[Chattanooga, no source, n.d.]

Another association which will prove of great benefit to its members, and pleasure to the city, is the newly organized Schubert Club, which will devote its time to the study of male choruses. There are already sixteen members in the club, which is unlimited, and all of the sixteen have good voices. Their director [Albert H. Morehead] is very efficient, besides being one of the most artistic singers it has ever been our good fortune to welcome to Chattanooga, and from the success which has greeted the club’s first appearance in public, we know he will lead it to great success.

The Schubert Club will probably entertain with a concert in the near future.

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400

Chattanooga Daily Times, Nov. 16, 1902

The first of the Chattanooga Music club recitals was enjoyed by the members of the club and their friends, Wednesday evening at Conservatory hall. The recital was a compliment of the Second Presbyterian church choir, being a repetition of the concert given by them some weeks ago.

The soloists, Mrs. E. W. Mattson, soprano; Miss Cliff Nay, contralto; Mr. E. C. Pendleton, tenor; Mr. Albert H. Morehead, tenor, and Mr. L. A, Warner, baritone, were all in splendid voice, and each number was excellently rendered.

A quintette from “The Sorcerer,” by Sullivan, was beautifully sung by Miss Mabel Whitice, Mrs. G. G. Whittier, Mr. Morehead, Mr. Pendleton and Mr. Warner.

The Pythian quartette gave a pleasing number, “In Absence,” by Buck, and “Gratias Agimus Tibi,” from Rossini’s “Messe Solenelle,” was exquisitely sung by Miss Nay, Mr. Morehead and Mr. Warner.

No more beautiful composition has ever been heard in this city than “Rebekah,” a scriptural cantata, which formed the second part of the program.

Mrs. Mattson, Mr. Warner and Mr. Morehead took the solo parts, while the choruses were well sung by the large choir of twenty-five.

Mr. Morehead’s solo was undoubtedly the finest part of the program. The beautiful work was given so artistically, with such delicacy and refinement, that he was enthusiastically encored.

The next meeting of the Music club will be held on Wednesday morning, Nov. 26, at 10 o’clock. An excellent program is being prepared by the club members.

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413

Chattanooga, No source, n.d.

An Interesting Bit of History

Mrs. Seth M. Walker sent the following bit of history which will be read with interest.

The name Kerenhappuch Turner, just given the little daughter of Mr. and Mrs. A. H. Morehead, recalls an interesting story of mother love and heroism during the revolutionary days.

Kerenhappuch and her husband, James Turner, were the parents of several daughters and one son, James. This young man was dangerously wounded at the battle of Guilford Court House, N. C. His mother, though a resident of Virginia, was at that time in Maryland.

Learning of her son’s condition, she rode horseback alone from Maryland to Guilford Court House, North Carolina, to take care of her wounded boy. She found her son raging with fever from his ghastly wounds and the ingenious mind of this great woman devised the following plan for his relief.

She bored holes in a tub and cut wooden  pegs with which to close the holes at will. Then placing the tub on the rafters of the rude cabin in which he lay, she placed him on a pallet on the floor, so that he might receive the cooling drip from the water above, anticipating, in theory, the ice-pack of modern science. After three months of careful nursing Kerenhappuch sent her son back to the war, one of the bravest soldiers of the revolution.

Kerenhappuch, through her daughters, Kerenhappuch, Sarah and Elizabeth, respectively, is the great-great-great grandmother of little Keren Morehead, and of Mr. Seth M. Walker, of this city, and Lieut. Richmond Pearson Hobson, of Merrimac fame.

A handsome monument to Kerenhappuch Turner on Guilford battle ground, six miles from Greensboro, N.C. ???? the truth of this story, and is the ???? monument in America erected to [a hero]ine of the revolution.

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401

[Chattanooga News, Nov. 13, 1902]

THE MUSIC CLUB

Last night the Music Club enjoyed a recital given by local talent—the choir of the Second Presbyterian church. The first part was a group of concert numbers, seven in number, rendered most acceptably by Mrs. E. W. Mattson, Miss Mabel Whitice, Mrs. G. G. Whittier, Miss Clift Nay and Messrs. Morehead, Pendleton, Warner and J. H. McLean.

The second part was the beautiful scriptural idyll, “Rebekah,” by Barnby. The full chorus furnished several beautiful numbers, and the solos, duets and trios were splendidly rendered.

A special mention is due Mr. Morehead who, as Isaac, sang one of the most exquisite songs ever heard here. It was “The Soft Southern Breezes,” and is a love song of great beauty and melody. He was in exceptionally good voice and those who have heard him many times pronounced this the best rendition he has ever given a song since coming here. The purity and sweetness of his tones were marvelous and his voice control was perfect.

The Music Club will give a number of fine recitals this season and those who wish to take advantage of them, either as associate or active members, may join the club at any time by leaving their names with Miss Noa or Mr. Morehead at Conservatory hall. The club has never been in a more prosperous condition and is a strong factor in musical affairs in this city.

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402

Chattanooga Daily Times, Apr 13, 1898

Mr. Albert Morehead, an excellent tenor singer and a fine musical director, who has been here the fast few rays, entertained the musical people of the city with a charming recital last night at the Unitarian church. Mr. Morehead comes from Cincinnati here, but he has sung and directed in oratorios and concerts at many leading cities. Last evening he was in excellent voice, and he thoroughly delighted the large audience present.

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403

Chattanooga News, Apr 11, 1902

ORATORIO CONCERT

LARGE AUDIENCE ENJOYED TREAT AT CONSERVATORY HALL

Splendid Work by the Soloists and Chorus—Mr. and Mrs. Ehrgott of Cincinnati Assisted—Many Congratulations

Last night an audience that did great credit to the musical taste of Chattanooga assembled at Conservatory Hall to enjoy the annual oratorio concert given by the Festival Chorus under the splendid leadership of Mr. A. H. Morehead.

The entire program was rendered by local talent with the exception of the parts taken by Mr. Oscar J. Ehrgott of Cincinnati and one accompaniment played by Mrs. Ehrgott.

The first seven numbers were from Haydn’s “The Creation” and the last seven were from Handel’s “The Messiah.” In the first part there were two numbers for the Festival Chorus, one number a trio with chorus parts and the remainder were solos.

Mrs. Walker was the first soloist, giving brilliantly and with beautiful execution the recitative—“And God Said, Let the earth,”—followed by “With Verdure Clad,” one of the most difficult and beautiful arias in the entire oratorio.

A trio—(a) “Most Beautiful Appear,” and (b) “The Lord Is Great,” was rendered by Mrs. Mattson, Mr. E. C. Pendleton and Mr. Ehrgott, with the chorus. The trio work embraced some of the most difficult passages in the oratorio and the voices were splendidly chosen. The full, rich soprano of Mrs. Mattson, the vibrant, sweet tenor of Mr. Pendleton and the robust, dramatic intensity of the barytone voice came out beautifully above the full chorus and they received continued and well merited applause at the close of the number.

It was Mr. Pendleton’s first venture into the oratorio field and his success last night was a pleasure to his friends and should spur him to continued endeavor in this highest form of music.

Mrs Dickey was in fine voice and gave “And God Said, Let the Waters,” and “On Mighty Pens,” with exquisite expression and brilliant execution. Her future as an oratorio singer is indeed bright.

Mr. Ehrgott was simply magnificent in his very difficult solos, which were sung with marvelous ease, perfect execution and exquisite tone. His is essentially an oratorio voice, and it is doubtful if in the entire country there is a more effective barytone in this work.

He gave three heavy solos in splendid style during the program, his numbers being:

Recit.—“And God Said, ‘Let the Earth’”

Recit.—“Straight Opening Her Fertile Womb.”

Air—“Now Heaven in Fullest Glory Shone.”—From the “Creation,” and “Why Do the Nations Rage,” from the “Messiah.”

Recit.—“Behold I show You a Mystery.”

Air—“The Trumpet Shall Sound.”

Mr. Morehead’s brilliant tenor voice was never heard to better advantage than in his numbers, the “Creation” numbers being:

Recit.—“And God Created Man.”

Air—“In Native Worth.”

And from “The Messiah: “Comfort Ye” and “Every Valley.” Like Mr. Ehrgott, Mr. Morehead is especially adapted to this work and he possesses every qualification for a splendid oratorio tenor. His work was something for Chattanooga to be very proud of.

Mrs. Walker’s “Messiah” number was one of the most familiar, because of its great beauty and melody, which have made it popular with singers always.

It was the fifth number of the second part and she again acquitted herself in a manner to call forth continued applause in her rendition of “I Know That My Redeemer Liveth.”

The Hallelujah chorus, according to a time-honored custom was given with every one in the house standing, except of course the accompanists. It was sung splendidly and was very effective.

Miss Noa playing the piano and Miss McMillan the Mason and Hamlin “Liszt” pipe organ accompanied, the choruses, and Miss McMillan accompanied the solos except one of Mr. Ehrgott’s which was accompanied by Mrs. Ehrgott. Too much praise cannot be given the accompanists who did such excellent work on such short notice, Cadek’s orchestra having expected to accompany until a few days ago when the opera house engagement this week was made and conflicted.

Mr. Morehead and his chorus have scored another notable success, and the congratulations tendered them last night were sincere and numerous.

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404

Chattanooga News, August 29, 1908

Prominent Musician to Leave This City

Mr. Albert H. Morehead will leave tomorrow night for Lexington, Ky, to become the manager of Templeman’s Music House in that city.

It is a position which he is pre-eminently fitted to hold, by reason of a thorough knowledge of musical instruments, and musical methods.

He is further equipped with pleasing address, which is sure to win friends, and a sound integrity which will make him valuable to his firm.

It is natural, when a leading musician leaves a place after nine years of activity, that the public should revert to the work he has accomplished. Mr. Morehead has unquestionably raised the standard of musical taste in Chattanooga and his efforts to that end, while they have met with the usual financial drawbacks that mark the artistic molding of public opinion have been entirely successful from a musical standpoint.

Mr. Morehead has been engaged in church choir work during his entire residence here, and choir music has taken on new life as the result of his fine leadership. Four years at the Second Presbyterian church, three and a half years at the Walnut Street Christian Church and the remainder of the time at the Second Baptist church, has brought hundreds in touch with his knowledge of the voice.

The singers who have thus been privileged to be under his excellent direction have gained that which is valuable to them for all future work.

Mr. Morehead has been at the head of the Morehead conservatory, associated with his wife, formerly Miss Bianca Noa, a brilliant pianist, whose education was completed in Berlin. She has been in perfect sympathy with his work and together they have taught very large classes.

Mr. Morehead purchased a large country estate, “Under the Cliffs,” at Flintstone, Ga., several years ago and they have resided there, finding the necessary relaxation from strenuous work in the quiet of the beautiful place.

Oratorio work has for many years been a deep study with Mr. Morehead and he has at various times organized splendid choruses, brought noted soloists to assist, augmented local orchestras and given very high grade concerts, all under his exclusive direction. From this it is evident that he is in no sense a circumscribed musician, but an all-around enthusiast, one imbued with the genuine love of his art.

Last Sunday Mr. Morehead for the first time made public his plans for the immediate future when he told his choir good-bye. Rev. C. B. Waller, who is one of his staunch friends and admirers, referred to the prospective loss of the choir director in heartfelt terms at the evening service, and announced that the last service (tomorrow night) would be given over to a special musical program as a token of appreciation.

In bidding his choir good-bye Mr. Morehead said:

To My Faithful Choir, Greeting:

I have called you together to say “good-bye,” for this will be our last rehearsal. The old Latin proverb, “Tempus Fugit,” surely applies to us. A year almost has passed since I came to you, and we have worked hard, you and I. Have the results been worth the sacrifice? You alone can say. Order is heaven’s first law and music its language. I thoroughly believe that and the beautiful sentiment has guided me in my relations to you. I give to the choir my loved “Baumback Collection.” They have grown old in the Master’s service. If you find aught in me to criticize only turn to page 6 of the collection and reflect. I wish to thank that good woman and mother, Mrs. Jett, for the sweet and Christian manner she has proved the title I give her, and then our beloved pastor. God give grace that he may tell to the people in his own way the “unsearchable riches of Christ,” and thus in closing, may I only quote that beautiful Jewish symbol of love, “Mizpah.”

There was not a dry eye in the little group that heard this little talk. A bigger heart than the speaker’s was never placed in a man and only those who are intimately associated with him know the real sincerity and affection that actuated this “heart to heart” occasion.

Tomorrow night Mr. Morehead will leave for his new field of labor and Mrs. Morehead with their little son, James Turner, will follow later and also their wards, the Misses Stock, who make their home with them.

It is not going to a strange place, however.

The little son is a namesake of his honored grandfather, James Turner Morehead, Governor of Kentucky and United States Senator from that State. It is especially suitable that the little man should be reared in the State of his ancestry and good wishes will accompany the family as they take up their abode there.

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405

Chattanooga News, February 10, 1906

Choir Concert

Mr. A. H. Morehead, who has so frequently demonstrated his ability as a conductor of choruses, was again congratulated on Thursday night by the audience that heard the program given by the Walnut Street Christian church choir.

Mr. Morehead is a thorough musician with splendidly directed energy that tells forcibly in his direction of singers. In his previous chorus work he has also directed an orchestra, but upon this occasion a piano was used and the accompaniments were played skillfully by Mrs. Morehead, Miss Ethel Allin and Miss Lou Ward, who is the organist of the church.

The ensemble work of the evening merits the highest commendation.

The first choir number was “Lo! Day’s Golden Glory” from Barnby’s “Rebekah.” The fine coloring and excellent shading of the various parts were beautiful, and the fine balance of the parts was especially noticed. “Here Hope’s Consoling Ray” (Bel Raggio from Rossini’s “Semiramide,” was rendered with exquisite effect by Miss Patton and the women’s chorus. The flexibility of the soloist’s voice was never more marked and she executed the intricate cadenzas with artistic ease.

The ensemble work was delicate and harmonious and the same chorus rendered later in the program Dudley Buck’s arrangement of “Annie Laurie,” Mrs. Spence Stone singing the leading contralto part. This number was a great favorite with the audience.

“O, Hush Little Girl,” by Mr. Morehead and a male quartette, Messrs. Arledge, Clemons, Stone and Becker, was a pleasing variation, and it was delightfully sung. The male chorus sang “The Rosebud,” in which some of the most artistic shading of the program appeared.

“Gratias Agimus Tibi,” a famous and popular trio from Rossini’s “Messe Solonelle,” was well rendered by Miss Patton, Mr. Morehead and Mr. Warner.

The closing chorus numbers were probably the best of the program. “Most Beautiful Appeal” and “The Lord is Great” from Haydn’s Creation were rendered with vigor and excellence of interpretation that marked them as an achievement of which both director and chorus has every reason to be proud.

The solo and obligato work was ably done by Miss Patton, Mr. Arledge and Mr. Warner in these two numbers.

The ensemble numbers were interspersed with several very well rendered solos. In a little talk before the program began, Dr. Boswell asked that there be no encores or the program might have been lengthened considerably, so delighted was the audience with the various selections.

Mr. Arledge sang “I Plucked a Rose” and his pure, sweet tenor voice was well suited to the pretty song. Miss Allin played a violin obligato that added much to this number.

Miss Allin played a violin solo after this, giving “4th Concerto” by Fertz, and she fully sustained her reputation as one of the really talented young musicians of the city.

Mrs. Stone gave a rendition of a difficult number, which showed close and conscientious study. Her number was “The Lord is Risen,” from Sullivan’s “The Light of the World.”

Mr. Becker received warm applause after singing a bass song, “The King and Me.”

Miss Patton, the remaining soloist of the evening, was in splendid voice, and she sang a favorite song “The Barque of Dreams” by Gray. Miss Allin in a violin obligato, played brilliantly and the number was greatly liked.

All told, there have been few as creditable concerts given by local talent.

Mr. Morehead has in this choir the nucleus for a fine choral society, an organization which every city should have. No doubt there are a great many good voices that are not heard at all because they have not had sufficient training to be regularly employed in the city churches. Several attempts have been made to organize a choral society, but so far nothing definite has been done. After the splendid work of this chorus on Thursday night would be an excellent time to make a move in this direction.

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406

Chattanooga Times, Friday, December 7, 1900

MID-WINTER FESTIVAL A BIG SUCCESS

LARGE CULTIVATED AND ENTHUSIASTIC AUDIENCE

SPLENDED ARRAY OF EXCELLENT MUSICAL ARTISTS

The Orchestra a Revelation and the Big Chorus a Perfect Wonder Under the Able Leadership of Mr. Morehead.

That the Midwinter Festival is an assured success was demonstrated last night at the Auditorium curing the presentation of the first program of the series.

The audience was large, cultured and enthusiastic. The singers from abroad were given a flattering ovation, and the local singers were heard with pride and pleasure.

Mr. Morehead added to his already established laurels as a conductor, by the easy and accurate manner in which he controlled the chorus of 150 voices and the orchestra of about thirty pieces. The few times when there occurred a slight difference in tempo between singers and players were easily overlooked by critics present, considering the fact that the entire aggregation had never been together before. With the fine training of the chorus and the experience of the players, the two remaining concerts will no doubt be entirely free from defects of this nature.

Mrs. Mamie Hissem De Moss is a singer of splendid voice and wonderful magnetism. Her first selection  was a difficult one from “The Magic Flute,” Mozart. It brings out to perfection the brilliant voice and her execution of the most difficult passages is a revelation to lovers of artistic work.

Mr. Ormsby’s friends felt that he had done no better work since he came to this city than upon this occasion. He very kindly substituted for Mr. McKinley, upon two days’ notice, and no tenor could more beautifully or artistically have sustained the difficult parts assigned to that voice throughout the program. For the first part, Mr. Ormsby sang “Lend Me Your Aid,” from the “Queen of Sheba,” by Gounod, with splendid style and expression.

Mr. Ehrgott, of Cincinnati, appeared first in a German love song, “Upon that Day,” by Mashner, and his voice was very pleasing. It is more of a basso than a baritone, and he is of excellent range and quality. In the oratorio numbers he did some very fine work, his voice easily filling the large auditorium room.

The orchestra gave two very enjoyable numbers, the “Coronation March,” Meyerbeer, and the “Invitation to the Dance,” Von Weber.

The beautiful sextette from “Lucia,” was splendidly rendered by Mrs. Walker, Mrs. Pratt, Mr. Ormsby, Mr. Pendleton, Mr. Smith, Mr. Warner and the chorus.

The very difficult soprano part was brilliantly rendered by Mrs. Walker, and the harmony throughout was very marked.

A quartette and chorus number, “Crowned with the Tempest,” and “Praise ye the Father,” were the choruses of the first part, and the work done was the best ever heard in this city. The parts are splendidly balanced and the entire chorus is under the absolute control of the director.

The second part embraced seven selections from the oratorio of Elijah, by Mendelssohn. The solos were sung by Mr. Ormsby, Mr. Ehrgott, Mrs. De Moss, Mrs. Walker, and the arias and recitatives were given in the most artistic manner.

“Hear Ye, Israel,” by Mrs. De Moss, was exquisitely sung.

Mr. Ormsby’s aria, “If with All Your Hearts,” which is a favorite number with oratorio lovers, was given with all the beauty and power of which this singer is so capable.

“Oh, Lord, Thou Hast Overthrown Thine Enemies,” with solos by Mr. Ehrgott and Mrs. Walker, was one of the best numbers rendered by the chorus.

A trio, “Lift Thine Eyes,” was sung by Mrs. Walker, Miss Brown and Miss Stock. It was sung without accompaniment, and with exquisite harmony and expression. It is an extremely difficult trio.

The closing number, “He Watching Over Israel,” gave the desired finish to a splendidly arranged program. The Oratorio numbers were especially well chosen, being the most beautiful from the “Elijah.”

The piano accompanists of the evening were Miss Bianca Noa and Mr. Roy Lamont Smith.

The concert tonight will begin at 8 o’clock, promptly, as Mrs. De Moss will have to leave at 9:30. The program will be as follows:

PART I.

Inflammatius, from “Stabat Mater”                                Rossini

Mrs. De Moss and Festival Chorus

Faust—Selection                                                Gounod

Orchestra

Show Me, Almighty                                                Mendelssohn

Mr. Ehrgott

Concerto, D Minor, op. 49                                        Mendelssohn

(Adagio, Presto, Scherzando)

Mr. Nelson and Orchestra.

Hosanna                                                        Granier

Mr. Ornsby

Gypsy Dance No. 1                                                Nachez

Mr. Cadek

(a)—First Spring Day (unaccompanied)                        Mendelssohn

(b)—O, Hush Thee, My Baby (unaccompanied)                Sullivan

(c)—Barcarolle (with orchestra)                                Unknown

Festival Chorus

Maids of Cadiz                                                L. Delibes

Mrs. De Moss

Overture—William Tell                                        Rossini

Orchestra

PART II

The Messiah—Handel

Overture                                                        Orchestra

Aria—“Rejoice Greatly, Or, Daughter of Zion”                Mrs. De Moss

(a) Recit—“Comfort Ye”                                        Mr. Ormsby

(b) Aria—“Every Valley”                                        Mr. Ormsby

(a) Recit—“Thus Saith the Lord”                                

Aria—“But Who May Abide”                                        Mr. Ehrgott

“And the Glory of the Lord”                                        Festival Chorus

“Why do the Nations so Furiously Rage Together”                Mr. Ehrgott

“Worthy is the Lamb that was Slain. Amen.”                Festival Chorus

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407

Chattanooga News, April 10, 1901

THE BENEFIT CONCERT

The concert for the benefit of Erlanger hospital, given last night at the Auditorium, was a flattering success and collected great credit upon the promoters of the entertainment.

The decorations were unique. Just at the rear of the platform a curtain was stretched and up9on it was a graceful drapery of beautiful flags.

The chairs occupied by the chorus were arranged in a semi-circle before this curtain and the twenty-one ladies in pure white gave a very artistic effect to the scene.

Mr. A. H. Morehead, the director of the chorus, has trained it to a point of perfection extremely satisfying to musical critics. The shading was so delicate, the harmonies so exquisite, that it was an artistic treat of the highest order to listen to the numbers of the chorus.

“The Blue Bells of Scotland,” “Comin’ Thru’ the Rye,” “The Owl and the Pussy Cat,” “Annie Laurie,” and “Auld Lang Syne” were the selections, and they were sufficiently varied to delight the audience and elicit continued applause. “Annie Laurie” introduced an obligato for alto voices with humming accompaniment that was especially effective. All of the chorus numbers were sung unaccompanied.

Mr. Josef O. Cadek was the first soloist, and in harmony with the idea of the evening—to render the “good old tunes”—he played an American Rhapsody embracing “Ben Bolt,” “Suwanee River,” and other equally familiar airs. In response to an encore which would not be quieted, he played “The Mocking Bird.” All of his numbers were accompanied by Mrs. Cadek and were exquisitely given.

Mrs. A. S. Dickey sang very sweetly “Bonnie Sweet Bessie.” It is safe to say that the pathetic ballad was never rendered to a more sympathetic audience, nor in a more delightful manner. It contains the ring of pathos that reached the heart and the singer’s voice was charmingly adapted to the song. She gave for an encore “Believe me if all those endearing young charms.”

Miss Reita Faxon sang “Twickenham Ferry” in her most pleasing manner. Miss Faxon’s voice is adapted so admirably to different styles of singing and she lends herself so completely to operatic air or oratorio number which she is singing, it always seems at the time to be the one which especially suits her. As she rendered the pretty song it delighted every one. “Then You’ll Remember Me” was given as an encore, sung with beautiful voice and expression.

Miss Bianca Noa gave the piano numbers of the evening and accompanied the soloists. She selected from the repertory of long ago three pieces which were in their day extremely popular, and were played by all musicians who made any pretensions to musical ability—“The Maiden’s Prayer,” “Monastery Bells” and “Tam O’Shanter.” They revived tender memories in the hearts of the older people of the audience and were so beautifully played that the younger people present felt that they had been defrauded of their rights in having such music laid on the shelf.

The programs have been fully described in these columns, but deserve another mention. They were lithographed, illustrated programs, done by Capt. L. T. Dickinson and are preserved as souvenirs by all who secured them. They are the most artistic programs ever used in the city. They were sold at 5 cents each and brought quite a neat sum into the treasury of the cause for which the concert was given.

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84

Chattanooga Daily Times, June 18, 1905

NOTABLE CONCERTS GIVEN BY TWO LOCAL SCHOOLS

PUPILS OF SOUTHERN CONSERVATORY AND CADEK CONSERVATORY GIVE PERFORMANCES FAR ABOVE USUAL STANDARDS.

Those concerned in the aesthetic phase of life, and especially the patrons and friends of the Southern Conservatory of Music have reason to congratulate Mr. Albert H. Morehead on the highly artistic nature of the closing exercises of that institution on last Monday, Tuesday and Wednesday nights, at the Auditorium.

Monday night’s exercises were entirely free to the public and consisted of a general recital on the part of both vocal and piano pupils.

Tuesday night a small admission was charged and the evening devoted altogether to selections from oratorios by the great masters. These were given with full orchestral accompaniment, conducted by Mr. Morehead.

The directing of the orchestra and singers and the interpretation of the different numbers by Mr. Morehead was a revelation to all who were present, and Chattanooga is fortunate in possessing a musician and master of so great skill and discrimination.

The work Mr. Morehead is doing is of inestimable value both to the singers, who took part and were given the opportunity of singing such great works with a director who is an authority on the subject and to the audience, who surely appreciated not only the beauties but also the educational value of such music.

The singers, although unaccustomed to orchestral accompaniment sang with great composure, and the concert throughout was so finished as to make me doubt  that it was given by amateurs.

The first number was from “The Messiah,” “Comfort Ye,” and “Every Valley,” splendidly sung by Mr. N. C. Napier of Lafayette, Ga., who holds the position of tenor soloist in the Second Presbyterian church in this city.

Mrs. J. Spence Stone sang the beautiful aria, “O, Thou That Tellest,” from the Messiah. She has a very sweet contralto voice, and she sings easily and with good enunciation.

Mrs. A. S. Dickey’s beautiful voice is never heard to such advantage as in oratorio work. Every fine point is so perfectly brought out, her style is so good and her singing so refined that few even of the large cities can boast a better oratorio singer.

She gave a brilliant rendition of the Recit. “Open Unto Me,” and aria, “I Will Extol Thee,” from Eli by Costa.

Miss Margaret Shalliday has an exquisite contralto voice of great power, which she handles with perfect ease.

One of the most finished numbers on the program was her interpretation of “O
Rest in the Lord,” from Mendelssohn’s “Elijah.”

Miss Bessie Patton sang “There Are They,” from “The Holy City,” and the flexibility of her beautiful voice and ease with which she sang made a most artistic rendition of the brilliant aria.

Three numbers from Haydn’s “Creation” were given.

The first “With Verdure Clad,” was splendidly sung by Mrs. W. H. McCarthy, who has a fine soprano voice and shows excellent training.

The fine tenor quality of Mr. Joseph Arledge’s voice have made him very popular, although he has sung in public very seldom. He sang “And God Created Man,” and “In Native Worth.”

One of the most beautiful and difficult oratorio selections ever written Is “On Mighty Pens,” which was brilliantly sung by Miss Ada Stone, as the finale number on the program. The clearness and delicacy  of the little runs with which the piece abounds, and the ease and precision throughout added new laurels to this very popular young singer.

On Wednesday night the entire program was devoted to operatic selections, again with orchestral accompaniment.

The versatility of the young singers was shown in the ease with which they sang this entirely different style of music.

The first number was the duet from “Martha,” sung by Mr.. Joseph Arledge and Mr. Henry Becker, the pure tenor and deep vibrant bass blending beautifully together.

“Liete Signor,” from Huguenots, was sung by Mrs. J. Spence Stone, the difficult parts being especially well sung. Mrs. Dickey again gave an unusually finished interpretation, her selection being “Ernani Involami,” from “Ernani,” and the brilliant finale eliciting enthusiastic applause.

Mr. Bryson Webb’s exquisite baritone was heard to advantage in one of the most pleasing numbers, also from “Ernani,” the scene and aria “Infelice.”

Miss Bess Patton gave a brilliant interpretation of “Una Voce Poco Fa,” from the Barber of Seville, one of the most celebrated soprano arias.

The difficult cavatina from “Il Trovatore,” “Tacea la Notte Placida,” was exquisitely sung by Miss Ada Stone.

Miss Margaret Shalliday sang the “Flower Song,” from Faust, delightfully and Miss Effie Stone, who sank [sic] “The Jewel Song,” was a revelation to her friends. Her beautiful soprano voice shows constant improvement, and has a very dramatic quality. The tender melody of “The King of Thule,” was given with exquisite simplicity, and the surprise and delight over the jewels were brought out in a most artistic manner.

Rev. Ira M. Boswell in his usual happy manner made a short address and presented the medals for the vocal department, one to Miss Bess Patton and one to Mr. Henry Becker.

These closing concerts of the Southern Conservatory of Music mark an epoch in the musical life of the students of this city.

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408

Chattanooga News, Apr. 3, 1901

A PLEASANT CONCERT.

A program of rare enjoyment and refinement marked the first annual concert given by the members of the Second Presbyterian church choir last night. Owing to a rule which excludes pay entertainments from the auditorium of the second church, the concert was given at the Unitarian church, and an appreciative audience assembled despite stormy weather.

Mr. Albert H. Morehead, who is the conductor of the choir, has arranged many brilliant and effective programs since he became identified with the musical interests of this city, but nothing he nor any other conductor has arranged has afforded more enjoyment by the choice of the selections nor shown more ability than upon this occasion.

It was a happy blending of sacred and secular numbers, each one contributing to a perfect whole.

The first number was “List the Cherubic Host,” from “The Holy City,” by Gaul, sung by Mrs. Mattson, Mr. Lon Latimer and female chorus. It was an exquisite rendition of one of the most beautiful and popular of modern Oratorio numbers. Only faithful work could have accomplished so satisfactory a result and the voices were as one in harmony and obedience to the baton.

Mr. Morehead in a tenor solo, “Good Night, my Sweet,” by Tully, was accorded an ovation, and only the rule of the evening forbidding encores prevented the audience from compelling another song. His pure, vibrant voice was at its best and the selection was suited to it perfectly.

A male chorus, “Remember Thy Creator,” by Rhodes, was rendered by eight voices, and was one of the best selections of the program.

The full chorus of twenty-four voices gave “For He Shall Give His Angels,” from the “Elijah,” a familiar selection with music lovers, and one which tested the training of the choir.

Miss Bianca Noa was the accompanist of the evening, filling the place in true musicianly style. At this point she rendered a brilliant piano solo, a march by Alexis Hollander.

Miss Noa’s execution is exceptionally fine and her interpretation original and fascinating in solo work, while as an accompanist she inspires confidence in the singers, and admiration in the audience.

A group of songs by the Madrigal Quartette were perfect gems, claiming a large share of the honors of the evening. The quartette is composed of Miss Lois Stock, soprano; Miss Marie Stock, contralto; Mr. A. H. Morehead, tenor; Mr. L. A. Warner, baritone.

They have sung together frequently and are earning an enviable reputation for the harmony of their voices, which is the more apparent as they sing unaccompanied. “Sleep While the Soft Evening Breeze,” an exquisite serenade; “The Cuckoo Sings in the Poplar Tree,” a descriptive lyric; and “You Stole My Love, Fy Upon You, Fy,” a rollicking song with a vein of humor entwined, made a most bewitching group. The phrasing in all of these songs is noticeable, and their rendition was applauded.

Mrs. E. W. Mattson was never heard to better advantage than in Eckert’s “Swiss Echo Song.” The flexibility of her voice and the ease with which she sung the difficult passages were a source of gratification to her many admirers present. The sweet, bright song was done full justice by this popular soprano.

A number which found many enthusiastic admirers as any on the program was “The Image of the Rose,” by Reichardt, sung by Mr. Crawley Pendleton and male chorus. It was never heard in the city before, and is one of the most beautiful songs ever given a place on a concert program. Mr. Pendleton’s full, rich tenor found a perfect setting in the accompaniment of male voices, and in the solo parts he was heard to fine advantage. The arrangement is a most effective one and its rendition was delightful.

The last number again brought out the beauty of the full chorus in a splendid, inspiring selection by Gounod, “By Babylon’s Wave.” Its exquisite harmonies, with a climax of great beauty and strength lift the audience to an exalted state, and the warmest congratulations were showered upon Mr. Morehead and all who assisted him. Upon every side were expressed desires that the program might be repeated at an early date, when the weather would enable a larger audience to enjoy the rare treat.

Later on the same page:

“The Woman’s chorus will meet on Thursday afternoon at 4 o’clock sharp at Mr. Morehead’s. A full and prompt attendance is urged.”

                “BIANCA NOA, President.”

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409

Chattanooga News, August 31, 1908

For Prof. Albert H. Morehead

The service at the Long Street Baptist Tabernacle last night was in the nature of a farewell to Prof. Albert H. Morehead, the choir director, who left late last night for his new field of labor in Kentucky. A large audience was present and Dr. Waller opened the event and Dr. Waller expressed the regret of the church and congregation upon losing the services of Prof. Morehead. The choir rendered several special numbers very delightfully, the musical part of the service being as follows:

Anthem                        “Praise Ye the Father”

Male Quartette                “Speed Away”

Messrs. Morehead, Eats, Wease and Clark

Anthem, “Gloria”                Mozart

Solo                                Pro. Morehead

Anthem                        “Spirit Immortal”

Solo and Obligato                Lon A. Warner

Dr. Waller delivered an impressive sermon on the importance of accepting salvation and there were a large number of requests for prayer.

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410

Chattanooga News, December 28, 1902

A SPLENDID RECITAL

The first recital given by the faculty of the Southern Conservatory of Music since it was established was given last night at Conservatory hall. If a large audience, sincere appreciation and hearty commendation at the close are any indication of the success of this Institution, it is already assured. There was not a dull number on the programme, not one that was not well rendered.

Little Miss Irene Whiteside, the daughter of Mr. and Mrs. Glenn Whiteside, was first on the programme. This little lady, appearing in public as a pianist for the first time, after three months’ studying with Miss Bianca Noa, received a well deserved ovation. She was easy and graceful in her solo, “Liedchen,” by Novara, and gives promise of being a fine musician. She has a sweet, dainty touch and was remarkably free from nervousness.

Miss Delphine Bradt gave the next number, a violin solo, accompanied on the p piano by Mr. Cadek. She is full of soul and her shading is especially fine. She played “Andante and Rondo” by Daube [Johan Michael Daube, 1733-97].

The first of Mr. Morehead’s pupils to sing was Mr. Leslie Fowler, the popular young tenor, who gave an oratorio number, Recit. “And God Created Man” and Aria, “In Native Worth,” from “The. Creation” by Haydn. Mr. Fowler’s voice is one of splendid promise. His compass, enunciation and strength are unusually good. He has already attained an enviable place for a young singer. His voice is exceptionally sweet.

Miss Lucile Oslin, in a piano number, “Gypsy’s Dream,” by Kalling, did some fine work, showing talent and ambition. Her left hand execution is unusually strong and even.

Master Warren Convense, the second of Mr. Cadek’s pupils to appear, was a credit to his teacher. He draws a clean, even bow and has the requisites to become a splendid violinist. He played “Oberon Fantasie,” Daube.

A duet was the next number. It was sung by Misses Hitz and Shattles, and they gave an old favorite with musicians, “I Would That My Love,” by Mendelssohn. These young girls have voices which surprised the audience. They blend beautifully and are extremely pleasing.

Miss Fanny Mills next played a ‘cello solo, “La Cinquantaine,” by Gabriel Marie. Only those who have heard this gifted girl handle the almost human instrument can appreciate her beautiful and artistic work. She was accompanied by Mr. Cadek and the number was exquisite. She was encored, but did not respond.

Mrs. Mildred Young was unavoidably detained, and her piano solo was omitted, to the regret of her friends.

Mrs. A. S. Dickey, who has taken op oratorio study with so much enthusiasm, sang “Rejoice Greatly, O Daughter of Zion,” from “The Messiah,” Handel. She executes beautifully and possesses in a large measure the flexibility necessary for the difficult vocalization of oratorio numbers.

Two fascinating little numbers were played by Miss Rose Bukofzer. She is a pianist of more than average ability, one who is sure to attain prominence in the musical realm. Her selections were especially pretty, “Rondo d’Amour,” by Westerhout [Nicola van Westerhout 1857-98], and “Spring Song,” by Liebling.

Miss Edith O’Neill accompanied the vocal numbers. She is an accompanist of unusual ability, one whom the singers of the city are learning to appreciate greatly the more they know of her excellent work.

A peculiarly happy arrangement is Mr. Cadek’s habit of accompanying his own pupils. It is a rare privilege to study with such a teacher and he gives courage to his pupils by his sympathetic accompaniments. No one is quite so well fitted to understand every delicate shading in the work as one who has taught the player, and a violinist who plays the piano is an ideal accompanist. Mr. Cadek’s pupils evidence masterly teaching.

Miss Noa is to be congratulated upon the universally good playing done by her piano pupils. They show that all the musical temperament they possess is given a chance to develop, and that her method prepares pupils to be musicianly and also very entertaining, a consummation not always accomplished.

Mr. Morehead has brought out some of the best young voices in the city as well as numbering among his pupils several experienced singers who are taking up some special branch. He is especially fine in oratorio training, and his own work along that line is greatly admired and appreciated by the music lovers of the city. All of these teachers have large and promising classes, and now that they have been inaugurated, the recitals at the Conservatory of Music will be anxiously anticipated.

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412

[no source, no date]

Mr. Albert H. Morehead, on account of the sickness of his ward, Miss Marie Stock, has moved to Howard street, the old Eshleman property, at Ridgedale.

On Thursday evening the second annual concert of the Second Presbyterian church choir will be given at Conservatory hall, Mr. Albert H. Morehead, conductor. A program of rare beauty has been arranged, the first part to consist of solos by Mrs. E. W. Mattson, soprano; Miss Clift Nay, contralto; Mr. E. C. Pendleton, tenor, and Mr. Lon A. Warner, baritone. A trio by Rossini will be sung by Miss Nay, Mr. Morehead and Mr. Warner. The Pythian quartette will sing Buck’s “In Absence,” and the quintette from “The Sorcerer,” by Sullivan, sung by Miss Mabel Whitice, Mrs. G. G. Whittier, Mr. Morehead, Mr. Pendleton and Mr. Warner, will add greatly to the attractiveness of the program. “Rebekkah,” a scriptural idyll by Mr. Barnaby, arranged for soprano, tenor and baritone solos and chorus, will form the second half of the program. This work, founded on the story of Rebekah at the well, is one of the most exquisite compositions ever heard in this city, and will be presented in a most artistic manner on Thursday.

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411

Chattanooga News, Nov. 13, 1899

A SPLENDID DIRECTOR ENGAGED BY THE FIRST BAPTIST CHURCH.

Prof. Albert H. Morehead has been engaged by the music committee of the First Baptist church to take entire charge of the music of that church and Sunday school. He will sing solos at each church service, direct the choir and organize a chorus for more splendid work this winter.

The church is to be congratulated upon the acquisition of this talented director, whose singing is delightful, and whose ability as a director probably excels that of any director that ever located here. He is creating much enthusiasm in local musical circles.

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414

Chattanooga News, May 28, 1901

MR MOREHEAD’S CONCERT

Mr. A. H. Morehead tendered a concert last night at the Auditorium, the participants being four organizations of which he is director: Mrs. E. W. Mattson, Mrs. A. S. Dickey, Miss Bianca Noa, Mr. J. G. Cadek and Mr. Clark Bradford, soloists, and Cadek’s orchestra.

The program contained twelve numbers, and a note after the last selection stated that on account of the length of the program encores would be acknowledged only. This rule was observed by the audience, although after Mr. Cadek’s solo, he was repeatedly recalled to receive the ovations of those present.

The “Overture to Martha” was the first orchestral number. The orchestra was augmented by three additional violinists, Mrs. Putnam Morrison, Miss Tom McConnell and Miss Ethel Allin, and Mr. Duncan, flutist, and the aggregation gave great pleasure by its rendition of the first number and the seventh number, “Love’s Conflict.”

The Schubert Club is too well known to need an introduction to a Chattanooga public. Their concerts have proven among the musical feasts of the past eighteen months to be extremely satisfactory to lovers of artistic singing. They gave a double number, “Oft When Night,” and “Where Would I be?” both splendidly rendered. The blending of voices in this club is especially pleasing and Mr. Morehead has each voice under absolute control.

The Second Presbyterian choir gave one of Gounod’s most effective choruses, “By Babylon’s Wave.” It was one of the most beautiful numbers of the evening, the shading being exquisitely delicate and true.

To those who admire a combination of women’s voices, the two numbers by the woman’s chorus were very pleasing. The altos did some excellent work in the first number, a very pretty arrangement of “Annie Laurie,” which was sung unaccompanied. The second number was the “Spinning Chorus,” from the “Flying Dutchman,” by Wagner. The ladies probably made their best record in this selection, which showed effectively the months of practice they have had together. They had the difficult number well in hand and did some of the best work of the evening on it.

The Gesang Section of the Turn Verein, the fourth organization under Mr. Morehead’s directorship, gave the ninth number, a German song by Abe, “O Lieb Nun Kommit die Rosenzeit.” It was well rendered and received applause.

The soloists of the evening presented a variety of selections that were greatly enjoyed and enthusiastically applauded.

Miss Bianca Noa played exceptionally well the “Ride of the Valkyries,” one of Wagner’s best known and most difficult compositions. She played without notes and gave a brilliant and beautiful rendition of the selection.

Mrs. A. S. Dickey delightfully sang “With Verdure Clad,” from the “Creation.” Her voice has improved wonderfully under the careful study she has recently given oratorio work, and she sings with ease and smoothness infinitely pleasing. Her enunciation is especially commendable, each word being clear and perfect, and free from all affectation.

Mrs. E. W. Mattson gave a solo which was charmingly executed, “Swiss Echo Song,” by Eckert. It is not only a difficult song to sing, but one which would be far from pleasing sung by an amateur who could not bring from it all of its melody and artistic beauty. Mrs. Mattson drew from it all of this and added the magnetism of her personality, which is always felt by an audience in this city, where she is so popular.

“Schubert’s Serenade,” from the always welcome bow of Mr. Cadek, proved to be a number that demanded more, but the audience encored vainly, for the popular violinist refused to break the rule of the evening, and it was the one violin solo of the evening.

The program closed with a grand male chorus, with orchestral accompaniment. “The German Warrior’s Oath and Prayer,” by Moehring, was splendidly rendered. Mr. Clark Bradford in a baritone solo, and a male quartette, Messrs. Pendleton, Stephens, Warner and Wells, were especially effective, with the full chorus doing some very strong work. It was a suitable finale and gave a good idea of the force of male voices, well directed.

Miss Lucie Duncan accompanied the vocal numbers, while Miss Bianca Noa accompanied Mr. Cadek.

Mr. Morehead deserves hearty congratulations upon the success of his concert and thanks from the excellent audience present, for the pleasure afforded. The whole tone of the concert was elevating and educational as well as pre-eminently entertaining.

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415

Chattanooga Times, June 12, 1901

BRILLIANT CONCERT

Given by Local Talent at the Auditorium Last Night

The free concert given by local musical talent at the Auditorium last night was one of the grandest successes of the season. The Auditorium was packed to its fullest capacity and among the numbers there were some of the best known of the local musicians present to witness the performance. The programme was begun with the presentation of “The Marv’lous Work,” adapted from Haydn’s “The Creation,” as rendered by Miss Lois Stock and chorus from the Mid-Winter Festival and orchestra of fifteen pieces. This was the signal production of the evening. The composition of the piece was such as to render it most suitable for the voices and orchestration employed, and was among the most thoroughly enjoyed selections of the entire concert.

In the second number the original programme had to be changed on account of previous engagements of several of the singers and Mrs. L. G. Walker kindly consented to supply the part with a selection of three songs of decided merit, “Gardens of the Skies,” “Come, My Own Dear Love,” and “My Heart Sings.” These were rendered most charmingly and with splendid effect.

“The Throstle,” by Mrs. A. S. Dickey, by White, was one of the beautiful and well rendered of the evening’s selections and was sung with great purity of tone.

The “German Warrior’s Oath,” adapted from the German by Moehring, a tale of the wrongs and thirst for vengeance of a German soldier, was well rendered by the Schubert club and orchestra, led by Clark N. Bradford, baritone, who rendered the solo, and Messrs. Pendleton, Stephens, Warner and Wells, who rendered the interlude and assisted in the chorus. This composition is designed to meet just such occasions as it was employed last night with such good effect, and the interpretation of the club and Mr. Bradford in its rendition deserves especial mention.

Much praise is due the Woman’s chorus for the splendid rendition of “Annie Laurie,” as arranged for chorus work by Buck. This piece showed a great amount of harmony and power, with much of the success of this rendition is due Miss Bianca Noa, who has spent many tedious hours in perfecting the chorus so as to bring it up to its present high standard.

The only instrumental selection given last evening, and one that called for a large amount of praise from all, was the sonata in D major from Beethoven by Prof. Josef Cadek and Miss Elma Thomasson on the violin and piano. This selection was worthy of all the praise it received. Prof. Cadek and Miss Thomasson were recalled and rendered a sonata from the same selection in F major, which was also well received.

The selections from Mendelssohn and Sullivan, unaccompanied, and the “Barcarolle” with orchestra, was delightfully rendered by the Mid-Winter Festival chorus and elicited much applause from the teachers and pupils and from the audience generally.

Taken as a whole, the performance last night was one of the most successful and best arranged of any that has been given in this city during the past musical season, and much credit is due to both Prof. Morehead and Miss Noa for their untiring efforts to make this concert a success.

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416

Chattanooga News, June 14, 1905

Oratorio Concert

Anyone who failed to attend the oratorio recital last night because of a disinclination to hear amateurs sing this most difficult of all the forms of music, missed a treat, which was also a revelation of the possibilities of the young singers of this city.

Mr. Morehead, if he is a specialist in any line it is especially as an oratorio teacher and an orchestra conductor. He had an excellent chance last night to show his ability in both of these directions, and the congratulations showered upon him by some of the most reserved musicians of the city gave evidence of his complete triumph.

The orchestra of ten pieces was under fine control and with Mr. George Saffer playing first violin and Mrs. Morehead at the grand piano in lieu of a trombonist, the difficult orchestral score of the great oratorio was well sustained.

Without exception they breathed easily and deeply. In the sustained passages and with the wonderful runs that abound in all oratorio numbers there was easy confidence without a break and no perceptible effort.

Orchestral accompaniment, frequently embarrassing to young singers, had no terrors for these, apparently, and in this regard they deserved credit also.

Mr. Morehead’s energy and ability carried the music along with miraculous harmony until it seemed that even inferior singers would have caught the inspiration.

These singers, however, sang with the “spirit and the understanding,” an essential to good oratorio work.

Mr. N. C. Napier opened the program with the beautiful tenor recitative and aria, “Comfort Ye,” and “Every Valley,” from the Messiah. He gave an excellent and praiseworthy rendition and was loudly applauded.

Mrs. J. Spence Stone followed with the recitative and aria, “Behold a Virgin,” and “O, Thou That Tellest,” from the same oratorio.

This is probably one of the best known oratorio selections and it showed careful and conscientious study, and good management of a very pretty contralto voice of good compass.

Mrs. A. S. Dickey’s selection was from Eli, and she sang “Open Unto Me” (Recit) and “I Will Extol Thee” (Aria). It is difficult to say enough concerning her rendition. She surpassed all former work for which she has become justly honored in oratorio fields. The round, ringing tones, smooth, true and flexible, filled the auditorium with music, vibrating to every portion of the house. Her phrasing was beyond criticism, and at the close she received prolonged applause, induced by enthusiastic admiration.

Miss Margaret Shalliday sang the exquisite aria, “O Rest in the Lord,” from “Elijah.” Her rich, velvety contralto voice persuaded wonder from those who had not heard her and renewed allegiance from the many already in love with her beautiful voice, which she uses with most admirable taste. Her enunciation is especially clear and acceptable.

Mrs. McCarthy, who has a remarkably verile [sic], clear and high soprano voice, gave with splendid taste and execution “With Verdure Clad,” from “The Creation.” Her work showed not only a fine natural voice but excellent application to study.

Miss Bess Patton, in “Those Are They,: the brilliant aria from “The Holy City,” was at her best. She sings with abandon that shows her whole heart to be in the tones so easily executed and with such artistic appreciation.

Mr. Joseph Arledge, in the tenor (recit), “And God Created Man” and (aria), “In Native Worth,” evidenced careful study and technical proficiency, united to a tenor voice of sweetness and strength.

Miss Ada Stone’s number was a brilliant finale to an altogether pleasing program. Her east control of a naturally beautiful voice adds greatly to the charm of her singing. The (recit) “And God Said,” was sung with vigor and ability, and she glided easily into the wonderful aria, “On Mighty Pens.” Miss Stone has accomplished what many an older singer might well envy in execution, stage presence and artistic effects.

Tonight the program will be an operatic program by several of the same singers, with one or two additions.

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417

Chattanooga, April 1901

GOVERNOR NASH AT CHURCH        

Will Attend Second Presbyterian Tomorrow—Special Music

An excellent musical program has been arranged by Mr. Albert H. Morehead for tomorrow morning’s service at the Second Presbyterian church.

It is in honor of Gov. George K. Nash, of Ohio, and party, who will attend the service. Gov. Nash is a warm personal friend of Mr. Morehead. They have not seen each other for several years and their reunion in this city was a great pleasure to both gentlemen.

The sermon will be preached by Dr. Etmore.

The musical program which will be given by the solo quartet and large chorus will be as follows:

“Spirit Immortal,” from Attila-Verdi—Mr. Warner, Mrs. Mattson and chorus.

Trio, “Lord We Praise Thee,” Rossini—Miss Nay, Mr. Morehead and Mr. Warner.

Offertory, “The Soft Southern Breeze,” from Rebekah, Barnby—Mr. Morehead.

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418

Chattanooga News, June 15, 1905

Final Concert

The last of the three closing recitals of the Southern Conservatory of Music was held last night and the participants all acquitted themselves with great credit. Selections from the operas were sung, with full orchestra, Mr. Morehead directing.

The numbers were the more familiar airs from favorite operas and were without exception artistically rendered.

Rev. Ira M. Boswell, in a very happy manner, made an address to the pupils and audience, and at its close presented medals to Miss Bess Patton and Mr. Henry Becker for proficiency in vocal study during the year.

The program was as follows:

Martha—Flotow—Introduction and Duet

Mr. Joseph Arledge, Mr. Henry Becker.

Huguenots—Meyerbeer—Scene and Aria “Leste Signor”

        

Mrs J. Spence Stone

Ernani—Verdi—“Ernani Involami”

Mrs. A. S. Dickey

Ernani—Verdi—Scene and Aria—“Infelice”

Mr. Bryson Webb

Barber of Seville—Rossini—“Una Voce Poco Fa”

Miss Bess Patton

Il Trovatore—Verdi—Cavatina “Tacea la note placida”

Miss Ada Stone

Faust—Gounod—“Le Parlate d’Amor”

Miss Margaret Shalliday

Faust—Gounod—Scene and Aria—“E Strano Pater Il Viso Sul Veder

Miss Effie Stone

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419

Chattanooga Times, April 3, 1901

The choir of the Second Presbyterian church entertained with a brilliant concert last night at the Unitarian church. The soloists were Mr. Albert H. Morehead, Mr. L. A. Warner, Mrs. E. W. Mattson, Mr. E. C. Pendleton, and the accompanist was Miss Bianca Noa.

“List the Cherubic Host” was the opening number and it was splendidly rendered by Mrs. Mattson, Mr. Warner and the female chorus; “Good Night, My Sweet,” by Tully, was sung with the most beautiful appreciation and voice by Mr. Morehead; “Remember Thy Creator,” by Rhodes, was sung by the male chorus without the piano, and the full chorus choir rendered “For He Shall Give His Angels,, from Elijah, and “By Babylon’s Wave.” Miss Bianca Noa played brilliantly an excellent march by Hollander. The Madrigal quartette beautifully sang a series of little songs.

Mrs. E. W. Mattson sang “The Swiss Echo Song,” by Eckert. Mrs. Mattson’s voice, always sweet and full of music, has improved wonderfully lately, and all who heard her last evening were charmed with her song. “The Image of the Rose,” by Richard, was an exquisite selection, rendered exceptionally well by Mr. Pendleton and male chorus. All sang and played well, and especially the soloists.

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420

Chattanooga Time, May 28, 1901

LAST NIGHT’S CONCERT

Splendid Programme Well Rendered at the Auditorium

A most unusual and noteworthy event was last night’s concert. Very seldom can a conductor present on one programme four such excellent corps of musicians as took part in Mr. Albert H. Morehead’s concert at the Auditorium. Morehead’s concert at the Auditorium, all of the splendid work being accomplished in the short year and a half of Mr. Morehead’s residence in this city. The chorus work throughout was marked by the greatest delicacy and precision of pleasing shading and enunciation. The programme opened with the melodious “Overture to Martha,” charmingly played by the orchestra; followed by a double number, “Oft When Night” and “Where Would She” by the Schubert Club, the numbers being a splendid contrast; “By Babylon’s Wave,” by Gounod, as sung by the Second Presbyterian choir, was one of the finest numbers on the programme.

A piano solo, “The Ride of the Valkyries,” by Miss Bianca Noa, was most charmingly rendered, evoking much favorable comment. The delicacy of touch and accuracy of interpretation won hearty applause.

The Woman’s chorus proved the charm and sweetness of women’s voices. In the unaccompanied chorus, “Annie Laurie,” the delicacy of shading and beautiful harmony of the different parts was well displayed; while the “Spinning Chorus,” from the “Flying Dutchman,” was given with a great verve and brilliancy.

Another orchestra number, “Love’s Conflict,” by Moses, was much enjoyed.

The great aria “With Verdure Clad,” from the creation, is sung by all sopranos, and by their rendition of it are they judged. Mrs. Dickey last night proved her right to be placed in the front rank of oratorio singers. Her voice is clear and rich, her method excellent.

Of beautiful male choruses, none equal the German songs, as was shown last night by the Gesang section male chorus, who sang most pleasingly Ahi’s “O Lieb, nun kommt die Rosenzeit.”

Mrs. Mattson’s solo, Eckert’s “Swiss Echo Song,” was enthusiastically received. The trills and runs were delicately and beautifully sung.

There is no more popular soloist in this city than Mr. Cadek, whose appearance was as usual greeted with great applause. Mr. Cadek more than satisfied the expectations of the audience by his exquisite interpretation of Schubert’s serenade. The most effective song in the repertoire of the Schubert club is “The German Warrior’s Oath and Prayer,” by Moehring, which they sang for the first time last night. The baritone solo by Mr. Clark E. Bradford; quartette by Messrs. Pendleton, Stephens, Warner and Wells; chorus by the Schubert club, and orchestra accompaniment, made an ensemble that will long be a pleasant memory. The fire and brilliancy of the “Oath” and beautiful harmony and deep feeling of the “Prayer” made a fitting end for an excellent programme.

The Governor of South Carolina was invited by Mr. Morehead to attend the concert with his staff.

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421

[no source, no date]

THE SCHUBERT CLUB

The complimentary concert given on Tuesday night at the Second Presbyterian church by the Schubert Club was a grand success. Notwithstanding at the time of the concert it was raining, there were over a thousand people in attendance. The concert was of the highest character and greatly enjoyed. Each number received an ovation and the entire program reflected much credit on Mr. A. H. Morehead the director. The club is a musical organization that Chattanooga is justly proud of and it is the wish of those that were permitted to enjoy this concert, that they may again have the pleasure at some future time.

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422

Chattanooga, TN, October 14, 1899

PARLOR RECITAL

Delightful Affair at the Stanton House Last Night

Charming and artistic in every particular was the parlor recital given last night at the Stanton house, attended by about one hundred and fifty guests.

The beautiful parlor was transformed into a theater by the erection of a stage at the south end, immediately back of which was the reading room, from which the performers ascended several steps to the stage.

Arranged on the stage were plants in profusion, and graceful draperies concealed the framework. The footlight effect was gained by the use of handsome lamps on fancy tables, just in front of the stage.

The bric-a-brac on the piano and mantels and the general decorations of the room testified the interest which Mrs. Griffin and her guests had taken in the entertainment.

Credit for the delightful program is due Mrs. Charlie Divine, who was of invaluable assistance to Mrs. Oton in securing the numbers which supplemented those of the talented reader.

Promptly at 8:30 the program began, the first number being a vocal solo by Miss Reita Faxon, Prof. Teichfuss accompanying. Miss Paxton sang “Amo,” by Mattle, and in response to an insistent encore sang “Forgotten.” Her voice was, as always, pure, sympathetic and sweet. She was very handsomely attired in a pink and white striped gown, with Frenchy touches of black lace.

Mr. Bessie Miller Oton’s first selection was “The Mother’s Story,” a prose recitation with a touch of nature in it that appealed at once to the audience. In it, as in some of her other numbers, the true woman came out, and art was laid aside as she told the story, straight from a mother’s heart.

Mrs. Oton looked very handsome in pure white, a gown of organdie with elaborately tucked waist. For ornaments she wore only creamy roses.

The third number was a very pretty violin solo by Miss Edith Ham, accompanied by Miss Reita Faxon. Each time she appears the violin work of this young lady shows improvement, and she is rapidly gaining in stage presence. She was very chic and pretty in a red silk shirt waist with white stock and pipings and a cloth skirt.

Mrs. Oton followed with a humorous recitation, “Our Senator,” a very entertaining number.

This was followed by “Money Musk,” a musical selection, with Miss Moore at the piano. It was a good number, showing the versatility of the reciter.

Miss Moore then rendered a lovely piano solo, “The Lark,” full of intricate passages and played with admirable skill and ease. Miss Moore wore a very pretty gown of white organdie, with trimmings of violet satin ribbon.

A character sketch (en costume) followed by Mrs. Oton. She was to all intents and purposes a naughty little girl and acted her part to perfection, convulsing the audience by her realistic work.

Mrs. L. G. Walker’s appearance was, as usual, a delight to the audience. She sang “A May Morning” in splendid voice and with telling effect. The continued applause failed to bring a response, however. Mrs. Walker was very attractively gowned in a Dresden organdie, with lace and ribbon trimmings.

The next number was a novel one, and one with which the audience seemed delighted. Mis Georgia Cleage gave a pantomime, “She Was Bred in Old Kentucky.”

Mrs. Lon Warner sang the song, with Miss Cary VanDyke as accompanist.

Miss Cleage was in an exquisite robe of white organdie, elaborately trimmed. It fell from the shoulders and was en traine, and her every movement and attitude was truly “the poetry of motion.”

Mr. Morehead, the tenor singer who has recently come to the city, was heard in concert for the first time. He sand a suite of very lovely songs, as follows:

(a.) The Robin.

(b.) Memories.

(c.) Night.

(d.) Morning.

He was encored and gave “By the Fountain,” by Stephen Adams. The piece had a fine climax, which revealed latent force not brought out in the previous numbers.

Mr. Morehead is a splendid musician, with a voice that is probably unequaled in the city. He will be cordially welcomed in musical and social circles.

The closing number was another musical recitation, by Mrs. Oton, this time a tender story of love and faith, “The Dove’s Message.” It was beautifully rendered and the sincere congratulations of the audience were bestowed upon Mrs. Orton [sic] and all who assisted her,  as the audience dispersed.

The ladies of the Working Girls’ Home board are extremely grateful to every one who in even the least degree helped to make this entertainment a success. A nice sum was cleared, just how much is not known yet.

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423

Chattanooga Daily Times, October 14, 1899

A Charming Success

The concert at the Stanton house last evening for the benefit of the Working Girls’ Home was a charming success in every way. There was a splendid audience which was enthusiastic in its appreciation of the numbers rendered. Mrs. Chas. Divine was in charge of the programme, which consisted of two excellent dramatic recitals by Mrs. Bessie Miller Oton, who is a thorough artist at dramatic recitation. Mrs. L. G. Walker rendered two brilliant vocal numbers; Miss Edith Ham played a lovely violin selection; Miss Jessie H. Moore, who is a very finished and pleasing pianist, gave one number; Miss Reita Faxon sang two delightful solos; Miss Georgia Cleage, the very clever dancer presented a pantomime—“Bred in Old Kentucky,” which was very much enjoyed. Mr. Albert Morehead sang a tenor solo, and Mrs. L. A. Warner very sweetly rendered a vocal number. The programme on the whole was excellently arranged.

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424

Chattanooga News, December 8, 1900

CHATTANOOGA WAS CHARMED        

THREE GREAT EVENTS IN THE CITY’S MUSICAL HISTORY

MID-WINTER FESTIVAL CONCERTS HAVE COME TO A CLOSE

Ended Triumphantly Last Night in a Climax of Harmony—Musical Success

Which is Fully Appreciated—Detailed Account of Yesterday’s Concerts.

Well, the Midwinter Festival is over.

And how did you like it?

As the days pass, Chattanooga will realize more and more the great task that has been accomplished, and the sense of appreciation will increase.

The attendance was not a crush, and yet it was good. A guess would be that the receipts about covered the expenses, although all the details in this respect are not known.

Last night’s concert capped the climax of the Festival, and was the best of all in every respect.

The vocal and instrumental artists from Cincinnati, Atlanta and New York have returned home, all pleased with Chattanooga’s first Midwinter Festival and promising to come again when called for.

The Matinee Yesterday

The Van Suppe overture, “Morning, Noon and Night,” was the opening number by the orchestra. It was rendered with fine taste and expression, closing with a splendid climax, brilliantly rendered.

Mrs. DeMoss was next on the program, singing “The Throstle,” by White. She was accompanied by Prof. Frank Nelson, of Knoxville. It was a gay, happy melody, a song of summer and given with animation.

The singer was the embodiment of grace and beauty as she tripped from the stage at the closing measures.

In response to an insistent encore she sang a lovely song, “Goodday, Marie.” Mrs. DeMoss is a perfectly bewitching singer. She has the most adorable tricks of manner, seeming to take the entire audience into her confidence in the most friendly manner.

The first chorus number was “He Watching Over Israel.” While the chorus was not at its full strength, numerically, at the matinee, it did very fine work.

Mr. Josef O. Cadek played a violin solo, “Andante and Capriccio,” by David. It was played with the perfect mastery over his instrument that this artist shows at all times. His shading was exquisite and his bowing is remarkably true and firm. The latter part of the number was given without accompaniment, the first part being ably accompanied by Mrs. Cadek.

An encore was demanded, and he played “Berceuse” exquisitely, receiving warmest applause.

The celebrated “Beautiful Blue Danube” was the next orchestral number, and during its rendition each instrument was brought out in all its beauty, the whole forming a perfect harmony, most delightful. The rythm [sic] of the music found an echo in the thoughts of many in the audience, who had passed many happy hours listening to the strains of that same favorite of the ballroom and concert program. It was applauded to the echo.

The opening bars of the “Toreadore Song” from Carmen, were an inspiration to the audience and the song which followed, by Mr. Ehrgott, was greatly enjoyed. His full, resonant voice is admirably suited to the beautiful solo, which is such a favorite with good singers. He was accompanied by the orchestra in his final number, and in an encore, “Who is Sylvia,” by Schubert, he was again heard to splendid advantage, accompanied by Prof. Frank Nelson.

A third orchestral number on the program was “Das Gloeckchen des Eremitten,” by Maillart. It was one of the best orchestral numbers of the three concerts, and was played with spirit and fine execution. Some very intricate work by the violins was especially good.

Mr. Frank H. Ormsby, accompanied by Mr. Roy Lamont Smith, sang two numbers, closing the first part of the program. His songs were “Where Blooms the Rose” and “A Song of Thanksgiving.” They were a contrast in style, the first a tender love song, the second song full of fire and enthusiasm. With true artistic skill Mr. Ormsby rendered both, his voice ringing out pure and high in the triumphant strains of the latter song, charming the entire audience.

Part second of the matinee program consisted of seven selections from The Creation, Hayden.

The overture, “Representing Chaos,” by the orchestra, was exceptionally well rendered.

The recitative, “In the Beginning,” sung by Mr. Ehrgott, was followed by the chorus, “Let There Be Light.” The solo was but another evidence of the singer’s ability as an oratorio soloist, and the chorus was one of the best, showing fine training.

The next recitative was sung by Mr. Ormsby. It was “And God Saw the Light.” Alternating with the solo, the chorus sang “Despairing, Cursing Rage,” and the double number was one of the most effective of the program.

Mr. Ehrgott again sang, “And God Made the Firmament,” being excellently rendered.

The grand finale was the splendid chorus and solo,” The Marvelous Work.”

Mrs. DeMoss was at her best in the solo, and her voice was easily heard above the entire chorus. Her brilliant work in this number was greatly praised.

Last Night’s Concert

The third and last concert opened with the grand Inflammatus, from Rossini’s Stabat Mater. Mrs. DeMoss, in the solo, was simply magnificent. Her pianissimo passages were barely breathed and yet such is the carrying power of her voice that every tone was easily heard in all parts of the house. In the climax her voice rang out pure and strong above the one hundred and fifty voices of the chorus, and was something long to be remembered. A storm of applause greeted the last note, but Mrs. DeMoss only bowed her appreciation.

An orchestral selection from Gounod’s Faust displayed some fine technical work on the part of the players, and Mr. Morehead proved himself an ideal orchestra director.

By special request Mr. Ehrgott repeated the Toreador Song, from Carmen, at night, instead of singing the number assigned him on the first part of the program. He sang it equally as well as in the afternoon and was vigorously encored, but did not respond.

That Prof. Frank Nelson, of Knoxville, had many friends in the audience was evidenced by the cordial clapping of hands which greeted his appearance. He played the Concerto in D Minor by Mendelssohn, with full orchestral accompaniment. The Adagio and Presto Scherzando were played in true musicianly style. Prof. Nelson’s technique is perfect. The unaffected modesty of his playing is one of his chief attractions as a pianist. But quiet as he seems, there is a wonderful strength in his touch, when required, and his reserve force is at all times apparent to the attentive listener. His touch varies from the light, rippling falling of the fingers on the keys to the pressure required for the heaviest passages. Some of the finest directing done during the concerts was necessary in this number, and Mr. Morehead was fully equal to the task. Not a beat was lost throughout the long and difficult selection, and the instruments of the orchestra were under the most perfect control of the baton.

Mr. Ormsby, accompanied by Mr. Roy Lamont Smith, sang Hosanna, by Granier. It is a grand song, full of pathos and fire, both of which were perfectly brought out by the singer. The piece brought out the rich, high tones of Mr. Ormsby’s voice better than any song rendered by him during the Festival. He did not respond to an encore.

Mr. Cadek played Gypsy Dance—No. 1, by Nachez. It was a beautiful selection, full of intricate passages, and was one of the gems of the program. Mrs. Cadek accompanied him. One of the most flattering ovations of the evening was given to Mr. Cadek, the applause becoming really embarrassing to all concerned. Owing to Mrs. DeMoss’ necessary departure at 9:30, her Messiah number was introduced at this point, preceded by an explanation by Mr. Morehead.

The aria, “Rejoice Greatly, O Daughter of Zion,” was sung with the sweetness, expression and power which characterized her work throughout the festival. Her enunciation is especially fine, making her oratorio numbers unusually enjoyable.

As an encore she sang the number she was to have given first, Maids of Cadiz, by L. Delibes. It was a bewitching song, and she left in a storm of applause, carrying with her the consciousness that in Chattanooga she has sung her way completely into the hearts of all who were fortunate enough to hear her.

The most artistic bit of singing done by the chorus during the entire festival was Mendelssohn’s “First Spring Day.” It was sung unaccompanied, and the chorus seemed but one voice, rising and falling at the motion of the baton. The beginning was so soft that it seemed like music stealing from far away. As it gathered tone, swelling by gentle gradations. It seemed that the chorus was under some magic spell, the music drawn out through no will or effort of the singers, but only at the will of the director. It was a wonderful revelation of musicianly skill, the training was so perfect.

Sullivan’s “O Hush Thee, My Babie,” also unaccompanied, was another triumph for director and chorus, and the third number, Barcarole, with orchestral accompaniment, finished a series of three of the prettiest, most artistically rendered songs ever attempted by a chorus.

The William Tell overture was the next orchestral number, beautifully closing the first part of the program. It was a most inspiring number, working up in splendide [sic] style and harmony.

The oratorio numbers of the second part were from The Messiah.

A brief overture was followed by Mr. Ormsby’s recitative “Comfort Ye,” and aria, “Every Valley.” Both are difficult, and both were rendered in a manner which called forth warmest praise from the audience.

Mr. Ehrgott at no time appeared to better advantage than in his next numbers, “Thus Saith the Lord,” and “But Who May Abide.” The richness of his tones, and his splendid control of his voice, were delightfully apparent in the very difficult passages, and he sang with the utmost ease. Mr. Ehrgott is a singer who “grows on” his audience, and each number he gave seemed better than the one before.

“And the Glory of the Lord” was the next chorus. It is one of the most familiar of all oratorio choruses, as well as one of the most difficult to sing. The chorus and orchestra blended in splendid unison, the soloists also joining in and making a perfect whole.

The last solo, “Why do the Nations so Furiously Rage Tonight,” was sung with fine expression and dramatic force by Mr. Ehrgott. The orchestral accompaniment was especially pretty and well rendered.

The last chorus, “Worthy is the Lamb That Was Slain,” was a suitable finale to the musical feast of the three concerts.

The sustained passages were full of suppressed power and the execution of the chorus was grand, all of the parts blending in a perfect torrent of melody that swept over the audience, giving it a feeling that a treat had been provided for Chattanooga music lovers. It was with regret that the audience heard the closing measures and the finale, “Amen.” But what has been accomplished once is possible again, and with such a director and such singers Chattanooga could easily have annual oratorio concerts that would be a credit and a pride to the city.

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425

Chattanooga News, March 14, 1900

GREAT CONCERT

ORCHESTRA OF TWENTY-FOUR PIECES AND PROF. CADEK

THE SCHUBERT CLUB OF MOST POPULAR LOCAL SINGERS.

And the Great Soprano Mamie Hissem DeMoss—Two Governors Will be Present

The armory benefit concert is all the talk of the city now. From the way tickets are selling, the indications are that the Auditorium will be well filled Monday night.

As there will be no reserved seats, and as a limited number of tickets will be sold in order to avoid all possible discomfort, the ticket sale has begun early, and will increase every day for the balance of this week, The concert is under the auspices of the board of armory trustees—composed of Capt. A. J. Gahagan, Hon. J. C. Howell, Hon. A. R. Thomas, S. W. Raulston, J. O. Martin and J. P. Fyffe.

The members of the local battalion, commanded by Maj. Brown, are enthusiastic over the good prospect for raising the funds with which to complete the armory.

Two Governors.

In addition to the musical program, the presence of the Governors of Georgia and Tennessee, who will be in the city to attend the Bryan banquet, is confidently expected, and Gov. McMillin will be urged to speak a few words to the local militia, as commander-in-chief of the Tennessee State Guard.

The program will be divided into two parts, and in the intermission a squad drill by the soldiers will be arranged.

Members of Orchestra.

The orchestra for this concert is composed of the following members:

Jos. O. Cadek, concert master

First Violins—Mrs. T. Morrison, Miss Tommie McConnell, Mr. A. R. Prather.

Second Violins—Mrs. J. O. Cadek, Mr. J. Cooper, Miss Edith Ham, Mr. Cochran.

Viola—Miss E. Allin.

Basso—Mr. S. E. Ellsworth.

Flute—Mr. J. Spence Stone.

Clarinets—Mr. F. Genter and Mr. M. V. Hobday.

Cornets—Mr. O. M. Spence and Mr. J. H. Templeman.

Trombone—Mr. W. E. Means.

Drums—Mr. G. W. Stapleton.

To these will be added several musicians from the Fifth Regiment band, of Atlanta, Ga.

The Schuberts.

The Schubert Glee Club, which has charge of the concert, will have the following voices in its personnel:

First Tenors—E. F. Stapleton, R. M. George, E. C. Pendleton, W. I. McCall, J. W. Bean and A. H. Morehead.

Second Tenors—J. H. Shippey, Will Stapleton, W. C. Stephens, W. W. Turner and J. Hodge McLean.

First Bass—C. E. Bradford, A. G. Silvers and Lon A. Warner.

Second Bass—R. W. Blese, W. G. Wells, A. D. Catlin, W. M. Allen and S. V. Behan.

Director A. H. Morehead.

The director of the entire concert is Mr. A. H. Morehead, the able conductor and organizer of the Schubert Club. Mr. Morehead has been in Chattanooga but a few months, and yet, in this short while, he has been accorded an enviable position among the local musicians. Besides being conductor of the Schuberts, he is director of music for the Second Presbyterian church and the Jewish synagogue, leader of the Chattanooga Choral Society, conductor of the singing section of the Turner Society, and director of the Woman’s Choir of Chattanooga and the musical department of the Woman’s Club. On account of all of these engagements is Chattanooga, Mr. Morehead is constantly obliged to refuse flattering offers to sing and conduct choruses elsewhere, He was recently urged to conduct the rendition of “Chimes of Normandy” in Augusta, Ga., and to sing in several oratorios in other places, but could not reply, for the reason stated.

As a matter of introduction to many of the hundreds who will attend the grand concert Monday night, a more detailed reference to Mr. Morehead, who will wield the baton, will prove to be interesting. He is a son of Hon. James T. Morehead, Governor of Kentucky, and United States Senator from that State. His father was a member of the Kentucky Legislature several terms, and was prominently mentioned, just previous to his death, in connection with a possible nomination for the presidency of the United States. On both sides of his family Mr. Morehead is of pure Scotch descent. His musical education covers a term of many years in this country and in England, and he has sung with the strongest artistes in the principal cities of this country.

Mr. Morehead’s reputation, however, was made as a conductor of music, and in that capacity he has produced all the great oratorios and sung in the heaviest parts. For five years he conducted the famous Schubert Club of Grand Rapids, Mich,; for seven years he was at the head of the Grand Rapids Oratorio Society and for five years led the Philharmonic orchestra of that city. He added laurels to his fame by the masterly manner in which he conducted the great festivals at Richmond, Ind., having with him at the time such artistes as Whitney, Campanini and many others of equal standing in the musical world. For a term of years he sang in the choir of Christ Episcopal church in Cincinnati, considered the grandest choir in the west, and conducted, in that city, the Gamut Club, composed of twenty of the free scholarship pupils of the College of Music. He was also, in Cincinnati, assistant director of the celebrated Liederkranz, associated with Mr. Louis Ehrgott, the conductor.

Mr. Morehead has a very exalted conception of music, and therefore the fact that he has arranged and will conduct the concert next Monday night is a guarantee that it will be something which all the people of Chattanooga ought to see and hear.

Mamie Hissem DeMoss

More than ordinary interest has developed in the announcement that Mamie Hissen De Moss will be the soprano soloist of the concert. She is considered the leading coloratura soprano of the west, and is already engaged for the Cincinnati May Festival, for one of its leading attractions. In a report of the annual commencement of Cincinnati College of Music, the Enquirer says:

“Mrs. DeMoss is surely one of the best vocalists the college has ever produced. With a voice of bell-like purity, perfect intonation, complete control and mastery of all the embellishments and technicalities of vocal art, her performance of Proch’s [Heinrich Proch 1809-78, “Deh, torna mio ben”] celebrated aria and variations was a glorious success.”

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426

No source, c. November 27, 1900 [on back of clipping, an article on the interment of Sir Arthur Sullivan on November 27, 1900, who died November 22, 1900]

Mid-Winter Music Festival

Three Grand Festival Concerts

Thursday and Friday Evenings and Friday Matinee

Dec, 6 and 7

Festival Chorus ---------- 150 Voices

Festival Orchestra------- 38 Musicians

ALBERT H. MOREHEAD

Conductor

SOLOISTS:

Mrs. Mamie Hissem De Moss, of New York, the great Coloratura Soprano

Mr. J. H. McKinney, of New York, the Famous Tenor

Mr. Oscar J. Ehrgott, of Cincinnati, the Famous Barytone

Mr. Frank Nelson, of Knoxville, Pianist

And the following well known Chattanooga Musicians

Mr. Josef O. Cadek                Violin Virtuoso

Mrs. L. G. Walker                Soprano

Mrs. W. H. Pratt                Contralto

Miss. Myra J. Brown                Contralto

Miss Marie Stock                Contralto

Mr. F. H. Ormsby                Tenor

Mr. E. C. Pendleton                Tenor

Mr. H. L. Smith                Basso

Mr. Lon A. Warner                Barytone

Mr. Josef O. Cadek’s Full Orchestra

Augmented by artists from Cincinnati and Atlanta

Price of Tickets and Date of Sales:

Season Tickets, each                        $2.50

General Admission                        $1.00

No extra charge for reserved seats

Sale of seats to purchasers of season tickets commences Monday, Nov. 25,

continuing throughout the 27th and 28th

from 7 a. m. to 6 p. m. each day.

Sale of seats to the general public commences Nov. 29 from 9 a. m. to 6 p. m.

Sale held at L. L. Carr’s, in the McArthur Music Store (formerly the John Church Co.), 722 Market street. Number of tickets to each buyer is limited.

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427

Chattanooga Times, May 20, 1901

THE CONCERT TONIGHT

Thy are having a great deal of sport at Mr. Morehead’s expense in musical circles. Almost every time he has given a concert since coming to this city there has been rainy weather. It has been so marked that it is now rumored that the farmers of this section, realizing his peculiar talents for inducing the weather  to “weep,” have formed what is called a “Morehead Rain Association.”

In times of drought this association respectfully requests a Morehead concert and it is forthcoming, with the most satisfactory results. Another fact has also been demonstrated, however. It is that no one remains away from these concerts on account of the weather. One of the largest audiences ever assembled in the city to enjoy a musical attraction came out on a very stormy night to hear the first Schubert Club concert, and an equally large audience is expected tonight at the auditorium. There will be seventy-six participants, and they include the Schubert Club, Woman’s Chorus, Second Presbyterian choir, Gesang Section male chorus and Cadek’s orchestra, together with several soloists.

The program is as follows:

“Overture to Martha”                                Flotow

                Orchestra

(a) “Oft When Night”                                Decalb

(b) “Where Would I Be” d                        Zoellner

                The Schubert Club

“By Babylon’s Wave”                                Gounod

                The Second Presbyterian Choir.

“Annie Laurie”                                        D. Buck

                The Woman’s Chorus.

“Love’s Conflict”                                Moses

                Orchestra

“With Verdure Clad” (from the Creation)        Haydn

                Mrs. Dickey

“O Lieb Nun Kommt die Rosenzeit”                Ahl

                The Gesang Section

“A Swiss Echo Song”                                Eckert

                Mrs. Mattson

“Schubert’s Serenade”                        Arr. By Remenyi

                Mr. Cadek

“Spinning Chorus” (from the Flying Dutchman)        Wagner

                The Woman’s Chorus

                The Woman’s Chorus

“The German Warrior’s Oath and Prayer”        Moehring

                Baritone Solo—Mr. Bradford

Male Quartette—Messrs. E. C. Pendleton, W. C. Stephens,

        La A. Warner and W. G. Wells

                The Schubert Club and Orchestra

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428

No source, n.d.

An Interesting Bit of History

Mrs. Seth M. Walker send the following bit of history which will be read with interest:

The Kerenhappuch Turner, just given the little daughter of Mr. and Mrs. A. H. Morehead, recalls an interesting story of mother love and heroism during revolutionary days.

Kerenhappuch and her husband, James Turner, were the parents of several daughters, and one son, James. This young man was dangerously wounded at the battle of Guilford Court House, N. C. His mother, though a resident of Virginia, was at that time in Maryland.

Learning of her son’s condition, she rode horseback alone from Maryland to Guilfield [sic] Court House, North Carolina, to take care of her wounded boy. She found her son raging with fever from his ghastly wounds, and the ingenious mind of this great woman devised the following plan for his relief.

She bored holes In a tub and cut wooden pegs with which to close the holes at will. Then placing the tub on the rafters of the rude cabin in which he lay, she placed him on a pallet on the floor, so that he might receive the cooling drip from the water above, anticipating, in theory, the ice-[ack of modern science. After three months of careful nursing Kerenhappuch sent her son back to the war, one of the bravest soldiers of the revolution.

Kerenhappuch, through her daughters, Kerenhappuch, Sarah and Elizabeth, respectively, is the great-great-great grandmother of little Keren Morehead and of Mr. Seth M. Walker of the city, and Lieut. Richmond Pearson Hobson, or Merrimac fame.

A handsome monument to Kerenhappuch Turner on Guilford battle ground, six miles from Greensboro, N.C., attests to the truth of this story, and is the only monument in America erected to a heroine of the revolution.

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429

Knoxville Sentinel, December 17, 1904 (with no title)

A Baby Daughter

A little lady in whose veins flows the best blood of the south has arrived to make her permanent residence with Mr. and Mrs. Albert H. Morehead.

The little one was born yesterday afternoon at 5 o’clock at Erlanger hospital, and a large number of telegrams of congratulations have already been received by the happy parents.

Mrs. Morehead was Miss Bianca Noa before her marriage.

The baby will be named for her paternal great-great grandmother, Kerenhappuch Turner, a distinguished heroine of 1776 and numbers in her recent ancestry two governors of Kentucky and one of North Carolina. She is eligible for membership in the D.A.R. and Daughters of the Confederacy, and is altogether a very high-born lady.

She will be called Kerey in abbreviation of the somewhat voluminous name which has been bestowed upon her.

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511


THE CANTATA LITTLE ROSEBUD

Probably The Chattanooga Daily Times, spring 1900

LITTLE ROSEBUD

The cantata Little Rosebud [by Carl Reinecke, story by Heinrich Carsten], which was given last night at the Unitarian church by the Woman’s chorus, under the direction of Mr. Albert H. Morehead, was presented before an audience of music lovers who appreciated the very excellent work done.

The story is that of the Sleeping Beauty and was read by Miss Elizabeth Coolidge in a manner which brought out all of its fascinating points. Her enunciation is perfect and she lends charm to any story by the animation with which she invests it.

The story in brief is as follows: A lovely princess arrives in the palace, the cause of untold joy to her royal parents. A great fete is given in her honor and the fairies are summoned to bless her and predict her a joyful future. Only provision is made at the banquet for twelve fairies and as there are thirteen in the band the one who is slighted is in a rage and vows vengeance. To avert her power the princess is watched day and night but during her girlhood the palace is left one day without the customary guard and she escapes into the woods, singing with joy that she is free.

The wicked fairy, with all her cunning lures Rosebud to her and makes her spin, after which every one in the palace falls asleep. The duet of the flies, after all others are sleeping, is a very amusing and pretty bit of work.

The chorus of good fairies, who are trying to induce silence that Rosebud may not be disturbed during her sleep of a hundred years, is extremely pretty and melodious.

The coming of the prince, the awakening of the princess and the rejoicing of the good fairies close the beautiful story.

The prologue of the story, “Sweet Enchanting Fairyland,” is in Reinecke’s most weried [sic] style and carries one to fairyland at the very start.

The next chorus, “With Our Fairy Hand We Bless Thee,” was sung in excellent tempo and the phrasing here, as throughout all the numbers, was exceptionally good.

Mrs. Alliger in her song of the wicked fairy, “I Can Spin the Thread of Life,” caught exactly the interpretation of the part, and gave it in excellent voice and style.

Rosebud’s song, “Ah! Now My Heart O’erflows,” is a song teeming with joy and abandon, and was beautifully sung by Mrs. A. E. Dickey, who is one of the favorite sopranos of the city.

The Spinning Song of the wicked fairy was artistically rendered by Mrs. Alliger.

The Legend of Little Rosebud “Deep in these Forest Glades,” was probably the most artistic of the choruses. It was sung in unison and the phrasing and enunciation were perfect, reflecting great credit upon director and singers.

The prince’s part was taken by Miss Myra Brown, who has become so popular a contralto during the few months she has resided in this city.

Her voice is one of great power and expression and gives evidence of fine training. The prayer of the prince was exquisitely sung, followed by the duet by the prince and Rosebud, “Say, Do These Eyes Behold Thee?”. Which was harmonious and sweet, the voices blending very charmingly.

The last chorus of the fairies was a fitting finale to the very dainty music of the evening.

Miss Lucy Duncan, accompanist of the evening, contributed greatly to the success of the rendition.

This initial appearance of the Women’s chorus in cantata work presages great success for the future and their re-appearance in similar work will be cordially anticipated.

The members of the Woman’s Chorus are:

1st Sopranos:

Mrs. A. S. Dickey.

Miss Lois Stock.

Miss Daley Owings.

Mrs. W. O. Ford.

2nd Sopranos:

Mrs. L. B. Hatcher.

Miss Florence Higley.

Miss Fanny Bogie.

Miss Bianca Noa.

Alice:

Mrs. J. B. Alliger

Mrs. Myra Brown.

Miss Marie Stock.

Miss Louise Jamme.

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Earlier on the same page, there was the following announcement:

Mr. A. H. Morehead has purchased a home at 213 Vine Street, and will occupy it some time in June. The Chattanooga public will be delighted to know this, as it means his permanent residence in this city, where he has already accomplished so much in a musical way and made many friends socially.

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512

From The Chattanooga News, Thu., May 15, 1902

The cantata of the Sleeping Beauty was given last night at Conservatory Hall by pupils of Mrs. L. P. H. McIntire, and she demonstrated, as she has many times before, her great talent for grouping and posing young people in artistic, picturesque fashion. The story of the opera was sung by the Woman’s chorus, grouped below the stage in a semi-circle, with Miss Bianca Noa as accompanist and Mr. Morehead directing.

Mrs. Dickey and Mrs. Alliger sang effective solo parts and the young children accomplished a very difficult feat, deserving of great commendation in following the high grade classic music. Mrs. McIntire’s training is very thorough, however, and despite the fact that three prominent participants failed to come, and the groupings and action had to be rearranged at the last moment, the cantata was very pretty and an entire success. The fresh, bright costumes were very attractive and each of the participants was charming.

The cast of characters was as follows:

King—Mr. Harry Derrickson.

Queen—Miss Harriet M. Mudgett.

Prince—Mr. Warren Converse.

Princess (or “Rosebud,” who sleeps 100 years)—Miss Edith Krug.

Visitors of Rank—Misses Nita Cowart, Nellie Warren, Alma Overall and Mr. Paul Pierce.

Attendants of Royal Household—Misses Bessie Wexler, Flossie Shehee, Agnes Clark, Mr. Clarence Dickinson, and Master Laurence Dietz, page.

Wicked Fairy—Miss Mildred Brookman.

Wise Fairy—Miss Annie Douglas.

Good Fairies—Misses Celia Embry, Sophie Derrickson, Bessie Beecher, Mamie Hartwig, Ruth McFarland, Pauline Overall, Fay Ralston, Annie Hunt, Virginia Rouse, Bessie Lewis.

Dance of the Fairies—Mrs. E. Lynn Mudge, Misses Anna Beck, Helen Hartwig, Lillian Warren, Zola E. McIntyre, Emily Schlessinger, Esther Tayor, Edith McFarland.

Some very pretty scenery, prepared specially for the occasion added greatly to the attractiveness of the occasion.

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From the Chattanooga Daily Times, Sun. 13 May 1900

The cantata “Little Rosebud,” to be given May 28 by the Woman’s Chorus, is one of the favorite stories of our childhood—the “Sleeping Beauty,” beautifully told in poetry and song.

The prologue puts one in the mood for fairyland, and so when we hear of the little princess whose beauty fills her royal parents with so much joy, we are prepared for the dainty fairy chorus which promises the Little Rosebud so much love and protection. The song in which the wicked fairy vows her revenge follows, after which the story of Rosebud’s girlhood comes, and her song of joy is one of the happiest bits of the cantata. The spinning song of the wicked fairy, where she lures Rosebud to her and makes her spin, is followed by an amusing duet of the Flies, who, after everyone in the palace is asleep, are disturbed by the nightmare of the kitchen boy, and try to awaken the cook, who was in the act of administering punishment to the youth. A chorus of fairies follows, in which they try to keep the world silent, that Rosebud may sleep a hundred years undisturbed, and this is the prettiest, daintiest bit of the cantata. The coming of the prince and the awakening of Rosebud are charming, and the last chorus is by the good fairies again, who rejoice over Rosebud’s happiness, and, like all fairy tales, assure us that they lived happily forevermore.

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