Approximately 50 years ago I fell in love with the oboe. This love affair is still going on, even though I am no longer able to play in public. The oboe was never the main source of my livelihood, but was proof that some musicologists could actually perform.
For several years after my retirement from music, I wanted to pay homage to one of my "godfathers" who had been important in preparing me for a career in music. One of these was Alfred Charles Barthel. Consequently, a biographical sketch of the man and his influence seemed to be the best route to follow.
When I started on this project, all I knew about Mr. Barthel was what I had learned from him in our relationship which spanned approximately 20 years (c. 1935-1955). I wanted to show this important link between the great Georges Gillet and the present. This was to be in part-payment for his patience, understanding, and good humor during our association.
Rather than bore you with details of my search, I would like to say that a great many people were involved, both in the United States and in France. If I were to try to give credit where credit is due, my list would in all probability be longer than the actual presentation. Also, I would probably omit someone who was important! Therefore, with the exception of the Barthel children (4 of the 5 are still living, and have been exceedingly helpful), no names of who helped me will be given in the text.
The omission of names and footnotes necessarily will reduce the documentation aspect of this paper. However, it will not alter the facts which were used in preparing a narrative of this man's long life. Bibliographic entries show who were able to add to the story. To all, I give a hearty Thank you, for without your help which was so freely given, this paper could not have been written.
[Large picture of Barthel]For many years The Chicago Daily Tribune newspaper printed a column by H.D. entitled "A Line O' Type or Two." One such column read in part as follows:
Chacun chante son chant
dans la nature immense,
Chaque artiste a Le sien:
Barthel a son hautbois,
Sarah Bernhardt son jeu,
La Pav-louva sa danse,
Ruth Saint-Denys son corps
et Caruso sa voix.
Though no date for the above citation is known, Alfred Barthel must have been well known because of his position as first oboist in the major orchestra in Chicago. From its inception in 1891 until the founder's death in 1905, this orchestra was named The Chicago Orchestra (CO). The founder, Theodore Thomas (1835-1905) was already world-famous for his musical contributions to New York and Cincinnati. His organizing and conducting in Chicago was just starting to be fully appreciated when he died, less than one month after conducting the dedication concert in a New Hall, now named Orchestra Hall and still the permanent home of The Chicago Symphony Orchestra (CSO).
Shortly after Mr. Thomas died in Chicago (4 January 1905), the Board of Trustees of The Orchestra Association voted (28 January 1905) to change the orchestra's name to The Chicago Orchestra, Founded by Theodore Thomas. Later in the same year (11 April 1905), the name was again changed, this time to The Theodore Thomas Orchestra (TTO). Another change took place nearly eight years later (21 February 1913) when The Chicago Symphony Orchestra, Founded by Theodore Thomas name was adopted.
The task of building a symphony orchestra in Chicago found Mr. Thomas trying to use local talent as much as possible. This search proved inadequate, so he had to look to other sources for qualified personnel. When the first season (1891- 1892) began, his first oboist was a Belgian-born (1850) French-trained laureate named Felix Joseph Bour. [Winners of any Prix or Accessit at the annual competitions (Concours) at the Conservatoire National de Musique et de Déclamation (now the Conservatoire National Supérieur de Musique de Paris) became Lauréats. Bour became a Premier Prix Lauréat in 1870.] After two seasons, Bour moved on, and was replaced by the German oboist, Frederick Starke. Starke was to remain as first oboe until the start of the thirteenth season (1903-1904) when he moved to English horn. [Starke remained in the orchestra on English horn through the Twenty-Second Season (1912-1913) when he retired to the Portland (Oregon) Symphony to finish out a long career. His name was added to the pension roll of the CSO in 1917 based upon 20 years of service. ]
Starke was replaced at first oboe by the Frenchman, Alfred Barthel, who was a Premier Prix Lauréat from Paris (1891). Also, Bour was back -- as second oboe -- for four seasons when he left the orchestra for the second and last time. Barthel was to stay on and become a legend.
To learn some of the heritage and background of Alfred Barthel, glimpses of France in 1860 and in 1870-71 are needed. In 1860, France was on its way to "normality" after surviving upheavals due to The Revolution followed by Napoleon I. Napoleon III was the ruler of the Second Empire who had just recently won the Italian war. In Eastern France at Strasbourg (Bas-Rhin), on 25 November 1860, Charles Auguste Barthel and Louise Caroline Wilhelm were married. Though several children were born of this union, Alfred is the important one here.
In 1870, Napoleon III precipitated the Franco-Prussian War (1870-1871) which led to his being deposed, thus creating the Third Republic, and losing most of Alsace-Lorraine (including Strasbourg) to Germany until the Treaty of Versailles at the end of World War I.
It was during the German occupation of France when Alfred Charles Barthel was born at 11:00 a.m. on Wednesday, 29 March 1871. Evidently the Barthel family must have left Strasbourg prior to its siege and occupation by the Germans in the fall of 1870, because Alfred was born in Meursault (Côte d'Or). Also, Alfred's father (known to his grandchildren as a military man) must have served in the army during the War of 1870, because a star-shaped medal from the Republique Française (R.F.) was issued to him.
At some time between 1871 and 1882, the Barthel family migrated some 45 kilometers northward from Meursault to Dijon. The story of how and why Alfred turned to music and the oboe is best stated as follows: [1]
Mr. Barthel began his story by saying that he was now an oboe player because he was such a bad, such a very, very bad little boy in Dijon.
"I was so bad that everything that went wrong in the neighborhood was blamed on me. My parents were worried, grief stricken, frantic. They didn't know what to do with me, so they finally decided they'd send me to sea. It was a custom to send young boys to ships, and in this way they thought I would learn discipline. But on the very day I was to go make arrangements I got the mumps and had to stay home. That broke up the entire plan.
"Then a neighbor suggested that since my parents didn't know what else to try they might try giving me music lessons. 'But what sort of music lessons?' they asked. 'He has no talent for music. He has no talent for anything except mischief.' Said the neighbor, who himself played the bassoon: 'You might try the oboe.'
"So my parents took me to the music master at the Dijon Conservatoire. But the music master shook his head and said: 'No, he hasn't the lips or the hands. He'll never make a musician.' But parents insisted that it wouldn't do any harm to try, so I was put to it."
This all happened in 1882 when Alfred was 11 years old. The music master could have been the director [Armand Lévêque] or the oboe professor [thought to be Leon Pradel -- though it would have been nice if it had been Pierre-Françoise Orman Pradel, a Premier Prix Lauréat from Paris (1868)]. Evidently the music master was wrong, for Alfred won numerous honors along the way to the highest honor given at Dijon at that time: Prix d'Excellence (1888). [Other honors included Premier Prix -- Solfège, 1884, 1885, and 1887; Deuxieme Prix -- Hautbois, 1886; and Premier Prix -- Hautbois, 1887.] Due to the modest income of the Barthel family, no fees were paid to the conservatory for Alfred's study, thereby making him a scholarship student (élève boursier).
Mr. Barthel, who became a superb raconteur in his adult life, related one of his pranks which got him into trouble in Dijon:
I would go to the river where housewives from the neighborhood were doing their laundry, and would secretly put rocks in the bottom of their laundry tubs. When water was added to the tubs, instead of floating, they would sink to the bottom, spewing clothes into the river much to the consternation of the ladies involved.
From this example, it is no wonder that one of his Wisconsin colleagues would call Mr. Barthel "an outrageous practical joker."
It was at the conservatory in Dijon where Alfred received a basic music education which prepared him for an outstanding career in music. He not only studied the oboe, but became highly proficient in solfège (see above), and also studied harmonie. Even though Alfred was receiving high honors, he wasn't the "pet" of his oboe teacher -- a student named Joseph held this distinction. Thereafter whenever Mr. Barthel would receive some honor or achieve a goal, he would send his oboe teacher in Dijon a message to let him know that Alfred was doing just fine. So far as is known, Joseph disappeared from the musical scene. Maybe he lived in luxury, because Mr. Barthel said Joseph came from a rich family, while he came from a poor one.
After observing the traditional French Holiday in August 1888, Alfred auditioned to become a student at Paris. He was accepted unanimously in the school (7 September) and in the class of Georges Gillet (9 September). [A sidelight shows Louis Bleuzet -- who was to become the successor to Gillet -- being accepted later in the same month at the tender age of 14 years and 5 months.]
The auditioning jury of 7 members had 8 candidates for the class of M. Gillet, 7 of which actually appeared. 4 were selected at this session with one additional student being added later in the month (Bleuzet). M. Gillet now had a class of 13 aspiring oboists. By the time of the first examen in January 1889, one student had dropped out, leaving a class of 12. Also, by the time of the second examen in June 1889, another student had dropped out. Of these remaining 11 students, 9 were selected to compete at the annual Concours. Laureate status was earned by 5 of these 9 contestants though no Premier Prix was awarded. In interpreting this data, one can see that competition was keen, and only those who had a reasonable chance for success were allowed to enter the class of Georges Gillet. [Incidentally, 4 of the 5 new members of the class of 1888-89 were eventually to earn the Premier Prix, while the remaining one earned the Deuxieme Prix!]
Being an official part of the French national government, it is thought that the conservatory at Paris charged no tuition fees. Alfred in all probability needed money in order to live in Paris. There were 5 avenues he could use in obtaining this money. He could compete or apply for: rewards (récompenses), incentives (encouragements), gifts (donations or dons), a legacy (Legs), or a scholarship (bourse). In November 1888 he received a 100 franc incentive from the conservatory, and a 600 franc scholarship from Côte d'Or. In 1891 he received the Legs Nicodami valued at 500 francs. Incidentally, Fernand Gillet received this same legacy in 1898.
Alfred's progress, as recorded in comments written by his teacher at each of the 6 examens performed during Alfred's 3-year tenure at Paris, was steady. Though the first comments were not flattering, M. Gillet wrote, after hearing Alfred play the Charles Colin (1831-1881) Fantaisie in June 1891: "Possede Le qualités requises à un bon instrumentiste, a boucoup travaillé. "
Alfred went the route in Paris by achieving a Deuxieme Accessit (27 July 1889) playing 4e Concertino by Gustave Vogt (1781-1870), Deuxieme Prix (30 July 1890) playing 1er Concertino by Georges Guilhaud (1851-19?), and Premier Prix (29 July 1891) playing 6e Solo de Concours by Charles Colin. He was now a Premier Prix laureate and certain rights and privileges were supposed to have accrued.
As a laureate, Mr. Barthel was supposed to be either exempt or deferred from the 2-year Army draft that was in effect in France in 1891. But, such was not the case. He was drafted into the Army and sent off to camp. Though the Regimental Bandmaster pleaded with the Colonel on several occasions to have the oboist assigned to his band, the Colonel did nothing. Consequently Mr. Barthel played soldier during the week, and played oboe in the band on Sundays. This went on for about a year when he was released. The reason for this early release is not clear, but the laureate had had enough of the Army.
Now it was off to Algiers where Mr. Barthel held his first full-time position as first oboist in the opera orchestra. [Mr. Barthel's association with various groups of lesser stature may have taken place before or after the Algiers episode. e.g. Concerts Colonne (n.d.); Société des Concerts du Conservatoire (elected to membership 1901); Concerts Rouge (I have a snapshot of 11 of the 15 members standing in front of the café dating from 1897 -- See Laurence Ibish's article on Auguste Mesnard in The Double Reed, Vol. 1 No. 2 (October 1978), p. 5f) . . . and a reference to Monaco has been made.]
But Paris had become his home, so Mr. Barthel returned to join the Concerts Lamoureux orchestra, founded and conducted by Charles Lamoureux (1834-1899), in 1894. His final full-time appointment in Paris 1898) was to L'Opera Comique orchestra as first oboist which was to last until 1903 when he left for Chicago.
Shortly after commencing his association with L'Opera Comique orchestra, Mr. Barthel embarked upon a concurrent "second career" -- marriage. At Levallois Perret (Seine) on 15 June 1899 he married a charming young musician [Louise Flora LE BRETON (1877-1964)] whose father was an Army Bandmaster. This marriage was to last more than 57 years, produce 5 children, 10 grandchildren, and 5 great- grandchildren by 1957. Mme. Barthel would live almost another 7 years. Charles the only son, has remarked regarding his illustrious father: "Pop was one helluva guy!"
Somewhere along the line Mr. Thomas had either heard Mr. Barthel play or had learned somehow about his expertise as an oboist. At any rate, Mr. Thomas engaged Mr. Barthel for the thirteenth season (1903-1904) of his orchestra (CO).
During this season, Mr. Barthel appeared as a featured soloist playing Concerto for Oboe by Georges Guilhaud. This composition [a Concours piece, 1890] is a Concertino (oboe & piano), which had been expanded to a Concerto (oboe & orchestra) by Frederick Stock (1872- 1942) who scored the piano part for orchestra. The premier performances in Chicago took place on 4 & 5 March 1904. [From its beginning, the CO normally would play two concerts per program -- Friday afternoon (called a rehearsal) and Saturday evening (a concert).]
According to Mr. Barthel, the first season was to be a trial year. He evidently felt he needed to know if he would like the United States in general and Chicago in particular. The season must have gone well, for the laureate returned to France to bring his wife and two children (Georgette and Jeanne) to Chicago in time for the start of the fourteenth season (1904-1905). Mr. Barthel has stated he returned because Mr. Thomas offered "more money than I could refuse. "
At that point in time, the CO was primarily made up of German musicians. Mr. Thomas, therefore, gave his instructions to the orchestra in German. Mr. Barthel, being the only Frenchman in the woodwinds, needed these instructions translated into French by a go-between [or at least Mr. Thomas thought this was the case, despite the fact that the laureate already had learned basic German from his father who was multi-lingual]. The eminent Belgian clarinetist, Joseph Schreurs, served in this capacity. One one occasion, when asked to relay instructions, the clarinetist told Mr. Thomas, "Vot's dee use, he vill blay it as he vant to anyvay. " [I suppose Mr. Barthel would have justified his interpretation as he has been reported to have said in Paris: "Play it à la Gillet! "]
The fourteenth season (1904-1905) of the CO was an auspicious one for many reasons. The initial plan to open the season (4 & 5 November) in the New Hall on Michigan Avenue was not realized. Finishing touches by architects and contractors had not been completed, and the testing of the acoustics was delayed until 6 December. After the test Mr. Thomas reported by telegram to his colleague, Mr. D. H. Burnham (architect and acoustical designer) -- "Hall a complete success. Quality exceeds all expectations. "
The dedication concert took place on Wednesday, 14 December 1904. The Seventh Program (16 & 17 December) -- honoring Beethoven -- were the first regular concerts offered in the new location. The second concerts (Eighth Program, 23 & 24 December) in the New Hall one week later were the last conducted by Mr. Thomas. He was unable to attend the regularly scheduled rehearsal on Monday after Christmas which was the first rehearsal missed by Mr. Thomas in 43 years as a conductor.
Mr. Barthel was to be the featured soloist playing the Handel G-Minor Concerto as the third presentation in the New Hall. These concerts were the first to be conducted entirely by Frederick Stock. At the same time, these were the first missed by Mr. Thomas. In fact, on the very day of the first presentation (30 December), Mr. Thomas was diagnosed as having pneumonia. The pneumonia prevailed and the founder/conductor died on 4 January 1905, leaving the orchestra in the capable hands of Mr. Stock, who was to remain as the conductor of the orchestra until his death in 1942.
With a new facility available to the orchestra additional uses were easily made available to further the musical activities of the members of the orchestra in expanding the musical climate of Chicago. The Chicago Chamber Music Society (founded jointly by Mmes. J. J. Gessner, F. S. Johnson, and Theodore Thomas) inaugurated an annual series of concerts performed in the Foyer of Orchestra Hall early in December of 1905. These concerts usually took place on Thursday evenings. One of the groups participating through the years was the Chicago Wood-Wind Choir (a woodwind quintet consisting of first-chair players from the TTO with a guest pianist). Soon after this, Saturday mornings were used for recitals by various members of the orchestra. In fact, Mr. Barthel was a member of the Chicago Wood-Wind Choir, was founder of the Rameau Trio (with Mme. Barthel at the piano and Mr. Theodore Du Moulin on cello), and played several recitals called Annual Concerts accompanied by his wife. [In 1907, Mr. Barthel also formed a touring group named the Barthel Wood Wind Ensemble using various players from the TTO and/or elsewhere.]
All of this was in addition to Mr. Barthel's occupying first-chair oboe in the TTO. He also continued his role as featured soloist with the orchestra through the twenty-seventh season (1917- 1918), giving Chicago premiers of Concerto for Oboe, Op. 7 [1e Comtesse de Grandval (1830- 1907)], and Fantasia for Orchestra and Oboe on French Folk Songs, Op. 31 [Vincent d'Indy (1851 - 1931)], among other compositions.
Late in 1907 Mr. Barthel was awarded a medal by the Académie des Sciences, Arts et Belles-Lettres (of the Académie Française) as being the first oboist of the world! A typed copy (in French) of the notice which appeared in the Chicago Examiner newspaper (4 November 1907) gives a handwritten change by Mr. Barthel from "first oboist" to "one of the best oboists" of the world [et generalement connu comme premier hautbois" du monde" becomes "et generalement connu comme un des meilleurs hautboists du monde" ]. I personally feel Mr. Barthel was humble, mainly because of his respect for and devotion to his great teacher, Georges Gillet who was still very much alive and well in Paris in 1907.
When Mr. Barthel brought his wife (Flora) and the two "French" children (Georgette and Jeanne) to Chicago in 1904 they established the first of two temporary residences in Chicagoland. They lived until 1907 in Hyde Park -- near Jackson Park and also near the University of Chicago. They then moved to the west suburb of Maywood (1510 S. 5th Avenue) where Simone was born.
Mr. Barthel designed the final home to be built one block west of the initial Maywood location. This new home (1509 S. 6th Avenue) was occupied in 1910 and it was there where two more children (Charles and Louise) were born.
It was to the 6th Avenue address where a continual stream of students were to come for their lessons. The home was sold after Mr. Barthel's death in 1957, and is still standing (1983) despite major changes in the neighborhood.
It was to 1509 where I went for my oboe lessons in the mid to late 1930s. Where normally one would find a living room in a home, a music room had been designed and furnished. In it was a grand piano (lid down) which supported a peg for Mr. Barthel's Lorée oboe (Model 6-Bis). There was also a music stand, some book shelves, and at least 2 framed objects on the west wall. The latter contained the medals and winning reeds which had enabled Mr. Barthel to become a Premier Prix (1891) and earlier a Deuxieme Prix (1890) laureate in Paris.
In order to provide some insight into how Mr. Barthel approached his teaching, here is an account of my first audition/lesson with him.
First of all, I was completely in awe of the man, and was petrified by fear when I first met him. After all, he was "The Oboe Teacher" of the Midwest, and my telephoning him to arrange an audition was -- in my mind -- extremely egotistical. Nevertheless, a date and time were set -- the next Saturday afternoon.
At this point (mid 1930s), I lived in Harvey, Illinois, a south suburb of Chicago. This necessitated my taking two trains, one 20 miles north and another 11 miles west, followed by a short walk to "the house."
Mr. Barthel met me at the door. He was a robust man, mottled gray brush haircut, well-waxed full handlebar mustache, and wearing oval pince-nez glasses. I was asked to remove my outer coat, and was ushered into the music (inquisition?) room.
He first wanted to see my oboe . . . an unnamed school-owned instrument. . . which was inspected carefully. He then spoke a phrase which was to become well-known to me: "Very Bad!" Next, he inspected my reed . . . "Very Bad! "
Now came the playing test! Mr. Barthel asked me to play a chromatic scale from low B (b) to high F (f''') and return, mezzo-piano, staccato, three notes to a beat at my tempo. I was immediately facing 2 problems: I didn't know the fingerings above high E-flat, and didn't know if I could play a low B, let alone play it staccato. Somehow I got started after several unsuccessful attempts . . . "Very Bad!"
Mr. Barthel said it was my reed that hindered me, so I asked if he would make a Barthel reed for me. He agreed. I realized, that since he was going to make a reed for me, I was accepted as a student.
The rest of the audition became a lesson in how to adjust my embouchure for low pitches ('d' and below), and how to finger and play chromatically from high E-flat up through high F. (Incidentally, my fingering for high E-flat was wrong!)
Before I left, I was told to purchase a copy of Sellner Part II, and was instructed as to what and how to practice an assigned group of exercises in it. Nothing was said about Barret. (I later learned that Barret was either out-of-print or not available in Chicago at that time.) Suddenly the Salviani method and Luft duets were taboo. Many things from my oboe-playing past were to undergo change.
My first Barthel reed was delivered to me at my second lesson. The process started out as tube cane obtained directly from France (c. lOmm diameter) cut to 72mm lengths. The final gouge was 0.400 mm at the center and 0.375 mm at the sides. When shaped, the tip was 7 mm wide. The prepared cane was mounted on 47 mm drawn brass staples (tubes) frequently obtained from Frank L. Kaspar (uncle of Frank Kaspar of a later period) in Chicago. The oval opening was nearly circular! The thread (completely covered with beeswax) had to be red silk. [See Robert Probasco. "The Suitable Reed." To the World's Oboists, Vol. 5, No. 1 (May 1977), p. 5 for another view?] Mme. Barthel would hand dye the silk thread in her kitchen when red thread was not available. The scrape (grattage) was shaped like a capital "U" and was short -- about one-third of the visible cane. Though seldom needed to seal the sides of the reed, fish skin completed the reed.
Mr. Barthel adjusted my new reed by having me play certain test tones, interspersed with scraping. The scraping was done without glasses at about 4 inches (10 cm) from one eye. Also, at this lesson, I received my first manuscript of melodies from Barret and Sellner as written out by my teacher.
During my lessons, I rapidly learned the full meaning of MAXIMS used by Mr. Barthel, such as: "Go back to the beginning," and "NO! Go back to the beginning." I was never told to go anywhere but back to the beginning, no matter where the lapse or failure occurred. An anecdote by one of Mr. Barthel's students states that while traveling to Maywood to a lesson where the last exercises in a book had been assigned, he asked himself the question: "What's the next book to study?" At the lesson, after completing the exercises, Mr. Barthel asked: "What are you going to study next?" Reply -- "I don't know." "You will do the book again! And this time you will do it right," said Mr. Barthel.
Luckily I rarely heard chameau or cochon which I understand were used frequently when something would go wrong during his reed-making sessions. It took me several years to hear: "Fine!" which was -- to me -- the ultimate praise.
Mr. Barthel was not only an artist performer, but was a master teacher. Demanding, but always fair; compassionate, and totally patient. This was Mr. Barthel to me.
When I contacted Mr. Barthel, I was looking for more than I was able to receive from my prior oboe teacher. In fact, I received more than I could have ever hoped for in my wildest dreams. One of his former students has said: "He was a great teacher!! He gave me my whole music career. "
More About Chicago
The CO and its successors gave many extra concerts dating from 1895 in order to reduce the annual deficit. The orchestra made tours, performed at music festivals, started making recordings (1916!!), and served as an important adjunct to (choral) music groups. The special extra concerts were at times called "Workingman's," "People's," "Popular," "Children's," or "Promenade," to name a few. Some took place of the regular Friday-Saturday format, while others were integrated into the regular season. The last concerts conducted by Mr. Thomas were "Popular" as were the performances of the Guilhaud by Mr. Barthel.
The year 1919 (after horrible experiences during World War I) was another auspicious one for the Orchestral Association due to the addition of two more facets of a comprehensive plan for music in Chicagoland: a "Children's Concert" series was established, and the Civic Music Student Orchestra (CMSO) (now The Civic Orchestra of Chicago) based upon the concept of a training orchestra was formed. It was at either one of the Thursday afternoon "Children's Concerts" or at the now defunct "North Shore Festival" (held in Evanston) where I first heard the CSO.
The newly organized CMSO gave it first concert in Orchestra Hall on Monday evening, 29 March 1920. Though I am not sure who was first oboe at this first concert, I do know that Florian Mueller (1904-1983) was the regular first oboe during the second season (1921-1922). [See Charles Lehrer. "The Florian Mueller Story. " The Double Reed, Vol. 4 No. 2 (October 1981), pp. 1 -15; and "NEWS NOTES . . . etc." The Double Reed, Vol. 6, No. 1 (Spring 1983), p. 52.) Mr. Mueller was probably the most famous Barthel student.
Oboists selected for membership in the CMSO received scholarships to study with Mr. Barthel. Many of these students went on to careers in music. Some of those who became professional oboists would move up to the parent organization (CSO), while others would hold chairs in other orchestras throughout the United States.
Critical Changes in Chicago
Prior to 1890 a group of businessmen in Chicago formed a nucleus of support for good music in their community. Through their efforts, Theodore Thomas was engaged to form an orchestra which resulted in the CO commencing in 1891.
There were two basic problems facing any such venture in Chicago. Financial backing needed to be secured, and personnel needed to be located. The first problem was heroically met by the Board of Trustees of the Orchestra Association who contributed over $285,000 beyond their normal support during the first 7 years the orchestra was in existence. Despite all of this, the eighth season (1898-1899) commenced with a deficit of $30,000.
The problem of personnel was met head-on by Mr. Thomas. The musician's union wanted local talent to be used. Mr. Thomas agreed to use the local talent who could qualify. Therefore the personnel of the first season (1891-1892) consisted of 24 men from Chicagoland and 62 from wherever Mr. Thomas could find them.
Incidentally, the first season to show a "profit" was number sixteen (1906-1907). However, there was no set pattern of profit. The "losing" seasons were always worse than the "winning" ones in dollar amounts.
In 1923, a compromise solution to union/board negotiations produced a contract for a season of 29 weeks with one week vacation (during the season) without pay. There were to be a total of 126 concerts plus 4 rehearsals per week. 78 men were to play all concerts, and 12 would be added for the regular Friday-Saturday concerts. Regular members would receive a minimum of $75 per week. This contract remained valid for two seasons.
By 1927, the Orchestral Association and union locked horns to the extent of threatening cancellation of the entire season and/or disbanding the orchestra. This impasse was cleared, but I feel certain it had a tremendous impact on Mr. Barthel.
In 1927, the laureate was 56 years old with 24 years service in Chicago. He still had children at home, and the future looked bleak should the orchestra cease to exist.
Mr. Barthel announced his intention to retire at the end of 25 years of service. Such an announcement put wheels in motion to insure his pension rights. Nevertheless, he was asked to stay on a 26th year (1928-1929) until a replacement could be found.
The replacement for Mr. Barthel turned out to be Marcel Honoré who stayed only 2 seasons before Florian Mueller became the true successor to Mr. Barthel in the CSO.
In anticipation of retirement from the CSO, Mr. Barthel established The Barthel School of Music (chartered 9 October 1928 with financial backing of Mrs. Frances Glessner Lee -- daughter of Mr. & Mrs. J. J. Glessner) which was located in Kimball Hall in Chicago. Florian Mueller was one of the teachers hired to staff this ill-fated venture. The school failed 26 months later, probably in-part due to the stock market crash of 1929 which precipitated the Great Depression. However, concurrently with operating his school, Mr. Barthel continued playing. He formed the Chicago Woodwind Ensemble (first concert 20 January 1929) and played first oboe in the Chicago Grand Opera Company orchestra. (The opera company moved into the new opera house on 4 November 1929.) This affiliation was to last approximately 10 years.
Over the years during off-season, Mr. Barthel's activities included numerous performances with various groups in the parks of Chicagoland since he was a highly sought-after oboist. During the 1930s I heard him perform in Grant Park on several occasions -- before the Grant Park Symphony Orchestra was formed. Also, during this period, he was associated with the summer music (clinic) program operated by the University of Wisconsin in Madison.
After leaving the Chicago opera orchestra, Mr. Barthel became a full-time professor (and week- end commuter from Madison to his home in Maywood, because his family never left Chicagoland) at the University of Wisconsin. While in Madison he taught musicianship to instrumentalists along with his assignment as oboe professor.
On several occasions he appeared as featured soloist with university-sponsored musical organizations. He soloed with the university band conducted by the late Dr. Raymond F. Dvorak (1900-1982) as well as the university orchestra. I believe it was with the latter group where he performed his "swan song" in 1943 playing the de Grandval Concerto. Another facet of his work in Madison included solo recitals with Mme. Barthel at the piano.
Mr. Barthel's colleagues in Madison had tremendous respect for him. Even though several of them would refer to him privately as "Papa Barthel, " they always called him "Mr. Barthel" to his face!
Three of his closest colleagues, Dr. Carl Bricken, Professor Hilmar Luckhardt, and Professor Gunnar Johansen honored Mr. Barthel by composing a sonata (suite) in three movements for oboe and piano for him with each movement in a different style but all based upon "A-B-C" as a framework. Mr. Barthel played this work at one of his solo recitals. Through the years, various composers had dedicated works to Mr. Barthel, but this was the first time the A-B-C concept was ever used.
Early in 1943 Mr. Barthel told me that he was retiring at the end of the school year. This must have been forced because the university required retirement at age 70 at that point in time! I feel he must have felt superannuated, because he was now 72 years old, and had been playing professionally for 52 years.
Upon leaving Madison, Mr. Barthel didn't put down his oboe. He continued recitals (which had started in Chicago over 35 years earlier) with Mme. Barthel at the piano; prepared to do some recording; and -- naturally -- continued his teaching. One of his students received his degree from Northwestern in 1949 while studying with Mr. Barthel. This required special permission from the university. Still another student is known to have studied with him until 1953.
Finally "Papa" (as Mme. Barthel would call him) had to quit. When I last saw him in May 1955, he was alert, but had little or no interest in anything regarding the oboe -- playing, teaching, or reedmaking. He was totally retired! Unfortunately, his many careers were behind him.
His life was to end on 18 January 1957 -- nearly 86 years after his birth in Meursault on 29 March 1871. He is gone, but his indelible influence lives on through his many students.
One long-time friend and former student wrote, among other things, to the family after their bereavement: "He (Mr. Barthel) was once referred to as an institution. Gillet, Barret, Lorée, and Mr. Barthel were the people who perfected the oboe, making no passage impossible. " According to the author of the letter, Lorée was reported to have said this to him in 1927.
A short item in the "Closing Chord" section of the International Musician commemorated the first anniversary of the death of Mr. Barthel. Since then, silence! Gone is "Old Ironlips" who confounded his colleagues and students by his circular breathing, multiple tonguing, playing easily through a full three octave range, instant transposition (including singing accurately in solfège), and sense of humor as shown by the twinkle in his eyes. One never could completely anticipate the joking word or deed of Mr. Barthel. We former students shall never forget him!
1. This narrative has appeared in two nearly identical versions: (1) Bertha Fenberg. "Visits to the Homes of the Chicago Orchestra men -- The Alfred Charles Barthels. " The Chicago Daily News, 17 March 1928, p. 12; and (2) Victor J. Grabel, ed. Editorial comment preceding article -- Alfred Barthel. "The Oboe," The Etude 47:581 (August 1929). [c1929 The Etude Used By Permission Of The Publisher]. [return]
Archives Nationales -- Paris
La Série AJ37 . . . Le Conservatoire National de Musique et de Déclamation de Paris.
112* Enseignement. Tableau annuel des classes, première série. Musique et déclamation: professeurs et élèves. 1888, 1889.
113* Ibid. 1889, 1890.
114* Ibid. 1890, 1901.
242* Enseignement. Epreuves d'admission: procèsverbaux originaux des séances du jury, études musicales.
1. Examens, 500 p. P. 1-481: 19 octobre 1885 -- 14 novembre 1894. p. 186, 187.252* Enseignement. Concours pour Les récompenses, procés-verbaux des séances du jury: originaux signés par Les membres et Le directeur du Conservatoire président.
2. 394 p. (coté: 8 I). P. 1-386: 28 juin 1889 -- 29 juillet 1893. p. 229, 230.291* Enseignement. Examens: rapports de professeurs sur Leurs élèves pour Les examens, généralement signés, janvier 1888 -- juin 1889. fol. 461, 615.
292* Ibid. janvier 1890 -- juin 1891. fol. 137, 299, 451, 607.
388. Elèves titulaires. Hommes (civils & militares) et Femmes inscript depuis Le 1er janvier jusquau 31 decembre 1865. p. 230.
Ibid. 1868. p. 390.393. p. 212
Barret, Apollon Marie Rose (1804-1879). A Complete Method for Oboe. London: J.R. Lafleur & Son, Ltd., 1850, 2nd ed. 1862.
Barthel, Alfred. "The English Horn." (picture) The Etude 47:813 (November 1929).
Barthel, Alfred. "The Oboe." The Etude 47:581, 607 (August 1929).
Burgesser, George D. "Woodwind Personalities: Alfred Barthel. " (picture) Woodwind Vol. 6 No. 8 January-February 1954).
"The Chicago Symphony Orchestra Oboe Sections. " To the World 's Oboists Vol. II No. 3 (December 1974), p. 6.
"The Chicago Symphony Orchestra Scrapbook, 1894- 1950/51. " (microfilm) Evanston: Northwestern University, 10 reels.
Closing Chord. "Alfred Barthel." International Musician Vol. 56 No. 7 (January 1958), p. 39.
Death Notices. "Alfred Barthel. " The Chicago Sunday Tribune, 20 January 1957, Part I, p. 30.
"Theodore Du Moulin." Who is Who in Music, 1941 ed. Chicago: Lee Stern Press, 1941.
Dunan, Elisabeth. (Consevateur aux Archives Nationales) Inventaire de La Serieirie AJ37. Tome Premier. (AJ37 1 a 375). Paris: S.E.V.P.E.N., 1971, 197 pp.
Ellinwood, Leonard, and Keyes Porter. Bio-Bibliographical Index of Musicians in the United States Since Colonial Times. New York: Da Capo Press (reprint of 2nd ed of 1956 publication of the Government Printing Office), 1971.
Extrait d'acte de Naissance. "Alfred Charles BARTHEL" Mairie de Meursault [Côte d'Or, France], 16 septembre 1982.
Fenberg, Bertha. "Visits to the Homes of the Chicago Orchestra Men -- The Alfred Charles Barthels. " (pictures) The Chicago Daily News, 17 March 1928, p. 12.
Fern, Annett. "Chicago. " The New Grove Dictionary of Music and Musicians 4:233-226. London: Macmillan Publishers, 1980.
Grabel, Victor J., ed. "Department of Bands and Orchestras." The Etude, c. 1929 (passim).
Grand Larousse encyclopédique. Paris: Librairie Larousse 1960-69m 10 vol. + Supp.
Harris, Melvin. "European Oboists of Yesteryear... Some Notes & a Query." To the World's Oboists Vol. IV No. 3 (December 1976), p. 3f.
Ibish, Laurence. "A French Bassoonist in the United States. Auguste Mesnard. " The Double Reed Vol. 1 No. 2 (October 1978), p. 5f.
Johnson, Ellis Allen. "The Chicago Orchestra. " Thesis (A.M. in History), The University of Chicago, 1951, 104 pp.
Johnson, Ellis Allen. "The Chicago Symphony Orchestra, 1891-1942 -- A Study in American Cultural History. " Dissertation (Ph.D. in History) (microfilm) The University of Chicago, 1955, 517 pp.
Lavignac, Albert, ed. (Fondateur) Encyclopédie de La Musique et Dictionaire du Conservatoire, Pramière Partie et Deuxiane Partie. Paris: Librairie Delagrave 1913-1930, Part I 5 vols, 3403 pp, Part II 6 vols, 3920 pp
Lehrer, Charles. "The Florian Mueller Story. " The Double Reed Vol. 4 No. 2 (October 1981), pp. 1-15.
Luft, Johann Heinrich (1813-1868). 24 Etudes in Duet Form [Op. 11]. New York: Carl Fischer.
McKray, J. Clees. "Blueprint for Public School Music. " (picture) The Etude 68:4 (April 1950), p. 12f.
Mize, Dr. John Townsend Hinton, ed. in chief. "Kenneth Gekeler. " Who is Who in Music, Fifth (Mid-century) ed. Chicago: Who is Who in Music, Inc., 1951.
Northrup, Jean. "Fernand Gillet." To the World's Oboists Vol. 5 No. 2 (September 1977), pp. 1-4.
Northrup, Jean. "Fernand Gillet 1882-1980." The Journai of the International Double Reed Society No. 8 (June 1980), p. 22.
Otis, Philo Adams. The Chicago Symphony Orchestra, its organization, growth and development, 1891-1924. Chicago: Clayton F. Summy, 1925, 466 pp.
Pierre, Constant. (Sous-chef du Secrétariat, Lauréat de L'Institut) Le Conservatoire National de Musique et de Déclamation. Paris: Imprimerie Nationale, 1900, 1031 pp.
Probasco, Robert. "The Suitable Reed. " To the World's Oboists Vol. 5 No. 1 (May 1977), p. 5.
Program Book. The Chicago Orchestra. Thirteenth Season (1903-1904), and Fourteenth Season (1904-1905).
Program Book. The Theodore Thomas Orchestra. Seventeenth Season (1907-1908), and Twentieth Season (1910-1911).
Program Book. The Chicago Symphony Orchestra. Twenty- fourth Season (1914-1915), Twenty-fifth Season (1915- 1916), and Twenty-seventh Season (1917-1918).
Salviani, C. Metodo Completo pa Oboe or Complete Method for Saxophone or Oboe. Milan or New York: Ricordi, n.d.
Sellner, Joseph (1787-1843). Methode, II -- Exercises d'Articulation. Paris: Editions Constallat.
Slonimsky, Nicolas, rev. "Carl Bricken." Baker's Biographical Dictionary of Musicians, 6th ed. New York: Schirmer Books, 1978, 1955 pp.
Spaeth, Dr. Sigmund, ed. in chief. "Alfred Barthel." Who is Who in Music, 1929 ed. Chicago: Who is Who in Music, Inc., 1929.
Storch, Laila. "Georges Gillet -- Master Performer and Teacher. " The Journal of the International Double Reed Society No. 5 (June 1977), pp. 1-19.
Storch, Laila. "100 Years of F. Lorée: 1881-1981." The Journal of the International Double Reed Society No. 9 (June 1981), pp. 28-42.
Upton, George Putnam, ed. Theodore Thomas: A Musical Autobiography. Chicago: A. C. McClurg & Co., 2 vol., 1905.
Barthel, Charles W. Undated questionnaire (received via Louise Barthel Watts 7 December 1982); Interview 27 June 1983; letters dated 27 January 1983, 1 March 1983, 14 April 1983, 3 August 1983.
Broido, Arnold. (President, Theodore Presser Co.) Letter dated 4 May 1983 giving permission to quote/cite from The Etude 1929 & 1950.
de Gourdon, Robert. (Ets de Gourdon.) Letter with enclosed picture dated 5 October 1982.
Dvorak, Florence. (Widow of Dr. Raymond F. Dvorak.) Telephone conversation 9 July 1983.
Gekeler, Kenneth. Letter dated 17 March 1983.
Luckhardt, Hilmar F. Letter dated 3 May 1983; Interview 8 July 1983.
Mahieu, B. (P.O. le Conservateur en chef du service des renseignments, Ministère de la Culture -- Direction des Archives de France.) Letter dated 4 August 1982.
Mallein, M. (Bibliothecaie -- Conservatoire National de Region -- Ville de Dijon.) Letters dated 20 December 1982, 27 July 1983.
Maurin, Michèle. (Documentaliste Conservatoire National Supérieur de Musique de Paris.) Letters dated 15 February 1983, 6 May 1983.
Moore, DeVere. Letter dated 28 November 1982.
Mueller, Florian F. Letter dated 3 August 1982.
Nechoda, Walter A. (Chairman Music Department Hinsdale [IL] Township High School Central.) Telephone conversations 14 December 1982, 5 July 1983; Interview 7 July 1983; Letters dated 21 July 1982, 27 August 1982.
Nonn, Vicki. (Wisconsin Public Radio -- Madison WHA.) Letter dated 1 March 1983.
Pepe, Lawrence. Letter addressed to Mrs. Alfred Barthel and Family . . . incomplete photocopy c. February 1957.
Perkins, Simone Barthel. Interview 10 July 1983; Letters dated 24 January 1983, 16 April 1983, 8 June 1983.
Perrin, Claude (Le Sous-Directeur, Conservatoire National Supérieur de Musique de Paris.) Letter dated 8 July 1982.
Quinn, Charles L. (Corporation Department, Correspondenee Section, Office of the Secretary of State [IL].) Letter dated 17 December 1982.
Revelli, William D. Letter dated 9 September 1982.
Roberts, Don L. (Music Librarian Northwestern [IL] University.) Telephone conversation 27 January 1983.
Roub, Frank. (Administrative Assistant in the School of Music at the University of Wisconsin -- Madison.) Letter dated 21 January 1983.
Russell, Myron. (Professor Emeritus and Head of the Music Department at the University of Northern Iowa.) Letter dated 12 April 1983.
Sayers, John. (Head Librarian, Forest Park [IL] Public Library.) Letter dated 11 March 1983.
Schaben, Sue. (Secretary, School of Music, University of Wisconsin -- Madison.) Telephone conversation 19 October 1982.
Schermetzler, Donald A. (Archivist, University of Wisconsin -- Madison Memorial Library.) Letter dated 14 March 1983.
Schulze, Theodora Economou. (Music Director, The Telemann Society.) Letters dated 16 September 1982, 21 February 1983.
Stocks, Jeanne Barthel. Letters dated 10 March 1983, 29 March 1983.
Vendl, Delores M. (Service Representative, Queen of Heaven Cemetery, Hillside [IL].) Letter dated 8 January 1983.
Watts, Louise Barthel. Telephone conversation 8 January 1983; photoslides c. I April 1983 letters dates 17 November 1982, 7 December i982, 8 April 1983, 16 October 1983.
Widder, Roger. Interviews 17 January 1983, 27 June 1983.