Church Music Association Concert

“Pech here this aftn., conferring with Mrs. G. T. S. and me. Mozart’s 12^th Mass, and the 1^st act of Oberon would not be a bad programme for the first of our projected concerts. But the subscription list is not yet filled up.”

“Now that our C.M.A. subscription list is filled up, I suddenly discover that we have an Elephant on our hands. How are we to get our Elephant his solo singers? Miss Fanny Reed is probably bound for Paris, and Miss Minnie Parker’s Swiss Guard does not favor her singing ‘so publicly’ during her engagement. Rev. Cook can do the tenor work of the Twelfth Mass, but is probably quite unequal to the brilliant and difficult music of Oberon, etc. I feel as if I wanted to run away. Apropos of Miss F. R.’s departure for Paris, a general devastating European war would have one good effect—it would lead wandering Americans home, or prevent their leaving. I believe half of ‘well-to-do’ N.Y. is now amusing itself, or economizing, or combining pleasure and economy, somewhere across the old Atlantic.”

“In New York, a season of three concerts of sterling works of Ecclesiastical Music—Masses, Motets, Anthems, &c., by Palestrina, Bach, Haydn, Mozart, Cherubini, Beethoven, Spohr, and Mendelssohn, performed as they are written, with full orchestra—has been organized by James Pech, Music. Doc. Oxon., which promises richly to the subscribers and their friends for they are to be strictly private, and the reporter element kept out.  Some fifty of the leading citizens of New York have subscribed $100 apiece to enable Dr. Peck to make these concerts all they should be to satisfy his own high ideal.”

“Dr. Pech dined here. Mrs. G. T. S. and the Dr. are working up the projected C. M. A. concerts efficiently in their respective lines. Ellie’s line is the enlistment of ‘Lady Patronesses’ and young lady amateurs for the chorus. Much good they will do in the fugue of Mozart’s No. 12. But they will learn that there is music worth studying, of which they know nothing.”

“Miss Fanny Reed gives in her adhesion to the C. M. A. With the possible (and only possible) exception of Parepa-Rosa, I don’t know where we could find a finer Concert Room Prima Donna.”

“Rev. Cooke came in and hummed his Mozart No. 12 with Ellie, and then tried passages from that weird and beautiful Mass of Niedermayer’s, of which nobody seems to know anything. If the C. M. A. concerts attain a second season (assuming that they live thro’ their first) we must bring out that noble mass and reveal to N. Y. its ‘Gratias Agimus,’ ‘Cujus Regni,’ and ‘Agnus Dei.’ They seem to be unmatched in sacred music.”

“C. M. A. much talked of, and is doing well.”

“Pech dined her and we held high discourse over our (possible) C. M. A. concerts. Prospect good.”

“’Executive Committee’ of C. M. A. 3 this P. M. at 68 Wall St. All present, viz: Rev. Cooke, Dr. Pech, Edmund Schermerhorn, C. E. S., and myself. We sat near two hours, settling details very smoothly, except that Edmund is a little fussy and discursive.”

“Committee of C. M. A. met at my office 3 P. M. and sat long. Settled about seeming orchestral and vocal parts, and agreed that Haydn’s 16^th Mass and Beethoven’s in C should be produced at the 2^nd and 3^rd concerts. We are trying hard to keep within our estimates. They may be exceeded on the items of ‘paid chorus’ and of printing programmes &c., but on other items we seem likely to have a margin. Pech dined here. Ellie and Dominus Johannes have gone to the opera (Norma, I think), with Miss Fanny Reed.

“Many people here this ev’g. Nice Miss Rosalie, Miss [Allen?], Pech with sundry musical folk including one Leggatt, a little yahoo who sings tenor in Calvary Church. Fortunately we don’t want him.”

“Long session of C. M. A. Com. This aftn. at my office, discussing form of concert tickets, programmes, &c. The project attracts a good deal of attention and subscribers begin to be beset for a promise of tickets.”

“Pech is pushing his work of organizing the C. M. A. chorus or totis viribus. It involves much delicate manipulation, to which he seems fully equal. The concerts attract much attention already. People write me, or call, to say their wives or daughters want to sing—to ask how they can secure tickets--&c &c. Miss Minnie Parker sorrows deeply over her renunciation of Regia’s music, and if judiciously let alone, may ask to retract it. Then if Miss F. R. would admit (as she seems disposed to do) that her magnificent voice tho’ admirably fitted for Mozatt’s Mass, is inferior to Miss P’s in the flexibility required for Oberon and if these two rival amateurs would divide the field between them, laying aside all little jealousies, a great point would have been gained. But that is hardly to be hoped for. Meantime recruiting for the chorus is active. It includes many solo-ists already—and solo-ists who think no small beer of themselves. Stormy afternoons and ev’gs are now to be dreaded, that would keep amateurs from Rehearsal. But the machine is fairly in motion & (baning accidents) seems likely to do its work.”

"Honored by a visit from sweet, pretty Miss Minnie Vail this morn’g at breakfast, and by Mr. Lewis Rutherford this aftn, both seeking information about the C. M. A.—Mrs. R. has a brilliant but impoverished soprano, of course, who wants to be counted in.”

“C. M. A. committee this aftn. at 68 Wall St. All present. Our friend, Dick Tucker is a little troublesome and crotchety. It’s the way of his family. But he is not at all unreasonably pertinacious, or fractious.”

“Dr. Pech dined here. Enthusiastic about Miss Fanny Reed, whom he is coaching.”

“Long session this aftn. of our C. M. A. Committee. Its sky is still serene. Discussed details of printed programme.

“Dr. Doremus who is full of the grand ‘success’ of the Philharmonic, and of the Beethoven Centenary, which promises to make a great noise, in two senses.”

“Pech came in and dined—bringing proofs of his programmes. Which need a little correction. His ‘analysis’ of the Mass and of Oberon, is diffuse, but I [illegible] venture to attempt condensation.”

"Murray Hoffman—etc.—including Dr. Pech with whom I had much discourse of ‘business.’ I had spent part of last night correcting proofs of his ‘analysis’ of the 12^th Mass, and of Oberon, and had ventured on liberties with certain hurriedly written sentences that wouldn’t parse. He took this kindly, which would surprise those who think him opinionated, dogmatical, impatient of interference and hard to get on with. We have shut the door upon aspirants to the honor of subscribing—tho’ some $800.00 wants to come in. May we not regret the want of money!”

“Dr. Pech called this ev’g. Ellie has gone to opera (Ballo in Maschera—poor thing) with Mrs. Edw’d Cooper. She assisted at the two o’clock choral drill this aftn. and says the great Fugue is ‘going to go’ brilliantly. This drill was for alti alone. Pech is perturbed for want of a tenor for the Mass. Fritsche will be strong as Weber’s Oberon, but won’t suit the ‘Et Incarnatus.’ Rev. Cooke suits it exactly, but he referred the question whether he could properly appear as a solo singer, to the Rector, and the Rector thought he had better not. So Rev. Cooke is not to be had—for the Rector does not lightly change his opinion and Cooke is bound to abide by it.”

“Bored and bothered about C. M. A. tickets. I hear of several subscribers who have not yet received them. But Rev. Cooke, who is charged with their distribution, seems accurate in all details of business.”

“This ev’g Pech, Rev. Cook and Edm’d Schermerhorn, Committee of C. M. A. in the Library. Adjourned downstairs at nine and sat a couple of hours at Mrs. Ellie’s tea table in earnest consultation. She is a useful and suggestive assessor.

“Our undertaking has got on smoothly and famously well so far. I know that scores of people left the last Rehearsal delighted tho’ the performance was crude and without orchestral color and I have heard no unfavorable criticism. But we must expect our due share of embarrassments and contretemps. They will no doubt occur before long. Probably there will be trouble with certain of the paid chorus, and of the orchestra. Many of them are low caste people, not merely socially, but artistically, without culture, delicacy, or refinement. They can do their notes, with voice or instrument, and are pretty sure to recalcitrate against the conductor’s operating drill and requirements of special phrasing, emphasis, expression, especially as Pech is a stranger to them and somewhat autocratic. Collisions between him and some refractory pigheaded Vassal are very probable, and they may lead to some ‘strike’ or similar ‘unpleasantness,’ but that is rather improbable. Pech evidently thinks he has force or decision enough to put down any insubordination with a high hand, by summary process. I hope he is right.

“C. M. A. tickets are in demand. Speculators offer $10.00 a ticket for any quantity of them. If they could be bought at the music stores they would be a [illegible] at $1.50. But this affair is ‘Exclusive’ and therefore &c. In all matters of art this community is Bastian. It cares nothing for Mozart’s and Weber’s music, but is deeply interested in any ‘kid-glove’ performance, on the programme of which stand the names of Mrs. Astor, Mrs. Wm. Schermerhorn, &c as a ‘Ladies’ Committee,’ and to which people are admitted only by favor/”“This ev’g Pech, Rev. Cook and Edm’d Schermerhorn, Committee of C. M. A. in the Library. Adjourned downstairs at nine and sat a couple of hours at Mrs. Ellie’s tea table in earnest consultation. She is a useful and suggestive assessor.

“Our undertaking has got on smoothly and famously well so far. I know that scores of people left the last Rehearsal delighted tho’ the performance was crude and without orchestral color and I have heard no unfavorable criticism. But we must expect our due share of embarrassments and contretemps. They will no doubt occur before long. Probably there will be trouble with certain of the paid chorus, and of the orchestra. Many of them are low caste people, not merely socially, but artistically, without culture, delicacy, or refinement. They can do their notes, with voice or instrument, and are pretty sure to recalcitrate against the conductor’s operating drill and requirements of special phrasing, emphasis, expression, especially as Pech is a stranger to them and somewhat autocratic. Collisions between him and some refractory pigheaded Vassal are very probable, and they may lead to some ‘strike’ or similar ‘unpleasantness,’ but that is rather improbable. Pech evidently thinks he has force or decision enough to put down any insubordination with a high hand, by summary process. I hope he is right.

“C. M. A. tickets are in demand. Speculators offer $10.00 a ticket for any quantity of them. If they could be bought at the music stores they would be a [illegible] at $1.50. But this affair is ‘Exclusive’ and therefore &c. In all matters of art this community is Bastian. It cares nothing for Mozart’s and Weber’s music, but is deeply interested in any ‘kid-glove’ performance, on the programme of which stand the names of Mrs. Astor, Mrs. Wm. Schermerhorn, &c as a ‘Ladies’ Committee,’ and to which people are admitted only by favor.”

“Went to Chickering’s to see Pech (11 E. 14^th St.) but in vain. Long note from Miss Fanny Reed making certain sensible suggestions. Call from Miss Kate Wolfe, who thought she had subscribed through a little goose of a boy named Cook (son of St. Bartholomew Cook) who came to see me a few days ago—after the subscription list was closed--& wanted tickets which I could not give him. It seems the Wolfes had given him $100 or $150 and then supposed themselves entitled to tickets. Ellie was able to spare them two, but Miss Kate is much exercised about the matter. Everything seems to revolve around C. M. A. just now. A morning paper advertises $100.00 for three tickets! But it may turn out a fiasco yet.”

“Cooke, Edmund, & I agreed on a strong measure, viz.: a printed counterblast against concert room gabbling, very brief—only two or three sentences long—to be laid on each seat, the night of the concert.  If we can do anything material toward suppressing that fatal blight by which so much enjoyment of music is destroyed, we shall be great public benefactors.”

“Spent the afternoon [yesterday] at Steinway with Edmund, Rev. Cooke, & Dick Tucker, giving the final touches to our arrangements for the evening. Horace Binney [Jr.] & his daughter, Miss Maria, came from Philadelphia for the concert. My fair cousin, whom I have not seen since she was a child, has developed into a very charming young personage, quite pretty, with cordial kindly manners, and a strong feeling for music. Her face suggests her mother or her aunts Mary & Julia. She is free from primness, and I think I should like her if I knew her better. Both Miss Maria and her papa were delighted and astonished by Mozart & Weber. The Mass & Oberon were absolute novelties to both. They dined here, & went with us, as did our little Miss Emily.

We were at Steinway by twenty minutes before eight (concert 8 ½) but there was a line of carriages up 14^th St. & as far as Union Square & the room was three quarters full. We secured good seats, however. Jack Ehninger, Bradley, a Mr. Vail, Morgan from Trinity Church vestry office, & two or three more were on duty as ‘ushers.’ The crowd soon became dense, but there were seats for all. A newspaper snob would have called the assemblage ‘brilliant.’ I do not believe so many people of culture & refinement were ever before gathered under the ceiling of a New York concert room. The rule that the doors be closed during the actual performance of music was strictly enforced, & the printed posters & notices, requesting silence, proved salutary. There was very little gabbling. Even Murray Hoffman ‘held his breath for a time.’

I passed the word for a little applause when Pech should take his conductor’s place, and it was given quite heartily. The precaution was necessary, because Pech is still a stranger to a New York audience. The Berthold overture was well executed, & its choral finale (‘Rise crowned with light’) came out effectively. The ‘attack’ of the chorus on the first note (a difficult point to secure) was perfect. They came down upon it like a thousand of bricks. Johny, who is not given to enthusiasm, said it was the most splendid thing he ever heard, & that it sent a thrill through the audience.

As to the choral & orchestral work of the Mass, no words can do justice to it. Watson (Art Journal), a severe critic, ‘had heard nothing like it in America’—nor had I. Oberon went brilliantly—its music a fine contrast to that of Mozart.

I was overwhelmed with congratulations from scores of nice people on the success of the concert—congratulations which were due to Pech & so I told them. It was in fact among the finest performances of music (of its kind, & that a very exalted kind) ever heard in New York.

But there were defects we must try to avoid next time. The concert was too long (8 ½ to 11:15) & with very brief intervals or entr’actes. The soli, except Miss Fanny & Centemeri, were not strong enough for the orchestra & chorus. Hence M. Fritsch’s ‘Et Incarnatus,’ the gem of the Mass, & one of the most exquisite melodies ever written, produced little impression. So with the most elegant & artistic quartette ‘Quoniam tu solus.’ I fear Randolfi sang a little flat. The opening phrase of the Benedictus—one of the noblest & sweetest phrases extant—should have been rendered by a voice of more power than Mrs. Varian Hoffman’s. But the choral work was magnificently executed. Even that formidable fugue. I trembled for the chorus till its last chord came out—clean & full. In the Gloria, Sanctus, Credo, Et resurrexit, Et vitam, & Dona, the chorus was nearly perfect.

After the concert, and after seeing Mr. Binney and Miss Maria home to the Everett House, Miss Emmy, Johny, & I proceeded to Delmonico’s and had a light supper. Home about 1 A. M. I suppose I shall seldom if ever experience an evening of like enjoyment. The chances are that I shall never again hear this noble music so rendered. One result of hearing No. 12 with an orchestra is that it seems to us just now altogether impossible to find any Mass for a future concert that will bear comparison with it. My much loved Haydn’s 1^st, 2^nd, 3^rd, 6^th, & 16^th seem tame & flat.”

“In point of brilliancy and fashionable display no concert of the present season has equaled that given at Steinway Hall last night by this new and thriving organization. The vicinity of Steinway’s and Union Square was crowded with carriages for a long time before the hour of opening, which was fixed at half-past eight o’clock. All of the audience was in full dress, the ladies appearing to unusual advantage, and imparting to the whole affair an impression of style and refinement such as of late has become quite unusual at our public places of amusement. No tickets of admission were sold, and only the friends of the performers, the subscribing members and a few invited guests were admitted. But these were sufficient to fill the hall.

“The programme opened with a ‘Jubilee’ overture by T. Berthold. It is in many points a striking and attractive work, showing good orchestration, including some exquisite passages for the string instruments and a fugal movement of merit, and closing with the melody known as the Russian national hymn, given with full vocal and instrumental force. To this followed Mozart’s Twelfth Mass, which was sung entire without any of the omissions that are usually deemed allowable. The choruses were given with great spirit, and in general with admirable effect, the difficult fugue Cum sancto spiritu providing a much more satisfactory performance than is usual with this difficult movement. The entire mass was listened to with the most careful attention.

“The first part of Weber’s opera of ‘Oberon,’ introducing a number of choruses, arias and quartets, occupied the rest of the evening. This difficult music was also well rendered, though the chorus at times showed the timidity arising from a lack of sufficient rehearsal. The Overture was magnificently given, and the music frequently elicited warm marks of approval from the critical audience.

“The solos on this occasion were taken exclusively by members of the association; among whom we may be permitted, despite the privacy of the whole affair, to mention Madame Varian Hoffman, Miss Reed, Miss Tucker, Mrs. Payne and Messrs. Randolfi, Fritsch and Centemeri. Much of the success of this first concert, as indeed, of the whole affair, is due to the energy and ability of the conductor, Dr. James Peck, who is also to be recognized as the chief promoter of the entire organization.

“The second concert will take place on the first of next March, when Haydn’s Mass No. XVI, and Mendelssohn’s ‘Lobgesang’ will be performed.

“It is quite obvious that in the Church Music Association there is no lack of those great motive powers of money and enthusiasm which are so essential to the strength and permanency of such an enterprise as this. There is really nothing to prevent this association from taking the leading position among the choral societies of our city, and, in time, quite distancing or absorbing the other ones. Of course much labor and practice are yet needed to ensure the finish and crispness, to some extent, lacking in the choral singing of last night; but the Church Music Association has advantages which places it, in many respects, beyond competition.”

“Have spent the evening muddling myself over the disbursements of the C. M. A.—trying to find out exactly how far our estimates fall short of our actual expenditure for this first concert, & how much we shall have to ‘water the stock’ by admitting new subscribers. The case does not look badly. I still hear most enthusiastic & extravagant talk about Wednesday evening. Rev. John I. Tucker, of Troy (my old college enemy), came 150 miles to hear it, & says it was the grandest thing he ever heard.”

Commendation of Wednesday’s concert is strong and hot and plenty of it is diluted only by the two only reasonable criticisms before mentioned. Doremus talks to Pech’s friend Todd, as if he were jealous of the C. M. A. as a possible rival of the Philharmonic.

“Tis human nature, perhaps—if so,

Oh, isn’t human nature low.”

The organizations occupy fields wide apart. But Doremus is constructed on a small scale.

“The Church Music Association is an organization that has created quite a sensation among the fashionable people of the city. It is under the auspices of the clergy and laity of the Episcopal churches of this city in general, and of Trinity Church in especial. Upon its Executive Committee are Mrs. Astor, Mrs. Cutting, Mrs. Mott, Mrs. Sam Barlow, Mrs. Dix, and other prominent ladies.

“Its purpose is to organize a chorus from the most proficient amateurs, having regard also to the social position of its members. As amateurs are not altogether to be trusted, there is a nucleus of German professionals to give them steadiness and courage. In all there are about 150 in the chorus, and they are supported by an orchestra of some fifty pieces. Dr. Pech, an organist, of Trinity parish, conducts.

“They give three concerts; no tickets are sold. The affair is supported by the subscribers, of whom there are fifty, each subscriber paying one hundred dollars, and being entitled to twenty-three tickets to each concert. With these they invite their friends. On the ticket is printed ‘Evening dress’—an indication that the gentlemen are expected in dress-coats, and the ladies without bonnets. The ushers are gentlemen prominent in society. The place of holding the concerts is Steinway Hall. The music performed is a mass by one of the great composers, and a secular composition.

“On Wednesday last, the first concert of the season took place. A canvas covered way from the street to the entrance of the hall was erected, and the hall itself was carpeted for the occasion. There never was such an audience in it before. All fashionable New York was present in elegant attire, and as for the chorus it was resplendent in low-necked dresses and powdered hair, and smiled sweetly to its near relative, the audience. The clergy flecked the audience here and there in spots of blandly smiling black, and looked complacently upon their flocks. Ordinary concerts begin at 8 o’clock, but this one began at half-past 8, though it compensated for the late beginning by not getting out till half-past 11.

“Mozart’s Twelfth Mass and the first half of Oberon were sung indifferently well, though far better than any one who heard the rehearsals would have supposed possible. Though some two thousand persons were present, the concert was a private one, and is entitled to immunity from criticism, and we therefore make none. A marked feature of the occasion was the conductor, Mr. James Pech, ‘Mus. Doc. Oxon.,’ or Oxford musical doctor. His peculiarity as a conductor is that he kicks time. The method, though singular, might be pardoned as an eccentricity if he kicked at the same time with his beat; but as the two were seldom together, his orchestra, totally unused to such proceedings, were at a loss whether to give their attention to his feet or his hands, and, between the two, floundered badly in their time. Dr. Pech has also signalized himself by a printed analysis of the music, interspersed with biographical references to himself and his own emotions at various epochs of his life. Among the singular statements that he makes is one to the effect that if he had been more intimate with the chorus he would have left out a few bars from one of the movements; but we fail to do him justice; his own words alone are sufficient for that—here they are:

“‘Had our acquaintance with the highly-refined and cultivated circle, comprising those ladies and gentlemen who compose our very excellent chorus been of longer standing, we should have extended a judicious daring, and expunged the middle part of the [illegible], when our delight, we might say our raptures, would have been as perfect as intense.’

“And here is another bit of autobiography of refreshing sweetness and simplicity, and so artlessly introduced:

“‘The Et Incarnatus is exquisite. The flow of the melody is so graceful—the answers are so finely made in the several parts, and the whole is so divinely pathetic as well as simple, that (on hearing it, some years since, when conducting this Mass at the People’s Philharmonic Concerts, in Exeter Hall, in London, with Madame Catherine Hayes as Prima,) we thought it could not be exceeded, till we arrived at the Benedictus.’” [Reprint, DJM 02/12/70, p. 192]

"Our excellent friend Dr. Pech, tries one’s temper by his want of accuracy in money matters. Herr Fritsch (who sang the tenor part in Mozart’s No. 12 so badly) writes me that Dr. Pech promised him $50 for that evening’s work & has been putting him off with assurances of a speedy payment. We supposed he sang as an amateur, & Dr. Pech had no authority to promise him one cent. Most professional musicians have to live some parts of their lives from hand to mouth, & nearly all their lives in a Bohemian atmosphere. Hence they are apt to acquire loose notions about money dealings, & to be always ready with a promise to pay anybody anything. But however this may be, Pech must amend his ways, if a 2^nd season of the C. M. A. is to be attempted. Of course Fritsch must be paid, if pay were promised him." 

"Visit from Fritsch this morning. He returned my check—looks & talks like a gentleman & makes out a strong case against Pech of unauthorized & thoughtless talk which might very fairly be construed into a promise on behalf of the committee, and of a little want of frankness in talking with us about it."