Page:Sketches of representative women of New England.djvu/464

Rh The stanch patriotism and liberality of James Merrill and his neighbors at New Casco, as the part of the town where they lived was called, is shown by the following letter, which, accompanied b- fourteen cords of wood, was sent to Samuel Adams, Esq., chairman of the committee for the poor of Boston in the troubled times preceding the outbreak of the Revolution:—

"March 11, 1775. Gentlemen: We herewith transmit to you by Captain Wormwell and Captain Lock some wood, which we cheerfully give to our suffering brethren that are now standing in the gap between us and slavery. We are but few in numbers and of small ability, and, as we earn our bread by the sweat of our brow, shall ever hold in utter detestation both men and measures that would rob us of the fruits of our toils, and are ready with our labors, with our lives, and with our estates to stand or fall in the common cause of liberty. And if we fall we shall die like men and Chris- tians and enjoy the glorious privileges of the sons of Cod.

"This from your humble servants of said Parish, New Casco: Sanmel Cobb, Nathaniel Carl, James Merrill."

The sterling qualities exhibited by Captain Merrill have been transmitted to his descendants, who have been leaders in all matters of progress and occupied positions of trust.

Miss Ricker received her early education in the public schools of Falmouth and at Westbrook Seminary. Her musical ability, inherited from both parents, who were singers of local reputation and possessed voices of more than ordinary merit, evinced itself in childhood. At the age of seventeen she began vocal culture under Charles R. Adams, of Boston, remaining one season. Returning home, she continued her study with William H. Dennett, of Portland, to whom she feels that she owes a great deal of her success. By his advice she next studied with the great maestro, Olivieri. During her studies with Mr. Dennett she was engaged as contralto of the Williston choir, remaining until her departure for Europe in May, 1894. She was also a member of the afternoon choir at the Second Parish Church, under Mr. Kotzschmar. Her first public appearance was in the "Pirates of Penzance," given by the society people of Portland. Her wonderful voice and dramatic power came as a surprise to the large audience, and, although her part was a minor one, repeated demands were made for her little solo. The success of that night was the beginning of her rapidly brightening career. She was now in demand at all amateur operas, one of her most popular roles being Katisha in "The Mikado." While in Portland she was a member of several musical clubs and other organizations, among them being the Haydn Quartette, which became quite famous throughout New England, the Rossini Club, the Haydn Association, and the Portland Singers' Club. Later she became a member of the McDowell Club of Boston.

With Mrs. John Rand, Miss Alice Linwood Philbrook, and Miss Florence G. Knight, she was sent to re|)resent the Portland Rossini Club at the Columbian Exposition. They won for their club a diploma of special honor for meritorious work; and, in addition. Miss Rieker and her cousin. Miss Knight, were awarded individual diplomas for the most artistic performance of the whole convention, the only individual diplomas given to singers. The awards were made by twelve of the leading musical critics of the world.

In 1894 she went abroad, beginning her European study with Signor Vannuccini in London, continuing under the same master in Florence and again in London the second season, when by his advice she studied also with Signor Randegger in oratorio and English. While in Europe she received much social attention, both in London and in Italy. Ever since her return to Boston she has tilled the position which she now holds, that of contralto in the choir of Central Congregational Church, one of the best church positions in Boston. She has also devoted herself to concert and oratorio work. At the Maine Musical Festivals of 1898 and 1900 she sang with D. Ffrangcon Davies in the oratorio of "Elijah," her success being only second to his. Her voice is peculiarly suited to the contralto score of that work. Another great success was achieved by her