THE OLD GERMANIA ORCHESTRA, On the morning of the 2d of August, 1848, the good packet ship "Diadem" sailed out of its London dock, bearing to the New World, in the midst of much other more or less precious freight, a group of German musicians. They were members of an orchestra which was destined to fulfill as eventful a history for itself as it did a faithful mission of good toward the progress of music in America, an orchestra since known perhaps throughout the entire country, and certainly in every American city, as the Germania Musical Society. The Germania Orchestra was composed of twenty-four members.* They were young and adventurous, but they carried with them. something better than a love for adventure -a love for their chosen art, so strong and faithful that it was in fact the primary cause of their journeyings; so sacred that it claimed precedence over every social tie; and so enduring that in the long period of varied and frequently evil fortune which was now to follow, they were never once untrue to that art. Amid hardships which would perhaps have broken a mere spirit of adventure, they did not turn back, but, pushing through and conquering every difficulty, they won at length, even in that unartistic field, a genuine artistic triumph; compromising none of their classical instincts, and winning the field by storm rather than strategy, at the very point of the musical bayonet. Bearing in mind the condition of musical taste in this country a quarter of a century ago, and measuring its immense strides since that day; noticing too, how, during the ear * The main facts contained in this sketch of the lier part of that period, the progress of musical feeling and the success of the "Germania" were accurate barometers of each other, it cannot, surely, be an ill-spent hour in which we here recall the history of its career. The nucleus of the Germania Orchestra was formed from Joseph Gungl's orchestra of Berlin. To these members were added others of equal culture, if not equal experience, and, being nearly all young men and personal friends, they had thus, at the outset, an important combining link which secured their unity of purpose and effort during so many years. The idea of forming an orchestra for an American tour originated in the autumn of 1847. The political events which were then hastening the downfall of Louis Philippe and which soon enveloped all central Europe in the gravest difficulties, had caused a general neglect of musical matters, which extended even to the German public, and the revolution of March 18, 1848, which seemed for a time to paralyze the entire public mind, had the effect to confirm and hasten the purpose of the young musicians. At The original plan of the organization was to start directly for the United States. a preliminary entertainment, given before the United States Minister to Berlin, Mr. Wright, the English Ambassador, the Earl of Westmoreland, was present. The Earl was somewhat distinguished as an amateur in music, and an overture of his composition was performed on this occasion. This first concert of the young society took place May 4, 1848, in the Milentzschen Saale, at Berlin. It was so decidedly successful that both the Earl and the American Minister furnished the orchestra with strong recom "Germania” have been obtained from the journal of Mr. William Schultze, who was the leading violinist from the first to the last day of its exist-mendatory letters, and thus fortified they ence. resolved first to visit London. The qualifications of a consular incumbent from this country scarcely included then, any more than at present, a critical knowledge of musical technics, and we are without information as to our Mr. Wright's accomplishments in this respect. It is probable, however, that the worthy representative thought he could not go far wrong in adding his official signature to that of a man who had actually written a piece of music himself. Arriving in London, the members found their progress materially checked by their a meager troupe, was performing in New York. Jenny Lind, who occasioned the earliest general furore in regard to music, did not arrive until nearly three years later. There was not even a decent opera-house in America. Dingy theaters and barren public halls were the sole provision made for accommodating public gatherings. total ignorance of the business part of their enterprise. A Kunstreise of such magnitude as the one now projected must be conducted on business laws as strict as the laws of music itself. An orchestra is a large and, when in incompetent hands, an unwieldy affair to manage. A number of concerts were given in London, but while the applause was liberal, the financial results were The condition of orchestral music was far from satisfactory. The performances even still lower than vocal. Twenty-three given were three matinees at the Princess' years earlier, when that greatest of all music Theater, two concerts in Hanover square, two teachers, Manuel Garcia, with his young in Crosby Hall, and eight promenade con- daughter, afterward Malibran, the greatest certs, together with numerous private enter- of all dramatic singers, essayed the first tainments which were often very enjoyable. Italian opera ever given in America, it is reThe most memorable among these latter lated that he was so maddened by the shockwas a soirée given at the magnificent villa ing style in which the second finale to "Don of the Messrs. Baring Brothers, where nu- Giovanni" was rendered by the orchestra, merous celebrated operatic stars took part, that he rushed to the foot-lights, sword in including Grisi, Garcia, Alboni, Mario, and hand, and indignantly compelled them to Tamburini. The invited guests were from | play it over. In the long interval there had the highest circles, and the new orchestra been little or no opportunity for orchestral obtained a large share of the applause. The music to improve. The only intervening Duke of Cambridge, himself an amateur on opera company, that of the Woods, in 1840, the violin, was particularly interested in this could have done very little to advance its department of the orchestra, turning the condition, and the Steyermark band, which leaves for the first violins, and calling the came over under the conductorship of Riha, attention of the entire company to the per- in 1846, scarcely gave a whole season's performance of the orchestral pieces. Other formances before it was disbanded. prominent occasions wherein the Germanians took part seemed to be gradually directing the public attention more and more to their merits, and it is quite possible that they might have remained and done well in London during the succeeding season. But the charms of distance and of novelty; the never-ebbing tide of golden rumor that was now beating constantly against the shores of the old world, lured our young musicians more and more strongly to the new. To the United States they were bound, and to the United States they sailed as aforesaid. The passage must be called, we suppose, a "speedy and prosperous voyage," as it occupied only fifty-eight days. They reached New York on the 28th of September, and on the 5th of October they gave their first performance in America at Niblo's "Opera-House." It would be difficult to attempt a description of the condition of musical affairs in America at that period, which would be intelligible to one who knows only the standard of the present. Very few celebrated virtuosi, either singers or instrumentalists, had yet visited the "States." Even the opera was almost a novelty, although at this very period Madame Laborde, with The advent of the Germania, therefore, an orchestra which, although small in numbers, was almost complete in its various parts, and composed of really fine performers, was indeed something of a musical wonder. But there was another feature of this enterprise which was altogether without a parallel in the history of American musical enterprises. The public taste at that day, in such matters as music, the drama, and fine arts generally, was almost entirely founded on foreign choice and reputation. The few great artists who had ventured so far, came here with the thickly woven laurels of the Old World on their brows. Then, in addition to this, a soloist is always more of an attraction to the average mass of pleasure seekers than any combination. When, therefore, we consider that the "Germania" was organized especially for the American "market," that it came here with no foreign reputation clinging to it, either as a whole, or in any of its members, such an enterprise argues not only great faith in the sound, good taste of the American people, but an equally firm consciousness of the strength and thoroughness of its own organization. The first concert in New York, above mentioned, was, in an artistic point of view, highly successful. The few who could ap preciate the refined and sterling selections | given, were delighted at hearing them rendered in a manner greatly superior to anything hitherto known. From the 9th of October to the 15th of November sixteen concerts were given at the "Tabernacle," in New York, and four in Brooklyn. The form and quality of the programmes selected were even thus early fixed upon, and, we believe, rarely afterward abandoned. They contained always a couple of good overtures; parts or the whole of a symphony; two solos; while the rest of the selections were of a more popular character. son. This series of concerts created much interest among the real music-lovers of New York, but pecuniarily they brought nothing, the receipts often falling considerably below the expenses. This was partly owing to the fact that the exciting political events which followed the Mexican war, and preceded the election of General Taylor, were then at their height. At the close of the series a complimentary benefit was tendered to the orchestra by a number of resident musicians and amateurs, and the event called together the first and only crowded house of the seaThis concert took place at the Tabernacle on the 11th of November, and a number of vocal and instrumental soloists, then popular, assisted, including Madame Otto, Mrs. Horn, Messrs. Timm and Scharfenberg, and Signor De Begnis. The performance throughout pleased amazingly, and its success served to revive the drooping spirits of the members. The gleam of light, however, was of brief duration. Before the close of the month, two other orchestras arrived from Europe, each with a reputation already established. One, the " Saxonia," was of fair ability, while the other was no less than the famous orchestra of Joseph Gungl, from Berlin, out of which their own forces had been largely recruited. The Germania Society was now almost bare of finances. The first excitement over its arrival was already subsiding, and the members felt themselves in no condition to compete with these formidable rivals. About the end of the month they went to Philadelphia on the invitation of a gentleman from that city, who had heard them play in New York, and who defrayed either the whole or a part of the expense of the trip. But in Philadelphia they were no less unfortunate, and their arrival was in the highest degree ill-timed. Madame Laborde, with the Italian opera company we have already mentioned, much more popular from its novelty than for intrinsic excellence, was just then in the city, and in the full tide of success. The wild excitement which was created by the discovery of the California gold mines, the intensity of which many comparatively young readers may still recall, was just now beginning to agitate the public mind. Altogether, the prospect seemed far from propitious. The first concern of the members was to provide themselves with such quarters as their waning resources would permit. They engaged board at the "White Swan Hotel," then in Race street, above Third, at the certainly moderate rate of three dollars per week for each member. In order to introduce themselves more readily to the notice of the public, the society engaged the Musical Fund Hall and sent invitations to members of the press, and a large number of the most prominent musicians, music-teachers and amateurs, residing in the city. This first performance in Philadelphia took place on the afternoon of December 4th. Its result, as well as that of the succeeding concerts, was pretty much the same story over again. Artistic success, immense; pecuniary success, infinitesimal. Four concerts were given at Musical Fund Hall, and the losses at each were so serious, that to lessen the expenses the much smaller hall of the Chinese Museum, at Ninth and Chestnut streets, was engaged. Two more concerts followed in that locality, and still, when the poor fellows undertook to figure up the results, the only figures that stared them in the face were ciphers. In a moment of desperation, they abandoned the Museum, as they had already abandoned the Musical Fund, hired a melancholy room, then known as "Arch Street Hall," and advertised a series of " Promenade Concerts," to begin on January 1st, 1849. The rent of this spacious and imposing structure was to be ten dollars per night, and on this eventful New-Year's Evening, after waiting patiently for the most persistent late-comer to arrive, the receipts amounted to nine dollars and a-half. In the middle of the concert, the worthy proprietor of the hall, taking advantage perhaps of the title given to the entertainments, himself appeared on the "promenade" and announced to the unhappy musicians that unless the ten dollars rent was forthcoming, then and there, he would turn off the gas. The despairing members one and all, with the utmost possible promptness and unanimity, desired him to "turn it off," and so ended the first and last of the "Promenade Concerts." The same evening the orchestra held a meeting in a gloomy back room at the "White Swan," and unanimously voted that affairs were desperate. To extricate themselves seemed a very forlorn hope. A number of propositions were made and rejected, one of the most amusing proceeding from the commander of the drums, Herr Njorth. The worthy drummer was the possessor of a very charming wife who was, withal, an "expert" at dancing, and Herr Njorth thought if she would appear between the parts of the programme in a dance or two it might produce an effect. Some of the members, the more youthful ones, seemed to favor the proposition. But it was indignantly voted down by the older ones, who regarded such an innovation with a holy horror. The meeting ended in nothing, save a general desire to be home again, and they separated still undecided as to their future. In Philadelphia, as in New York, the few who were good judges of a musical performance were mortified and indignant at the wretched success of these concerts. They justly regarded it a calamity quite as great in its effects on our own public as on the visiting musicians. The only reparation in their power took shape, as in New York, in a complimentary concert, at which the orchestra was associated with the famous violoncellist, George Knoop. This concert, which was one of the finest ever given in Philadelphia, took place on the 6th of January. We will add here the programme entire, since it reveals a degree of richness totally beyond the experience of musiclovers at that day: such conscientious musicians, the effect produced may be imagined. For years afterward the "Germania and Knoop concert" was a subject of pleasant memories and frequent reference by many who had heard it. One such success as this, however, could not bolster up the waning fortunes of the orchestra. The men were out of money and out of spirits. After some further deliberation they resolved to disband and each shift for himself. One joined the United States service as band-master; a few returned to New York, but the greater number remained in Philadelphia. If they had possessed the means it is quite probable they would have hastened back to their native land with the utmost expedition. A few weeks after the orchestra had separated, a profitable engagement offered at Washington, to give four concerts and to perform at an "Assembly Ball," and the grand Inauguration Ball. The offer was, of course, accepted, and the dispersed members hastily recalled. After the inauguration festivities the Society concluded to try concerts again. This time they fixed upon Baltimore, and on the 8th of March gave their first performance in that city, at Brown's building; the more fashionable resort, Carroll Hall, being engaged by Gungl's band, which performed the same evening. The condition of musical taste in Baltimore at the present day is not very flourishing. The receipts of the symphony concerts, which were directed by Mr. L. H. Southard, of the Peabody Institute, for several years, fell short of the expenses. The field, generally, has been so far from promising, that Mr. Southard, after a number of years spent in trying to cultivate it, some time ago abandoned the undertaking and went back to Boston. The honor, however, was reserved for Baltimore at that early day, to accord the first genuine success to the Germania Society. At the first concert, although the hall was by no means crowded, the demonstrations of pleasure and approval were more decided than the players had before heard anywhere. A second performance, on the following evening, was still better, and a general excitement was created. A mass at the Cathedral followed on Sunday, and the same evening a sacred concert was given at Zion Church with the greatest possible success. Gungl and his orchestra returned abruptly to New York, leaving the Germanians in possession of the field, and of Carroll Hall. But Carroll Hall proved soon to be too small for the increasing crowds, and the per formances were continued at the Holliday Street Theater. Now followed success as great as it was unexpected. Eight concerts were given to crowded houses, and the members of the orchestra were wonderfully elated. Many excellent compositions were now performed for the first time in America, among them Beethoven's Third, Fifth, Sixth, and Seventh Symphonies, Spohr's Consecration of Tones, overtures by Mozart, Weber, Mendelssohn and Spohr, a large amount of chamber music, and, in connection with the Musical Fund Society of Philadelphia, Rossini's "Stabat Mater," and Romberg's "Lay of the Bell." The business agent of the orchestra, Mr. Helmsmüller, was at his wits' end to plan suitable announcements for many of these concerts. At the very beginning of the series, so unexpectedly successful, he had advertised the "Farewell Concert." Now he was obliged to follow it up with such titles as "Grand Symphonic Entertainment; By request, One More Concert ;" "Another Farewell Concert ; " "They won't let us go," &c. But at last it had to come to an end, and the posters_read :-" Most Positively the last Farewell Concert." 99 66 Having pushed their success in Baltimore as far as prudence would seem to dictate, they now resolved upon a visit to Boston. On the route to that city concerts were given at New Haven, Hartford, Springfield, Worcester, and Providence, with moderate success. They arrived in Boston on the 14th of April, and played the same evening. Here, again, a slight misunderstanding of American customs seemed likely to mislead them and disconcert their plans. The musical "season" ends in America while still at its height in London; and in the continental cities to which our artists had been accustomed the changes of season were very little regarded. But in America, even now, by the 14th of April, the concert season may be considered very far spent; and so the result of this first Boston concert was far from encouraging. They made a very small beginning indeed, the entire receipts being only twenty-three dollars. The artistic success of this concert, however, was complete, and succeeding performances were more and more encouraging. The Boston public has enjoyed, for two generations or more, the reputation of pos *It is said, by another authority, that the Seventh Symphony of Beethoven was first given in Boston about 1842. | sessing the most refined and enlightened taste to be found on this continent. With no disposition to dispute her high artistic repute, we are inclined to trace it to a somewhat different source than superior judgment and unerring taste. The chief cause of it rests in the simple fact that what her people really like they will have, and are always ready to pay for. While other cities may be haggling over terms, and other audiences are hanging back until prices fall, Boston, having found a good thing, steps in, and, outbidding every vacillating competitor, bears the prize triumphantly within her own charmed circle. It was very much in this way that Boston treated the Germania Society. The season was virtually over. According to all precedent, the violins should have been boxed up, the flutes unscrewed, the kettle-drums hustled into their musty garrets to keep company with spider-webs, and the general average of concert-goers prepared gratefully to button up their pocket-books and thank God that one expense was over. But the first concert of the Germania Musical Society opened the Bostonian eyes, and the unfastening of the Bostonian purse followed as a matter of course. They did not stay to ask whether it was May or November. Twenty-two concerts were now given in rapid succession, and the unabated enthusiasm was highly encouraging to the members. The last five concerts were played in connection with the then famous vocalist, Fortuneda Tedesca, and the hall was invariably filled to overflowing. It is a fact worth recording that at these twentytwo concerts the overture to "Midsummer Night's Dream" was played entire forty-four times, the audience in every instance insisting upon a repetition. The high-road to success was now at length reached, and despite the near approach of summer, engagements from other cities flowed in rapidly. Good, paying concerts were given in Lowell, Taunton, and New Bedford, directly following the Boston series; and even New York, which had so decidedly given the cold shoulder to this enterprise, now offered an engagement to play at "summer festivals" in Castle Garden. This offer was accepted, and by the end of the series summer had come in good earnest. About this time some of the more influential pioneer visitors at Newport had set about the project of making that resort a fashionable watering-place. Their artistic taste and judgment were well shown in their engagement of the Germania Orchestra for |