CONTENTS
CONTENTS TO THE MUSIC

3

PREFACE.

The purposes of this volume will be so very apparent to even the most casual observer, as to render an extended explanation here unnecessary. The author will therefore only say, that he has endeavored faithfully to perform what he was convinced was a much-needed service, not so much, perhaps, to the cause of music itself, as to some of its noblest devotees and the race to which the latter belong.

The inseparable relationship existing between music and its worthy exponents gives, it is believed, full showing of propriety to the course hereinafter pursued,—that of mingling the praises of both. But, in truth, there was little need to speak in praise of music. Its tones of melody and harmony require only to be heard in order to awaken in the breast emotions the most delightful. And yet who can speak at all of an agency so charming in other than words of warmest praise? Again: if music be a thing of such consummate beauty, what else can be done but to tender an offering of praise, and even of gratitude, to those, who, by the invention of most pleasing combinations of tones, melodies, and harmonies, or by great skill in vocal or instrumental performance, so signally help us to the fullest understanding and enjoyment of it?

As will be seen by a reference to the introductory chapters, in which the subject of music is separately considered, an attempt has been made not only to form by them a proper4 setting for the personal sketches that follow, but also to render the book entertaining to lovers of the art in general.

While grouping, as has here been done, the musical celebrities of a single race; while gathering from near and far these many fragments of musical history, and recording them in one book,—the writer yet earnestly disavows all motives of a distinctively clannish nature. But the haze of complexional prejudice has so much obscured the vision of many persons, that they cannot see (at least, there are many who affect not to see) that musical faculties, and power for their artistic development, are not in the exclusive possession of the fairer-skinned race, but are alike the beneficent gifts of the Creator to all his children. Besides, there are some well-meaning persons who have formed, for lack of the information which is here afforded, erroneous and unfavorable estimates of the art-capabilities of the colored race. In the hope, then, of contributing to the formation of a more just opinion, of inducing a cheerful admission of its existence, and of aiding to establish between both races relations of mutual respect and good feeling; of inspiring the people most concerned (if that be necessary) with a greater pride in their own achievements, and confidence in their own resources, as a basis for other and even greater acquirements, as a landmark, a partial guide, for a future and better chronicler; and, finally, as a sincere tribute to the winning power, the noble beauty, of music, a contemplation of whose own divine harmony should ever serve to promote harmony between man and man,—with these purposes in view, this humble volume is hopefully issued.

THE AUTHOR.

5

CONTENTS.

ILLUSTRATIONS.

1. Elizabeth Taylor Greenfield.

2. The Luca Family.

3. Henry F. Williams.

4. Justin Holland.

5. Thomas J. Bowers.

6. Thomas Greene Bethune.

7. The Hyers Sisters.

8. Frederick Elliot Lewis.

9. Nellie E. Brown.

10. Samuel W. Jamieson.

11. Joseph White.

12. Fisk University.

APPENDIX

7

MUSIC AND SOME HIGHLY MUSICAL
PEOPLE.

I.

A DESCRIPTION OF MUSIC.

WHAT is music? Quite easy is it to answer after the manner of the dictionaries, and say, "Music is (1) a number of sounds following each other in a8 natural, pleasing manner; (2) the science of harmonious sounds; and (3) the art of so combining them as to please the ear." These are, however, only brief, cold, and arbitrary definitions: music is far more than as thus defined. Indeed, to go no farther in the description of this really sublime manifestation of the beautiful would be to very inadequately express its manifold meanings, its helpful, delightful uses. And yet the impressions made upon the mind and the depth of feeling awakened in the heart by music are such as to render only a partial (a far from satisfying one) description of the same possible, even to those most skilful and eloquent in the use of language; for, in fact, ordinary language, after exhausting all of its many resources in portraying the mind's conceptions, in depicting the heart's finer, deeper feelings, reveals, after all, its poverty, when sought to describe effects so entrancing, and emotions so deep-reaching, as those produced by music. No: the latter must be heard, it must be felt, its sweetly thrilling symphonies must touch the heart and fill the senses, in order that it may be, in its fulness, appreciated; for then it is that music is expressed in a language of most subtle power,—a language all its own, and universal, bearing with it ever an exquisitely touching pathos and sweetness that all mankind may feel.

And so I may not hope to bring here to the reader's mind more than a slight conception of what music is. Nor does he stand in need of any labored effort to teach him the nature and power, the beneficent attributes, of this beautiful art. With his own soul attuned to all the delightful sounds of melody and harmony that everywhere about him, in nature and in art, he constantly9 hears, the reader requires no great length of words in explanation of that which he so deeply feels, and therefore already understands. Nevertheless, a due regard for the laws of unity, as well as a sincere wish to make this volume, in all its departments, speak the befitting words of tribute to the love-inspiring art of which it aims to treat,—words which, although they may not have the merit of affording great instruction, may at least have that of furnishing to the reader some degree of pleasure,—these are the motives that must serve as an excuse for the little that follows.

I have sometimes thought that only the elevated and elegant language of poetry should be employed in describing music: for music is poetry, and poetry is music; that is, in many of their characteristics they are one and the same. But, to put this idea in another form, let us say that Music is the beautiful sister of Poetry, that other soul-expressing medium; and who would create the latter must commune with the former, and be able to bring to his uses the sweet and finishing graces of her rhythmic forms. In early times, the qualities of the poet and musician were generally actually united in the same person. The poet usually set to music, and in most instances sang, his effusions. Nor to this day have the

ceased to sing, in bewitching verse, the noble qualities of music.

I have said that music speaks a language all its own, and one that is universal. Bring together a representa10tion of all the nations of the earth, in which body there shall be a very Babel of tongues. All will be confusion until the all-penetrating, the all-thrilling voice of music is heard. At once, silence reigns; each ear quickly catches and recognizes the delicious sounds. The language of each one in the concourse may be different: but with "music's golden tongue" all are alike innately acquainted; each heart beats in sympathy with the delightful, absorbing tones of melody; and all seem members of one nation.

Again: music may be called that strangely peculiar form of the beautiful, whose presence seems, indeed is, appropriate on occasions the most diverse in character. Its aid is sought alike to add to the joys of festive scenes, to soothe and elevate the heart on occasions of mourning, and to enhance the solemnity, the excellence, of divine worship.

The poet Collins, aptly associating music with the good and beautiful, calls it the "heavenly maid."

Martin Luther, himself a musical composer and performer of merit, paused in his great work of religious reform to declare, "I verily think, and am not ashamed to say, that, next to divinity, no art is comparable to music." And Disraeli utters this noble thought: "Were it not for music, we might in these days say the beautiful is dead."

12

II.

THE MUSIC OF NATURE.

TO the inventive genius of man must, of course, be attributed the present developments, and the beautiful, diversified forms, existing in musical art. But, before man was, the great Author of harmony had created what may be called the music of Nature.

Afterwards, the human ear, penetrated by sounds of melody issuing from wind, wave, or bird, the rapt mind in strange and pleasing wonder contemplating the new and charming harmonies,—then it was that man received his first impressions, and took his first lessons in delightful symphony.

Take from man all creative and performing power in music, leaving him only the ear to catch and the mind to comprehend the sounds, and there would still be left to him God's own music,—the music of Nature, which, springing as it did from eternity, shall last throughout eternity.

Passing what must appear to human comprehension as vague (an attempt at the contemplation of which would be without profit in this connection), and what13 has been called the "music of the spheres,"[3] we may proceed to briefly touch upon those forms of natural music which are ever within our hearing, and which constantly afford us pleasure.

First let us go forth into the summer woods. The eye takes in the charming prospect,—the trees dressed in beautiful green; the "grassy carpet," parted ever and anon by a gliding, gurgling brooklet; the wild flower peeping up near the feet; a landscape of even surface, or at times pleasingly undulated. The atmosphere is freighted with a delightful fragrance; and from rustling bough, from warbling bird, from rippling brook, and from the joyous hum of insects almost innumerable,

All these, the beauties of animate and inanimate Nature, pleasantly affect the senses. But the chief influence there—the crowning glory of the groves—is the songs, the charming music of the birds, as they warble from tree to tree, untrammelled by the forms of art, their sweetest melodies. How often do their lightsome, inspiriting carollings ring out upon the morning air, persuasively calling us from our couches to listen in delight to Nature's minstrelsy! "After man," says a writer, "the birds occupy the highest rank in Nature's concerts. They make the woods, the gardens, and the fields resound with their merry warbles. Their warbled 'shake' has never been equalled by human gifts of voice, nor by art."14

Indeed, it has been found that many of the songs of birds are sung in certain of the keys; while a learned musical writer has produced a book in which are printed many samples of the music often sung by birds. In very recent times it is stated, too, that birds have been taught to sing some of the popular tunes of the day; this being accomplished by placing a bird in a room for a while, allowing it to hear no other bird, and only the tune to be learned. Professor Brown of Aiken, S.C., has mocking-birds which he has taught to sing such songs as "The Star-spangled Banner" and "Yankee Doodle." These birds were to be taken to the Centennial Exhibition, to there exhibit their marvellous skill.

A writer in "The Monthly Reader" thus speaks of that pretty singer the bullfinch:—

But as, in presenting these examples of the musical teachableness of the "feathered songsters," I am enter15ing the domain of music as an art, I will not further digress. Certain it is, too, that these delightful musicians of Nature do not require the aid of the skill of man; nor is it desirable, for the sake of musical effect at least, that their own wild, free, and glad-hearted warblings should be changed. They are better as they are, affording as they do a pleasing contrast, and adding freshness and variety to the many other forms of music. Some one, dwelling upon the charming beauty of bird-music, has expressed in words of very excusable rapture the following unique wish:—

But I need not refer at greater length to these sweet harmonists of Nature, since scarce an ear is so dull, and few hearts are so cold, as not to be charmed and cheered by their unceasing, joyous melodies.

It might well be thought that flowers, those "fairy ministers of grace," with their delicately tinted, variegated, perfect hues, that emit, in their sweet, delicious perfumes, what may be called the "breath of heaven," possess in these delightful qualities full enough to instruct and charm mankind. But there is a flower, it seems, that, inviting the aid of the evening zephyr, adds sweet music to its other fascinating beauties. Let the poet Twombly sing of the music-giving—16

BLUE HAREBELL.

It would be tedious to enumerate and dwell upon all the very numerous music-making agencies of the natural world; and I shall therefore allude only to a few of those not already mentioned.

Many have heard the sounds of waterfalls, and know that from them issues a kind of majestic music, which, to be appreciated, must be heard. Musicians of finely-cultivated ears have studied the tones of waterfalls; and two of them, Messrs. A. and E. Heim, say that a mass of falling water gives

Somewhat similar to waterfalls in the character of the tunes they produce (being distinguished, however, generally, by a greater softness and more gentle flow) are the waves, that, handsome in form, roll majestically shoreward, greeting the ear with a strange, dirge-like, yet, as it seems to the writer, pleasing harmony.

Here is given a duet between the waves and zephyrs:—

There is a pretty, delicate music made by the rippling, gurgling brooklet, as its transparent waters glide over its pebbly bottom. And there's the musical sea-shell. Place it to the ear, and you shall catch, as if in the far distance, the reverberating roll of the billowy ocean as it sings a mighty song. To this the poet Wordsworth very gracefully refers in the following lines:18—

And an anonymous writer (it does not seem that he had good cause for hiding his name) thus discourses on the music of the sea:—

But the wind is one of Nature's chief musicians. Sometimes singing his own songs, or lending his aid in awaking to musical life the leaves and boughs of the trees; whistling melodies among the reeds; entering the recesses of a hollow column, and causing to issue from thence a pleasing, flute-like sound; blowing his quiet, soothing lays in zephyrs; or rushing around our dwellings, singing his tuneful yet minor refrain,—in these, and in even other ways, does this mighty element of the Creator contribute to the production of melody in the world of nature. A writer in "The Youth's Companion" speaks very entertainingly of "voices in trees." He says,—

I shall close this chapter on the music of Nature by appending a beautiful reference to what has been called "the music of the spheres." The lines form, as well, an elegant and elevated description of and tribute to music in general. I regret that the author's name cannot be given.

22

III.

A GLANCE AT THE HISTORY OF MUSIC.

MUSIC is as old as the world itself. In some form or other, it has always existed. Ere man learned to give vent to his emotions in tuneful voice, Nature, animate and inanimate, under the hand of the Great Master, sang his praises. Of this we learn in the sacred writings; while all about us, in the songs of birds, the musical sighing of the winds, the fall of waters, and the many forms of the music of Nature, we have palpable evidence of its present existence, and assurances of its most remote antiquity.

It would seem that not long after "God breathed into the nostrils of man the breath of life, and he became a living soul," he learned to express the joys and yearnings of his soul in song first, and then with some sort of musical instrument. And to man it was given, commencing with the early ages, to develop the simple ejaculations or melodies of a praise-giving soul into a beautiful, a noble art, replete at times with harmonic intricacies, and again with melodies grand in their very simplicity; into a beneficent science, divine from its inception, which has ever had as votaries many of23 earth's greatest minds, and has become a fountain of delight to all mankind.

The history of the music of antiquity—that is, in an art-form—is nearly, if indeed not quite, enveloped in mystery; and it were futile to profess to give an historical presentation of an art from its birth, when documentary evidence of the same is lost.

We may, however, very reasonably suppose of music generally, that it must have been gradually developed, having had its infancy, childhood, and youth; and that it grew slowly into present scientific form with the advance of the centuries.

From all we can gather in regard to the early history of music as a system, it would appear that it had its infancy in ancient Greece; although it is supposed by some that the Grecian method was founded upon that of the still more ancient one of the Egyptians. Dr. Burgh, a learned musical writer states that, of "the time before Christ, music was most cultivated and was most progressive in Greece." The verses of the Greek poet Homer, who was himself a musician, abound in beautiful allusions to and descriptions of this charming science; while in mythology are recounted the wonderful musical achievements of the god Orpheus, who is said to have been so skilled in music that the very rocks and trees followed in his wake of harmony.

The first artificial music of which the Bible speaks was that which was sung or played in praise of the Creator,—sacred music. In fact, this noble quality of the soul was very rarely called into exercise, save in the worship of the Deity, until many centuries had passed. Of music before the Christian era, both vocal and instrumental, the books of the Old Testament often speak.24 As to its exact character, we are left to conjecture, being, as before intimated, without materials from which to form a judgment; but, in some form or other, there was, during that period, abundance of what was called music.

The first mention of music, either vocal or instrumental, in the Scriptures, is made in Gen. iv. 21: "Jubal was the father of all such as handle the harp and organ." Jubal was only seventh in descent from Adam; and from this passage it is thought by some that he was the inventor of instrumental music. In the year B.C. 1739, in Gen. xxxi. 27, Laban says to Jacob, "Wherefore didst thou flee away from me, and didst not tell me, that I might have sent thee away with mirth and with songs, with tabret and with harp?" This is the first mention in the Bible of vocal music. King David, who has been called "the sweet singer of Israel," is said to have been a skilful performer on the harp. By his magical touch upon its strings at a certain time, he produced sounds so sweetly soothing as to drive away the "evil spirit" from Saul.

The poet Byron pays an elevated, glowing tribute to this "monarch minstrel" in the following lines:—

And here I append from the First of Chronicles, xiii. 8, a description of the music of the "house of Israel:" "And David and all Israel played before God with all their might, and with singing, and with harps, and with psalteries, and with timbrels, and with cymbals, and with trumpets."

Josephus, the learned Jewish historian, states that the Egyptians had two hundred thousand musicians playing at the dedication of the Temple of Solomon. This structure was of most wonderfully immense dimensions: and it may have been that this enormous body of performers played in detachments about the building; otherwise the statement would seem apocryphal.

The Egyptian musical instruments, it appears, were mostly of very rude construction: performance upon them would not now, probably, be tolerated even in circles of the least musical culture.

Of these ancient instruments the Boston "Folio" thus speaks:—

The following interesting and able summary of the history of ancient Roman music is taken from a recent number of "The Vox Humana:"—

But, without devoting further space to the music that was in vogue prior to the Christian era, I proceed to notice that our first reliable account of it, as a system,30 commences with the fourth century; at which time St. Ambrose, Bishop of Milan, arranged the sacred chants that bear his name, and which were to be sung in the cathedrals.

In the year 600 St. Gregory improved upon these chants, inventing the scale of eight notes. His system is the basis of our modern music.

From the close of the eleventh to the commencement of the fourteenth century, minstrels, jongleurs, or troubadours, were the principal devotees of music. They seem to have been its custodians, so to speak; and to their guild many of the knights belonged. Some of the kings and nobles of the time were also, in a sense, troubadours; such as, for instance, Thibault of Navarre, and William the Ninth of Poitou.

These roving musicians, who generally united the qualities of the poet, the musical composer, and performer, were treated with much favor by princes and all the nobility, and were everywhere warmly welcomed for a long period. It is, however, far from pleasant to have to say that this for a long time noble class of musicians, to whom we owe so much for the preservation unbroken for three hundred years of the chain of musical life, as well indeed, also, as that of general literature, spoiled perhaps by the excessive praises and indulgences accorded them, became at last quite dissolute, and fell from their high position. All royal favors were finally withdrawn from them, and orders for their restriction were issued from the throne.

Mr. B.W. Ball (in that faithful exponent of art, "The Boston Commonwealth") thus expressively sings the story of the ancient troubadour, styling him—31

"THE POET OF OLD."

During the fourteenth century, music was most cultivated by the people of the Netherlands, who carried the art towards much perfection, producing several fine composers, and furnishing the leading musical instructors for the other parts of Europe. Among some of the ablest musicians of the Netherlands may be mentioned Dufay, Jan of Okenheim, and Josquin Desprès, the latter being the most celebrated of contrapuntists. The Netherland musical supremacy lasted until 1563.

In the year 1400 the claims of music received the recognition of the crown in England, a charter being granted to a regularly formed musical society.

Commencing with the invention of movable type in 1502 (which invention so vastly facilitated the publication and spreading of the thoughts of the composer), and with the Reformation in the sixteenth century, the33 noble art of music began a new, unimpeded, and brilliant career among the civilized nations of the world. Dating from thence, the steps in the progress of this delightful science can be plainly traced. Unvexed and unfettered by the obscurities that attach to its antique history, we can contemplate with pleasure and profit the wonderful creations and achievements of its devotees.

This I need not attempt here, save in the briefest form; my purpose in preparing this chapter being only to give, as indicated in the title, a glance at the history of music.

To Palestrina, a learned Italian of the sixteenth century, and whose musical genius and industry were most remarkable, is due the greatest homage and gratitude of a music-loving world. Of him an eminent musical writer says, "It is difficult to over-estimate his talent and influence over the art of music in his day. He was regarded as the great reformer of church music. His knowledge of counterpoint, and the elevation and nobility of his style, made his masses and other compositions, of which he wrote a great number, examples for all time of what music should be."

In this century lived many notable composers, nearly all of whom distinguished themselves in the production of madrigal music. To the latter the English people were much devoted. Reading at sight was at that day, even more than now, a common accomplishment among the educated. The English queen Elizabeth was quite fond of music, and was somewhat accomplished in the art, performing upon the lute, virginals, and viol. She often charmed the attachés of and visitors to her court by her skilful performances. During34 her reign, and by her encouragement, the cultivation of this noble art received a new and strong impulse in England, and several composers and performers of high merit lived.

In the year 1540 oratorio was first composed, followed by opera in 1594. During this period, instrumental music began to be used in the churches; and the violin was brought by the celebrated Amati family to a beauty of form, and sweetness of tone, not since excelled.

During the seventeenth century such great composers as Stradella, Scarlatti, Caldara, and Claudio lived; and the different forms of opera were developed in England, France, and Italy.

During the seventeenth and eighteenth centuries the art of music, in its new, rich, and deep developments, as shown in the masterly, wonderful creations of several of the great composers of those periods, and in the scientific performances of many fine instrumentalists, attained a height of surpassing grandeur. Many men of brilliant musical genius and of remarkable industry and perseverance were born; and, with new conceptions of the scope and capabilities of the divine art, they penetrated its innermost depths, and brought to the ears of the music-loving world new and enrapturing forms of harmony. Among these great masters, leaving out those already mentioned, were Handel, Henry Purcell, Bach, Gluck, Haydn, Mozart, Beethoven, and Spontini.

But, before proceeding farther, the writer considers it proper to remark, that to give a extended description of the progress of music during the three last centuries, mentioning in detail the many creations and achievements of those who have become great, nay, in some35 instances he might say almost immortal, in its sacred domain, would require a volume far beyond the pretensions and intended limits of this one.

Besides, the author confesses that he pauses with feelings of reverence while contemplating the mighty genius and divinely approximating achievements of Haydn, Mozart, Beethoven, Spohr, and Mendelssohn, fearing that his unskilful pen might fail in an attempt at description. Nor does he feel much less embarrassed when he contemplates the accomplishments of those wonderful interpreters of the works of the noble masters, who have, either through the enchanting modulations of their voices or with skilful touch upon instruments, evolved their magic strains. Let an abler pen than mine portray the sublime triumphs of Hasse, Mario, Wachtel, Santley, Whitney; of Albani, Malibran, Lind, Parepa Rosa, Nilsson; of Haupt, Paganini, Vieuxtemps, Ole Bull, Rubinstein, Liszt, and Von Bulow.[4]

The eighteenth century was a most remarkable period for achievements in the composition of orchestral, oratorio, and operatic music,—the same being finely interpreted by vocal and instrumental artists of most wonderful skill.

In referring to some among that galaxy of bright stars, I use, in regard to Mozart, the clear and beautiful language of another:[5] "The great musical composer Mozart was a wonderful instance of precocity, as well as of surpassing genius. He died at the early age of thirty-five, after a career of unrivalled splendor, and36 the production of a succession of works which have left him almost, if not entirely, without an equal among either his predecessors or those who have come after him. Mozart's devotion to his art, and the indefatigable industry with which, notwithstanding his extraordinary powers, he gave himself to its cultivation, may read an instructive lesson, even to far inferior minds, in illustration of the true and only method for the attainment of excellence. From his childhood to the last moment of his life, Mozart was wholly a musician. Even in his earliest years, no pastime had any interest for him in which music was not introduced. His voluminous productions, to enumerate even the titles of which would occupy no little space, are the best attestation of the unceasing diligence of his maturer years. He used, indeed, to compose with surprising rapidity: but he had none of the carelessness of a rapid composer; for so delicate was his sense of the beautiful, that he was never satisfied with any one of his productions until it had received all the perfection he could give it by the most minute and elaborate correction. Ever striving after higher and higher degrees of excellence, and existing only for his art, he scarcely suffered even the visible approach of death to withdraw him for a moment from his beloved studies. During the last moments of his life, though weak in body, he was 'full of the god;' and his application, though indefatigable, could not keep pace with his invention. 'Il Flauta Magico,' 'La Clemenza di Tito,' and a 'Requiem' which he had hardly time to finish, were among his last efforts. The composition of the 'Requiem,' in the decline of his bodily powers, and under great mental excitement, hastened his dissolution. He was seized with repeated fainting-37fits, brought on by his extreme assiduity in writing, in one of which he expired. A few hours before his death took place, he is reported to have said, 'Now I begin to see what might be done in music.'"

Mozart's compositions number over six hundred, and two hundred of them had not until quite recently been printed. He composed fifty-three works for the church, a hundred and eighteen for orchestra, twenty-six operas and cantatas, a hundred and fifty-four songs, forty-nine concertos, sixty-two piano-forte pieces, and seventeen pieces for the organ.

Of Beethoven, Professor F.L. Ritter, in one of his excellent lectures on music, says, "Beethoven's compositions appeal to the whole being of the listener. They captivate the whole soul, and, for the time being, subdue it to an intense, powerful, poetical influence, impressing it with melancholy, sorrow, and sadness, elevating it heavenwards in hopeful joy and inspired happiness."

The following description[6] of Beethoven's last hours on earth, as he was nearing the time

"When all of genius which can perish dies,"

although replete with sadness, is yet a tribute so touchingly beautiful and eloquent as to make it well worthy of insertion here.

41

Among the most eminent composers of the present century may be mentioned Auber, Schubert, Rossini, Meyerbeer, Mendelssohn, Weber, Verdi, and Wagner.

In "The Contemporary Review" there lately appeared the following beautifully worded tribute to the noble qualities of Mendelssohn:—

Since the times of the great writers of the eighteenth century, and of the first half of the present one, no new developments or advancements have been made in musical creations.[7] Indeed, it would seem that the time has not yet come for attempts to be made to improve upon the works of those great musical luminaries; for they have left too much that is deep, classical, charmingly beautiful, and soul-satisfying. The musical world has paused, not caring to go farther, to conscientiously study their noble creations, so fruitful in the delights, the soul-elevating influences, which they afford.

But, although no great genius has of late years appeared with newer and greater creations to claim our attention from those of the past, it is gratifying to know that great advancement is being made in a more general musical culture among the people; while the42 number of really great instrumentalists and vocalists is quite large, and is constantly increasing. In these latter respects the present far exceeds the past.[8] In fact, the study of the art of music has begun to be considered a necessity; and ability in its comprehension and performance is now far from being considered as merely an ornamental accomplishment. All this springs from the very nature of this divine art, the mission, so to speak, of which is, to constantly open new fountains of pleasure in the human heart; to cheer, to soothe, and to bless mankind throughout all time.

But, after all, we know not how soon another great musical genius may startle us from our complacent studies of the masters of the past; for we are even now somewhat threatened in this respect by Richard Wagner, the eminent composer of Germany. He is not satisfied with the music of the past nor the present, and points to his own present and prospective creations as samples of what the "music of the future" will be. Just now, musical critics, while generally conceding to him much power as a composer, are divided in opinion as to whether his ideas are to be accepted in their entirety.

Still, who can now tell what the "music of the future" may be?

Before closing this chapter on the history of music, I think it highly proper, as a matter of record and of appropriate interest, to refer briefly to the almost wonderful achievements of that brilliant impressario, P.S.43 Gilmore of Boston, who in the year 1869 conceived the idea of having a grand musical festival, the noble objects of which were to celebrate the restoration of peace in the United States, and to quicken and increase the interest felt in music throughout this country, and also the world, by bringing together in a single performance a larger body of most skilful musicians than was ever before attempted. An immense building called "The Coliseum" was constructed for the purposes of the festival, which was to continue five days. On the 15th of June, in the city of Boston, "The National Jubilee and Great Musical Festival" was begun. The number of instruments and performers composing the great orchestra was 1,011; and an organ of immense proportions and power, built expressly for the occasion, was employed. The grand chorus and solo vocalists numbered 1,040. Besides, one hundred anvils (used in the rendering of Verdi's "Anvil Chorus") were played upon by a hundred of the city's firemen in full uniform; while to all this was added a group of cannon, the same being used in the performance of the "Star-spangled Banner." The vast chorus, the orchestra, and all the leading performers (among the latter were Ole Bull, Parepa, and Carl Rosa), were selected from the finest musical people of the country, being accepted only after strict testing by skilful judges. At this great gathering many of the works of the great composers were performed, and only works of real merit had a place on the programme. These were all performed by this vast ensemble with a precision and an excellence that were really grand and wonderful. This achievement of Gilmore was considered the most brilliant entertainment of modern times. Of it, it has been truly said,—44

The success of the "National Peace Jubilee" was so perfect, and had produced a musical enthusiasm and revival so great, that, in the year 1872, Gilmore, still prolific in startling musical conceptions, projected and carried into execution another festival of the same general character as the first, only that it was far vaster and more daring in its proportions. This one he styled "The World's Peace Jubilee and International Festival." Several times during the week that this great musical festival was held, not less than fifty thousand people were present in the immense Coliseum building. This time the orchestra consisted of two thousand instruments, and the chorus numbered over seventeen hundred voices; while a mighty organ and cannon and anvils were used as before. The great soloists engaged were Mme. Leutner, Johann Strauss, Franz Abt, and45 Bendel. Foreign governments being invited to send representatives from among their best musicians, England sent the Band of the Grenadier Guards; Germany, its great Prussian Band; France, the brilliant French Republic Band. King William of Prussia sent also, as a special compliment, his classical Court Cornet Quartet; and Ireland sent its best band. To this galaxy of star military bands, perhaps the greatest ever assembled, the United States added its own favorite Marine Band of Washington. At this second great and vast assemblage of artists the almost marvellous achievements of the first "Jubilee" were repeated to the utmost delight of many thousands of people, and Gilmore became at once the most brilliant and daring impressario genius of the world.

As before intimated, Wagner is not at all satisfied with pausing where Mozart, Beethoven, and other great composers, left off. He believes that their music can be improved upon. According to his theory, the music of the opera, in the most highly-developed form of the latter, is but an incidental element, the dramatic part being principal. He lately composed a triology—three operas connected as one—with a prologue, the subjects of the dramas being taken from mythology, and forming beautiful fairy tales. To carry to the greatest perfection his views and firmly-held ideas as to what music should be, and as to what he stoutly avers it will be in the future, he selected from far and near only the best artists for the performance of his opera (these were subjected to long and careful rehearsals under his own conductorship), and erected at Bayreuth, in Bavaria, a large and beautiful theatre, which, in its minutest details even, was built under his own supervision, and after his own46 peculiar ideas. It being calculated to show to the highest advantage his conception, that, in the expression of sentiment, music is only secondary, his orchestra of one hundred and ten performers was placed out of sight of the audience during the acting of the opera.

The great "Musical Festival," as it was called, continued three days, the performance of each part of the triology occupying—exclusive of a wait of one hour after each act—from four to five hours.

At these performances the nobility of Germany and other countries, together with the Abbé Liszt, and many others in the higher walks of music, were present. The audiences were immense, brilliant, and exceedingly demonstrative in applause. At the close of the opera, Wagner was called before the curtain, receiving quite an ovation: and in his speech he said, "Now we see what can be done: at last we have a German art."

It is perhaps too early, as yet, to decide that Richard Wagner's ideal will be adopted by the musical world; nor should we be in too much haste to conclude that it will not be. Certainly he has succeeded, at least, in dividing the highest critics of the glorious art; and the history of music shows, as does also that of all art, that what is rejected to-day may be warmly and even rapturously accepted to-morrow.

Of the festival at Bayreuth, Mr. Hazard, musical critic of "The New-York Tribune," writes, "The effect of the music was magnificent beyond all description. It far surpassed all expectation; and the general verdict is that it is a triumph of the new school of music, final and complete."

Of the impression created by one of the parts of the opera, "Rheingold" (Mr. F.A. Schwabe), of "The New-47York Times," says, "Musically considered, it is not significant. It is hopeless, therefore, to look for popularity for the work; at present, at least."

"The agony is over; and the grandest of all operatic conceptions, the musical drama over which Richard Wagner toiled and dreamed for twenty years, has been given to the world in its complete form."[10]

Very recently, Mr. Moncure D. Conway thus expresses his high admiration for the work of Wagner:—

While America has perhaps produced as yet no great composers, it has several of very high merit, such as J.K. Paine, Dudley Buck, and others. In the United States there are many remarkable vocal and instrumental artists, a large number of classical musical clubs and48 societies; while several of its great vocalists, male and female, accept and decline engagements in Europe. Perhaps no finer orchestra exists anywhere than that of Theodore Thomas of New York; while nearly as high praise may be given to the Mendelssohn and Beethoven Quintette Clubs of Boston, and to others in different parts of the country.

Music is quite generally cultivated in this country; and there are many excellent critics, musical writers, and periodicals devoted to this beautiful and elevating science.

A very startling late American musical invention is the "telephone," a description of the working of which is given below:—

49

By this invention, music played upon a piano-forte or melodeon is reproduced upon a violin attached to the receiving end of the wire at a distance of twenty-four hundred miles.

Another important musical invention (English) is that of the "voice harmonium." Of this Mr. Theo. T. Seward writes,—

Mr. Theodore Thomas recently gave an excellent performance of the works of American composers. Among those rendered were compositions by Dudley Buck, A.H. Pease, and William Mason. One of the gems of the evening was a symphonic poem by William H. Foy, entitled "A Day in the Country."

Mr. Thomas's orchestra, noted for placing upon its programmes only works of the highest merit, has recently50 also presented with much success a new symphony by the talented composer of oratorios, &c., J.K. Paine.

In alluding to the progress of music in the United States, "The Music Trade Review" says, "If the centennial year could disclose all its triumphs, music would shine among its garlands. A hundred years ago was a voiceless void for us compared with the native voices and native workers who now know a sonnet from a saraband."

51

IV.

THE BEAUTY, POWER, AND USES OF MUSIC.

THE cultivation of the art of music has ever followed closely the progress of civilization; and those nations that have attained to the highest state of the latter have most encouraged the growth, and have been most skilled in the creation and performance, of music. Montesquieu avers that "music is the only one of all the arts that does not corrupt the mind." Confucius said, "Wouldst thou know if a people be well governed, if its laws be good or bad? examine the music it practises." Again: another has quite aptly said that

And a writer in "Chambers's Journal" remarks, that52

Happily for the world, this beautiful art is one, the delightful forms of which nearly all may enjoy, the inspiring, soul-elevating influences of which nearly all may feel. I say, nearly all; because it is a sad truth that there are some persons who have no ear whatever for music, and to whom the harsh, rattling noise of the cart on the stony street affords just as much melody as do the sweetest tones that may issue from a musical instrument. Again: there are those, who, although possessing to some extent a faculty for musical discernment, are yet so much governed by what is called a sense of the "practical" in life as to avoid all opportunity for the enjoyment of melody, considering such indulgence as a waste of precious time. It is, however, pleasant to know that the number of all such persons—who must, I think, be regarded as really unfortunate—is but a small one, and that almost every one has a born capacity for musical appreciation and enjoyment.

It is true that the mighty genius of Mozart and Beethoven soared far above common musical minds. With a love for the noble art of music almost sacred in its intensity, these great composers penetrated far, far into its depths, finding their greatest enjoyment in so doing. Starting with the simpler forms of the art left by their predecessors, they deepened, they broadened and varied53 those forms; while, with every intricacy created, they experienced the sweetest of pleasure. And one of the most fitting tributes that can be paid to these and others of the noble masters of harmony is beautifully embodied in the lines of Rogers:—

But this far-reaching art, with all its difficult forms to awaken and enchain the interest, and to inspire the love of the man of genius or the ambitious student of æsthetics, has also those more simple ones for the delight of the humbler mind. Even the babe that lies in its mother's arms has within the yet narrow confines of its new-born soul the germ of musical sympathy. Often, when it is in a state of disquiet, its mother sings to it a simple, pretty song. Soon the crying ceases; the little eyes brighten with a delighted interest; the charm of music is working. The mother continues the touching "lullaby," and anon finds that her tender charge, with the pleasing sounds of melody gently ringing in its ears to the last, has been soothed into dreamland. Indeed, the power of music to touch the heart, to fill the soul, lies oftenest in those tones that are comprised in its least difficult melodies. Nothing is truer than that music, so beneficent in its influence, is meant for the comprehension, enjoyment, and improvement of all; and that it should never be regarded as an all-mysterious art, the charming domain of which only the gifted few are to enter. Whoever can distinguish musical sounds from their reverse, is, in degree at least, a musician; and whether such a one may enlarge his faculty for musical discernment and enjoyment depends54 only upon the extent of his observations, or rather upon the amount and kind of his study.

As elsewhere remarked, some time has elapsed since the music-loving world has been called to the contemplation of any great, new revelation in harmony. Meanwhile devotees of the divine art have generally been so much employed in endeavors to properly interpret the sublime works left for their study and enjoyment by the great composers of the past, that they have had neither time nor desire to seek for newer creations. For nearly all seem convinced that what is most needed now is, not new music, but that the masses of the people should possess an intelligent appreciation of, and warm love for, the best of that which is already at hand; and as an intelligent, heartfelt religious faith is needed to carry light and happiness alike into the homes of the highly-favored and the lowly, so is the beauty-shedding art of music—a close ally of that faith—needed to cheer, to soothe their hearts, and to develop in the minds of all God's children a love for that which may be fitly called the "true, beautiful, and good." Associating music with the very highest form of happiness, one of the older poets imagines this beautiful scene in heaven:—

But I shall now more particularly invite the reader to a consideration of a few among the many forms in55 which the beauty, the power, and good uses of music are exemplified, and of the advantages to be derived from its conscientious study.

It may be noticed, that, in those towns and cities containing a preponderance of cultivated people, theatres do not flourish to the same extent as in neighborhoods where the reverse is true. The reason is obvious: cultured people have attractive and generally musical homes, and are thus made, to a great extent, independent of the amusements afforded in public places. This I mention, not to decry the theatre, which, I hold, has its appropriate, and, under proper conditions, educational and refining uses. In fact, the theatre (in which is performed the legitimate drama) would seem to be in certain respects a necessity, affording as it does occasional change of scene, and ministering to that desire for relaxation and amusement so naturally, so invariably felt by those persons who have not, in a true sense, homes. Nevertheless, our firesides should be made to compete with, nay, to far surpass in attractiveness, all places of public amusement; for it is very much better that the employments and entertainments of our homes should charm and retain their members, than that these should be sought for outside their, in some respects, sacred confines. The reasons for this are so apparent to the thoughtful, that they need not be greatly enlarged upon. Briefly, then, in the home is safety: over its members are extended the protecting wings of guardian angels; while without are often snares and danger, either in palpable forms, or in those hidden by the glittering, the alluring disguises which are so often thrown over vice. On this very subject with what truth and directness Cotton speaks, when he says,—56

Nor need I dwell at great length upon the delights and benefits afforded the members of families whose leisure is given to the study and practice of an art so ennobling as music. How charming are those homes in which it is, in its purest style, cultivated! what refinement reigns therein! and what a gentle yet potent aid it is in parental government! The allurements to outside and often harmful pleasures lose their power over the children of that household in which music's engaging, magic influence holds delightful, elevating sway. And then at times, when instruments and voices mingle in a "concord of sweet sounds," how delightful is the effect, how serenely beautiful is the scene! Often have I, when passing in the evening a dwelling from which floated out upon the air the notes of tuneful voices, accompanied by the piano-forte or some other instrument, paused to listen, lingering long, the ear so ravished by the sweet sounds as to cause me to stand almost spell-bound, and to remain under music's magic influence even after its charming sounds had died away.

To the great aid afforded them by music in government, the teachers in our common schools can testify. Often a turbulent school, swayed by youthful passions, or wearied by monotonous study into a state of painful57 unrest, has been stilled, calmed, and refreshed by the singing of a song,—an indulgence in the enjoyment of its melody affording delightful relaxation, and also awaking to life that better, that poetic sentiment that abides in every soul. The writer readily recalls his own experience as a teacher in gently enforcing lessons in polite deportment among his pupils by the aid of music. The exercises of each session of his school were always begun and ended with song; while sometimes, for reasons previously mentioned, books were laid aside, and all joined in singing, even during a part of the time usually devoted to study. By such procedure (the songs were of the simplest kind, and without the adding charm of instrumental accompaniment), even the most unruly pupils were generally induced to yield to the softening influences of "magic numbers and persuasive sound." In regard to the influence wielded over the mind and heart by songs, an eminent writer thus speaks: "Songs have at all times, and in all places, afforded amusement and consolation to mankind: every passion in the human breast has been vented in song; and the most savage as well as the most civilized inhabitants of the earth have encouraged these effusions." The following description of the effects of music at a reform-school is quite interesting in this connection. It is clipped from a recent number of "The Boston Transcript."

We know that music, either vocal or instrumental, and in many cases the two combined, has for many centuries been considered necessary for the proper worship of God. The harmony that issues in grand and melting tones from the noble organ subdues the heart, and fills it with solemnity, sweetness, and hope: the sacred chant, the prayer or thanksgiving, uttered in melodious song by the choir or by all the congregation,—these cause the sordid world with all its cares and wild passions to be for the while forgotten, and the soul, charged59 with the influences of divine harmony and most holy aspiration, is lifted to heaven. And so music, with its gentle, its ever-winning power, has constantly been used by the churches to secure the attendance of those who without it had been indifferent. This has been especially the practice of the Roman-Catholic Church for inducing the attendance of Protestants, and is after the custom of olden times, when the Gentiles were thus drawn into the Christian churches, coming at first through motives of curiosity. They were, however, often so captivated by the music as to submit to baptism before departing. In most of our large cities, a considerable number of wealthy Protestants are induced, by the superior musical attractions of Catholic churches, to attend for a while, renting pews, and finally, in some cases, to become members; and Protestant churches, to sustain the interest in their services, and to insure the attendance of members and others, have been obliged to recognize this love among the people for the divine art.

The German race is remarkable for the intelligence, steadiness, and industry of its members, and their love for and cultivation of the art of music,—these latter characteristics prevailing to a most pleasing degree among all classes of the race. Indeed, it is rare to find a German not, in some sense at least, a musician. And in what beneficent uses do they employ the art, especially in their social relations! Their children are inducted into its charming beauties and helpful uses from their very earliest years. Of a steady-going, rather practical life, the Teutonic race yet seeks relief from care, and finds delightful rest and recreation, in united song, or in some other form of pleasing harmony;60 thus wisely uniting the practical with the poetical in life. How in keeping is a musical love so warm, and a musical proficiency so general, with a nation which has given to the world a Mozart, a Haydn, and a Beethoven!

Most persons have remarked the superior affability, the polish of manners, that distinguishes the people of France. It is also observable that this nation is much devoted to music; that which is produced by their own composers, and most in use by the people, being usually of the graceful, brilliant style. An eminent French writer states, that, for the possession of these pleasing characteristics, this nation is indebted to that ancient order of musicians, the troubadours, whose musical qualities, politeness, and other winning graces, laid the foundation of the same.

It is said that the ancient Egyptians held music in such high esteem that they employed it as a remedial agent, believing it a sure cure for certain kinds of disease. While such a belief—that is, in its entirety—may not be held in modern times, yet this notion of the curative qualities of music does not seem so very fanciful or mysterious after a little reflection. We know that nothing so generally conduces to recovery from sickness as those influences that inspire feelings of cheerfulness, and that serve to divert the mind of the patient from a contemplation of his bodily sufferings,—it being almost a proverb, that "a pain forgot is a pain cured,"—and that one of the chief of such agencies is the soothing, inspiriting charm of music. It is not meant by this, of course, that music is of itself and specifically a cure, but that it may be often employed as a powerful aid in effecting the same. We know, more61over, that this delight-affording art may be profitably used to "minister to a mind diseased," and that its aid is often invoked by those physicians who are most skilful, if not in curing, at least in ameliorating the condition of, persons afflicted with that terrible malady, insanity. Perhaps Saul of olden times, who is said to have been once possessed with an "evil spirit," was then simply insane; and, taking this view of his condition,—which is, after all, the one that seems the more correct,—the statement in the Bible, that David drove away this evil spirit by his skilful playing upon the harp, becomes easy to understand, since the occurrence is thus divested of its miraculous character.

But I must not fail to notice here the remark sometimes made, that the study and practice of music do not always give to those engaged in the same the graces of a true refinement; that even persons highly skilled in the art are sometimes unamiable in manners, and coarse in habits. To this I reply, that no art nor human agency is capable of elevating every character to perfection; and that the exceptions above mentioned become very noticeable, and cause surprise, because of the known good influence upon the heart and mind generally exerted by the study and practice of good music. Besides, all great musical "stars" must not be classed with the conscientious, loving student of the art. Some among the former, gifted with phenomenal voices or with rare powers for instrumental performance, having reached, perhaps, with a few easy strides, their high positions, and caring but little for music save as it ministers to their vanity, conceit, or cupidity,—these have missed that gradually unfolding culture of the mind and heart that belongs to the progress of one who conscien62tiously seeks to know music's manifold beauties, and who with real appreciation for the beautiful in art, loving music for music's sake, feels and exhibits in his deportment towards his fellow-men its delightful and elevating power.

And here I cannot forbear to remark, that the musical education of the youth of our country is not being pushed towards that state of thoroughness so necessary to a real comprehension and enjoyment of the art. Nearly all intelligent parents are frequent, and even fulsome, in their praises of music; and, when they speak or write of it, the laudatory exclamation is often brought into use. And yet they seem to be satisfied, generally, when their children obtain, by a mere skimming over its surface, but a peep into the realities and refining beauties of the science; when the favorite daughter in the use of the piano-forte, for instance, becomes only the most wearisome of "thrummers."

"The London World" is none too severe on the "accomplished" young lady of the period, when it says,—

Besides, I think a mistake is made in compelling girls to learn to play only the piano-forte. There are other instruments, for performance upon which many of them have talents. Nor need such performance detract from a graceful, ladylike appearance. I mention, for example, the harp, the violin, and, indeed, all the stringed instruments, and even others. But on this point another says,—

Mr. Dwight, in his "Journal of Music," very justly and considerately discourses of the utility of violin accomplishment, and the adaptability of the instrument to womanly practice. He says,

But the limits of this book will not permit me to go much farther into this alluring subject. I shall therefore close this chapter by a brief reference to those who occupy the really noble positions of teachers of the sublime art of music.

He whose own mind has been illumined and whose own soul has been especially cheered and enlarged by the various contemplations, the studies and conceptions, of art, will not, in fact can not, hide his light for his own selfish enjoyment, but will seek to brighten the way of such as wish to learn its beauty, power, and uses. And how honorable, how enviable, is the mission of such a one as he who imparts to his fellows a knowledge of the65 beautiful science of music, leading them, through all the delighting, soul-filling forms of melody, into the region of a very fairy-land!

And finally, as giving fitting expression to the estimation in which the true musician is held by all intelligent people, I append this elegant tribute by Dr. Burgh:—

"The physician who heals diseases, and alleviates the anguish of the body, certainly merits a more conspicuous and honorable place; but the musician who eminently soothes our sorrows, and innocently diverts the mind in health, renders his memory deservedly dear to the grateful and refined part of mankind in every civilized nation."

66

V.

ELIZABETH TAYLOR GREENFIELD,

THE FAMOUS SONGSTRESS;

OFTEN CALLED

THE “BLACK SWAN.”

IN giving a brief sketch of the life of the celebrated cantatrice, Miss Greenfield, the writer is somewhat embarrassed by the amount and richness of the materials at his command. For it would require far too much space to give all, or even a considerable portion, of the many press notices, criticisms, incidents, and the various items of interest, that are connected with her remarkable career; while to judiciously select from among the same a few, so that, while justice is done the subject, the67 interest of the reader may not be lessened, is far from being an easy task, albeit it is a pleasant one. I find, indeed, that the pages of the public journals fairly teemed with praises of the great prima donna, as she was frequently called by them. The musical world was startled, intensely delighted, electrified, by her notes of sweetest melody. Her magnificent voice, in its great range in both the upper and lower registers, was regarded as nothing short of wonderful. Those who at first were incredulous soon became convinced of this, and were fairly taken captive; while the always friendly ones, especially those with whom Miss Greenfield was most closely identified, felt the keenest pleasure and most unbounded pride in her great triumphs.

ELIZABETH TAYLOR GREENFIELD.

All this was chronicled by the press, and formed the theme of constant conversation and correspondence. Many testimonials from persons in this country skilled in music and of fine general culture, as well as others from the Queen of England and several of the English nobility, were among her rich possessions, and were so great in number and so flattering in character as to have made hers almost, if indeed not altogether, an exceptional case.

These strong evidences of approval did not, however, make Miss Greenfield vain. The natural simplicity of her character remained unchanged. All the many exhibitions of great public and private admiration, and the praises that her performances constantly evoked, while of course affording her much pleasure, served mainly as impulses to newer and higher efforts in her chosen and beloved profession. Nor was her disposition less tried by the many difficulties that often formed in her pathway. Of these I need not speak here. But68 amidst them all this noble lady and artist was ever brave, patient, hopeful, ambitious in a certain sense, yet modest.

Fully aware of the magnificent quality of her voice, and of its phenomenal character; singing a higher and a lower note than either of her great contemporaries,—Parodi, Kate Hayes, and Jenny Lind,—she yet did not rest content, as most persons under the same circumstances would have done, with the enthusiastic plaudits elicited by her performances, but diligently applied herself to a scientific cultivation of a voice in natural power well-nigh marvellous, as well as to acquiring a scholarly knowledge of the principles of general music. In this commendable course she met with remarkable success, considering the circumstances by which she was surrounded.

And now, quoting at times largely from her "Biography," I proceed to give the following sketch of the career of this remarkable queen of song.

Elizabeth Taylor Greenfield, better known perhaps by her musical sobriquet, the "Black Swan," was born in Natchez, Miss., in the year 1809. When but a year old she was brought to Philadelphia by an exemplary Quaker lady, by whom she was carefully reared. Between these two persons there ever existed the warm affection that is felt by mother and daughter. In the year 1844 this good lady died. In her will the subject of this sketch was remembered by a substantial legacy. The will, however, formed the subject of a long legal contest; and I believe Miss Greenfield never received the bequest.

Her family name was Taylor; but, in honor of her guardian, she took the latter's name,—Greenfield.69

But the lessons above mentioned were taken quite privately, and without, at first, the knowledge of her70 guardian. Elizabeth was rapidly acquiring an acquaintance with music, when some one maliciously informed Mrs. Greenfield, with the expectation of seeing an injunction laid upon the pupil's efforts. The old lady sent for Elizabeth, who came tremblingly into her presence, expecting to be reprimanded for her pursuit of an art forbidden by the Friends' discipline. "Elizabeth," said she, "is it true that thee is learning music, and can play upon the guitar?"—"It is true," was her reply. "Go get thy guitar, and let me hear thee sing." Elizabeth did so; and, when she had concluded her song, she was astonished to hear the kind lady say, "Elizabeth, whatever thee wants thee shall have." From that time her guardian was the patroness of her earnest efforts for skill and knowledge in musical science.

She began to receive invitations to entertain private parties by the exhibition of the gift which the God of nature had bestowed.

To several gentlemen in Buffalo belongs the credit of having first brought out Miss Greenfield in the concert-room. The Buffalo papers took the matter in hand, and assured the public they had much to expect from a concert from this vocalist. The deep interest her first public efforts elicited from them gave occasion to the following certificate:—

Rochester next extended an invitation for her to visit that city. We copy the invitation:—

Speaking of her concert in Buffalo, "The Express" says,—

Another city paper says,—

"The Rochester American" says,—

75

The Buffalo "Commercial Advertiser" says,—

"The Daily State Register," Albany, Jan. 19, 1852, said,—

A New-York paper says,—

"The Evening Transcript," Boston, Feb. 4, 1852, said,—

77

From "The Daily Capital City Fact," Columbus, O., March 3, 1852:—

From "The Milwaukee Sentinel," April, 1852:—

Said a Rochester (N.Y.) paper of May 6, 1852,—

"The Globe," Toronto, May 12-15, 1852, said,—

From a Brattleborough (Vt.) paper, June 23, 1852:—

But the limits of this book are such as to preclude my giving all or even a hundredth part of the testimonials and criticisms touching the singing of this remark79able performer, that filled the public journals during her career in the United States. I believe, however, that I have given quite enough to show that her noble gifts of voice, and beauty of execution, were of the rarest excellence, while in some notable respects they had never been equalled. Let it suffice to say also, in regard to the excerpts given, that they are but fair samples and reflections of the opinions entertained and expressed by the press, and by music-loving, cultured people, everywhere Miss Greenfield appeared.

After singing in nearly all the free States, she resolved to carry out her long-entertained purpose of visiting Europe, in order to perfect herself in the technique of her art. Learning of her intentions, the citizens of Buffalo, N.Y., united in tendering her a grand testimonial and benefit concert. The invitation was couched in terms most flattering, and signed by many of the most distinguished residents.

The concert took place on March 7, 1853, and was in all respects a grand success.

Leaving Buffalo, she went to New York, where, after singing before an audience of four thousand persons, she received the following complimentary note:—

"The London Morning Post" says,—

"The London Times" said,—

Again: "The London Observer" remarks,—

84

"The London Advertiser" of June 16 contained the following comments:—

The trip to London and its attendant circumstances resulted in much benefit to Miss Greenfield in an intrinsic, artistic sense, adding decided éclat to her professional reputation. "The New-York Herald," a journal which in those days was generally quite averse to bestowing even well-merited praise upon persons of her race, was, however, so much moved upon by her exhibition of an increased technical knowledge of the87 lyric art as to speak of Miss Greenfield as follows: "'The Swan' sings now in true artistic style, and the wonderful powers of her voice have been developed by good training." This was but echoing the general verdict.

During the years that intervened between Miss Greenfield's return from England and her death,—the latter event occurring at Philadelphia in the month of April, 1876,—she was engaged in singing occasionally at concerts, and in giving lessons in vocal music.

Remembering her own hard contests as she ascended the hill of fame, Miss Greenfield ever held out a helping hand to all whom she found struggling to obtain a knowledge of the noble art of music. Possessing, on account of her great vocal abilities, the high esteem of the general public, from a rare amiability of disposition enjoying the warm love of many friends in those private circles where she was always an ornament and a blessing, this wonderfully gifted lady at the age of sixty-eight years died, deeply mourned by all. Of her brilliant career, of her life, which, in many important respects, was so grandly useful, as well as of her peaceful death, nothing more need here be added, further than to place her name in the honorable list of those of whom Milton so eloquently says,—

88

VI.

THE “LUCA FAMILY,”

VOCALISTS AND INSTRUMENTALISTS.

WHILE nearly all persons have to a greater or lesser degree musical sympathy and capability, or, to speak generally, capacity for the enjoyment or production, in one way or another, of harmony; and while, too, a goodly number there are who possess what may be called musical aptitude,—it is yet only once in a great while that we find those who are thus endowed in a degree which may be considered extraordinary. For the Muses, however often and earnestly invoked, are never lavish in the bestowment of their favors. This is especially true as applied to the goddess who presides over the art of music. Only here and there is some one selected to whom is given great89 musical inspiration; into whose keeping is placed the divine harp, which, when swept by his hands, the people shall hear entranced.

1. ALEXANDER C. LUCA, SEN.
2. CLEVELAND O. LUCA.
3. ALEXANDER C. LUCA, JUN.
4. JOHN W. LUCA.

Occasionally we may observe in families one member who appears particularly favored by nature in the possession of rich and varied musical talents, the same being improved by careful cultivation. Such a one readily attracts attention: his native endowments and his extensive acquirements often form the theme of conversation, of warmest praise; while everywhere he is a most welcome guest. But, if in a family a single instance of this kind produces the effects just described, the latter can but be greatly enhanced when is found a family composed of a number of persons in no wise small, each one of which is a highly-talented and finely-educated musician. It is, however,—for the reasons already mentioned,—so rare a thing to see the musical faculty thus possessed, and its advantages thus fully embraced, by an entire household of nearest relatives, as to render the circumstance a cause of much surprise; while a family so greatly skilled in the most beautiful, the most charming, of all arts, easily attains to high distinction, its members becoming objects of such general private and public interest as to render their careers quite worthy of the best efforts of those who would make the same a matter of history.

The foregoing remarks, although made in a somewhat general way, may be particularly applied to that excellent troupe of artists, the "Luca family," a brief account of whose remarkable natural endowments, superior acquirements, and interesting musical life, is here appended.

The family, as at first professionally organized, con90sisted of six persons,—the father, mother, and four sons. Some changes that occurred afterwards will appear as the narrative progresses.

Alexander C. Luca, the father, whose history shows most pointedly how much may be accomplished by devoted study, deserves especial mention. He was born in Milford, Conn., in the year 1805. He is, in the most proper sense, a "self-made" man. Possessing but few opportunities for acquiring an education, he yet made the most of those he had, and is to-day a man of varied culture, an excellent example of the Christian gentleman. At the age of twenty-one years he apprenticed himself to a shoemaker, having previously spent his life upon a farm; and, while thus engaged, he showed a decided taste for music. In the shop where he worked were several boys who were learning the trade, and who were also members of the village singing-school. Going occasionally into their school, listening eagerly to all they sang and talked about both there and in the shop, he soon learned their songs, and was induced by the surprised teacher to join the school. In a short time, by the aid of a naturally musical ear and a good voice, and by diligent study of the rudiments, he became quite a proficient scholar; surpassing, in fact, most of the other pupils of the school.

After learning his trade he removed to New Haven, Conn., where after a while he was married to a lady of fine musical qualities (she being especially remarked as a singer), and who was also of a musical family. Soon after his arrival at New Haven, Mr. Luca, having acquired by this time quite a fine knowledge of music, and being an excellent vocalist, was chosen chorister of a Congregationalist church. In a short time his choir91 was considered the equal of any in the city; which was high but well-deserved praise. Some time previously to the formation of what was called professionally the "Luca family," the subject of this sketch organized a quartet consisting of Miss Dianah Lewis,[11] a sister of his wife, his two older sons, and himself, and gave in New Haven and vicinity a number of fine concerts. Mr. Luca trained all his children in music at an early age, and taught them to sing in his choir at the church.

Mrs. Luca heartily sympathized with, and aided her husband in, the musical and general culture of the family. One of the sons thus speaks of her: "Our earlier taste for music was especially encouraged by our mother, who thought that the study of it would claim us from the bad influences which idle hours and mischievous associations engendered."

With such parents it is not strange that the Luca children became so worthy and eminent as exponents of the art of music.

John W. Luca, the oldest son, when quite young, was remarkable, mostly, as a comic singer. He sang frequently at school exhibitions, and often created much sensation in singing a temperance song called "The Old Toper."

Alexander C., jun., who in after-years became so noticeable as a tenor-singer and violinist, was at first the dullest of the boys.

Simeon G. possessed a tenor voice of extraordinary compass, singing high C with the greatest ease. He sang the choicest music from the various operas to92 astonished and delighted audiences. He was also a solo violinist of rare powers; often thrilling his audiences by the smooth, sweet, and expressive strains evolved from his instrument.

Cleveland O. Luca, the justly celebrated, the wonderful pianist, began to exhibit extraordinary talent at the early age of seven years. It was not, however, the intention of his parents to have him begin to study so early. Indeed, little did they think that the fire of musical genius burned so brightly in the soul of their young boy. But Cleveland, or "Cleve" as he was then called, was not to be restrained. Going often into the room where his aunt was playing on the piano-forte, he listened eagerly and delightedly, his little soul stirred and filled by the sweet sounds of harmony; and, after she had left the instrument, he would go and play the selections even better than his aunt. Of course such striking evidences of genius filled the breasts of his parents with delightful surprise; and it was soon decided to place the gifted boy under the care of a competent instructor. He rapidly developed those remarkable powers for ready reading, facility and brilliancy in execution, that afterwards made him so wonderful and so noted.

When but ten years old, he had become a performer of such excellence as to attract the notice and to receive the unequivocal praise of such good judges as Strakosch, Dodworth, W.V. Wallace, and other noted musicians of New York.

When it was resolved to form as public performers the "Luca family," the decided musical powers possessed by young Cleveland made his services indispensable, and he was of course taken as a member. As93 the "wonderful boy pianist," he everywhere created quite a furore. The ladies in the audiences were especially delighted with him; and forgetting often, in their enthusiasm, that he was black, it seemed that they would certainly carry him away.

Never satisfied to rest alone upon his fine natural endowments, our young artist pushed his studies, entering the classical, the technical domain of the great master-composers, and playing with easy, graceful, magnetic touch, and delightfully winning expression, any of their works. As a reader at sight of compositions the most difficult, it is doubtful whether he had an equal in this country.

The prejudiced or incredulous, before having observed his rare powers for reading and playing, often as a test, and sometimes with a hope to embarrass him, placed before him some technical and very difficult work. But the readiness with which he played the piece changed one who had come to doubt or to scorn into a silent, deeply surprised, and interested listener; and it was most always the case, too, that such a one, yielding to the exquisite charm of the music, as well as to the gentlemanly, graceful manners of the young virtuoso, became from that time forth his warm admirer and friend.

But this brilliant artist did not confine himself to the interpretation of the more difficult compositions for the piano. At the time of which I am writing,—twenty years ago,—his success as a performer before miscellaneous audiences could not have been so great, had he not possessed, in a most pleasing degree, a versatility of talent. His repertoire was an extensive one, and decidedly "taking" in the varied character of its94 excellent pieces. Many of the latter were simple, yet always purely musical, and of course highly pleasing.

Before the public, Mr. Luca was, in the best sense, a successful performer; while, in those smaller and finer artistic circles where the more delicate and higher musical forms were appreciated, he delighted and even instructed his listeners, receiving their warmest praise.

True art is ever noble and ennobling: in its domain its devotees are known and valued, not by the color of their faces, but by the depth of artistic love that they feel, and by the measure of success to which they attain. And so the subject of this sketch, although of a complexion quite dark, and often suffering from the coldness, if not the insults, of those afflicted with "color-phobia," was yet ever sought after and cordially received upon terms of equality by all the great musicians wherever he journeyed. Nor did the press of the country, nor people of culture generally, fail to pass upon him the highest encomiums. A few of these are elsewhere given.

Besides his ability as a pianist, Cleveland Luca was also a vocalist of fair powers. No especial pains being taken, however, to develop this faculty, he attracted, as a singer, no great attention.

On the 27th of March, 1872, in far-away Africa, whither he had nobly gone to carry the bright, cheering, and refining light of his musical genius, his frail constitution yielding to a fever, he died at the age of forty-five.

It is hard to over-estimate the great good this remarkable artist accomplished for his much-abused race in dissipating, by his wonderful musical qualities, the unjust and cruel prejudice that so generally prevailed95 against the former at the beginning of his career; for in him was fully and splendidly illustrated the capacity of the dark-hued race for reaching the highest positions in the walks of the art melodious. The example, moreover, of his intelligent parents, who, when they discovered his talents,—avoiding the mistake often made by some, who, alas! but too frequently rest content merely with observing the signs of genius in their children, allowing the at first bright spark to go untended, to burn "with fitful glare," and to finally become, from this neglect, extinguished,—devoted themselves at once to their fullest and most artistic development,—this example, I say, is one to be highly commended, and ever to be followed.

Having thus described the family individually, I now proceed to speak of their combined efforts. Formed as a vocal quartet, the parts were distributed in this wise: Simeon Luca sang first tenor, Alexander second tenor, Cleveland soprano, and John sang bass (or baritone if desired).

Instrumentally they performed as follows: Simeon on first violin, Alexander second violin, John violoncello (or double bass if required), and Cleveland on the piano-forte. The father fulfilled the duties of musical director and business manager; and occasionally he took part in the performances as a vocalist.

Thus excellently equipped musically, each member of the troupe possessed of general intelligence, and being of genteel appearance, they went forth on their mission of music into fields hitherto untrodden by members of their race; and their fine performances everywhere gave delight, refinement, and a new and high impulse, to the many thousands who heard them.96

Their services were at first called into requisition at anniversaries and festivals, and they soon acquired an excellent local reputation. The event that most prominently heralded their names before the public was their first appearance at the May anniversary of the Antislavery Society, held in the old Tabernacle on Broadway, New York, in 1853. Over five thousand persons were present. The sensation produced by the performances of this gifted family on this occasion is said to have been indescribable. The wildest enthusiasm was manifested; and many persons in the audience, overcome by the emotions awakened, shed tears. This is, however, not so strange. Gathered as was this immense concourse of people to advance the cause of human freedom, and entertaining and asserting, as they did, a belief of man's equality, we may well imagine the measure of their delight when in witnessing the display of genius by the wonderful pianist, and listening to the sweet strains of classical harmony formed by the tuneful voices and skilfully-played instruments of this troupe of colored artists, they found their claims for the race so fully sustained.

After the performances just mentioned, letters full of praise and congratulation from many sources poured in upon the "Lucas," as they were familiarly called; and Professor Allen, then editing a paper at Troy, N.Y., induced the parents to intrust the children, now so rapidly acquiring fame, to his charge, to make a musical trip through the New-England States in the interest of his paper. This tour resulted in adding to their fame, and confirming them in a belief of their ultimate general success; but, owing to poor management on the part of their business agent, the trip was not a financial success.97

I should have mentioned ere this that John and Alexander Luca had been taught by their father the shoemaking trade, and that for some time they applied themselves to this kind of work; using their leisure time, nevertheless, in pushing their musical studies. Occasionally they would drop the awl and hammer, and make excursions into the country towns of Connecticut; sometimes returning with a full exchequer, and sometimes in debt even, but never without having added to their reputations as musicians.

During these times, the family received many valuable testimonials touching their musical abilities; but to none of these do they owe so much as to a highly commendatory letter from the late Rev. Horace Bushnell of Hartford, Conn. Such testimony from one so eminent, and of critical abilities so great, could not fail to arrest public attention in their behalf.

While travelling, the Luca family suffered greatly from the effects of a cruel caste spirit then so much prevailing,—being often debarred from hotels, and often denied decent accommodation in public conveyances. But this barbarous treatment of those whose fine musical qualities and genteel appearance and deportment—albeit they were of dark complexions—gave them title to enter the very best places aroused the sympathy and indignation of many persons. And so, amidst all their disadvantages, the success and reputation of our artists steadily increased, and the critics accorded them high rank as musicians; Mason, Gottschalk, and others among the finest pianists of the country, receiving Cleveland Luca, the pianist, as an equal.98

In the year 1854 the family experienced a sad shock in the death of Simeon G. Luca.

As before intimated, he was a vocalist and violinist of remarkable powers; and professionally, as well as otherwise, his loss to the troupe was a great one.

The vacancy occasioned by his death was filled by the engagement of Miss Jennie Allen of New York. She proved to be a very valuable acquisition to the troupe; for she possessed a rich contralto voice, sang with excellent method, had a graceful, winning stage appearance, and was well known in New York as a very fine pianist.

The quartet thus arranged then (in 1857) began to travel more extensively, giving performances in the States of New York, Pennsylvania, and Ohio, where their success artistically and financially exceeded any thing before within their experience. Had they so chosen, they might have visited all the free States with assurance of good fortune. Wherever they went, the bitter color-prejudice, the chilling doubtings, or the cold indifference, displayed by those who had not heard these talented musicians, were rapidly dispelled when on the stage they beheld their easy, graceful appearance, and heard the delightful sounds of harmony that proceeded from the voices and instruments of this accomplished quartet. The writer well remembers the emotions of delight and pride that filled his own breast when at this period, in Ohio, he witnessed for the first time their performances. After their first concert, the town became the scene of a most pleasant commotion. No such music had ever before been heard there, and praises of the "Lucas" were on the lips of all. The family were entertained at the residences of the first99 citizens, who vied with each other in extending to them the most complimentary attentions. In these homes of wealth and culture, where the study and practice of choice music formed a portion of each day's employment, these talented artists, surrounded by a selected company of educated persons, shone even more brightly than when upon the public stage; for here they could confine themselves to a rendition of that higher class of music so suitable to their own tastes and powers, as well as most welcome to their cultivated audience. But what befell the Luca family in this town—the writer has mentioned somewhat particularly this instance, because he happened to be a witness of the same—is but a sample of the treatment they often received in other places while travelling over the country.

As representing the estimate of the musical abilities of the Luca family, held by the general press of the country during their concert tours, and in order that it may be seen that my own praises of the family are none too great, I give the following notice from a fair and disinterested source; viz., "The Niagara Courier" of Lockport, N.Y., of Sept. 2, 1857:—

During their second tour of Ohio, in 1859, the "Lucas" met and joined the famous Hutchinson family, giving many entertainments in conjunction with them. The Hutchinsons thus proved the entire sincerity of their professions that they loved their brother man "for a' that." The press of the country was much excited over this novel union, and the expressions emanating from the former were various. Without, however, minding the pros or cons, these two troupes travelled more than a month together, experiencing a pleasurable and profitable season.

I append below two advertisements of concerts given by these troupes at the time mentioned:—

(I.)

102

(II.)

As a reflection of the terrible, the foul spirit of caste, then so largely prevailing, I regret that it is my duty to append the following elegant (?) extract from a paper published at Fremont, O., Feb. 25, 1859:—

No doubt the writer of the above, if now living, would be ashamed to utter sentiments so uncharitable and so vile.

But as an evidence of honest criticism, and in pleasing contrast with the foregoing, I give the following.103

"The Norwalk (O.) Reflector," March 1, 1859, says,—

A Sandusky (O.) paper, March 1, 1859, says,—

A Wooster (O.) paper, February, 1859, says,—

A Cleveland (O.) paper, Feb. 28, 1859, says,—

Shortly after the return of the Luca family from the tour with the Hutchinsons, Cleveland the pianist, with a noble aim, resolved to go to Africa. This circumstance caused the disbandment of the troupe.104

Their father has resided for a long time at Zanesville, O., where, although quite advanced in years, he is still esteemed as a vocalist, singing in a church choir, and where he enjoys the respect of all for his many good qualities of heart and mind.

His two sons, John and Alexander, are now, as ever, devoted to the art of music; the former being a valuable member of the celebrated Hyer sisters concert and dramatic troupe, while the latter is vocal director of another company.

As a fitting close to this sketch, as a corroboration of my own testimony, and as an evidence of the noble qualities possessed by that rare musician and Christian gentleman, Asa B. Hutchinson, I add the following beautiful tribute from his pen:—

106

VII.

HENRY F. WILLIAMS,

COMPOSER, BAND-INSTRUCTOR, ETC.

"Thy purpose firm is equal to the deed."

"His lyre well tuned to rapturous sounds."

A WRITER in "The Progressive American" for July 17, 1872, said,—

HENRY F. WILLIAMS.

The pleasure afforded this writer, by witnessing our subject's appearance on the memorable occasion referred107 to, was shared by many other persons who were able to distinguish him in that vast concourse of fine musicians. It was not so easy to distinguish him from the others by his complexion as it was by his dignified, graceful appearance. Of this, as well as of Mr. Williams's musical skill, the organizer of the great orchestra, Mr. Baldwin, has, since the event, spoken to me in terms the most complimentary. He said it was not more Mr. Williams's good playing, than his handsome, manly appearance in the orchestra, that afforded him pleasure; and that in both of these particulars Mr. Williams stood in favorable contrast with many other members of the orchestra. This was high praise indeed, but no higher than its recipient deserved, as all will testify who know him.

As stated in the extract just quoted, Mr. Williams, before being accepted as a member of the Jubilee orchestra, was subjected to a severe test; being required to execute on the double-bass the parts written for that instrument in the celebrated overture from "William Tell," and also in Wagner's difficult "Tannhäuser." In regard to this test Mr. Baldwin has since said to the writer, "I myself had no doubts as to Mr. Williams's ability as a musician. My object in arranging the test performance was, that I might afterwards point to its successful result, and thus silence many of the instrumentalists that came from other parts of the country, in case they should object (I knew that many of them would do so), on the weak ground of color, to playing with Mr. Williams. Neither Mr. Gilmore nor myself knew any man by the color of his face. What we wanted for the grand orchestra was good musicians, and, when any one objected to our two colored per108formers, we triumphantly referred to the exacting and satisfactory test they had undergone as sufficient answer to the foolish clamors of all those afflicted with 'color-phobia.' Seeing the managers of the Jubilee thus resolved, and convinced that the two colored men were artistic performers,—superior in ability to many with whom they were to be associated,—no one declined to play; and all was harmony thereafter."

And here I may be permitted to record the thanks of all well-meaning people for the noble action of Messrs. Gilmore and Baldwin. The two artists mentioned were not the only members of their race who took a part in the memorable Jubilee concerts. Several others in a vocal way occupied even prominent positions at these concerts. Some sang as artists on the stage, and several were members of that great chorus of nearly twenty thousand voices. In all these places they did their share in making the occasion a grand success, while they justified fully the wisdom of those by whom they were invited to participate. The action of the latter was no more than what was due and right, it is true; but it is well to remember (for we must take things as we find them) that Messrs. Gilmore and Baldwin were not obliged to engage these persons. Had the former not been men of pure principles and firmness, they might have yielded to the mean and by far too popular prejudice entertained against colored people, and have refused to allow them to take part in the performances. That they did not thus yield is much to their credit as musicians and gentlemen; and they are to be thanked, I say, for their manly action.

The little ripple of excitement caused by Mr. Williams's appearance among the musicians of the Jubilee109 might well have provoked from that gentleman a smile of contempt; for he was a far older and much more skilful performer than many who at first objected to playing with him. He had, indeed, more than thirty years of musical experience behind him,—years which were full of manly, persevering struggle against great odds, and years during which he had many times triumphed over opposition far greater than that met by him at the Coliseum. Born in Boston Aug. 13, 1813, beginning his studies when but seven years of age, he had, mainly by his own efforts (he is in the truest sense a "self-made man"), become a thorough musician; was a superior performer on the violin, double-bass, and the cornet; a fair performer on the viola, violoncello, baritone, trombone, tuba, and piano-forte; having been besides for years an esteemed teacher of most of these instruments. Nor did his musical powers stop here; for in addition to being a skilful arranger of music for the instruments just mentioned, and others, he was a composer, many of whose works bore the imprint of several of the most eminent music publishers of the day. Learning these facts, no wonder that those who at first opposed Mr. Williams's entrance into the grand orchestra (these persons, by the way, were not residents of Boston, but came from the West and South) afterwards were ashamed of their foolish prejudices, and became his warm admirers.

Mr. Williams, as an instrumentalist, devotes himself especially to the violin and the cornet. Upon these he executes in a superior manner the finest music of the day. Possessing fine natural talents, of great versatility, and of long study and experience, he is enabled to play any kind of music; passing with the utmost ease from110 the "light fantastic" of the dance to the grave and profound of the old masters: in either kind he is always noticeable for the finish and tastefulness of his performance. He has given much of his time to the formation and instruction of military bands, frequently arranging and composing music for them. In the former capacity—that of arranging music—he has often been employed by P.S. Gilmore, director of the celebrated Gilmore's Band, and projector of the two great Peace Jubilees. He was at one time connected with the famous "Frank Johnson's band" of Philadelphia, and of several others in the West, travelling extensively, and giving instruction in music. A short while ago, the manager of the Boston Cadet Band—successors of Gilmore's—showed me a quickstep in manuscript, of the merits of which he spoke very highly, composed by Mr. Williams for the first-mentioned band.

The following is only a partial list of the many songs (words as well as the music his own) of which our subject is the author:—

"Lauriette," published by Firth & Pond, New York, 1840; "Come, Love, and list awhile," published by Pond & Hall, New York, 1842; "It was by Chance we met," published by O. Ditson & Co., Boston, 1866; "I would I'd never met Thee," published by O. Ditson & Co., Boston, 1876.

Of the above, "Lauriette" had a large sale, the publishers realizing a considerable profit from the same. In 1854 O. Ditson & Co. published his "Parisien Waltzes." These are a set in five numbers, with a fine introduction, and containing some very bright and sweetly-flowing melodies. These waltzes had a good sale, and added much to the composer's reputation.111 Besides the above, Mr. Williams has composed eight or ten polka-redowas, and several mazurkas and quadrilles (some of these have been published); and he is the author of several overtures.

Early in his career he composed an anthem which was much praised by persons of musical judgment. At that time so greatly was the judgment of people affected by color-prejudice, that many persons doubted the ability of one of his race to create a work so meritorious as the one just mentioned. They were, however, soon compelled to admit that Mr. Williams was the talented author of it.

Lowell Mason, the eminent composer of sacred music, was one of those who at first entertained doubts as to the authorship of the anthem; and he, like the others, finally yielded to stubborn facts. Moreover, becoming acquainted with our subject, and learning more of his fine abilities as a musician, Mr. Mason remarked that it was a pity one so talented should be kept down merely on account of the color of his face. I am sorry to say, nevertheless, that this gentleman could rise no higher above the common level of that day than to advise Mr. Williams to go to Liberia. Had Mr. Mason, who was so original and bold in music, been only half as bold in creating a sensible, a humane public sentiment; had he, as he looked with pity upon this gifted and devoted young musician struggling against the ignoble spirit of caste to gain a place in art, thrown his great influence on the side of what he confessed was right; and had he, instead of advising Mr. Williams to bury himself in Africa, declared that the latter should have an equal chance with others in this country in developing his musical powers,—had Mr. Mason done112 this, I say, I feel sure that such encouragement, coming in the very "nick of time," would have resulted in placing the subject of this sketch far above even his present excellent position as a musician, while such noble action on the part of Mr. Mason might to-day be considered as an additional gem in the latter's confessedly bright crown. I hope I do not seem too harsh. I love music and those who create it, and I greatly dislike to speak aught that is ill of such persons. And yet I love too, even more ardently, reform and its promoters; and therefore cannot regard with complacency the acts of those, who, possessing great talents and influence, yet fail to use them in furthering the cause of right. I have said that Mr. Williams has written several overtures: one of these was for the orchestra of the famous Park Theatre. At present he is constantly engaged in arranging and composing music.

In concluding this brief sketch, which I fear falls short of doing its subject justice, I will only add, that in the remarkably fine achievements he has made under circumstances and against difficulties that would have caused many to falter, indeed, to yield in despair,—chief among these difficulties being the hateful, terrible spirit of color-prejudice, that foul spirit, the full measure of whose influence in crushing out the genius often born in children of his race it is difficult to estimate,—in Mr. Williams's triumphs in a great degree against all these, I say, is presented an instance of art-love, and of manly, persevering devotion, that is truly heroic. Falling short, as he does, of an eminence, that, had he been born with a fairer complexion, would ere this have been his, his life is yet a grand example to those younger members of his race who are beginning their careers in113 the world of music when fairer skies light their pathway; when the American people, regretting the depressing, blighting cruelties of the dark past, now seek to atone for the same by offering encouragement to all who exhibit musical talents, and evince a conscientious desire to improve the same. Mr. Williams may remember with pride that to this gratifying result he has in a very marked degree contributed; and that therefore, in spite of some disappointments, his musical life has really been a noble success.

114

VIII.

JUSTIN HOLLAND,

THE EMINENT AUTHOR AND ARRANGER,

AND PERFORMER ON THE GUITAR, FLUTE, AND PIANO-FORTE.

No life can be called a truly great one that has not been a truly good one: a very simple saying, and one which, however trite, yet requires frequent repeating, since its importance is but too seldom considered. And the noble fame that sooner or later surely attaches to the author of such a life belongs chiefly, but not entirely, to him; it being in part, in a certain sense, the property of all who would follow in his footsteps, becoming for them an inspiring example; its history, with all its experiences of hope and fear, its occasional failures but frequent successes, its struggles when environed by poverty or other untoward circumstances, and its final triumph over all obstacles, serving as a guide,115 a beacon indeed, to illumine their pathway as they climb the same difficult but glorious hills of honor.

JUSTIN HOLLAND.

But such renown comes oftenest to those who seek it not,—to those who perform the right for the sake of right. These are they who

"Do good by stealth, and blush to find it fame."

Thoughts very similar to those just expressed are such as will naturally enter the minds of all who contemplate the history of Justin Holland, the distinguished musician. A mere outline of that interesting history is all that can here be given.

But first let me say, that if a little while ago, when arranging the title for this sketch, the writer had been quite sure that in placing after the name of the person to be treated a certain single word,—which really is one of very extensive meaning, although not always so used or understood,—had he been sure that from that word the general reader would have formed a complete idea of this artist's very varied accomplishments, then the heading would have been simply, "Justin Holland, musician." But judging that such brevity, however desirable in some respects, might yet fail in doing justice to one whose great native talents, joined to remarkable attainments made during a life of most industrious endeavor, entitle him to very particular mention from first to last, I have thought it best to state in detail the several departments of the musical art in which he has won the rarest of laurels.

I am not quite certain, though, that such minute mention will be pleasant to Mr. Holland; for I learn that he is as modest as he is learned, and that he has always had a sort of aversion to having his name appear in116 print at all, albeit during his long career in music it has thus appeared many times, in spite of said aversion, and always most honorably. But when he shall read these pages, on which nought shall be set down save with a regard for truth, and shall perceive by them, that while he steadily, quietly, and effectively worked for many years, with no attempts at ostentatious display, scarcely looking up the while to observe the outer results of his work, and to catch for inspiration the praises of men; when he shall see in his now mature years that all he so noiselessly invented, and fashioned into practical, useful form, is regarded by a well-meaning chronicler as of vast importance in serving as a noble example for the study and imitation of the youth of the land, and therefore to be faithfully recorded,—then it is hoped he will pardon the somewhat free but well-intentioned use that is here made of his name and deeds.

Mr. Holland was born in 1819 amidst the then "solitudes" of Norfolk County, Va. His father, Exum Holland, was a farmer. When quite a young child, Justin evinced a very decided fondness for music. But, nearly sixty years ago, a farm-life in Virginia, ten miles from any town, as may be imagined, afforded but poor opportunities for either hearing or learning music. Such opportunities, however, as were within reach, our subject very eagerly embraced. It is related of him, that, when less than fourteen years of age, he was in the habit of walking on Sundays to a log meeting-house five miles away, and there listening to and joining in such music (?) as was at that time discoursed in such places. But previously to this, when only a boy of eight years, he accidentally came into possession of an old song-book with words only. Being much delighted with this, he117 often perched himself upon a rail-fence, quite removed from the farm-house and all chance of interruption, where he sang and heartily enjoyed the songs, the music for which this would-be musician extemporized. Years afterward it was found that some of the tunes he thus early invented, and which he retained in his memory, were equal if not superior in merit to those that really belonged to the songs in the book mentioned. Thus was Holland almost born with the composer's art.

When about fourteen years old, Justin left Virginia, and went to Boston; from whence he shortly afterwards removed, going to Chelsea, Mass. Here he spent his youth and several years of his manhood. A short while after becoming a resident of Chelsea, he determined to study in earnest the science of music. At this time he happened to become acquainted with Señor Mariano Perez, a Spanish musician, and one of a troupe that was performing at the old Lion Theatre on Washington Street in Boston. He had many opportunities for hearing Perez play upon the guitar. The richness and beauty of melody and harmony, and the unsurpassed variety and fineness of expression, that were evolved from this beautiful instrument by this master-performer, so charmed Holland, that he decided to give his chief attention to the study of the guitar. Not that he then dreamed of ever becoming a teacher or professor of the instrument: he wished to learn music simply for his own amusement. His first music-teacher was Mr. Simon Knaebel, who was a member of "Ned" Kendall's famous brass band, and who enjoyed a high reputation as an arranger of music. After a while he began lessons with Mr. William Schubert, also a member of Kendall's band,118 and a correct and brilliant performer on the guitar. Under this teacher our subject soon made rapid progress, becoming a favorite pupil from his ability to play duets with his instructor; the latter being very fond of that kind of music. He afterwards made fine progress with the eight-keyed flute, taking lessons on this instrument from a Scotch gentleman by the name of Pollock. During all this time, it must be borne in mind that our zealous young student was unaided by any one in defraying the great expense incurred in pursuing his studies. He had to depend upon his own hard earnings. Besides, he had no time for practice save that taken from the hours usually devoted to sleep.

In 1841 (his age was then twenty-two years), desiring more education than his hitherto limited opportunities had allowed him to obtain, he went to that noble institution, Oberlin College, where, feeling anxious to make up for all time lost, he diligently pursued his studies, and made rapid advancement. In 1844 his progress had been so good, that we find him one of the authors of a book of three hundred and twenty-four pages on certain subjects of moral reform. In 1845 Mr. Holland went to Cleveland, O., then only a small city of less than nine thousand inhabitants. While prospecting in Cleveland for something to do, it was found that he was an amateur performer on the guitar, playing the best music with a fine degree of proficiency. This brought him applications to give lessons to members of some of the first families in the city, and caused him to make Cleveland his permanent home. His character had now become finely formed, he being quite noticeable for his gentlemanly, scholarly qualities, and for the close attention he gave to the subject of music and to119 all that concerned true advancement in the profession in which he had now resolved to remain for life. As illustrating the principles by which he was guided, I give the following extract from a letter of his to a friend, describing his life at the time just mentioned. He says,—

He had now become firmly established as a teacher, and was soon at the head of the profession in Cleveland as a guitar-instructor. This, however, did not satisfy him; and he determined to attain to still greater proficiency. Finding that the best systems for guitar-playing were such as were taught in the works (foreign) of Sor, Carulli, D'Aguado, Giuliani, Ferranti, and Mertz, Mr. Holland entered upon a course of study of the French, Italian, and Spanish languages, in order that he might read in the original the systems of those great masters, and thus be the better able to understand and apply the same. He soon by diligent study acquired a knowledge of the languages mentioned; and, as will hereafter appear, this knowledge became of great use to him.

The secret of our subject's great success as a guitar-virtuoso may be readily gathered from the statement I120 have just made about the foreign languages. He was always thorough, enterprising, singularly industrious. Loving deeply his chosen profession and instrument, he could never be satisfied with a position of mere mediocrity, either as a performer or teacher; but with most studious care he sought both near and far all sources of theoretical information, in order that he might thus secure skill in elucidation; while as a performer he reached to the innermost depths, so to say, of all forms of great musical expression, that he might bring from thence such sweets of melody and harmony as would charm his pupils, and rivet their attention on that beautiful instrument, the guitar. He ever aimed, in fine, to carry guitar-playing in this country to a state that comported with the highest laws of science,—to elevate it to the high level whence it had been taken by the great masters of Europe. His success in these aims will be more fully seen as this account progresses.

Mr. Holland, it seems, has not aspired to distinction as an original composer of music, although he has done something in that line. Of modest pretensions, and rather practical character, he has considered that he could do more for music and the guitar in seeking to make the meritorious compositions of others for other instruments available for guitar practice by skilful arrangements; and in this, his special field of musical labor,—speaking with respect either to the quantity or quality of his works,—he is without an equal in this country: indeed, in certain particulars which will be mentioned hereafter, it will be seen that he has surpassed even the guitar-virtuosos of Europe. His published arrangements for the guitar of the best music composed number more than three hundred pieces, all of them121 ranking as standard; while with guitar-students, and the principal music-publishers of the day, the name of Holland has been since 1848 as familiar as a household word. It is remarkable, too, that nearly all of this large number of arrangements were made from music sent to Mr. Holland by publishers, with a request that he adapt the same to the guitar. He did not need to sound his own praises. While he quietly worked with his pupils in Cleveland, his fame as a skilful musician was spreading over the country. Soon publishers began to send him orders for arrangements. Such pieces as he had written merely for diversion, or for use with his classes, when it became known that he had them, were eagerly solicited for publication. If the reader will examine the catalogues of the larger music-publishing houses of the country, he will find, that, under the head of Guitar-Music, the name of Holland appears far oftener than that of any other writer. A partial list of his works I have thought of transferring from the publishers' catalogues to the pages of this book; but this, perhaps, is not necessary, nor will space allow it. I will state that his arrangements, with variations, three in number, of "Home, Sweet Home," are considered by competent judges the best adaptations of this immortal air ever made for the guitar. The same opinion is also expressed of his arrangement, with variations, of "The Carnival of Venice." It is a five-page concert-piece, equal to ten or twelve pages of piano-music. Those who love the guitar, or who are desirous of testing the abilities of the author and the correctness of the judgment just given, would do well to procure these two selections: this they can do from any of the music-publishers. Nor is a guitar library complete unless it contains122 many more of this writer's works; such, for instance, as the following: "Winter Evenings," a collection of fifteen pieces, eight of them with variations; "Flowers of Melody," twenty-three pieces, among which is to be found the charming "Flower-Song" from the opera of "Faust," arranged as a solo; "Gems for the Guitar," twenty pieces; "Summer Evenings," containing an extensive list of songs; and "Bouquet of Melodies," a series of twenty-four arrangements from the most popular operas, all instrumental.

Most of Mr. Holland's writing has been for the eminent firm of S. Brainard's Sons of Cleveland, O., the most extensive music-publishing house in the country, with one exception; next to them, for J.L. Peters & Co. of New York; G.W. Brainard and D.P. Fauld, Louisville, Ky.; John Church of Cincinnati; and for a house in Michigan.

But our talented author has not confined himself to that department of guitar-writing just under consideration. Equal to his fame as an arranger is his fame as a writer of instruction-books for the guitar. These works are distinguished for comprehensiveness of study, general simplicity of arrangement, and for boldness of attack, and clearness of elucidation, of all guitar difficulties. His chief work is "Holland's Comprehensive Method for the Guitar," written for and published by J.L. Peters & Co., New York, in 1874. This book, while in manuscript, was by Messrs. Peters & Co. submitted to the judgment of some of the finest critics in New York, by whom it was pronounced the best ever prepared either in this country or Europe.

On this point I append the following from the Cleveland "Plain-Dealer" of Dec. 24, 1868:—123

Some time after the publication of the method just mentioned, the Messrs. Brainard engaged Mr. Holland to write a somewhat similar one, but smaller in size, for them. This they issued in 1876, it being styled "Holland's Modern Method for the Guitar." Although smaller in size than the first one, it is regarded as the best method for beginners that has as yet been produced.

It may perhaps be interesting to those possessing a scientific acquaintance with the guitar, as well, indeed, as to the general student of music, to learn how this124 accomplished author acquired the power to so clearly—more clearly than it was ever before done in guitar books—explain the method of producing on the guitar the harmonic tones. Writing a friend, Mr. Holland thus speaks of this:—

I have before referred to the pecuniary disadvantages under which Mr. Holland had to labor in the beginning of his career. These followed him for a long period. It seems that much time must nearly always elapse ere even genius becomes acknowledged, and its possessor receives that pecuniary reward so necessary to his support. This acknowledgment, and, to an encouraging extent, this substantial reward, came to Mr. Holland after a while, but not until after he had passed through many very trying scenes. One of the latter has been thus described:—125

A touching incident this, surely, but one that has had either a near or perfect counterpart in the lives of many music writers and teachers, who have often been obliged to labor in season and out of season for the bare necessaries of life. And yet how seldom it is that we are aware of the painful vigils that are kept by these gifted but toiling ones when creating the works that so much contribute to the pleasure of our leisure moments!

Of all the music-publishing firms for whom Mr. Holland has written, I believe the only ones that know him personally, and know that he is a colored man, are the Messrs. Brainard and Mr. John Church. On this point of color, a little incident in his life is well worth recording. One day, in 1864, Mr. Holland went into a large music-store (not in Cleveland) to purchase an instrument. The salesmen present seeming disposed—no126 doubt on account of his color—to give him no attention whatever, he quietly left, and made his purchase elsewhere. He has since been employed by, and has received large sums of money from, that very firm, as a writer of music for them. He does not even now personally know any one of the firm; nor is it supposed that the latter know him otherwise than by his reputation, and through correspondence with him. It is almost certain, that had it been generally known, as it was not outside of Cleveland, that this gifted and accomplished musician was a member of the colored race, his success would have been much curtailed, so greatly has the senseless, the ignoble feeling of color-phobia prevailed in this country. To the Messrs. Brainard and Mr. Church, who proved themselves superior to the low prejudices of the times, all honor be given! To them the brightness of the artist's genius was not obscured by the color of his face.

As another evidence of the esteem in which Mr. Holland is held by one of the firms just mentioned, I append the following extract from a letter which I received a few months ago:—

A few years ago, on his return from a visit to New Orleans, he stopped at Leavenworth, Kan. The ed127itor of the leading paper in Leavenworth, supposing that Mr. Holland intended to remain there, thus spoke of him editorially:—

And the editor of "The Musical World," Professor Carl Merz, thus mentioned Mr. Holland in the number of that journal for October, 1877:—

As before intimated, Mr. Holland's pupils have been in many cases members of the richest and most highly cultivated families of Cleveland; and such have been his skill as an instructor, and his noble qualities of heart and mind in general, as evinced in his deportment towards them, that the persons just mentioned, and others of his scholars, have ever entertained for him not only feelings of deep respect, but those also128 of affection. Among other very pleasing instances of this is one found in the case of Mr. and Mrs. Briggs of Massachusetts, the former a son of Ex-Gov. Briggs of that State, and the latter a native of Cleveland, a lady of great refinement and general culture, who, up to the time of her marriage, was a pupil of Mr. Holland. This estimable couple, who formerly and semi-annually visited Cleveland, never failed at such times to pay their respects to Mrs. Briggs's former tutor, showing by this course that neither time nor space could obliterate the warm regard which had been created by previous pleasant associations.

The writer has thus far said but very little of Mr. Holland's abilities as a performer on, and teacher of, the flute and piano-forte. Let it suffice to say, briefly, that these abilities are such as to show, that, had he chosen to devote himself to either of these two instruments as much as he has devoted himself to the guitar, he might have attained to great distinction in the same. But, even as it is, he is regarded as a fine flutist and pianist. For the piano he has composed and arranged a number of pieces. He has played in public occasionally, of course always with the greatest acceptance. He has, however, never sought for nor made occasions to play in public; being always noticeable for a love of the quieter, and to him pleasanter, walks of musical life.

And now, if this were not intended as a book on musical history alone, the writer might occupy many more pages in narrating the many important events connected with the life of Mr. Holland as a distinguished member for years of the order of Free Masons. We may be allowed to mention incidentally, that his reputation as one of the "noble craft" is even greater than his129 reputation as a musician. It is more nearly world-wide; for we find that as a Mason he is well known in the South and West of this country, and in South America, Italy, Germany, and France. A sketch of his life, together with his portrait, was published at Vienna, Austria, in the illustrated monthly "Der Freimaurer" ("The Freemason"), in the number for February, 1877. From this journal I learn that Mr. Holland has been a most active and indispensable member of Excelsior Lodge No. 11 of Cleveland (which he assisted in forming in 1865), and of the Grand Lodge of Ohio. In the former he has held the offices of Secretary and Junior Warden; and in the latter he first served two terms (declining a third) as Worshipful Master, and afterwards was elected Senior Grand Deacon, Deputy Grand Master, Deputy Grand High Priest, of the Grand Chapter of Royal Arch Masons for Ohio,—serving three terms,—and Most Excellent Grand High Priest. In conducting the foreign correspondence of the Grand Lodge, Mr. Holland has for a number of years performed a most invaluable service. In this work, his familiar acquaintance with the French, Spanish, German, Italian, and Portuguese languages was put to uses the most important, as through the same, and his very intelligent and painstaking management, the colored Masons of Ohio have been fully recognized by, and brought into communication with, the Grand Lodges of France, Peru, Germany, Portugal, and Spain. Mr. Holland has also been appointed the representative in this country of the Grand Lodges of France and Peru, each appointment a very rare distinction. He has several times received complimentary mention in the addresses of the Grand Masters of the Ohio Lodge; and in 1866130 he was the recipient from the members of the latter of a set of highly eulogistic resolutions, and of a valuable gold watch appropriately inscribed. All these honors were tendered as earnest tokens of the high estimation in which he was held by the brotherhood for the skill and zeal he had so often displayed in serving a cause founded on the noble principles of faith, hope, and charity.

What a busy, what a useful, honorable life, have we been following! It is hoped that the reader has been entertained and instructed by even this far from perfect unfolding of the same. As for the writer, he leaves its present consideration with feelings of affectionate regret; while he would fain remain to study again and again the valuable lessons that it teaches, and to watch with unabated interest the fortunes of its future. May the latter bring to our noble friend and artist as little of disappointment as may be! and when the end shall finally come, as come it must some day to all, may he have, as a crowning and sweet reward for the manly, the heroic past, a sleep like that of him who "lies down to pleasant dreams"!

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IX.

THOMAS J. BOWERS,

TENOR-VOCALIST;

OFTEN STYLED

THE “AMERICAN MARIO.”

THOMAS J. BOWERS, who, owing to his resembling in the magnificent quality of his voice that celebrated Italian singer, has been styled by the press the "American Mario," was born in Philadelphia in the year 1836.

THOMAS J. BOWERS.

When quite a lad he evinced a decided fondness for music, and much musical talent. His father, a man of considerable intelligence, and for twenty years the warden of St. Thomas's P.E. Church in Philadelphia, being desirous that his children should learn music, first procured a piano and an instructor for his eldest son, John C. Bowers; intending, after he became competent so to do, that he should teach the other children. This purpose was accomplished; and our subject was in132structed by his brother to perform upon the piano-forte and organ. At eighteen he had become somewhat proficient in the playing of these instruments, and succeeded his brother as organist of St. Thomas's Church.

I must not fail to mention here, that the younger of his two sisters, Sarah Sedgwick Bowers, became a fine singer. In the rendering of classical and all operatic music she exhibited much talent, was of handsome appearance, and elicited very complimentary notices from the press. I shall have occasion to speak of this lady more at length hereafter.

The parents of the subject of this sketch, although highly pleased with the natural musical qualities and with the accomplishments displayed by their children, were such strict church people as not to wish them to become public performers. Recognizing the pleasing, refining influence of music, they desired its practice by their children in the home-circle, for the most part; but were not averse, however, to hearing its sweet and sacred strains issue from choir and organ in church-services, nor to having their children take part in the same.

The wishes of his much-loved parents Mr. Bowers respected. For this reason he refused to join the famous "Frank Johnson's band" of Philadelphia, although strongly urged by its director; and all offers made to him to join other public organizations were declined for a long time.

But his very rare powers as a tenor-vocalist were those which previous to the attainment of his majority had most attracted the attention and excited the admiration of many persons. Indeed, his voice was considered as something extraordinary in its power, mellowness, so to speak, and its sweetness.133

Thus endowed, it was not possible, in the nature of things, that he should remain only a singer in private; and so, at Sansom-street Hall, Philadelphia, in 1854, he was induced to appear with the "Black Swan" as her pupil.

Although it was not at this concert that he made his first public "hit," as it is called, yet the press of Philadelphia spoke of his performances on that occasion in the most flattering terms, and called for a repetition of the concert. This was given, our subject meeting with still greater success. At this time, one of the critics, in commenting on the voice and style of singing of Mr. Bowers, called him the "colored Mario." Considering the almost if not quite peerless position then held in the musical world by the distinguished Italian tenor, Mario, this was a most strikingly favorable comparison. But our artist was so modest as to doubt that he merited such high praise. The press, however, generally persisted in styling him the "colored Mario," the "American Mario," &c.; and by these sobriquets he is most known to-day.

Col. Wood, once the manager of the Cincinnati Museum, hearing of the remarkable singing qualities of Mr. Bowers, came to Philadelphia to hear him. He was so much pleased, that he entered into an engagement with him to make a concert tour of New-York State and the Canadas. This was in company with Miss Sarah Taylor Greenfield, the famous songstress. The great vocal ability as well as the novelty formed by the complexions of this couple produced quite a sensation, and secured for them great success wherever they appeared.

During this tour Col. Wood wished Mr. Bowers to134 appear under the title of the "Indian Mario," and again under that of the "African Mario." He withheld his consent to the use of either of these names, but adopted that of "Mareo." This he has since retained as his professional cognomen.

Mr. Bowers was induced to engage in public performances more for the purpose of demonstrating by them the capacity of colored persons to take rank in music with the most highly cultured of the fairer race than for that of making a mere personal display of his highly-rated musical abilities, and for the attainment of the enjoyment which they would naturally be supposed to afford him.

Writing to a friend, he thus speaks of the principle that governed him:—

Nor would he ever yield to that mean and vulgar prejudice, once so prevalent, but now happily disappearing, which either sought to prevent colored persons from entering at all the public-amusement hall, or else to force them to occupy seats near the entrance, or away up in the gallery. All must be treated alike, or he would not sing. As illustrating this characteristic, I give the following incident connected with the concert tour in Canada:—

In Hamilton, a Dr. Brown purchased for himself and some friends six reserved-seat tickets, at a cost of one dollar each. After he had done so, Mr. Bowers's agent135 was informed by the proprietor of the hall in which the concert was to be held that "colored people were not admitted to first-class seats in Canada." This created much excitement. Our artist espoused Dr. Brown's cause; informed Col. Wood that he would not sing, if he refused to admit the doctor's party on the terms implied by his tickets; that if, after entering, there should be any attempt to oust them, he would assist them; and that he did not leave his home to encourage such mean prejudice. This noble stand against unjust discrimination resulted in granting to Dr. Brown the seats for which he had purchased tickets; and, after this time, no attempt was made to exclude colored persons from the concerts of the troupe.

Mr. Bowers, during his career, has sung in most of the Eastern and Middle States; and at one time he even invaded the slavery-cursed regions of Maryland. He sang in Baltimore, the papers of which city were forced to accord to him high merit as a vocalist.

When we consider the high ideal cherished from the very commencement of his career by our subject, it is not surprising that his musical performances have never been marred by the singing of other than classical or the best music. He does sing, at times, songs in the ballad form; but these are always of the higher class, and such as would be adopted by any first-class singer. His repertoire is composed of most all the songs for the tenor voice in the standard operas and oratorios. He sings with fine effect such gems as "Spirito Gentil," from "La Favorita;" "Ah! I have sighed," from "Il Trovatore;" and "How so Fair," from "Martha."

Mr. Bowers resides at present in Philadelphia, and is a little past forty years of age. He sings as well now136 as ever; some think better than ever. He appears occasionally in public, but only in company with the first artists, as he firmly believes in maintaining always for himself and others a high musical standard. His voice ranges within a semitone of two octaves.

He is a man of decidedly handsome form, and of graceful, pleasing stage appearance; is, indeed, an ideal tenor, and a real artist.

I append, from among the many press-notices that have appeared during his career, the few that follow.

"The Daily Pennsylvanian" of Feb. 9, 1854, after describing the Sansom-street Hall concerts, and alluding to some defects in the manner of his gestures, thus speaks of the performances of our subject:—

"The Boston Journal" said,—

Another paper said,—

Another said,—

Again he is thus highly praised:—

137

A Montreal paper said,—

The true value of the foregoing comments from the press will be better understood when the reader calls to mind the fact, that, when they were made, Mr. Bowers had as contemporaries the wonderful Signor Mario, the eminent "Swedish Nightingale," Jenny Lind, the not much less charming songstress, Parodi, as well as several fine tenor-singers connected with the Italian opera companies then performing throughout this country. With such models as these to elevate their tastes and guide their judgments, the critics knew well the worth of all they said in praise of Mr. Bowers. Forming our judgments, then, from what they did say of him (only a very few of their highly favorable comments have here been given), we may safely say that Mr. Bowers is to be ranked with the very first tenor-vocalists of his time.

138

X.

JAMES GLOUCESTER DEMAREST,

GUITAR AND VIOLIN.

THE guitar, although not of sufficient power for general orchestral purposes, is yet excellent for finished solo-playing, and as an accompaniment to a voice. It was much used by the ancient troubadours, its dulcet tones according well with their songs. In Italy and Spain, in other parts of Europe, as well as in some sections of this country, the guitar is much esteemed. It has always been the favorite instrument of the serenading gallant; and to perform upon it, previously to their more general adoption of the piano-forte, was considered as an almost necessary accomplishment for the gentler sex. Among the greatest of guitar-virtuosos that have lived may be mentioned F. Sor, Fossa, Aguado, Giuliani, Carulli, Holland, Douglass: and, as comparing favorably with these, I may mention Demarest, of whom I shall now briefly speak.

Mr. Demarest, for many years a resident teacher of Boston, was one of the finest guitar-performers in the139 United States, and, I believe, had only a few equals in the world. With him the numerous guitar "pickers" of the country are not at all to be mentioned; for, thoroughly educated in music, with rich natural gifts all fully cultivated, giving to the instrument the closest, the most conscientious study, and of long practice, he was thus enabled to draw from it music of such richness and beauty, as few, before hearing his playing, imagined it capable. He but rarely indulged himself or his hearers in playing accompaniments to songs (the use, by the way, to which the guitar is often put); but with masterly skill he ever aimed to develop its fullest resources, and showed that, when in his hands at least, the guitar could be rendered a solo instrument of very noticeable power, as well as great sweetness of tone. At public and private performances in Boston and elsewhere, Mr. Demarest has often delighted audiences by fine interpretations of the best music published.

He was also a proficient arranger of music for the guitar, and, besides, composed some fine pieces for it. I do not know that any of his works were ever published: I think they were not; they being prepared simply to facilitate the progress of his pupils, and for his own amusement.

It is said that on one occasion a prominent guitarist,—a teacher of and writer for the guitar,—when asked to give his opinion of one of Demarest's compositions, remarked that it was "too difficult for the guitar." However this may have been, no one could say that it was too difficult for the composer to perform; and, that being true, it ought not to have been considered as beyond the possible reach of other skilful players. Still the critic referred to may only have meant by his140 remark that the piece was too difficult to become "popular." I only mention the incident to show that Demarest always aimed high.

As a teacher of the guitar he took high rank with those who believed in advancing its performance to the most elevated standards. He found but few pupils, however, that were willing to give the instrument that closeness of study, or who were possessed with that spirit of patience, so necessary to render them remarkable performers. At the almost marvellously skilful manipulations of the strings by their teacher, they listened with the utmost delight; but some of them, regarding him as one exceptionally endowed, despaired of ever being able to follow him into those higher and fuller forms of guitar-playing whither he ever earnestly strove to lead them. He always insisted on a conscientious study of the instrument, and the practice of only the best music, in order that his pupils might place themselves on a much higher level than that occupied by the many who contented themselves with merely "thumping" a simple, unvaried accompaniment to the popular love-songs of the day.

Mr. Demarest was also a violinist of fair ability. In his performances on the violin he evinced the same scholarly spirit as he did in his other studies. He, however, but seldom performed upon the violin in public, and but little in private, save for his own diversion. In 1874, while still a young man, bidding fair to rise to the highest distinction as a musician, he died, deeply regretted by many, not more on account of his high musical than his gentlemanly, genial qualities.

141

XI.

THOMAS GREENE BETHUNE,

OTHERWISE KNOWN AS

“BLIND TOM,” THE WONDERFUL PIANIST

HE is unquestionably and conspicuously the most wonderful musician the world has ever known. No one has ever equalled him in quickness and depth of musical insight and feeling, nor in the constancy with which he bears within himself, in all its fulness, that mysterious power which can be called by no truer name than musical inspiration. He is an absolute master in the comprehension and retention of all sound (and in all sound he finds music); a being in whose sympathetic soul lies the ready, the perfect correlative of every note of melody in nature or in art that is caught by his marvellously sensitive ear. We often speak of those who have an "ear for music." Here is a musician who142 surpasses all others in all the world in the possession of this quality; for his is a perfect ear. You may sit down to the piano-forte, and strike any note or chord or discord, or a great number of them; and he will at once give their proper names, and, taking your place, reproduce them. Complete master of the piano-forte keyboard, he calls to his melodious uses, with most consummate ease, all of its resources that are known to skilful performers, as well as constantly discovers and applies those that are new. Under his magnetic touch, this instrument may become, at his will, a music-box, a hand-organ, a harp or a bagpipe, a "Scotch fiddle," a church-organ, a guitar, or a banjo: it may imitate the "stump speaker" as he delivers his glowing harangue; or, being brought back to its legitimate tones, it may be made to sing two melodies at once, while the performer with his voice delivers a third, all three in different time and keys, all in perfect tune and time, and each one easily distinguishable from the other! It would be vain to call such performances as these mere tricks. They are far, far more; since they show a musical intuition, and an orderly disposition and marshalling of the stores of the mind, quite beyond the powers of the performer of mere musical tricks. But, even were they such, this wonderful musician would not need to depend upon their performance for the greatness of his fame; for there is no work of the great masters too difficult for his easy comprehension and perfect rendering.

THOMAS GREENE BETHUNE.

He remembers and plays full seven thousand pieces. In short, he plays every piece that he has ever heard. How almost godlike (it cannot be brought to human comparison) is this retentive, this perfect memory, as143 relating to all that is musical, or even unmusical, in sound!

Nor does he need to depend upon the music composed by others. His own soul is full of harmony, endless in variety, and most ravishing. Take from him, were it possible, all remembrance of the music written by others, and he would still be an object of delight and amazement on account of his matchless power in improvisation. Listen to his own "Rain Storm," and you shall hear, first, the thunder's reverberating peal, and anon the gentle patter of the rain-drops on the roof: soon they fall thick and fast, coming with a rushing sound. Again is heard the thunder's awful roar, while the angry winds mingle in the tempestuous fray,—all causing you to feel that a veritable storm rages without. After a while, the tempest gradually ceases; all is calmness; and you look with wonder upon this musical magician, and marvel that the piano-forte can be made to so closely imitate the sounds made by the angry elements.

No one lives, or, as far as we know, has ever lived, that can at all be compared with him. Only the musical heroes of mythology remind us of him; for he is

And Ariel, Shakspeare's child of fancy, who on Prospero's island constantly gave forth melodies of ever-varied, ever-enchanting sweetness, filling all the air with delicious harmony,—that musical spirit was but an anticipation of the coming of this actual wonder in music. Of him an eloquent writer has beautifully said, "There is music in all things; but 'Blind Tom' is144 the temple wherein music dwells. He is a sort of door-keeper besides; and, when he opens the portals, music seems to issue forth to wake the soul to ecstasy." The skilful metaphysician or the psychologist pauses before him, completely balked: they cannot classify this mind, human-like indeed in some respects, yet in many others surpassing all humanity, and closely approximating that which is godlike.

Some persons, it is true, judging from certain manifestations of his, or from certain lack of manifestations, have had the temerity to say that "Blind Tom" is an idiot. Out with the idea! Who ever heard of an idiot possessing such power of memory, such fineness of musical sensibility, such order, such method, as he displays? Let us call him the embodiment, the soul, of music, and there rest our investigations; for all else is futility, all else is vain speculation.

Thus have I alluded in a general way to the characteristics of this most wonderful pianist. A more particular but brief sketch of his life from infancy to manhood cannot but be interesting, not only to the student in music, but to all classes of readers.

I find, in reading his biography, that in Philadelphia and Pittsburgh, in England and Scotland, scientists were asked to give an opinion as to "Blind Tom's" musical genius. I select only one from these opinions. The others (from Charles Halle, I. Moscheles, and Professor H.S. Oakley, all very eminent musicians) agree with this one, and need not be given.

Here are some clippings from American and English newspapers.

From "The Public Ledger," Philadelphia, Sept. 27, 1865:—

"The Albany (N.Y.) Argus" of January, 1866, said,—

From "The Manchester (Eng.) Courier," Sept. 26:—

From "The Glasgow (Scotland) Daily Herald," Jan. 2, 1867:—

From "The Edinburgh Scotsman:"—

From "The Dundee Advertiser:"—

As previously stated, Bethune plays full seven thousand pieces. From the subjoined partial list, which I take from his biography, some idea can be gained of the character, the ever-varied character, of the music contained in his amazingly extensive repertoire.157

160

XII.

ANNA MADAH AND EMMA LOUISE HYERS,

VOCALISTS AND PIANISTS.

THE "HYERS SISTERS."—AN ACROSTIC.

ONE day, two little girls, the one aged seven and the other nine years, came gayly, gleefully tripping into the room where their parents sat quietly conversing, and soon began to sing some of the songs and to enact some of the scenes from operas, performances of which they had occasionally witnessed at the theatre. This they did, of course, in childlike, playful manner, yet not without a showing, considering their ages, of a surprising degree of correctness.

EMMA LOUISE HYERS.
ANNA MADAH HYERS.

Their parents at first, however, only laughed at what161 they considered the gleesome antics of these embryo personators in opera. But, the little girls continuing in the presence of their relatives and playmates their performances, it was ere long discovered that they possessed no small degree of lyrical talent; that their voices, considering their tender years, were remarkably full and resonant; and that they exhibited much fondness for music, and a spirit of great earnestness in all they undertook.

With these manifestations their parents were of course highly pleased; and they at once resolved to give their children such instruction in the rudiments of music as lay within their power.

Thus, then, did those two gifted little girls, Anna Madah and Emma Louise Hyers, early show their devotion to art, and make that beginning, which, in a few years afterward, was to grow into a musical proficiency and a public success in the highest degree creditable to them.

After one year's instruction, it was found that the girls had advanced so rapidly as to have quite "caught up" with their teachers (their parents); and it was therefore found necessary to place them under the instruction of others more advanced in music. Professor Hugo Sank, a German of fine musical ability, became then their next tutor, giving them lessons in vocalization and on the piano-forte. With this gentleman they made much progress. Another change, however, being decided upon, our apt and ambitious pupils were next placed under the direction of Madame Josephine D'Ormy,—a lady of fine talents, an operatic celebrity, and distinguished as a skilful teacher. From this lady the sisters received thorough instruction in the Italian,162 and were taught some of the rudiments of the German language. It is, in fact, to the rare accomplishments and painstaking efforts of Madame D'Ormy that the Misses Hyers owe mostly their success of to-day. For she it was who taught them that purity of enunciation, and sweetness of intonation, that now are so noticeable in their singing of Italian and other music; while under her guidance, also, they acquired that graceful, winning stage appearance for which they have so often been praised.

Although, as was natural, quite proud of the rich natural gifts possessed by their children, and extremely delighted with the large degree of their acquirements in the art of music, their sensible parents were in no haste to rush them before the public; and it was therefore nearly two years after leaving the immediate musical tutelage of Madame D'Ormy when these young ladies made their début. This they did before an audience of eight hundred people at the Metropolitan Theatre in Sacramento, Cal., April 22, 1867. On this occasion, and on others afterwards in San Francisco and other places in California, their efforts were rewarded with grand success: the musical critics and the press awarded them unstinted praise, and even pronounced them "wonderful." As a sample of all these comments, I here append the following from "The San Francisco Chronicle:"—

After these concerts they retired to severe study, preparatory to making a tour of the States. Finally, deciding to proceed towards the East, they sang to highly-appreciative and enthusiastic audiences in several of the Western towns and cities. At Salt-Lake City they were received with the very highest marks of favor. On the 12th of August, 1871, they gave a grand concert in Salt-Lake Theatre, offering some five operatic selections. At this concert, and for some time afterwards, the ladies were assisted by Mr. Le Count, a baritone singer of excellence. I append the following scientific analysis of the music used, and the manner of its rendition on the occasion just mentioned. It is from the pen of Professor John Tullidge, and is copied from "The Deseret News:"—

After the performance described by Professor Tullidge, the Misses Hyers were tendered by the leading citizens of Salt-Lake City a complimentary benefit. The following correspondence, taken from "The Deseret News," explains itself:—

To this the following reply was returned:—

While in St. Joseph, Mo., they elicited from "The Daily Herald" of that city the following encomium:—

In Chicago their success was none the less flattering. In this, styled by many the "Queen City of the West," the remarkable musical powers of these young ladies created intense excitement, especially among people of the highest musical culture. The extraordinarily high range169 of the voice of Anna Hyers quite astonished every one who heard her, and evoked the warmest praise of the critics. For the purpose of assuring those who had not heard her sing, or who, although present, failed to exactly locate in the scale her greatest altitude, as well as to more pointedly mark this rare achievement in vocalism, a number of the best musicians of Chicago published a card in "The Tribune," in which they declared that "Miss Anna Hyers sang at the concert last night the second G above the staff,—a note touched by no other singer since Jenny Lind."

Still proceeding towards the East, they next appeared in Cleveland, O., where their delightful vocal powers were thus alluded to by "The Daily Leader:"—

Encouraged by the marked success which had thus far crowned their efforts, their father, with whom and under whose direction the Misses Hyers had travelled since leaving California, now determined to enlarge his troupe. This he did by engaging the services of Mr. Wallace King of Camden, N.J., a gifted and accomplished tenor-singer; Mr. John Luca, widely and favorably known from his connection formerly with the170 celebrated "Luca family," and who sang baritone; while as accompanist he engaged the fine pianist, Mr. A.C. Taylor of New York.

An intelligent idea of the composition of Mr. Hyers's troupe can be formed by a perusal of the following, which was the preface given to the programme of his concerts:—171

172

As will be seen by the comments drawn from the press, which have been already and which will be hereafter given, Mr. Hyers's statements of the artistic merits of his company were by no means exaggerated.

Their performances in the city of New York and in other parts of the State drew large, cultivated, and enthusiastic audiences, and were, to use the words of one writer, considered "a revelation."

Thus spoke "The New-York Evening Post:"—

Said "The New-York Tribune,"—

"The Evening Telegram" alluded to them in the following complimentary terms:—173

So great was the success of the talented troupe in the metropolis, that when they visited Brooklyn they were already fully advertised, and a general and very eager desire was manifested in that city to witness their performances. So great was this desire, that, said "The Brooklyn Daily Union,"

But notwithstanding the many critical tests to which these young ladies had been subjected all along from California to New York, and despite the fact that their journey had thus far been marked by a continual series of triumphs,—the thick walls of color-prejudice everywhere yielding before the force of their rare musical abilities, their almost marvellous sweetness of song,—they now approached with feelings somewhat akin to174 dread the "modern Athens," that acknowledged centre of musical and general æsthetic culture, Boston, whose critical audiences ever receive coldly, at first, all newcomers, and who, guided by their own judgments, and having their own standard of merit, never yield praise because it has been accorded in other sections.

The Misses Hyers, although fully recognizing all this, were not to be daunted by it; and they therefore chose an ambitious, but what proved to be a wise course: they at first appeared at Tremont Temple before a select circle of musical connoisseurs. At this test performance, Mr. Eben Tourjée, Mr. P.S. Gilmore, and others of the highest musical ability in Boston, were, by invitation, present. Before the Misses Hyers began to sing, Mr. Tourjée said that they would be judged by the same standards as would be Nilsson or Kellogg. Mr. Hyers, speaking for his daughters, readily assented to this: and the sequel proved that his confidence was well founded; for all became satisfied, after hearing them sing, that these young ladies had not been too highly praised by the press of other cities. Said Mr. Gilmore, "These ladies promise much that is great."

But the following, taken from one of the Boston papers appearing the day after the performance just referred to, best describes the effect of the same on those present:—

Having at this musicale satisfied the critics, they were spoken of in words of warmest praise by the public press; and their subsequent performances in Boston created, after all, the same enthusiasm as that awakened in the West and in New York. I copy from "The Boston Journal" the following:—

In Boston they made many warm personal friends, receiving from many of its most cultured people very flattering attentions; and here, too, were pointed out to them, in a candid and friendly spirit, such slight defects in their voices, or manner of singing, as only those skilled in the highest technique of the musical art could detect. All such suggestions were readily received by the young ladies, who, acting upon the same, made much advancement in the technical requirements of the lyrical art. They lingered long in Boston, being loath to leave its congenial art-circles, and to leave behind its many facilities for improvement in their profession.176

Finally deciding to start again on their travels, they visited many of the towns and cities of Massachusetts, and sang also in the principal cities of Rhode Island and Connecticut. Their singing everywhere gave the utmost satisfaction; and cultivated New England confirmed, in words of highest praise, the verdict of the West and of New York.

A writer in "The Springfield (Mass.) Republican" thus spoke of the troupe:—

At Worcester, Mass., the performances of the company created a decided excitement in musical circles and among the people generally. "The Daily Press" of that city referred to the performance of the troupe in the following complimentary manner:—

While they were in Connecticut, "The Daily Union" of New Haven remarked,—

And "The Providence (R.I.) Journal" said,—

Our talented artists had now acquired throughout New England a fame so fair, that Mr. P.S. Gilmore felt warranted in inviting them to appear at the great Peace Jubilee concerts; and here, before an audience of fifty thousand people, and in the company of several of the great solo-vocalists of the world, surrounded by a chorus of twenty thousand voices and an orchestra of one thousand performers, these gifted girls occupied a proud position, reflecting upon themselves and all with whom they were identified additional honors.

During the winter of 1875, the Hyers troupe several times appeared (on Sunday evenings) on the Boston-Theatre stage in sacred concerts, supported by a select orchestra of forty performers, all under the management and conductorship of that fine musician and prince of gentlemen, Mr. Napier Lothian, leader of the178 Boston-Theatre orchestra. At these concerts the music rendered was mostly classical; although the programmes contained also numbers of a popular character,—such as were suited to the tastes of the large, miscellaneous audiences in attendance,—which showed to the highest advantage the versatility of talent and extensive musical resources of the troupe. The writer recalls with much pleasure the delightful emotions which, on one of the evenings alluded to, were awakened in his breast by the very graceful stage appearance and the divine harmony produced by these accomplished musicians; for when not thrilled alone by their music, so faultlessly, so sweetly rendered, he could not repress the thoughts that came forcibly into his mind, of not only how much these noble artists were doing for the cause of pure music, but for that other righteous one,—the breaking-down of a terribly cruel prejudice, founded on the accident, so to speak, of the color of the face.

The concerts just alluded to, it is needless to say, brought out the warmest praises of the Boston journals. It is unnecessary, after the numerous comments, so highly eulogistic, already given, to quote what would only be a repetition of the same.

The Misses Hyers have, since the events heretofore mentioned, visited most of the cities and towns of the State of Maine. In that State they are great favorites, and sing always to large and delighted audiences. "In Lewiston," says "The Folio," "they received at a concert thirteen encores; and at Auburn a full house was gotten out on a half-day's notice."

It would be pleasant to follow the Misses Hyers into that other walk of art, the drama, which they have of179 late been pursuing so successfully, were such a course within the province of this book; but, as it is not, we will only briefly state, in concluding this sketch, that they have lately, with an enlarged company, been acting in a drama called "Out of Bondage," written expressly for them by Mr. Joseph B. Bradford of Boston. The drama is in four acts; comprehends four phases in the life of a freedman, beginning in slavery, and continuing through to his attainment of education and refinement; and is full of interesting incidents. Their success in this new field has already, in the smaller places in New England, been great; and it is the intention of the troupe to produce the drama ere long on the Boston stage, and in other of the large cities.

Mr. Hyers still holds to a resolve to take his talented daughters to Europe, in order to there perfect them in the higher requirements of their art, and to fit them for the operatic stage.

It is to be hoped that he will not relinquish this ambitious and creditable resolve; for certainly his gifted children have already clearly shown such rare musical powers, and, incidentally, so much of dramatic talent, and have had so much stage experience, as to fully warrant him and all their friends in firmly believing that these versatile young ladies may, after a short course of training under the best masters of Europe, easily attain to the highest distinction on the operatic stage.

180

XIII.

FREDERICK ELLIOT LEWIS,

PIANIST, ORGANIST, VIOLINIST, ETC.

IN musical versatility, in capability for playing upon a great variety of musical instruments, there may be possibly, among the large number of talented artists of this country, a few who equal the subject of the following sketch: the writer, however, confesses, that, if there be such, he does not know of them. But, be this as it may, such an instance as I am about to present is one, which, in its showing of great musical talents and diversity of acquirements in instrumental performance, will be readily admitted as, to say the least, most extraordinary.

For Frederick E. Lewis performs with ease and with pleasing finish on the piano-forte and the organ, on the violin, viola, violoncello, double-bass, and the guitar, on the clarinet and flute, on the cornet, and on nearly every one of the wind-instruments. Indeed, you can scarcely bring to this remarkable musician an instrument181 upon which in tasteful and artistic manner he cannot perform.

FREDERICK ELLIOT LEWIS.

It is not my purpose, however, to present him here as a musical "prodigy," nor as one of those rather abnormal, supernatural beings who astound their hearers by playing upon an instrument almost at sight, without previous study, or without observable method; playing, as it would seem, from a kind of instinct. I present him rather as he is,—an intelligent, a cultured gentleman; an artist so great in natural gifts as to often excite astonishment certainly; but yet one with intelligent method, and fully able to understand and explain all he so skilfully performs.

His extraordinary success in acquiring a good degree of proficiency in playing upon at least fifteen instruments—on two or three of which he excels as a performer, and most of which, too, he teaches—is due not alone to his great natural endowments, but is largely the result of an assiduous cultivation of the same, and of a severe, steady, and long-continued study and practice of each one of these instruments, in which occupation he has ever aimed at the classical, and avoided all that was coarse or commonplace, either in the compositions used, or in his execution of the same.

On choosing an instrument for study, Mr. Lewis's plan has been to first learn all about its structure, the theory concerning its qualities, its tone-producing capabilities; and then, choosing the best practical text-books procurable, to commence, without other teachers than the latter, its practice. He is acquainted, therefore, not only with the musical capacity of all the instruments he plays, but also knows so much in regard to their mechanism, that, when out of order, he can generally182 repair them; thus possessing in this latter respect an ability far from common among musicians. He has at his rooms quite a large family of stringed instruments, consisting of two or three violins, a viola, two 'cellos, a double-bass, and a guitar. These have all been carefully chosen for their beauty of form, and nicety and sweetness of tone, their owner being a decidedly good judge, a real connoisseur; and none of them are for sale.

His rooms are neatly but not expensively furnished. A few choice pictures hang on the walls: but here, there, and everywhere are to be found the emblems and accessories of the musical art,—a piano-forte, on the back part of which are great piles of music, and in which are the latest and choicest publications; a number of music-stands; several of the viol family hanging on the walls, or placed in their boxes on the floor; two or three varieties of the clarinet; a cornet, a guitar, a flute, &c. In fact, there is music, music everywhere, and enough instruments to form at any time an orchestra of at least a dozen performers; with a skilful instructor or conductor near at hand in the person of Professor Lewis, ready to wield an efficient bâton, to play the leading part, or with pleasing compliance to play in a subordinate capacity.

A visit to these rooms is always highly pleasing and instructive, not only to the practical musician, but to all lovers of good music. With the former Mr. Lewis is ready to join in a duet; allowing his visitor to choose from among his many instruments the one with which he is familiar, while he himself is prepared to take any other one necessary in forming the duet. To those who cannot play, or who, perhaps, choose to listen rather than to play, he is ever obliging, and acts as though he183 considers it a very pleasant duty to entertain his friends. At such times he will commence with his favorite, the piano, and go through successively a performance upon each one of his many instruments, giving his delighted listener a taste, so to speak, of the melodious sweets of each. He delights not only to play, but is also quite fond of conversing on general music; with which subject he is very familiar, and is ever interesting and instructive in discoursing upon the advantages and pleasures to be enjoyed by its study. Indeed, at such times one is in doubt whether to admire him most as a performer or as a theorist; for as the latter he is remarkably proficient, and in treatment delightfully eloquent. As may be inferred from the foregoing, Mr. Lewis is in his manners extremely affable and easy. He charms his visitor by his simplicity, modesty, and freedom from that conceit which might be perhaps expected from one so wonderfully skilled in his profession. Pope's expressive lines apply to but few persons so closely as they do to Mr. Lewis; for he is truly

In these times of charlatanry, when titles are so often assumed with a reckless disregard of truthfulness, I hesitate to apply even to one so fully qualified, so extra skilled in music, as Lewis, the prefix professor; for I wish, as I ought, to entirely disassociate him from the mere pretenders to whom, in general, I have just referred. But to him the title surely belongs; and there is no competent judge, who, when made aware of the great talents and acquisitions, theoretical and practical, of Mr. Lewis in the science of music, will not184 cheerfully accord it to him. Mr. Lewis does not encourage a use of this title as applied to himself: it is, however, habitually given to him by those who enjoy his acquaintance, and who believe that it belongs of right to him.

Although depending for his support upon the profession of music, his intense love for the noble art is so pure, is so conscientious, as to lift him far above the exhibition at any time of a spirit of cupidity, and to cause him frequently to discourse the most exquisite music, when he can expect no other reward than the pleasure he feels in thus gratifying his auditors.

I have thus given a somewhat general outline of the characteristics and accomplishments of our subject. But what is his history in particular? What have been the beginnings, the circumstances, that have united to produce a character so pleasingly and so harmoniously formed? These questions I shall now endeavor to briefly answer.

Frederick Elliot Lewis was born in Boston in the year 1846. His parents, both natives of New England, were people of musical and general culture; his father being a performer on the flute, violin, violoncello, and piano, as well as a chorister; while his mother was a pianist, a leading soprano-singer in choirs, a lady of fine musical taste, appearing often in public, and taking always a leading part.

At the early age of six years, Frederick evinced a surprising fondness for music; but it was not until he was eleven years old that he began its real study. This he did under his mother's direction, taking lessons on the piano-forte. At this time he found the study of music difficult, and the acquirement of its scientific185 rudiments was to him dry work. In one year, however, its charming beauties began to open before his young mind; and after this he rapidly developed a talent for music, felt the inspiration of the beautiful art, and became ambitious to excel.

After studying for some time the piano, and becoming, for one of his years, quite proficient as a performer, he began to take lessons on the organ under the direction of Miss R.M. Washington, an accomplished teacher of that instrument, of the piano-forte, and of harmony. The organ for some time quite absorbed his attention. This grand and most comprehensive of instruments, with its great scope and capacity for the production of harmonic beauties, so delighted, indeed so charmed, our young enthusiast,—for such he had now become,—as to leave him with scarcely any inclination or time for other studies. He resolved then to learn all that it was possible to know about the organ, not only in awaking to life its tones of grandest harmony, but also, and in order to better accomplish the same, to study its wonderful mechanism.

With this latter purpose in view, he visited the extensive and celebrated organ manufactory of the Messrs. E. and G.G. Hook & Hastings, located at what was then called Roxbury, Mass., now a part of the city of Boston. These gentlemen were so pleased with his ambitious spirit, that they kindly gave him permission to visit at will their factory, and to examine into every thing connected with organ-making. After a while, this firm, discovering the ability of young Lewis as a performer, invited him, in the presence of, and at times in conjunction with, some of the most skilful organists of Boston, to test their organs before the same were186 offered for sale. Besides, he sometimes offered suggestions in regard to their construction before the organs were completed, some of which suggestions were adopted by the firm. It will thus be seen that our student was quite fortunate in having, in the first place, an excellent teacher, and afterwards such beneficial opportunities as those allowed him by the Messrs. Hook. No wonder, then, that with his natural abilities, his ambitious, art-loving spirit, industrious habits, and such facilities, he quite early became a proficient organist.

With his acquisition of skill as a performer on the piano-forte and organ already attained, as well as with his prospects for attaining to great distinction as a player of either of them, our artist might well have been content. But with these he was not satisfied: he longed to roam over the whole field of instrumental music, to evoke and to enjoy the harmonic beauties of the many other instruments. He had, in fine, become an enthusiast in music; and yearned to become a real connoisseur, theoretically and practically.

Mr. Lewis, therefore, next took up for study the violin, without other teachers than the best instruction-books treating on that instrument. Becoming enamoured of the tones of that sweet and soul-expressing instrument, using in his work only music of the highest kind (he never, indeed, had a taste for any other), choosing for his models—when not guided alone by his own ideas of fine expression—the most classical performers, he rapidly advanced as a pleasing and scholarly violinist, and made his first public appearance as a soloist at New Bedford, Mass., in 1861. About this time, having attained to a fine degree of general187 proficiency in music, and having overcome to some extent a certain shyness and timidity which had hitherto characterized him, he accepted invitations to appear in the best musical circles in Boston, and to take part occasionally in public performances there. This served to increase his desire to learn even other instruments, and caused him to study successively many of the pieces that are comprised in the formation of a large orchestra or a military band. He made, however, the cornet his principal study. Having at this time become quite partial to stringed instruments, he soon gave most of his time to the study and practice alternately of the viola, violoncello, double-bass, and the guitar. As a performer on all of these instruments, except perhaps the guitar (an instrument which he never much liked), he has on important public occasions appeared, eliciting at such times the favorable comments of the press.

Leaving for a while the instruments just mentioned, he turned his attention to the clarinet and flute. To the former he is at present much devoted, playing upon it with much taste and skill.

Being asked why he so much enlarged his field of instrumental performance, and why he did not confine his studies to not more than one or two instruments, he said that it was in order that he might be the better able to arrange and write music for an orchestra or military band; and in this ambitious endeavor he has attained to a fine degree of success.

I should have mentioned before this, that, at the age of fifteen, our subject was considered quite a competent performer on the piano-forte, the organ, and the violin; and that at that early age he began to teach the playing of these instruments.188

Although his talent and acquirements are displayed more particularly as an instrumentalist, Mr. Lewis is also a fair vocalist, understands thoroughly its theory, and teaches singing. He is a valued member of several musical clubs of Boston and vicinity composed of artists of the highest culture, such as the Haydn and Mozart Clubs of Chelsea, Mass. He, besides, meets with a select few in Boston, in a circle of studious amateurs where none but the finest and most classical music is performed. He is a member of the "Boston Musicians' Union," which comprises in its membership most of the best musicians of the city; such as, for instance, Julius Eichberg, P.S. Gilmore, C.N. Allen, Messrs. Listemann, Lothian, &c.

In the Haydn and Mozart Clubs Mr. Lewis has played the part for first violin; and on several occasions, in the absence of the directors of those bodies, he has assumed acceptably the conductorship. His general musical accomplishments, and his acquaintance with each instrument used in these clubs, make him really the most useful and valued member; for, if a member fails to appear at a performance, he need not be much missed, since Mr. Lewis, if present, can take his instrument, whatever it may be, while his own regular place may be taken by the next first violinist in rank.

He has performed on several great occasions, notably at the World's Peace Jubilee, held in Boston in 1872, in an orchestra of nearly two thousand instrumentalists, all selected, and of fine skill. Before being accepted there, he was subjected to a most rigid examination by the superintendent of the orchestra, being required to play on the violin some of the most complicated and difficult compositions for that instrument. This189 test he stood so well, indeed, as to elicit from the superintendent, in the warmest manner, the comprehensive exclamation, "Lewis, you are a musician!" At the grand testimonial concert tendered P.S. Gilmore (the projector of the two great "Jubilees") at the Boston Theatre, prior to his going to New York to reside, Mr. Lewis appeared in a selected orchestra, and contributed not a little to the success of that interesting occasion.

He is constantly arranging and composing music for his classes, for orchestras and bands. At present he is engaged in composing for the piano what he will call "A Meditation," and in which he will include some of the finest ideas that constantly fill his musical mind. Some of these thoughts I have heard him play; and I have been so pleased by them, as to beg him not to relinquish his purpose to give them to the public, being convinced that in so doing he would afford delight to all lovers of good music, and add much to his already fine reputation.

Many complimentary notices touching the musical abilities of Mr. Lewis have from time to time appeared in the public journals. A few of the briefest are given below.

One of these journals, a good while ago, said,—

"The Boston Journal," June 11, 1874, said,—

"The Boston Globe," April 16, 1874, said,—

In these driving days, when competition is so rife in all the trades and professions, and when, even among our best musicians, what begins as a spirit of honest rivalry often degenerates into that of detraction, it is pleasant to record instances in which it is shown that there are those who in their culture so strikingly unite the qualities of the skilful artist and the true gentleman, that their warmest admirers and friends are found among those of the same calling. Of Mr. Lewis, Mr. Alonzo Bond, director of Bond's Military Band, and a veteran musician of note, once said, "He is the finest accompanist (piano) in the United States." The writer has also in possession letters, highly commendatory of Mr. Lewis as a musician, from Mr. L.R. Goering, a skilful orchestra leader, member of that fine body of musicians, the Germania Band, and a teacher of great merit; from T.M. Carter, director of Carter's Band; from J.O. Freeman, and J.H. Richardson,—all musicians of high rank, and gentlemen of excellent general culture. From the letter of one of these (Mr. J.O. Freeman) I quote the following reference to the subject of this sketch:—

191

This writer, like all the others mentioned, could not refrain from closing his letter by a very handsome reference to Mr. Lewis's gentlemanly traits of character.

Slightly below the medium size, of graceful form, with regular, expressive features, and thoughtful cast of countenance; always neat in appearance; of gentlemanly, Christian deportment; genial in manners,—so amiable, as to be almost without an enemy; of very industrious habits; fully impressed with the beauty, the grandeur, and the great usefulness, of the divine art, as a potent means, when properly employed, for elevating the mind, adding to innocent enjoyment, and as an aid to polite culture; and with a soul absorbed in music,—all this can be truly said of Frederick E. Lewis. Not much more can or need be said to mark him, as he is, the Christian gentleman and the wonderfully talented musician,—one whose charming qualities fill the measure of our highest conception of the true, the ideal artist.

192

XIV.

NELLIE E. BROWN,

THE FAVORITE NEW-HAMPSHIRE VOCALIST.

ALL musical tones please the ear, and affect to a greater or lesser degree the finer senses; for as beautifully and expressively sings Cowper, explaining this sensibility,—

The musical instrument, of itself lying cold and inanimate, may become, when touched by the hand of genius, seemingly a thing of life as the performer evolves from its board tones of melody so thrillingly sweet, so soulful, as to awaken in the listener's breast the holiest emotions. Even stout-hearted men have shed the tear of feeling when listening to the tenderly touching193 strains of the voiceful violin; while the musical moanings of the violoncello have caused them to experience feelings of a tender sadness.

NELLIE E. BROWN.

I saw this exemplified, when, a short while ago, I listened with rapt attention to the marvellously sweet singing of the violin of that rare virtuoso, Ole Bull. The performer appeared like one inspired; and his noble instrument seemed sentient as under his magnetic hand its pure, melodic, and at times human-like voice, so replete with poetic, soulful expression, gave out tones of most exquisite beauty and grandeur, while every heart of his vast, enraptured audience throbbed in unison.

Still it is only once in a great while that one may witness the production of effects like those just described: and I think, that although the lines of Cowper, previously quoted, may refer to the effect of musical sounds in general, they yet are more particularly expressive of the impressions produced upon the ear and the heart by the melodious echoings of a human voice when heard in song; for then a real, a living soul, with aid of music's charm, breathes to soul its joys, its pathos, its inmost longings,—touching indeed the unseen,

"The electric chain wherewith we are darkly bound,"

while heart responds to heart.

Besides, we know that man, in his rudest, as well as in his most highly-civilized state, readily pays tribute to the power and beauty of song. In this form of musical expression the singer conveys to the listener's ear not only melodies that the latter naturally delights to hear, but utters also the words of sentiment, of instruction, that appeal to his mind, and touch his heart; thus194 doubly enchaining his interest, and enhancing his pleasure. Moreover, to the mere charm of resonant vocalization is added the one afforded by a warm, a living presence; the speaking eyes (so aptly called the "windows of the soul"), with their glowing, magnetic expression, and the effective gesture, forming together pleasure-giving elements that must ever be wanting in other forms of musical presentation.

And so easily are our musical sensibilities awakened, and so readily are we influenced by song-power, that these effects may be exerted upon us, to a very considerable extent, even by the singer of ordinary abilities. But by a beautiful cantatrice, gifted with a pure, resonant, sympathetic voice, its natural sweetness and power supplemented by careful artistic cultivation, possessing a pleasing, unaffected manner of appearance and expression, all these effects may be amplified, intensified. Such a one may often, nay, at will, call into life our most delightful emotions, and evoke the warmest admiration of those who see and hear her. Her sway is over all, and is absolute; the natural music of her voice merely serving as sufficient charm for those not highly cultured, while the embellishments of art which she so intelligently uses in her performance add to the pleasure of, as they satisfy, the æsthetic conceptions, the love of full, harmonious development, held by persons of the most critical tastes.

As prominent among those lyric artists of New England whose fine natural musical powers and many winning accomplishments have formed the theme of frequent praise, as they have been the source of constant delight for many persons in private circles and public audiences, I may confidently mention Nellie E.195 Brown of Dover, N.H.,—a lady who within a very few years has, by the great beauty of her voice, and the exhibition of many noble qualities of heart and mind, won a name of which she and all her many admiring friends may be justly proud.

At quite an early age Miss Brown evinced a fondness for music, the slightest sounds of which readily attracted her attention; and, long before she had acquired a knowledge of its rudiments, the natural sweetness of her voice, as she was heard merely humming a tune, often arrested the attention and called out the praises of those who heard her. Thus musically endowed, of an amiable disposition, with spirits ever as free as the mountain winds of her native State, she became the favorite of her school companions, and their leader.

A few years ago, while attending a private school in Dover, Miss Caroline Bracket, a teacher in the same, noticing that Miss Brown possessed a naturally superior voice, earnestly advised its fullest cultivation. This lady became her first music-teacher. Diligently pursuing her studies, she made rapid progress. Being induced to take part in occasional school and other concerts, our subject soon became quite prominent in Dover as a vocalist, and was engaged in 1865 to sing in the choir of the Free-will Baptist church of that city. Here she remained until November, 1872; at which time, having learned of Miss Brown's fine vocal powers, the members of Grace Church, Haverhill, Mass, earnestly invited her to become the leading soprano in their choir, offering her a liberal salary, besides the payment of her travelling-expenses twice each week between Dover and Haverhill. This very complimentary invitation she accepted; and for four years her fine singing196 and engaging manners rendered her deservedly popular with the members and attendants of the church mentioned,—people of fine Christian and general culture,—as well as of the citizens of Haverhill generally, before whom, in the public halls, she sang on several occasions.

She remained in Haverhill until November, 1876; when, on the completion of the new Methodist-Episcopal church at Dover,—the largest and finest church in the city,—she was induced to become a member of its choir. Not, however, until after a severe struggle did the Grace-church people relinquish their claims to the accomplished vocalist. They say that they will yet have her back with them. At present, Miss Brown is directress of the choir in Dover which I have just mentioned.

I have thus given a rapid sketch of our subject's career as a choir-singer; a career which, it is seen, has been a most gratifying one. But her musical achievements have not been made alone in the positions and places mentioned: in others, near and far, she has displayed such abilities as a songstress as to have won golden opinions of those composing her many large and cultivated audiences, while the press have awarded her the highest praise.

While a leading member of the choirs before alluded to, and while winning encomiums that perhaps would, have turned the heads, so to say, of many, and caused them to have relaxed that assiduous and scientific study so necessary to the attainment of complete success, Miss Brown continued a zealous student of her much-loved art, being ever resolved to cultivate her voice to the highest point of excellence. Apropos of this, I may mention that she once wrote a friend as follows:197 "My motto is 'Excelsior.' I am resolved to give myself up wholly to the study of music, and endeavor, in spite of obstacles, to become an accomplished artist." It may be observed, that none but those who are actuated by the most noble motives, and who give utterance to them in words of such inspiring earnestness as these, do become "accomplished artists."

Deciding, then, to secure the fullest development of her voice, and to gain those acquirements that belong to a technical education, living within a few hours' ride of Boston, she here became first a pupil of Mrs. J. Rametti, and afterwards entered one of the great conservatories, where she was placed under the guidance of Professor O'Neill, a gentleman highly esteemed as a teacher of voice-culture. She had not long been connected with the New-England Conservatory of Music, when its director requested her to appear at the quarterly concerts of that institution that were held in Music Hall. Here on two occasions, before large and highly-cultivated audiences, with beautiful voice, correct method of expression, and ease and grace of stage deportment,—singing, in Italian, music of a high order,—Miss Brown won the most enthusiastic applause. Predictions of her complete success as a brilliant lyric artist were freely made by many connoisseurs. But these have not been her only appearances in Boston. She has many times sung at concerts in the finest music-halls of the city, before many critical audiences; her charming rendition of the numerous English, Italian, French, Scotch, and Irish songs in her rich repertoire making her one of Boston's favorite cantatrices.

In order that the opinions heretofore given in regard to Miss Brown's vocal abilities and artistic accomplish198ments may be shown not to be exaggerated, I now desire to append some of the notices which her performances have elicited from the press of New England and other sections of the country. And here I am confronted by the first real difficulty that has appeared since I began this sketch; for I have before me nearly one hundred comments, all highly complimentary, only a very small number of which may here be reprinted. To properly arrange and give them all would be an easy and most pleasing task, since the collection forms an unbroken, a delightful series of musical descriptions, interspersed with high but always discreet praise of the artist whose performances, in the main, called them forth; but to be compelled, from want of space, to endeavor to select, from among these many encomiums, only those which, while they do justice to our subject, are yet brief and together varied and interesting, is a duty attended with some embarrassment. Before attempting to do this, I deem it proper to say, that, if printed together, the comments referred to would make a volume of considerable size; which, containing, as it undoubtedly would, the truthful, spontaneous tributes of lovers of art to one of its most faithful and accomplished devotees, might well be considered by herself and many admiring friends as of most inestimable value.

The following have reference to Miss Brown's appearances in Boston during the musical season of 1874:—

Said "The Boston Traveller," April 16,—

199

And the same paper at another time said,—

"The Globe," March 31, said,—

The same paper, after alluding to her rendition of "Del Criel Regina," said,—

Speaking of an entertainment given at Parker Memorial Hall, a musical writer said,—

"The Boston Advertiser," March 31, said,—

"The Transcript," April 16, said,—

"The Journal," June 13, 1874, said,—

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Said "The Post," Nov. 13,—

The public journals of her own city and state very early in her career chronicled Miss Brown's musical achievements, and even then felt warranted in awarding her strong but judicious praise. Latterly they have many times spoken in most enthusiastic terms of her added accomplishments. I shall quote only a few of the briefest of these.

"The Dover (N.H.) Daily Democrat," Dec. 19, 1873, said,—

"The Dover Enquirer," Sept. 7, 1876, said,—

"The Dover Democrat," Sept. 6, 1876, said,—

Miss Brown has sung in quite a number of the larger towns and cities of Massachusetts, in which State she is scarcely less a favorite than in New Hampshire. She has appeared at concerts in company with some of the most eminent artists of the country (such as, for instance, Professor Eugene Thayer, J.F. Rudolphsen, Myron W. Whitney, Mrs. Julia Houston West, Mrs. H.M. Smith, and others), and always with fine success. In her own city and state she enjoys a popularity unequalled by any other cantatrice, her beautiful voice and many excellent traits of character winning her the warmest esteem of all. The people of Dover are very proud of her, and greatly delighted that one of their number is received with such marks of enthusiastic favor in other States. The Dover papers always readily record these triumphs, and proudly speak of her as "our prima donna."

In November, 1874, our subject sang in Steinway Hall, New York, and was highly complimented by several of the papers of that city.

"The Gazette," Nov. 4, 1874, said,—

Another paper thus referred to her:—

She has appeared at concerts in Washington, D.C., Portland, Me., Baltimore, Md., and St. John, N.B. In December, 1874, Miss Brown visited the national capital, where she sang in a series of concerts given in Lincoln Hall under the auspices of the Abt Society. Of the part taken by her in one of these "The National Republican" said,—

I believe I have already intimated that the very high esteem in which Miss Brown is held arises not alone from her possession of charming lyric qualities, but also from her obliging disposition and engaging manners. She has ever been the true artist; earnestly devoted to the fullest development of her own musical powers, but not envying those of others; loving music intensely, as something sacred, and always anxious to aid in extending its benign influence. The people of Dover, of Haverhill, of Boston, and other places, hold her in grateful remembrance for a frequent exercise of those generous impulses that have caused her to often sing without charge at concerts given for the benefit of many good objects.203

As one among her many acts to benefit the young, to inspire them with a love of the beautiful in music, I may refer to the "Centennial Musical Festival" originated by her, and given under her direction in Boston on the evenings of May 16 and 17, 1876. For these occasions she had carefully instructed fifty young girls to perform the beautiful cantata of "Laila, the Fairy Queen," a juvenile operetta. This charming composition is admirably adapted to inspire a love of the beautiful in art, and to nurture sentiments of Christian kindness. The following is in brief the plot:—

The many persons who were so fortunate as to witness the performance of those charming misses will not soon forget the delights that were thus afforded them, nor will they fail to remember most gratefully the lady to whose painstaking and noble efforts they are so much indebted for what was a rare treat.

I would fain attempt a description of the scene of dazzling beauty upon which our eyes feasted, and the music of the fresh young voices that fell delightfully upon our ears, and touched with gladdening effect each heart; but I forbear, and give place to the musical critic of "The Boston Journal," who, on May 17, said,—

At Haverhill, Mass., Dec. 13, 1876, Miss Brown again gave this operetta, when the fifty young ladies appearing were chosen from the high school of that city.205

"The Haverhill Bulletin," Dec. 14, 1876, said,—

In the month of July, 1876, Miss Brown was engaged to sing at the "Great Sunday-school Parliament" held on Wellesley, one of the famous Thousand Islands, in the River St. Lawrence. The now much-lamented Professor P.P. Bliss (who had become so eminent as a composer of popular sacred songs), his talented wife, and Miss Brown, were the leading singers and soloists on the occasion mentioned. The two former failing to arrive in time, the musical exercises, which were of a very fine order, were arranged, and for a while conducted, by Miss Brown. Mr. and Mrs. Bliss, however, arrived some time after the sessions had begun, and then participated in the singing. At this memorable gathering of Christian people from all parts of the United States and Canada, Miss Brown, in the display of fine musical powers, won new laurels; and her charming singing was made the subject of frequent and very complimentary allusion by newspaper correspondents writing from the island. In a handsome volume since published by the director of the "Parliament," and which is a record of its proceedings, she is several times creditably mentioned.

The following is one of many like notices which the musical exercises mentioned elicited:—206

Said Andrew Fletcher, "I knew a very wise man that believed, that, if a man were permitted to make all the ballads, he need not care who should make the laws, of the nation." This certainly was placing a very high, but perhaps not a much too high, estimate on the song-writing power. As coming next in greatness to the composers of meritorious popular ballads, we may mention those accomplished persons, who, possessing sweetly-toned, sympathetic voices, and evincing by their mode of expression a ready, a full conception of the author's meaning, have, in an eminent degree, the power to correctly, charmingly render them. In this form of musical expression Miss Brown delights her audiences not less than in her rendition of songs of a more pretentious character. In singing the former she exhibits a most winning naïveté, enters wholly into the spirit of the song, and with a full, pleasing voice, impresses deeply its melody and meaning upon the hearts of her hearers, thus exhibiting the highest kind of lyric eloquence. As a singer, then, of ballads alone, she would take high rank in the musical profession, even if she did not excel—it has been seen that she does—in the rendering of songs of a more technical character.

And now, in nearing the close of this sketch, if any reader shall ask to know the secret of the fine degree of success to which our subject has thus far attained (for, in considering great instances of individual achievement, we are ever prone to attribute the same to mysterious or fortuitous circumstances), let him be assured that there is really no "secret" about it. Miss Brown,207 no doubt, commenced her career with much musical talent, and Nature was otherwise kind to her: but she has always been a diligent, persevering worker; and to this cause, rather than to her possession of rich natural endowments, must be mostly attributed her praiseworthy achievements. Indeed, Nature's generous bestowment of talents, or even of genius, is of but little value when the favored one does not assiduously labor to cultivate and develop the same.

In her efforts to acquire an artistic acquaintance with music, and to reach her present high and enviable position as a vocalist, Miss Brown has had the warmest sympathy and active co-operation of loving parents and an accomplished brother.[12] Nor should I in this connection fail to advert to the helping, the inspiring influence of thousands of the noble people of New England, who, fond lovers and constant promoters of the beneficent art of music, are ever prompt in the recognition and encouragement of all its talented devotees. To the words of private cheer from many of these, and to the inspiriting effect of their upturned, delighted faces, and frequent plaudits, when listening to her beautiful voice in the crowded music-halls, she must often revert with208 feelings not less of justifiable pride than of the warmest gratitude. The writer is quite sure that he but echoes the sentiments of the admiring thousands just mentioned, when he predicts, that if Miss Brown shall continue to exhibit in the future, as in the past, the same conscientious, ambitious devotion to her chosen profession, she is destined to take rank with the world's greatest singers.

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XV.

SAMUEL W. JAMIESON,

THE BRILLIANT YOUNG PIANIST.

“THE entertainments at Parker Memorial Hall on Sunday evenings in no wise lessen in interest and numbers. One evening, listening to Gounod's 'Ave Maria' by the famous Germania Orchestra, we felt that the worship of the Virgin, of which was born such heavenly strains, if for no other reason, was not without its use in the world even now. Another evening Mr. Jamieson awoke the echoes of the piano in a manner to do credit to a Liszt and Chopin."

SAMUEL W. JAMIESON.

Thus, a year or two ago, spoke one of Boston's first writers and musical critics, when, in an article published in "The Commonwealth," alluding to the accomplished pianist, Samuel W. Jamieson.

In the comparison here made, so highly complimentary to our subject, this writer does not stand alone; for210 the remarkably fine execution of Mr. Jamieson has often drawn from other piano-students praise none the less flattering; while his mastery of so many of the difficulties that are connected with piano-forte playing, and his fine general musical talents, entitle him to a prominent place in books far more pretentious than this one. He has, in fact, attained to such brilliant proficiency (although quite a young man) as to cause him to be already ranked with the first pianists of the country.

Mr. Jamieson was born in Washington, D.C., in the year 1855. He began the study of music, taking lessons on the piano-forte, when about eleven years of age. Since then he has been under the instruction of some of the best masters of Boston, such as James M. Tracy, and Fred. K. Boscovitz, the celebrated Hungarian pianist. He has been a pupil of the Boston Conservatory; from which classical institution he graduated in honor in 1876, receiving its valuable diploma.

While a student at the Boston Conservatory, he was nearly always chosen by the director, Mr. Julius Eichberg, to represent at the quarterly concerts the fine progress made by its pupils. At such times his performances of numbers, requiring rapidity of reading and execution, together with a good knowledge of piano technique, drew from the press the most favorable comments, and made him the favorite piano pupil at the institution mentioned. The following, as an instance of these comments, is taken from "The Boston Journal:"—

And this from "The Folio," referring to another like occasion:—

"The Boston Traveller," describing the performances of pupils of the Conservatory at Music Hall, after stating that all the performances were of a high order, makes special mention of Mr. Jamieson, saying that "his execution of a difficult number was worthy of the highest praise." Many other comments equally favorable could here be given, were it necessary.

His performances at these concerts soon made him widely known among the musical and general public of Boston and vicinity, and his services as a soloist became much in demand. As soon as he had attained to a fair degree of proficiency, he began to give lessons on the piano-forte; and by so doing, and by occasionally appearing at concerts, he secured the means to continue his studies at the Conservatory. His playing at one of these concerts was thus spoken of in a Boston paper:—

He early showed a singleness of devotion to his chosen work, and has always evinced a spirit of ambitious aim. Some particulars of the latter, while winning him the approval of the thoughtful, have caused him to be misunderstood and censured by others. With fine artistic taste, ever aiming high, fully in earnest, and with no more than (as the writer believes) a just estimate of his attainments and consequent rank as a musician, Mr. Jamieson has sometimes declined to appear at the "two-penny show" concerts given generally in the churches, and often by "artists" (?) of abilities so poor as to render them fit subjects for the training of a rudimentary music school rather than as objects of public view or favor. Still I do not believe that Mr. Jamieson has been unwilling to acknowledge the generally known fact, that much good has often been done by amateurs and others at church concerts, both by the aid thus afforded to meritorious causes, and by the musical practice and public acquaintance obtained for themselves. That he has not been without a ready sympathy for the persons or causes to be benefited by such entertainments is well evinced by the fact, that (notwithstanding he holds certain views mentioned in this connection) he has appeared at times at the same, at the better kind, making no charge for his services; and yet his213 occasional refusal to appear at certain of these concerts has been attributed—generally by ignorant persons, but sometimes also by others, who, as they knew better, must have been influenced alone by bad motives—to his possession of undue self-esteem, &c. But these unjust criticisms, although often causing him pain, could never swerve him from his chosen path. He would never lower his standard, and he always sought to enter the lists with those who contended for the highest prizes in art. The prominent position he holds to-day as an artist is proof that his course has been the right one, and the one which should serve as an example to all those young persons, who, endowed with musical talents, are yet neglecting to cultivate the same; who are, in fact, allowing them to gradually waste away by giving themselves to unmusical, injurious associations; and who quite too often spend the precious time that should be given under competent teachers to diligent, untiring study, in appearances before audiences whose applause, of doubtful value, is readily bestowed in unstinted quantities, and which serves, alas! but to dazzle, to deceive, and too often to permanently ruin, the young performer.

Mr. Jamieson's fine, ever-increasing musical abilities, his general intelligence and gentlemanly bearing, soon gained for him the entrée of the best musical circles of Boston and vicinity, and secured for him association at concerts with the most advanced artists. During the winters of 1875 and 1876 he several times appeared before large and enthusiastic audiences at a series of entertainments given at Parker Memorial Hall. A writer thus mentions his performances at one of these concerts:—214

He has devoted himself solely to the piano-forte, and makes no pretensions to a knowledge of other instruments, considering the former as quite worthy of his undivided study,—especially in these days, when, in his own city and state at least, fine piano soloists are so numerous, and whose best performances he desires to equal, and, if possible, to excel.

From the first, Mr. Jamieson has given himself to the performance of only the higher class of music. So determined is he in this respect, that he will not play dance-music, not even that of the best order. The writer once asked him to play one of Strauss' most bewitching waltzes,—one full of those delicious, so to say, entrancing melodies, for which the productions of this gifted composer are so noticeable, and one which at the time had taken nearly every one completely captive. I refer to the "Beautiful Blue Danube" waltz. But he declined to play it. I again and again entreated him; for I not only delighted to hear as often as possible this charming-selection, but, knowing Mr. Jamieson's rare powers as a pianist, I was especially anxious to hear him give life to its magic strains. No amount of persuasion could move him, however; and he finally ended the matter by telling me that he never, under any circumstances, played dance-music, as he deemed its practice an injury to one who wished to reach the highest positions as a pianist. So I was compelled to215 pocket my disappointment, and to go elsewhere for my "Beautiful Blue Danube."

Mr. Jamieson is an assiduous student, devoting several of the early morning hours of each day to practice on the piano-forte. Even during the heated term, when most artists neglect their instruments, and hie away to enjoy the refreshing breezes of the sea-shore or the mountains, he may much of the time be found at his rooms, undeterred by the hot atmosphere, diligently at work keeping up the nice degree of proficiency he has already attained, or bravely attacking whatever difficulties remain to be overcome. He does, it is true, go away every summer to a quiet nook in the country, remaining, however, only a short while, and during which he does not, to any great extent, lessen his hours of practice.

During the winter of 1874 he several times appeared at public concerts in Boston and in other parts of New England. His performances at a soirée musicale at the Meionaon, Tremont Temple, Boston, were alluded to in the following gratifying terms by "The Boston Globe:"—

And in this manner by "The Boston Traveller:"—

Referring to another occasion, "The Boston Globe" thus spoke of our artist:—

Mr. Jamieson has for some time cherished a hope of going to Europe, there to place himself for a while under the direction of one or more of the great masters of piano-forte playing; being firmly resolved to leave nothing undone the accomplishment of which will place him among the first pianists of the world. Those who know of his present abilities commend him for this desire, and feel warranted in predicting his complete success. Recently a few among the leading musical ladies and gentlemen of Boston tendered him a complimentary reception at the residence of one of the former, and at its close presented him a sum of money to aid him in carrying out the purpose just referred to. The occasion was thus alluded to by "The Daily Advertiser:"—

217

The writer of the above deemed it quite enough to merely mention the names of composers and artists, leaving to the musical reader to imagine (as easily he could) how rich and plenteous a feast of harmony must have been furnished to those fortunately present on this delightful occasion.

As may perhaps be inferred from the comments heretofore given, Mr. Jamieson, as a pianist, is noticeable for the clearness of his touch, the brilliancy of his style, and the thoroughness of his execution,—not failing to exhibit these pleasing qualities even when playing the most rapid passages,—while he ever shows a full and ready sympathy with the spirit and aims of the composer.

His remarkable proficiency as a pianist, and the private and public attention which the same has drawn to him, has secured him, from time to time, many pupils and as a teacher he has been quite successful.

If the doctrine of "heredity" be true, Mr. Jamieson may trace his possession of musical talent to his grandfather, who attracted much attention as a musician.

But there is no easy road to proficiency and eminence in the musical art; nor is there one in any other. Art is a right royal and exacting mistress; and he who would be numbered among the favored attendants at her court must fairly win the distinction by that devoted, undivided loyalty which is ever accompanied by the severest study, the most self-denying application. It cannot be denied, of course, that the possessor of genius or of talent may succeed far more easily than he who is without such powerful aid; but it is also true, that those who by their works present examples of great achievement in the science of music, and who cause us218 often to pause in utter amazement when reflecting upon the exceeding beauty, the magnitude and grandeur, of their creations, owed their brilliant success as much to indefatigable labor as to their great gifts of mind. Indeed, as has often been said, "there is no excellence without great labor."

So our young artist—of course I speak of him in this connection in a comparative sense—owes his present high success not more to his possession of rich natural talents than to the tireless zeal with which he has cultivated the same.

Possessing naturally a loftiness of spirit, and with a just conception of his powers; having full faith in and trusting himself; not unmindful of, nor unduly elated by, the many commendations he has received from critical judges touching his musical abilities; wearing easily all the attentions and honors he so constantly wins, and quickly noting and acting upon any suggestions of errors in his performances; at all times a conscientious, a zealous student, impelled by a deep and enthusiastic love for the art of music, and never satisfied unless working amidst its higher forms,—possessing, as Mr. Jamieson does, these rare and valuable characteristics, and being withal still quite young, it is but reasonable to believe that he will ere long attain to the highest distinction, and be ranked with the very first pianists of the time in either the New or the Old World.

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XVI.

THE VIOLIN.[13]

THE violin, so often called the "king of instruments," is of great antiquity. As to just when it was invented is a point as yet unsettled, despite the indefatigable researches of historians of music and of general antiquaries. The instrument certainly existed, however, as early as the sixth century; this being proven generally by the figures of violins observable on very ancient and respectable monuments still existing, and particularly by a figure cut in the portico of the venerable Cathedral of Notre Dame in Paris, founded by Childebert in the sixth century, which figure represents King Chilperic with a violin in his hand.

It being thus used in a representative character shows, too, that it has for many hundreds of years been a220 favorite instrument. Of that ancient guild of musicians, the troubadours,—so long the principal devotees and custodians of the divine art,—those were most esteemed by royalty and the general public who were the best violists.

In the construction of most musical instruments, improvements have been constantly made up to the present time. This is particularly true of the piano-forte; the handsome form, and the purity and beauty of tone, observable in a lately-made "Chickering" or "Steinway," rendering them so much superior to a piano of the olden times, as to barely admit of the latter's being called by the same name. But this is not true of the violin, inasmuch as a long time has elapsed since any change has been made in its construction that would add to its delicate, graceful form, to its nicety, sweetness, and purity of tone, or general musical capacity. To-day a Cremona, or an Amati, as well as violins of other celebrated makers of the long past, commands almost fabulous prices. A Cremona very lately sold for four thousand dollars; while such instruments as I have mentioned, when in the possession of a soloist, are scarcely to be purchased at any price.

Up to the times of the celebrated violin-virtuoso, Paganini, there had not been, it would seem, much improvement made in performance upon this instrument. He startled and electrified the musical world, and in his wonderful playing developed and amplified such resources and effects, both as to instrument and performer, as were not, previously to his coming, thought possible. After him, and to be compared with him, have come Vieuxtemps, Ole Bull, Wieniawski, and Joseph White. The latter, although not as yet so well known as221 the others (he is only a little over thirty years of age), is considered by competent critics to be fully entitled to rank with them.

But these are "bright particular stars," men of genius. The instrument is so difficult of mastery, that few violin-students may hope to equal such marvellous players as those mentioned; although long-continued and severe application may make them good orchestral performers or fair soloists.

The violin is said to be the "king of instruments;" but, by this, reference is made to those powers and extensive resources of expression that are made manifest when the instrument is subject to the brain and hand of the very skilful performer.

At such a time it is made to sing a song, which, readily awakening the sympathies of the soul, causes the listener to recognize and feel the effects of the intonations of pathos, of passion, of deepest melancholy, or those of lightsomeness and wildest joy.

Indeed, this noble instrument, under the deft fingering and skilful bowing of a master-player, becomes almost sentient, and is shown to possess the superior and exclusive power of expressing nearly all the human voice can produce except the articulation of words. A music-teacher once wrote that "the art of playing on the violin requires the nicest perception and the most sense of any art in the known world;" and many there are who will agree with him.

The purity, the sweetness, of its tones,—to produce which calls into exercise the most delicate faculties of the mind,—and the power of these tones to awaken in the heart the most tender feelings, to lead the performer at times into delightful imaginations, into pleasing,222 restful reveries,—it is the possession of such charming qualities as these that has rendered the violin at all times the favorite companion of the leisure moments of men eminent in the walks of literature, of princes, and other persons of taste and refinement. Some among those first mentioned have excelled as violin-performers, notwithstanding their other occupations.

Girardini, when asked how long it would take to learn to play the violin, replied, "Twelve hours a day for twenty years." Another thus intimates how long and arduous must be the toil before its mastery can be acquired:—

It is, however, far from the purpose of the writer to223 discourage those who may wish to become proficient as performers on this delightful instrument, or to do otherwise than attempt to increase the number of those, who, having carefully listened to master-players, and having thus learned of the wonderful intonations and of the great refinement of musical expression of which the violin is capable, have resolved to become far more than mere "fiddlers;" and are therefore conscientiously and patiently addressing themselves to an endeavor to overcome its difficulties, and to take rank as real violinists. To many of this number a good if not a perfect degree of success must come, as it ever surely comes to the earnest, persevering student of any art.

To all such, then, the writer tenders his best wishes; while he earnestly commends the above examples to all who may have a desire to learn to develop the beautiful harmonic mysteries of this expressive, soulful instrument.

224

XVII.

JOSEPH WHITE,

THE EMINENT VIOLINIST AND COMPOSER.

MR. JOSEPH WHITE[14] is a child of the New World. He was born in Matanzas, Cuba. His first steps in art were made in his native town.

His father, an amateur in music, thought he had recognized from the early infancy of the great artist a more than ordinary taste for art. When the child heard the tones of a violin, he used to leave off play, and run in the direction where the instrument was singing, his eyes never losing sight of the virtuoso. Indeed, by225 his actions at such times, he seemed not to belong to this world.

JOSEPH WHITE.

As soon as his hands were large enough to hold a violin, they gave him one; and were much astonished, when, at the end of a few months, he presented himself before a large audience, striking the same with amazement by the manner, entirely magisterial, in which he so early attacked the instrument.

He continued his studies until the year 1855, when, at the suggestion of the famous Gottschalk, who had noticed the signs of genius in the young man, he started for Paris, the city of wonders, and centre of attraction for all aspirations.

He came then, this young virtuoso, and presented himself at the Conservatoire, asking to enter as a pupil. After going through a brilliant examination, and after fighting against more than sixty rivals, he was received with unanimity.

In July, 1856, one year from the time of his entering the Conservatoire, White won all the "approbations," and wreaths and laurels were given him.

But we will let the newspapers of the time speak; for our own pen will be powerless to give an account of the successes of the eminent artist. The "Gazette Musicale" of the 3d of August, 1856, speaks thus:—

The paper, "Le Pays," of the 5th of August, 1856, expresses itself in terms none the less flattering:—

It was at this brilliant concourse that Rossini, the great composer, remarked of White, "Since the day he took an interest in him, and protected the young artist, there was no festivity at the maestro's without the violinist playing on his melodious instrument." Besides, this letter from Rossini, addressed to White at the time of his father's sickness, shows how much the master loved him:—

In November, 1858, Mr. White was obliged to return to Havana, called back to his dying father. He then left France; accounts of his success in which, carried to the dying man, were a sweet consolation and happiness,—thus to see, before dying, his son who was called to such a brilliant career. After the death of his father, he started for France again; not, however, without having first obtained great success in different cities of Cuba, where he was received in triumph. Gottschalk, the celebrated pianist, who was one of the first who had advised White's family to send him to Paris, said that in all his life he had never seen such a beautiful success, and such a deserved one.

After his return to Paris, White gave a great concert. "L'Illustration" of the 4th of May, 1861, gives an account of that evening's entertainment in the following terms:—

After having given a splendid description of this concert (which want of space forces us not to publish here), the "Patrie" of the 30th of April, 1861, speaks thus:—

Some time after, he left for Spain, where he played at Mme. the Comtesse de Montijo's (mother of the Empress of France), and before the Queen of Spain. Her Spanish Majesty presented him, the brilliant virtuoso, with a magnificent set of diamond studs, and created him chevalier of the order of Isabella the Catholic. We reproduce some lines from "La France Musicale" of the 22d of November, 1863:—

After his return to France, he played at the Tuileries before their Majesties Napoleon the Third and the Empress Eugénie. These sovereigns congratulated the artist most fully. We reproduce an extract from the "Constitutionale:"—

This was going on in the year 1864.

This same year, Alard, White's old professor, was obliged to be absent, and leave his class in the care of others. After considering into whose care he should leave his class, Mr. Alard thought that White was more able to help him than any other,—White, his old first prize. Since that day, it was he, who, during the absence of the master, has had the directing of his class at the Conservatoire. In order to thank him for his services so well given, Alard presented White with a magnificent bow ornamented with gold and with tortoise-shells.

One reads in the "France Musicale" of the 24th of December, 1864, the following lines:—

The "Art Musicale" of the 15th of January says,—

The "Presse Théâtrale" of the 26th of January, 1865, says,—

230

After this new victory, our eminent violinist was heard at the Société de Concerts of the Conservatoire of Paris, where he was admitted as a member. He played the piece in F by Beethoven; and, when a second time they encored the artist, he distinguished himself in a classic work—the concerto by Mendelssohn—which masters alone dare to confront. The success was complete. One could have heard the buzzing of a fly in the hall. All eyes and hearts were in complete subjection to the bow of the young virtuoso.

Here is how the eminent musical critic of the paper "Le Siècle," Mr. Commettant, expresses himself on the date of the 13th May, 1872:—

The "Ménestrel" of the 12th of May, 1872, says,—

His concerto brought forth the following lines in the "France Musicale" of the 3d of March, 1867:—

The "Art Musicale" speaks thus of this concerto:—

Then follows an analysis of the work, which want of space prevents us from giving. No need to say that it is favorable to our violinist-composer.

We will mention only some of the papers which have spoken of the evening in question,—"La France," "La Liberté," "La Revue et Gazette des Théâtres," "La Presse Théâtrale," "La Ménestrel," "La Semaine Musicale," &c.

On the subject of the "Quatuor for Stringed Instruments" we will cite the article of the "Gazette Musicale" of the 12th of March, 1872:—

233

Here is the document we have before mentioned:—

Then follow ten signatures of members of the committee.

As a token of his artistic value, four great masters have presented White with their likenesses, with the following dedications:—

The numerous medals sent to him by the musical societies are homages rendered to his merit.

What remains to say after all these proofs of an incontestable talent?

There is nothing we might wish for Mr. White in234 what touches his art: in it he unites every thing. He is certainly one of the most toasted and most appreciated professors of Paris, the soloist beloved by the public.

We repeat it, we can say nothing more, but that we wish to hear him as much as possible.

And here his biographer, after thus expressing, in terms the most affectionate and flattering, his inability to say more that would add to a fame so great, so nobly and so rapidly won throughout Cuba, France, and Spain,—here he closes the record.

With all these brilliant and remarkable achievements, with all these rare honors so enthusiastically awarded him by the most distinguished, the very élite, of the musical profession, both singly and combinedly, and by the sovereigns of France and Italy, White might well have rested, indulging himself in no further acquisitions.

But men of such transcendent powers, men within whose souls the fire of musical genius so brightly burns, cannot stop; for the essence, the very soul, of music, is the predominating, the all-absorbing quality that forms their natures; and therefore it is that their ever new, their ever charmingly beautiful revelations in divine harmony, cease only when the sacred flame is extinguished by death itself. Thus, then, it was with the subject of our sketch, who was to gain new laurels in still another country. To speak of the same briefly is the cause of this continuance of his history.

Although born so near the United States (in Cuba), White had never until the year 1876 visited this country. In that year, however, he came to New York. In keeping with that modesty of demeanor, which, despite235 the many and rare honors he had won in Europe, had ever characterized him, he came to our shores unpreceded by that blowing of trumpets (usually paid for) which generally heralds the approach of the foreign artist; and quietly, unostentatiously addressing himself to the duties that belonged to his beloved art, little was heard of him by the general public for some time. But such almost marvellous power as this artist, this master, possessed, could not long remain unrevealed. People of musical culture were ere long electrified by the sweet tones of wondrous melody which with perfect ease he drew from his violin. That terrible barrier so often, even at the present time, erected in this country, that shameful obstruction, color prejudice, could not long withstand the attacks of this quiet yet courageous musical genius; and people, at first indifferent because of his complexion, were won anon to his favor, not alone by his exceptional skill as a performer, but also by the polish, the ease and dignity, of his manners, so refreshingly free from ostentatious affectation on the one hand, or hesitating timidity on the other. They found that he was indeed the true, the conscientious artist, who loved music for its own sake, and was imbued with a spirit of truthful enthusiasm, in such pleasing contrast with the characteristics exhibited by many of the foreign artists who had preceded him, as to render the same decidedly charming. The possession of these rare traits of character served, of course, to add to the attractiveness of a form which was one of most pleasing symmetry.

A knowledge of his great abilities as a soloist spreading among musicians in New York, he was induced to appear in public. It is needless to say that his success236 was unequivocal. Of the impression he made in New York, a city that has so often been the scene of the success or failure of the foreign artist, I shall call another person—a purely disinterested and competent art critic—to testify in the following, written from New York to "The Musician and Artist" of Boston of March, 1876:—

On March 12, 1876, he appeared in New York as soloist at a grand concert given by that justly celebrated237 and almost perfect body of musicians, the Theodore Thomas orchestra. His performances on this and several previous occasions elicited the most enthusiastic and unbounded praise from the critical "Arcadian" and the other New-York papers, nearly all of whom placed him beside the three or four great violin-artists of the world.

On the 26th of March, 1876, White appeared at a grand concert given in the Boston Theatre, in company with Levy the renowned cornetist. I shall long and delightfully remember the emotions of thrilling pleasure produced in my own breast by this virtuoso's magnetic execution, and the feelings of joyful pride that I experienced when witnessing, on this occasion, his great triumph. After he had played the first few bars of the "Ballade et Polonaise" by Vieuxtemps, the audience felt that he was a master; and his reception readily became a grand ovation. He received a double encore after the performance of each regular number on the programme. But of his grand success on this occasion I shall let the journals of Boston of March 27, 1876, speak.

"Daily Globe:"—

238

"Boston Journal:"—

"Herald:"—

"Daily Advertiser:"—

I have reserved for the last a very excellent critical analysis of our artist's performances. It is taken from "The Daily Evening Transcript."

And here, for the present, we will take leave of our great violinist.

It is not probable that he obtained, while in this country, a very great pecuniary success; and, from what has been heretofore stated in regard to his characteristics, this will not seem strange. White was not a showman. He has ever been too purely, too entirely devoted to his chosen art to admit of his using the means generally employed by the mere money-seeking musician,—means which seem so out of keeping with those finer aspirations which a contemplation and practice of the noble art of music are expected to promote, and the use of which, detracting as it does from his dignity, lessens the respect, the admiration, which people of culture would fain feel for the gifted performer.

A few months ago our artist sailed for Paris, the scene of his earliest triumphs. He has gone from our shores with his brow laden with new laurels, all honestly won; and he leaves behind an admiring multitude of musical people who will ever watch with deepest interest his future career, and fondly wish for his speedy return. Therefore we do not say to him "Adieu!" but "Au revoir!"

241

XVIII.

THE COLORED AMERICAN OPERA
COMPANY.

THE opera, or music drama, in which, in lieu of the ordinary forms of speech, music and song are used to give elevated expression to thought, is the most extensive, and, to nearly all lovers of melody, the most charming, of musical compositions. In its construction several of the other forms of music are most pleasingly united.

In the opera, with the language of poetry, music is associated, giving increased ornamentation; and it is used also to bridge over, so to speak, the places where mere language, either common or poetical, could never pass. That is to say, there are some phases of feeling of such fineness and depth, that only the soulful tones242 of music can call them into exercise, or give them expression.

The requirements for operatic construction are of course very great,—so great, that none may hope to succeed in the same save those endowed, if not with genius, at least with very superior talents. They must possess both marked originality, and power for continuity of thought; in fact, must form in their capabilities a very "Ariel," a fountain-head of music, from which must constantly flow melody after melody, harmony after harmony, ever new, ever pleasing, the whole presenting an artistically-woven story of the vicissitudes of human life. In the composition of an opera, two persons are usually associated; the one creating the words of the drama (the song), and the other composing its music.

In this field of musical creation, men of great genius find a more varied, a wider scope for the employment of their powers; and but a few of the world's most eminent composers of music have failed to avail themselves of its opportunities for grand achievements, success in it being generally considered as necessary for a rounding-out of their inventive harmonic capacities; while, for the establishment of their titles to greatness, they have sought to make some grand opera the chef-d'œuvre of their life-work.

I would not imply, however, that all the great composers of opera worked simply for fame. To assert that they did, would, no doubt, be unjust, as it would be denying that they possessed the "sacred fire of genius," and that deep and pure affection for art, which, judging from the noble beauty, the grandeur, of their works, they must have possessed. It does not seem allowable, for243 instance, to believe that Beethoven created the charming and exalted beauties found in the opera of "Fidelio" while inspired by no higher feelings than those which fill the breast of him who labors mainly for renown. No: we think of Beethoven, and of others like him, as those, who, while they were favored with extraordinary native powers, were also imbued with a pure love for music,—a love of such strength, that it formed a part of their very natures. To such minds and hearts elevated artistic work was as natural as life itself; in truth, we might almost say, was necessary to life.

But, if great powers are required by the composer of an opera, so also is it necessary that those who are to make known its meanings fully—especially those who are to interpret its leading parts—should possess, as singers and actors, more, to say the least, than ordinary abilities; and those who, in their capability for complete, soulful sympathy with the author's aims, who form, in fine, the very embodiment of the latter's ideals, certainly deserve to stand next to him in greatness.

Generally the brightest vocal stars have shed their effulgence upon the operatic stage: here these singers have found the widest range for their extensive powers of voice and dramatic action. The part of a performer in opera (and here I refer not alone to one who acts the leading rôle) is a most exacting one; for the artist must unite in himself the qualities of both the singer and the actor. While called upon to demonstrate with proper melody of voice and expression the meaning of the music of the opera, he is also required to portray by suitable dramatic movements its corresponding meaning as found in the libretto. These remarks apply more particularly to those who constitute the dramatis per244sonæ in operatic presentation. Of course we do not forget the very important aid afforded by those who are included in the pleasing chorus, nor those who by instrumental accompaniment add to the charm of—in fact, give indispensable support to—the whole performance.

It would perhaps be superfluous to here dwell, at least more than incidentally, upon the deep pleasure enjoyed by the lovers of music and of dramatic art when witnessing the performance of a good opera. At such a time their truly musical souls enjoy a delicious, a sumptuous feast of melody; while the kaleidoscopic prospect, formed by richly-costumed actors, and appropriate, beautiful scenery, fills them with delight. The harsh realities of every-day life are so much relieved by the poetic charms of the ideal, that they live amidst a scene of fairy-like enchantment. Nor does all that belongs to the bewitching occasion end with the regretted close of the performance; for

And for days and days, nay, often throughout life, do the best melodies, the "gems of the opera," delightfully "haunt the memory," and awaken in the heart the most pleasing emotions. In all this, no more than a just tribute is paid to the noble genius of the composer, and the fascinating power of his faithful coadjutor, the lyric actor.

These few thoughts, which, it may be, present nothing new to the student of the various forms of musical expression, fall very short of doing justice to a subject of most delightful interest, and one which, for its proper treatment, requires far more of elaboration than245 can here be given. They are among such as come to me while reflecting upon an achievement, that, although not in a general way extraordinary, was nevertheless, in some important respects, exceedingly remarkable and noteworthy. I refer to a series of performances given at Washington and Philadelphia in the month of February, 1873, by an organization called "The Colored American Opera Company."

This troupe, formed in Washington, was composed of some of the most talented amateur musical people residing in that city. The following-named ladies and gentlemen were the principal members and performers:—

Mr. Henry Donohoe acted as business manager.

Around these, the central figures, were grouped a large, well-balanced chorus, and a fine orchestra; nor was appropriate mise en scène, nor were any of the various accessories of a well-equipped opera, wanting in the presentation.

The opera chosen for these performances was Julius Eichberg's excellent "Doctor of Alcantara."

The first performances were given in Lincoln Hall, Washington, on the evenings of Feb. 3 and 4, 1873; the next at Philadelphia, in Agricultural Hall, Feb. 21, 22, and 23. Returning to Washington, the two last performances of the series were given in Ford's Theatre.246

Of the highly meritorious character of these presentations of opera there exists abundant evidence, emanating from disinterested, trustworthy sources, from which I quote the following.

From "The Daily Washington Chronicle," Feb. 4, 1873:—

From "The Daily National Republican," Washington, Feb. 5, 1873:—

From "The All-Day City Item," Philadelphia, Feb. 22, 1873:—

From "The Philadelphia Inquirer," Feb. 22, 1873:—

From "The Philadelphia Evening Star," Feb. 22, 1873:—

From "The Age," Philadelphia, Feb. 22, 1873:—

From "The Philadelphia Evening Bulletin," Feb. 22, 1873:—

From the Washington correspondent of "The Vineland (N.J.) Weekly," February, 1873:—

The comments just given, taken, as it may be seen they are, from the principal journals of Washington and Philadelphia, without regard to party bias, would be of little value here, were it not for the vein of candor that runs through them all. In them the writers have tempered very high praise with the faithful pointing-out of such defects as to them appeared in the performances. This is the spirit of true criticism, which, while it ever eagerly seeks to discover all the merits of a performance, fails not also to note, in the interest of true progress, all its errors. Praise, then, from such a source, is praise indeed. Moreover, it is not pretended that our little troupe of amateurs presented a perfect performance. Others of longer experience and of far more pretentious character had not done this. Nor was or is such a thing possible; for, as Pope says in his "Essay on Criticism,"

But, allowing for such errors as caught the sharp eye and ear of the critic (it is seen that these errors were but trifling in number and character), the series of operatic representations under consideration was a fine, a brilliant success.

For the happy conception and successful carrying-out of the idea of presenting to the public a rendition of opera by musicians of the colored race, words too high in praise of these ambitious pioneers of Washington cannot be spoken. Never before had there been252 an attempt by persons of their race to enter, as the equals of others, the exacting domain of the music drama. The performances, although few in number, were of such a highly-pleasing description, and the movement was withal so entirely novel, as to render it a somewhat startling and a most delightful revelation.

Mingled with the feelings of just pride that many persons experience when reflecting upon the grand musical and dramatic success achieved by these artists, ever and anon arise those of regret,—regret that they did not longer continue their charming performances, extending the same to other cities besides those mentioned. It is therefore earnestly hoped that ere long they will again appear. It is hoped that even now they are devoting themselves to rigid study, and to the arrangement of matters of detail; and that, guided by past valuable experience, they will soon give representations of opera in a style even exceeding in finish that which characterized those which they formerly gave.

As the avants-courrières in art of those of their race, whom, let us hope, a fast-approaching day of better opportunities shall make plentiful enough; holding as they do their torches in the remaining darkness, to light the pathway of those that shall follow them into the bright, the delightful realms of the operatic Muse,—theirs is therefore a beneficent, a noble mission, the continuance of which promises the happiest results for all concerned.

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XIX.

THE FAMOUS JUBILEE SINGERS

OF

FISK UNIVERSITY.

THE dark cloud of human slavery, which for over two hundred weary years had hung, incubus-like, over the American nation, had happily passed away. The bright sunshine of emancipation's glorious day shone over a race at last providentially rescued from the worst fate recorded in all the world's dark history. Up out of the house of bondage, where had reigned the most terrible wrongs, where had been stifled the higher aspirations of manhood, where genius had been crushed, nay, more, where attempts had been made to annihilate even all human instincts,—from this accurs254ing region, this charnel-house of human woe, came the latter-day children of Israel, the American freedmen.

How much like the ancient story was their history! The American nation, Pharaoh-like, had long and steadily refused to obey the voice of Him who said, between every returning plague, "Let my people go;" and, after long waiting, he sent the avenging scourge of civil strife to compel obedience. The great war of the Rebellion (it should be called the war of retribution), with its stream of human blood, became the Red Sea through which these long-suffering ones, with aching, trembling limbs, with hearts possessed half with fear and half with hope hitherto so long deferred, passed into the "promised land" of blessed liberty.

Slavery, then, ended, the first duty was to repair as far as possible its immense devastations made upon the minds of those who had so long been its victims. The freedmen were to be educated, and fitted for the enjoyment of their new positions.

In this place I may not do more than merely touch upon the beneficent work of those noble men and women who at the close of the late war quickly sped to the South, and there, as teachers of the freedmen, suffered the greatest hardships, and risked imminent death from the hands of those who opposed the new order of things; nay, many of them actually met violent death while carrying through that long-benighted land the torch of learning. Not now can we more than half appreciate the grandeur of their Heaven-inspired work. In after-times the historian, the orator, and the poet shall find in their heroic deeds themes for the most elevated discourse, while the then generally cultured survivors of a race for whose elevation these true-heart255ed educators did so much will gratefully hallow their memories.

Among the organizations (I cannot mention individual names: their number is too great) that early sought to build up the waste places of the South, and to carry there a higher religion and a much-needed education, was the American Missionary Association. This society has led all others in this greatly benevolent work, having reared no less than seven colleges and normal schools in various centres of the South. The work of education to be done there is vast, certainly; but what a very flood of light will these institutions throw over that land so long involved in moral and intellectual darkness!

The principal one of these schools is Fisk University, located at Nashville, Tenn.; the mention of which brings us to the immediate consideration of the famous "Jubilee Singers," and to perhaps the most picturesque achievement in all our history since the war. Indeed, I do not believe that anywhere in the history of the world can there be found an achievement like that made by these singers; for the institution just named, which has cost thus far nearly a hundred thousand dollars, has been built by the money which these former bond-people have earned since 1871 in an American and European campaign of song.

But what was the germ from which grew this remarkable concert-tour, and its splendid sequence, the noble Fisk University?

Shortly after the close of the war, a number of philanthropic persons from the North gathered into an old government-building that had been used for storage purposes, a number of freed children and some grown256 persons living in and near Nashville, and formed a school. This school, at first under the direction of Professor Ogden, was ere long taken under the care of the American Missionary Association. The number of pupils rapidly increasing, it was soon found that better facilities for instruction were required. It was therefore decided to take steps to erect a better, a more permanent building than the one then occupied. Just how this was to be done, was, for a while, quite a knotty problem with this enterprising little band of teachers. Its solution was attempted finally by one of their number, Mr. George L. White, in this wise: He had often been struck with the charming melody of the "slave songs" that he had heard sung by the children of the school; had, moreover, been the director of several concerts given by them with much musical and financial success at Nashville and vicinity. Believing that these songs, so peculiarly beautiful and heart-touching, sung as they were by these scholars with such naturalness of manner and sweetness of voice, would fall with delightful novelty upon Northern ears, Mr. White conceived the idea of taking a company of the students on a concert-tour over the country, in order to thus obtain sufficient funds to build a college. This was a bold idea, seemingly visionary; but the sequel proved that it was a most practical one.

All arrangements were completed; and the Jubilee Singers, as they were called, left Nashville in the fall of 1871 for a concert-tour of the Northern States, to accomplish the worthy object just mentioned. Professor White, who was an educated and skilful musician, accompanied them as musical director. Mr. Theodore257 F. Seward, also of fine musical ability, was, after a while, associated in like capacity with the singers. The following are the names of those who at one time and another, since the date of organization, have been members of the Jubilee choir:—

This list might well be called the Roll of Honor.

I have not space to follow in detail this ambitious band of singers in their remarkable career throughout this country and in Great Britain. The wonderful story of their journey of song is fully and graphically told in a book (which I advise all to read) written by Mr. G.D. Pike, and published in 1873. A brief survey of this journey must here suffice.

The songs they sang were generally of a religious character,—"slave spirituals,"—and such as have been sung by the American bondmen in the cruel days of the past. These had originated with the slave; had sprung spontaneously, so to speak, from souls naturally musical; and formed, as one eminent writer puts it, "the only native American music."

The strange, weird melody of these songs, which burst upon the Northern States, and parts of Europe, as a revelation in vocal music, as a music most thrillingly sweet and soul-touching, sprang then, strange to say,258 from a state of slavery; and the habitually minor character of its tones may well be ascribed to the depression of feeling, the anguish, that must ever fill the hearts of those who are forced to lead a life so fraught with woe. This is clearly exemplified, and the sad story of this musical race is comprehensively told, in Ps. cxxxvii.:—

And yet, ever patient, ever hopeful of final deliverance, they did sing on and on, until at last the joyful day of freedom dawned upon them.

To render these songs essentially as they had been rendered in slave-land came the Jubilee Singers. They visited most of the cities and large towns of the North, everywhere drawing large and often overwhelming audiences, creating an enthusiasm among the people rarely ever before equalled. The cultured and the uncultured were alike charmed and melted to tears as they listened with a new enthusiasm to what was a wonderfully new exhibition of the greatness of song-power. Many persons, it is true, were at first attracted to the concert-hall by motives of mere curiosity, hardly believing, as they went, that there could be much to enjoy. These, however, once under the influence of the singers, soon found themselves yielding fully to the enchanting beauty of the music; and they would come away saying the half had not been told. The259 musical critics, like all others in the audiences, were so lost in admiration, that they forgot to criticise; and, after recovering from what seemed a trance of delight, they could only say that this "music of the heart" was beyond the touch of criticism.

I have spoken of the origin and the character of these songs. Those who so charmingly interpreted them deserve most particular notice. The rendering of the Jubilee Singers, it is true, was not always strictly in accordance with artistic forms. The songs did not require this; for they possessed in themselves a peculiar power, a plaintive, emotional beauty, and other characteristics which seemed entirely independent of artistic embellishment. These characteristics were, with a most refreshing originality, naturalness, and soulfulness of voice and method, fully developed by the singers, who sang with all their might, yet with most pleasing sweetness of tone.

But, as regards the judgment passed upon this "Jubilee melody" from a high musical stand-point, I quote from a very good authority; viz., Theo. F. Seward of Orange, N.J.:—

260

It would not do, of course, to assume that to the almost matchless beauty of the songs and their rendering was due alone the intense interest that centred in these singers. They were on a noble mission. They sang to build up education in the blighted land in which they themselves and millions more had so long drearily plodded in ignorance; and it was a most striking and yet pleasing exhibition of poetic justice, when many of those who really, in a certain sense, had been parties to their enslavement, were forced to pay tribute to the signs of genius found in this native music, and to contribute money for the cause represented by these delightful musicians.

But I must not give only my own opinion of these singers, as I am supposed to be a partial witness. Many, many others, among whom are the most talented and cultured of this country and England, have spoken of them in terms the most laudatory. Some of these shall now more than confirm my words of praise.

The Rev. Theodore L. Cuyler of Brooklyn, writing in January, 1872, to "The New-York Tribune," thus spoke of them:—

The welcome thus eloquently bespoken for the singers was enthusiastically extended to them all over the North. The journals of the day fairly teemed with praises of them; and often, in the larger cities, hundreds of persons were turned away from the concert-hall, unable to obtain admittance, so great was the rush.

After a while they visited England, where they sang before the Queen and others of the nobility, everywhere repeating the triumphs that had been theirs in this country. In fact, it was proved that their power as singers held sway wherever they sang; wherever was found a soul in unison with melodious sound, a heart capable of human emotion. It was not so much the words of their songs—these, it is true, were not without merit in a religious sense—as the strangely pathetic and delightful melody of their music, and the freshness and heartiness of the rendering, that gave them their greatest charm. This has since been most pointedly262 demonstrated in Holland and Switzerland, where these singers have drawn crowded and delighted audiences that neither speak nor understand a word of English: such is the beautiful, far-reaching power of this, in the truest sense, "music of the heart."

I now present a few of the many tributes of admiration which their performances drew from cultured English people. Thus spoke Mr. Colin Brown, Ewing Lecturer on Music, Andersonian University, Glasgow:—

Others spoke as follows:—

Mr. Gladstone, while prime-minister of England, honored them with a complimentary breakfast, and lis263tened to their songs, as Newman Hall writes, "with rapt, enthusiastic attention, saying, 'Isn't it wonderful? I never heard any thing like it.'"

I might now, if it were necessary, fill many pages with the comments made upon these charming singers by the American press both before and after their trip to England; but these would only be repetitions of the laudatory notices just given. The following is quoted because it is descriptive of the improvement made by the singers. Said "The Boston Journal,"—

"In the summer of 1874 they returned to Nashville, having given two seasons of concerts in this country, and one in Great Britain. The best evidence of the appreciative and enthusiastic welcome given them in both countries is the fact that the net result for Fisk University was over $90,000." The "problem" of the little band of faithful teachers had been nobly, gloriously solved. The old government-building in which they began their labors was soon discarded. To-day, on a beautiful, commanding site of twenty-five acres, with all the appliances of the best modern colleges, stands a noble building, forever dedicated to learning and to Christianity.

FISK UNIVERSITY, NASHVILLE, TENN.

Since the events whose record is just closed, it has been determined by the faculty of Fisk University to raise by other concert tours $100,000 as an endowment fund. At the present writing (June, 1877) the Jubilee Singers are making a tour of the Continent. They are now in Holland. Thus far their success continues unabated; and undoubtedly they will succeed in amply endowing the institution which, in a manner so praiseworthy and remarkable, they have erected. The following extract from a letter affords a pleasant glimpse at the European life of the singers:—

And now to discriminate; for the writer, while disclaiming all censorious or pretentious aim, yet, for reasons which may be readily understood and fully appreciated by the reader, intends this volume to inculcate the lessons of advancement by always attempting to honestly distinguish between that which is progressive in music and that which is the reverse. Have, then, these famous Jubilee Singers, who everywhere thrilled the hearts of their hearers, and whose charming melody268 of voice, and style of rendition, "disarmed the critic,"—have they established by all this a model for the present and the future? In some respects they have; in others they have not. And is there to be no aim beyond the singing of "Jubilee songs"? Professors White and Seward and all these talented singers will say, I am quite sure, that there is to be a higher aim. The songs they sang were for the present, forming a delightful novelty, and serving a noble purpose. Still it must be sadly remembered that these Jubilee songs sprang from a former life of enforced degradation; and that, notwithstanding their great beauty of melody, and occasional words of elevated religious character, there was often in both melody and words what forcibly reminded the hearer of the unfortunate state just mentioned; and to the cultured, sensitive members of the race represented, these reminders were always of the most painful nature. And yet such persons could not have the heart to utter words of discouragement to an enterprise having an object so noble. They, like all others, could not but enjoy the rich melody and harmony of the wonderful Jubilee voices. They, too, often listened spell-bound; and when inclined, as at times they were, to murmur, the inspiriting voice of hope was heard bidding them to turn from a view of the dark and receding past to that of a rapidly-dawning day, whose coming should bring for these singers, and all others of their race, increase of opportunities, and therefore increase of culture.

On the foregoing pages but little has been said of the secular songs with which at times the troupe indulged their audiences. Even in music of this kind they were exceedingly pleasing; and it is very gratify269ing to reflect that the members of the company constantly aimed to obtain a scientific knowledge of general music. No fears need be entertained that the students of Fisk University will ever lack for instruction in music of the highest order, as ample provision is there made for the same. Of course the model of slave "spirituals" will in a short while give place to such music as befits the new order of things. The students themselves will wish to aim higher, as the spirit of true progress will demand it. Nevertheless, some of the characteristics displayed by the great Jubilee choir it will be well for them to ever retain, and for all other singers to imitate: I mean the heartiness, the soulfulness, of their style of rendition. Indeed, in their striking exhibitions of these latter qualities, I think they may justly claim the honor of standing quite peerless and alone, and of having presented a model for the present and the future,—a model founded on that power of the singer, which enables him to melt, to stir to its innermost recesses, the human heart; that power that enables him to sing as one inspired.

And here let me conclude by venturing a brief prediction. My mind goes a few years into the future. I attend a concert given by students or by graduates of Fisk University; I listen to music of the most classical order rendered in a manner that would satisfy the most exacting critic of the art; and at the same time I am pleasantly reminded of the famous "Jubilee Singers" of days in the past by the peculiarly thrilling sweetness of voice, and the charming simplicity and soulfulness of manner, that distinguish and add to the beauty of the rendering.

270

XX.

THE GEORGIA MINSTRELS.

THE origin of troubadours, or minstrels, dates back to the year 1100 (A.D.) at least. There are accounts, somewhat vague, however, which make them still more ancient. They were at one time almost the sole producers of poetry and music, always composing the songs they sang, accompanying the same generally, at first, with the music of the dulcet-toned harp, and, at a later period, with that of the guitar.

Their accomplishments, especially in music, secured for them the ready entrée of the most refined society, particularly that of elegant ladies, of whom they were great favorites; while the most polished princes always extended them a warm welcome.

At one time in their history, the fate of letters was in the sole keeping of the troubadours. Had it not been271 for the frequent presentations and allusions made to literature in their songs, its chain, connecting past and present, would have been broken.

An elegant French writer, speaking of the ancient troubadours, observes, "They banished scholastic quarrels and ill-breeding, polished the manners, established rules of politeness, enlivened conversation, and purified gallantry. That urbanity that distinguishes us (the French) from other peoples is the fruit of their songs; and, if it is not from them that we derive our virtues, they at least taught us how to render them amiable."

I have thus briefly alluded to the early history and characteristics of the minstrel, because I consider such a course as just towards the present profession, and in order to show how sadly (in this country certainly) have its members deviated from the refined, the brilliant practices of their predecessors. Besides, in doing this, I am not without a hope that I may be contributing in some slight degree towards elevating a profession, the archetypes of which discoursed the finest music of their times, and whose courtliness of demeanor and varied acquirements were such as to render them the fit associates of persons of the highest culture. For, in this instance, why may not what has been be again?

It is unnecessary to dwell at length upon the fact so sadly apparent, that the American minstrel has had for his principal "stock in trade" the coarse, the often vulgar, jest and song; a disgusting (to the refined) buffoonery, attended with painfully displeasing contortions of the body; and, worst of all, the often malicious caricaturing of an unfortunate race.

It is, however, cause for gratulation, that American minstrelsy has of late been divested of much of its272 former coarseness; that its entertainments have become so much diversified and elevated in character—the musical portions of which at times so nearly approach the classical—as to render the same entirely different from the minstrel performances so common a few years ago. It is found that a public rapidly becoming enlightened, and freed from the influences of an unreasoning and cruel race-hatred, no longer enjoys with its former relish the "plantation act," so called, with all its extravagant and offensive accompaniments. Compelled to recognize this change of sentiment and taste, the best troupes now frequently give, instead of the "act" just mentioned, some other one, which, while comical enough, is yet free from features distasteful to people of refinement.

In view of all this, may we not ask, Is the minstrel guild going back to the standards of its ancient and more noble days? Let us hope that it is.

And to the attention of those who have regarded with aversion (often with good cause too) the modern race of "troubadours" I commend the cheering tendencies just noted, since these may be held as indicating the dawn of a brighter day for all concerned.

I next invite the reader to the perusal of a sketch of the famous "Georgia Minstrels," who not only in this country, but in some parts of Europe, have become justly celebrated as the finest troupe of minstrels extant. Being all real colored men, and therefore not dependent upon "burnt cork,"—being, as some have put it, "the genuine article,"—they in this respect possess an advantage over their naturally fairer-skinned brethren in the profession. Still, as will be seen hereafter, this complexional advantage (?) is not by any means the most important cause of their unprecedented success.273

But the reader is first requested to pardon what may be thought a digression: the writer considers it a necessary one.

He is aware, that, in presenting in this book the following account of the Georgia Minstrels,—an account which, on the whole, must be regarded as highly complimentary to the latter,—he may be incurring the displeasure of some very excellent people who belong to the same race as that of the members of the troupe mentioned. This he very much regrets; for although he considers these persons as perhaps unnecessarily sensitive, and certainly mistaken in some of the opinions which they hold regarding this company of minstrels (whose performances, by the way, most of said persons have never witnessed), he yet entertains the fullest respect for the honorable motives that inspire their disfavor.

The main grounds of their opposition to minstrel performances in general, and to those of the Georgia Minstrels in particular, may be stated briefly, but fairly, as follows: That these performances consist, for the most part, in a disgusting caricaturing ostensibly of the speech and action of the more unfortunate members of the colored race, but which are really made to reflect against the whole; that these public performances do much to belittle their race generally, arouse and keep alive in the breasts of other races a feeling of contempt for it; and that these effects are greatly enhanced when colored men themselves engage in such performances, as they thus give "aid and comfort to the enemy." I shall not attempt to refute these statements. They may be true; but, whether they are or not, it is not within the province of this book to discuss. They are placed here274 in order that both sides may be heard. Against their severe and somewhat sweeping character I place the fine musical achievements of the subjects of this sketch. Of these, assuredly, we can all be proud; and therefore the recounting of these shall serve as a full justification of the course I have taken in presenting the sketch.

The author well remembers, that, when only a boy of fourteen years, he was so much opposed to seeing colored men appear as minstrels, that he indignantly refused to comply when requested to post and otherwise distribute play-bills for a company of colored minstrels who were to appear in the town in which he lived; for he considered it alike disgraceful for them to thus appear, and himself to give aid to such appearance. He fully retained this feeling of aversion up to a year or two ago, when, contemplating the preparation of this book (which, by the way, was for the sake of consistency, as a work on music, to trace the footsteps of the remarkable colored musician wherever they might lead), he had to force himself, so to say, into the hall, to witness the performances of the Georgia Minstrels. He resolved as he entered, however, that he would give his particular attention to the musical part of the programme, and try to discover in that such evidences of talent and fine attainments as would justify him in sketching the troupe. He was not pleased, of course, with that portion of the performance (a part of which he was compelled to witness) devoted to burlesque. Nevertheless, he found in the vocal and instrumental part much that was in the highest degree gratifying; for during the evening he listened to some of the most pleasing music of the time, sung and played275 in a manner evincing on the part of the troupe not only fine natural talent, but much of high musical culture. And so he came away, thinking, on the whole, that there were, to say the least, two sides to the minstrel question; feeling that the Georgia Minstrels had presented so much that was really charming in a musical way as to almost compensate the sensitive auditor for what he was ready to confess he suffered while witnessing that part of the performance devoted to caricature.

Commencing about twelve years ago, composed of men some of whom had been slaves in Georgia, all possessed of much natural musical talent, without (except in one or two instances) scientific training, the Georgia Minstrels began their career under the leadership of Mr. George B. Hicks. Although from the first attracting by their performances no little attention, their fortune was for some time only a varying one; nor did they attain to a firm position before the public until after Mr. George B. Callender assumed the directorship. By studious application, most of the original "Georgias" became fairly versed in music. The places of those who left were from time to time filled by adding to the company educated musicians and performers of high merit; the skilful director "pressing into the service," so to speak, as he passed through the country, the best talent obtainable. At present, only two or three of the original members are with the company.

The troupe is now composed of twenty-one performers; and each possesses either rare vocal or instrumental (most of them both) natural talents and acquirements; and, when these qualities are combined, a performance of such delightful beauty and finish is presented, as to elicit from their audiences the most276 enthusiastic applause. From the instrumentalists of this company either a fine orchestra or brass band can at any time, as occasion requires, be formed; while they present solo, single and double quartet, and ensemble singing, of most charming power and sweetness. At least four of their number have been in the past accomplished teachers of music; one has played in some of the best orchestras of England; one is a superior performer upon at least four instruments, while he is a fair player of twelve; several are excellent performers on two or three instruments; and three of the troupe arrange and write music.

The following-named persons are members of the troupe at this writing (May, 1877):—

As showing the estimation in which the vocalism of their quartet is held by persons of culture, I may state, that a year or two ago, while the company remained over Sunday in a Western city in which they had performed during the previous week, this quartet was invited to sing (as its choir) in one of the most fashionable churches there. The invitation was accepted; and277 it may be remarked, that although these fine singers did full justice to the proprieties of the occasion, and thus justified the bestowment of a marked honor upon them,—it may be remarked, I say, that they thus enjoyed a distinction rarely if ever before conferred upon members of a minstrel troupe.

While in Boston in 1876, the company were invited to a "camp-fire" of Grand Army Post 115, composed for the most part of ex-officers of high rank, and all gentlemen of education and good social position. On this occasion, their own classical quartet and that of the "Georgias" united in presenting some of the most exquisite music, while other pleasing incidents of the evening rendered it one long to be remembered. In the same city, at another time, they were entertained at the residence of one of the most accomplished of its musicians. I mention these pleasant occurrences simply to show the character and extent of the popularity which this excellent troupe everywhere wins: for to please a miscellaneous throng in public halls and theatres, and, after the curtain falls at the close of the performance, to be almost forgotten by the same, is the experience of most all minstrel companies; but to be sought after when off the stage by people of the best character, and invited to contribute with their fine musical attainments and social qualities to the enjoyments of select private circles, is a distinction, in the constant winning of which the Georgia Minstrels stand almost if not entirely alone.

And now, as proofs of the great popularity of this company on the stage, I shall present a few from among the many press notices, regarding their performances, in my possession. These, while fully in harmony with278 what I have said respecting the merits of these famous performers, add some points of interesting description.

Says "The New-York Sun,"—

"The New-York Herald,"—

"The Memphis Appeal,"—

"The Indianapolis Journal,"—

"The Petersburg (Va.) Index,"—

"The Philadelphia Inquirer,"—

"The Philadelphia Record,"—

"The Cincinnati Commercial" says,—

279

"The Brooklyn Eagle" says,—

"The Cincinnati Inquirer" says,—

"The Baltimore News" says,—

"The Brooklyn Union" says,—

"The Memphis Appeal" says,—

"The Baltimore American" says,—

William Lloyd Garrison writes,—

Mr. P.T. Barnum says,—

Said Dexter Smith, the eminent song-writer,—

And the Boston "Folio," that excellent journal of music,—280

"The Boston Herald" said,—

Again the same paper said,—

"The Boston Advertiser" said,—

The "Chicago Post,"—

I need only further mention, in conclusion, that several members of this troupe possess musical and histrionic abilities of an order so high as to fit them to grace stages of a more elevated character than the one upon which they now perform. Indeed, one formerly attached to it is now a valuable member of the "Hyers Opera Company." On the minstrel boards his talents as a singer and actor were developed. It is to be hoped (and here I crave the pardon of Mr. Callender, their gentlemanly director, who is requested to try to appreciate the good motive, at least, that prompts a suggestion which seems to aim at the disintegration of his famous company) that others of the "Georgias" will follow his example. Their motto should constantly be, "Excelsior!"

I have been informed that in the city of Boston, at a certain time, not many years ago, the then directors of the three principal theatre orchestras were persons who had previously been members of minstrel troupes. It is also known that several of the finest operatic singers in this country learned their first lessons at this same school,—the minstrel stage. In their new, higher, and282 of course far more desirable positions, these persons have achieved artistic results which reflect upon them the highest credit, and which show also that the minstrel profession has some beneficial, elevating uses, notwithstanding all that may be truly said against it.

283

PART SECOND.

285

OTHER REMARKABLE MUSICIANS,

AND

THE MUSIC-LOVING SPIRIT OF VARIOUS LOCALITIES.

I.

ON the following pages I shall make mention in collective form, and somewhat briefly, of a number of artists whose histories, although not less important than those by which they are preceded, could not, owing to various causes, be placed in the first part of this book.

The true value of musical proficiency does not consist alone in the power it gives one to win the applause of great audiences, and thereby to attain to celebrity: it consists also in its being a source of refinement and pleasure to the possessor himself, and by which he may add to the tranquillity, the joys, of his own and the home life of his neighbors and friends. And here will be found, therefore, a brief mention of those, who, although they are not public performers, are yet sincere devotees of the art of music, who possess decided talent, and who in their attainments present instances of a character so noticeable as to render the same well worthy of record.286

It is considered proper to say, also,—a caution which perhaps may not be necessary,—that I shall here make mention by name of none but persons of scientific musical culture; of none but those who read the printed music page, and can give its contents life and expression, generally, too, with a fine degree of excellence, either with voice or instrument; and who evince by their studies and performances the true artistic spirit. The singer or player "by ear" merely, however well favored by nature, will not be mentioned. This course will be followed, not because persons of the latter class are regarded contemptuously,—not by any means; but because it is intended that the list here given shall be, as far as it goes, a true record of what pertains to the higher reach and progress of a race, which, always considered as naturally musical, has yet, owing to the blighting influences of the foul system of slavery, been hitherto prevented from obtaining, as generally as might be, a scientific knowledge of music.

Nor must the list of names furnished be understood as an exhaustive one. Had the author the time in which to collect more names, or had he here the space for printing the same, he assures the reader of this only partial chronicle that one could be furnished which would be many times larger. And moreover, if any meritorious musician shall complain because his name does not here appear, I ask him to pardon the omission, made not from choice, nor with the purpose of giving personal offence.

If the first edition of this book shall be received with such favor as to warrant the issuing of a second one, I shall, if it be found necessary, take the time and pains to supply in it such omissions as appear to be made in287 this one. If it be found necessary, I say; for I am inclined to opine that ere long,—judging from a "view of the field" that I have lately taken, and after witnessing there the many delightful evidences of musical love and culture,—that ere long neither such lists as this, nor just such books as this, will be considered as necessary.

Nevertheless, the writer requests all who are interested in the more general cultivation of music by the people to send him such names as have been here left out, together with all facts that may additionally illustrate the subject treated in these pages; all names and statements to be accompanied by as strong confirmation as can possibly be procured. These will be published in case other editions of the book are issued.

It is hoped that the persons here mentioned, on seeing that their present achievements in art are regarded as of so much value in indicating the æsthetic taste and musical capacity of their race, may be impelled thereby to put forth even greater efforts, and to thus attain to that still higher state of usefulness and distinction, which, it is believed, their talents and present accomplishments show is quite possible.

In the city of Boston, which is the acknowledged great art centre of this country, the amplest facilities for the study of music are afforded. There the doors of conservatories and other music schools, among the finest of any in the world, are thrown open to all; the cost of admission being, considering the many advantages afforded, quite moderate. A love of the "divine art" pervades all classes in Boston; and there the earnest student and the skilful in music, of whatever race he may be, receives ready recognition and full288 encouragement. It is, in fact, almost impossible for one to live in that city of melody, and not become either a practical musician, or at least a lover of music.

It need not, then, be a matter of surprise that so many of the most finely-educated artists mentioned in this book are found to have been residents of the city mentioned. Affected by its all-pervading, its infectious, so to say, musical spirit, they eagerly embraced the many opportunities offered for culture; and their noble achievements are only such as would have been made by others of the same race residing in other sections of the country, had the latter enjoyed there (as, alas! mostly on account of the depressing, the vile spirit of caste that prevailed, they did not) the same advantages as the former.

Commencing with Boston, then, I first mention Miss Rachel M. Washington, a lady of fine artistic qualities, thoroughly educated in music, performing in finished, classical style on the piano-forte and organ, and who is a most accomplished teacher of those instruments and of harmony. In the last-mentioned department of music she a few years ago graduated, receiving the valuable diploma of the New-England Conservatory at Boston. Many of the most pleasing amateurs of Boston and vicinity received their first instructions in music from Miss Washington. Hers is a musical family, as her two sisters and brother are each possessed of nice musical taste and education. The subject of this notice early awakened their interest, and directed their studies. It is gratefully acknowledged, too, that to Miss Washington's earnest efforts, more than to those of any other289 person in Boston, is due that love for and proficiency in musical art so noticeable in certain circles of that city. From what I have learned of this artist's history from my own observation and otherwise, I am convinced that its full recital here would add much to the interest and value of this book. But I am prevented from doing this by her own earnest request, conveyed in language which, although, as I think, a trifle too gloomy, yet shows that she is animated by the most elevated ideas concerning the beautiful art of which she is so noble an exponent. I cannot forbear quoting a part of her excellent letter, in which she says,—

Miss Washington has long been the organist of the Twelfth Baptist Church, Boston, as well as the directress of its choir. She is a lady of fine general culture and Christian character, and has many times been the recipient of public testimonials, and of complimentary notices from the New-England press.

Mrs. Dr. C.N. Miller (née Ariana Cooley) was for a long time the leading soprano-singer of Rev. L.A. Grimes's church. She has been long and favorably known in Boston musical circles as a very pleasing vocalist, possessing a pure, rich voice of great range, and highly cultivated. She renders with fine expression the best music. Her repertoire of songs is quite extensive, and she has often been complimented by the press. "The Boston Globe" of March 31, 1876, alluding to her singing at a public concert, said, "She is the possessor of a well-cultivated voice of natural sweetness." Mrs. Miller was until recently a valued member of the Tremont-Temple choir, so noticeable for excellent singing. She is now a member of the Berkeley-street Church quartet.

Mrs. P.A. Glover and Mrs. Hester Jeffreys, who will be better known by their maiden names,—Phebe A. and Hester Whitehouse,—possess voices of rare natural beauty considerably cultivated. These sisters, had they so chosen, could have long since become public singers of much prominence; since their rich vocal gifts are supplemented by a fine knowledge of music, to which are added also very graceful, winning manners.291 As it is, they have often delighted their hearers in private circles by their rendering of some of the choicest music of the day. They have occasionally appeared in public, always to the acceptance of large audiences. These ladies inherit their musical talents from their mother, who possessed a voice of more than ordinary range and sweetness.

Mrs. Dr. G.F. Grant (née Georgina Smith), formerly the efficient organist of the North Russell-street Church, has been regarded as a most pleasing vocalist, possessing a very pure, sweet soprano-voice. She was for some time a pupil of the New-England Conservatory of Music; and on more than one occasion was chosen to represent at its quarterly concerts, before large and cultivated audiences in Music Hall, the system taught and fine progress made by the attendants of that institution. On such occasions, her naïveté, her graceful, handsome stage-appearance, and expressive rendering, with voice of bird-like purity, of some of the best cavatina music, always elicited the most enthusiastic plaudits and recalls. The writer was fortunately present on one of these occasions, and remembers with much satisfaction the delight he felt, not only in hearing this lady's melodious voice himself, but in witnessing its charming effect on an audience of nearly four thousand people, representing generally Boston's best culture. Her reception really amounted to an ovation. The event was a most remarkable one, and, exhibiting as it so fully did the power of art to scatter all the prejudices of race or caste, was most instructive and re-assuring.

Of her appearance at one of the concerts just mentioned "The Boston Globe" thus spoke:—292

And "The Boston Journal" said,—

Miss Smith was a member of the chorus, composed of selected singers, that sang at the memorable "International Peace Jubilee Concert," and, although still quite young, has had an experience as a vocalist of which she may well be proud.

Miss Louisa Brown, now deceased, was a pianist of ambitious aim and much promise. She had been instructed by some of the best teachers of Boston; but never appeared as a performer in public, being of a retired disposition. She, however, often by her musical performances, as well as by her general acquirements and knowledge in art-matters, afforded pleasing entertainment and instruction for the members of her family and their visitors. In her piano-studies she evinced a taste for only the highest kind of compositions, and, in her rendition of the same, exhibited evidence of most faithful application, and no little proficiency. She was a graduate of the Girls' High and Normal School of Boston, was fairly skilled in drawing, and had added much to her store of general knowledge by a visit to Europe. While in almost the flower of youth, and a293 state of highest usefulness, she was stricken down by death. All that has here been said, and much more, was expressed in some of the public journals by admiring friends shortly after her decease.

Among those whose musical abilities have thus far attracted much attention, and given promise that their possessor will attain to still higher distinction in the future, I mention Mr. B.J. Janey, whose fine tenor-voice has often won for him the praises of private and public audiences. He has studied privately under one of the professors at the New-England Conservatory of Music; is a pleasing performer on the flute; and, as a singer, has more than once been favorably mentioned by the press.

Miss Fannie A. Washington has for some time afforded much pleasure to public audiences as a contralto-singer. She was for a while a pupil of the Conservatory previously mentioned. She has been complimented by the press.

Miss Ellen Sawyer possesses a soprano-voice which is quite elastic, of great range, and strong and clear in the upper register. She has been favorably received on several occasions by public audiences.

Mr. W.H. Copeland and Mr. E.M. Allen deserve mention for their fine rendering of choice music; the former singing tenor, and the latter bass. They are conscientious lovers and students of music, ever seeking to attain to the highest positions as artists. Mr. Copeland's studies are directed at the New-England Conservatory. The ambitious spirit displayed by Mr. Allen is very praiseworthy, he having contended very perseveringly and with much success against great obstacles. He sang in the bass division at one of the great Jubilee concerts.294

Mrs. Cecelia Boston, who will be better known by her maiden name,—Cecelia Thompson,—has long been much remarked for clever abilities as organist, pianist, and contralto-vocalist.

Miss Rachel Thompson is a ready reader of music, and a good soprano-singer.

Mrs. Phebe Reddick, possessing a clear, ringing soprano-voice, adds much to the singing of the Twelfth Baptist Church choir.

Mr. Francis P. Cleary, Mr. James L. Edwards, and Mr. George W. Sharper, all band-directors, deserve mention here for their efforts while connected with such organizations.

Of the musical bodies who play upon instruments of

"Sonorous metal, blowing martial sounds,"

I mention the "Excelsior Brass Band;" an ambitious title, it is true, but one which the future may show to be well taken. This band contains a number of young men who seem to be in earnest, and studious; and some of them possess noticeable talent. Their leader, Mr. George W. Sharper, is painstaking, and ambitious to have the band succeed.

Whenever in filling engagements it is necessary to add to the regular force of the "Excelsiors," no difficulty is experienced in securing the services of a number of fine musicians of the other race,—a fact which shows the power of music to destroy the distinctions of caste.

Mr. Joseph W. Hendricks has exhibited a commendable ambition in his efforts to acquire a knowledge of music, devoting several hours each day to practice on the piano-forte.

Mr. Joseph Thompson is an assiduous student of, and295 fair performer on, the B♭-tenor and the flute. He is a member of the "Excelsior Brass Band."

I have thus mentioned briefly the best-known artists of Boston. As I have indicated, most of them have musical abilities of a high order, entitling them to a much fuller notice than can here be given. There are, of course, others of fine musical attainments who adorn private circles.

Boston contains two or three musical societies, and several vocal quartets. The Auber Quartet have attracted much attention by their very pleasing rendering of some of the best popular music of the day. The names of its members appear hereafter.

The Progressive Musical Union is the name of one of the societies above mentioned. It is well organized. Elijah W. Smith, the poet, is president. The noble purposes of this society are eloquently stated in the following lines, composed by the gentleman just mentioned, and which prefaced the programme of the first public concert given by this society, March 9, 1875:—

The following are the numbers performed on the occasion mentioned:—297

This concert gave delight to a large audience, and was very much praised by the public journals.298

I close the list of Boston musical people by presenting the following programme of a hastily-arranged concert given by a number of artists on the evening of April 15, 1874. It is given simply as a specimen of the numbers often performed at concerts by those whose names appear, and by others mentioned heretofore, with but little rehearsal. Although the music is of a fine order, it is by no means as difficult as that frequently rendered by these persons at other concerts, the programmes of which I have not now at hand.

299

300

Mr. David T. Oswald, residing at Worcester, Mass., is an artistic violinist, performing in a finished style the most classical and difficult music for the violin. He has, besides, become deservedly popular as an organizer of musical entertainments, and as a promoter of a regard for good music by the people. He is quite well known in St. John, N.B., Portland, Me., and in Boston, in which places he has frequently appeared at public concerts; and has been often complimented by the press.

James Caseras, who was for a long time the organist of a Catholic church in Springfield, Mass., deserves, on account of his great skill as a performer on the organ and piano-forte, particular mention here. He came to this country some years ago from England, where he had attracted much notice for his fine musical qualities. In Scotland he had frequently played before the nobility. A few years ago, shortly after his arrival in this country, he was tendered a reception by some of the first musicians of Boston. This occurred at Mercantile Hall. Here he rendered with most remarkable skill, on the piano-forte, some of the more difficult music of the great masters, receiving the warmest praises of the best judges of art.

Mr. T.M. Fisher of Portland, Me., is noticeable as a fairly good baritone-singer. He has appeared occasionally at concerts in his own city and in Boston, and has been favorably mentioned by the press.

In another place the violin has been recommended as a proper instrument for study and practice by ladies. Among the latter who have given attention to it, I am pleased to mention Madam Adaline Talbot of Portland, Me. She has not yet become a great player, but now shows sufficient proficiency to warrant the belief, that,301 if she continues her studies of this delightful instrument, she may in time become an excellent performer.

The city of New York has some very excellent musicians.

John T. Douglass is very justly ranked with the best musicians of this country. His fame is by no means confined to New-York City or State, as he has travelled quite extensively, and has been engaged in many musical enterprises. He is a skilful, artistic performer on several instruments, chief of which are the violin and guitar. As a performer on the last-mentioned instrument he has few equals, while for it he has arranged and composed a great deal of music. He has also composed many fine pieces for orchestras and for the piano. When only about twenty years of age, he composed a grand overture called "The Pilgrim." He enjoys an enviable reputation in New York as a teacher of music, and is very remarkable for the enthusiastic, devoted attention he gives to the study of the art. As Mr. Douglass is but thirty years old,—having been born in New York in 1847,—it will be seen that he has made most wonderful progress, and that he has before him a very brilliant future.

Mr. David S. Scudder has fine natural talents, and has made very commendable progress in music. He is a fair performer on the flute, piano, and double-bass; playing quite well Mendelssohn's music, of which he is very fond. He deserves special mention for his successful endeavors to promote a love of good music among his acquaintances.

Mr. Walter F. Craig, although quite young, has already attracted much attention, and received the praises of the critics, as a performer on the violin. He302 is a close student, very ambitious and enthusiastic, and without doubt will ere long be ranked with the first violinists of the day. He has lately composed a march.

William Appo is a veteran musician, having had a long and varied experience, beginning his career when there were but very few persons of his race in this country that could compare with him in scientific acquaintance with music. He was for a long time one of the principal performers in the once famous "Frank Johnson's Band" of Philadelphia. He taught music for several years in New York. Quite advanced in years that have been filled with incidents well worth recording for the instruction of those who follow him, he now leads a retired life on his farm in New-York State.

These pioneer musicians of ours should ever be gratefully remembered. But few, if any, of the large number of musical students of these better times, can realize the vast difficulties that on every hand met the colored musician at the time when Mr. Appo and some others elsewhere mentioned began their ambitious, toilsome careers.

Mr. William Brady, although numbered with those who have passed away, should not be forgotten whenever the noble deeds of colored men are to be men303tioned. He was an artist of the finest natural talent, and of varied musical acquirements of a high order of excellence. Mr. Brady was very much esteemed as a composer, being the author of many fine pieces of music, such as quadrilles, polkas, waltzes, marches, and songs. He also essayed more elevated work with fine success, having been the composer of a musical service for the Episcopal Church, and a beautiful Christmas anthem. He died in March, 1854.

Among those of the gentler sex in New York who have won much praise for their fine rendering of vocal music are Miss Mary Williams and Miss Blanche D. Washington. They have occasionally sung in other cities at concerts, and have been favorably mentioned by the public journals.

Mrs. V.A. Montgomery and Miss Emma B. Magnon should have prominent mention here on account of their fine abilities displayed in piano-forte and organ performance. They both read music readily,—or "at sight," as we say,—and at present are engaged as organists in New-York churches.

Miss J. Imogene Howard, formerly of Boston, but now an esteemed teacher in one of the public schools of New-York City, deserves to be mentioned in this list. When in Boston this lady exhibited commendable zeal in the study of music, and at an early age was quite noticeable for good piano-forte performance. Miss Howard is a graduate of the Girls' High and Normal School of the city last mentioned.

A most encouraging indication of musical progress in the metropolis is the existence there of the Philharmonic Society, which was organized somewhat over two years ago. Two or three of its members are fine solo304ists, while others possess fair abilities. The music practised is instrumental, and all of a high order. The society is divided into two classes, called the one junior, and the other senior. The juniors are the newer and less skilful members: these are required to take lessons of a competent teacher, and are not allowed to play with the senior class until they attain to a certain degree of proficiency. At public performances, of course, only the seniors represent the society. The conductor (who is also president) is Mr. P.H. Loveridge; first violin, Walter F. Craig; solo cornet, Elmore Bartelle; flute, Ph. Williams; William Lewis, violoncello. At present the society numbers about twenty members, all young men of intelligence and moral character; and it has an excellent library of music, and a fund in bank.

It is entirely unnecessary for the writer to say a word in praise of this enterprise, for its present and prospective good results will be readily perceived by all; nor need he, it is hoped, for the same reason, urge upon the young men of other cities the great importance of organizing similar societies.

Miss Celestine O. Browne of Jamestown, N.Y., possesses fine ability as a pianist. She is thus mentioned by "The Folio" of Boston, in the number for December, 1876: "She is a fine pianist, very brilliant and showy as soloist and accompanist." Again: the same journal, in the number for February, 1877, said of Miss Browne, "A pianist of great merit. Her natural abilities have been well trained. She has a clear touch, and plays with a great deal of expression." This lady has for more than a year been a valued member of the Hyers Sisters concert-troupe.

Mr. Peter P. O'Fake is considered one of the most305 noticeable of the musicians of Newark, N.J.; which is no slight distinction, since in that city are to be found some of the first musicians of the country. He was born there in 1820. His parents were also natives of Newark. Mr. O'Fake is what is termed "self-taught," and has cultivated most industriously, against many disadvantages, the talents with which he was naturally endowed. He is a skilful, expressive performer on the violin (his specialty) and the flute. He has, of course, often performed in public. In 1847 he took a prominent part at a concert given by the notable Jullien Society of New York, playing on the violin De Beriot's Sixth and Seventh Airs with Variations. In 1848 he took position on one occasion as leader in the Newark-Theatre orchestra,—a rare distinction for one of his race, on account of the prevailing color-prejudice. In 1850 he performed in Connor's Band at Saratoga, playing at times the cornet and flute. These are some of the most notable of his public appearances. He is occasionally called upon to take part in concerts given by the various musical organizations of Newark, the accident of complexional difference but seldom serving to counteract the effects produced by his well-known musical abilities. He often furnishes the music for receptions given at the homes of the élite of Newark. Mr. O'Fake has composed, and his orchestra often performs to the great delight of all who hear it, a most bewitching piece of quadrille-music called "The Sleigh-Ride," in which he most ingeniously and naturally introduces the crack of the whip and the merry jingle of the sleigh-bells. At such times the dancers are excited to a high state of joyousness by the bewitching music, the latter being of a character so suggestive as306 to cause them to almost imagine themselves in the enjoyment of a veritable sleigh-ride. This composition has greatly added to the fame of the author.

Mr. O'Fake is also a fair vocalist,—singing baritone,—and has been director of the choir of one of the Episcopal churches in Newark since 1856. This choir frequently renders Dudley Buck's music, and that of others among the best composers, eliciting most favorable comments from the press.

Misses Rosa and Malvina D. Sears are musical people of Newark, N.J., who deserve mention here.

Philadelphia has, of course, many fine musicians. The most prominent vocalists are Madam Brown, Mr. John Mills, and Mrs. Lucy Adger; and the most prominent instrumentalists are Miss M. Inez Cassey, pianist, F.J.R. Jones, violinist, and Edward Johnson, violinist.

This city enjoys the honor of having been the home of Mr. Frank Johnson, and the place of organization of the celebrated brass band that bore his name. It has been the intention of the writer to give a somewhat extended sketch in this book of this famous impressario and his talented body of performers; but as yet he has not succeeded in obtaining the necessary materials. He will mention, however, briefly, that Mr. Johnson was a well-educated musician, very talented and enthusiastic, with fine powers for organization and leadership. He was exceedingly skilful as a performer on the bugle. In his hand this instrument

Besides, he played well several other instruments. He was very much esteemed, and was foremost in promot307ing in many ways the musical spirit: he was, in fact, the P.S. Gilmore of his day. His band attracted much attention all over the country for fine martial music.

Some time between the years 1839 and 1841 Mr. Johnson organized a select orchestra, with which he visited several of the principal cities of the country, "astonishing the natives" by a fine rendering of the best music in vogue at that time. Indeed, the novelty formed by such an organization,—all colored men,—its excellent playing, and the boldness of the enterprise, all combined to create a decided sensation wherever these sable troubadours appeared. It is said that sometimes, while the band was on this tour, many persons would doubt the ability of its members to read the music they were playing, believing that they performed "by ear," as it is called; nor could such persons be convinced of their error until a new piece of music—a piece not previously seen by them—was placed before the band, and by the same readily rendered from the printed page.

Mr. Johnson at one time visited England with his band, and gave concerts in all the principal cities, being received everywhere with the most demonstrative marks of favor. They were invited to play before Queen Victoria and her court. This noble-hearted sovereign was so highly pleased with the musical ability displayed by Mr. Johnson and the other members of the band, that she caused a handsome silver bugle to be presented to him in her name. Returning to this country with such a nobly-won mark of honor, he became the centre of attraction, and thereafter, as a musician, easily maintained before the country a position of great popularity. At his funeral, which occurred308 in 1846, the bugle just alluded to was placed upon the coffin, and so borne to the grave, as a fitting emblem of one of the important victories he had won, as well as of the music-loving life he had led.

The memory of this gifted musician and indefatigable worker should long be kept green in the hearts of all the members of his race, and in those of his countrymen in general. For the former he of course performed a specially noble service in demonstrating so powerfully its capability for musical comprehension and for the scientific performance of music,—points which, strange to say, were much in dispute when he began his career; while in his well-nigh matchless ability as a musician, displayed in no selfish manner, but in a way that promoted in a high degree a general love for the elevating art of music, Frank Johnson proved himself an honor to the whole country, and one who should be long and gratefully remembered by all.

The band continued in existence, and was much in demand, for many years after the great leader died, retaining its old and honorable name, "Frank Johnson's Band." Mr. Joseph G. Anderson next became director. This gentleman was a musician of most remarkable powers, both natural and acquired. He performed in a very skilful manner upon almost every instrument that was in use, reading music like one reads a book. In short, it has been said of him, that "what he did not know of music was not worth knowing." He, too, was a great organizer; and he showed himself, in many important respects, a fit successor of Johnson.

When, during the late war, the State of Pennsylvania was forming regiments, Mr. Anderson was kept309 busily employed for a long period organizing and instructing brass bands for many of these regiments. With his great musical skill and experience, he proved to be indispensable at this time to the State, and won the brightest of laurels.

Under Mr. Anderson's leadership, the band was occasionally engaged to go to distant parts of the country to play for gatherings of one kind and another. The writer well remembers when in 1852, on "St. John's Day," this fine corps of musicians came to Cincinnati. With ranks so deployed as to almost extend across Broadway Street, they moved in most soldierly manner up the same at the head of a Masonic order, playing indeed most "soul-animating strains," and winning the while the warm admiration of a vast throng of people that lined the sidewalks. Ah! we were very, very proud of them; so elated with their triumphal entry, and so inspirited by the noble music, that it seemed as though we could have followed them for days without yielding to fatigue.

Mr. Anderson died at Philadelphia in 1874.

The successor of "Frank Johnson's Band" is called "The Excelsior." I am informed that the latter consists of a number of superior musicians.

"Madam Brown" was long regarded as the finest vocalist of her race in this country, while only a few of the other race could equal her. Although now no longer young, she still sings artistically and beautifully. Her repertoire comprises the gems of the standard operas; and these she has sung, and does now sing, in a style that would reflect honor on those far more pretentious than herself.

The other day, while looking over the "scrap-book"310 of a friend, I met with another of those pleasant surprises that have occasionally cheered me since I began this volume. In this "scrap-book" I found a large number of cuttings from Philadelphia, New York, and other papers, that related to the concerts given in the year 1856, and later, by Miss Sarah Sedgewick Bowers. By these comments, I find that this lady possessed a voice of most charming power and sweetness, and that in her interpretations of operatic and music of a classical character she was well-nigh, if not quite, equal to the finest cantatrices then before the public. These papers styled Miss Sedgewick—this was her professional name—the "Colored Nightingale."

It would perhaps be interesting to here append a number of these very complimentary comments. A single and representative one must, however, suffice. It is from "The Daily Pennsylvanian" of May 3, 1856.

Miss Bowers now lives quietly at her home in Philadelphia, singing in public only on special occasions. She is, of course, still a devoted lover of the art of which she has been so fine an exponent; while she yet possesses, through voice and method, the power to charm an audience.

The name of Mr. John Moore should be mentioned311 here. He was a born musician, so to speak, and was ever "full of music." I remember him as the leader of the band of the Fifty-fifth Massachusetts Regiment during the late war. Although in this position he generally played upon the E♭-cornet, he could also play most of the other instruments used in the band; and was, besides, a good performer on the violin and flute. Very pleasant recollections of "our band," as we soldiers fondly termed it, remain, I am quite sure, with all the surviving members of the Fifty-fifth Regiment. In camp-life it often enlivened the dull hours, and gave, by sweetest music, a certain refinement to what would have been without it but a life of much coarseness; while upon the wearisome march we often forgot our fatigue as we briskly marched, keeping step to the animating music. To Mr. Moore, the leader, much praise is due for the great benefits afforded the members of the regiment by good music; nor do we forget the skill displayed by the other members of the band, which enjoyed the reputation of being the best in the Department of the South. Mr. Moore died at Philadelphia in 1871.

Professor Lott of Pittsburgh, Penn., has attracted attention as one of the very first violoncellists of the country. He has travelled quite extensively in the United States with a concert-troupe.

Mr. Z.A. Coleman is a good singer of bass.

Mr. E. Minor Holland of Cleveland, O., is a good performer on the B♭-cornet, violin, and double-bass. He is quite a young man, and, possessing much talent, may become a musician of great merit if he continues his studies.

Miss Mary F. Morris performs upon the piano-forte with fine skill and taste, and is a vocalist of excellent312 powers. She has pursued her musical studies in the Cleveland Convent, the teachers of which enjoy a high reputation; and also under Professor Alfred Arthur, one of the finest instructors of Cleveland.

I.A.D. Mitchell, playing the E♭-cornet, is the very efficient leader of a band.

Miss Annie Henderson is a very pleasing vocalist. She also studied at the convent previously mentioned, and under Professor Arthur.

Miss Clara Monteith Holland, a young daughter of Justin Holland, the celebrated guitar virtuoso, gives much promise of becoming a brilliant pianist.

Washington, O., enjoys the honor of being the home of Mr. Samuel Lucas, a fine baritone character-singer, the author of a book of songs. He, besides, has but few equals as an actor in comedy; has travelled throughout the country as a performer, receiving everywhere the warmest praises of the press.

While on a visit to his home last summer, Mr. Lucas was the recipient of a complimentary benefit tendered by the admiring citizens. The offer of this flattering testimonial was signed by over fifty of his most respectable townsmen, and the affair was in all respects a successful one. Mr. Lucas was assisted in the performances by the following young ladies: Misses S. Logan, Dora Chester, Laura Reed, Delia Lamon, S. Melvin, and Fannie Chester. Mr. Lucas is at present a valued member of the Hyers Sisters opera-troupe, who are performing in "Out of Bondage" throughout the West.

"The Milwaukee Sentinel" of a late date thus alludes to his performances with this troupe:—

The writer would be very remiss did he fail to mention here the very remarkable music-loving spirit which has been exhibited by the colored people of Chillicothe, O. This very forcibly arrested his attention, when, several years ago, he visited that somewhat ancient city, once the capital of the State. It was then found that among the class of persons just mentioned—who formed, by the way, only a small portion of the city's entire population—there existed two or three singing societies, two brass bands (the latter the only organizations of the kind then in existence there), and two church-choirs, one of the same being composed of very good vocalists indeed.

In 1857 Rev. John R. Bowles organized in Chillicothe a choir for his church, under the leadership of Jas. D. Hackley. This choir was considered one of the very best in Southern Ohio. Its leader possessed a tenor-voice of rare sweetness and power, and was quite proficient in rendering church-music, and in directing the singing of the same by his choir. But a few persons in the State equalled Mr. Hackley in the possession of these qualities. Of the two bands, the one called the "Scioto-Valley Brass Band" was organized in 1855 under the leadership of Richard Chancellor and John Jones. The other was called the "Roberts Band," and was organized in 1857, the directors being Thomas Harris and William Davis. In 1859 these two organi314zations were united under the name of the "Union-Valley Brass Band," Thomas Harris and A.J. Vaughn leaders. This consolidation, composed of the best musicians of the two bands previously in existence, made a corps of performers that was unequalled in Ross and the adjacent counties, while it was one of the finest in the State. They owned a handsome bandwagon, and furnished the music for all such gatherings—irrespective of the color of the attendants—as county fairs, picnics, celebrations, political meetings, &c., throughout Ross County. This band contained several performers of such excellent natural and acquired abilities as would render them prominent among the best musicians of any section of the country.

Besides those already mentioned as leaders, I would now refer to Mr. William H. Starr, one of the finest musicians of Ohio. He has been for a long time the leading spirit in all matters musical among the people. A good reader of all kinds of music, Mr. Starr easily gives it beautiful expression on any one of the many instruments used in a brass band of ordinary size. On several of these he is a pleasing soloist. His favorite is the E♭-alto, while he is also a skilful arranger of music for them all. Mr. Starr has also composed a number of pieces for his own and other bands; besides others, a quickstep, a march, and a polka. As a teacher Mr. Starr has been quite successful. One of his former pupils is now the leader of a band.

Mr. Thomas Harris should also have special mention here. He was a superior E♭-cornet player, a good bugler, and a very good performer on the clarinet; a good reader of music for each of these important instruments.315

Mr. William H. Dupree, at one time the very efficient manager of the Union-Valley Brass Band, in which he was also a performer on the B♭-baritone, is a gentleman whose history is such as to warrant particular mention here, not only on account of his having always possessed an ardent music-loving spirit, but also from his general intelligence, and the fine progress he has made in attaining to several high stations of honor and usefulness. Mr. Dupree remained a member of the band in Chillicothe until 1863, when, on the first call for colored troops for the late war, he went to Massachusetts, and enlisted in the Fifty-fifth Regiment. He became first sergeant of Company H; in which position he won golden opinions from those in command for his strict attention to duty, his steady and rapid acquirement of military knowledge (becoming one of the very best drill-masters and disciplinarians of his regiment), and for his generally fine, officer-like bearing. At one time Sergeant Dupree was manager of the regimental band, in which position he rendered important service. In 1864 he was promoted to the grade of a commissioned officer,—a rare distinction for one of his race, owing to causes so well understood that they need not be mentioned here. In this new place of honor he so discharged his duties as to prove the wisdom of those who tendered the appointment; for he was always distinguished for an increased display, if possible, of those excellent qualities, the possession of which caused his promotion.

Mr. Dupree is now the very capable and popular superintendent of Station A Post Office in Boston, Mass. This office is situated in a district that comprises nearly forty thousand inhabitants, composed, for the greater316 part, of those among Boston's most intelligent and wealthy citizens. He was formerly connected with a musical organization in Boston. Although prevented by his other occupations from devoting much attention to music, Mr. Dupree has lost none of his old-time love for it; nor has he forgotten the pleasant days of yore when he was connected with the brass band at Chillicothe, of whose members he now speaks in terms of the most friendly regard.

Cincinnati now claims to be (very justly too) a decidedly musical city; and Boston and other older places, which have all along enjoyed the reputation of leading in matters pertaining to general art-culture, have been warned to look well to their laurels if they would not lose them through the advancement made by this their younger sister, so long considered the "Queen of the West." It is true that this distinguishing title has within a few years been claimed by Chicago, and even St. Louis. These latter, however, base their right to the name mostly on the results of the census-returns. In all that relates to the substantial greatness of a city,—viz., the general intelligence, solidity of character, and proportionate wealth of its inhabitants,—Cincinnati, I think, may still be considered as approaching nearer to the Eastern cities than either of the others mentioned. This is certainly true as regards the musical devotion of its people; and this characteristic is the one, perhaps, which most threatens the supremacy so long held in the East.

Having said this much of Cincinnati's residents in general, it will of course be expected that a very promising and brilliant addition is now to be made to these records. The reader, however, must be reason317able, and not expect too much; for the same depressing causes (these have already been sufficiently particularized in other parts of this book) which have operated in other sections of the country against the subjects of these sketches have been also always fully in force in Cincinnati. It is thought that all candid observers will agree with the writer when he confidently avows his belief, that no other people, while laboring under so many disadvantages, would have or could have done better than these have done. But, judging from the facts at hand, there is really no need to beg the question; and therefore, without offering further excuses, I shall proceed with the record.

The colored children attending the public schools of Cincinnati are regularly taught to read music. They are frequently complimented for their good singing by their music-teachers.

The mention of the Cincinnati schools, by the way, brings to the writer's mind very pleasant recollections of his boyhood's home, and of the times when he attended school there. Twenty-five years ago, the colored school-children of Cincinnati were much remarked for excellent singing. They were not then, as they are now, taught to read music in the schools, but readily "caught" the pieces to be sung from the teacher, who sang them over a few times. I remember that at one time our favorite school-song was one called "The Captive." But only detached portions of it come to me now. It was a piece descriptive of the fortunes of war. A soldier of the defeated army is left behind a prisoner. The song describes his longings for freedom, and desire to rejoin his now-distant comrades.

I think the chorus ran in this wise:—318

No answer being made to this signal, the prisoner thus laments his cruel fate:—

The melody was quite pretty, and the solo of the captive was of music so appropriate and pathetic as to bring tears to the eyes of both singer and auditory. Some of my former schoolmates, now grown to womanhood and manhood, will probably remember better than myself this song and others that with "glad hearts and free" we used to sing so earnestly in the schoolroom and at our school-exhibitions. From what I learn from credible sources, it may be stated, that a visit now to the schoolrooms of Cincinnati would reveal a scientific acquaintance with music so great as to almost prevent the making of a comparison between the two periods under consideration.

The Mozart Circle, under the direction of Mr. William H. Parham, is a vocal organization of twenty-five members, established about three years ago. In July, 1875, this society gave a public performance, in costume, of the cantata of "Daniel." No attempt was made to notify the press that the cantata was to be rendered; but a gentleman of fine taste, and one who is generally on the lookout for all signs of art-advancement made by the colored people, was present on the occasion referred to. His impressions of the performance were recorded319 the next day in the Cincinnati "Gazette" and "Commercial," and were as follows:—

The Rev. Thomas H. Jackson, pastor of Allen Temple, himself an excellent singer, a few weeks ago organized a select choir for the purpose of rendering the cantata just mentioned. Mr. William H. Morgan, who sings in the principal rôle, is a young gentleman quite worthy of the high praise which his performances have elicited. All the members of the choir sing well; but among them no one gives more marked promise than does a young schoolgirl of only thirteen years, named Elnora Johnson. The compass and sweetness of her voice are320 considered marvellous. This society promises to give the cantata "Esther."

From the foregoing it will be seen that much attention is being given to a study of some of the higher forms of composition,—a very encouraging sign indeed.

Another vocal society is called the Arion Quartet Club. Messrs. Andrew D. Hart and John Lewis are two of its members: the names of the others I have not learned.

There are at present no instrumental societies except one or two very good quadrille bands.

Mrs. Ann S. Baltimore is an accomplished pianist, and possesses, besides, a melodious voice. She has been favorably noticed by the press.

Professor Moore plays skilfully the parlor-organ and piano-forte. He teaches the playing of these instruments, and also teaches vocal music.

Mr. D.W. Hamilton is the very popular leader of a string-orchestra.

The private circles of Cincinnati are ornamented by several classical singers of both sexes.

First among the ladies is Miss Fannie Adams. She is welcomed as a member of the Cincinnati Choral Society; and is a skilled pianist, giving lessons on that instrument.

Misses Ernestine and Consuelo, daughters of Peter H. Clark, Esq., are sweet and scientific singers. They are pianists also.

Misses Mary and Fannie Cole, members of the Mozart Circle, are distinguished for the beauty of their voices, the last-mentioned particularly.

Miss Sarah Werles has a voice which is much appreciated, and under her fingers the cabinet-organ itself seems to sing.321

Misses Ella Smith and Ella Buckner must not be forgotten as valuable aids on public musical occasions.

Among the males, James P. Ferguson is distinguished as a bass, and Thomas Monroe as a tenor singer.

Joseph Henson's voice always has in it music of an inspiring character.

Fountain Lewis, jun., was diligently prepared during his boyhood for an organist, and in that direction is proving quite worthy of his father's care.

By reference to a programme of a combined dramatic and musical entertainment given in Cincinnati in May, 1876, under the direction of the popular elocutionist, Powhatan Beaty, I find the names of the following musical people not previously mentioned:—

Mr. Charles Hawkins performed "Streamlets" and "A Summer's Reverie" on the piano; Mrs. Emma E. Clark sang the solo, "Brightest Eyes;" Mr. Charles Singer sang a baritone solo; Mr. Edwin de Leon sang "Poor Old Joe;" and Mr. William H. Jones sang "My Soul is Dark."

I am not informed as to the extent of proficiency displayed on this occasion by these performers; but relying, as I ought, upon the good judgment of Mr. Beaty, presume that he called none to his aid except those at least fairly skilled in the rendering of music. The above names are, therefore, recorded here.

The city of Chicago contains quite a large number of very excellent musicians belonging to the race whose acquirements are here recorded. Besides several very fine church-choirs, there is a large organization of well-trained vocalists, the performances of which have been highly spoken of by the journals of Chicago and those of other cities in the State of Illinois.322

Mrs. Frances A. Powell, the founder and directress of this society, is also the leading soprano of the Olivet Baptist Church choir. She was educated at Buffalo, N.Y.; and her superior powers as a vocalist have been made the occasion of very flattering testimonials by the press of Chicago and of the States of Illinois and Wisconsin.

Mrs. Harriett E. Freeman, an excellent mezzo-soprano, leading the singing of Quinn-Chapel choir, has been complimented by the press. She was educated at New Bedford, Mass.

Mrs. Charlotte M. Alexander, leading soprano of Bethel-Church choir, was educated at Cincinnati.

Mrs. Bessie Warwick, soprano and brilliant pianist, was formerly a pupil of Professor Baumback of Chicago.

Mrs. Hettie Reed possesses a contralto-voice of remarkable purity and sweetness. She is one of the principal singers of the society first mentioned, and has been highly complimented by the critics of Illinois and Wisconsin.

Miss Eliza J. Cowan, educated at Chicago, a member of the Olivet-Church choir, is a very promising contralto-singer.

Miss Flora Cooper has a voice of such great depth, that it really may be styled baritone. She was educated in Chicago, and is a teacher in one of the public schools of that city.

Mrs. Esther Washington (née Miss E. Fry) is a finished performer on the organ and piano-forte. This lady is a graduate in thorough-bass and harmony from Warren's Conservatory of Chicago.

Miss Frankie Buckner, an accomplished organist and pianist, received her training at Detroit. She has been323 praised by the papers of Madison, Wis.; was at one time pianist to a large singing society: and is a contralto vocalist.

Mr. William D. Berry is a finely-cultured tenor, a ready reader of music, and excellent in oratorio performance. Mr. Berry formerly lived in Hamilton, Ont.

Miss Ida Platt is a brilliant pianist.

Mr. Elias Perry is a young tenor-singer with a very pleasing voice. He is a member of Olivet-Church choir.

Mr. John F. Ransom, baritone and organist, is a musician of excellent culture, possessing one of the finest male voices in Chicago. He was educated at Columbus, O. Is organist of Olivet Church.

Mr. George W. Mead is leading basso of the singing society heretofore mentioned, and of Olivet-Church choir. Mr. Mead renders his music with correct and very pleasing expression. He has been favorably mentioned, in connection with others with whom he has performed, by the papers of Chicago.

All of the persons whose names are included in the list just closed read music at sight, and are entitled to be ranked as artists.

324

II.

SOME MUSICAL PEOPLE OF THE SOUTH.

"Songs from the sunny South-land."—A.K. Spence.

THE colored people of the South are proverbially musical. They might well be called, in that section of the country, a race of troubadours, so great has ever been their devotion to and skill in the delightful art of music. Besides, it is now seen, and generally acknowledged, that in certain of their forms of melodic expression is to be found our only distinctively American music; all other kinds in use being merely the echo, more or less perfect, of music that originated in the Old World. All who have listened to the beautiful melody and harmony of the songs sung by those wonderful minstrels, the "Jubilee Singers," will readily admit that scarcely ever before the coming of the latter had they been so melted, so swayed, so entirely held captive, by a rendering of music; nor will they fail to admit that in these "slave-songs" of the South was to be found a new musical idea, forming, as some are wont to term it, a "revelation."

And if it were necessary to prove that music is a language by which, in an elevated manner, is expressed325 our thoughts and emotions, what stronger evidence is needed than that found in this same native music of the South? for surely by its tones of alternate moaning and joyousness—tones always weird, but always full of a ravishing sweetness, and ever replete with the expression of deepest pathos—may be plainly read the story of a race once generally languishing in bondage, yet hoping at times for the coming of freedom.

Of the character of this music, and of its effect upon those who hear it, no one speaks more clearly than does Longfellow in the following lines from his poem, "The Slave singing at Midnight:"—

Mrs. Kemble, in writing of life on a Southern plantation, tells how on many an occasion she listened as one entranced to the strangely-pleasing songs of the bond-people. Often she wished that some great musician might be present to catch the bewitching melodies, and weave them into a beautiful opera; for she thought them well worthy of such treatment.

It is often said that the colored race is naturally musical. Certainly it is as much so as other races. More than this need not be, nor do I think can be, claimed. It is, however, very remarkable, that a people who have for more than two hundred years been subjected, as they have, to a system of bondage so well calculated, as it would seem, to utterly quench the fire of musical genius, and to debase the mind generally, should yet have originated and practised continually certain forms of melody which those skilled in the science con326sider the very soul of music. Moreover, one is made to wonder how a race subjected to such cruelties could have had the heart to sing at all; much more that they could have sung so sweetly throughout all the dark and dismal night of slavery. Here is seen, it must be admitted, what appears very much like genius in the melody-making power. Something it is, undoubtedly, that shows an innate comprehension, power in expression, and love of harmony, in a degree that is simply intense. The history of the colored race in this country establishes the fact, too, that no system of cruelty, however great or long inflicted, can destroy that sympathy with musical sounds that is born with the soul. Only death itself can end it here on earth, while we are taught that for ever and ever heaven shall be rich in harmony formed by the songs of the redeemed. Perhaps other races, under the same terribly trying circumstances, would have shown a power to resist the mind-destroying influences of those circumstances equal to that which has been so fully shown by the colored race. But, be that as it may, the latter has actually been subjected to the awful test; and the sequel has proved, that, to say the least, it may be considered as the equal naturally of any of the other "musical" races composing the human family.

But the music of which I have been speaking was never cradled, so to say, in the lap of science; although, in its strangely-fascinating sweetness, soulfulness, and perfect rhythmic flow, it has often quite disarmed the scientific critic. It is a kind of natural music. Until quite recently no attempt was made to write it out, and place its melodies upon the printed music-page. Slavery, of course, prevented that. And this vile system,327 although it could not stamp out the "vocal spark," the germ of great musical ideas, could still prevent such growth of the same, such elaboration, as would have been secured by education in a state of freedom. Yet, since the war, many of the religious slave-songs of the South, words and music, have been printed. It has been found that they are as subject to the laws of science as are others; that they were not, as many persons have supposed, merely a barbarous confusion of sounds, each warring, as it were, against the other. For a proof of this (if there be those who doubt), the reader is referred to the "History of the Jubilee Singers of Fisk University," in which he will find printed the music of many songs like those to which I have alluded.

Thus have we considered, in part, the native minstrelsy of the South.

Notwithstanding their lack of a scientific knowledge of music, colored men, as instrumentalists, have long furnished most of the best music that has been produced in nearly all of the Southern States. At the watering-places, orchestras composed of colored musicians were always to be found; in fact, at such places their services were considered indispensable. Many of them could not read music; but they seemed naturally full of it, and possessed a most remarkable faculty for "catching" a tune from those of their associates who learned it from the written or printed notes: in truth, the facility of all in executing some of the most pleasing music in vogue was so great, that, when these little orchestras played, it was almost impossible to discover the slightest variation from the music as found on the printed page.328

"A good many years ago," writes a correspondent from the White Sulphur Springs of Virginia, "the statesman Henry Clay was here, enjoying a respite from his arduous government duties. Being present at a grand reception where dancing was in progress, Mr. Clay wished to have played the music for a 'Virginia Reel;' but, to his great surprise, he learned that the colored musicians present did not know the necessary tune. Not to be cheated out of an indulgence in this, his favorite dance, Mr. Clay took the band over to a corner of the room, and whistled the music to them. In a very few minutes they 'caught' it perfectly; and, returning to their places, the enterprising statesman and his friends enjoyed themselves in dancing the 'Virginia Reel' just as though nothing unusual had occurred." At levees, at other public festive gatherings, and at the receptions given in the homes of the wealthy, these orchestras were nearly always present, adding to the enjoyments of the hour by discoursing the most delightful music. In short, they were to be found everywhere, always receiving that warm welcome with which a music-loving people ever greet the talented musician.

But, besides the associations of which I have just been speaking,—associations composed in part of those who understood music as a science, and in part of those who did not,—there has always been a goodly number of other persons of the same race, who, in spite of obstacles that would seem to be insurmountable, have obtained a fair musical education, and who have exhibited an artistic skill and general æsthetic love and taste that would be creditable to many of those who have enjoyed far greater advantages for culture.329

I shall now proceed to mention the names of only a few of such persons residing in some of the principal towns and cities of the South. The list could be largely extended did time and space permit.

Baltimore, Md., has quite a number of musical people well worthy of mention in this connection. The following are members of the choir of St. Mary's Episcopal Church, of which the Rev. C.B. Perry is rector:—

Mr. H.C. Bishop, general director; Mr. W.H. Bishop, precentor; J. Hopkins Johns (who has a very pleasing voice); Mr. J. Taylor (a fine basso, who has been a member of a meritorious concert-troupe); Mr. C.A. Johnson, organist; and Mr. George Barrett, tenor. Mr. Johnson has on several occasions been the director of excellent public concerts in Baltimore and its vicinity, and is deserving of much praise for his activity in promoting the music-loving spirit. The same may be said of Mr. George Barrett.

Mr. Joseph Ockmey is organist of the Bethel (Methodist) Church.

The following are members of the Sharp-street Church choir:—

Mr. Simpson, leader; Mr. Dongee, organist; Miss Mary F. Kelly, soprano; Miss Emma Burgess, soprano.

Baltimore has an association of musicians called "The Monumental Cornet Band," of which Mr. C.A. Johnson is the efficient leader.

Some time ago I found in the musical column of "The Boston Herald" of Sunday, July 9, 1876, the following notice of another "Blind Tom:"—

Louisville, Ky., shows its appreciation of music by organizing a society devoted to the latter, numbering over a hundred persons. This fact has attracted the attention of Brainard's "Musical World," which journal, in the number for October, 1877, alludes to it as a bright evidence of the dawn of better times in the South.

In St. Louis[17] live Mrs. Georgetta Cox and Miss Nellie Banks,—two ladies who have won golden opinions for their exhibition of fine musical qualities. They are both excellent vocalists and pianists.

Mr. L.W. Henderson as a vocalist, Mr. Alfred White and Mr. Samuel Butler as vocalists and instrumentalists, all possess artistic abilities of a fine order.

Miss Johnson has attracted the attention and won the high praise of competent judges for her proficiency in piano-forte performance.

Mr. James P. Thomas is a finished violinist.

With such artists as the above mentioned, and others whose names I have not learned, it will be seen that the city of St. Louis is not behind in musical culture.

Helena, Ark., is fortunate in numbering among its citizens George H.W. Stewart,—a gentleman of rare musical and general culture. He was, I think, educated in Indiana, and received a diploma as a graduate from a college of music located at Indianapolis. Mr. Stewart's specialty as a performer is the piano, with which instrument he finely interprets the best music of the masters.331 He has also a soft yet powerful baritone-voice; and, as a singer, he has often delighted private and public audiences.

Miss Annie S. Wright of Memphis, Tenn., has few equals in that State as a ready reader of music, or in the feeling and expression with which she awakes the echoes of the piano-forte.

In Memphis there are several others possessing good ability as instrumentalists.

No fears need be entertained that Nashville, Tenn., will not keep pace with the advance of other cities in musical culture. The famous Jubilee Singers of Fisk University, located near Nashville, may well be mentioned here as noble representatives of that city, and as those whose splendid example and achievements as singers will always serve as a stimulus to the cultivation of music by their towns-people.

I mention here with much pleasure the Lord family of Charleston, S.C. The father was a musician of good ability, a pleasing performer on the cornet and (I think) one or two other instruments, and was leader of an orchestra. He early gave his two daughters instruction in music.

I recall with much interest a visit I made this accomplished family early in 1865, when the regiment with which I was connected lay encamped near Charleston. On this occasion, after our indulgence in conversation touching the war, &c., I begged that I might be favored with some music. The request was readily complied with, the father and daughters uniting in a performance of several very pleasing selections.

Other members of my regiment, I know, also retain very pleasant recollections of the Lord family, not only332 on account of the charming musical qualities of the latter, but also on account of their winning courtesy to the Union soldiers. One of these was so far captivated (it could not have been by the music alone) by the elder daughter, as to invite her to adorn as his bride a home of his own. Our gallant Sergeant White was accepted; and the lady has since shared with him the enjoyment of many honors which his fine abilities have won for him in the "sunny South."

Mr. Lord died a few years ago. His example in inculcating in his children a love for the elevating art of music cannot be too strongly recommended for the imitation of all heads of families who desire to form at their firesides such sources of interest, refinement, and pleasure, as will cause their children to prefer them, as they ever should, to all places not comprised in the sacred name of "home."

In making this brief survey, another locality of the South is now approached, which is so rich in musical culture as to occasion (at least to the writer) delightful surprise, and warrant special mention of the circumstances connected with the same. I refer to the city of New Orleans, which will be treated in the next chapter.

333

III.

NEW ORLEANS.

THE MUSICAL AND GENERAL CULTURE OF ITS
COLORED CITIZENS.

BEFORE the late war, the city of New Orleans was often styled "the Paris of America." The Province of Louisiana, originally settled by the French, and until 1812, when it became a State of the American Union, contained a population naturally distinguished by the same general characteristics as those which marked the people of France. The Frenchman has for a long time been proverbially a devotee of the fine arts; and of these that gay and brilliant city Paris—which has ever been to its enamoured citizens not only all France, but all the world—became for France the centre.

Here, then, a love of that beautiful art, music, since the days, hundreds of years ago, of the courtly ménestrels, has been a conspicuous trait in the character of the people. Of course, in leaving Paris and France, and crossing the seas,—first to Canada, and then to334 Louisiana,—the Frenchman carried with him that same love of the arts, particularly that of music, that he felt in fatherland. And so New Orleans, which in time grew to be the metropolis of Louisiana, became also to these French settlers the new Paris. In fact, even for years after the State was admitted into the Union, and although meanwhile immigration had set in from other parts of the country, New Orleans remained of the French "Frenchy." The great wealth of many of its citizens, their gayety, their elegant and luxurious mode of living, their quick susceptibility to the charms of music, their generous patronage of general art, together with certain forms of divine worship observed by a large number of them,—all this served for a long time to remind one of the magnificent capital of France.

The opera, with its ravishing music, its romance of sentiment and incident, its resplendent scenery, and the rich costumes and brilliant delineations of its actors,—all so well calculated to charm a people of luxurious tastes,—has always been generously patronized in New Orleans; and so, too, have been the other forms of musical presentation. Amateur musicians have never been scarce there: such persons, pursuing their studies, not with a pecuniary view (being in easy circumstances), but simply from a love of music, have ever found congenial association in the city's many cultured circles; while many others, who, although ardently loving music for its own sake, were yet forced by less fortunate circumstances to seek support in discoursing it to others,—these have always found ready and substantial recognition in this music-loving city.

But does all I have been saying apply to the colored people of New Orleans as well, almost, as to the others?335 Strange to say, it does. Natural lovers of the "art divine," and naturally capable of musical expression,—they too, although with far less of advantages for culture than the others, have with voice and instrument, and even as composers, helped to form the throng of harmonists, playing no mean part in the same. The colored people of New Orleans have long been remarked for their love of and proficiency in music and other of the elegant arts. Forty years ago "The New-Orleans Picayune" testified to their superior taste for and appreciation of the drama, especially Shakspeare's plays. A certain portion of these people, never having been subjected to the depressing cruelties of abject servitude, although, of course, suffering much from the caste spirit that followed and presented great obstacles to even such as they, were allowed to acquire the means for defraying the expenses of private instruction, or for sending their children to Northern or European schools. Indeed, as regards the exhibition of this ambitious musical spirit, this yearning for a higher education and a higher life, these people often exceeded those of fairer complexions; many of their sons and daughters attaining to a surpassing degree of proficiency in music, while they became noticeable for that ease and polish of manners, and that real refinement of living, which ever mark the true lady or gentleman.

Again: there was another portion of this same race, who, in the circumstances of their situation, were far less fortunate than even those of whom I have just been speaking: I mean those who were directly under the "iron heel of oppression." Nevertheless, many of these were so moved by a spirit of art-love, and were so ardent and determined, as to have acquired a scientific336 knowledge of music, and to have even excelled, strange to say, in its creation and performance, in spite of all difficulties. As to just how a thing so remarkable, nay, I may say wonderful, was accomplished, would form many a story of most intense and romantic interest. But with present limits I may not narrate the many instances of heroic struggle against the foul spirit of caste prejudice, and the many noble triumphs over the same, that belong to the lives of nearly if not quite all of the artists of whom I shall presently briefly speak.

And here it is utterly impossible to resist the depressing effects of that deep feeling of gloom which settles upon one as thoughts like the following crowd into the mind. How much, how very much, has been lost to art in this country through that fell spirit which for more than two hundred years has animated the majority of its people against a struggling and an unoffending minority,—a spirit which ever sought to crush out talent, to quench the sacred fire of genius, and to crowd down all noble aspirations, whenever these evidences of a high manhood were shown by those whose skins were black! Ah! we may never know how much of grandeur of achievement, the results of which the country might now be enjoying, had not those restless, aspiring minds been fettered by all that was the echo of a terrible voice, which, putting to an ignoble use the holy words of Divinity, cried up and down the land unceasingly, "Hitherto shalt thou come, but no farther!" For to judge as to what "might have been," and what yet may be, despite the cruelties of the past (since, even in this instance, "the best prophet of the future is the past"), we have only to look at what is. But from those bitter days of a barbarous time, when337 hearts were oft bowed in anguish, when tears of blood were wept, and when often attempts were made to dwarf yearning intellect to a beastly level,—let us turn quickly our weeping eyes from those terrible days, now gone, we hope never again to return, towards that brighter prospect which opens before our delighted vision: let us joyfully look upon what is, and think of what may be. For

Returning, then, directly to the subject in hand (viz., the colored musical artists of New Orleans), I first quote from a paper prepared by a cultured gentleman of that city, himself a fine musician, the following retrospective comment on some of the former residents there:—

"For want of avenues in which to work their way in life, and for many reasons which are easily understood, our best artists [colored] removed to other countries in search of their rights, and of proper channels in which to achieve success in the world. Among these were Eugène Warburg, since distinguished in Italy as a sculptor; Victor Séjour, in Paris, as a poet, and composer of tragedy; Caraby, in France, as a lawyer; Dubuclet, in Bordeaux, as a physician and musician; and many others." All these were forced to leave New Orleans, their native city, because of the prejudice that prevailed against them on account of their color. In other countries, which Americans have been wont to style, forsooth, "despotic," these aspiring men found ready recognition, and arose, as has been seen, to high distinction in their chosen callings.

Of a few others who for these same reasons left their338 native city and went abroad, as well as of a large number of talented, educated musical people who remained in New Orleans, I shall now speak.

The Lambert family, consisting of seven persons, presents the remarkable instance of each of its members possessing great musical talent, supplemented by most careful cultivation.

Richard Lambert, the father, has long been highly esteemed as a teacher of music. Many of his pupils have attained to a fine degree of proficiency as performers of music, and some of them are to-day composers.

Lucien Lambert, very early in life, attracted attention by his ardent devotion to the study of music. He used to give six hours of each day to practice, and became a pianist of rare ability. With a style of performance really exquisite, he has always excited the admiration, and sometimes the wonder, of his auditors, by easy triumphs over all piano difficulties. But his genius and ambition were such, that mere performance of the music of others did not long satisfy him. He became a composer of great merit. A man of high soul, he also, ere long, grew restive under the restraints, that, on account of his complexion, were thrown around him in New Orleans. He longed to breathe the air of a free country, where he might have an equal chance with all others to develop his powers: and so, after a while, he went to France; and, continuing his studies in Paris under the best masters of the art, he rapidly attained to great skill in performance and in composition. He finally went to Brazil, where he now resides, being engaged in the manufacture of pianos. He is about fifty years of age, a gentleman of imposing appearance.339 Lucien Lambert has written much music. Below is given the titles of only a very small number of his compositions:—

"La Juive;" "Le Départ du Conscrit" (fantasie march); "Les Ombres Aimées;" "La Brésiliana;" "Paris Vienne;" "Le Niagara;" "Au Clair de la Lune," with variations; "Ah! vous disais-je, Maman;" "L'Américaine;" "La Rose et le Bengali;" "Pluie de Corails;" "Cloches et Clochettes;" "Étude Mazurka."[18]

Sidney Lambert, stimulated by the instruction and good fame of his father and the high reputation gained by his brother Lucien, and himself possessing rich natural powers, soon became conspicuous for brilliant execution on the piano-forte, and as a composer of music for that and other instruments. He has also written a method for the piano, the merits of which are such as to cause him to be lately decorated for the same by the King of Portugal. He is now a professor of music in Paris, France. Here is a partial list of pieces composed and arranged by him:—

"Si j'étais Roi;" "Murmures du Soir;" "L'Afri340caine;" "Anna Bolena;" "La Sonnambula;" "L'Élisire;" "Transports Joyeux;" "Les Cloches."

Mr. E. Lambert is the very efficient leader and instructor of the St. Bernard Brass Band. He is a line musician, performing with much skill on several instruments.

John Lambert, only sixteen years of age, is already regarded as an excellent musical artist. He was educated in St. Joseph School, New Orleans. He seems almost a master of his principal instrument, the cornet, playing with ease the most difficult music written for the same. He is a member of the St. Bernard Band,—a very valuable member too, since he can play a variety of instruments.

The two Misses Lambert are accomplished pianists. One of them is an excellent teacher.

Edmund Dédé was born in New Orleans in the year 1829. He learned first the clarinet, and became a good player. He afterwards took up the violin for study, under the direction of C. Deburque, a colored gentleman. After a while he took lessons of Mr. L. Gabici, who was at one time chief of the orchestra of the St. Charles Theatre. Dédé was a cigar-maker by trade. Being of very good habits, and economical, he accumulated enough money after a while to pay for a passage to France, where, on his arrival in 1857, he received a welcome worthy of a great people and of so fine an artist. He is very popular, not only as a violinist, but as a man, being of fine appearance, of amiable disposition, and very polite and agreeable in his manners. While a student in New Orleans, many were they who seemed never to grow tired in listening to his peculiarly fine playing of the studies of Kreutzer and341 the "Seventh Air Varié de Beriot." He is considered alike remarkable in his perfect making of the staccato and the legato; is very ardent in his play, throwing his whole soul into it; and meets with no difficulties that he does not easily overcome. Mr. Dédé is now director of the orchestra of "L'Alcazar," in Bordeaux, France. He is of unmixed negro blood, and is married to a beautiful and accomplished French lady.

The titles of only a very few of the works composed by Edmund Dédé can now be given. They are as follows: "Le Sement de l'Arabe," "Vaillant Belle Rose Quadrille" (this it was called originally; but I believe the piece has been published under another name), "Le Palmier Overture."

Basile Barès was born in New Orleans Jan. 2, 1846, and is what may be called a self-made man. He to-day enjoys a fine reputation as a pianist and composer. His studies on the piano were begun under Eugène Prévost, who was, in years gone by, director of the Orleans Theatre and the opera-house orchestras. Barès studied harmony and composition under Master Pedigram. In 1867 he visited the Paris Exposition, at which he remained four months, giving many performances upon the piano-forte. Mr. Barès resides in New Orleans. I append this partial list of his works: "La Capricieuse Valse," "Delphine Valse Brillante," "Les Variétés du Carnaval," "Les Violettes Valse," "La Créole" (march), "Élodia" (polka mazurka), "Merry Fifty Lancers," "Basile's Galop," "Les Cents Gardes" (valse), and "Minuit Polka de Salon."

Professor Samuel Snaer, a native of New Orleans, is in his forty-fourth year, and is a musician of remarkably fine powers. He is a brilliant pianist, and a most342 skilful performer on the violin and violoncello. As a violoncellist he has but few equals anywhere. He is an esteemed teacher of violin and piano, and is organist at St. Mary's (Catholic) Church.

But Professor Snaer's musical abilities do not end with the accomplishments just mentioned. He is, besides, a ready composer, and has produced much music of a varied and very meritorious character. Extreme modesty, however, has prevented him from publishing many of his pieces. Generally his habit has been to sit down and compose a piece, and then allow the manuscript to go the rounds among his acquaintances. As he would make no request for its return, nor express solicitude regarding its fate, the music rarely returned to the composer; so that to-day the most unlikely place to find copies of his works is at the professor's own residence.

Professor Snaer has a memory of most wonderful power. When he was eighteen years old (that was twenty-six years ago), he composed his "Sous sa Fenêtre." Without having seen this music for many years, he can to-day write it out note for note. He remembers equally well each one of his many compositions, some of which have been of an elaborate and difficult character. He has lately rewritten from memory, for a gentleman in Boston, a great solemn mass which he composed several years ago. Those who are familiar with the original draught of this mass say that the present one is its exact counterpart.

The following comprises in part a list of the works of Professor Snaer:—

Professor Snaer is also a man of letters, a littérateur; and in such matters, as well as those of music, much deference is paid to his judgment by his contemporaries.

Mr. Henry Staes is a youth quite ardent in his study of the piano-forte.

Mr. Lanoix Parent, formerly a member of the Philharmonic Society, is a performer on the violin, viola, and some other instruments.

Professor A.P. Williams, born in Norwich, Conn., in 1840, is highly esteemed as a vocalist and pianist. He is an efficient teacher of vocal and instrumental music. He received his musical training from his father, Mr. P.M. Williams, who, a native of Massachusetts, was a proficient vocalist and organist. Professor Williams is a man of decided intellectual merit, and is principal instructor in a grammar-school in New Orleans.

Mr. E.V. Macarty, a native of New Orleans, was born in 1821. He began lessons on the piano under Professor J. Norres. In 1840 he was sent to Paris, where, through the intervention of Hon. Pierre Soulé and the French ambassador to the United States, he was admitted to the Imperial Conservatoire, although he was then over the age prescribed for admission. At the Conservatoire he studied vocal music, harmony, and344 composition. He has composed some pieces that have been published, the names of which, however, are not known to the writer. Mr. Macarty is especially distinguished as a vocalist: as a singer he is full of sentiment, and very impressive; is a fine pianist; and much admired, too, as an amateur actor. In the rôle of Antony, in the play of that name, by Alexandre Dumas, as well as in that of Buridan in "La Tour de Nesle," by the same author, Mr. Macarty has won high honors. He also has held several positions of trust under the State government.

Mr. F.C. Viccus is a gentleman of fine musical abilities, a performer on the violin, cornet, and even other instruments.

McDonald Repanti, before going to Mexico, became one of the most remarkable pianists of New Orleans. His trade in early life was that of a worker in marble; and being very fond of music, and desirous to study the piano, he used to work very hard at his trade during six months of the year, and then devote the other six to severe study of music, and practice on his favorite instrument. This he did under the instruction of his brother, Fierville Repanti, who was formerly a teacher of marked ability, and a composer of music. Fierville removed to Paris, where he died some years ago.

Maurice J.B. Doublet was born in New Orleans in the year 1831. In that city he takes rank with the best violinists, and is highly rated as a general musician. Modesty has kept him away from the public but too often, since he possesses powers that would cause him always to be the recipient of much applause from large and cultivated audiences. He studied under L. Gabici. Mr. Doublet, as a violinist, is most remarkable for the345 purity of the tones produced, and the faithfulness he exhibits in giving expression to the composer's thoughts. These qualities, which it seems were given him by nature, are also noticeable in all of his pupils. Mr. Doublet is also a composer, but is so modest as to hide from the general public all that he has done in that line.

Dennis Auguste was born in New Orleans in 1850, and is therefore twenty-seven years of age. Although so young, he is regarded as a fine musician. He grew to manhood in the family of Col. Félix Labatut, by whom and his wife Dennis was treated as a son. Mr. and Mrs. Labatut, who were a noble and high-minded couple, of well-known liberal ideas, spared no pains to give their charge a thorough education. Teachers were employed to instruct him in many branches of learning. Mr. Ludger Boquille, a colored gentleman, became his teacher in French; Prof. Richard Lambert gave the youth his first lessons in music and on the piano; Prof. Rolling, a well-known artist, directed him in the same studies afterward; while in vocal music, harmony, and composition, he became proficient under Mr. Eugène Prévost. Mr. Auguste has proved himself worthy of the care that was given to his training by his Christian-like guardians and faithful teachers. As a performer he is held in high esteem, and is often employed by the best families of both races in his native city.

Henry Corbin, for several years a resident in New Orleans, was born in Cincinnati, O., in the year 1845. He learned the violin under a German teacher and under Professor Bonnivard. He has played as an amateur on many occasions at concerts, and always with marked346 acceptance to his audiences. Mr. Corbin's musical achievements are very fine, considering the great amount of time he has given to employments connected with state and city government. He was at one time private secretary to Gov. Pinchback; at another, secretary of the Board of Directors of the Public Schools of New Orleans; and is now tax-collector for the Sixth District in that city.

J.M. Doublet is only eighteen years of age, but is considered already a violinist of excellent ability. He has studied music under the direction of his father, J.B.M. Doublet.

Adolphe Liantaud is one of the best performers on the cornet in New Orleans: indeed, for purity and smoothness of tone, as well as power, he is regarded as most remarkable.

Mr. Henry Berrot is considered an excellent player on the contra-bass, although beginning its practice only a few years ago, and at an age when most persons would despair of acquiring a knowledge of that or any other instrument.

Mrs. P. Casnave is a brilliant pianist.

Miss Macarty has on several occasions appeared at public concerts, and has always been received with marked favor. She is quite studious, and renders difficult and classical compositions for the piano in a most creditable manner.

As may be readily supposed of a community like that of New Orleans, where there is a large colored population composed of so many people of culture, the gentler sex are only behind the other, in possessing a knowledge of music, to that extent which has been caused by those unreasonable, unwritten, yet inexorable347 rules of society, that have hitherto forbidden women to do more than learn to perform upon the piano-forte and guitar, and to sing. But among the ladies of New Orleans there are many who may be called excellent pianists, and those who, possessing good voices, sing the choicest music of the day with a fine degree of taste and expression. Most of these (only a few of them are performers in public), by their musical culture, and the possession of those general graces of a beautiful womanhood,—graces the possession of which

add to the adornments and refining pleasures of many private circles, and thus keep pace with their male relatives and friends in demonstrating the intellectual equality of their race. It would, however, take up far too much of space to here present a larger number of the names of these accomplished ladies than has already been given; and it is therefore hoped that the latter,—fair representatives of many others that might be given,—and the general mention just made, may suffice.

Returning to the other sex, I first refer to Constantin Deberque, who is a musician of fine ability, a teacher of great skill, and a gentleman of good general culture. Mr. Deberque will again be mentioned on a succeeding page.

Dr. E. Dubuclet is a finished violinist. He is a brother of Dr. Dubuclet, heretofore mentioned as having removed to Bordeaux, France.

The Dupré family are remarkable for their excellent musical qualities. Each of the brothers, Ciel, Lucien,348 and Esebe, play upon several instruments; while their two sisters are also well versed in music.

Mr. Raymond Auguste, as a cornetist, is quite noticeable for the purity, strength, and fine expression of the tones he produces.

Eugène Convertie is a classical student; wins golden opinions for his piano performances; and has been highly esteemed as a teacher of that instrument. He is now succeeding as a dry-goods merchant in New Orleans.

Mr. Kelly, band-director, is very effective as a performer on the cornet.

Mr. Émile Ricard is regarded as a good pianist and teacher.

Joseph A. Moret is a violin-player, to whom all listen with pleasure. He was first a pupil under Professor Snaer, and afterwards studied under Professor Bonnivard. Mr. Moret, having been instructed by such good teachers, possessing much natural talent, and being withal so young, has before him a brilliant future.

Joseph Mansion is an amateur violinist, and a gentleman of much intelligence. He was formerly a member of the Louisiana House of Representatives, and is now State-tax assessor.

Joseph Bazanac was an excellent performer on the flute and bassoon, and a teacher of music. He was, besides, acknowledged as a skilful instructor in the French and English languages. He died a few months ago.

Charles Martinez, who died in 1874, was most remarkable for proficiency in performance upon a great number of instruments,—being an artistic guitarist and violinist, a player upon the contra-bass,—and was also a good singer. Being of an ambitious turn of mind, Mr. Martinez studied, without a teacher, to become a notary-public, and was appointed as such.349

Professor Thomas Martin was at a time one of the first musicians of New Orleans and of Louisiana, being without an equal as a guitarist, was a great performer on the violin and piano-forte, and played even other instruments. He was also a fine vocalist, a ready and good composer, and was much celebrated for abilities in teaching music. A fine-looking man, very agreeable and gentlemanly in his manners, Professor Martin soon won his way against all obstacles, and became the favorite musical instructor not only of those of his own race, but also of many persons connected with the most aristocratic white families of New Orleans and its vicinity. This once talented musician is now no more; he having died some years ago in Europe, as I am informed.

Octave Piron was once very prominent as an excellent vocalist and guitarist. He devotes his attention now more to the contra-bass, upon which instrument he is regarded as a good performer.

J.M. Holland is a young man who gives much promise of becoming an excellent pianist.

And thus I might go on and on, mentioning name after name, and achievement after achievement; but warned by the great number of pages already devoted to these praiseworthy musical people of New Orleans, and believing that enough has been presented to serve the object had in view when these notices were begun, I will shortly close this record.

As a sample of the concerts frequently given in New Orleans by amateur musicians of the colored race, I append this programme of one lately given:—350

351

From the notes of a musical critic of New Orleans I learn that this concert was in all respects a fine success. The different overtures were well executed by an ensemble of twenty instrumentalists, all colored men; while all the numbers on the programme were rendered, generally, in a manner that would have been creditable, even had the performers been, as they were not, professionals.

The audience was a large and brilliant one, composed of members of both races, and was quite demonstrative in the bestowment of applause and in floral offerings. As at first remarked, concerts like the one just described are frequently given in New Orleans.

New Orleans has several fine brass bands among its colored population. "Kelly's Band" and the "St. Bernard Brass Band" deserve particular mention here. The "St. Bernard" is composed of a very intelligent class of young men, studious, and of excellent moral character; in fact, they form a splendid corps of musicians, equalled by but few others, and excelled by none. With these two bands and some others, the names of which I have not now at hand, the people of New Orleans are always well supplied with the best of martial music.

Before the late war, the city had an association of colored men called the "Philharmonic Society." Several liberal-minded native and foreign gentlemen of the other race were always glad to come and play with the "Philharmonics" overtures and other music of a classical character. This was really a scholarly body of musicians, with whom the very best artists of any race might well be proud to associate. Constantin Deberque and Richard Lambert were among those, who at352 times directed the orchestra. Eugène Rudanez, Camille Camp, Adolph Angelaine, T. Delassize, Lucien and Victor Pessou, J.A. Bazanac, Charles Martinez, and over one hundred other amateur musicians, added a lustre to the good name of the colored men of New Orleans, even during the gloomy days of oppression. These men with all their souls loved music and the drama; but were kept away from the grand opera, from concerts and theatrical performances, because they would not submit to the degradation of sitting in a marked place designated "for colored persons." Nevertheless, they were not to be deterred from following that bent of their minds which a love of art directed; and so, thrown entirely upon their own resources, these high-minded men formed the "Philharmonic Society" and other musical associations, finding in the same much to compensate them for what they lost by being debarred from entering those circles of culture and amusement, the conditions of entrance to which were, not a love of and proficiency in art, but that ignoble and foolish one, the mere possession of a white face.

And thus has been briefly and (as the writer fears) imperfectly told the story of these highly musical people of New Orleans. Bearing in mind the great and manifold difficulties against which they ever had to struggle,—not only such difficulties as all must encounter who study the science of music, but also those far, far greater ones that are caused by color-prejudice, the extent of whose terrible, blighting power none can ever imagine that do not actually meet it,—bearing in mind, I say, all these obstacles, and their triumphs over the same, it will be seen that much has been accom353plished that may be considered really wonderful. As better opportunities for culture, and that fulness of recognition and appreciation without which even genius must languish and in many cases die,—as these come to them, as come they surely will in this new era of freedom,—then will such earnest votaries as have here been mentioned, with

attain to even greater degrees of proficiency and eminence in that noble art of which Pope thus beautifully sings:—

APPENDIX.

MUSIC.

PREFACE TO THE MUSIC.

It is deemed necessary to offer a few words of explanation touching the music printed on the following pages.

The collection is given in order to complete the author's purpose, which is not only to show the proficiency of the subjects of the foregoing sketches as interpreters of the music of others, but, further, to illustrate the ability of quite a number of them (and, relatively, that of their race) to originate and scientifically arrange good music.

For want of space, only a few selections have been made from the many compositions in the writer's possession; and, for the same reason, only parts of several works, somewhat elaborate in character, have been given; the latter curtailment having been made in the cases of the following: "The Pilgrim" (a grand overture, originally occupying about twenty pages, sheet-music size), only one-third of which appears in this collection; of an elegant arrangement of the air of "Au Clair de la Lune" (containing Introduction, Theme, First, Second, and Third Variations, and Finale), only the "Theme" and Third Variation are given; of the Parisian Waltzes (a set of five), only the introduction, coda, and Waltz No. 3 are given; of "Les Clochettes,"—fantaisie mazurka,—only a part appears; and so of "La Capricieuse;" while, of the "Mass," only two movements appear, the "Gloria" and "Agnus Dei." The attention of all who shall examine the music is particularly called to the above statements, in order that there may be no surprises, and no injustice done the composers.

In two instances only have very long compositions been reprinted in full. The first (the "Anthem for Christmas") is so given as a mark of respect to the memory of a pioneer musician, now deceased; and the second ("Scenes of Youth"), because a different treatment would seriously interrupt a continuous description which has been so vividly given by a young and talented composer.

The author of "Welcome to the Era March" is less than eighteen years old. The author of "Rays of Hope" has just attained to his majority.

But none of the foregoing statements are made as excuses; nor, on the other hand, is there any intention on the writer's part to present them in a boasting way. The collection of music is submitted to the candid consideration of all music-loving people, with the hope that it may add to their enjoyment, and help to serve the purposes for which this book was prepared.

CONTENTS TO THE MUSIC.

ANTHEM FOR CHRISTMAS.

Composed and Arranged by WM. BRADY. N.Y. 1851.

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To Miss Florinda J. Ruffin, Boston.

WELCOME TO THE ERA.

MARCH.

J. SAWYER.

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Copyright, 1877 by John F. Perry, & Co. Used by per.

AN ANDANTE.

For the Guitar, by JUSTIN HOLLAND.

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THE PILGRIM.

GRAND OVERTURE.

Composed by JOHN T. DOUGLASS.

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THE PARISIAN WALTZES.

Composed by H.F. WILLIAMS.

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Copyright, 1867 by Oliver Ditson, & Co. Used by permission.

LE SERMENT DE L’ARABE.

CHANT DRAMATIQUE.

Paroles de A. DEMARTON. Musique d'Em. DÉDÉ.

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Transcriber's Note: Spelling errors in the lyrics have been corrected.

LA CAPRICIEUSE.

VALSE.

BASILE BARÈS. Op. 7.

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Copyright, 1869, by A.E. Blackmar. Used by permission.

AU CLAIR DE LA LUNE.

(VARIATIONS ET FINAL SUR L’AIR.)

LUCIEN LAMBERT. Op. 30.

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Respectfully Dedicated to Mrs. Amelia Nahar.

“LAURIETT.”

BALLAD.

Composed by H.F. WILLIAMS. 1840.

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Copyright by O. Ditson & Co. Used by permission.

LES CLOCHETTES.

FANTAISIE MAZURKA.

SYDNEY LAMBERT. Op. 9.

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Alphonse Leduc. Paris.

“RAYS OF HOPE.”

MARCH.

Composed by WALTER F. CRAIG. Op. 1.

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SCENES OF YOUTH.

FANTAISIA for PIANO

By F.E. LEWIS, Op. 3.

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MASS

FOR THREE VOICES.

By SAMUEL SNAER, New Orleans.

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GLORIA.

AGNUS DEI.

FOOTNOTES