When I am in need of inspiration, or perhaps procrastination, I visit a wonderful website, which has been brought to us by our tax dollars. Part of the Library of Congress’s “American Memory” site (memory.loc.gov) is something called “Traveling Culture: Circuit Chautauqua in the 20th Century.” Among other artifacts, the site houses promotional fliers from various artists and acts that traveled the country in the early part of the 20th century. A search of “women violinists” brings up a number of items, both intriguing (Dorothy DeLay and her sister as 2/3‘s of the Stuyvesant Trio in the 1950‘s) and occasionally hilarious (see the Melody Belles). These violinists had performing careers, numerous glowing press clippings, and management of sorts, yet I’d wager few people would recognize the names (Miss DeLay aside). It seemed a shame, so I thought I’d see what I could find out about some of their lives and careers.
In an oddly linear Google search, a picture emerged of the short life of Estelle Gray, billed in her press kit as “The Violiniste of Inspiration.” Gray was born in California sometime in the early 1890’s (ancestry.com says “about 1892”). She began studying violin at the age of six, and gave a recital two years later at the Alhambra Theater in San Francisco, playing a memorized program to an audience of 1500 people. Her press biography from the 1920’s adds, “It was at this time she was gaining inspiration from her habit of practicing in the open, among the wonderful mountains of California.” Teddy Roosevelt said of her, “You have absorbed the message of your big West; it shows in the strength and virility of your bowing.”
The University of the Pacific gave her “the offer of a cap and gown” at age eleven, and soon afterwards she turned down a scholarship at the University of California in order to study in New York. Gray began giving concerts in New York at age 15, including a series at the Waldorf Astoria, the Plaza, the Astor, and in Aeolian Hall. Playing her way across the U.S. at age 17, Gray ended with a recital at the University of California’s Greek Theater, which seated 8,000 (though the report neglects to say how many seats were filled). A tour of Europe followed this success. More dubious compliments came her way, such as this by Henri Marteau, Joachim’s successor at the Berlin Hochschule: “ Her bow arm is truly remarkable for its freedom and strength. She has the best bowing of any woman I have ever known."
The University of the Pacific gave her “the offer of a cap and gown” at age eleven, and soon afterwards she turned down a scholarship at the University of California in order to study in New York. Gray began giving concerts in New York at age 15, including a series at the Waldorf Astoria, the Plaza, the Astor, and in Aeolian Hall. Playing her way across the U.S. at age 17, Gray ended with a recital at the University of California’s Greek Theater, which seated 8,000 (though the report neglects to say how many seats were filled). A tour of Europe followed this success. More dubious compliments came her way, such as this by Henri Marteau, Joachim’s successor at the Berlin Hochschule: “ Her bow arm is truly remarkable for its freedom and strength. She has the best bowing of any woman I have ever known."
Gray was fairly unique for her time in that her training was accomplished entirely in America, though I haven't been able to find any mention of with whom she studied. This native training was frequently pointed out in her publicity, and after her European tour, Gray was “besieged” by New York newspapers for interviews on “why American training is best for our girls.” Press blurbs included on her post-European brochure reveal interesting perceptions of and attitudes towards “girl violinistes” of the time. For example:
Nuremberg, Bavaria, The Musical Zeitung: “We were amazed to find ourselves so won by the little American artist; the very walls that for centuries have been penetrated with German music , seemed to rejoice at the fresh melodies of the girl from the other world.”
London, The Times: “The young American violiniste, Estelle Gray, is quite extraordinary; her charming winsomeness won before she played a note, and she plays with the vigor of a man.”
Ostend, Belgium. Ciro Patimo, of the Grand Opera Company, said of Miss Gray’s playing: “So feminine and graceful, yet the strength and force of a man. She is the most brilliant of artists.”
San Francisco Examiner: “Miss Gray’s tones are warm and virile. Her manner on the platform instantly enchants with its simplicity and unaffected, unconscious ease... She is equally charming in a lullaby, a gypsy dance, or the heavier work.”
New Haven, Conn. Register: “It was brilliant and thrilling and almost set the audience wild. For an encore she played a sweet lullaby that made one think of home and all the sweetest babies we ever knew.”
Nuremberg, Bavaria, The Musical Zeitung: “We were amazed to find ourselves so won by the little American artist; the very walls that for centuries have been penetrated with German music , seemed to rejoice at the fresh melodies of the girl from the other world.”
London, The Times: “The young American violiniste, Estelle Gray, is quite extraordinary; her charming winsomeness won before she played a note, and she plays with the vigor of a man.”
Ostend, Belgium. Ciro Patimo, of the Grand Opera Company, said of Miss Gray’s playing: “So feminine and graceful, yet the strength and force of a man. She is the most brilliant of artists.”
San Francisco Examiner: “Miss Gray’s tones are warm and virile. Her manner on the platform instantly enchants with its simplicity and unaffected, unconscious ease... She is equally charming in a lullaby, a gypsy dance, or the heavier work.”
New Haven, Conn. Register: “It was brilliant and thrilling and almost set the audience wild. For an encore she played a sweet lullaby that made one think of home and all the sweetest babies we ever knew.”
Gray and pianist Florence Crawford, 1913
Gray’s mother, Mrs. Margaret Ludgate Gray, served as Estelle’s tour manager and promoter (stage mother, anyone?). She also, likely with little prompting, participated in the programs as a “reader.” An early brochure states, “Mrs. Margaret Ludgate Gray always travels with her daughter. Mrs. Gray has studied the art of interpretation under some of the best masters. She is a character delineator of marked ability, and has won popularity from East to West. Mrs. Gray is a great favorite with audiences, with spoken songs, readings with music and character delineations. Her numbers add greatly to the interest and charm of the program.” Or else?
Mother Gray’s role as performance partner was soon to take a back seat with the advent of a new collaborative pianist-- one Mr. Moritz Lhevinne. Stay tuned for the rest of the story...
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