Sacramento daily record-union. [volume] (Sacramento [Calif.]) 1875-1891, 1885-03-07
MUSIC AND DRAMA.
LIFE AND CLOSING DAYS OF A
POPULAR SONG WRITER.

What Henry Irving Says of Amer
lean Audiences-The Cantata OF
Observation-Disclosures Notes,
The following letter from Henry Irving
to the Key Note New York; has just been
published in that journal: "The dominant
characteristic of the American audience
seems to he iTnpartiality. They do not sit
| in Judgment, resenting as positive ofenses
lack of power to convey meaning or diverg-
ence of Interpretation Of particular charac-
ter or scene. understand that when they
do not like a performance they simply go
away, 50 that at the close of the evening
the silence of deserted house gives to the
management q verdict more potent than
audible condemnation. This does not APP
ply to questions of morals, which can he,
and are, as quickly judged here as else
where On this subject l give entirely the
evidence of others, for it has been my good
fortune to see our audiences seated till the
final falling of the curtain. Again, there
/ is a kindly feeling on the part of the audi
ence toward the actor as an indi
vidual, especially if he be
not complete stranger, which
is, presume, . part of that recognition Of
individuality which is so striking a char
acteristic in American life and customs.
Many an actor draws habitually portion
of his audience-not in consequence of
artistic merit-not from capacity to arouse
or excite emotion, but simply because there
is something in his personality which they
like. This spirit torcibly reminds me Of
the story told of the manager of one of the
old Circuits who gave as g reason for
the continued engagement Of an lmposei-
bly, bad actor, that he was kind 10 his
mother The thorough enjoyment of the
audience is another point u be noticed.
| Not only are they quick to understand and
appreciate, but there seems to be 4 genuine
pleasure in the expression of approval.
J American audiences are not surpassed in
quiclness and completeness of comprehen-
sion by any that | have yet seen, and no
actor need fear to make his strongest or
his most subtle effort, for such Is sure to
receive instant and full acknowledgment at
| their hands. There is little more
| than this to be said of the
| American audience. But short though
the record is, the impression upon the PLAYER
himself is profound and abiding, To de-
| scribe what one sees and hears over the
footlights is infinitely easier than to con-
yey an idea of the mental disposition and
feeling of the spectators. The house is
ample and comfortable, and the audience is
| I;r,Neal TO lao I n ar,I
gentlemen alike are mostly in morning
dress, distinguished in appearance, ard
| guided in every respect by u refined dec
Drum. The sight is generally picturesque.
| Even in winter flowers abound, and the
majority Of ladies have bouquets either
carried in the hand or fastened on the
shoulder or corsage. At matinee perform
ances especially, where the larger proper
| ton of the audience Is composed
of ladies, the effect e not less
| pleasing to the olfactory senses than to the
eye Courteous, patient, enthusiastic, the
American audience is worthy of ANY effort
which the actor can make on It's behalf,
and he who has had experience of them
would be an untrus!Worthy chronicler if
he failed, or even hesitated, 70 beag wit
ness to their intelligence, their taste, and
their generosity"
A POPULAR SONG WRITER.
Who, says writer on songs, is not "a
miliar with Old Uncle Neb," "Suwanee
Ribber," "Massa's in de Cold, Cold
Ground" cold Dog Tray" and go, Boys,
Garry me 'Long?" But nov many know
, anything of the life of the extraordinary
man who wrote them2 Stephen Collins
Foster was born in Pittsburg, PennsyI-
vania, July 4, 1926. He was a musician
almost from the cradle, and at the age of
seven had mastered the hageolet without
| a teacher. Every instrument in turn gave
up its sweetness to his touch, but he never
cared to become distinguished performer.
To compose the words and music Of a song
was his chief delight from boyhood. He
wrote the words first, then hnmmed them
over and over till he found notes that
/ would express them properly. His first pub
lished song appeared in 1872 when ne WAS
a merchants clerk in Cincinnati; a second
was published the same year in Baltimore.
! The success Of these impeled him to give
up business and devote himself to compo-
stion for a livelihood He returned to
Pittsburg, where he married. Mr.. Foster
| had a wide range Of culture, was an eager
reader, and proficient in French and Ger
man, and was somewhat of a painter. The
few who became his intinates epeal, most
enthusiastically Of his varied powers but
he was retiring and sensitive, He attempt
ed to illustrate one Of his pathetic songs
and handed the sketch with the manu-
script to his publisher, who looked at it
and said, pleasantly: "Oh, another comic
song, Mr.. foster" The artist tore up the
sketch and made no more pictures for
the public. 1t has been said that Fos-
ter received $4,000 for "Old Folks
at Home" This is incorrect, but one
publishing house paid him nearly $4,000
/ for those Of his compositions which we're
issued by them. His songs have been
| translated into most Of the European and
some Of the Asiatic languages. Mr.. Foster
spent his last years in New York, where
the most familiar sound was strain Of
his own music and the least familiar
sight face that he knew. He became
! somewhat improyident, and would sell
| for few dollars song that
| brought large sum to It's purchaser
1 Several Of his best were composed in
back room of an old downtown grocery,
on pieces OF brown wrapping paper. He
died in hospital to which he had been
carried from hotel in the Bowery, j4nu-
airy Is, 1854 OF "Old Dog Tray"
125,090 copies were sold in eighteen
| months.
VERDI AND GIL TRovAToRE"
While Verdi was putting the fnishnz
touches upon " Ii Trovatore," he was
visited in his study by privileged friend,
| who was one of the ablest living musicians
and critics The latter was permitted to
glance over the score and try the Anvil
| Chorus" on the pianoforte What do