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diff --git a/37298.txt b/37298.txt new file mode 100644 index 0000000..34693be --- /dev/null +++ b/37298.txt @@ -0,0 +1,11203 @@ +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: ASCII + +*** 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 HALLE 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.' + 'Athenaeum' (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.' + Fetis' '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 Legouve. + '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 Calve, 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, Senor 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 _debut_ 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 +Sitches. 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. + +Senorita Sitches 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, Halevy, +"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 _debut_, for on February 11 he appeared in Paer'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 Theatre 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 Senor and Senora 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 _manta_ 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 Senor 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 Senor 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 Senor 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 _role_ 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 _role_ 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 _debut_ +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'agilita_) + 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 _debut_ was Paer'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 Herold 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 Theatre 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 L2000 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 Theatre 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 Theatre Italien, and at once engaged +Garcia _pere_ 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 +_debut_ 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 +_eclat_. 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 Theatre 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 Theatre 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 _premiere_ 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 _pere_ continued to compose +prolifically. "La Mort du Tasse" and "Florestan" were produced at the +Grand Opera, "Fazzoletto" at the Theatre Italien, and "La Meuniere" 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 Francois Joseph Fetis, who had just +succeeded Elen as professor of counterpoint and fugue at the +Conservatoire. This was six years before Fetis 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 Paer 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 _premiere_ 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 Chatelet. + +"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, Herold, Ciceri 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. Herold 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 _rentree_? 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 Opera 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 L260 (1823) to L1250. +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 _debut_ 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 _debut_ 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 Freischuetz" 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, L17 a-week." +John Kemble, for acting and managing, was receiving L36; Miss O'Neill, +at the most brilliant portion of her career, never had more than L25 +a-week; while Mrs Jordan at her zenith had thirty guineas; and Charles +Kemble, until he became his own manager, never received more than L20 +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 Freischuetz' 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 _roles_, 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 naive 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 _debut_: 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 _debut_ 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 _metier_ 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 _premiere_ 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 _premiere_ 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 _premiere_, 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-_role_. 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 Senor 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 L128." + +"_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 levee. The Emperors of Russia and Austria, the +King of Prussia, Wellington, Richelieu, Blucher, 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 +Senor 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 _role_ 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 _role_. 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 _role_, 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 _debut_ 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 +_debut_ 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 _debut_. 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 _debut_, 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 Theatre 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 _debut_ 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 _debut_ a note came asking Senor +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 +Theatre Italien during April and May. + +Now it seemed very extraordinary to Senor 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 _role_. 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 debuta a Naples, je +crois," says Mme. Viardot, "et il eut ce qu'il desirait, 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 etre 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 L6000 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 L6000 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 Theatre +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 Halevy'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 _roles_; 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 _pere_ 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 pere n'avait pas ete si severe +avec moi, je n'aurais rien fait de bon; j'etais paresseuse et +indocile.' As for myself," she adds, "I never saw my father lose his +patience with me while he taught me the solfege, music and singing." + +When Manuel Garcia returned to France after his _debut_ 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 Freres +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 Muerger! Manuel often +used to catch up the boy Henry in his arms and kiss him as he ran about +the passages. "Little Muerger 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, 'Scenes de la Vie de +Boheme,' published in the year when Manuel Garcia was celebrating his +fortieth birthday. During Muerger'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 Duperre, 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 Fetis. 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 _debut_ 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 +_debut_ 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 _debut_ 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 L125 a-night, nearly double what she had had, while in the +next one she was paid L2775 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 Senor 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 +_role_, 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. Senor 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 _feted_ by all the +aristocracy, who hated the Austrian rule. On the first night of +Donizetti's "Marie Stuart," while taking the title-_role_, 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 pere avait autant de savoir-faire que de savoir musical, il serait +le premier musicien de l'epoque." + +The spring of 1833 saw Maria Malibran at Drury Lane, receiving L3200 for +forty appearances, in addition to two benefits, which brought an +additional L2000; 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 +_role_. 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 emotion 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 etourdi." + +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 +Beriot, 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 'soiree' 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 BERIOT." + +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 _clientele_. 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 +Senor 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 L2775. + +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 Chrysostome." 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 Beriot 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 _role_ 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 sacre qui payait ton genie + Et qu'a tes pieds souvent laissa ta charite." + +In remembrance of this memorable performance, the municipality of Venice +decided that the Theatre of Saint Jean Chrysostome should be called +henceforth the Theatre 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 archaeological 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 Beriot, the violinist, and we read that "the Queen of France +presented the bride with a costly agraffe, embellished with pearls." + +Next day de Beriot 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 Beriot. + +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 _debut_ 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 Beriot 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 _debut_ as a vocalist was made at +Brussels. After this she went on a concert tour with de Beriot, and sang +at a concert in Paris in 1838 at the Theatre 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 _debut_ +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 Senor 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: Senor 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 Theatre +Italien, for which she had been engaged by the impresario, Mons. Louis +Viardot, a distinguished writer and critic, and founder of the 'Revue +Independante.' Here she shared in the triumphs of Grisi, Persiani, +Rubini, Tamburini, and Lablache; while her principal parts were three +_roles_ 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 _role_." + +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 feconde + 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'ame en meme +temps, et, sans la moindre imitation, c'est le meme genie.... Elle +chante comme elle respire.... Sa physionomie, pleine d'expression, +change avec une rapidite prodigieuse, avec une liberte extreme, non +seulement selon le morceau, mais encore selon la phrase qu'elle execute. +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 _roles_ 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 _role_ of Isolda." + +Such was the artiste whose _debut_ 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 +_clientele_ 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 Academie des Sciences de +France under the title, "Memoire 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 Petrequin, 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 Academie +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 +Halevy'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 _role_ was suddenly +taken ill. + +Her actual _debut_ 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 _debutante_ 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 "Ines de Castro," the final rondo from +Rossini's "Cenerentola," and an unpublished air of Ch. de Beriot, 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 chantees par trois voix et par trois ames +totalement differentes." + +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," "Iphigenie 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 Prophete," a _role_ 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 Theatre 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 Desire 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 Senor 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 Halle, 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 ou trouver le temps de faire ce qu'on voudrait? C'est a peine +si on arrive a faire ce qu'on doit! En vieillissant, le temps passe de +plus en plus vite et vous entraine d'une course vertigineuse vers le +_Grand Inconnu!_ sans arret, sans repos, sans pitie. Il y aura peut-etre +dans le ciel une immense bibliotheque, ou les oeuvres du genie seront +rassemblees, et je me promets d'y faire de fameuses seances 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 _creche_--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 +Freischuetz," 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 Lubeck. + +After a few days of rest and enjoyment she proceeded to Havre 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 Marechale Soult) from her relative, +Queen Desideria, the wife of Marechal 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 _roles_ 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 _deuxieme etage_ 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'--'Perche 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, Froken 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 _debut_ in 'Der Freischuetz.' + + "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 +_role_ 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 _debut_ +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 Prophete." 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 _fatiguee_, 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 Freischuetz, +"Robert le Diable," and "Norma." Meyerbeer was delighted, and made such +comments as, "Une voix chaste et pure, pleine de grace et de +virginalite," 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 _debut_ 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 _role_ 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 Merite (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 Senor 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 _debut_ 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 _debut_, 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 _debut_ 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 _debut_ was made in 1849, and during that season she appeared +at Covent Garden in the _roles_ 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 Theatre 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 Opera 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 _role_ 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 Opera 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, 'Ecole +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, Calve, 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 Senor 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 Wurzburg; 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 "Freischuetz," that she was +engaged for three years by the management, and created Elisabeth in +"Tannhauser." + +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 "Prophete." In +1850 she left for Berlin, where she was permanently engaged by the +management of the Royal Opera House. Whilst there Fraulein 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 Genevieve Ward, for +that famous tragedienne 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 'Memoire sur la Voix,' Senor Garcia had +continued to labour incessantly in perfecting his method, and in 1847 +(the year in which Jenny Lind made her triumphant _debut_ 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 +'Traite 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 'Traite' 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, _mechant garcon_, 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'eleves; ils ont tous fui la revolution.' 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-_role_ 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 Hotel 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 Lamoriciere, 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 garcon!_ He was guillotined for his +trouble. + +"There wasn't another attempt for some time, but in 1840, again, Darmes +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 Theatre 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, "Moise" and "Le Siege 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 Halevy'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 Herold's +"Zampa" and Meyerbeer's "Robert le Diable." But this is not all, for it +saw the advent to Paris of Frederic Chopin, a young man of twenty-two. +Here he quickly found fame, and became the idol of the salons, giving +lessons to a select _clientele_ 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 Herold's "Le Pre 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-Saens,--was one full of musical interest, for 1835 saw the +completion of a perfect avalanche of new operas, including Auber's +"Cheval de Bronze," Halevy'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 Academie Royale de Musique on February 29, +with the following cast:-- + + _Valentine_ Mdlle. Falcon. + _Marguerite_ Mme. Doras-Gras. + _Urbain_ Mdlle. Flecheux. + _Marcel_ M. Levasseur. + _Nevers_ M. Derivis. + _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 Meduse" 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 Regiment," "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 +Prophete" 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 Felicien David's grand ode-symphony +"Desert." It saw, moreover, the completion by Richard Wagner of "Der +Fliegende Hollander," as the next year, in which Tom Hood died, saw that +of "Tannhauser." + +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 Theatre +Francais (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 "Romeo 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 Muerger, 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 Senor Garcia +had arrived from Mexico, soon following this up with the earliest of his +great works, 'La Peau de Chagrin'; Theophile 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 Poetiques 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; +Beranger, 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; Eugene +Sue, whose first hit was made in 1842 with the too famous 'Mysteres 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 Memoires d'un Medecin'; while in the year +of the maestro's departure for London, Alexander Dumas the younger was +bringing out his immortal 'La Dame aux Camelias.' Nor must one forget +Paul de Kock, Henri Rochefort, who was then only sixteen years old, Zola +half that age, and Francois Coppee 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, Dupre, Diaz, Jean Francois 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 _role_ 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 +_debut_, 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 Senor +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 +Bronte, 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 Vivandiere," 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 AEtna." + + + 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 +_matinee_; 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, L1, 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 Matinee 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 Halle; 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 L1000 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'espere' 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 Senor 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 'Athenaeum' 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 +Opera 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 +_debut_ 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 _debut_ 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 bonte d'excuser le retard de ma + reponse; une indisposition en a ete la cause. + + Je regrette que le manque de courage tienne en echec les moyens de + Mademoiselle Browne et comme Mr Hogarth je juge que l'exercice + frequent devant le public est le meilleur moyen de vaincre sa peur. + + Mais aussi je pense que les premiers essays (_sic_) de Mademoiselle + Browne vont etre fort incomplets et par une sorte dans l'usage de + procedes qu'elle ne domine pas encore completement et par la + terreur que bien a tort lui inspire le public. + + Or pensez vous qu'il faille donner a ses premiers essays (_sic_) + tout le retentissement possible, ou ne trouvez vous pas qu'il + serait plus prudent de les faire a petit bruit laissant a la + debutante le temps d'acquerir l'applomb (_sic_) qui lui manque + avant de lancer son nom a la grand publicite. + + Je vous soumets ces reflexions en vous laissant d'ailleurs la + faculte de faire usage de mon nom si vous le croyez utile aux + interests de votre enfant. + + J'ai l'honneur d'etre, Monsieur, Votre tres 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 _debut_ 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 _debut_ 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 Halevy's opera, "La +Juive," while the great German basso, Herr Formes, made his English +_debut_; 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 Baumes 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 Charriere, 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 Tuerck 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. Tuerck 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." + +Tuerck 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 Tuerck 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 Tuerck 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 "bronchiae." + +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 Senor 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 _debut_ 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 Orphee, and +achieved so great a success in the part that it stood out afterwards as +one of her most famous _roles_. 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 Tuerck 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 Senor Garcia's 'Memoire +sur la Voix humaine.' + +For the annual prize awarded in 1860 by the Paris Academy of Sciences, +under the Montyon foundation, Tuerck 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'Ecole 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 Konigsberg. +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 Senor 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 _roles_. 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 _roles_. + +[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 +_debut_. Senor 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 _debut_. + +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 Halle, 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-Saens 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 HALLE 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 _soiree_, he replied with the characteristic + foreign shrug of the shoulders, 'Que voulez-vous? Je suis trop + occupe 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. + +Senor 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 _premiere_ 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 _premiere 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, Didiee, 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 _debut_ as Hael. This is +followed at Christmas by Halle's production at Manchester of an English +version of Gluck's "Iphigenie 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 Hael, 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. Halle as conductor. + +With 1861 we come to the English _debut_ 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 (Genevieve 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 L40, after seeing it at the Theatre 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 L200 +towards the cost of its production, and to give L200 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 +L30 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 _premiere_ 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 +_debut_ 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 _premiere_, 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 _debut_ 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-_roles_. At the rival house Mapleson has collected a fine company +in Tietjens, Sinico, Gassier, Santley, Gordoni, Mongini, and two +_debutantes_, 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 L30,000; 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 L10 "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 L10 on account of +the proposed insurance, he would have received a cheque for L30,000! +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 _debut_ 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 _roles_, 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 Senor +Garcia. The total cost may be imagined from the fact that they paid L80 +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 Comedie +Francaise, 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 _debut_), Blanche Pierson, +Bartet, Barretta, Reichemberg, and Samary. + +The following year, 1872, saw the _debut_ at Covent Garden of Albani. +Later in the year, after the close of the opera season, a "fantastical +spectacle" by Dion Boucicault and Planche 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 Senor 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 Senor 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, Senor 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 absentia_), 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 Senor 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 _protegee_ 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 _debut_ 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 _clientele_ 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 +Konigsberg. + +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, Senor 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 _role_ 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 _role_ 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 Opera 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 Senor 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!' Senor 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?' Senor 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 amities! + + 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.--Amities! + + 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 a 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 + amities! + + 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 a 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 a 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 a 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, +Senor 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 Senor 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 _debut_, 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 Rezke. + +Two years later we hear of the _debut_ of Gerster, and of Gazarre, 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 _premiere_ 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 _role_ of Don Jose, 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 _roles_, 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 Opera 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 _debut_ of the great basso, Edouard de Rezke, 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 Gazare, +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 'Konig 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 _debut_ 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 Rezke. + +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 _debut_, while both the Abbe 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 L6000 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 Rezke, then practically +unknown to London audiences. The artist opened in "Aida," 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 Rezkes, Albani, +Trebelli, Arnoldson, Zelie 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 Rezke. + _Friar Laurent_ Edouard de Rezke. + +Moreover, in July, Jean de Rezke 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 Rezke. + _Hans Sachs_ M. Lassalle. + _Beekmesser_ M. Isnardon. + _David_ M. Montariol. + _Pogner_ Signor Abramoff. + _Kothner_ M. Winogradon. + +The early summer of 1890 witnessed the London _debut_ of the successor +to Liszt and Rubinstein, of the greatest of the _fin de siecle_ 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_ Ffrangcon 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 _debut_ 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 Plancon; +while in the company were the de Rezkes, Lassalle, Maurel, Ravelli, and +Montarid; Melba, Nordica, Albani, Zelie 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 _premiere_, which was conducted by +Arditi, Marie Brema made her _debut_ 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 _debut_ in London of Calve, 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 _debut_ 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 Calve, 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 Rezke 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 _regime_ 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 Senor 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 ca! 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 _debut_" (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." "Tannhauser" 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. Senor 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 _debut_ 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 Frankel 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 Senor 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 Senor 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, "A leur cher et venere 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 Senor Garcia at Buckingham Palace, in order to + express to him his congratulations and his recognition of all that + Senor 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 Charge 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 Senor Garcia with the Order, +amid loud cheers. After this glowing tribute came Professor Frankel, 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 Frankel) to present that rarely awarded distinction to +Senor 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 Senor 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 Senor 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 Konigsberg, which in +1862 had conferred on Senor 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 Senor 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 Senor 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 Molinie); 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. Konig, 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 Senor 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 Senor 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 Senor Garcia. + +The programme was brought to a conclusion by the presentation to Senor +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 Senor 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 Charge +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 + Frankel], 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 Senor Garcia handed the MS. of his reply to Sir Felix Semon, + requesting him to finish reading it. "You who have come from + distant Konigsberg 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, Senor 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 Senor 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 Senor Garcia +personally, conferring upon him a great honour--the Commandership of the +Royal Victorian Order. His Majesty, in honour of Senor 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 Senor Garcia the +Grand Cross of the Order of Alfonso XII., and also a message which he +would call on the Spanish Charge 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 Senor 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, Senor 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 Senor Garcia, had conferred upon +him a great distinction. It had been brought to London by the most +distinguished laryngologist in Germany, Professor Frankel. 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 Senor +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 Senor 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, Senor 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, a ce que je fasse un + discours. Si j'ose prendre la parole, c'est pour vous exposer, en + quelques mots, une pensee qui m'obsede et que le grand eclat donne + a la presentation qui a eu lieu a fait naitre dans mon esprit. + + "Le role des personnages qui ont figure dans cette celebration + aurait du etre interverti; les felicitations, les compliments vous + appartiennent, et c'est a vous et a vos societes qu'ils auraient du + etre adresses. + + "Il est de tout evidence que le petit instrument doit les succes + qu'il a obtenus absolument et uniquement a vous, Messieurs, et aux + associations sur lesquelles vous presidez. Prive du puissant appui + de votre science, il serait tombe dans un oubli complet (et ego + quoque). + + "Par suite je me considere comme un usurpateur insigne qui accepte + ce qui, en realite, 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 tres vive reconnaissance aux societes laryngologiques + que vous representez, et a vous, Messieurs, qui, sans souci des + inconvenients des voyages, etes venus de tous pays, meme les plus + lointains, pour feliciter le centenaire et, plus encore, pour + l'honorer de leur approbation scientifique. Ainsi comble, + saura-t'il jamais manifester l'intensite de son appreciation, de sa + reconnaissance? + + "Je ne pourrais conclure ces remarques sans exprimer mon admiration + pour Sir Felix Semon, dont l'infatigable perseverance, unie a une + rare puissance d'organization, a reussi, a travers de nombreux + obstacles, a organizer cette grande demonstration, inspiree + uniquement par le desir d'honorer un vieil ami. Merci! Encore, + Merci!" + +A few days later Senor 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 Halle. +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 Senor 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_) dedie a la memoire de votre chere mere. + C'est aussi avec grande satisfaction que j'ai appris qu'il a ete + apprecie par la presse; c'est une garantie qu'il aura le succes + qu'il merite. + + Agreez mes compliments et mes felicitations.--Votre sincere 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 Senor 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 +Senor 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, Desire, 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 + +Baumes, 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 + +Beranger, 178 + +Beriot, Ch. de, 112, 116, 119, 120, 126, 133 + +Berlioz, 152, 173, 175, 189 + +Bernadotte, Marechal (_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 + +Blucher, 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 + +Bronte, 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 + +Calve, 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 + +Charriere, 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 + +Coppee, Francois, 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 + +Darmes, 172 + +Darwin, 184, 299 + +Darwin, Prof. F., 304 + +Davenport, Mrs, 55 + +David, Felicien, 177 + +David, Ferdinand, 135 + +Davies, Ben, 270, 317 + +Davies, Ffrangcon, 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 + +Derivis, M., 176 + +Desideria, Queen of Norway and Sweden, 142 + +Devonshire, Duke of, 52 + +Diaz, 179 + +Dibdin, 13, 57 + +Dickens, Charles, 184 + +Diday, 131 + +Didiee, 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 + +Duperre, 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 + +Fetis, Francois, 44, 100 + +Fieschi, 171 + +Flecheux, 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 + +Frankel, 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 Fetis, 44 + Sings at Manchester, 52 + Takes part in first New York season of Italian opera, 59 + Plays title-_role_ 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 _roles_, 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 _debut_, 87 + Goes to Italy, 90 + Meets Lablache, 90 + Makes _debut_ 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 "Memoire sur la voix humaine" to the Academie des Sciences, + 130 + Officially thanked for his services to vocal Art, 131 + Recollections of Jenny Lind, 139, 154 + Counsels her to delay _debut_ in London, 152 + Made correspondent of Stockholm University, 155 + Created Chevalier de l'Ordre de Merite, 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 'Traite 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 Konigsberg, 219 + Teaches Antoinette Sterling, 219 + Election to Committee of R.A.M., 222 + Episode with Saint-Saens, 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, Theophile, 178 + +Gazare, 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, Genevieve). + +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 + +Halevy, 13, 94, 132, 174, 175, 198 + +Hall, Dr de Havilland, 245, 309 + +Halle, Sir Charles, 190, 226, 227, 321 + +Halle, 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 + +Herold, 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 + +Konig, 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 + +Lamoriciere, 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, Abbe, 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, Zelie 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 Francois, 179 + +Millico, 58 + +Milligan, Dr, 308, 309 + +Mimaut, 47 + +Molique, 190 + +Molinie, 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 + +Muerger, 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 Halle, 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 + +Paer, 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 + +Petrequin, 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 + +Planche, 236 + +Plancon, 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 + +Rezke, Edouard de, 266, 268, 269, 271 + +Rezke, 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-Saens, 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 + +Sitches, 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, Eugene, 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 + +Tuerck, 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, Genevieve, 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. + + + + + +End of the Project Gutenberg EBook of Garcia the Centenarian And His Times, by +M. 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