticisms on these events were a delight to listen to. He was, I
+remember, immensely enthusiastic over Rubinstein's performance of his
+concerto in D minor; but the symphony bored him terribly, and he would
+gladly have left before the end came. The only concerts that he attended
+regularly were the Philharmonic (to which he was for many years a
+subscriber) and those of the Royal Academy students, at which some pupil
+of his own almost invariably appeared. At the latter concerts I used
+often to sit beside him, and it was wonderful to watch his animated face
+as, with suppressed energy, his hand moved in response to the rhythm of
+the music. He seemed to be trying to infuse into the singer some of the
+magnetism of his own irresistible spirit.
+
+"Manuel Garcia was one of the most inspiring teachers that ever lived.
+All of his distinguished pupils, from Jenny Lind downwards, have dwelt
+upon his extraordinary faculty for diving deep into the nature of those
+who worked with him, and arousing their temperamental qualities to the
+highest degree of activity. His profound knowledge of his art, his
+familiarity with all the great traditions, and the absolute authority
+with which he spoke, combined to awaken a measure of confidence and
+admiration such as no other _maestro di canto_ could possibly command.
+
+"Even when annoyed he was seldom abrupt or impatient. His voice had
+gone, but he would employ its _beaux restes_ to impart an idea for the
+proper emission of a note or phrasing of a passage. His sounds never
+failed to convey the desired suggestion. Though his own voice trembled
+with the weight of years, he never brought out a pupil with the
+slightest tremolo: moreover, he was never guilty of forcing a voice. His
+first rule was ever to repress the breathing power, and to bring it into
+proper proportion with the resisting force of the throat and larynx.
+
+"Among the aspirants who came to study at Bentinck Street were several
+whose names yet enjoy universal reputation.
+
+"He always played his own accompaniments for teaching, and in the
+'Seventies' was a very fair pianist. He had at that time a Russian
+pupil, an excellent baritone, with whom he was fond of taking part in
+duets for four hands. They used to play Schubert's marches, &c.,
+whenever the master could find time (which was not very often); and at
+the end of a delightful half-hour of this recreation he would exclaim,
+'What fine practice for my stiff old fingers! How I wish I could get
+more of it!'
+
+"One of his most intimate friends at that period was Joseph Joachim, for
+whom, alike as a man and a musician, he cherished the warmest admiration
+and regard. When the great violinist received the honorary degree of
+Mus. Doc. in 1877, Señor Garcia paid him the highest compliment in his
+power, by making the journey to Cambridge especially, in order to be
+present at the ceremony and to attend the concert given by the
+University Musical Society. I had the privilege of accompanying him on
+that occasion, and sat beside him both at the rehearsal and the concert,
+Mr (now Sir) Villiers Stanford being the conductor. How he revelled in
+Joachim's performance of the Beethoven concerto! Every note of that
+masterpiece, as it issued from the fingers of its noblest interpreter,
+seemed to afford him most exquisite delight. He was also impressed by
+the first symphony of Brahms (given as the 'exercise' for his doctor's
+degree, conferred _in absentiâ_), and considered it not only a fine
+work, but a remarkable example of reticence in a composer whose powers
+had attained maturity long before. We returned to town after the
+concert, but in spite of the fatigue involved by this lengthy 'outing,'
+the maestro was at his labours at the usual hour next morning, and
+feeling, as he expressed it, 'Frais comme un jeune lion.'
+
+"At Bentinck Street Señor Garcia taught several budding Jewish
+vocalists, entrusted to his care by members of the Rothschild family,
+who showed their love of music by defraying the cost of teaching (and
+sometimes of maintaining) the youthful singers. One of these pupils, who
+subsequently became a prominent member of an English Opera Company, was
+an especial _protégée_ of Baroness Lionel de Rothschild; and one day the
+kind lady, accompanied by her daughter (afterwards the Countess of
+Rosebery), called to inquire how the girl was progressing. The maestro's
+reply was characteristic. 'Madame la Baronne, she has all the musical
+talent of her race, but little of its industriousness or perseverance.
+Still, as in spite of that she accomplishes in a week what takes most
+other girls a month, I hope sometime to make a singer of her.'"
+
+Here I will abandon Mr Klein's narrative, to resume it later in
+describing the preparation of Garcia's last text-book, 'Hints on
+Singing.'
+
+During the next few years a number of pupils passed through his hands at
+the Royal Academy of Music, who were afterwards to take an important
+place in their profession.
+
+In 1875 Miss Orridge came to place herself under the maestro. The years
+which she spent at the Academy brought victory after victory. She
+gained in turn the Llewellyn Davies Bronze and Gold Medals for
+declamatory singing, the Parepa-Rosa Medal, and the Christine Nillson's
+Second Prize. While still a student at the Royal Academy of Music, Miss
+Orridge made her _début_ at the St James's Hall Ballad Concerts, and
+also went on a successful tour with Sims Reeves. From that time she
+continued to make rapid strides in her professional status, and gave
+promise of being one of the best contralto concert singers of her time,
+when her career was brought to a sudden close by an untimely death, when
+she had been before the public scarcely six years.
+
+At the commencement of 1876 Garcia received the letter from Wagner to
+which attention has been already called, embodying the offer for him to
+train the singers for the first Bayreuth Festival. This, however, he was
+obliged to refuse, owing to his large _clientèle_ in London.
+
+On July 14, 1877, the inventor of the Laryngoscope received his second
+recognition for the services which he had rendered to the medical
+profession, fifteen years having elapsed since the degree of Mus. Doc.
+had been conferred on him, _honoris causa_, by the University of
+Königsberg.
+
+An influential meeting assembled to give their support at the ceremony
+of presenting him with a service of plate.
+
+Professor Huxley presided, and in his speech bore strong testimony to
+the great services that Manuel Garcia had rendered alike to science and
+humanity by his important discovery. It was unnecessary, Huxley said, to
+do more than remind the physician that in the laryngoscope he had
+gained a new ally against disease, and a remarkable and most valuable
+addition to that series of instruments, all of which, from the
+stethoscope onwards, had come into use within the memory of living men,
+and had effected a revolution in the practice of medicine. They owed
+this instrument to Signor Garcia.
+
+The following year brought fresh honours at the Royal Academy of Music.
+As previously the maestro had been elected a member of the Committee of
+Management after twenty years' connection with the institution, so now,
+after thirty years, he received a further mark of distinction by being
+made one of the Directors of the Academy.
+
+With 1879 Charlotte Thudicum entered the Royal Academy of Music as his
+pupil. Success soon came to her, for after a year's tuition she won the
+Parepa-Rosa scholarship, and two years later the Westmoreland. On
+leaving his hands the young soprano went over to Paris to study opera
+with his sister, Mme. Viardot, and upon her return in 1883 was at once
+secured for the "Pops," Crystal Palace Saturday Concerts, and other
+important engagements, while in the following season she sang with the
+Birmingham Festival Choral Society.
+
+In due course she secured fresh laurels by taking part in "Ivanhoe" at
+the Royal English Opera House, in which opera she played Rebecca on
+alternative nights with another of Garcia's pupils, Margaret Macintyre.
+
+1881 brought Garcia's third recognition for his invention.
+
+The International Medical Congress was to hold its seventh session in
+London from the 2nd to the 9th of August, Dr de Havilland Hall, Dr (now
+Sir) Felix Semon, and Dr Thomas J. Walker being appointed honorary
+secretaries of the section devoted to "Diseases of the Throat," which
+was to meet with Dr George Johnson, F.R.S., in the chair.
+
+At the suggestion of the late Sir James Paget, Señor Garcia received an
+invitation to read a paper before the Congress, describing his work in
+connection with his invention. The invitation was gladly accepted. He
+attended, and was introduced to the assembled doctors in the most
+flattering terms during the inaugural address by the chairman, who was
+one of the vice-presidents of the medical section.
+
+In connection with the friendship which existed between Manuel Garcia
+and Sir Felix Semon, one may recall an amusing anecdote recounted in the
+latter's short memoir, published for Garcia's 100th birthday.
+
+     "On a certain occasion," the doctor writes, "I delivered a lecture
+     at the Royal Institution of Great Britain on the culture of the
+     singing voice. In the course of my remarks I attacked the dogmatic
+     way in which the question of the registers was treated by different
+     authorities, and showed there and then, by the aid of some
+     excellent photographs of the larynx during the emission of tone,
+     that the mechanism of the registers, even in relation to the same
+     kind of voice, may in some cases be totally different from others.
+
+     "The lecture had a humorous sequel, for among my audience were a
+     number of the best known singing teachers in London. When I had
+     finished, one of these, well known for his obstinate dogmas, came
+     up to me in a state of visible annoyance and said, 'You should not
+     speak on things that you know nothing about.' A second expressed
+     his recognition of the fact that I had taken up arms against the
+     theorists, and then proceeded to describe an entirely new theory on
+     the register formation discovered by himself.
+
+     "But, last of all, Garcia came up to me with a smile, and remarked,
+     'Good heavens, how much I must have taught during my life that is
+     wrong!'"
+
+In 1882 Margaret Macintyre and Marie Tempest commenced studying under
+the maestro.
+
+The former, a daughter of General Macintyre, was to be the best known of
+Garcia's pupils at Dr Wyld's London Academy of Music, where he taught
+for some twenty years. The prima donna during her training there carried
+off in turn the Bronze, Silver, and Gold Medals of the Academy. During
+the last year she had the honour of singing the soprano _rôle_ in the
+performance of Liszt's oratorio "St Elizabeth," given at the London
+Academy Concert in the St James's Hall in honour of the composer's
+presence in London. Two years later she appeared as Michaela in
+"Carmen," winning instant success. Moreover, as we have already seen,
+she shared with Miss Thudicum the _rôle_ of Rebecca in the production
+of "Ivanhoe," while shortly afterwards she took part in the Handel
+Festival of 1891. After this she sang with the greatest success as prima
+donna in the Grand Opera seasons at Milan, Moscow, and St Petersburg.
+
+Marie Tempest arrived at the Royal Academy of Music in the Easter term
+of 1882, and remained there three years under Garcia, carrying off the
+Bronze, Silver, and Gold Medals of the Institution. The Academy was
+specially prolific of talent at this time, for among the students during
+these years were Eleanor Rees, Miss Thudicum, Edward German, Courtice
+Pounds, and several others who were to attain wide fame in the musical
+world.
+
+Of her studies under Garcia Miss Tempest told me a couple of very
+characteristic anecdotes.
+
+When Miss Etherington, as she was in those days, came for her first
+interview with the maestro (having arrived from a convent in France only
+a few days before), she was wearing a very tight-fitting dress of Stuart
+tartan, cut in the Princess style, which showed off her figure to
+advantage and drew attention to the nineteen-inch waist of which she was
+the proud possessor.
+
+Garcia raised his eyebrows when he saw his prospective pupil step
+forward from the group of girls who were waiting their turn to be heard.
+However, nothing was said until her song, an Italian "aria," had been
+brought to a close. Then came a pause, while Marie Tempest tremblingly
+awaited the verdict on her voice. At last the oracle spoke. "Thank you,
+Miss Etherington; will you please go home at once, take off that dress,
+rip off those stays, and let your waist out to at least twenty-five
+inches! When you have done so you may come back and sing to me, and I
+will tell you whether you have any voice."
+
+The assembled girls tittered audibly, and the unfortunate victim slunk
+out of the room with flaming cheeks.
+
+"He was quite right, though," Miss Tempest concluded; "no one can sing
+when laced in as tightly as that. I went home, and--well, I've never had
+a nineteen-inch waist since."
+
+The other episode concerned the Academy weekly concerts. Garcia
+generally had a pupil singing at these, and would sit in front, nodding,
+waving his hand, and generally doing his best to establish telepathic
+communication with the vocalists, that he might inspire them with his
+spirit. At one of these Marie Tempest was due to sing with orchestra an
+air from "Ernani," which had been carefully studied under her master.
+
+The conductor waved his hand and the aria was commenced. After a few
+bars Manuel Garcia began to fidget in his seat, then to frown, and to
+beat time with his feet. At last the veteran could stand it no longer.
+He rose from his seat, leapt on to the platform--approaching his
+eightieth year as he was,--and seized the baton from the conductor's
+hand, exclaiming, "Mon Dieu! you are ruining my pupil's song. I will
+conduct it myself."
+
+Shortly after this episode Miss Tempest, as a member of the operatic
+class, took part in a mixed performance which included an act from
+"Carmen" and another from the "Mock Doctor."
+
+Alberto Randegger was present at this, and came up to her afterwards,
+saying, "Miss Etherington, you must undoubtedly go on the stage."
+
+"After that," said Miss Tempest, "I seemed to be on the boards before I
+knew where I was."
+
+"The first piece in which I appeared was 'Boccacio,' at the Comedy
+Theatre; from that I went to the Opéra Comique for 'Fay o' Fire,' and
+then came 'Dorothy,' and--the rest." What a record it has been, that
+series of triumphs in light opera, concert, and comedy, thus dismissed
+with a smile and a characteristic shrug of the shoulders as--"the rest"!
+
+Another pupil of Garcia at the Academy about this time was Madame Agnes
+Larkcom.
+
+Arthur Oswald, now a professor at the Royal Academy of Music, tells me
+that at one of his lessons he was stopped by Señor Garcia with the word
+"wrong!" He was surprised, because he felt sure that he had sung the
+right notes in time and tune, and with careful attention to the words
+and vocal phrasing. "I will give you five minutes to find out," said
+Garcia to the puzzled pupil when he asked to be told the fault. At the
+end of that time the master said, "Voix blanche, voix ouverte, voix
+horrible."
+
+Mr Oswald recounted another episode which was very typical. His friend
+William Nicholl, after studying under various Continental and English
+masters, was anxious to have an interview with Garcia to make sure that
+he had assimilated correct ideas. A meeting was accordingly arranged,
+and he went up to "Mon Abri," expecting to be put through some sort of
+catechism as to the human voice and the principle of singing. Instead
+of this, Garcia, on learning that his visitor wished to teach, motioned
+him to the piano-stool. "Will you sit down, please? Merci. Now, you are
+the master, I am the pupil. I know absolutely nothing. Give me my first
+lesson."
+
+Nicholl commenced to carry out this very practical test of his powers to
+the best of his ability. All went well till in an unlucky moment he
+mentioned the phrase "voice-production," which was the maestro's pet
+aversion. In an instant Garcia leapt to his feet and banged his fist on
+the piano. "Mon Dieu! How can you _produce_ a voice? Can you show it to
+me and say, 'See, here it is. Examine it?' Non! Can you pour it out like
+molten lead into the sand? Non! There is no such thing as
+voice-production. Perhaps you mean voice-_emission_. You do? Eh, bien!
+Then say so, please."
+
+"Through the good offices of a friend," says another pupil, "I found
+myself one day in Garcia's room at the London Academy of Music. He was
+just finishing a lesson, and I was struck at once by the extreme
+courtesy and patience with which he taught, the charm of his manner, the
+directness, the common-sense, and uncommon penetration of his remarks.
+
+"He welcomed me with a few graceful words, scrutinising me with a keen
+but friendly glance. Thus I sang to him with much confidence, losing all
+the nervousness with which I had looked forward to the examination by so
+famous a judge. He accompanied me gently, yet with firmness and
+rhythmical decision. When I had finished he looked straight at me, and
+to my utter astonishment remarked, 'You are a philosopher, are you not?'
+
+"'Oh, I have studied philosophy to some extent,' I replied.
+
+"'What do you think of your performance?'
+
+"'But I should like to know your opinion,' I blurted out.
+
+"'No, no,' he answered. 'Tell me what you think of it?'
+
+"So I told him that I thought I had a voice and an ear, but I was afraid
+I did not succeed in making a strong appeal, and I was sure I did not
+know how to sing. He laughed. 'Quite right, quite right; you do not
+sing,' he said."
+
+"Manuel Garcia's science and cleverness," writes another, "enabled him
+to know at once whether he had to deal with a pupil of promise or not,
+and unlikely aspirants were not allowed to waste his time and theirs.
+
+"I remember a notable case in point. A very rich lady offered the master
+any price if he would only teach her daughter. He refused, knowing well
+he could never obtain serious work from her; but as the mother persisted
+he hit upon a compromise. He asked the ladies to be present during a
+lesson, and he undertook to teach her, if the girl still wished to learn
+singing after hearing it taught. The lesson began. The pupil--who seemed
+to the listeners an already finished singer--had to repeat passage after
+passage of the most difficult exercises before the master was satisfied;
+he insisted upon the minutest attention to every detail of execution.
+Mother and daughter exchanged horrified glances, and looked on
+pityingly. The lesson was finished, the master bowed the ladies out, and
+in passing the pupil the young girl whispered to her, 'It would kill
+me!' Señor Garcia, returning from the door, said contentedly, 'They will
+not come again. Thank you, mon enfant, you sang well.'
+
+"He was always careful to avoid making his pupils self-conscious by too
+many explanations. In one case he found a simple way of teaching
+chest-voice to a girl. 'Do you know how a duck speaks?' Señor Garcia
+asked her. 'Imitate it, please.'
+
+"With much giggling, to which he listened patiently, she tried to obey,
+'Quack, quack.'
+
+"'Good! Now turn this into a singing note; sing one tone lower in the
+same manner, and one more.'"
+
+A simple enough device, which spared him and his pupil much vexation.
+
+His knowledge of the human voice and his power of detecting its faults
+were equally marvellous. He had a pupil who, by singing higher than her
+natural range, had strained her voice, and it was necessary that she
+should avoid singing anything in a high register. Once only she
+disobeyed him, and on entering his room the next day she was greatly
+surprised that the master's face was flushed with anger. At once he
+reproached her for having sung soprano. She pleaded guilty. "But how did
+you know?"
+
+"I heard you speak, that is quite enough," he said; and he told her that
+in ten years not a note would be left of her brilliant voice. However,
+on her promising not to disobey his instructions again, Garcia made up
+his mind to help the girl to come out under his auspices as an oratorio
+singer. "But," he told her, "you will need one year's uninterrupted
+study before appearing in public."
+
+The pupil's singing was much admired, for few besides herself and her
+master could detect that anything was amiss with her voice. She was not
+inclined, therefore, to realise the importance of his decision, and
+after a few months' work she cheerfully accepted an invitation to spend
+the winter abroad. When she informed him of this he bade her farewell,
+saying that it would be perfectly useless for her to come back to him,
+because, when accepting her as a pupil, his condition was--"One year's
+uninterrupted study."
+
+Thinking it would be an easy matter to talk him over, she came back to
+him on her return. But she had not reckoned with the iron will of the
+maestro. He refused to give her any more lessons. For over an hour she
+sat in his room, and as one lesson after another was given, she could
+not keep back her tears. The situation became intense, but the teacher
+did not lose control. He was pained to see her sorrow, and at last rose
+from his seat and led her gently away, saying, "Never in my life have I
+wavered over a decision once made; I cannot do so now. You must make the
+best of what you know already; you will probably get engagements, but do
+not base your future on singing."
+
+Time has proved that he was right. After a few years she began to lose
+her high notes rapidly, and soon her voice was completely gone.
+
+I have already alluded to the maestro's hatred of the tremolo. In this
+connection an old pupil has sent me the following note:--
+
+"I was going through the various exercises in the book, 'Hints on
+Singing,' and one day, after I had been studying some little time, there
+came the usual query, 'What is the next exercise we come to?' 'The
+shake,' I replied promptly, and added, 'Shall I take that?' The maestro
+gave a quiet smile as he answered, 'Well, no, I think not. You shake
+quite enough for the present. We will pass on to the following one. With
+this gentle rebuke at the tremolo, of which I had not as yet been able
+to get rid, he went on to tell me how he had been at the opera a few
+nights before, 'and, Mon Dieu, what tremolo! I could have howled like a
+dog as I listened.'"
+
+Not only had Manuel Garcia a remarkably accurate ear, but he possessed
+the gift of "absolute pitch," a fact shown by the following anecdote. A
+friend called to see him one afternoon, and the conversation turned upon
+the question of pitch. Garcia shook his head reproachfully when the
+visitor, who was some seventy years his junior, stated that he could not
+tell what a note was by ear.
+
+"No sooner had I said this," writes this friend in describing the
+incident, "than the old maestro rose from his seat, stood with his back
+to the piano, and told me to strike any note I liked and he would name
+it. As rapidly as possible I struck the notes, and instantaneously he
+called out what they were. I must have sounded upwards of two dozen, one
+after the other, so rapidly that he was never left time to consider.
+Without a moment's hesitation he named each in turn without a single
+mistake."
+
+
+
+
+CHAPTER XVIII.
+
+AN OCTOGENARIAN AUTHOR.
+
+(1890-1895.)
+
+
+The five years preceding the celebration of Manuel Garcia's ninetieth
+birthday are principally noteworthy for two episodes, which I will leave
+Mr Hermann Klein to relate, since he was intimately connected with both.
+
+The first took place during the summer of 1892.
+
+"In the midst of this abnormally busy season, M. Maurel elected to
+deliver a lecture at the Lyceum Theatre on 'The Application of Science
+to the Arts of Speech and Song.' This duly came off, and its main
+feature proved to be an exceedingly virulent tirade against the _coup de
+la glotte_. This would not have mattered much had it not happened that
+Manuel Garcia himself was present, and had to 'possess his soul in
+patience,' while M. Maurel executed some ridiculous imitations of what
+he considered to be the indispensable vocal concomitants of the _coup de
+la glotte_,--a term derided only by certain Paris teachers who have
+misunderstood and misdirected its use.
+
+"Age and dignity alike compelled Signor Garcia to sit still and treat
+with silent contempt this ill-timed and unjustifiable attack upon his
+method.
+
+"When the lecture was over, however, I offered him the columns of 'The
+Sunday Times' as a medium for replying to M. Maurel's assertions.
+
+"On the spur of the moment he accepted, and sent a short account of the
+lecture, written in his own terse and trenchant manner. Then thinking
+better of it, he decided not to take any personal part in the
+discussion, and requested me not to print his copy.
+
+"This threw the onus of reply upon me, and the answer proved so far
+effectual that M. Maurel was moved to make a protest in other London
+papers against any contradiction of his 'scientific argumentation,' save
+by M. Garcia himself, and not even then unless supported by something
+beyond 'simple denial.'
+
+"Accordingly, the maestro then consented to write a letter to 'The
+Sunday Times,' confirming the statement that he had found M. Maurel's
+illustrations of the _coup de la glotte_ 'extremely exaggerated,' but
+declining that gentleman's invitation to discuss the subject-matter of
+his lecture, and adding that it would be utterly impossible to argue
+upon theories which still remain to be revealed."
+
+The second episode took place shortly after the maestro had entered his
+ninetieth year,--an event which was celebrated at the Royal Academy of
+Music by the gift of a silver tea service, subscribed to by the
+professors of the R.A.M., the actual presentation being made by Walter
+Macfarren, as _doyen_ of the teaching staff.
+
+Some two months after this--that is to say, in the May of 1894--Hermann
+Klein received a letter from the veteran teacher, who a few days before
+had attended a dinner given at his house in honour of Paderewski, the
+other invited guests being Sir Arthur Sullivan, Sir Joseph Barnby, Sir
+A. C. Mackenzie, Signor Piatti, and other prominent musicians. The
+maestro, it may be mentioned, had never heard Paderewski play in private
+before, and was so enchanted when the latter sat down at the piano, that
+he remained listening to the music till past midnight. "A worthy
+successor to Rubinstein." This was his criticism of Paderewski's genius.
+
+The letter ran as follows:--
+
+
+     "MON ABRI," CRICKLEWOOD.
+
+     DEAR MR KLEIN,--I want to know the cost of printing music, and in
+     this connection would ask you to write answers to the four
+     questions contained in the enclosed card. I suppose that in England
+     or in France the ream consists of 500 sheets?
+
+     Excuse my troubling you, and believe me your very sincere
+
+     M. GARCIA.
+
+     Your evening was charming!
+
+Hermann Klein answered the questions in person, and thus quickly
+discovered the nature of the scheme that was afoot.
+
+Manuel Garcia in his ninetieth year intended to bring out another
+text-book on Singing. His old pupil at once offered to assist in the
+editing and arrangement of the MS., and the maestro readily accepted
+the proffered help. I will leave Mr Klein to continue the story.
+
+"For several weeks in succession I went to 'Mon Abri' regularly, to aid
+him in the work. On two points he insisted--namely, the 'catechism' form
+of the text, and the title, 'Hints on Singing,' which I candidly
+confessed I did not care for. Otherwise any little suggestion that I
+made was cordially agreed to. He was very careful about the signing of
+the contract with the publishers (Messrs Ascherberg), and on this point
+wrote as follows:--
+
+     _Translation_.
+
+     'MON ABRI,' Monday, May 7.
+
+     DEAR MR KLEIN,--I have thought that at the reading of the contract
+     between Mr Ascherberg and myself, if it were to be immediately
+     followed by the signing, we should not have time completely to
+     understand the clauses. As these doubtless will contain the details
+     regarding the Colonial, American, and foreign rights, it is
+     preferable that we should know in advance what the terms are, and
+     we should be very much obliged to Mr Ascherberg if he would be so
+     kind as to send us on a copy of the contract. We will send it back
+     to him any day that may suit you.--Mille amitiés!
+
+     M. GARCIA.
+
+"Three months later the printing was finished, and early in September
+the proofs began to come to hand. We were both away from London when I
+received this missive:--
+
+     _Translation._
+
+     GALE HOUSE, LAKE ROAD,
+     AMBLESIDE, WESTMORELAND,
+     _September_ 7.
+
+     MY DEAR FRIEND,--Are you in town?
+
+     I have been working _like a little nigger_ correcting, transposing,
+     suppressing, &c., the proofs. I will send you my first corrected
+     proof, and will you please forward it to Ascherberg for the
+     printers? but I do not wish to do this until I know that you are in
+     town.--Amitiés!
+
+     M. GARCIA.
+
+"The question of a preface now came up. The maestro was somewhat averse
+to providing one, but ultimately he yielded to the desire of the
+publisher, who was naturally anxious that the 'Hints' should contain
+everything calculated to arouse attention. He wrote only a few lines,
+however, and I had to persuade him to add more. He also decided to
+include a reproduction of the well-known woodcut of himself using the
+laryngoscope by the light of an oil-lamp, and a couple of laryngoscopic
+mirrors (half-size), which by some mistake nearly came to being omitted.
+With the proofs he took infinite pains, and wrote me several notes about
+them, of which the following deserve quotation:--
+
+     _Translation._
+
+     DEAR FRIEND,--Among some corrections which I have been making at
+     the printer's, I have eliminated pages Nos.---- (I have forgotten
+     the numbers). I asked to see the whole of the proofs, and they have
+     sent me only those which were uncorrected. If I can get them
+     immediately (the newly-corrected lot) you will doubtless have the
+     whole set without delay.
+
+     In the preface they have taken out the two little mirrors: now
+     one--the smaller--would be necessary, and sufficient to explain the
+     laryngoscope.
+
+     As to the preface, I will see what I can add. It seems to me, if I
+     am not mistaken, that Mr Ascherberg has the intention of adding an
+     editorial preface to the work, with the idea of increasing the
+     sale. That, I think, would be a mistake. Praise, if the book
+     merits it, must come from without, unless one wishes to turn it
+     into blame.
+
+     Send me, not those proofs which I have, but the corrected pages,
+     including those in which I have corrected the accompaniments, and
+     the whole shall be returned to you without delay. We shall be back
+     again on the 18th (September), and if you care to come to me on the
+     19th we will prepare the index.--Bien à vous,
+
+M. GARCIA.
+
+"By the middle of October the work was complete and ready for the press.
+However, a delay occurred, in consequence of the necessity for waiting
+until an American edition had been printed and published in accordance
+with copyright requirements. The dear old master grew a trifle
+impatient, although he knew the cause:--
+
+     _Translation._
+
+     DEAR FRIEND,--Business having called me back to town, I paid you a
+     visit at your house, but did not find you at home. No other cause
+     led me to do this than the simple curiosity to know what has become
+     of the 'Hints.' I suppose Mr Ascherberg is having them prepared for
+     publication in America? If you have time, send me a line.--Mes
+     amitiés!
+
+     M. GARCIA.
+
+"Eventually the 'Hints on Singing' were published in the last week of
+January 1895. The reception of the book generally afforded pleasure to
+its venerable author, and he was particularly gratified by the long
+notice of it which appeared in 'The Sunday Times.' Hence the note here
+appended. The one that follows it was elicited by some remarks
+concerning the 'real' inventor of the laryngoscope, which I, in due
+course, answered in the columns of my journal.
+
+     _Translation._
+
+     'MON ABRI,' CRICKLEWOOD.
+
+     MY DEAR MR KLEIN,--I owe you double thanks, first, for the cordial
+     congratulations brought by your telegram, and again for the
+     flattering article in 'The Sunday Times': two friendly emanations
+     which have been greatly appreciated by the inhabitants of 'Mon
+     Abri.' I trust your family are all well. Here we are in the best of
+     health, and unite in warmest regards to you and yours, wishing you
+     all the prosperity that you can desire!--Tout à vous de coeur,
+
+     M. GARCIA.
+
+     _Translation._
+
+     MY DEAR FRIEND,--Since you wish to come to the aid of the artistic
+     reputation of the 'maestro di bel canto,' be good enough also to
+     favour his scientific reputation by saying that he invented the
+     laryngoscope, and that the Laryngological Society of London created
+     him an honorary member.
+
+     Ascherberg would like me to do something to push the sale of the
+     'Hints.' What can I do?
+
+     This little book has given you more trouble than it deserves, and I
+     am sorry on your account.--Tout à vous cordialement,
+
+     M. GARCIA.
+
+"Acknowledging another notice of the book:--
+
+     _Translation._
+
+     'MON ABRI,' CRICKLEWOOD.
+
+     DEAR MR KLEIN,--Thanks a hundred times for the exceedingly
+     flattering article you sent me. Let us hope, for the sake of the
+     sale, that the public will accept your point of view. If Mr
+     Ascherberg should think of bringing out a new edition (when need
+     arises), I will point out two or three errors which still exist,
+     even in the 'corrected' copies I have received. I had already
+     altered them in proof, but they were inadvertently left in.
+
+     What frightful weather! I dare not go out any more. I hope you and
+     your family are well.--Tout à vous,
+
+     M. GARCIA."
+
+Here Mr Klein's contribution ends.
+
+Two months after the publication of 'Hints on Singing' the subject of
+our memoir completed his ninetieth year, and with this the feeling was
+borne in upon him that at last he might enter on a less strenuous life.
+
+Accordingly in the following September he relinquished his
+professorship, and membership on the Committee of Management at the
+Royal Academy of Music, and thereby severed a connection of nearly half
+a century. Already a middle-aged man when he first took up his work at
+the Academy under Cipriani Potter, he saw him succeeded as Principal in
+turn by Charles Lucas, Sterndale Bennett, Sir George Macfarren, and
+finally Sir Alexander Mackenzie, who was holding the position at the
+time of his retirement. Allowing for a possible break of a month or two,
+Señor Manuel Garcia was actively engaged in teaching singing at
+Tenterden Street for the long period of forty-seven years. The Chevalier
+Alberto Randegger, who was his colleague on the staff for the greater
+part of this time, sent me the following letter:--
+
+"Although Señor Garcia and myself have been good colleagues for many
+years at the R.A.M., he was, as you know, so reserved, modest, and
+retiring that very, very few people were by him allowed to approach or
+frequent his society on very intimate terms."
+
+What of musical London during the twenty years preceding Garcia's
+retirement from the Academy? Let us recall some of the artists who were
+most prominently before the public, and the more important musical
+events which were taking place in the operatic field. The glance need
+only be a brief one, for with the last quarter of the nineteenth century
+we are among events which are within the ken of most people.
+
+With 1875, the year after Sarasate's _début_, we find three events
+worthy of note. There took place the first performance in London of
+"Lohengrin," with Albani as Elsa, Cotogni as Telramund, and Nicolini in
+the title part. Then in the following September the Carl Rosa Opera
+Company appeared in the capital for the first time at the Princess's
+Theatre. Lastly, during the season there was heard at Drury Lane a young
+Polish singer, who met with emphatic success in baritone parts such as
+Don Giovanni, Nevers, Valentine, and Almaviva. He appeared then under
+the name of "De Reschi": eventually he was to return and take the town
+by storm as Jean de Rezké.
+
+Two years later we hear of the _début_ of Gerster, and of Gazarré, a
+Spanish tenor, who bridges over the interval between the retirement of
+Mario and the advent of his famous successor.
+
+In this year, moreover, Richard Wagner came to England to take part in
+the series of Wagner Festival concerts, which had been arranged with a
+view to paying off the debt on the new theatre at Bayreuth.
+
+1878, in which the deaths of Charles Mathews and Frederick Gye are
+chronicled, is important for the London production of Bizet's "Carmen"
+on June 22. Hermann Klein went to this _première_ in the company of
+Garcia, and in his reminiscences has set down an interesting description
+of the evening. On the distributing of the parts for "Carmen," Campanini
+returned the _rôle_ of Don José, stating that he could not undertake a
+part where he had no romance and no love duet except with the seconda
+donna. Shortly afterwards Del Puente, the baritone, declined the part of
+Escamillo, saying it must have been intended for one of the chorus;
+while Mdlle. Valleria suggested Michaela should also be given to one of
+the chorus. For some time things were at a standstill, till at length
+the principals were, by persuasions and threats, induced to attend a
+rehearsal, and all began to take a fancy to their _rôles_, and in due
+course the opera was announced.
+
+The receipts for the first two or three nights were miserable, and
+Mapleson had to resort to the same sort of expedients as in "Faust" for
+securing an enthusiastic reception, knowing that after a few nights it
+would be sure to become a favourite.
+
+"It was no easy matter for a performance at the opera to satisfy the
+maestro in these days," writes Hermann Klein; "the singing rarely
+pleased him in comparison with the part. Upon my reminding him that
+'Carmen' had been nearly a failure at the Opéra Comique in Paris three
+years before--'I know,' he replied; 'and the poor composer died of a
+broken heart three months later. That is the way France generally treats
+rising talent, including her own. I place little value on the opinion of
+Paris about a new work.'
+
+"Garcia was enthusiastic over the opera. The subject and treatment
+appealed to him to a singular degree, while the story he thought
+intensely dramatic, and was astonished and delighted at the Spanish
+colour in the music."
+
+During the same year the Gatti brothers gave a series of Promenade
+Concerts at Covent Garden, with Sullivan conducting.
+
+We may note here a piece of theatrical news. In December Ellen Terry
+first appeared at the Lyceum under Irving's management, taking the part
+of Ophelia in that memorable production of "Hamlet." 1879 sees the
+Italian Opera season given under Ernest Gye (whose father had died from
+the effects of a gun accident in the previous December), and the superb
+Jean Lassalle is added to the company. Concert-goers find an interesting
+fact in this year in the establishment of the famous Richter Concerts.
+These were the outcome of the Wagner Festival of two years before, and
+were announced for this preliminary season as a series of three
+"Orchestral Festival Concerts."
+
+With 1880 comes the _début_ of the great basso, Edouard de Rezké, as
+Indra in "Le Roi de Lahore."
+
+Next year Anton Rubinstein was in London for the production of his
+opera, "The Demon."
+
+In 1882 (bringing with it the death of Wagner), we may examine the list
+of stars at the Opera House once more, so as to note what names have
+disappeared, and by whom the gaps have been filled. Among the fair sex
+we find Patti, Albani, Trebelli, Sembrich, Valleria, and Lucca, who had
+returned after ten years' absence; while the men include Gazaré,
+Mierzwinski, Faure, Maurel, Nicolini, Soulacroix, and Lassalle. 1882 was
+further noteworthy as London's great Wagner year, for details of which I
+am once more indebted to Mr Klein.
+
+"Early in the year a troupe had been formed by Herr Neumann for the
+purpose of performing 'Der Ring des Nibelungen' in the leading cities of
+Germany, Austria, Holland, England, and Italy. The months of May and
+June were chosen for the London visit, and Her Majesty's Theatre was
+engaged. In all, four cycles of the tetralogy were given. The casts
+included not a few of the famous artists who had taken part in the
+initial performance of the 'Ring' at Bayreuth in 1876--among them
+Niemann, Unger, the Vogls, Hill, Schlosser, and Lilli Lehmann (who sang
+'Woglinde,' 'Helmwige,' and the 'Bird' music); with Reicher-Kindermann
+as _Brunhilde_, while Anton Seidl conducted."
+
+During the same month Herr Pollini arranged with Augustus Harris for a
+series of performances at Drury Lane, by the entire troupe of the
+Hamburg Opera House, and with the very popular Viennese _chef
+d'orchestre_, Hans Richter, as conductor.
+
+The Hamburg artists comprised at the time several who were to earn
+world-wide reputations.
+
+"Imagine the advantage of hearing 'Tristan und Isolde' and 'Die
+Meistersinger' for the first time," writes Mr Klein, "with such a noble
+singer and actress as Rosa Sucher, as 'Isolde' and 'Ena'; with such a
+glorious 'Tristan' and 'Walther' as Brangaene, with that fine baritone,
+Gura, as 'König Marke' and 'Hans Sachs!'"
+
+In 1883 there are two new productions at Covent Garden, Boito's
+"Mefistofele" and Ponchielli's "La Gioconda." Then, again, Joseph Maas
+makes his _début_ in Grand Opera as Lohengrin, while Carl Rosa
+inaugurates his first season at Drury Lane, and brings to a hearing two
+new operas by English composers,--the "Esmeralda" of Goring Thomas and
+the "Colomba" of Sir Alexander Mackenzie.
+
+In 1884, the year of Sir Michael Costa's death, the great names are
+Patti, Albani, Lucca, Tremelli, and Edouard de Rezké.
+
+In the next year Mapleson is once more in command, and the season closes
+with the presentation of a diamond bracelet to Adelina Patti, in
+commemoration of her twenty-fifth consecutive season at Covent Garden.
+
+In 1886 Ella Russell made her _début_, while both the Abbé Liszt and
+Rubinstein paid their last visits to England. It was on this visit that
+Rubinstein gave that wonderful series of seven historical concerts at
+the St James's Hall, which realised no less than £6000 gross receipts.
+
+The Jubilee year is noteworthy for the advent of Augustus Harris into
+operatic management, for we find him giving a season at Drury Lane for
+which he has secured a new tenor, Jean de Rezké, then practically
+unknown to London audiences. The artist opened in "Aïda," and obtained a
+complete triumph.
+
+[Illustration: [Manuscript: Nellie Melba 1906]
+
+_Photo by M. Shadwell Clerke._]
+
+With 1888, Harris becomes lessee and operative director of Covent
+Garden, with a strong social support and subscription to grand tier
+boxes, and commences work with Melba and the two de Rezkés, Albani,
+Trebelli, Arnoldson, Zélie de Lussan, Ella Russell, Lassalle, and
+Margaret Macintyre, Garcia's pupil.
+
+In 1889, the year of Carl Rosa's death, we have two important events.
+"Romeo et Juliette" is given in French, instead of Italian, with a
+superb cast, of which the star parts are taken as follows:--
+
+    _Juliette_                    Melba.
+    _Romeo_                       Jean de Rezké.
+    _Friar Laurent_               Edouard de Rezké.
+
+Moreover, in July, Jean de Rezké takes part for the first time in an
+Italian version of "Die Meistersinger," with this cast:--
+
+    _Ena_                         Madame Albani.
+    _Magdalena_                   Mdlle. Bauermeister.
+    _Walther_                     M. Jean de Rezké.
+    _Hans Sachs_                  M. Lassalle.
+    _Beekmesser_                  M. Isnardon.
+    _David_                       M. Montariol.
+    _Pogner_                      Signor Abramoff.
+    _Kothner_                     M. Winogradon.
+
+The early summer of 1890 witnessed the London _début_ of the successor
+to Liszt and Rubinstein, of the greatest of the _fin de siècle_ group of
+great pianists--Ignace de Paderewski. He was announced for a series of
+four recitals at the St James's Hall. The first of these was given on
+May 9 before a meagre and coldly critical audience, the second to a
+better audience, which improved again with the remaining ones. But it
+was not until the following season that the conquest was completed, and
+the meagre attendance became a thing of the past. In fact, his Chopin
+Recital at St James's Hall, in the July of 1891, drew the largest crowd
+and the highest receipts recorded since the final visit of Rubinstein.
+The early months of this year, moreover, witnessed an operatic
+experiment which was destined to mark the climax of the modern
+development of English Opera. D'Oyly Carte built the "Royal English
+Opera House," engaged a double company, and opened it with a repertory
+of one work, "Ivanhoe." The cast on the opening night of Sir Arthur
+Sullivan's work was as follows:--
+
+    _Rebecca_                 Marguerite Macintyre
+                                     (Garcia's pupil).
+    _Rowena_                  Esther Palliser.
+    _Ivanhoe_                 Ben Davies.
+    _Richard Coeur de Lion_ Norman Salmond.
+    _Cedric_                  Ffrangçon Davies.
+    _Friar Tuck_              Avon Saxon.
+    _Isaac of York_           Charles Copland.
+           and
+    _The Templar_             Eugene Oudin.
+
+While the alternative group of artists included Miss Thudicum (Garcia's
+pupil), Lucile Hill, Franklin Clive, Joseph O'Mara, and Richard Green.
+It ran from January 31 till the end of July; then in November the house
+reopened with "La Basoche," in which David Bispham made his _début_ on
+the London stage. With the autumn, however, all went wrong, the public
+stayed away, and finally, on January 16, 1892, the Royal English Opera
+House was finally closed, to be reopened later as the Palace Theatre of
+Varieties.
+
+Before leaving 1891 we must note the Covent Garden season, where a very
+remarkable collection of artists appeared, who must have compared
+favourably with those whom Garcia had heard half a century before. The
+new-comers included Emma Eames, Sybil Sanderson, Van Dyck, and Plançon;
+while in the company were the de Rezkés, Lassalle, Maurel, Ravelli, and
+Montarid; Melba, Nordica, Albani, Zélie de Lussan, Rolla, Bauermeister,
+Giulia Ravogli, and Mme. Richard.
+
+Nor must one pass over Signor Lago's venture of an Italian season,
+embarked on during the autumn of 1891 at the Shaftesbury Theatre. It was
+notable chiefly for the first production in England of Pietro Mascagni's
+"Cavalleria Rusticana." In the _première_, which was conducted by
+Arditi, Marie Brema made her _début_ in opera as Lola, while the cast
+was made up with--
+
+    _Santuzza_              Adelaide Musiani.
+    _Lucia_                 Grace Damian.
+    _Alfio_                 Brombara.
+    _Turiddu_               Francesco Vignas.
+
+In 1892 comes the _début_ in London of Calvé, while Harris engages the
+great Wagner singers from Bayreuth, to appear for a season of German
+opera on Wednesday evenings at Covent Garden, with Rosa Sucher as
+Brunhilde, and Alvary as Siegfried. One must also note the _début_ of
+Clara Butt in "Orfeo" at the Royal College of Music.
+
+In 1893, the year of Gounod's death, opera lovers at Covent Garden made
+the acquaintance of the younger school of Italian composers in Mascagni
+and Leoncavallo. The former first appeared at Covent Garden on June 19,
+when he conducted "L'Amico Fritz" with Calvè, De Lucia, Pauline Joran,
+and Dufriche. "Pagliacci" was given, with Melba as Nedda and De Lucia as
+Canio, while Ancona gave a magnificent rendering of the famous prologue.
+
+The works of two English composers were also produced during the
+season,--Isidore de Lara's "Amy Robsart" and Villiers Stanford's "Veiled
+Prophet."
+
+With 1894 there are two novelties added to the repertoire,--Verdi's
+"Falstaff" and Puccini's "Manon Lescaut"; while the English Jubilee is
+celebrated of Joseph Joachim and Alfredo Piatti.
+
+With 1895, the year in which Manuel Garcia concludes his ninetieth year,
+Adelina Patti returns to Covent Garden for a few more performances, and
+Jean de Rezké makes a temporary absence during the season, for the first
+time for eight years.
+
+The following year saw the death of Sir Augustus Harris, and with the
+event the present _régime_ came into existence, the formation of the
+Covent Garden Syndicate, with Earl de Grey at its head, Higgins as
+director, and Neil Forsyth, secretary. Here we will abandon the
+narration of the trend of operatic events in London, for those which
+took place in the last ten years of Manuel Garcia's life are probably in
+the memories of all. Those which took place during the first forty years
+of the maestro's life in England seemed sufficiently remote to be worth
+recalling, for by them we obtain at any rate a bird's-eye view of the
+great names and events of the operatic world during Garcia's active
+career as a teacher.
+
+
+
+
+FOURTH PERIOD
+
+RETIREMENT
+
+(1895-1906)
+
+
+
+
+CHAPTER XIX.
+
+A NONAGENARIAN TEACHER.
+
+(1895-1905).
+
+
+In commencing this chapter I must apologise for the personal tone, which
+is almost unavoidable, since I am giving purely personal reminiscences
+of the years of study that I spent under Manuel Garcia.
+
+It was early in the May of 1895 that my mother (Antoinette Sterling)
+took me up to see her old master, in order that he might give his
+decision as to the advisability of my entering the musical profession.
+
+When we had driven out to his house on Shoot-up-hill, we rang the bell,
+and a maid came to the door. "Is Señor Garcia well enough to see us? If
+he is sleeping, do not disturb him. We can wait till he is rested." The
+servant raised her eyebrows in slight wonderment. "Mr Garcia is out
+gardening, Madame. I will tell him of your arrival."
+
+This astonishing information was uttered in the most ordinary tone, as
+though such a thing were a mere episode of everyday life. We were
+ushered into the drawing-room, but were not kept waiting long, for in a
+few minutes the door opened and Manuel Garcia entered. With a genial
+smile and an exclamation of pleasure he came rapidly across the room,
+taking short, quick steps, and was shaking hands with his old pupil
+almost before she had time to rise from her seat. The next quarter of an
+hour passed swiftly enough. A stream of questions fell from the lips of
+the wonderful nonagenarian as to what she had been doing, where she had
+been, what were her latest songs, what she thought of the pianist who
+had recently come out, what of the political situation, when could she
+come to lunch,--and so on.
+
+He was short of stature, a little bent with age, frail-looking perhaps,
+but wiry. His eyes were bright and piercing, his profile clear-cut and
+distinguished. He had an olive complexion, a gift of his native Spain
+which fifty years of London fog and de-oxygenised air had been unable to
+take from him.
+
+His white hair was partially covered by a red skull-cap, and his
+moustache was closely cut. He spoke in rapid tones, yet with absolute
+distinctness of clear enunciation.
+
+Every word gave proof of that keen interest which he felt in all that
+was going on around him. In expression, voice, and gesture there was an
+amazing alertness, vigour, and mental activity which few men of seventy
+could equal, fewer still surpass. His conversation gave evidence of the
+fire of youth, tempered with the tolerance of old age.
+
+[Illustration: FACSIMILE OF A LETTER WRITTEN BY MANUEL GARCIA AT THE AGE
+OF NINETY-ONE.]
+
+A more intimate acquaintance with the great teacher revealed further
+qualities which made him loved, nay, worshipped, by all his pupils.
+Loyal and staunch, he had an old-world courtesy, a charm of manner, and
+a patience which was quite remarkable.
+
+When Manuel Garcia had heard me sing he asked a few penetrating
+questions. Then he turned to my mother and said that he would take me as
+a pupil: he thought, however, that it would be better for me to wait a
+year before starting work.
+
+There was something almost uncanny in being told by a man ninety years
+of age to come back in twelve months and commence singing-lessons. But
+seeing and hearing him, one could not doubt that he would be ready and
+waiting at the appointed time.
+
+Nor was the supposition wrong. In the first week of April of the
+following year, when he was approaching his ninety-second birthday, the
+first lesson took place. From that time on, my studies continued under
+his care and guidance until April 1900, when he was in his ninety-sixth
+year. In this I had the honour of being the last pupil to be regularly
+trained by him for the musical profession with the full four-years'
+course of tuition.
+
+That he should have been able to continue teaching at all at such an age
+is sufficiently astonishing. That during those years he should have
+postponed lessons through indisposition upon only some three or four
+occasions gives a still keener insight into the extraordinary life led
+by him as a nonagenarian.
+
+What a wonderful experience those lessons proved, lasting sometimes
+nearly two hours! When he was interested in explaining certain effects
+in singing or in recounting stories of artists and operas _apropos_ of
+the work in hand, time ceased to exist. The luncheon-bell would ring
+three or four times without having any apparent effect, so engrossed was
+he in his subject. At the end of the lesson he would, with the old
+courtliness of his youth, insist on seeing one out himself. If one
+opened the door and stood aside for him to pass, the manoeuvre proved
+perfectly useless. With a delightful gesture he insisted on his guest
+preceding him, saying, "Ici je suis chez moi." Then he would skilfully
+slip along the hall and open the front door. There he would
+stand--oblivious, and apparently impervious, to draughts and
+cold--chatting for several minutes or giving some parting advice before
+holding out his hand and wishing one _au revoir_.
+
+Almost more surprising is it that he should have continued to carry on
+his correspondence. Many a long letter was received from him during
+those years; while on one occasion he actually wrote out the entire
+music of an Italian aria, "Liete voci," giving his own elaborations of
+the original melody.
+
+During the lessons he would remain seated at the piano, undertaking all
+accompaniments himself. These would be given quietly, but with a firm,
+rhythmical precision. In the case of the old Italian arie, they would
+generally be played from memory. His white expressive hands would weave
+elaborate preludes and harmonies into the music, and as one sang he
+would sit with closed eyes as though his thoughts were far away. But
+they were not, they were very much present. If a mistake were made the
+music would cease, the error be pointed out, and a suggestion given for
+its correction. This would take the form either of some helpful little
+observation, made in clear, precise terms, or of personal illustration,
+given in English, or more often French. Though over ninety years old, he
+was quite equal to showing how he wanted notes taken or an effect given
+by singing the passage himself. On one memorable occasion he sang two
+entire octaves, commencing at the low A flat, and ending with a high
+baritone G sharp. It sounds an almost incredible _tour de force_, but is
+an absolute fact. The voice naturally trembled with age, though in a
+surprisingly slight degree. But the timbre, enunciation, and dramatic
+power were still there, while every phrase revealed the extraordinary
+fire of his Spanish temperament.
+
+When he had been singing thus one day he laughed and said, "I cannot
+sing any more. You see how the voice trembles. That, you must not
+imitate. The tremolo is an abomination--it is execrable. Never allow it
+to appear, even for a moment, in your voice. It blurs the tone and gives
+a false effect. Many French singers cultivate it, and I will tell you
+why."
+
+There had been at one time, he said, an eminent vocalist worshipped by
+the Parisian public. His voice was beautiful in quality, faultless in
+intonation, and absolutely steady in emission. At last, however, he
+began to grow old. With increasing years the voice commenced to shake.
+But he was a great artist. Realising that the tremolo was a fault, but
+one which could not then be avoided, he brought his mind to bear upon
+the problem before him. As a result, he adopted a style of song in which
+he had to display intense emotion throughout. Since in life the voice
+trembles at such moments, he was able to hide his failing in this way by
+a quality of voice which appeared natural to the situation. The
+Parisians did not grasp the workings of his brain, and the clever way in
+which he had hidden his fault. They only heard that in every song which
+he sang his voice trembled. At once, therefore, they concluded that if
+so fine an effect could be obtained, it was evidently something to be
+imitated. Hence the singers deliberately began to cultivate a tremolo.
+The custom grew and grew until it became almost a canon in French
+singing.
+
+The maestro told another story to illustrate the strange way in which
+effects were sometimes produced by the old vocalists. A certain artist
+was singing Secchi's "Lungi dal caro." Something in his voice gripped
+the audience from the first bar. There was an indefinable quality which
+they had never experienced before, something which thrilled and stirred
+them with an inexpressible weirdness, something which almost made the
+blood run cold. When the music ceased, every one drew a deep breath and
+remained silent for a few moments. Then came a burst of rapturous
+applause. Later on, a fellow musician went up to the singer,
+congratulated him, and then said, "Tell me how you were able to produce
+that effect upon your audience."
+
+"Did you not hear? No? Then I will tell you how I did it. Throughout the
+music I sang the least shade flat. The result you observed."
+
+And now a few words as to Manuel Garcia's Method of Teaching.
+
+He always impressed on singers and teachers alike that the Art of
+Singing was not voice-_production_, a term which he loathed, but
+guidance in voice-_emission_.
+
+His Method may be perhaps summed up in the doctrine that it was _not_ a
+method--in the sense that he had no hard and fast rules,--his object
+always being to make each pupil sing in the way most natural and
+involving the least effort. He was careful to impress on one the fact
+that any visible effort took away from the charm of the singer. If one
+gave too free play to the lungs, and sang beyond oneself, he would
+remark, "You must not forget the advice my father gave me: 'Do not let
+anybody see the bottom of your purse; never spend all you possess, nor
+have it noticed that you are at your last resource.'"
+
+The first lesson for all pupils would be practically a chat on the
+singer's aims and on the instrument at his disposal: he would explain in
+clear language the different parts of the instrument, and show that the
+lungs had to be properly filled; then in the first attempt at emission a
+steady gentle stream was to be sent out, while one guarded against the
+natural tendency to empty the lungs quickly. At the larynx the air in
+passing through the little lips of the glottis received pitch, which
+varied according to the rapidity with which these opened and allowed
+puffs of air to pass through; then in passing through the passage from
+the larynx to the front of the mouth they received timbre and
+vowel-tone, which varied according to the shape of the pharynx and the
+height of the soft palate.
+
+The tone was then to be directed to the front of the mouth, and here the
+consonants were made, but these latter were not to interfere with the
+flow of sound or cause any jerkiness. When a phrase was commenced the
+tone was to flow on evenly, smoothly, steadily, with greater or less
+sustaining power as desired, until the end was reached. He would further
+explain something of the theory of registers, and the causes of various
+kinds of tones, good and bad. Finally, before telling the pupil to make
+his first tones, he would impress on him this: "If you do not understand
+anything perfectly, ask me at once, and I will endeavour to clear up the
+point and show you how to get over the difficulty. And remember that we
+must have the knowledge to guide the emission of the voice with our
+brains. When the tone has once been emitted it is too late to correct a
+fault. We must be aware beforehand exactly what we are going to do. We
+must know what is right and how to do it. That is the secret."
+
+After this preliminary explanation the first step invariably consisted
+in the emission of a steady tone, deep breathing being insisted on for
+the purpose. At the first sign of unsteadiness in the tone the pupil was
+directed to stop and begin again. In the intervals of rest the
+physiology of the voice was clearly and carefully explained, and the
+proper position of the various parts of the body and throat, and the
+management of the vocal cords necessary for the emission of resonant
+tone, were the first laws laid down. When once the pupil could sing a
+scale slowly and steadily, the way was open to the practice of
+exercises; and very often in the case of a voice of promise these
+exercises constituted the whole course of study for a considerable
+period.
+
+The famous _coup de la glotte_, or shock of the glottis, with which his
+name is associated, has often been misapplied from ignorance of its real
+object, which was to secure that the vocal cords were closed at the
+commencement of the tone, and that there was consequently no preliminary
+escape of the breath. How far his methods, which also included the
+imparting of a remarkable grasp of every phase of vocal expression, were
+successful, is to be gathered from the list of his direct or indirect
+pupils, which, as we have seen, includes a great many of the most
+prominent representatives in the world of song.
+
+At the lessons the maestro did not, as a rule, offer either praise or
+blame. He was, however, always encouraging, and treated pupils according
+to their individual powers. He seemed to know instinctively what they
+could manage and what was beyond them. His remarks might be made in
+English, French, or Italian, so that the pupil had to keep his wits
+about him. In them there was a directness and penetration which filled
+one with implicit confidence in his keen mind and extraordinary
+experience. Hardly a lesson passed in which he did not, during the
+intervals for rest, tell some anecdotes of the most engrossing interest.
+These would have as their subject the elder Garcia, Malibran, Jenny
+Lind, Meyerbeer, Rossini, Mario, Pasta, or some other of the great
+musicians of the past. Often, too, he would speak of his memories of
+Spain, of the Peninsular War, the French Revolution, the first New York
+season of Italian opera, his tour in Mexico, the discovery of the
+laryngoscope, or other memories of his long career. But though related
+with delightful readiness, these stories always displayed extreme
+modesty in reference to the part played by himself in the various
+episodes.
+
+It was in the same spirit, too, that he would speak of his efforts as a
+teacher. "I only tell you how to sing, what tone is good, what faults
+are to be avoided, what is artistic, what inartistic. I try to awaken
+your intelligence, so that you may be able to criticise your own singing
+as severely as I do. I want you to listen to your voice, and use your
+brain. If you find a difficulty, do not shirk it. Make up your mind to
+master it. So many singers give up what they find hard. They think they
+are better off by leaving it, and turning their attention to other
+things which come more easily. Do not be like them.
+
+"In Paris once a number of boys were set some problems whilst competing
+for a prize at the Gymnase. One of them was seen to cry, and on being
+asked why he did so, replied that the problems were too easy. He was
+afraid that all the others would be able to do them as well as himself,
+so that he would be prevented from carrying off the prize. The master
+smiled, and told him to answer the questions by a more difficult method,
+if he knew one. He did so, and gained the first place.
+
+"Many singers do the opposite. They burst into tears because they find a
+thing too hard. Do not be afraid to face a difficulty. Make up your mind
+to conquer it. I only direct you. If you do a thing badly, it is your
+fault, not mine. If you do it well, all praise to you, not to me. I show
+pupils how to sing, and the proper way to study. Suppose some one meets
+me out of doors and says, 'Can you tell me the way to Hampstead Heath?'
+I answer, 'I will walk there with you.' We set out, and I keep by his
+side, saying, 'This is the street we have to pass through. Do not turn
+down there. That goes in the wrong direction. Follow my instruction, and
+you will arrive at your destination. I know the road well.' If he takes
+the wrong turning, that is his fault, not mine. I cannot prevent him
+from going off into the slums. I can only say 'Do not go there--that is
+wrong.' He must follow my advice or not, as he chooses. Again, if we
+come to a very steep hill, and he says, 'I can't climb that. It is too
+difficult. Let us not go up--I am tired'; I can only reply, 'If you wish
+to reach the Heath, you _must_ climb it. There is no other way of
+getting to your destination.' But if he is lazy, and will not mount it
+by his own endeavour, I cannot lift him and carry him upon my
+shoulders."
+
+How characteristic it was of the master's innate modesty to speak of his
+work in this simple way! How he ignored the times when he pulled the
+pupils back by main force from that wrong path; when he cheered them on,
+should they get discouraged; when he described in concise terms the
+easiest way of climbing up that hill! If they failed to mount the ascent
+on the first occasion, he explained the reason for their failure. Then
+he bade them be of good courage and try again. If they failed ten times,
+he would once more carefully repeat exactly what had to be done, and
+seek for fresh illustrations which might perhaps put the matter in a
+clearer light. Truly, if he did not actually carry them up the steep
+path, he came very near doing so. He was like a friend offering
+assistance rather than a teacher paid to instruct. Ah, dear maestro!
+never shall I forget the infinite patience and gentleness which you
+displayed in those hours of study.
+
+When a difficulty had been overcome, he would smile and say, "That was
+as I wish. Do it again. Good! Now try and impress upon your mind exactly
+what you did. Sing it once again. C'est ça! Do not let the old mistake
+occur again." If one _did_ allow it to reappear, he would shake his head
+sorrowfully and say, "Jenny Lind would have cut her throat sooner than
+have given me reason to say, 'We corrected that mistake last time.'" It
+seemed at first strange, to say the least, to hear these comparisons
+made between oneself and a pupil who had studied under the same master
+fifty years previously. However, after studying for three years, I grew
+used to hearing him speak of musicians who had been dead forty years or
+more; of a sister who, after a brilliant career, had died in 1836; of a
+father who had come into the world a hundred and twenty years
+previously; and of his first singing-master, Ansani, who was born early
+in the eighteenth century. At any rate, during the last year of study I
+was able to hear such casual remarks as "Ah, yes, I remember teaching
+this song to Stockhausen for his _début_" (the great German vocalist
+being at the time somewhere about seventy years of age), without
+evincing more than a momentary surprise.
+
+Wagner's compositions never attracted Manuel Garcia. The heavy
+orchestration of the German music did not appeal to him, though he
+raised no objection to going through Wolfram's song, "O Star of Eve," in
+the Italian version, "O tu bel astro incantator." "Tannhäuser" was
+written in a lyrical style: one shudders to think what he would have
+said to anything like Wotan's "Abschied."
+
+He did not believe in "vocalises," such as are used by most teachers in
+earlier lessons. Instead of these, he preferred to give simple Italian
+arias. He pointed out that with them one began at once to learn the
+value of articulation and expression. Exercises he looked on as the
+foundations of all good singing. They would take the form of sustained
+and swelled notes, scales, passages of combined intervals, arpeggios,
+chromatics, and shakes. The acquirement of agility in execution, he used
+to say, required _at least_ two years' study, the result being that the
+voice became flexible, even mellow and strong. In the elucidation of
+difficulties he used to make use of many similes and illustrations,
+which threw a vivid and illuminating light upon the matter in hand.
+These, together with the various maxims of artistic singing which he
+would impart, I used to write down in a book after each lesson, and as a
+teacher of singing I have found them of the most inestimable value and
+assistance.
+
+When one day I told the maestro that I had decided to devote my whole
+attention in the future to teaching, he at once sat down and wrote a
+letter of recommendation, though in his ninety-eighth year,--a typical
+example of his kindness and thought for the benefit of others.
+
+It was an inestimable advantage to hear him teach singers of various
+capacities. During the period I was under him I had the privilege of
+hearing him give many lessons; for though I was the last pupil to
+receive the full four years' training, he was still teaching a few
+specially favoured amateurs,--in most cases the children or
+grand-children of former pupils.
+
+His ear was most accurate and unerring, while he was exceedingly quick
+of observation, and equally ready with a helpful remark, given in
+precise terms, a simile, a little anecdote, or even a slight gesture or
+a look.
+
+In his lessons he was ever ready to give the most interesting
+information on any scientific questions or theories, and would discuss a
+point with the greatest animation. He was particularly annoyed at the
+way the _coup de la glotte_ was misunderstood and exaggerated beyond all
+recognition by many musicians. In his 'Hints on Singing' he defines the
+_coup_ as the neat articulation of the glottis that gives a precise and
+clear start to a sound. In reality, as taught by him, it simply meant
+that he wished one to get straight on to a note, without any uncertainty
+or feeling about for it, instead of slurring up to it (a very common
+fault), or taking it too sharp and having to sink to the proper pitch.
+
+His works mark an epoch in a branch of human knowledge which one day may
+be called a science. They deserve to be most carefully studied by any
+one who wishes to gain a clear insight into that interesting
+subject--the human voice. They are the fruit of a great mind and of
+wonderful experience, written in a very lucid style, simple and terse,
+full of interest to the musician as well as to the voice trainer.
+
+He expounds his views fearlessly but modestly, with logical cogency.
+Nearly every page bears evidence how cautious, discerning, and
+progressive a teacher he was.
+
+As showing the importance which Manuel Garcia attached to poetic
+interpretation of all vocal music, I give three quotations from his
+'Hints on Singing,' the extracts being taken from the section headed
+"Preparation of a piece."
+
+     "The pupil must read the words of the piece again and again till
+     each finest shadow of meaning has been mastered. He must next
+     recite them with perfect simplicity and self-abandonment. The
+     accent of truth apparent in the voice when speaking naturally is
+     the basis of expression in singing. Light and shade, accent,
+     sentiment, all become eloquent and persuasive. The imitation of
+     instinctive impulse must, therefore, be the object of this special
+     preparation."
+
+     "A powerful means of exciting the mind to a vivid conception of the
+     subject is to imagine the personage as standing before one, and let
+     the phantom sing and act, criticising closely both efforts; then,
+     when satisfied with the results, to imitate them exactly. By
+     faithfully reproducing the impressions suggested by this creature
+     of fancy, the artist will obtain more striking effects than at once
+     rendering a piece."
+
+     "Another way is to recall some analogous situation in a work of
+     art: for example, if we have to study the scene of Desdemona in the
+     second act of Rossini's 'Otello,' 'L'error d'un infelice,' one of
+     the fine paintings of the Magdalene at the feet of Christ might
+     occur to the mind. Grief and repentance could not assume a more
+     pathetic form."
+
+He was always careful to secure the proper use of the registers on the
+part of the pupil, for, as he would point out, more female voices have
+been ruined by carrying the chest register too high (that is to say,
+beyond the E or F above middle C) than by anything else.
+
+He had a wonderful insight into the capabilities of those whom he
+taught. Indeed, I remember his saying once that throughout his career he
+had very rarely failed in reading from the eyes of an intending pupil
+the prophecy as to his or her future success in the profession of music.
+He disliked, he said, to be associated with failures, and the moment he
+found that he had made a mistake in his estimate of a pupil's
+capacities, he at once disillusioned him and declined to continue his
+training.
+
+His mannerisms while playing accompaniments were quite characteristic of
+the man. He would strike the chords with the greatest vivacity, and
+almost leap into the air from his piano-stool in his excitement at any
+wrong trick of vocalisation; or again, he would make a dash for the
+metronome, snatch it up and set it to time, and for the space of perhaps
+ten minutes compel one to go on counting mentally, or beating time with
+the hand in unison with the rhythmic movements of the guiding
+instrument, until the time difficulty had been mastered. When he had
+succeeded in preparing the voice for use like a beautifully toned
+instrument, his teaching spread over the whole extension of every style
+of music,--opera, oratorio, and song.
+
+To his charm of courtly manners was added a never-failing wit and love
+of fun: of this he gave constant proof. For instance, an old pupil
+recounts how one day Manuel Garcia was seized with a fit of coughing.
+"Ah, maestro, I'm afraid it's the spring," he commiserated, and was met
+with the half-laughing, half-pathetic retort, "No, no; it is too many
+springs."
+
+A further illustration of his keen sense of humour, even in extreme old
+age, is found in a letter which, as a nonagenarian, he wrote to a friend
+some seventy years his junior.
+
+The young man was famous among his acquaintances for a rather eccentric
+handwriting, and no one was fonder of twitting him about it than the
+maestro. The chaff on one occasion took the form of a letter, which I am
+enabled to reproduce in facsimile. Señor Garcia wished to convey the
+following information:--
+
+     "I will remain here sometime longer, and when in town I will write
+     to you.
+
+     "Hoping to find you in good health and voice,--I remain, yours
+     truly, M. GARCIA."
+
+Remembering, however, to whom he was writing, he took the trouble to
+make his communication as bewildering as possible by dividing the words
+thus:--
+
+     "Iw ill remain he re so--m--eti--me long er an d wheni n tow nIw il
+     lw rite t oyo u.
+
+     "Ho ping to fin d you ing oo d hel than dv oic e, I rem ain y our
+     strul y MGARCI A."
+
+Often at the close of a lesson he used to ask me to stay to tea, and in
+the summer we would adjourn to the garden, where the table would be
+spread beneath the inviting shadow of the trees. Those would be
+red-letter days indeed.
+
+On these occasions the maestro would leave thoughts of singing behind
+him, and show his wide interests and deep insight into all the questions
+of the day. Once when conversation had turned upon violin-playing, there
+came up the name of Kubelik, who had come out in London a few weeks
+previously. After four years' pupilage, I was not surprised to learn
+that he had already been to hear the new instrumentalist. I must,
+however, confess to having been somewhat startled when, with the
+greatest _sangfroid_, he began comparing the execution with that of
+Paganini. At other times he would speak of Joseph Chamberlain and the
+newest developments of Fiscalities, the building of sky-scrapers in New
+York, the drama of the day, or the Spanish War. One day he even showed
+himself quite ready to discuss the pros and cons of Christian science.
+
+[Illustration: FACSIMILE OF A LETTER WRITTEN BY MANUEL GARCIA AT THE AGE
+OF NINETY-NINE.]
+
+My lessons came to a close in April of 1900, when the maestro was in his
+ninety-sixth year.
+
+When in due course the time came for making my first provincial tour, he
+wrote several letters on the subject, of which I quote three, as being
+typical of the trouble which he was ever ready to take, and the wisdom
+of the advice which he would give.
+
+     "MON ABRI," CRICKLEWOOD.
+
+     I am a very bad maker of programmes. If I had to deal with that
+     sort of work, I should have to take the advice of an expert who
+     could tell what sort of music would meet the taste of every
+     individual public. Your mother might be your best adviser.
+
+     Wishing you every success. M. GARCIA.
+
+Again he writes:--
+
+     Before you commence your tour you ought to give a _complete_ rest
+     to your voice. Prepare for work only a week before you begin.
+
+     Do not sing or study the "Elijah" nor any other music written for a
+     baritone. For your organ the use of low notes is resting, therefore
+     necessary.
+
+     Do not indulge in exaggerated display of power. Too much ambition
+     in that respect is fatal.
+
+A third runs as follows:--
+
+     You will do well not to limit yourself to singing easy songs, but
+     also to attempt upon occasion such pieces as require the full use
+     of your means. This will be an excellent preparation for your
+     appearance in London, and it will give you the confidence in your
+     powers and the facilities in using them necessary to enable you to
+     take a place among the best of the profession. It will always give
+     me pleasure to hear of your successes. Give my kindest regards to
+     your mother.
+
+After this I continued to see the maestro fairly often, and was not
+surprised to hear of his setting off in his ninety-seventh year to spend
+the winter in Egypt, or of his staying with his sister in Paris for a
+few days on his way home.
+
+In the early winter of 1903 my mother was taken seriously ill, and
+Manuel Garcia on hearing of this at once wrote a sympathetic letter.
+
+On January 10, 1904, the end came, and with the announcement in the
+papers, one of the first tokens of sympathy was a beautiful wreath from
+the maestro, followed by a telegram expressing his desire to be present
+at the closing scene in the career of his old pupil. Despite the
+distance, for the service was held at Golder's Hill, the maestro drove
+over, stayed for the entire service, and remained behind afterwards to
+offer a few simple but never-to-be-forgotten words of sympathy.
+
+Two months after this he entered his 100th year. To celebrate the
+occasion, an address of congratulation was presented to him, signed by
+127 professors of the Royal College and Royal Academy of Music.
+
+[Illustration: FACSIMILE OF A LETTER WRITTEN BY MANUEL GARCIA AT THE AGE
+OF NINETY-FOUR.]
+
+At the end of the year it was suggested by the editor of 'The Strand
+Magazine' that I should prepare an article on "Manuel Garcia and his
+Friends" for publication in the month of his centenary. On my
+communicating with the maestro, he wrote at once offering to render
+assistance, and asked me to bring the MS. up when ready. Accordingly, in
+the January, two months before his 100th birthday, I spent the afternoon
+with him, and was requested to read aloud the proofs of the article.
+
+It was astonishing how memory enabled him to correct immediately any
+mistake. He would suddenly stop and say, "No, no; it was in 1827, not
+1825." Again, in the case of a story in which some details were wrong,
+he said, "No, that is not right. I will tell it you again"; with which
+words he recounted in French the tale of how his sister, Malibran, came
+to make her _début_ at Paris. And so the afternoon passed, until
+finally, after signing a photo, he insisted on coming to the door to see
+me out. This experience served to prepare me for the astonishing ease
+and energy with which, a few weeks later, he went through the Centenary
+festivities.
+
+
+
+
+CHAPTER XX.
+
+THE CENTENARY HONOURS.
+
+(1905.)
+
+
+Upon St Patrick's Day, 1905, Manuel Garcia entered on the "second
+century of his immortality," as Professor Fränkel felicitously put it.
+
+That 17th of March has become red-lettered in the annals of music by
+reason of its international character, and the fact that the two
+professions of music and medicine joined hands with the royalty of three
+countries, England, Spain, and Germany, in paying honour to whom honour
+was due.
+
+Sir George Cornewall Lewis was a firm disbeliever in centenarians, but
+his scepticism must have suffered a severe shock could he have been
+present at the celebrations. He would then have seen not merely a man
+whose years beyond all question numbered a century, but one who at that
+great age showed no sign of senility, and could still take an active
+part in a series of trying ceremonies, and bear with dignity, if not
+altogether without fatigue, a load of honours and congratulations, a
+flood of speeches like the rushing of great waters, and repeated
+thunderstorms of applause that would have overwhelmed many men in the
+full vigour of life. Manuel Garcia went through the trying ordeal
+without apparently feeling any ill effect, and seemed thoroughly to
+enjoy the whole thing. It was difficult indeed to believe that the
+venerable figure on the right of the chairman at the banquet, whom one
+saw light a cigarette and smoke it with relish in defiance of the
+Anti-Tobacco League, was born seven months before the battle of
+Trafalgar!
+
+It was passing strange, as one saw him giving the lie in every point to
+Shakespeare's picture of extreme age, to think that he might not only
+have "seen Shelley plain," but have been one of the students who
+modelled their collars and their scowls on those of Byron; that he had
+finished his education before Pasteur was born, and had come to man's
+estate before Lister saw the light; that he had made his name known on
+two continents while Scott and Goethe were still alive, and Darwin was
+at school; and that he had made the discovery that will make his name
+immortal while many of those whose names are now illustrious were yet
+unborn. How quick were his senses and how alert his intelligence was
+shown in many ways, trifling, perhaps, but significant, in the course of
+what must have been the most trying day of his long life. His
+extraordinary vitality was put to a very severe test in the functions
+held in honour of the occasion, but he passed through them with the most
+wonderful fortitude and genial courtliness.
+
+When the King heard of the approaching birthday, he made inquiries as to
+whether the aged maestro could stand the strain of personal investiture
+of the honour which his Majesty had already decided to bestow. The
+answer came back that he was quite ready, and anxious to show his
+gratitude for this royal compliment by going to the palace.
+
+An interview was accordingly arranged, and Señor Garcia, having risen
+between nine and ten o'clock on the morning of that day of days, was
+driven to Buckingham Palace, where he was ushered without delay into the
+King's presence. His Majesty entered into conversation with the old
+musician, showing his acquaintance with his long record of fame, and,
+ever interested in aged people, questioned him as to his health with the
+most sympathetic solicitude, being absolutely amazed at the vitality
+displayed. The King expressed to the maestro his congratulations and his
+recognition of all that he had done for medicine and music, and finally
+invested him with the insignia of a Commander of the Royal Victorian
+Order, at the same time signifying a wish to be personally represented
+at the banquet which was to take place in the evening. Needless to say
+that this characteristic kind-heartedness of King Edward, shown towards
+the hero of the day, acted as a splendid tonic to the Centenary
+celebrations.
+
+From the Palace Señor Garcia drove to the rooms of the Royal Medical and
+Chirurgical Society in Hanover Square, where by noon the fine saloon was
+thronged by his old pupils and various deputations, representative of
+many departments of learning and research.
+
+The reception-room had been decorated for the occasion with palms and
+foliage plants. In the centre of a carpeted dais at one end of the
+apartment had been placed a high-backed chair, upholstered in crimson,
+and on the extreme left was the still veiled portrait of the
+centenarian, which had been painted by Sargent. In front of the seat
+there were some beautiful floral tributes. The largest bore on its
+ribbons the inscription, "À leur cher et venéré Professeur, Manuel
+Garcia--Salvatore et Mathilde Marchesi, Paris, Mars 17, 1905." Another
+came from Blanche Marchesi, and was addressed "To the Christopher
+Columbus of the Larynx"; while yet another had been sent by the Glasgow
+Society of Physicians.
+
+Punctually at twelve o'clock, amid volleys of applause, Manuel Garcia,
+looking amazingly bright and hale, entered the room with short, quick
+steps, wearing the insignia of the Royal Victorian Order, conferred an
+hour before, and walked unaided to the dais. This he mounted with
+agility, and took his seat upon the crimson throne, a magnificent basket
+of flowers on either side. There he sat for an hour, upright and
+smiling, in full view of the spectators, during the proceedings which
+ensued.
+
+It fell naturally to the lot of Sir Felix Semon, both as Physician
+Extraordinary to the King and chairman of the Garcia Committee, to
+convey the intelligence of the earlier ceremony which had taken place
+that morning.
+
+     "Ladies and Gentlemen," Sir Felix said, "the auspicious proceedings
+     of to-day's memorable occasion could not have been more joyously
+     opened than they have just been. His Majesty the King, with the
+     kindness of heart which endears him to us all, has just been
+     pleased to receive Señor Garcia at Buckingham Palace, in order to
+     express to him his congratulations and his recognition of all that
+     Señor Garcia has done for medicine and music. At the same time the
+     King has conferred upon him the honorary Commandership of the Royal
+     Victorian Order. His Majesty, at the conclusion of the interview,
+     expressed a wish to be personally represented at the banquet
+     to-night, and said that he would desire his Lord-in-Waiting, Lord
+     Suffield, to attend as his representative. I feel quite sure that
+     this whole assembly has already shown by its applause that it
+     recognises in this act a new token of the King's invariable
+     kindness and his appreciation of all that is good and high."
+
+Next came the Spanish Chargé d'Affaires, the Marquis de Villalobar, who
+delivered a special message of congratulation from King Alfonso.
+
+     "I have been honoured by his Majesty the King, Don Alphonse XIII.,
+     with his august representation to congratulate you on the day of
+     your centenary, and in the presence of the learned men who have
+     assembled in this great metropolis for its celebration. In obeying
+     the King's command, in which his Government and the Spanish people
+     join, I honour myself, investing you, in the name of his Majesty
+     and your motherland, with the Royal Order of Alphonse XII., as a
+     high reward to your merits and the services rendered to mankind
+     through your science and your labour. I feel it is also my duty to
+     avail myself of this opportunity in order to make public the
+     sentiments of my beloved Sovereign and of his Government, conveying
+     sincere thanks, first to his Majesty King Edward VII., who I have
+     just learned has most graciously conferred upon our compatriot a
+     high distinction of this noble and hospitable country, and also to
+     all the representatives of England and those of the learned
+     societies here assembled to commemorate this centenary. Hearty
+     gratefulness on behalf of Spain to all who have come and are
+     represented here to-day to honour Don Manuel Garcia as a glory to
+     modern science."
+
+The Marquis de Villalobar then invested Señor Garcia with the Order,
+amid loud cheers. After this glowing tribute came Professor Fränkel, who
+said that they were assembled to honour one who had devoted his best
+days to the teaching of singing,--had not been content with attempting
+to discover the secrets of voice-culture by sound alone, but had
+proceeded in a thoroughly scientific way. Through his genius he had
+thrown light on the hitherto dark places of the larynx and the source of
+the living human voice. He had thereby laid the sure foundations of the
+physiology of the voice.
+
+In recognition of his merits the German Emperor had conferred on him the
+Great Gold Medal for Science. The Minister for Public Instruction had
+requested him (Dr Fränkel) to present that rarely awarded distinction to
+Señor Garcia that day when he completed the first century of his
+immortality. He did so with the greatest pleasure, as one who owed a
+very great debt of gratitude to the method of laryngoscopy invented by
+their honoured friend.
+
+An address from the Royal Society was then presented by Sir Archibald
+Geikie (principal secretary), Professor Francis Darwin (foreign
+secretary), and Professor Halliburton, F.R.S. The address, which was
+read by Professor Halliburton, was as follows:--
+
+     The Royal Society of London join very cordially in congratulating
+     Manuel Garcia on the celebration of his 100th birthday.
+
+     The President and Council recall with much pleasure the
+     circumstance that the Royal Society afforded in their 'Proceedings'
+     the medium for publishing to the scientific world the memorable
+     paper in which Señor Garcia laid the foundation of the experimental
+     study of voice-production, and at the same time, through the
+     laryngoscope, provided the starting-point for a new department of
+     practical medical science.
+
+     The Royal Society trust that Señor Garcia may still continue for
+     years to come to enjoy in good health the esteem which his
+     scientific achievement and his high personal character have brought
+     him.
+
+     Signed and sealed on behalf of the Royal Society for Promoting
+     Natural Knowledge,
+
+     WILLIAM HUGGINS, _President_.
+
+Sir Archibald Geikie (as a corresponding member of the Prussian Academy
+of Sciences) read the following telegram from that Academy:--
+
+     To the first investigator of the human voice by a new method which
+     for all time has bestowed a signal service on art, on science, and
+     on suffering humanity, the Royal Prussian Academy of Sciences sends
+     on his 100th birthday its most respectful congratulations.
+     WALDEYER, _Secretary_.
+
+An address was next read from the University of Königsberg, which in
+1862 had conferred on Señor Garcia the honorary degree of Doctor of
+Medicine. A hope was expressed that he would live to receive the fresh
+diploma which it is the custom to confer on doctors of fifty years'
+standing.
+
+The next address was from the Victoria University of Manchester,
+presented by Professor Stirling, F.R.S., Dr Milligan, and Dr S. Moritz,
+followed by one from the Medical Faculty of Heidelberg.
+
+The address from his old pupils was read by Mr Ballin. In offering their
+sincere congratulations they said: "The services you have rendered to
+the art of singing are very great, and the large number of your pupils
+who have become famous is incontestable proof of your genius." Madame
+Blanche Marchesi spoke in the name of her parents, who were unavoidably
+absent, expressing their gratitude for everything he had done for them.
+Their method and their success were due to Señor Garcia, who had laid
+the basis of their artistic career.
+
+Mr Otto Goldschmidt, the husband of Jenny Lind, said that his late wife,
+to the end of her days, continued to have respect, regard, and
+veneration for Señor Garcia, who helped her to take the position in the
+musical world which she attained; and he was very happy indeed to be
+able to make that statement, and to congratulate the old master on what
+he had done for the great art of singing.
+
+An address from the Royal Academy of Music was followed by one from the
+Royal College of Music.
+
+Addresses and messages from Laryngological societies and associations
+were then read, the following being among the bodies represented: The
+American Laryngological Association; the Belgian Society of
+Oto-Rhino-Laryngology (Dr Delsaux, Dr Goris, Dr Broeckkaert); the Berlin
+Laryngological Society (Dr Landgraf, Professor Kuttner, Professor
+Gluck); the British Laryngo-Oto-Rhinological Association (Mr Chichele
+Nourse, Dr Percy Jakins, Mr Stuart-Low, Mr Dennis Vinrace, Dr Andrew
+Wyld); the Danish Laryngological Society; the French Laryngo-Rhino-Otological
+Society (Dr Moure, Dr Lermoyez, Dr Toxier, Dr Molinié); the Italian
+Laryngo-Rhino-Otological Society and Neapolitan School of Laryngology
+(Sir Felix Semon, hon. member, Professor Poli); the London
+Laryngological Society (Mr Charters Symonds, Mr de Santi, Dr Davis, and
+Mr H. B. Robinson); the Netherlands Laryngo-Oto-Rhinological Society (Dr
+Moll, Dr Burger, Dr Kan, Dr Zaalberg); the New York Academy of Medicine,
+Section of Laryngology (Dr Harman Smith); the Paris Laryngological
+Society (Dr C. J. Koenig, Dr Mahu); the Rhenish-Westphalian
+Laryngological Society (Dr Hirschland); the St Petersburg Laryngological
+Society; the South-German Laryngological Society (Dr Avelis); the
+Spanish Laryngo-Oto-Rhinological Society and Academy of Medicine and
+Surgery (Dr Botella, Dr Tapia); the Vienna Laryngological Society
+(Professor Chiari); the Warsaw Laryngological Society; the West-German
+Laryngological Society (Dr Fackeldey, Dr Lieven); and the Hungarian
+Laryngological Society. Congratulatory telegrams were received from the
+Laryngological Societies of Sweden, Moscow, and Cracow; from the
+Amsterdam Medical Society; from the Medical Society of Japan; from
+Professor Moritz Schmidt, as President of the New German Laryngological
+Society; from Dr Birkett of Montreal, in the name of the students of
+M'Gill University; from Dr French, of Brooklyn, and hundreds of others.
+
+The next speech brought a touching note to the scene, for in it Dr
+Botella, of Madrid, as the official delegate of the Spanish Government
+and of the Spanish Laryngological Society, addressed the maestro in his
+mother-tongue. A new light came into the centenarian's eyes, and he bent
+forward in an attitude of the closest attention, as if he feared to lose
+a single note of the beloved speech, whose sound on such an occasion
+must have carried him back over that great gulf of years to the far-off
+days of his childhood.
+
+Dr Botella said that before the discovery of the laryngoscope the sense
+of touch was the only means of knowing of the existence of tumorous
+growths in the larynx. The invention of the laryngoscope had opened
+immense horizons to science, had put within its range many diseases the
+existence of which could never have been suspected, had made possible
+their treatment, and had saved from suffering and death numberless
+lives. The Spanish Government sent Señor Garcia its enthusiastic
+congratulations, and the Spanish Laryngological Society begged his
+acceptance of the diploma of "President of Honour." He brought a kind
+greeting from Spain to England, from Señor Garcia's native land to his
+adopted one. If the former gave him birth, the latter gave him shelter,
+and on that occasion both felt equally proud to have him as a son.
+
+The following was the address of the Laryngological Society of London:--
+
+     DEAR AND REVERED MASTER,--Amongst the many friends assembled to-day
+     to lay a tribute of gratitude and admiration at your feet, and a
+     greater number far away who are celebrating to-day's unique event
+     in spirit, there can be none whose congratulations are more sincere
+     or more cordial than those of the members of the Laryngological
+     Society of London. We yield to none in our gratitude for your
+     precious invention, the Laryngoscope, which will keep your memory
+     green through all ages. We, with the rest of mankind, admire in you
+     the distinguished physiologist, the great musician, the teacher of
+     so many celebrated singers: and we, amongst whom you have dwelt for
+     so many years, have in addition had the great privilege of seeing
+     you, our oldest honorary member, with us on many occasions, and
+     have learned to appreciate in you the true friend, the courteous
+     gentleman, the charming speaker. You have been permitted to retain
+     all your brilliant faculties to patriarchal age, and to-day to
+     celebrate your 100th birthday in undiminished vigour of mind and
+     body. That this happy state may continue for many years to come,
+     and that we may often have the pleasure and privilege of seeing the
+     venerable father of laryngoscope amongst us, is the sincere wish of
+     your devoted friends, the members of the Laryngological Society of
+     London.
+
+     CHARTERS J. SYMONDS (_President_).
+
+     PHILIP R. W. DE SANTI (_Secretary_).
+
+Sir F. Semon said there was a large number of telegrams of
+congratulation, and that in the midst of the great strife which was
+going on between two great nations, neither of them had forgotten a
+great benefactor. In addition to the congratulations from St Petersburg
+and Warsaw, already announced, telegrams had been received from the
+Moscow Laryngological Society and from the Medical Society of Japan.
+
+Several of the foreign societies, including the Netherlands and the
+Vienna societies, announced that they had conferred their honorary
+membership upon Señor Garcia.
+
+The programme was brought to a conclusion by the presentation to Señor
+Garcia of his portrait, painted by Mr Sargent, R.A., and subscribed for
+by international contributions of the friends and admirers of the
+centenarian. The members of the Garcia Centenary Celebration Committee
+came forward to make the presentation. They were Sir F. Semon
+(chairman); Mr E. Furniss Potter, M.D., and Mr P. de Santi, F.R.C.S.
+(hon. secretaries); Mr E. Cresswell Baber, M.D., Mr J. Barry Ball, M.D.,
+Mr J. S. Ballin, Mr A. Bowlby, F.R.C.S., Mr H. T. Butlin, F.R.C.S., Mr
+H. J. Davis, M.B., Mr J. Donelan, M.B., Mr J. Walker Downie, M.B., Mr F.
+de Havilland Hall, M.D., Mr W. Hill, M.D., Mr Percy Kidd, M.D., Mr L. A.
+Lawrence, F.R.C.S., Mr P. M'Bride, M.D., Mr W. Milligan, M.D., Mr L. H.
+Pegler, M.D., Mr W. Permewan, M.D., Mr H. B. Robinson, F.R.C.S., Mr C.
+J. Symonds, F.R.C.S., Mr St Clair Thomson, M.D., and Mr F. Willcocks,
+M.D. Mr W. R. H. Stewart, F.R.C.S. (Ed.), the hon. treasurer, was
+prevented by illness from attending.
+
+Sir F. Semon made the presentation, and announced that the album
+containing the names of the subscribers would be handed to Señor Garcia
+subsequently. About twenty laryngological societies and about 800
+persons had united to offer that testimonial.
+
+The portrait was then unveiled amid loud cheers, which were renewed when
+the aged maestro rose to return thanks. His voice trembled with emotion,
+for he had been deeply touched by all this loyal recognition and
+affection. His opening words were addressed to the Spanish Chargé
+d'Affaires.
+
+     "Sir, will you tell my king for me how deeply grateful I am to him
+     for thus remembering that in this country, which has sheltered me
+     so long, he has a loyal and a loving subject? Will you express,
+     what I am not able to say in fitting words, my overwhelming sense
+     of this great honour, and convey to him my reverent--if a subject
+     may be so bold--my loving thanks. You, sir [addressing Professor
+     Fränkel], will undertake of your great courtesy to make known to
+     his Majesty the German Emperor my deep sense of the honour he has
+     conferred on a stranger, and you will ask him to accept my grateful
+     thanks. You, sir [Sir A. Geikie], who represent the illustrious
+     English society that first gave me a hearing [the Royal Society];
+     you [Professor Stirling], by whom the learning of England's second
+     capital [the Manchester University] sends me greeting." At this
+     point Señor Garcia handed the MS. of his reply to Sir Felix Semon,
+     requesting him to finish reading it. "You who have come from
+     distant Königsberg to recall the grateful memory of those who gave
+     the unknown man a place among them. You, who represent the
+     world-renowned Academy of Sciences of Berlin, among the members of
+     which are some I count dear friends. And you, dear sir, who bring
+     me the greeting of a city of youth whose very name seems to set
+     joy-bells ringing; you, sir, from Heidelberg, how shall I thank you
+     all, if your goodwill should fail to interpret my poor faltering
+     words? But that goodwill is my most trusty staff. You, doctors,
+     laryngologists, dear friends, to whom the little instrument to
+     which such kind allusion has been made owes all its power for good.
+     You, representatives of the great music schools of London, in one
+     of which I passed so many years, working happily beside brother
+     musicians, and to the other of which I have so often come to mark
+     with pride our own great art of music prospering beyond belief
+     under the care of a beloved chief and genial staff. You, too, my
+     pupils, among whom it rejoices me so keenly to welcome faces missed
+     for many years and found again to-day, while others have been with
+     me, near and dear. To you all, thanks, from an old heart that did
+     not know what youth it still possessed till it expanded to embrace
+     you all. This portrait, from the hand of this great master, which
+     grew in happy hours too few for me since they passed so rapidly in
+     his companionship, shall be my pride and joy in the days to come."
+
+When Sir Felix hesitated at this point because he saw that he was coming
+to a passage about himself, Señor Garcia at once cried, "Yes, yes! read
+that!" Then, as the Chairman of the Committee looked somewhat
+embarrassed, the centenarian said with great vivacity, "Well, give it to
+me; I will read it." With these words he took over the paper once again
+and read the concluding words of the speech.
+
+     "If you will bear with me a moment longer, I should like to say one
+     little inadequate word of thanks to him from whose initiative this
+     wonderful demonstration has sprung,--my friend Sir Felix Semon,
+     with whose name link that of an institution dear to me beyond all
+     others,--the Laryngological Society of London, and its chosen
+     representative, that social Atlas, the Garcia Committee."
+
+This brought the first part of the programme to a close, and the
+centenarian returned to his home, which was inundated with telegrams and
+baskets of flowers. Here he gave himself up to rest and preparation for
+that still more trying ordeal which was still to come.
+
+That same evening Señor Garcia set out for the Hotel Cecil, where a
+complimentary birthday banquet had been arranged by the committee.
+
+When the carriage had driven into the courtyard of the hotel he alighted
+without assistance, entered the outer hall, and walked nimbly down two
+or three flights of stairs to the cloak-room.
+
+There was a very large attendance, the Grand Hall being filled with
+eminent musicians and scientists anxious to do honour to the
+distinguished guest.
+
+[Illustration: OPENING BARS OF AN ARIA WRITTEN OUT BY MANUEL GARCIA WHEN
+IN HIS HUNDREDTH YEAR, GIVING HIS ELABORATIONS OF THE ORIGINAL
+MELODY.]
+
+Mr Charters J. Symonds was in the chair.
+
+In proposing the first toast, "The King," he said that his Majesty was
+always the foremost in every way in the recognition of merit, and that
+day he had anticipated their function, and had received Señor Garcia
+personally, conferring upon him a great honour--the Commandership of the
+Royal Victorian Order. His Majesty, in honour of Señor Garcia, had also
+sent Lord Suffield there as his representative.
+
+The toast having been loyally honoured, the chairman said that two other
+European sovereigns had combined with our own King to confer honour on
+their guest. His Majesty the King of Spain had sent Señor Garcia the
+Grand Cross of the Order of Alfonso XII., and also a message which he
+would call on the Spanish Chargé d'Affaires to read.
+
+The Marquis de Villalobar said it gave him great pleasure to convey to
+his illustrious compatriot the message which his Majesty, the King of
+Spain, had sent to him just now through his Minister of Foreign Affairs.
+It was as follows: "By command of his Majesty the King, congratulate
+personally Señor Garcia on the day of the celebration of his 100th
+birthday. Convey his royal best wishes to the grand old Spaniard who, by
+his invention and works, has glorified and exalted the name of Spain."
+
+The chairman, resuming, said he had heard a whisper that the honour
+conferred by the King of Spain carried with it the title of His
+Excellency, so that in future they might regard their dear old friend
+as His Excellency, Señor Garcia. Again, his Majesty the German Emperor,
+mindful of the benefit which he himself not long since obtained from the
+knowledge of the instrument invented by Señor Garcia, had conferred upon
+him a great distinction. It had been brought to London by the most
+distinguished laryngologist in Germany, Professor Fränkel. It was the
+medal which was called the Great Gold Medal for Science. They would
+appreciate its importance when he said that previously it had only been
+conferred upon Professor Virchow, Professor Koch, Ehrlich, and Mommsen.
+These three Sovereigns had that day combined to recognise in Señor
+Garcia the ability which had influenced science and art in all
+countries. He gave them the toast of the King of Spain, and then of the
+German Emperor.
+
+The toasts having been honoured, Sir Felix Semon proposed the health of
+the hero of the evening in a long and eloquent speech.
+
+The toast was drunk with enthusiasm, and the company sang, "For he's a
+jolly good fellow."
+
+Then, in an atmosphere of electrical excitement, Manuel Garcia stood up,
+and amid a thrilling silence made his response.
+
+It was almost the only occasion in the world's history that a man of
+world-wide fame had ever attained his 100th anniversary. It was,
+moreover, the first time that any centenarian, whether illustrious or
+"born to blush unseen," had been in such full possession of his
+faculties and bodily strength as to make his own reply to the hundreds
+assembled to do honour to his birthday. He was almost overcome by
+emotion in making his response in English.
+
+     "Sir Felix Semon, Ladies and Gentlemen,--Words, it is said, are
+     given us to conceal our thoughts. They will admirably fulfil that
+     purpose if you take mine as a full and complete expression of my
+     feelings on this extraordinary occasion. But words, whatever use we
+     make of them, are not mere masks. They are living things, intensely
+     living things to some--to those of us who hold the magic ring that
+     makes them slaves. They are as mighty friends, friends such as you
+     to me, who from the ocean depths of your indulgence fling back to
+     me my own poor and trivial deeds, transfigured into something 'rich
+     and strange.'"
+
+At this point Señor Garcia, who had become almost inaudible, and who was
+evidently somewhat exhausted by fatigue and excitement, handed the MS.
+of his speech to the chairman, who read the remainder. It ran as
+follows:--
+
+     "There are so many of you to be greeted,--old friends out of the
+     past, old pupils, comrades, children! Ah, children! Sixteen
+     societies of laryngologists, and mostly come of age, calling me
+     'Father'! They will have it so, and I am pretty proud of the title,
+     I can tell you. Well, do you think one solitary man could find fit
+     word to answer all these voices? But you can do it for me. There is
+     an old story some of you may remember, which, when I read it,
+     changed the aspect of things for me by its very name, for that was
+     a stroke of genius: 'Put yourself in his place.' What a different
+     world it would be if we all did that! Well, you try now. Try hard.
+     Think yourself each one hundred years old to-day. Not the ladies. I
+     will not ask them. Though they may come to that they will never
+     look it, and they will never know it, and no one will ever believe
+     it. But you men can try. Fancy you each lived one hundred years and
+     woke to-day to find yourself surrounded by kindly clamorous voices,
+     'troops of friends'! What would you say? I think you would say
+     nought. Only the infinite nought which circles all things could
+     give an adequate answer to you all. I shall say nought to this
+     great master of the brush, Mr Sargent, who with his creative
+     touches in a moment brought life from void. It is a strange
+     experience to see one's very self spring out at one from nothing in
+     a flash. I shall say nought to this rash friend of mine, Sir Felix
+     Semon, who into the midst of a busy life crammed all the work and
+     worry of the labour of love that has brought you here to-day.
+     Nought, nought to the friends so very near my heart, the
+     Laryngological Society of London, and the chosen band whose
+     terrible labours fill me with remorse whenever I think of them, the
+     Members of the Garcia Committee. I shall say nought, nought, nought
+     to all of you, except just this, 'God bless you every one!'"
+
+The chairman next proposed "Our Foreign Guests," for whom Herr Emanuel
+Stockhausen (son of one of his most distinguished pupils), Dr Puttner,
+Dr Harman Smith, Dr Goris, Dr Lermoyez, Dr Poli, Dr Botella, Dr Burger,
+and Professor Chiari responded. During the dinner a number of
+congratulatory telegrams were received. Among them was one from the
+Prime Minister.
+
+Between the speeches of foreign delegates, which were delivered in
+various tongues, Mme. Blanche Marchesi, Mme. Ada Crossley, Mr Ben
+Davies, and Mr Arthur Oswald sang, and then that wonderful evening came
+to an end.
+
+
+
+
+CHAPTER XXI.
+
+LAST DAYS.
+
+(1905-1906.)
+
+
+On the Sunday evening after the Centenary Banquet, Señor Garcia was
+present at a more private dinner, attended by the laryngologists, who
+had come together to do homage to the founder of their art. He was
+brighter than at the larger gathering, while he not only smoked a
+cigarette, as he had done at the banquet, but drank a glass of lager
+beer with relish. He told many interesting stories of his early days;
+and once, in trying to fix the time of some reminiscence, he said, "Oh,
+about twenty-three or thirty years ago: I do not like these little
+dates"! With the greatest good nature he signed his name on some forty
+menu cards. The following is the text of his speech in French:--
+
+     "Vous ne vous attendez pas, sans doute, à ce que je fasse un
+     discours. Si j'ose prendre la parole, c'est pour vous exposer, en
+     quelques mots, une pensée qui m'obsède et que le grand éclat donne
+     à la presentation qui a eu lieu a fait naître dans mon esprit.
+
+     "Le rôle des personnages qui ont figuré dans cette célébration
+     aurait du être interverti; les félicitations, les compliments vous
+     appartiennent, et c'est à vous et à vos sociétés qu'ils auraient du
+     être adressés.
+
+     "Il est de tout évidence que le petit instrument doit les succès
+     qu'il a obtenus absolument et uniquement à vous, Messieurs, et aux
+     associations sur lesquelles vous présidez. Privé du puissant appui
+     de votre science, il serait tombé dans un oubli complet (et ego
+     quoque).
+
+     "Par suite je me considère comme un usurpateur insigne qui accepte
+     ce qui, en réalité, vous appartient, et c'est par acquit de
+     conscience que je le confesse.
+
+     "Ne pouvant pas changer ce qui est, je termine ces mots en
+     exprimant ma très vive reconnaissance aux sociétés laryngologiques
+     que vous représentez, et à vous, Messieurs, qui, sans souci des
+     inconvénients des voyages, êtes venus de tous pays, même les plus
+     lointains, pour féliciter le centenaire et, plus encore, pour
+     l'honorer de leur approbation scientifique. Ainsi comblé,
+     saura-t'il jamais manifester l'intensité de son appréciation, de sa
+     reconnaissance?
+
+     "Je ne pourrais conclure ces remarques sans exprimer mon admiration
+     pour Sir Felix Semon, dont l'infatigable persévérance, unie à une
+     rare puissance d'organization, a réussi, à travers de nombreux
+     obstacles, à organizer cette grande démonstration, inspirée
+     uniquement par le désir d'honorer un vieil ami. Merci! Encore,
+     Merci!"
+
+A few days later Señor Manuel Garcia went to dine with Hermann Klein,
+who had come over from New York for a few weeks, and here the
+centenarian renewed his acquaintance with his pupil's younger brother,
+Charles. The meeting took him back over thirty years, to those days in
+Bentinck Street when Charles Klein, then a sturdy, dark little fellow of
+eight, used to go out regularly to fetch the maestro's lunch of
+sponge-cake from a baker's round the corner in Welbeck Street. Much
+water had passed under the bridge since these days, and he had now come
+over from a sojourn of many years in America, a man of forty, and one of
+New York's most successful playwrights.
+
+In the following July I went up to spend a Sunday afternoon with the
+centenarian. It was quite impossible to believe that he was indeed in
+his 101st year. He actually displayed more vivacity than at the time
+when I was commencing lessons with him, while even in those days my
+mother had asserted that he seemed more hale and active than he had been
+when she in her turn was studying under him twenty-five years before.
+Truly as he grew older he appeared to become younger.
+
+Charles Klein came to call on the maestro on this same afternoon, and
+was put through many searching questions with regard to the latest
+phases of American thought and character. When tea arrived our host
+displayed the most extraordinary energy, jumping up and insisting upon
+getting a small table upon which the playwright might rest his cup and
+plate. The latter he watched with anxiety. When it was empty, he
+promptly fetched a plate of scones, and with the most wonderful humour
+and good spirits pressed the guest to take some more. As for his own
+wants, it was perfectly futile for one to offer to take charge of his
+cup. Nothing would satisfy him but that he should himself take it over
+to be refilled. When I rose to go, the maestro insisted on coming to the
+front door, as in the old days, and in shaking hands said, "I shall hope
+to see you here soon again."
+
+For the next nine months Manuel Garcia led a life almost incredible in
+one of such age. He continued to rise early, go to bed late, and enjoy
+walks, drives, theatres, concerts, and dinners as thoroughly as a man
+forty years his junior.
+
+His hale old age he would ascribe to his mental and physical activity,
+his moderate living (he did not touch wine or spirits until he was
+ninety), and his good digestion.
+
+His piano continued to be a favourite friend, and frequently he would
+play for an hour in the forenoon and again in the evening. The
+selections would be mostly snatches from the old Italian
+operas--especially Rossini, Meyerbeer, and Mozart,--played from memory.
+His hearing was excellent, and his sight still comparatively good;
+indeed, he spent a great deal of time in reading, for he took an
+interest in everything that went on in the world. His evenings would be
+passed in conversation, or a bout at chess--a game in which he had many
+a time in the old days tried conclusions with Sir Charles Hallé.
+Sometimes he would go out for a game of cards with his neighbours.
+
+He went to visit many old friends, and one day actually walked up to the
+fourth floor in a block of flats, disdaining the lift. He went to
+register his vote at the general election. During his walks he used to
+offer adverse criticisms of the motor-omnibuses which were beginning to
+make their appearance. 'Bus conductors used to get their own back
+without knowing it, for they would point to "Mon Abri" as they passed,
+and remark to the passengers, "That's where the Centurion lives."
+
+In the following autumn I was at work on the little book of
+reminiscences of my mother and her circle of friends, and at the close
+of November wrote to Señor Garcia telling him that I wished to devote a
+portion to his own career, as her chief instructor in singing. This
+letter at once brought a reply that he would like to see the MS. of that
+part of the memoir.
+
+Hence there came about what must have been unique in the experience of
+book publishers, for when the manuscript was finally returned to them
+after revision, marked for press, it contained some corrections in the
+handwriting of one who was within three months of entering his 102nd
+year.
+
+The coming of the new year appeared to bring with it little visible
+diminution in the maestro's mental and bodily activity. Indeed, during
+the winter of 1905-06 he attended quite a number of public dinners,
+including one at the Savage Club, another given by the "Vagabonds" to Mr
+and Mrs H. B. Irving, and a third at the Mansion House in honour of the
+King of Spain, by whose special request the Centenarian was invited to
+be present.
+
+[Illustration: FACSIMILE OF A LETTER WRITTEN BY MANUEL GARCIA IN HIS
+HUNDRED-AND-SECOND YEAR.]
+
+On March 17, 1906, he celebrated the entrance into his 102nd year by
+taking up a guitar and singing a Spanish song, while a few days after
+this he attended the Philharmonic Concert at the Queen's Hall and keenly
+enjoyed the music. So active was he still, that he refused with
+indignation an offer to be helped up or down stairs; but the candle was
+burning with an unnatural brightness, which could not last.
+
+In the middle of April a letter arrived from the maestro, the perusal of
+which brought fresh wonder at his amazing vigour. It had been written on
+the 16th April, and ran as follows:--
+
+     CHER MR MACKINLAY.--J'ai lu avec beaucoup de plaisir l'interessant
+     volume qu'avez (_sic_) dédié à la mémoire de votre chère mère.
+     C'est aussi avec grande satisfaction que j'ai appris qu'il a été
+     apprecié par la presse; c'est une garantie qu'il aura le succès
+     qu'il mérite.
+
+     Agréez mes compliments et mes félicitations.--Votre sincère M.
+     GARCIA.
+
+About the same time Hermann Klein received a letter from the old
+teacher, and the handwriting, he tells me, was not quite so firm as
+usual. Indeed it is evident that Señor Garcia was not feeling at all
+himself at this time, for in the note he says--
+
+     "As to my health, it is less brilliant than I should like, but it
+     is passable;" while a postscript is added showing that he himself
+     realised that his hand was rather shaky: "Can you read this
+     scribble (ce barbouillage)?"
+
+After this there appears to have been considerable improvement, for on
+May 24 he wrote to congratulate Charles Klein on the success of his new
+piece at the Duke of York's Theatre, and on this occasion the
+handwriting was much clearer and steadier than it had been five weeks
+earlier.
+
+     (_Translation_.)
+
+     "MON ABRI," CRICKLEWOOD,
+
+     LONDON, _24th May 1906_.
+
+     DEAR MR KLEIN,--My paper informs me that you have just obtained a
+     great theatrical success. I congratulate you with all my heart.
+
+     Would you have the kindness to send me your actual London address?
+     I have a little parcel for your brother, which I beg you will
+     convey to him. It is a portrait that he has asked of me, which he
+     desires to present to Mme. Sembrich.
+
+     One of these days, when I feel in the mood (en train), I shall go
+     to see "The Lion and The Mouse."
+
+     My respects to Mrs Klein, and to yourself a hearty and cordial
+     handshake. M. GARCIA.
+
+In June Charles Klein sent a box for the Duke of York's Theatre, and
+Señor Garcia went to see the piece, which he thoroughly enjoyed. This
+was the last dramatic performance which he attended, and indeed the
+drama of his own life was drawing to a close.
+
+       *       *       *       *       *
+
+On Sunday, July 1, the end came: the beloved maestro passed away in his
+sleep, calmly and peacefully, at the age of 101.
+
+
+
+
+INDEX.
+
+
+Abramoff, 269
+
+Adam, Adolphe, 175
+
+Adams, John, 78
+
+Adams, Suzanne, 163
+
+Agnesi, 235
+
+Agrisani, 42
+
+Albani, 236, 264, 266, 268, 269, 271
+
+Albert, 48
+
+Albert, Prince, 8, 226
+
+Alboni, 111, 184, 191, 192, 228, 235
+
+Alexander I., 73
+
+Alfonso, King, 302, 313, 322
+
+Alibaud, Louis, 172
+
+Almarcha, Juan, 9
+
+Alvary, 271
+
+Ambrogetti, 42
+
+Ancona, 272
+
+d'Angri, 163
+
+d'Angrisani, 59, 62, 66
+
+Ansani, Giovanni, 25, 26, 27, 28, 100, 289
+
+Arditi, 233, 234, 271
+
+Arnold (composer), 57
+
+Arnold (writer), 185
+
+Arnoldson, 269
+
+Artot, Désiré, 134, 135, 230
+
+Ascherberg, Mr, 259, 260, 262
+
+Astley, 188
+
+Auber, 47, 115, 174, 175, 176, 187, 234
+
+Aumale, Duke of, 172
+
+Aumer, 48
+
+Austria, Emperor of, 77
+
+Avelis, Dr, 306
+
+Avery, 203
+
+
+Baber, Dr E. C., 309
+
+Babington, B. G., 192
+
+Bach, 26
+
+Balfe, 192, 228, 234
+
+Balfour, A. J., 317
+
+Ball, Dr J. B., 309
+
+Ballin, J. S., 305, 309
+
+Balzac, 178
+
+Bancrofts, The, 234
+
+Banderali, 161
+
+Barbieri, Mme., 58, 65, 66, 67
+
+Barbot, 156, 159
+
+Barnby, Sir Joseph, 258
+
+Barretta, 236
+
+Bartet, 236
+
+Basbereau, 40
+
+Battaille, 156, 159, 160, 208, 217
+
+Bauermeister, Mdlle., 269, 271
+
+Baumès, 203
+
+Bayley, P., 185
+
+Beaconsfield, Lord (_see_ Disraeli).
+
+Beecher, Henry Ward, 221
+
+Beethoven, 13, 53, 189, 238, 241
+
+Begnis, Signor and Mme. di, 43, 46, 48, 49, 52, 53
+
+Begrez, 52
+
+Bellamy, 53
+
+Belletti, 189
+
+Bellini, 108, 112, 161, 174, 175
+
+Benedict, Sir J., 189, 190, 194
+
+Benetti, 48
+
+Bennati, 202
+
+Bennett, Sterndale, 263
+
+Benton, Senator, 77
+
+Béranger, 178
+
+Beriot, Ch. de, 112, 116, 119, 120, 126, 133
+
+Berlioz, 152, 173, 175, 189
+
+Bernadotte, Maréchal (_see_ Karl XIV., Johann).
+
+Bernhardt, Sarah, 236
+
+Bernstoff, 77
+
+Bettini, 235, 236
+
+Billington, Mrs, 54
+
+Birkett, Dr, 307
+
+Bishop, Sir Henry, 54, 55, 194
+
+Bismarck, 8
+
+Bispham, David, 270
+
+Bizet, 177, 264
+
+Blücher, 77
+
+Blumm, Herr, 157, 158
+
+Boieldieu, 46, 47, 82
+
+Boito, 268
+
+Bonaparte, Joseph, 21, 22, 23, 24, 62
+
+Bonheur, Rosa, 179
+
+Bonjour, Casimir, 47
+
+Bordogni, 161
+
+Botella, Dr, 306, 307, 316
+
+Botticelli, Signor, 32
+
+Boucicault, Dion, 236
+
+Bourmont, 98
+
+Bowlby, A., 309
+
+Bozzini, 202
+
+Broeckkaert, Dr, 306
+
+Braham, Henry, 53, 225
+
+Brahms, Johannes, 13, 135, 136, 175, 195, 241
+
+Brangaene, 134, 268
+
+Brema, Marie, 271
+
+Brewer, Dr, 98
+
+Brewster, 184
+
+Brizzi, 189
+
+Brombara, 271
+
+Brontë, Charlotte, 184
+
+Brough, Lionel, 234, 236
+
+Brown, Sir Thomas, 209
+
+Brown, Miss (see Kate Crichton).
+
+Browning, Robert, 185
+
+Browning, Miss, 185
+
+Buckstone, 227
+
+Bunn, Alfred, 184
+
+Burger, Dr, 306, 316
+
+Burney, Dr Charles, 26
+
+Bussine, 156, 159, 160
+
+Butlin, H. T., 309
+
+Butt, Clara, 271
+
+Byron, Lord, 55, 299
+
+
+Calecot, 13
+
+Caletti, 189
+
+Calvè, 4, 163, 271, 272
+
+Camidge, Dr, 53
+
+Campanini, 265
+
+Campbell, Sir Archibald, 76
+
+Camporese, Mme., 42, 45
+
+Capoul, 235
+
+Caradori, 45, 46, 50, 52, 53
+
+Cardignac, 170
+
+Carlyle, 184
+
+Caroline, Queen of Great Britain, 77
+
+Carroll, Lewis, 68
+
+Carte, D'Oyly, 270
+
+Carvallo, 230
+
+Castellani, Mme., 189, 191, 192
+
+Catalani, 40, 41, 42, 43, 49, 51, 52
+
+Cazalet, 199
+
+Celeste, Mme., 187, 234
+
+Cerito, 225
+
+Cervetto, Giacomo, 4
+
+Chamberlain, Joseph, 295
+
+Chappell, Thomas, 228
+
+Charles V. of Germany and I. of Spain, 18
+
+Charles IV. of Spain, 14, 16, 21
+
+Charles X. of France, 7, 75, 99, 171, 178
+
+Charrière, 204
+
+Chateaubriand, 185
+
+Chatterton, 194
+
+Chatterton, F. B., 232
+
+Cherubini, 13, 115
+
+Chiari, Dr, 306, 316
+
+Chippendale, Mrs, 234
+
+Chopin, 13, 157, 174, 176, 189, 196
+
+Chorley, 60, 214, 215, 217, 226
+
+Ciabatta, 189
+
+Cimarosa, 47, 49, 61
+
+Cinti, 46
+
+Clay, Henry, 77
+
+Clive, Franklin, 270
+
+Clough, 185
+
+Coccia, 48
+
+Cooke, T. P., 226
+
+Cooper, Fenimore, 62, 79
+
+Copland, Charles, 270
+
+Coppée, François, 179
+
+Coquelins, The, 236
+
+Corot, 179
+
+Costa, Sir M., 184, 189, 191, 226, 230, 233, 234, 268
+
+Cotogni, 235, 236, 264
+
+Coutiau, 113
+
+Cox, Frank, 199
+
+Cramer, J. B., 194
+
+Crichton, Kate, 196, 197
+
+Crivelli, 42, 52, 58, 59, 62, 66, 194, 199
+
+Crivelli (the younger), 58
+
+Croelius, Herr, 140
+
+Crossley, Ada, 163, 317
+
+Cruvelli, 189
+
+Curioni, 45, 48, 52
+
+Czermak, 207, 208, 210, 212, 218
+
+
+Dalmatie, Duchesse de (see Madame Soult).
+
+Damian, Grace, 271
+
+Damoreau-Cinti, Mme., 106
+
+Daponte, Signor, 59, 60
+
+Darmès, 172
+
+Darwin, 184, 299
+
+Darwin, Prof. F., 304
+
+Davenport, Mrs, 55
+
+David, Félicien, 177
+
+David, Ferdinand, 135
+
+Davies, Ben, 270, 317
+
+Davies, Ffrangçon, 270
+
+Davies, Llewellyn, 242
+
+Davis, Dr, 306, 309
+
+Decamps, 179
+
+Delacroix, 179
+
+Delafield, 191
+
+Delaroche, 179
+
+Delauny, 236
+
+Delavigne, 178
+
+Deloffre, 190
+
+Delsaux, Dr, 306
+
+Demosthenes, 127
+
+Denuri, 46
+
+Dérivis, M., 176
+
+Desideria, Queen of Norway and Sweden, 142
+
+Devonshire, Duke of, 52
+
+Diaz, 179
+
+Dibdin, 13, 57
+
+Dickens, Charles, 184
+
+Diday, 131
+
+Didiée, 226
+
+Didier, 230
+
+Disraeli, 184, 219
+
+Dolby, Miss, 189
+
+Donelan, Dr J., 309
+
+Donizetti, 109, 161, 175, 176, 177, 183, 192
+
+Doras-Gras, Mme., 176, 189
+
+Downie, Dr J. W., 309
+
+Duc, 160
+
+Dudevant, Mme. (see Sand, George).
+
+Dufriche, 272
+
+Dulcken, Mme., 194
+
+Dumas (the elder), 179
+
+Dumas (the younger), 179
+
+Duperré, 98
+
+Dupre, 179
+
+Duprez, 94
+
+Dutrochet, 131
+
+Dyck, van, 271
+
+
+Eames, Emma, 41, 163, 271
+
+Ebers, 50
+
+Edward VII., H.M. King, 5, 183, 299, 300, 301, 302, 303, 313
+
+Edwin, Mrs, 55
+
+Ehrlich, Dr, 314
+
+Elen, 44
+
+Elliston, 55
+
+Elson, 57
+
+Emerson, Ralph Waldo, 185
+
+Emmanuel, King Victor, 109
+
+Etherington, Miss (_see_ Tempest, Marie).
+
+Etienne, M., 70, 82
+
+Etruria, King of, 14
+
+
+Fackeldey, Dr, 306
+
+Falcon, Mdlle., 176
+
+Faraday, 184
+
+Farrar, Miss, 53
+
+Faure, 227, 228, 230, 233, 234,235, 236, 267
+
+Favelli, 93
+
+Febvre, 236
+
+Ferdinand IV. of Naples, 36
+
+Ferdinand VII., 14, 21, 24
+
+Ferdinand, M., 48
+
+Fétis, François, 44, 100
+
+Fieschi, 171
+
+Flécheux, Mdlle., 176
+
+Florence, Evangeline, 163
+
+Flotow, 176, 177, 226
+
+Fodor, Mme., 42, 68
+
+Foli, Signor, 231, 234, 235
+
+Formes, Herr, 198, 226, 228, 235
+
+Forsberg, Herr, 147
+
+Forsyth, Neil, 272
+
+Franceschi, 48
+
+Fränkel, Prof., 298, 303, 310, 314
+
+Frederick William IV., 164
+
+French, Dr, 307
+
+Fricci, 163
+
+
+Gabriel, Virginia, 217
+
+Galitzin, Princess, 44
+
+Galletti, 184
+
+Galli, 87, 105
+
+Gallo, Giovanni, 115, 116, 117
+
+Garcia (the elder), 8, 9, 10, 11, 13, 14, 15, 16, 25, 27, 28, 29, 30,
+31, 32, 33, 34, 35, 38, 40, 42, 43, 44, 45, 46, 47, 48, 49, 50, 52, 58,
+59, 60, 61, 62, 63, 65, 66, 67, 69, 73, 77, 79, 80, 82, 83, 84, 85, 91,
+92, 93, 94, 95, 96, 111
+
+Garcia, Manuel--
+  Triple claim to distinction, 4
+  First scientific teacher of singing, 4, 6
+  Inventor of laryngoscope, 4, 6
+  Centenarian, 4, 7
+  Born at Zafra, 13
+  Sees Joseph Bonaparte placed on throne of Spain, 21
+  Sees Napoleon enter Madrid, 23
+  Sees Wellington enter the capital, 23
+  Joins parents in Naples, 24
+  Lessons from Ansani, 25
+  Lessons from father, 27
+  Memory of Murat's execution, 37
+  Arrives in Paris, 40
+  Pays last visit to Spain, 44
+  Studies harmony under Fétis, 44
+  Sings at Manchester, 52
+  Takes part in first New York season of Italian opera, 59
+  Plays title-_rôle_ in the "Barber of Seville," 62, 64
+  Plays Iago in "Otello," 66
+  Plays Leporello in "Don Giovanni," 67
+  Has benefit performance, 69
+  Leaves for Mexico, 79
+  Splendid memory, 83
+  Sings the elder Garcia's operatic _rôles_, 85
+  Injury to voice, through over-work, 85
+  Joins Malibran in Paris, 86
+  Helps her with her vocal studies, 86
+  Friendship with Rossini, 86
+  His advice to Malibran after _début_, 87
+  Goes to Italy, 90
+  Meets Lablache, 90
+  Makes _début_ in Naples, 90
+  Abandons operatic career, 91
+  Returns to Paris, 91
+  Prepares for seafaring career, 96
+  Gives it up at entreaty of mother, 96
+  Assists elder Gracia in his teaching, 96
+  Takes part in expedition against Algiers, 98
+  On his return finds Paris in uproar of the July Revolution, 98
+  Attaches himself to military hospital, 99
+  Specialises in study of throat, 99
+  Summary of preparation for career as first scientific teacher, 100
+  Receives first recognition as teacher, 114
+  Appointed to Conservatoire of Music, 115
+  Memories of Malibran, 122
+  Submits his "Mémoire sur la voix humaine" to the Académie des Sciences,
+    130
+  Officially thanked for his services to vocal Art, 131
+  Recollections of Jenny Lind, 139, 154
+  Counsels her to delay _début_ in London, 152
+  Made correspondent of Stockholm University, 155
+  Created Chevalier de l'Ordre de Mérite, 155
+  Teaches Henrietta Nissen, 157
+  Catherine Hayes, 159
+  Barbot, 159
+  Battaille, 160
+  Bussine, 160
+  Mathilde Marchesi, 161
+  Johanna Wagner, 163
+  Invited by Richard Wagner to train singers for first Bayreuth
+  Festival, 165
+  Publishes his famous 'Traité complet,' 166
+  Teaches Stockhausen, 167
+  Member of National Guard, 170
+  Arrival in London, 183
+  Appointed to staff of R.A.M., 193
+  Teaches Kate Crichton, 196
+  Bessie Palmer, 198
+  Invention of laryngoscope, 201-213
+  Relates story of the invention, 203
+  Presents paper to Royal Society, 205
+  Teaches Santley, 214
+  Presents memoir to Montyon Committee, 218
+  Made M.D. of Königsberg, 219
+  Teaches Antoinette Sterling, 219
+  Election to Committee of R.A.M., 222
+  Episode with Saint-Saëns, 222
+  Memories of Mario, 234
+  Takes rooms at Kleins', 237
+  Intimacy with Joachim, 241
+  Teaches Miss Orridge, 242
+  Huxley testifies to importance of his invention, 243
+  Elected to Board of Directors R.A.M., 244
+  Teaches Miss Thudicum, 244
+  Invited to read paper before Medical Congress, 245
+  At a Royal Institution Lecture, 246
+  Teaches Miss Macintyre, 246
+  Marie Tempest, 247
+  Agnes Larkcom, 249
+  Arthur Oswald, 249
+  Other pupils' memories of lessons with, 249-255
+  Attacked by Maurel over the _coup de la glotte_, 256
+  Receives presentation on entering 90th year, 257
+  Publishes last text-book, 258-263
+  Resigns professorship, 263
+  Method of teaching, 283
+  Compares Kubelik with Paganini, 295
+  Winters in Egypt, 296
+  Attends funeral of Antoinette Sterling, 296
+  Enters 100th year, 296
+  Receives address from R.A.M. and R.C.M., 297
+  Audience with the King, 300
+  Attends meeting at Royal Society, 300
+  Decorated with Royal Order of Alphonse XII., 302
+  Great Gold Medal for Science, 303
+  Speech of thanks, 310
+  Attends banquet, 312
+  Replies to toast, 315
+  Life at 100, 316
+  Dines with Laryngologists, 318
+  Attends various dinners, 322
+  Celebrates 101st birthday, 322
+  Passes away, 324
+
+Garcia, Maria, 3, 4, 16, 25, 35, 36, 42, 45, 49, 50, 51, 52, 53, 58, 62,
+63, 65, 66, 68, 69, 79, 80, 81, 82, 84, 86, 87, 88, 89, 90, 93, 95, 98,
+105, 106, 107, 108, 109, 110, 111, 112, 113, 115, 116, 117, 118, 119,
+120, 121, 122, 123, 124, 125, 127, 156, 193
+
+Garcia, Pauline, 3, 4, 44, 64, 90, 91, 94, 95, 100, 113, 125, 126, 127,
+128, 129, 132, 133, 134, 135, 136, 137, 138, 156, 160, 173, 190, 191,
+192, 193, 197, 216, 217, 222, 226, 230, 244, 286, 297
+
+Garcia, Joaquina, 11, 12, 16, 62, 66, 69, 219
+
+Gardoni, 235
+
+Garibaldi, 230
+
+Gassier, 230, 234
+
+Gautier, Théophile, 178
+
+Gazaré, 264, 267
+
+Geikie, Sir A., 304, 310
+
+George III., 7
+
+George IV., 44, 52, 55, 75, 77, 183
+
+Georges, Mdlle., 46
+
+Geraldy, Jean, 93
+
+Gericault, 179
+
+German, Edward, 247
+
+Germany, Emperor of, 310, 314
+
+Gerster, Fran, 163, 264
+
+Gervasoni, 27
+
+Giuglini, 228, 230, 231
+
+Gluck, 226
+
+Gluck, Prof., 306
+
+Glyn, Miss, 226
+
+Godoy, Manuel, 14, 21
+
+Goethe, 174, 299
+
+Goldschmidt, Otto, 305
+
+Goodall, Miss, 53
+
+Gordoni, 189, 228, 231
+
+Goris, Dr, 306, 316
+
+Goss, 194
+
+Got, 236
+
+Gounod, Ch., 13, 54, 69, 134, 160, 177, 230, 231, 272
+
+Grassari, Mme., 46
+
+Grassot, 187
+
+Graumann, Mdlle. (_see_ Marchesi, Mme.)
+
+Graziani, 43, 230, 231, 236
+
+Graziani, Mme., 45
+
+Greatorex, 53
+
+Green, Richard, 270
+
+Grener, 48
+
+Gretry, 47
+
+Greuze, 13
+
+Grey, Earl de, 272
+
+Grimaldi, 54
+
+Grisi, 111, 128, 184, 191, 226, 227, 231, 234
+
+Gros, 179
+
+Grote, 184
+
+Gruneisen, 198
+
+Guerrabella, Ginevra (see Ward, Geneviève).
+
+Guerrero, General, 91
+
+Guglielmi, 29, 53
+
+Guizot, 169
+
+Gura, 268
+
+Gye, Ernest, 191, 266
+
+Gye, Frederick, 198, 225, 228, 230, 233, 236, 264
+
+
+Haigh, 227
+
+Halévy, 13, 94, 132, 174, 175, 198
+
+Hall, Dr de Havilland, 245, 309
+
+Hallé, Sir Charles, 190, 226, 227, 321
+
+Hallé, Lady, 136, 222, 235
+
+Halleck, Fitz-Greene, 59, 62, 79, 80
+
+Halliburton, Prof., 304
+
+Handel, 58, 133
+
+Harley, 55
+
+Harris, Sir Augustus, 228, 267, 268, 271, 272
+
+Harrison, W., 226, 227
+
+Hassein, Dey of Algiers, 98
+
+Hauk, Minnie, 233
+
+Haydn, 13, 58
+
+Hayes, Catherine, 156, 159, 226, 227
+
+Hemans, Mrs, 55
+
+Henri, 171, 172
+
+Henschel, George, 4, 195
+
+Hermann, 190
+
+Hérold, 36, 47, 174, 175
+
+Herschel, Sir John, 184
+
+Higgins, H. V., 272
+
+Hill, 190, 267
+
+Hill, Lucile, 270
+
+Hill, Dr W., 309
+
+Hilson, Mrs, 65
+
+Hirschland, Dr, 306
+
+Hogarth, Mr, 88
+
+Holland, Canon Scott, 139, 140, 142, 157
+
+Honey, George, 226, 227, 228
+
+Hood, Tom, 177, 185
+
+Horner, 185
+
+Howe, Lord, 11
+
+Huggins, Sir W., 304
+
+Hugo, Victor, 179, 188
+
+Hullah, John, 190, 217
+
+Huxley, Prof., 4, 184, 243
+
+
+"Ingoldsby, Tom," 122
+
+Irving, Sir Henry, 227, 266
+
+Irving, H. B., 322
+
+Isnardon, M., 269
+
+
+Jackmann, Herr, 164
+
+Jakins, Dr, 306
+
+James, G. P. R., 184
+
+Jarret, 232
+
+Jefferson, 78
+
+Jerrold, Douglas, 184
+
+Joachim, Joseph, 133, 135, 235, 241, 272
+
+Johnson, Dr George, 245
+
+Joran, Pauline, 272
+
+Jordan, Mrs, 56
+
+Joseph, 195
+
+Jourdan, 166
+
+Jullien, M., 190
+
+Junot, General, 15
+
+
+Kan, Dr, 306
+
+Karl XIV., Johann, of Sweden and Norway, 142
+
+Kean, Charles, 54, 55, 65, 66, 186
+
+Kean, Mrs Charles, 186
+
+Keeley, Mrs, 186
+
+Kellogg, Clara, 231
+
+Kemble, Adelaide, 217
+
+Kemble, Charles, 54, 55
+
+Kemble, Gertrude, 217
+
+Kemble, John, 54, 56
+
+Kidd, Dr Percy, 309
+
+Killian, 212
+
+Kingsley, Charles, 185
+
+Kirstein, 212
+
+Klein, Charles, 238, 320, 323, 324
+
+Klein, Hermann, 237, 256, 258, 259, 260, 261, 262, 263, 265, 267, 319,
+323, 324
+
+Knight, 55
+
+Kuttner, Dr, 306
+
+Knyvett, 53
+
+Koch, Prof., 314
+
+Kock, Paul de, 179
+
+Koenig, Dr, 306
+
+Kraus, 163
+
+Kubelik, 294
+
+
+Labarre, 113
+
+Lablache, Luigi, 90, 110, 123, 124, 128, 159, 189, 225, 226
+
+Lablache, Mme., 189
+
+Lago, Signor, 271
+
+Lamartine, A. de, 178
+
+Lamercier, 178
+
+Lamoricière, 170
+
+Landgraf, Dr, 306
+
+Laporte, 105
+
+Lara, Isidore de, 272
+
+Larkcom, Agnes, 249
+
+Lassalle, Jean, 266, 267, 269, 271
+
+Latour, Cagniard de, 202
+
+Lawrence, L. A., 309
+
+Lawrence, Sir Thomas, 77
+
+Lecompte, 172
+
+Legras, 48
+
+Lehmann, Lilli, 267
+
+Lemmens-Sherrington, Mme., 227, 230
+
+Leoncavallo, 272
+
+Lermoyez, Dr, 306, 316
+
+Leslie, Henry, 217
+
+Leslie, Mrs, 217
+
+Lesueur, 46, 47
+
+Levasseur, 176
+
+Lever, Charles, 185
+
+Levret, 202
+
+Lewis, Sir George Cornewall, 298
+
+Lieven, Dr, 306
+
+Lind, Jenny, 4, 29, 139, 155, 156, 157, 158, 165, 184, 190, 191, 193,
+198, 214, 240, 286, 288
+
+Lindblad, Herr, 152
+
+Lindblad, Mme., 146
+
+Lindley, 194
+
+Lister, 299
+
+Liston, 55
+
+Liszt, Abbé, 49, 126, 128, 173, 176, 177, 246, 268, 269
+
+Longfellow, 185
+
+Louis XVI., 10
+
+Louis XVIII., 7, 40, 41, 178
+
+Low, Mr Stuart-, 306
+
+Lucas, Charles, 263
+
+Lucca, Pauline, 230, 234, 235, 236, 266, 268
+
+Lucca, Duke of, 113
+
+Luce, de, 70
+
+Lucia, de, 272
+
+Lucia, Mme., 230
+
+Lumley, 184, 192, 198
+
+Lundberg, Mdlle., 140
+
+Lussan, Zélie de, 269, 271
+
+Lynch, Dominick, 59
+
+Lytton, Bulwer, 185
+
+
+Maas, Joseph, 236, 268
+
+Macaulay, Lord, 185
+
+Maccherini, 27
+
+Macfarren, Sir George, 194, 263
+
+Macfarren, Walter, 194, 258
+
+Macintyre, General, 246
+
+Macintyre, Margaret, 244, 246, 269, 270
+
+Mackenzie, Sir A. C., 258, 263, 268
+
+Macready, 54, 55, 71, 72, 186, 187
+
+Majendie, 131
+
+Mahu, Dr, 306
+
+Malibran, Maria (see Garcia, Maria).
+
+Malibran, M., 79, 80, 112, 119
+
+Mapleson, Colonel, 227, 228, 231, 232, 233, 265, 268
+
+Marchesi, Blanche, 163, 301, 305, 317
+
+Marchesi, Mathilde, 4, 156, 161, 162, 163, 195, 218, 219, 301
+
+Marchesi, M., 230, 301
+
+Maria I. of Portugal, 15
+
+Marini, 191, 192
+
+Mario, 184, 189, 191, 192, 226, 228, 230, 231, 233, 234, 235, 264, 286
+
+Marimon, 235
+
+Marras, 189
+
+Mars, Mdlle., 46
+
+Martin, M., 46
+
+Martineau, 185
+
+Mascagni, Pietro, 271, 272
+
+Massenet, 177
+
+Mathews, Charles, 54, 56, 75, 227, 234, 264
+
+Mathews, Mrs, 234
+
+Maurel, Victor, 236, 256, 257, 267, 271
+
+M'Bride, Dr, 309
+
+Meissonier, Jean, 179
+
+Melba, 4, 163, 269, 271, 272
+
+Mellon, Alfred, 190, 226
+
+Mellon, Mrs, 226, 234
+
+Mendelssohn, 13, 161, 168, 174, 176, 183, 189
+
+Mendi, de, 189, 190
+
+Meric-Lalande, 93
+
+Merlin, Countess, 93, 106
+
+Messent, Miss, 215
+
+Meyerbeer, 13, 50, 94, 134, 151, 152, 160, 164, 174, 176, 177, 191,
+192, 193, 226, 227, 230, 286, 321
+
+Meyssenberg, 126
+
+Mierzwinski, 267
+
+Mill, John Stuart, 185
+
+Miller, 184
+
+Millet, Jean François, 179
+
+Millico, 58
+
+Milligan, Dr, 308, 309
+
+Mimaut, 47
+
+Molique, 190
+
+Molinié, Dr, 306
+
+Moll, Dr, 306
+
+Mommsen, 314
+
+Monbelli, 236
+
+Mongini, 231, 234, 235
+
+Montarid, 269, 271
+
+Montyon, 218
+
+Moritz, Dr, 305
+
+Moscheles, 134, 194
+
+Mounet-Sully, 236
+
+Mount-Edgcumbe, Lord, 34, 35
+
+Moure, Dr, 306
+
+Mozart, 47, 53, 59, 61, 67, 68, 160, 321
+
+Munden, 55
+
+Murat, King of Naples, 7, 22, 23, 30, 36, 37
+
+Mürger, Henry, 96, 97, 178
+
+Murillo, 20
+
+Murska, Ilma di, 163, 231, 234, 235
+
+Musiani, Adelaide, 271
+
+Musset, Alfred de, 117, 129, 175, 178
+
+Musset, Paul de, 175
+
+
+Napoleon, 7, 14, 16, 23, 29, 40, 44
+
+Naudin, 231
+
+Nava, 215
+
+Neruda (see Hallé, Lady).
+
+Neumann, Dr, 267
+
+Nevada, Emma, 163
+
+Nicholl, William, 249
+
+Nicolai, 161, 177
+
+Nicolini, 231, 236, 264, 267
+
+Niemann, 267
+
+Nillson, Christine, 231, 233, 234, 235, 243
+
+Nissen, Henriette, 4, 156, 157
+
+Noblet, 48
+
+Nordica, 271
+
+Noufflard, Mme., 136, 222, 223
+
+Nourrit, Adolph, 93, 94, 176
+
+Nourse, 306
+
+
+Offenbach, 177
+
+O'Mara, Joseph, 270
+
+O'Neill, Miss, 55, 56
+
+Onorati, Cardinal, 40
+
+Orridge, Miss, 242, 243
+
+Oscar I., King of Sweden, 166
+
+Osler, Prof., 210
+
+Oswald, Arthur, 249, 317
+
+Oudin, Eugene, 270
+
+Owen, 184
+
+
+Pacchierotti, 34
+
+Paderewski, 258, 269
+
+Paër, Ferdinand, 15, 35, 44
+
+Paganini, 13, 176, 295
+
+Paget, Sir James, 245
+
+Paisiello, 30, 32, 43, 47, 61
+
+Palliser, Esther, 270
+
+Palmer, Bessie, 197, 198
+
+Palmerston, Lord, 8
+
+Panseron, 36, 47
+
+Parepa, 226, 227
+
+Parry, John, 123, 189, 190
+
+Pasta, 42, 46, 48, 49, 50, 51, 75, 88, 107, 108, 112, 286
+
+Pasteur, 299
+
+Patey, J. G., 227
+
+Patti, Adelina, 227, 228, 230, 231, 233, 235, 236, 266, 268, 272
+
+Patti, Carlotta, 231, 235
+
+Paul, Mrs Howard, 236
+
+Payne, Howard, 55
+
+Pedraza, General, 91
+
+Peel, Sir Robert, 198
+
+Pegler, Dr L. H., 309
+
+Pellegrini, 43
+
+Pepusch, 53
+
+Pergolesi, 42
+
+Perkins, 74
+
+Permewan, Dr, 309
+
+Persiani, 128, 133, 183, 184, 191
+
+Pétrequin, 131
+
+Phelps, 226
+
+Philip II. of Spain, 18
+
+Philippe, Louis, 8, 99, 166, 169, 170, 171, 172
+
+Phillips, 53
+
+Piatti, 190, 235, 258, 272
+
+Pierson, Blanche, 236
+
+Pisaroni, 87
+
+Pischek, 189
+
+Planché, 236
+
+Plançon, 271
+
+Poli, Prof., 306, 316
+
+Polignac, 99
+
+Pollini, Herr, 267
+
+Ponchielli, 268
+
+Poniatowski, Prince, 113, 114
+
+Porpora, 25, 26
+
+Porto, 45, 48
+
+Potter, Cipriani, 194, 263
+
+Potter, Dr Furniss, 309
+
+Pounds, Courtice, 247
+
+Price, Stephen, 59, 60
+
+Princess Royal, 226
+
+Prud'hon, 179
+
+Prussia, King of, 8, 77
+
+Puccini, 272
+
+Puente, del, 265
+
+Puget, Mdlle. de, 158
+
+Puke, Count, 141
+
+Purcell, 190
+
+Puttner, Dr, 316
+
+Puzzi, 52, 194
+
+Pyne, Louisa, 226, 227
+
+
+Raff, 195
+
+Rainforth, Miss, 186
+
+Randegger, Chevalier Alberto, 249, 263
+
+Randolph, John, 77
+
+Ravell, 187, 271
+
+Ravogli, Giulia, 271
+
+Rees, Eleanor, 247
+
+Reeves, Sims, 190, 196, 197, 226, 227, 230, 235, 243
+
+Reicha, 40, 126
+
+Reicher-Kindermann, 267
+
+Reichemberg, 236
+
+Reina, 45, 46
+
+Reiter, Frau, 167
+
+Remorini, 48, 51, 52
+
+Reynolds, Miss, 186
+
+Rezké, Edouard de, 266, 268, 269, 271
+
+Rezké, Jean de, 264, 268, 269, 271, 272
+
+Rhodes, John, 188
+
+Richard, Mme., 271
+
+Richelieu, 77
+
+Richter, Hans, 266, 267
+
+Righetti, Giorgi, 32
+
+Righi, 45
+
+Rimbault, 93
+
+Ripa, Antonio, 9
+
+Robespierre, 11
+
+Robinson, H. B., 306, 309
+
+Rochefort, Henri, 179
+
+Rodriguez (see Garcia).
+
+Rolla, 271
+
+Roncaglia, 26
+
+Ronconi, 191, 231
+
+Ronzi, 50
+
+Rooy, van, 4, 195
+
+Rosa, Carl, 269
+
+Rosebery, Countess of, 242
+
+Rosich, 59, 62
+
+Rossi, Signorina, 32
+
+Rossi, 106, 226
+
+Rossini, 13, 32, 43, 45, 46, 47, 48, 49, 61, 66, 67, 69, 86, 88, 93, 94,
+111, 133, 161, 173, 186, 191, 233, 286, 292, 321
+
+Rossini, Mme. Colbran, 46, 48
+
+Rota, 235
+
+Rothschild, Baroness Lionel de, 242
+
+Rousseau, 179
+
+Rubini, 128
+
+Rubinstein, 177, 239, 258, 266, 268, 269, 270
+
+Ruckman, Marie, 146
+
+Ruiz-Garcia, Mme., 93
+
+Ruskin, 185
+
+Russell, Ella, 268, 269
+
+Rye, Lieutenant, 76
+
+
+Sabatier, 189
+
+Sainton, Prof., 184, 190, 194
+
+Saint-Saëns, 175, 222
+
+Sainville, 187
+
+Salieri, 53
+
+Salmon, Mrs, 51
+
+Salmond, Norman, 270
+
+Salomon, Mme. Siegfried (see Nissen, Henriette).
+
+Samary, 236
+
+Sand, George, 128, 170, 175, 176, 177
+
+Sanderson, Sybil, 163, 271
+
+Santi, P. de, 306, 308, 309
+
+Santley, Sir Charles, 4, 197, 214, 215, 216, 217, 226, 227, 228, 230,
+231, 234, 235
+
+Sapio, 51, 53
+
+Sarasate, 264
+
+Sargent, John S., 301, 309, 316
+
+Savart, 131
+
+Saville, Francis, 163
+
+Saxon, Avon, 270
+
+Saxony, King of, 164
+
+Scalchi, Mme., 233, 234, 235, 236
+
+Scheffer, 179
+
+Scheidemantel, 4, 195
+
+Schlosser, 267
+
+Schmidt, Prof. M., 307
+
+Schubert, 13, 94, 174, 241
+
+Schumann, Robert, 13, 136, 225
+
+Schumann, Mme., 133, 195, 235
+
+Schwartz, 189
+
+Scott, Sir Walter, 54, 75, 174, 299
+
+Sedie, Delle, 227
+
+Seidl, Anton, 267
+
+Sembrich, Mme., 266, 324
+
+Semon, Sir Felix, 245, 301, 306, 308, 309, 310, 311, 312, 314, 315, 316,
+319
+
+Senn, 202
+
+Serda, 176
+
+Shakespeare, 299
+
+Sharpey, Prof., 205
+
+Shelley, 55, 299
+
+Siddons, Mrs Sarah, 54, 77
+
+Sinico, 231, 234, 236
+
+Sitchès, Joaquina (_see_ Garcia, Joaquina).
+
+Sivori, 235
+
+Smart, Sir George, 194, 231
+
+Smith, Alexander, 185
+
+Smith, Dr Harman, 306, 316
+
+"Smith, Mr" (_see_ Philippe, Louis).
+
+Sontag, Mme., 106, 111
+
+Soulacroix, 267
+
+Soult, Mme., 142, 144
+
+Spagnoletti, 48
+
+Spicer, H., 187
+
+Spohr, 13
+
+Spontini, 53, 174
+
+Stanford, Sir C. V., 241, 272
+
+Stephens, Miss, 53, 55
+
+Sterling, Antoinette, 4, 134, 135, 163, 219, 220, 277, 296
+
+Stern, 195
+
+Stewart, W. R. H., 309
+
+Stirling, Prof., 305, 310
+
+Stockhausen, Julius, 4, 156, 166, 167, 168, 194, 197, 214, 289, 316
+
+Storace, 57
+
+Sucher, Rosa, 267, 271
+
+Sue, Eugène, 179
+
+Suffield, Lord, 302, 313
+
+Sullivan, Sir Arthur, 230, 258, 266, 270
+
+Sullivan, Barry, 234
+
+Symonds, C. J., 306, 308, 309, 313
+
+Szymanowska, 52
+
+
+Tadolini, 189
+
+Tagliafico, 192, 235
+
+Taglioni, 225
+
+Talma, 46, 118
+
+Tamberlik, 226, 228, 230, 234, 235
+
+Tamburini, 128, 184, 192
+
+Tapia, Dr, 306
+
+Taylor, Sir H., 185
+
+Tempest, Marie, 246, 247, 248, 249
+
+Tennyson, Lord, 185
+
+Terrail, 53
+
+Terry, Ellen, 266
+
+Terry, 55
+
+Thackeray, 185
+
+Thalberg, 190
+
+Thomas, Ambroise, 233, 234
+
+Thomas, Goring, 268
+
+Thomas, J., 194
+
+Thompson, Alderman, 75
+
+Thomson, Dr St Clair, 309
+
+Thudicum, Miss, 244, 246, 247, 270
+
+Tietjens, 228, 230, 231, 233, 235
+
+Toole, J. L., 226
+
+Toxier, Dr, 306
+
+Travis, Miss, 53
+
+Trebelli, 230, 235, 266, 269
+
+Tremelli, 163, 268
+
+Treviso, Duke of, 172
+
+Trouseau, 203
+
+Troyon, 179
+
+Türck, 206, 207, 212, 218
+
+Turner, 198
+
+Tyndall, Prof., 184
+
+
+Uhl, L., 129
+
+Unger, 267
+
+
+Valleria, Mdlle., 265, 266
+
+Vasa, Gustavus, 155
+
+Vaughan, 53
+
+Vega, Marcus, 125
+
+Velluti, 52
+
+Vera, 189
+
+Verdi, 13, 66, 67, 69, 234, 272
+
+Vernet, Horace, 47, 179
+
+Vestris, Charles, 48
+
+Vestris, Mme., 45, 46, 48, 49, 50, 55, 186, 225
+
+Vestris, Mme. Ronzi, 48
+
+Vestris, Signor, 48
+
+Vianesi, 233
+
+Viardot-Garcia, Mme. (_see_ Garcia, Pauline).
+
+Viardot, Louis, 128
+
+Viardot, Mme. Pauline (_see_ Garcia, Pauline).
+
+Victoire, 226
+
+Victoria, H. M. Queen, 125, 183, 226
+
+Vieuxtemps, 235
+
+Vignas, Francesco, 271
+
+Vigny, Alfred de, 178
+
+Villalobar, Marquis de, 302, 303, 313
+
+Vinrace, Dennis, 306
+
+Virchow, Prof., 314
+
+Visconti, Duke of, 117, 118
+
+Vitarelli, 32
+
+Vogls, The, 267
+
+
+Wachtel, 231, 235
+
+Wagner, Johanna, 4, 156, 163, 164, 165, 198
+
+Wagner, Richard, 13, 129, 163, 165, 176, 177, 243, 264, 266, 267, 271,
+289
+
+Waldeyer, 304
+
+Walker, Dr T. J., 245
+
+Wallace, 226
+
+Ward, Geneviève, 164, 227
+
+Warden, 203
+
+Warner, Mrs, 187
+
+Warren, 188
+
+Warton, Mme., 188
+
+Weber, 13, 55, 90, 189
+
+Webster, Ben, 186, 226, 234
+
+Weiss, 226
+
+Wellington, 23, 24, 74, 77
+
+Wesley, Samuel, 54
+
+Wieniawski, 235
+
+Wilkinson, Miss, 53
+
+Willcocks, Dr, 307
+
+William I., 8
+
+William IV., 164, 183
+
+Williams, the Misses, 189
+
+Wilson, General J. G., 59, 62
+
+Winogradon, 269
+
+Winter, 141
+
+Wordsworth, 198
+
+Worms, 236
+
+Wotan, 289
+
+Wrottesley, Lord, 205
+
+Wyld, Dr, 246, 306
+
+
+Young, 55
+
+
+Zaalberg, Dr, 306
+
+Zamboni, Luigi, 32
+
+Zingarelli, 28, 29, 48, 58, 69, 100
+
+Zola, 179
+
+
+THE END
+
+
+PRINTED BY WILLIAM BLACKWOOD AND SONS.
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+
+
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