Much of my 2025 was spent in writing, expanding, editing, revising, illustrating etc two splendid works which first saw the light of page more than two decades ago. The results will be seen next year. Books do not incubate as quickly as eggs. The first will be my remake of Andrew Lamb's fine biography of Henry Russell ..
That project led me back into American fields I had not visited in many years, and new acquaintance with a pile of people -- exported English artists -- whom I had never really got to know, in spite of their being amongst the foremost vocalists of the East Coast 1830s. Mrs Bailey, Mrs Franklin, Mrs Watson ...
Mrs Bailey was 'late Miss Watson'. Mrs Watson ostensibly her mother. So I decided to have a shot at the pair of them. Well, no one else seemingly had. And remember, I said 'ostensibly'. I have been three whole working days on the Watsons, and here is what -- after discarding a welter of inaccuracies -- I have found.
Starting with Mr J Watson. John Watson. 'Organist', 'music master', 'composer'. 'Of the English Opera House and Covent Garden'.
Born where? When? No idea. Allegedly around 1795. Married a lady named Elizabeth. Surname? No idea. Probably a performer. Why this obscurity? 'Watson' is admittedly a name of great frequency. John and Elizabeth even more so. Less obscure is the result of their presumed marriage: seven children, between 1811 and 1828. 1811? When father was fifteen? Hmmmm. Anyway, the registers of St George the Martyr show the birth of Eliza Mary Watson, by John ex Elizabeth, on 31 January 1811, which seems to signify that either the Watsons were very precocious, or lied about their ages on subsequent documents. Alas, the family historians (with the help of the Watsons, who seem to have been somewhat dilatory about baptising their children) have got in a right muddle here.
I didn't, at first, dally too long over father John. It was his daughter, Mrs Bailey, I was after. But when, finally, I had sorted her out, I went back, a tried to find out a little more about papa. When two of his sons were baptised (7 August 1816) he was described as 'organist', by 1818 'professor of music', in 1821 'of 1 Judd Street, Brunswick Square', in 1823 'music master' of 14 Buckingham Street, Strand. Interesting address that one. It was formerly the home of Samuel Pepys. Another interesting fact: both the latter addresses were also, contemporaneously, that of John Isaacs, longtime bass singer at the Covent Garden Theatre. So, at some stage, Mr Watson before 1820, has developed a relationship with Covent Garden. What was he doing there? Playing piano it seems. The first time I see his name in print is accompanying a Benefit concert for Garden small-part player, Charles Mears in 1821. June 29 he, his pupils Julia Hallande (https://kurtofgerolstein.blogspot.com/2024/03/star-mezzos-only-live-twice-miss.html) and Master Longhurst sponsored a concert at which 'a young lady pupil of Mr Watson' is featured. But the next year, Mr W goes up a notch: he is credited with composing and arranging the score 'agreeable selections and tasteful original compositions' for Gordon the Gypsy at the English Opera House, and then for the equally successful Presumption, or the Fate of Frankenstein -- 'overture and music composed by' -- at the same house.
From there, while continuing to teach, he composed and arranged the music for a number of Covent Garden pantomimes ('composer and director of music' 'co-chorus master') and introduced his children, as well as his pupils, to music and the stage.
Now, here I got into a momentary tangle. Because reports of the time just refer to 'Miss Watson' and 'Master Watson'. I puzzled for half an afternoon, for example, over how our Charlotte had enrolled at the Royal Academy, in its initial year, at seven years of age. The answer was, of course, that the Miss Watson RAM, who was one of the institution's best vocalists in year one ('appears to be the most distinguished of the singers'), was older sister Eliza, rising 14. Eliza sang in some classy concerts, on bills with such stars as deBegnis, Curioni, Miss Stephens, Caradori, Sinclair and Braham. I spot her at the Melodists (father on piano) and in 1827 (24 May) at the Freemasons Hall where the bill included two Masters Watson -- brothers John and Henry. One of them, at least, is already 'of Covent Garden'. The boys were apparently eminently employable as juveniles. Father, a stalwart of The Melodists, introduced them there in 1826 as vocalists while they appeared at the theatre in children's parts. John was Albert to the William Tell of Macready, sang a duet with Vestris ... How old were they? Well, it seems that John MacMurdie Watson was born in 1814 and Henry Cood Watson around 1816. Family historians have opted for their mutual baptism date which was, in John's case at least, rather tardy! Anyway, neither had an adult career as a performer: John died at 11 Park Street, Bath, in April 1833, aged 19, while Henry found other areas for his attentions.
Mr Watson was a thoroughly useful musician, but he also had decided talents as a singing teacher and he produced a number of reputable sopranos (lady and boy) in the 1820s. The Masters Barker and Longhurst, Julia Hallande, Miss Noel, Elizabeth Hughes, Ann [Estcourt] Wells, the Misses Brandon. And his own family.
So finally we get to Charlotte. Christened Charlotte Johns Watson on 20 March 1818 from 10 Tottenham Court Road and apparently born 2 December 1817. Her first appearances seem to have been in 1829, at eleven years of age. She appeared as Filch in her father's one-nighter of The Beggar's Opera played reverse sex and in a season given by Sinclair at the Tivoli Gardens in Margate. Father, two sons, two daughters, Miss Hughes, Miss Wells ... a real family company. Charlotte was billed as Miss C Watson at this stage, but it would not be for long: in 1831(10 November) Eliza married Edward James Loder of Bath, and made the rest of her career as 'Mrs E Loder'. And in 1829 John Watson was declared bankrupt.
Charlotte, billed as 'the musical prodigy' (as was Fanny Woodham and several others) appeared at Whitechapel's Pavilion Theatre (3 October) cast in the multiple role of Old and Young (The Four Mowbrays), and as Giovanni in Don Giovanni in London. Miss Wells joined her for more performances at the Panarmonicon, King's Cross (Guy Mannering, No Song No Supper, Old and Young) and they visited Dublin, Liverpool and Manchester (Cherubino, Price Arthur in King John, Giovanni in London, Midas, Bombastes Furioso, Paul and Virginia). I am sure father came too. Because Liverpool was to be eventful.
The violinist Niccolò Paganini visited Britain to give concerts at London's King's Theatre. But the prices demanded by the management were so high (allegedly £9,000) that the whole thing fell temporarily through. Clearly, the star made lesser demands for his British appearances out of town: at Clifton and Bath, where Mr Loder was accompanist, at Manchester, and at Liverpool's Theatre Royal (9 January 1832). He didn't need (or, probably, want) a glamorous supporting programme -- he himself was the glamour -- so the 'fill-in' artists on his concert programmes were those who happened to be on hand. George Horncastle and his sister, Mrs Lloyd, Mr [Henry Blaine] Hunt of Covent Garden, Mr Hart .. plus Miss Wells and Miss Watson, who had been playing Cinderella and the Fairy Queen in Cinderella, and Mr Watson, now, on piano. Virtuoso numbers were not required. Charlotte sang 'The Light Guitar', 'I will not chide the archer boy', 'Let Me Wander', 'The Keel Row', joined in the inevitable 'Blow, Gentle Gales' .. the others gave bits of Rossini and Bellini ... Paganini did the virtuoso stuff.
The combination worked well, the concerts were decidedly successful, and the Watson team (sometimes not advertised) remained part of many of the subsequent Paganini programmes through Leeds, Chester ('a very clever child being also an excellent actress'), Birmingham, Sheffield, Manchester, York, Halifax et al. The papers ventured that the violinists had amassed a profit of £22,000 by his visit. I imagine John Watson's bankruptcy may have benefitted a little! Thereafter, the girls continued on their way, with 'of the Paganini concerts' attached to their billing and with father driving the business, through fine provincial engagements, until ...
Paganini, pursued by all sorts of tales, returned to England in 1833. At his first concerts he was supported by the little Misses Smith (Paganini was fond of too-young girls), by Juliet Bellchambers and a baby pianist named Elizabeth Jones, and a hoax rumour was circulated that he was to marry a young English lady 'of fortune and great talents'. As the violinist progressed in August to provincial dates, however, he again hooked up with the old team: Miss Wells, Miss Watson and father the pianist. Coventry ('the ladies sang very prettily and most of their pieces were encored'), Salford, Leeds, Liverpool, Sheffield, Newcastle, Durham, Lancaster, Berwick, Birmingham, York, Leicester , Derby, Cambridge, Leamington ... Charlotte gave 'The Bonnie Wee Wife', 'Teach me to forget', 'The Banks of Allan Water' and duetted 'Sull' aria' and 'The Keel Row' with Anne, between the violin displays.
When the team revisited certain dates they had, necessarily, a change of programme. Charlotte gave 'The merry mountain horn', 'Archer Boy', 'The Swiss Drover Boy' 'The Soldier's Tear'; Anne 'Comin' thro the rye', 'Kate Kearney' , 'Una voce poco fa' and 'Soave Immagine', and they duetted Bishop's 'Lo! when showers descending' ('Au clair de la lune') and father's arrangement of 'The Keel Row'. Things did not always go smoothly on the business front, and it was reported that Paganini had gone into partnership with Watson to prevent his being cheated by theatre-managers. 'The concert arranged by Mr Watson' read the bills.
A fortnight later the press screamed 'Extraordinary elopement. Paganini and Miss Watson'.
Much 'corroborative detail' found its way to the press. The Sunday Times at their head.
Verisimilitude?
There would be other stories. However, it seems that Paganini -- who wrote at length to the press with his version of the affair -- was willing to marry her. Although a father, he had never been married, and having at last come to a somewhat ravaged 'old age' (he was 52), often ill and near the end of his brilliant career ... and she was, he insisted eighteen not sixteen. He was wrong.
As for John Watson, he was also going through difficult times, and not only financially. His promising son, John, had died the previous year. As for his marriage ... well, he was almost certainly already involved in a manner most unfatherly with Anne Wells ... and his two trump cards -- Charlotte and Paganini -- what could a man do? Well, we can't know the family secrets, but only events. On 12 August 1834, John 'aged 39', accompanied by Anne 'aged 25', Charlotte 'aged 17' and young William Kitchener Watson 'aged 13' arrived in New York. It seems Anne may have been pregnant, as a son was born to her in 1835. He was christened John William Paganini Watson. So the 'elopement' had evidently not harmed Watson's relationship with the famous man!
Charlotte and her father were quickly on display. 29 August they appeared at the double-bassist Signor Casolani's concert at Niblo's Garden ('her first appearance in America') and the newspapers did not hesitate to recall the Paganini episode. But Charlotte was more than just a success de curiosity. 'She is the sole theme of conversation in musical circles this morning and her singing is admitted on all hands to be highly distinguished by taste and sweetness. She is, moreover, a very pretty, modest-looking girl, and sings without any painful effort or contortion. Her bird-like notes flow from her in a rich and full tide of harmony, as naturally and easily as the pearls dropt from the lips of the little maiden in the fairy tale ...'. Mr Niblo promptly signed her up for the last nights of his season. 3 September she gave her 'Banks of Allan Water', 'Di piacer' and 'The Drover Boy of Appenzell' while the other soprano solos were delivered by -- yes -- a Mrs Franklin. Of whom more later! 10 September she gave 'The Soldier's Tear'. Bid me discourse'. 'The Bonnie Wee Wife' and a piece 'As wakes the sun at early dawn' composed by her father 'of the Royal Academy of Music', 16 September she sang 'Sweetly o'er my senses stealing' and the Donna de lago 'Elena o tu' and the much-liked 'Bonnie Wee Wife', 19 September she took a Benefit, 31st she was appended to a display of fireworks, 2 October she sang at a Benefit and gave 'Home, Sweet Home' and Donizetti's 'Seconda, O ciel pietosa' (Gianni di Calais). 10 October she sang for English expatriate musician W A King at the Masonic Hall, before being engaged for the Park Theatre . There she trotted out her Four Mowbrays, her Cherubino, Julia in Guy Mannering, The Spoil'd Child, Cinderella, Midas, and Rosina teamed with the fine English singer known just as Miss S Phillips. At her Benefit, she played Macheath and Mary Coop in Charles the Second. A critic found that Charlotte sang in the 'English style' while Miss Phillips sang in the 'Italian style'. The 'English' style was clearly popular. After just a few months in America, Charlotte had established herself as one of New York's most in-demand singers.
The Misses Watson and Phillips continued at the Park Theatre in January 1835, Charlotte both performing in the operas and giving her musical farces: Biondelle in Native Land, Madge in Love in a Village ... 'we were particularly pleased with [her] simple and unaffected style'. After a sally to Washington and Philadelphia ('the celebrated Miss Watson'), the girls returned to the Park where they were produced in The Mountain Sylph. One paper sulked 'Miss Watson is a most substantial looking sylph and the butterfly wings which she wears tied to her shoulders give a ludicrous air to her little, plump, chubby figure'. He was clearly out of sorts, as he dismissed the whole piece as 'too poor for criticism'. She played Paul in a version of The Pet of the Petticoats remusicked by father, Distaffina in Bombastes Furioso, Augusta Polonsky in A Husband at First Sight and then, come June, Anne was back. As 'Mrs Watson'.
Anne made her American debut at the opening concert of the season at Niblo's (3 June 1835). 'Director of the concerts Mr Watson', vocalists Mrs Watson, Miss Watson, Mr Archer (pupil of Mr Watson) ... the two girls sang Vaccai's duet 'Sei pur tu' but elsewhere alongside 'By the Margin of Fair Zurich's Waters' (arranged by Mr Watson), Anne gave an Auber piece 'arranged by Mr Watson', 'Jock of Hazeldean' and 'Una voce' while Charlotte sang 'They have given thee to another'. Mrs and Miss were now widely associated in concerts sacred and profane, which did not stop Charlotte from playing her party pieces at the Park. Both girls introduced solos and duets arranged and/or composed by father, ('The sweet birds are wining from Arbor to Spray', 'The Savoyard's Return') and Charlotte was heard in pieces ranging from Masaniello to 'When a Little Farm We Keep', 'Kathleen O'More' and The Spoil'd Child (with songs and a sailor's hornpipe) and something titled 'I'm an arch little black-eyed daughter' was published under the banner 'sung by Miss Watson'. Far from being deemed short and fat, Charlotte was hailed as 'the fascinating Miss Watson', 'looked sweet and sung divinely' and one columnist heaped panegyrics on her charms and talents weekly ('Gad I wish she was up for a husband. What a tremendous jam she will have'). Little did he know.
Visits to Philadelphia were frequent and I see a programme at the Chestnut Street Theatre (10 Decmeber 1835) where Anne and Charlotte played in The Cabinet and the afterpiece was the eternal Spoil'd Child with Charlotte as the child and her father played by her father!
Again in 1836 the two played at the Park Theatre -- new, but mostly old vehicles -- and new, but mostly old songs. One 'new' one was a duet 'Light may the boat row' theoretically by W A King, of old acquaintance.
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Henry Cood Watson |
Eliza Loder (separated from her husband) continued her splendid career at the highest level ('Ocean thou mighty monster', 'Softly Sighs') until the 1850s, while teaching, among others, the two youngest Miss Watsons. I see them in 1843 (28 March 1843) with auntie at William Anthony King's concert. Harriet Ann would become Mrs King.
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