Victor Herbert
Victor August Herbert was an American composer, cellist and conductor of English and Irish ancestry and German training. Although Herbert enjoyed important careers as a cello soloist and conductor, he is best known for composing many successful operettas that premiered on Broadway from the 1890s to World War I. He was also prominent among the Tin Pan Alley composers and was later a founder of the American Society of Composers, Authors, and Publishers. A prolific composer, Herbert produced two operas, a cantata, 43 operettas, incidental music to 10 plays, 31 compositions for orchestra, nine band compositions, nine cello compositions, five violin compositions with piano or orchestra, 22 piano compositions and numerous songs, choral compositions and orchestrations of works by other composers, among other music.
In the early 1880s, Herbert began a career as a cellist in Vienna and Stuttgart, during which he began to compose orchestral music. Herbert and his opera singer wife, Therese Förster, moved to the U.S. in 1886 when both were engaged by the Metropolitan Opera. In the U.S., Herbert continued his performing career, while also teaching at the National Conservatory of Music, conducting and composing. His most notable instrumental compositions were his Cello Concerto No. 2 in E minor, Op. 30, which entered the standard repertoire, and his Auditorium Festival March. He conducted the Pittsburgh Symphony from 1898 to 1904 and then founded the Victor Herbert Orchestra, which he conducted throughout the rest of his life.
Herbert began to compose operettas in 1894, producing several successes, including The Serenade and The Fortune Teller. Some of the operettas that he wrote after the turn of the 20th century were even more successful: Babes in Toyland, Mlle. Modiste, The Red Mill, Naughty Marietta, Sweethearts and Eileen. After World War I, with the change of popular musical tastes, Herbert began to compose musicals and contributed music to other composers' shows. While some of these were well-received, he never again achieved the level of success that he had enjoyed with his most popular operettas.
Biography
Early life and education
Herbert was born on the island of Guernsey to Frances "Fanny" Muspratt and August Herbert, of whom nothing is known. He was baptized on July 11, 1859, in the Evangelical Lutheran Church in Freiburg, Baden, Germany. From 1853, Fanny was separated from her first husband, Frederic Muspratt, who divorced her in 1861 when he found out that she had conceived Herbert by another man. His mother told Herbert that he had been born in Dublin, and he believed this all his life, listing Ireland as his birthplace on his 1902 American naturalization petition and on his 1914 American passport application. Herbert appears to have had no knowledge of his half-sister Angela Lucy Winifred Muspratt, an artist or his half-brother, Frederic Percy. The Muspratts, a family of chemical industrialists in Liverpool, raised Angela after the divorce. Herbert and his mother lived with his maternal grandfather, the Irish novelist, playwright, poet and composer, Samuel Lover, from 1862 to 1866 in Sevenoaks, Kent, England. Lover welcomed a steady flow of musicians, writers and artists to their home. Herbert joined his mother in Stuttgart, Germany in 1867, a year after she had married a German physician, Carl Theodor Schmid of Langenargen. Herbert's younger half-brother, Wilhelm Marius Schmid, was born there in 1870. In Stuttgart he received a strong liberal education at the Eberhard-Ludwigs-Gymnasium, which included musical training.Image:Eduard Strauss concert poster.jpg|thumb|right|150px|Concert poster for Eduard Strauss's orchestra
Herbert initially planned to pursue a career as a medical doctor. Although his stepfather was related by blood to German royalty, his financial situation was not good by the time Herbert was a teenager. Medical education in Germany was expensive, and so Herbert focused instead on music. He initially studied the piano, flute and piccolo but ultimately settled on the cello, beginning studies on that instrument with Bernhard Cossmann from age 15 to age 18. He then attended the Stuttgart Conservatory. After studying cello, music theory and composition under Max Seifritz, Herbert graduated with a diploma in 1879.
Early career and the move to the U.S.
Even before studying with Cossmann, Herbert was engaged professionally as a player in concerts in Stuttgart. His first orchestra position was as a flute and piccolo player, but he soon turned solely to the cello. By the time he was 19, Herbert had received engagements as a soloist with several major German orchestras. He played in the orchestra of the wealthy Russian Baron Paul von Derwies for a few years and, in 1880, was a soloist for a year in the orchestra of Eduard Strauss in Vienna. Herbert joined the court orchestra in Stuttgart in 1881, where he remained for the next five years. There he composed his first pieces of instrumental music, playing the solos in the premieres of his first two large-scale works, the Suite for cello and orchestra, Op. 3 and the Cello Concerto No. 1, Op. 8. In 1883, Herbert was selected by Johannes Brahms to play in a chamber orchestra for the celebration of the life of Franz Liszt, then 72 years old, near Zurich.In 1885 Herbert became romantically involved with Therese Förster, a soprano who had recently joined the court opera for which the court orchestra played. Förster sang several leading roles at the Stuttgart Opera in 1885 through the summer of 1886. After a year of courtship, the couple married on August 14, 1886. On October 24, 1886, they moved to the United States, as they both had been hired by Walter Damrosch and Anton Seidl to join the Metropolitan Opera in New York City. Herbert was engaged as the opera orchestra's principal cellist, and Förster was engaged to sing principal roles. During the voyage to America, Herbert and his wife became friends with their fellow passenger and future conductor at the Metropolitan Opera, Anton Seidl, and other singers joining the Met.
Initial musical life in New York City
Seidl became an important mentor to Herbert and took a particular interest in fostering Herbert's skills as a conductor. Upon arriving in New York, Herbert and Förster became active members of New York's German music community, socializing and networking at cafes such as Luchow's. At these cafes, Herbert handed out business cards saying, "solo cellist from the Royal Orchestra of his Majesty, the King of Württemberg. Instructor in cello, vocal music and harmony." Herbert hoped to pick up extra income teaching, since he was earning only $40 to $50 a week as a cellist in the Met's orchestra.Meanwhile, in her first season at the Met, 1886–87, Förster sang several roles in German, including the title role of the Queen of Sheba in Goldmark's Die Königin von Saba, Elsa in Lohengrin, Irene in Wagner's Rienzi, the title role in the Met premiere of Verdi's Aida and Elizabeth in Tannhäuser. She earned praise from critics and audiences alike and was featured on the cover of the Musical Courier, a major music magazine of the day. The next season, she repeated the role of Elsa but then left the Met and then sang with the German-language Thalia Theatre, again earning good reviews. Although she sang for several more years, her career did not progress. Nevertheless, happy in New York, Herbert and Förster decided to remain in America after their first season at the Metropolitan Opera and eventually became citizens.
Herbert quickly became prominent in New York City's musical scene, making his first American solo appearance on the cello in a performance of his own Suite for Cello and Orchestra, Op. 3, with Walter Damrosch conducting the Symphony Society of New York at the Metropolitan Opera House on January 8, 1887. The New York Herald said of the event, " style is infinitely more easy and graceful than that of most cello players". This warm reception quickly led to more solo engagements that year, including performances of his own Berceuse and Polonais. Herbert continued to appear as a cello soloist with major American orchestras into the 1910s. In the fall of 1887, he formed his own 40-piece orchestra, the Majestic Orchestra Internationale, which he conducted and in which he served as cello soloist. Although the orchestra survived for only one season, it performed in several of New York's most important concert halls. The same year, he founded the New York String Quartet together with violinists Sam Franko and Henry Boewig, and violist Ludwig Schenck. The group's first concert was on December 8, 1887, and it continued to give free-admittance concerts for several years at Steinway Hall, earning enthusiastic critical praise.
During the Summer of 1888, Herbert became Seidl's assistant conductor of the New York Philharmonic's ten-week summer concert seasons on the Boardwalk at Brighton Beach, a prestigious post. Seidl's concert seasons made Brighton Beach an important New York musical venue each summer. Herbert conducted the 80-piece orchestra in lighter works paired with more serious repertoire at summer concerts and festivals over the next few years. Herbert's association with the New York Philharmonic ended in 1898, after 11 seasons, serving variously as an assistant conductor, guest conductor and solo cellist. In Fall 1888, soprano Emma Juchs hired Herbert to music direct a "concert party" tour of cities and towns in the midwest that had seen little art music, presenting a quartet of singers in varied programs of songs, operatic scenes and arias to new audiences. The accompaniment was usually pianist Adele Aus de Ohe and Herbert at the cello. The group presented their concerts to wealthy patrons at fashionable private parties and at mostly smaller venues to local audiences, educating them about opera, art songs and contemporary music.