Book 3 — MUSICIANS.

Walter Johannes Damrosch.

It is questionable if there is a better method of giving intellectual pleasure to a large number of people than by teaching them concerted singing. More than that, music is admittedly one of the most powerful factors in the bringing into being those finer qualities which are identified with the higher civilizations. It follows, then, that the man who devotes his life to cultivating a love of music among the masses is a public benefactor. Such an individual is Walter J. Damrosch, who is both well known and popular in this country in connection with his work on the lines alluded to. Mr. Damrosch was born at Breslau, Prussia, January 30, 1862. His father was Dr. Leopold Damrosch, his reputation as a conductor being of an international nature, led to his coming to this country in 1871 to become director of the Oratorio society and Symphony society of New York. In the meantime Walter had received a thorough musical training under his father, and, when the latter died, in 1885, he succeeded to the directorship of the organizations named. Since that period his continuous and conscientious work for the popularizing of vocal music has borne fruit not only in New York, but in many other cities of the United States. Mr. Damrosch was also the director of German opera at the Metropolitan Opera House and added to his reputation in connection therewith. Mr. Walter J. Damrosch is married to Margaret, daughter of the late James G. Blaine.

Henry Lewis Reginald De Koven.

When individuality is allied to talent the world stands ready to recognize, applaud and recompense. But the welding process is not to be accomplished without faithful and constant effort. The results approximate genius so closely that the division between it and mere talent is more theoretical than absolute. All this applies to Henry L. R. De Koven, the composer, who is one of the younger, and, at the same time, one of the most successful of American musicians. Comic operas there are and comic operas there will be, but in most instances the end of their vogue marks also the end of their existence. In the case of Robin Hood, The Highwayman, and other of Mr. De Koven’s works, it is otherwise. Those named and others bid fair to remain popular beyond the limits of this generation. The composer was born at Littleton, Connecticut, April 5, 1861, his father being a clergyman. At first educated in public schools, he later went abroad, and was graduated from Oxford, England, in 1880. Like other successful composers, he gave indications of his love of music at an early age, and, during his college course, fostered his special gifts by constant study. After graduating, he studied still further under masters at Stuttgart, Florence, Paris and Vienna. On returning to this country he acted as musical critic on various publications coincidently with his work as a composer. Apart from his many operas he has written a number of songs. In 1884 he married Anna Farwell.

Maurice Grau.

Maurice Grau, who for many years was prominently identified with the exploiting of grand opera in this country, was born in Brünn, Austria, in 1849, and came to New York with his parents at the age of fifteen. He graduated from the Free Academy, New York, in 1867, attended the Columbia law school and later was for two years an employee of a law firm. Mr. Grau, however, was gifted with foresight. He saw that the citizens of this country, on recovering from the stress and strain of the Civil war, would not only be possessed of money with which to gratify their artistic instincts, but that these same instincts would come into active being. In other words, in his own way, Mr. Grau had faith in the recuperative powers of the United States. In 1872, therefore, he became manager for Aimée, the opera bouffe prima donna, and was also the manager of Rubenstein, pianist; Clara Louise Kellogg company, Salvini and other foreign musical and dramatic stars. Finally he became a member of the firm of Abbey, Schoeffel & Grau. Sarah Bernhardt, Patti, Henry Irving, Coquelin, Jane Hading, Maunet-Sully and Mlle. Rejane were exploited by the firm. Until 1902 he was managing director of the Maurice Grau opera company and lessee of the Metropolitan opera house, New York, in which capacity he annually produced for some years standard grand operas, the casts of which included the most famous singers of the present generation. He furthermore has acted as managing director of the Royal opera house, Covent Garden. On 1903 Mr. Grau severed his connection with the Metropolitan opera house, much to the regret of those to whose musical taste he had so successfully catered.

Victor Herbert.

The secret of success, as far as those who cater to public amusement is concerned, is the placing of one’s fingers upon the pulse of the public and shape one’s methods and manners in accordance with the knowledge so obtained. Victor Herbert, the composer, has so shaped his career, and, while his work is more or less identified with the lighter forms of comic opera, he nevertheless has exhibited unmistakable musical genius. Mr. Herbert was born in Dublin, Ireland, February 1, 1859, and is the grandson of Samuel Lever, the author of Handy Andy, and other Irish novels. He began to study music in Germany when but seven years of age, and took lessons from a number of masters. While yet a boy, he was appointed the principal ‘celloist of the court orchestra in Stuttgart. After more study and a prolonged tour in Europe, he came to this country as ‘cello soloist of the Metropolitan opera house orchestra in New York. During his career of almost uninterrupted professional successes, he has been connected with the Thomas, Seidl and other orchestras in the capacities of ‘celloist and director. He has also been bandmaster of the Twenty-second Regiment of the national guard of the state of New York, and, in 1898, was made conductor of the Pittsburg (Pennsylvania) orchestra. Among the many comic operas which he has written are The Wizard of the Nile, The Viceroy and The Idol’s Eye. He is also the author of a number of orchestral compositions. In 1886 he married Theresa Foerester, a prima donna.

Leonora Jackson.

Of the many American girls who have made riches and reputations as violinists, none is better known to the musical world of this country and abroad than Leonora Jackson. Still a girl as far as years go, she has acquired a reputation as a virtuoso that usually comes to one in the sere and yellow times of life. She was born in Boston, February 20, 1879. After an education received in Chicago public schools, during which time she studied her favorite instrument, she went abroad and became a pupil in the Royal school of music, Berlin. While still a child, she made her début in Europe and scored an instantaneous success. She has appeared in concerts with Paderewski, Patti and other famous singers and musicians and has added to her reputation by scores of performances before musical societies in America and on the continent. Audiences of the Boston symphony orchestra concerts know her well. During the season of 1900 and 1901 she gave one hundred and sixty concerts in the United States, securing for herself in this connection a national reputation. Queen Victoria decorated her as a recognition of her talents. Miss Jackson has also appeared before the German empress and many other notables of Europe.

Franz Kneisel.

Boston musical circles have a sincere affection for Franz Kneisel, not only on account of his musical gifts but in connection with the work that he has done for the Boston symphony orchestra. Apart from that, however, some of his admirers aver that as a violin soloist he has no equal in this country and but few rivals abroad. Be that as it may, it is certain that his gifts are of a remarkable nature, and, like all successful men, he has cultivated them, constantly and conscientiously. Franz Kneisel was born in Roumania, in 1865, of German parents. From a child he studied music and violin instruction under Grun and Hellmsburger and early gave indications of the successes that awaited him in the future. For some years he was concert master of the Hoffburg theatre orchestra of Vienna, and later of Bilse’s orchestra in Berlin. While filling these positions he acquired the reputation which led to his being invited to America. On reaching this country he at once became concert master of the Boston organization and director of the Kneisel quartet. He maintains his reputation as a violoncellist, however, in spite of the demands made upon his time by his other duties.

Maud Powell.

The popularity of Maud Powell, the violinist, amongst musically inclined people is not altogether due to a recognition of her genius. Those who know her life story know, too, that the place which she now occupies in the eye of the public has been obtained at the expense of a tremendous amount of work, in the face of many obstacles. Besides that, she is a typical American girl, which means that she is the possessor of the pluck independence and perseverance which are supposed to be characteristic of the citizens of the United States. Miss Powell was born in Peru, Illinois, August 22, 1868. She studied in the common schools at Aurora, Illinois, and, after some preliminary instruction on the violin in this country, took an advanced course of study in Leipzig, Paris and Berlin. As a pupil of the famous Joachim she gave promises of a brilliant future. Miss Powell is best known to the American public through the medium of her solos given in connection with orchestral concerts of Thomas, Seidl, Gericke, Nikisch, Damrosch and others. In 1892 she toured Australia and Germany with the New York Arion society, and, in 1896, on the strength of the popularity which she had established in her preceding tour, made another and most successful visit to Europe. She has contributed liberally on musical topics to a number of periodicals. Yet, as far as the American public is concerned, the fame of Maud Powell is permanently identified with her violin, rather than with her pen.

Theodore Thomas.

Like many of the well-known musicians of to-day, Theodore Thomas not only inherited his talents from his father, but was a pupil of the latter. Mr. Thomas shares with Damrosch and some other conductors the credit of making music, not only familiar to, but popular with, the masses in this country. He was born at Esens, Hanover, Germany, October 11, 1835, and at the age of ten made his first appearance in public as a violinist. Shortly after that he came to the United States, and for a number of years gave performances in New York. After a successful tour in the south, which extended over two years, he returned to New York and appeared in concerts and opera, first as violinist and later as orchestra conductor. In connection with other musicians he organized an annual series of chamber concerts. In 1867 he founded the Thomas orchestra and maintained it until 1888. He also acted as conductor for the Brooklyn and New York Philharmonic societies. In 1891 he moved to Chicago, and since then has been conductor of the Chicago orchestra. He is director of the Cincinnati college of music, was musical director of the Chicago exposition and has held other prominent positions in the musical world. He has been married twice, his second wife being Rose Fay, of Chicago.