(COLORED.)

MISS ANNA MADAH HYERS	Soprano
AND
MISS EMMA LOUISE HYERS	Contralto and Tenore
ASSISTED BY
MR. WALLACE KING	Tenor
AND
MR. JOHN LUCA	Baritone

AND THE GIFTED PIANIST,

A.C. TAYLOR.

These young ladies (as will be seen from criticisms annexed) have created a great sensation wherever they have appeared; and, it being the intention of their father (who accompanies them) to take them to Europe to perfect them in their art, he has been induced, at the request of numerous friends, to make a tour through the principal cities of America, to afford the musical public and those anxious to hear these truly wonderful artists of the colored race an opportunity of hearing them, and judging for themselves. The music they sing is always of the highest order, and their selections are from the most difficult and classical pieces that have been sung by the most accomplished artists.

Mr. Wallace King (tenor) possesses a fine voice of splendid quality and great compass, which he uses with marked skill, and is especially adapted to music of dramatic character.

Mr. John Luca (baritone) is also the possessor of a splendid voice, and sings in admirable style, both in songs and concerted music.

Mr. A.C. Taylor (pianist and accompanist). This gifted artist, besides being an excellent accompanist, is also a solo-player of great promise. He has had the honor of playing before the most critical audiences of New York and Boston; and it is predicted by our leading musicians he will rank with the first pianists of the day.

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:"—

"The Hyers sisters are colored, and, to the musical instincts of their race, have added careful musical training. Miss Anna Hyers possesses a flexible voice of great compass, clear and steady in the higher notes. Miss Emma, the contralto, has a voice of great power and depth; qualities which, in impassioned strains, give it a richness not often heard in chamber concerts.

"The gem of the evening was the 'Miserere' scene from 'Il Trovatore,' which was skilfully rendered by the sisters, Miss Emma singing the tenor part with very fine effect.

"A duet by Millard, sung by Miss Anna and Mr. J. Luca, was also remarkably well rendered; Miss Anna displaying the admirable qualities of her voice and her careful training to the greatest advantage.

"The audience was enthusiastic, and the encores were frequent."

Said "The New-York Tribune,"—

"A concert was given last evening by the Hyers sisters at Steinway Hall. These are two young colored girls who have received a musical training in California, and who are by no means mere 'Jubilee' singers, as the programme of last evening clearly shows. It embraced several airs and duets from 'Martha' and 'Trovatore;' the last being the 'Miserere,' which called forth hearty applause."

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

... "The selections last evening embraced a high order of music, operatic and otherwise; and were rendered with a taste and grace that elicited frequent applause.

"One of the young girls possesses a very pure soprano, the other an equally excellent contralto voice; and, singly or together, their execution is marked by a refinement, culture, and attractiveness that deserve first-class audiences and first-class appreciation."

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,"

"Not only was every inch of standing-room in the Young Men's Christian Association Hall occupied, but the ante-room and even the stairway were completely jammed. In spite, however, of the uncomfortable crowding, every one was pleased to be present, and all were delighted with the concert.

"The young ladies are gifted with remarkable voices, and sing together with perfect harmony; displaying the full compass and beauty of their voices, which are clear and sweet.

"Mr. Wallace King's rendering of Tennyson's beautiful song, 'Come into the garden, Maud,' was really exquisite, and was followed by a vociferous encore. The concert was one of the finest of the series."

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 to 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:—

"We were invited with some fifty other persons this forenoon to hear the singing of two colored young ladies, named Anna and Emma Hyers, of San Francisco, at the Meionaon. They are aged respectively sixteen and fourteen years, and, after a casual inspection, may be called musical prodigies. They are, without doubt, destined to occupy a high position in the musical world.

"Anna sings not only alto, but tenor, and both with great excellence. They sang 'Ah forsetui' from 'Traviata,' 'M'appari' from 'Martha,' and the 'Miserere' from 'Trovatore,' each with remarkable clearness and accuracy, and surprised all with the general skill they displayed. Anna has also the faculty of reaching E flat above the staff. Judging from present data, they are on a par vocally with our better concert-singers; and a further hearing may place them in rank with more pretentious vocalists."

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:—

"The young California singers, Miss Anna and Emma Hyers, gave their last concert at Tremont Temple last evening. The audience was both large and enthusiastic; and a duet from 'I Masnadieri,' 'Home, Sweet Home,' by Miss Anna, a duet from 'La Traviata,' a cavatina from 'Lucia di Lammermoor,' and 'The Last Rose of Summer,' also by Miss Anna, appeared to give great satisfaction. The young ladies have made a very marked impression in their concerts here.... Mr. Wallace King has a pure, sweet tenor voice of remarkable compass, and sings with excellent taste."

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.

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:—

"One of the largest, and certainly one of the best pleased audiences of the whole season, attended the concert of the Hyers sisters at the Opera House last evening. The voice of the soprano, Miss Anna Hyers, is beautifully pure and liquid in its higher range; and she sings notes far above the staff with the utmost ease, where most sopranos gasp and shriek. So easily, indeed, does she sing them, that few persons are aware of the dizzy vocal heights which she scales. Mr. King possesses that great rarity, a real tenor voice, pure and sweet, and of great compass. But the charm of the concert consisted not so much in individual excellence as in the combination of the voices in some wonderfully fine four-part singing. Nothing in this line so exquisite as the 'Greeting to Spring' (Strauss' 'Beautiful Blue Danube' waltz vocalized) has been heard in Springfield for many a year. The voices were as one; the shading was perfect; the modulations were absolutely pure and true; melody and harmony were alike beautiful."

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:—

"A larger audience than that of last Saturday evening greeted the Hyers sisters at Mechanics' Hall last evening. The programme was a new one, with the exception of the 'Greeting to Spring,' which was repeated by request, and was enthusiastically received. The 'Excelsior' of Messrs. King and Luca, the 'Cavatina Linda' of Miss Anna Hyers, the 'Sleep Well' of Mr. King, and the 'Non e'ver' of Miss Emma Hyers, were encored, as well as nearly all the quartets. The quartet-singing was unaccompanied, and was the finest that has been heard in this city for years. The voices blended beautifully, and were full of expression. Nor can too high praise be bestowed upon the soprano and tenor. They showed great cultivation, and a quality of voice rarely equalled."

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

"New Haven has but rarely heard such extraordinary artists, or reaped so much benefit as from their concerts."

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

"Seldom in the history of our pleasure-seeking has it been our good fortune to enjoy an hour of such exquisite pleasure as we were blessed with on the occasion of our attending a concert given here, a short time since, by the Hyers sisters."

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 the 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 of 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.

XIII. FREDERICK ELLIOT LEWIS,

PIANIST, ORGANIST, VIOLINIST, ETC.

Like the honey-making bee,
Passing from flower to flower,
Tasting and gathering the sweets of each.

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 instrument 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 generally 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 he 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

"Of manners gentle, of affections mild;
In wit a man, simplicity a child."

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 not 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 scientific 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 were 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 general 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.

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. This 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,—

"Mr. Lewis is an amateur performer of marked ability."

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

"Mr. Lewis gained much applause for his violin solos; and a duet and also a sonata by Mozart, for violin and piano, were well received."

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

"Mr. F.E. Lewis, violin soloist, appeared once on the list, and was so demonstratively applauded, that he was a second time forced to come upon the platform. His first solo and the response were very artistically given."

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:—

"I look upon him as a person of remarkable musical ability. His performance on the violin, viola, violoncello, double-bass, clarinet, and also brass instruments, is really surprising. But where we see his real talent is in his conception and rendering of classical music on the piano-forte. Even in his own compositions he has shown much real talent. I regret that he could not have had the chances abroad that so many of our less-talented Americans have had. Besides the numerous instruments I have mentioned, there is still another (which, perhaps, in character ranks higher than any of the others): I mean the church-organ, upon which he also plays."

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.

XIV. NELLIE E. BROWN,

THE FAVORITE NEW-HAMPSHIRE VOCALIST.

"The melody of every grace
And music of her face."
Lovelace.

"And thence flows all that charms or ear or sight;
All melodies the echoes of that voice."
Coleridge.

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,—

"There is in souls a sympathy with sounds:...
Some chord in unison with what we hear
Is touched within us, and the heart replies."

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 touching 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; thus 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. 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 singing 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: "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 accomplishments 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,—

"Miss Nellie E. Brown has for some months been the leading soprano at Grace Church, Haverhill, Mass.; which position she has filled with eminent acceptance, and with marked exhibition of artistic powers."

And the same paper at another time said,—

"Miss Brown possesses a very fine voice under excellent culture, and gave with much taste several solos. Noticeably good was her rendering of Torrey's 'La Prima Vera.' In all her selections she exhibited excellent style and finish."

"The Globe," March 31, said,—

"Miss Nellie Brown showed a particularly well-modulated voice, trained study, and appreciative method, which served her well in the pleasant rendering given by her so gracefully and unaffectedly."

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

"This lady is fortunate in her exceedingly sweet and well-trained voice, which, in conjunction with her fine personal appearance and stage manners, rendered her reception unusually enthusiastic."

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

"Miss Brown has a charming voice, and sings with intelligent expression and good taste. Two of her songs, 'Beautiful Erin' and 'Bonnie Dundee,' were rendered with great sweetness."

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

"She has an exceptionally pure voice, which has been carefully trained."

"The Transcript," April 16, said,—

"A soprano of good voice and cultivation."

"The Journal," June 13, 1874, said,—

"A talented vocalist, with a well-cultivated voice of a remarkably fine quality. She pleased very greatly in several selections."

Said "The Post," Nov. 13,—

"An artist of exceptional merit, possessing a voice of rare compass, flexibility, and sweetness. In the solo, 'Land of my Birth,' by Operti, she received enthusiastic applause."

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 concert given in the City Hall last evening by Miss Nellie Brown, assisted by Misses Gray and Bracket and the Amphion Glee Club of Haverhill, Mass., was a success.... Miss Brown was very warmly greeted, and surprised all with the ease and grace of her appearance, the richness of her voice, and the fine rendering of her music. She was enthusiastically encored."

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

"The organ and vocal concert at the new Methodist-Episcopal church on Tuesday evening was one of the finest ever given in Dover.... Dover's favorite, Miss Nellie E. Brown, was as warmly greeted as ever, sang most charmingly, and was loudly encored."

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

"It [the concert] was a grand and complete success.... One little incident, or intended incident, was omitted at the concert. An elegant basket of flowers was sent by the friends of Miss Nellie Brown at Haverhill, for presentation to her at the close of her singing; but the express folks failed to deliver it in season. It was too bad; but Miss Brown and her numerous friends appreciate the good-will of the Haverhill people all the same. It was intended as a pretty tribute to one of the best singers in New England; and, so far as the act itself was concerned, it stands just as well as though the presentation had taken place."

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,—

"Miss Nellie Brown, born and bred among the lulls of New Hampshire, possesses a voice of rare power and beauty, which she has diligently labored to cultivate and improve by close and unremitting study. She has also a rare charm of manner, which, united with her exquisite singing, won for her an enthusiastic reception."

Another paper thus referred to her:—

"Miss Brown is not a New-Yorker, but resides at Dover, N.H., where she is the leading soprano in the principal church. Her stage presence is quite prepossessing. She sang 'Salve Maria,' and 'Robert toi que j'aime,' with very good effect, besides assisting in several duets and quartets. She possesses a very good voice; and, although of light calibre, it is even now able to fill a hall like Steinway."

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,—

"'La Prima Vera,' by Miss Nellie E. Brown, was beautifully and artistically rendered, the lady possessing a beautiful, full, round voice, which blended harmoniously with the perfect ease and faultless execution which graced her performance. It being her first appearance before a Washington audience, the expectation formed of her excellence in an artistic sense was more than realized. 'Nobody at Home but Me,' sung by the same lady in reply to an encore, more fully, if it were necessary, stamped her as an artist of the first class."

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.

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:—

"A band of mountain children are collected to spend the summer day in singing, gathering flowers, and feasting around their table spread beneath the shadowy branches of the trees. They are interrupted by the approach of a beggar-woman and her children. A part of the children at first repulse her, offended at having their joyous festival thus interrupted: but one of them, Laila, steps forth with a mild rebuke to her playmates for their unkindness: she welcomes the poor mother and children, and bids them make known their wants. The other children soon join with Laila in speaking kindly to the poor wanderers; and, after they have told them their tale of sorrow, they are invited to the feast which the children have prepared, and all together go out with a merry song to where the table is spread. But Laila, the favorite of all, wandering off alone to cull some wild flowers, in the ardor of her search loses her way, and wanders about until night approaches; and then, as weary and frightened she finds herself in a dark forest, she kneels to ask aid from her good angel, when suddenly a little band of fairies with their queen glide into her presence, glittering in their robes of beauty; and, after her surprise is over, at her entreaty they conduct her to her playmates.

"The mountain children soon miss Laila, and all the afternoon they spend in fruitless search for her; and, as night approaches, they collect in the grove where they first assembled, and are expressing their grief and terror at the loss of Laila, when she is led in by the fairies and their queen, who steps forth, and announces to the children that they are the same ones, who, disguised as wretched beggars, came in the morning to prove the generosity of their hearts; and tells them never in future to hesitate to give the needy, for virtue is sure to be rewarded. All unite in a joyous song, and Laila is crowned their queen."

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,—

... "The occasion was the presentation of the cantata of 'Laila' by fifty young ladies, under the direction of Miss Nellie E. Brown. The misses, ranging from five to fifteen years, possess very sweet voices; and the music was given with much taste, and a degree of artistic excellence reflecting great credit on Miss Brown's efforts.... The audience were greatly pleased with the rendering of the music.... While the singing was good, there was exhibited considerable dramatic art by some of the young ladies. The dresses worn are neat and pretty, the fairy costumes being very striking and appropriate. The stage, too, was neatly set; and there was quite a good spectacular effort in the representation of the fairy grotto."

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.

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

"The presentation of the operetta of 'Laila' at City Hall, on Wednesday evening, was a very gratifying success.... The whole affair was under the direction of Miss Nellie E. Brown, the popular soprano of Grace Methodist-Episcopal Church. She was assisted by some fifty young ladies of this city; and the promptness and harmony with which all the arrangements of the affair were carried out, as well as the musical and dramatic talent displayed by them, are certainly very creditable both to her superintendence and their co-operation."

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:—

... "As to the singing of Professor Bliss and Miss Nellie Brown, it seems as though we are all in the third heaven at once, and that it is almost sacrilege to come down to meaner things."

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, 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.

"No good of worth sublime will Heaven permit
To light on man as from the passing air:
The lamp of genius, though by nature lit,
If not protected, pruned, and fed with care,
Soon dies, or runs to waste with fitful glare."

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 with 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.

XV. SAMUEL W. JAMIESON,

THE BRILLIANT YOUNG PIANIST.

"While a skilled artist's nimble fingers bound
O'er dancing keys, and wake celestial sound."
Julian.

"Nor Fame I slight, nor for her favors call:
She comes unlooked for, if she comes at all."
Pope.

“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; for 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:"—

... "But the best thing in the piano line was the rendering of Chopin's 'Polonaise,' in E flat, by Mr. Samuel W. Jamieson. The 'Hungarian Rhapsodie,' No. 2, of Liszt, was most particularly characterized by a delicate touch, and a clear conception of the subject in hand.

"It is but just to say that this gentleman is an advanced scholar."

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

"Mr. Samuel Jamieson, pupil of the Boston Conservatory, but directly under the instruction of Mr. Tracy, carried off a good share of the honors of the recent matinée of that very successful school."

"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:—

"The concert given on Tuesday evening at the Music Hall, though so little known as to be thinly attended, was a very satisfactory entertainment, and well deserved a large audience. Mr. Jamieson is a pupil of the Hungarian pianist Mr. F. Boscovitz, some prominent features of whose style he closely imitates. His playing shows him to be a careful, conscientious student, possessed of real musical sensibility, without any of the nauseous sentimentalism so common among young players. His best performance in every respect was Liszt's 'Rigoletto' fantasie, the mechanical difficulties of which he has well conquered, and the passionate meaning of which he interpreted very finely. In answer to an encore of this piece, he gave Mr. Boscovitz's exquisite little 'Chant du Matin,' Op. 68.

"He will make an excellent pianist if he prosecutes his study as faithfully as he has commenced it. Mr. Jamieson carries with him the good wishes and the highest expectations of those who heard him."

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 his 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:—

"Mr. Jamieson, the pianist, was before the public last season, and then gained strong praise. He is a promising young artist, and his performances on this occasion showed marked improvement. His selections embraced a fantasie on the 'Wedding March' of Liszt, a fantasie on themes from 'Rigoletto,' and variations on 'Home, Sweet Home;' and in all three he won deserved applause."

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 to 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:"—

"Mr. Jamieson exhibits much power and delicacy, and a certain confident but not obtrusive manner, which will go far, with his abilities, to place him in a high rank among our pianists. He gave much satisfaction; his performance of Liszt's fantasie on themes from Verdi's 'Rigoletto' showing great skill in mastering the difficult technicalities in the variations on the theme."

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

"Mr. Jamieson has come into prominence in this city as a pianist, and the ability he has shown has won him the regard of musical people. His selections last evening were all of the highest order, and were uniformly well performed. Compositions of Chopin, Boscovitz, and Liszt, were given; and in each a clear appreciation of the character of the compositions was shown."

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

"The participant best known to the Boston public, perhaps, was Mr. S. Jamieson, who has appeared as pianist on several occasions in public and private with marked acceptability. He was on the programme for two solos, both of which were given with a skill and an artistic conception that sustained the favorable impression that he had previously made."

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:"—

"A musical soirée was given last evening at the residence of Mrs. Jno. W. Perry in aid of Mr. S.W. Jamieson, the talented pianist of the Boston Conservatory, who contemplates a pursuance of his musical studies in Europe the coming summer.... The assemblage, which was one of the highest order of respectability, thoroughly enjoyed the choice music that was selected for their ears. Mrs. Kempton, Mrs. Perry, and Messrs. Jamieson, Jacobs, Tracy, Haggerty, Walker, Willard, and Sweetser, contributed in a programme made up of numbers from Rossini, Rubenstein, Schubert, Bendel, Mills, Campana, Chopin, Violetta, Liszt, and Gottschalk."

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 us 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.

XVI. THE VIOLIN.[13]

"Thou mystic thing, all-beautiful! What mind
Conceived thee, what intelligence began,
And out of chaos thy rare shape designed,
Thou delicate and perfect work of man?"
"The Violin:" Harper's Magazine.

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 a 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 as 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, 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:—

"The difficulty of thoroughly mastering the violin—the difficulty, that is, of combining perfect execution with brilliancy of tone and perfect expression—is so vast, that nothing short of indomitable patience and perseverance, united with those indispensable faculties which all good players must possess, will succeed in overcoming them. 'Twelve years' practice,' says a musical critic, 'on the violin, will produce about as much proficiency as one year's practice on the piano.' If that is so, we may well imagine that a man, who by dint of perseverance has at length qualified himself to take his place in an orchestra, may content himself by merely maintaining his acquired skill, without attempting to rival the great heads of the profession.

"The time which some students will devote to fiddling is almost incredible. We have known a clever man to practise every waking hour in the day, rising early and sitting up late, and sparing hardly one hour in the twenty-four for meals, for two years together, in the hope of qualifying himself for the leadership in a provincial orchestra; which, after all, he failed in doing. We have known men who fiddled in bed when they could not sleep, rather than waste the time; and others who have carried a dumb finger-board in their pockets, in order to practise the fingering of difficult passages while walking abroad or travelling by coach."

It is, however, far from the purpose of the writer to 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.

XVII. JOSEPH WHITE,

THE EMINENT VIOLINIST AND COMPOSER.

"Across my hands thou liest mute and still:
Thou wilt not breathe to me thy secret fine;
Thy matchless tones the eager air shall thrill
To no entreaty or command of mine.
But comes thy master: lo! thou yieldest all,—
Passion and pathos, rapture and despair:
To the soul's needs thy searching voice doth call
In language exquisite beyond compare."
"The Violin:" Harper's Magazine.

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, by 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:—

... "We will say as much of the pupil who has won the first prize for violin, and who came the last in the list of concurrents. The Viotti Concerto had already been played nineteen times; and, notwithstanding the great beauties of this classic work, the jury began to listen to it with but a dreamy ear. Mr. White appeared the twentieth. He belongs to a race whose complexion is more of a copper-color, with black and frizzled hair. He carries the head high, and his look is proud and intrepid. He approaches the eternal concerto, and it instantly becomes an entirely new creation.

"The jury listened to it with as much pleasure as if they heard it for the first time; and scarcely had Mr. White finished this piece when the jury retired to vote, proclaiming him the victor.

"Mr. White is eighteen years and a few months old. Since a year ago he has been in the Conservatoire, and studies in Alard's class.

"But where has he taken his first lessons? How did this son of America become the equal of the greatest violinists known in Europe? That is what we do not know, and what we ask to know for the honor of the American school, of which Mr. White is a splendid example."

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

"The concourse of violinists has presented this year a beautiful sight. The fight has been one of the most brilliant. The first prize has been awarded to Mr. White, pupil of Mr. Alard.

... "As for Mr. White, he showed himself so much superior, that there ought to have been (so we think) created in his favor an exceptional prize. He has played with an extraordinary animation, not like a pupil, but like a master,—like a great artist who commands his auditory. The jury itself was electrified. In order to compete with that young man, there ought to have been masters there."

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:—

To Mr. White. Sir,—Allow me to express to you all the pleasure that I felt Sunday last at my friend Mr. David's. The warmth of your execution, the feeling, the elegance, the brilliancy of the school to which you belong, show qualities in you as an artist of which the French school may be proud. May it be, sir, that through my sympathetic wishes I may bring you good fortune by finding again in good health the one for whom you fear to-day! Accept my blessings. Sir, I wish you a happy journey, and a speedy return.

G. Rossini.

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:—

"Mr. White, whom America sent to us a year ago, I think, through a courageous work, developed the talent which had caused him to receive the first prize at the Conservatoire. He played with equal success the concerto by Mendelssohn, and Paganini's fantasias: which is to say, that he is ready to play every thing you may wish; for there is a place for every thing between these two extremes. He played even his own music; and played at his concert a composition for violin and orchestra, very well instrumentated, full of happy melodies, and where the principal part contained features of a character as ingenious as piquant. He possesses an extreme dexterity in the use of the bow, and makes the staccato with as much audacity as perfection. He has the tone agreeable, the style elegant, and the expression just, and not affected. Here he is, then, placed in the first rank in that glorious phalanx of violinists which Europe envies us."

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:—

"We have seen Mr. White begin. We have been present at the concourse at the Conservatoire, where he won successively all the prizes. Then it was but a scholar who gave brilliant hopes: it is a master that we congratulate to-day in him."

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:—

"White, the violinist, has had the honor to be received on the 12th of this month by the Queen of Spain. Her Majesty has accepted the dedication of a piece composed by this eminent artist, and has told him that she would try and find an occasion for hearing him play it; and, in fact, our violinist played at the queen's on the 22d of December."[15]

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:"—

"In the concert given at the Palace of the Tuileries on the 1st of March, Mr. White, violinist, and very distinguished, executed a fantasie on Nabucco by Mr. Alard, in which he displayed all the qualities of a virtuoso. He knows how to make his instrument sing; and, when a difficulty presents itself, he carries it with a fascinating majesty. He is an artist who has succeeded in taking place among the best violinists of France and Italy."

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:—

"Our celebrated violinist Alard, who has been on a short tour in the country, has just returned to Paris. During his absence, one of his pupils, Mr. White the violinist, took the management of his class at the Conservatoire."

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

"Our celebrated violinist Alard is now in Nice, where he expects to spend a month. It is the violinist, Mr. White, who is charged with the direction of his class at the Conservatoire."

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

"In leaving Paris for a journey, the length of which is not fixed, Mr. Alard has confided the care of his violin class at the Conservatoire to Mr. White. This choice, there is no need to say, has been approved by the ministry of the emperor's house, and that of the Beautiful Arts. We need not say how much this honors the young artist who is the object of it."

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:—

"At the last concert of the Société de Concerts, Mr. White, violinist of our beautiful French school, a composer learned and inspired, executed the concerto by Mendelssohn, one of the most melodious and the best proportioned of this illustrious master. The virtuoso showed himself the worthy interpreter of the composer; and through his playing, full, correct, warm, and well-moderated, Mr. White has obtained a success which is akin to enthusiasm. They unanimously called back the artist; and he came to bow to the public, and then calmly went back to his place in the orchestra, from which he had just stepped forth. These are things which are only to be seen in this celebrated musical company of the Conservatoire, which, in spite of everything, remains the first orchestra of the whole world."

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

"Let us recognize the great success won last Sunday at the Conservatoire by the violinist White, in the concerto by Mendelssohn. He is an artist now complete, this young rival of the Sivoris and of Vieuxtemps. He is not only a virtuoso, but also a composer of note, having published several very remarkable pieces for the violin. We shall notice his six brilliant 'Studies for the Conservatoire.' He has composed one concerto with large orchestral accompaniment, a quatuor for strings, 'Songs without Words,' several fantasies, and several pieces for one and two violins."

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

"Mr. Joseph White is one of the most distinguished violinists of the French school. While yet very young, he jumped with one bound to the first rank; and since then he has each day strengthened his reputation through new and incontestable successes. He has always distinguished himself as well by the manner, grand and magisterial, with which he renders the masters' works, as by his style, together elegant and sober, when he interprets music of our time. In order to be more than a virtuoso of note, there was only one thing wanting in him; and that was to cause himself to be appreciated as a composer.

"If virtuosity is acquired through obstinate work, guided by good studies, and helped by that indispensable element, natural aptitude, genius is a gift from Heaven, which neither treatise on harmony, nor the works on counterpoint, nor a given song, shall ever procure to those who have no sacred fire.

"Last Tuesday Mr. White gave a concert in the Herz Hall; and here he has had the good fortune to receive, from the delighted audience that surrounded him, a double wreath, given together to the violinist and to the composer. The concerto he played, and whose author he is, is one of the best modern conceptions we ever heard of the kind.

"The style of a concerto must be, at the same time, serious in thoughts and in their developments, graceful and brilliant, in order to bring forth the talent of execution of the virtuoso. Here is a double reef to avoid, and here many artists have been wrecked. Vieuxtemps and Leonard are the modern masters who have been the most successful in this difficult style; but how many have been less happy!

"Mr. White's concerto is very temperate, of unnecessary length. The fabric of it is very well cared for; the mother-thoughts are well separated from the very commencement; the harmonies are unmistakably elegant and fine; and the orchestration is written with a firm and sure hand, without fumblings or failings. The three episodes are naturally united by the tuttis; the third movement, 'rondo à la turca,' is charming in cut and manner, its rhythms original and frank, and has won all approbations, and brought forth several times unanimous bravos from the whole assembly. This composition of a high value has been, in one word, the object of a true ovation for Mr. White, who was both author and composer."

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

"From the first measures one feels himself in presence of a nature strong and individual, and not in the presence of a proletaire of the large tribe of virtuoso composers.

"Not a single note in the composition has been given to virtuosité, though the difficulties of execution be enormous. 'With every true artist there is an eternally vibrating chord, which goes to the heart,' says Boileau; and that is why Mr. White asks only that his own emotion shall excite emotion, and, to the astonishment of charlatanry, renounces at once those means of success employed by coarse musicians."

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:—

"The old Schumann Society, all concerts of which are consecrated to the liberation of the territory, is not as exclusive in the composition of its programmes as its title would make you suppose.

"Thus is it that one has there very vivaciously applauded, Saturday, a 'Quatuor for Stringed Instruments,' by Mr. White. We signal this beautiful composition to the amateur's attention. This young master shows in it the most serious qualities united to a perfect clearness and purity of melody, with execution very remarkable, and which received one of the warmest receptions."

Here is the document we have before mentioned:—

IMPERIAL CONSERVATOIRE OF MUSIC AND DECLAMATION.

(Extract of the Document of the Seating of the Committee on Musical Studies, 16th December, 1868.)

The Committee on Musical Studies for Violin, of the Conservatoire, has read with interest the work which Mr. White has presented for its approbation.

The work is composed of six studies for violin, where the principal difficulties of execution which that instrument presents are confronted.

One remarks in these pages ingenious combinations proper to develop the mechanism of the left hand.

The committee approves these six studies, called to fortify the talent of a violinist.

(Signed)

Auber,

Director of Conservatoire, and Pres. of Committee.

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:—

"Remembrance, admiration, and thankfulness are offered to my young friend White, a violinist very distinguished.

"(Signed)

"G. Rossini."

"To Mr. White, whose talent is an honor to the Conservatoire.

"Auber."

"To Mr. White. Friendly remembrance.

"Ambrose Thomas."

"To my young friend White.

"Gounod."

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 in 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, despite 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 success 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:—

"Joseph White is in some respects the best violinist who has visited this country within my remembrance, not excepting Wieniawski. He and his companion Ignasio Cervantes, pianist, made their appearance in this city some few months since, very modestly advertised, and unheralded by any sensational newspaper paragraphs, and at their very first concert insured themselves undoubted future success. This success has been due entirely to White; for, although Cervantes is quite a nice pianist, he is nothing wonderful. But White was a revelation. His first New-York introduction to a large general audience was at a philharmonic concert (the date of which I cannot now recall), when he played the Mendelssohn concerto and the Bach chaconne. The Mendelssohn concerto was excellently played, especially the last movement; but it was in the Bach chaconne that he proved how really good he was. I have heard this composition by every violinist of eminence (except Vieuxtemps) who has visited our city; but I never heard so satisfactory a playing of it. The three voices flowed on so smoothly and evenly, never seeming to be in each other's way: there always seemed to be plenty of bow, and just in the right place for each individual voice to receive exactly its due prominence. The vociferous recall that followed this worthy performance was well earned. White is a Cuban mulatto, fine-looking, and extremely gentlemanly in appearance and conversation. A Brooklyn writer speaks of him as follows: 'His style is perfection itself; his bowing is superb, and his tone exquisite. His execution is better than Ole Bull's; he possesses more feeling than Wieniawski; the volume of his tone is greater than that of Vieuxtemps.' All of which I indorse."

On March 12, 1876, he appeared in New York as soloist at a grand concert given by that justly celebrated 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:"—

"The concert at the Boston Theatre last evening attracted one of the largest audiences of the season; and it is seldom that any artist receives such an ovation as that which was given to Señor Joseph White, the Cuban violinist, who made his first appearance before a Boston audience. The numbers on the programme assigned to this gifted artist were a 'Ballade et Polonaise' by Vieuxtemps, and 'Chaconne' by J.S. Bach; but a double encore to each of these was responded to by other selections, including the 'Carnival of Venice,' and a gavotte by Bach: all of which were rendered with a perfection rarely heard in violin performances, and recalled the best efforts of Ole Bull."

"Boston Journal:"—

"The chief feature of the concert at the Boston Theatre last evening was the appearance of a new violinist, Señor Joseph White, a Cuban, who has lately created quite a sensation. Rarely has any artist created so great a furore in a single hearing as Señor White. His really wonderful playing took the audience captive at once. His tone is remarkably true, pure, and firm, and his execution at all times clear and perfect. In short, he seems to have perfect command of the instrument."

"Herald:"—

"He handles the king of instruments with the utmost ease and confidence. He has no useless flourish in his manner, and none of the 'hifalutin' in his style. He draws and pushes his bow, and the instrument responds with delightful sweetness and passionate eloquence. He is probably entitled to a place in the catalogue of first-class violinists. Certainly those who heard him last night accorded him praises which would have perhaps ruined a less vain man."

"Daily Advertiser:"—

"But the success of the evening may be awarded to Joseph White. He plays in a style together firm and strong, and delicate and refined. His masterly rendition of Vieuxtemps' well-known 'Ballade et Polonaise' at once captivated the audience, and he was enthusiastically encored; and, the audience still calling for more, he played 'The Carnival of Venice.' This second selection was played without accompaniment; and he again was triply encored, the last time giving an air from 'Sonnambula.'"

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

"The Sunday-night concert at the Boston Theatre last evening was made memorable by the introduction to the Boston public of Señor Joseph White, the Cuban violinist.... The musical fraternity, however, was very fully represented, the musicians knowing something of what was in store for the evening. But not even they were prepared for the wonderful and delightful playing of Señor White.... The first of his work last night was something of a disappointment. There appeared to be a deficiency of tone, owing, as it seemed, to the use of an instrument not loud enough for so large an auditorium. But it was soon evident that the selection of such an instrument was in accordance with the style and taste of the artist. Possessing the most perfect ease and freedom in his command of the resources of the violin, with a fine breadth of style, and an evidently strong and quick sensibility, yet he did not aim to produce his effects on a large scale of tone. He seemed to desire to confine his exhibition of the violin to the range where its fineness and sweetness, rather than its power, may be illustrated, and to check himself inside of the limit where a coarse, scratchy body of tone is obtained at the expense of purity and delicacy. His bow, though 'dividing the strings with fire,' seemed never to touch them. The direction or the position of its stroke, whether up or down, at the beginning or at the end of it, could never be told from any changes in the quality of the sound extracted. The tone flowed as though after the keen incisions of a knife-blade, not as if scraped out by the friction of horse-hair upon catgut. When to this delicious quality of tone was added an exhibition of the most perfect technique, the triumph of the virtuoso was complete. The mysterious flowing softness and smoothness of tone was carried with unflagging facility through the most rapid and difficult chord and harmonic playing; and this, with other wonderful feats of bowing, added new and bewitching charms to the diablerie of violin variations. The reception of the artist was cordial at the outset; but at the close of the first performance, a 'Ballade et Polonaise' by Vieuxtemps, the enthusiasm was overwhelming. In response to the encore, Señor White played a 'Styrienne' of his own arrangement; and this was followed by two more stormy recalls, the audience refusing to be quieted until he had again gratified them, this time with the 'Carnival of Venice,' arranged by himself in an elegant transcription of the familiar commonplace variations. At the conclusion of his second number, Bach's 'Chaconne,' a famous and difficult violin solo, which was played, and interpreted as well, in a most masterly manner, the applause was again equally enthusiastic, notwithstanding the character of the selection; and for an encore the scholarly artist responded with a finely intelligent and daintily clean-cut rendering of a gavotte by Bach. The tumultuous recalls that followed this would be satisfied with nothing less than another performance; and Señor White gave a rich and pleasing arrangement of his own upon a popular air from 'Sonnambula.' With these two 'double encores,' amid such excitement as is rarely witnessed at a concert, Señor White may well add Boston to the other American cities that have 'adopted' him."

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!"

XVIII. THE COLORED AMERICAN OPERA
COMPANY.

"Who, as they sang, would take the prisoned soul,
And lap it in Elysium."
Milton.

"For, wheresoe'er I turn my ravished eyes,
Gay gilded scenes and shining prospects rise;
Poetic fields encompass me around,
And still I seem to tread on classic ground."
Addison.

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 tones 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, for 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 personæ 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

"Music, when soft voices die,
Vibrates in the memory;"

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 than 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. JOHN ESPUTA	Musical Director.
Mrs. AGNES GRAY SMALLWOOD	Soprano.
Miss LENA MILLER	Contralto.
Miss MARY A.C. COAKLEY	Contralto.
Mr. HENRY F. GRANT	Tenor.
Mr. RICHARD TOMPKINS	Tenor.
Mr. WILLIAM T. BENJAMIN	Baritone.
Mr. GEORGE JACKSON	Baritone.
Mr. THOMAS H. WILLIAMS	Basso profundo.

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.

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:—

"THE AMERICAN OPERA-COMPANY.

"The first colored opera-troupe of any merit ever organized in this country appeared at Lincoln Hall last night in Eichberg's opera, 'The Doctor of Alcantara.'

"Lincoln Hall was literally packed. Of course the majority of the audience was colored, and included a host of the personal friends of the singers. Glancing over the house, the full opera-dresses scattered liberally through the audience reminded one not a little of the scene at a concert by Carlotti Patti or the Theodore Thomas orchestra. Quite a third of the audience was composed of white ladies and gentlemen, largely attracted, perhaps, by the novelty of the affair; and among them were many representatives of the musical circles of the city, somewhat curious to hear and compare the performance with those they have been accustomed to hear.

"The criticisms, as a whole, were favorable. It was evident that the voices of two or three of the singers will be bettered by cultivation. The choruses were effective. In dramatic ability there was little lacking, and the singers were quite as natural as many who appear in German and French opera."

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

"The second representation of 'The Doctor of Alcantara' at Lincoln Hall last night was an improvement upon the first. The natural nervousness of the singers was better overcome, and they made a better use of their fine voices.

"For the sake of making some just reflections and comparisons, we select the name of Miss Lena Miller, who sang the rôle of 'Isabella.' Here is a young lady, really pretty in form and features, graceful in stage-presence, modest in manner, and imbued with true affection and spirit for art. At present she is not a great singer; but her voice is sweet and clear, and at times sympathetic. In this simple statement high but judicious praise is included; and here we might stop. But Miss Miller's presence in opera has a significance and a promise infinitely pleasing to all candid and well-judging minds concerning the race to which she belongs.

"Neither Miss Miller nor Mrs. Smallwood, nor any of the company, have had the advantage of musical training in European or American conservatories. They have to depend alone upon their natural gifts and personal acquirements. This fact is one which makes vastly in their favor, and protects them from the standard by which Adeline Patti or Louise Kellogg would be judged as artists. Under all the circumstances, they sing and perform extraordinarily well; and as for the chorus, it is superior to that of any German or Italian opera heard in this city for years.

"Mr. Benjamin's impersonation of 'Dr. Paracelsus' was really a good bit of acting, and Mr. Grant's 'Carlos' won for him deserved applause.

"The rôle of 'Don Pomposa' by Mr. Williams, the basso profundo, was finely rendered. His acting was good, and his voice full of richest melody.

"The opera last evening was largely patronized by distinguished people, among them being Senator and Mrs. Sprague, Gen. Holt, and many others.

"The experiment, doubtful at first, has proved a genuine success."

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

"'The Doctor of Alcantara' has at last attracted a number of colored amateurs of Washington; and they have lately appeared in that city, with such success that they are induced to present it in Philadelphia.

"It must be remembered that this troupe is composed entirely of amateurs, and is the first colored opera-troupe in existence. We have had the 'Colored Mario' [Thomas J. Bowers], the 'Black Swan' [Miss Greenfield], &c.; but never until now have we had a complete organization trained for ensembles.

"The audience attracted to Horticultural Hall last evening was therefore prepared to make all sorts of allowances for the shortcomings of the amateurs; but it was hardly necessary, as the troupe—really excellent, well trained—possesses agreeable voices, sings intelligently, and with experience will, we are confident, attract a great deal of attention, and receive high praise.

"The principal success was achieved by Mrs. A.G. Smallwood, who sang the music of 'Lucrezia' remarkably well. Her voice is full and pleasing. Miss Lena Miller, however, sang 'Isabella' very prettily; her romance, 'He still was there,' being rendered with excellent taste. Miss Mary A.C. Coakley, as 'Inez,' acted and sang with considerable spirit. Her arietta, 'When a lover is poor,' was quite neatly sung.

"Mr. W.T. Benjamin, as the 'Doctor,' acted and sang with spirit; so did Mr. T.H. Williams as 'Don Pomposo.' Mr. H.F. Grant, the tenor, has a powerful voice, which, with cultivation, will become excellent. He sang 'Love's cruel dart' judiciously, and was effective in the opening serenade with chorus, 'Wake, lady, wake.' Mr. Grant is not yet at home on the stage, but acted and sang the duet, 'I love, I love,' with 'Lucrezia,' remarkably well.

"The chorus, numbering nearly forty, was worthy of warm praise. The serenade that opens the opera was charmingly sung by the male voices; and the finale to Act 3 was so spirited and effective, that it was encored. We do not exaggerate when we say that this is one of the best choruses we have heard for some time."

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

"THE COLORED OPERA-COMPANY.

"This opera-company made its first appearance in this city last evening at Horticultural Hall, and was most favorably received. The performance, which was given to quite a large and intelligent audience, was Julius Eichberg's opera entitled 'The Doctor of Alcantara,' which was excellently rendered.

"Miss Lena Miller, who sang the rôle of 'Isabella,' is young and graceful, with a pleasing voice; and her part was well given. Mrs. A.G. Smallwood was cast as 'Donna Lucrezia,' and had considerable to do. She sings well, and her acting far exceeds that of any other member of the company. 'Inez,' a maid represented by Miss Coakley, and a difficult part, was given with great accuracy. 'Carlos,' by Mr. H.F. Grant, was fairly rendered.... W.T. Benjamin as 'Dr. Paracelsus,' although a little stiff, fairly performed his part.

"The chorus, composed of probably thirty voices, male and female, was a feature; and their singing is really unsurpassed by the finest chorus in the best companies."

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

"COLORED AMERICAN OPERA-COMPANY.

"This company made its first appearance last evening at Horticultural Hall to an audience, which, though not large, was attentive and sympathetic. The attendance would, no doubt, have been larger, but for an unfortunate mistake.... As it was, the performance was an agreeable surprise to all who were present; not only being a decided success, but in the matter of choruses surpassing any performances of the same opera ever given in this city by any of the foreign or 'grand English' opera-troupes.[16] The cast of the colored troupe included Mrs. Smallwood, who has a beautiful ringing soprano-voice, a very easy lyric and dramatic method, and a carriage of unusual grace; Miss Lena Miller, whose voice, though less powerful, is very pleasant, and whose acting was notable for its unaffected style; Miss M.A.C. Coakley, a mezzo-soprano of very fair capacities; Mr. H.F. Grant, whose tenor-voice has good power, range, and quality; Mr. T.H. Williams, who possesses a deep bass-voice, controlled with a fair degree of culture; and Messrs. W.T. Benjamin and Smallwood, who filled their parts not unacceptably."

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

"The colored opera-troupe gave their first performance in Philadelphia last night in Horticultural Hall. The selection for their début was 'The Doctor of Alcantara,' by Julius Eichberg, which has frequently been given previously by various English companies, but, we venture to say, never so perfectly in its ensemble as by this company.

"There was a great deal of enthusiasm; and several numbers of the opera were vociferously re-demanded, including the finale of the first act, which revealed to us a choral effect which has never been heard upon the operatic stage in our country since the palmy days of Ullman's management. The chorus was large and efficient, every member doing his and her part; and, to all appearances, there was no 'dead wood' among them. It must be understood, besides, that all the music was sung; every part in harmony being taken with exactness and precision, whether as to time or intonation.

"Indeed, so admirably did the chorus sing, that we hope to hear them in a mass or an oratorio at some future time, being satisfied that they will make a most favorable impression."

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

"A company of colored persons appeared at Horticultural Hall last night in Eichberg's opera, 'The Doctor of Alcantara.' The opera was given in a really admirable manner by singers who understand their business, and have vocal gifts of no mean description. The leading soprano, Mrs. Smallwood, has a full, round, clear, resonant voice of remarkable power; and she uses it with very great effect. She sang the music with correctness and precision, and played her part capitally.

"The tenor and bass are both excellent; but, while they display fine voices, they show a want of high training. This is also the single defect of the two subordinate female voices of the company.

"The chorus was very fine indeed; and its performance, like that of the principal singers, proceeded without a flaw or blunder from first to last."

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

"On Tuesday evening it was the good fortune of your correspondent to attend the opera rendered by the 'Colored American Opera Company,' of which I spoke in my last.

"To say that every thing passed off well, simply, would be but faint praise. We all know that the colored race are natural musicians; and that they are susceptible of a high degree of cultivation is evinced by their rendition of the opera on the occasion of which I speak.

"As for the chorus, it is not saying any thing extravagant when I make the assertion, that it has never been excelled by that of any of the professional opera-troupes which have visited this city."

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,"

"Whoever thinks a faultless piece to see
Thinks what ne'er was, nor is, nor e'er shall be."

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 been 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.

XIX. THE FAMOUS JUBILEE SINGERS

OF

FISK UNIVERSITY.

"The air he chose was wild and sad:...
Now one shrill voice the notes prolong;
Now a wild chorus swells the song.
Oft have I listened and stood still
As it came softened up the hill."
Sir Walter Scott.

"If, in brief, we might give a faint idea of what it is utterly impossible to depict, we would adopt three words,—soft, sweet, simple."

"The Jubilee Singers:" London Rock.

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 accursing 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-hearted 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 grown 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. Theodore 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:—

Miss ELLA SHEPARD, Pianist.
Mr. THOMAS RUTLING, Mr. H. ALEXANDER, Mr. F.J. LOUDIN, Mr. G.H. OUSLEY, Mr. BENJAMIN M. HOLMES, Mr. ISAAC P. DICKERSON, Mr. GREENE EVANS, Mr. EDMUND WATKINS,	Miss MAGGIE PORTER, Miss JENNIE JACKSON, Miss GEORGIE GORDON, Miss MAGGIE CARNES, Miss JULIA JACKSON, Miss ELIZA WALKER, Miss MINNIE TATE, Miss JOSEPHINE MOORE,
Miss MABEL LEWIS, and Miss A.W. ROBINSON.

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, 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.:—

"By the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion.

"We hanged our harps upon the willows in the midst thereof.

"For there they that carried us away captive required of us a song; and they that wasted us required of us mirth, saying, Sing us one of the songs of Zion.

"How shall we sing the Lord's song in a strange land?"

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. The 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.:—

"It is certain that the critic stands completely disarmed in their presence. He must not only recognize their immense power over audiences which include many people of the highest culture, but, if he be not entirely incased in prejudice, he must yield a tribute of admiration on his own part, and acknowledge that these songs touch a chord which the most consummate art fails to reach. Something of this result is doubtless due to the singers as well as to their melodies. The excellent rendering of the Jubilee Band is made more effective, and the interest is intensified, by the comparison of their former state of slavery and degradation with the present prospects and hopes of their race, which crowd upon every listener's mind during the singing of their songs; yet the power is chiefly in the songs themselves."

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:—

"When the Rev. Mr. Chalmers (the younger) visited this country as the delegate of the Scotch Presbyterian General Assembly, he went home and reported to his countrymen that he had 'found the ideal church in America: it was made up of Methodist praying, Presbyterian preaching, and Southern negro-singing.' The Scotchman would have been confirmed in his opinion if he had been in Lafayette-avenue Church last night, and heard the Jubilee Singers,—a company of colored students, male and female, from Fisk University of Freedmen, Nashville, Tenn. In Mr. Beecher's church they delighted a vast throng of auditors, and another equally packed audience greeted them last evening.

"I never saw a cultivated Brooklyn assemblage so moved and melted under the magnetism of music before. The wild melodies of these emancipated slaves touched the fount of tears, and gray-haired men wept like children....

"The harmony of these children of nature, and their musical execution, were beyond the reach of art. Their wonderful skill was put to the severest test when they attempted 'Home, Sweet Home,' before auditors who had heard these same household words from the lips of Jenny Lind and Parepa; yet these emancipated bondwomen, now that they knew what the word 'home' signifies, rendered that dear old song with a power and pathos never surpassed.

"Allow me to bespeak through your journal ... a universal welcome through the North for these living representatives of the only true native school of American music. We have long enough had its coarse caricature in corked faces: our people can now listen to the genuine soul-music of the slave-cabins before the Lord led his 'children out of the land of Egypt, out of the house of bondage.'"

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 pointedly 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:—

"As to the manner of their singing, it must be heard before it can be realized. Like the Swedish melodies of Jenny Lind, it gives a new musical idea. It has been well remarked, that in some respects it disarms criticism; in others it may be truly said that it almost defies it. It was beautifully described by a simple Highland girl: 'It filled my whole heart.'

"Such singing (in which the artistic is lost in the natural) can only be the result of the most careful training. The richness and purity of tone both in melody and harmony, the contrast of light and shade, the varieties and grandeur in expression, and the exquisite refinement of the piano as contrasted with the power of the forte, fill us with delight, and at the same time make us feel how strange it is that these unpretending singers should come over here to teach us what is the true refinement of music; make us feel its moral and religious power."

Others spoke as follows:—

"I never so enjoyed music."—Rev. C.H. Spurgeon.

"They have beautiful voices."—London Graphic.

"Their voices are clear, rich, and highly cultivated."—London Daily News.

"This troupe sing with a pathos, a harmony, and an expression, which are quite touching."—London Journal.

"There is something inexpressibly touching in their wonderfully sweet, round, bell voices."—Rev. George MacDonald.

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

"We never saw an audience more riveted, nor a more thorough heart entertainment. Men of hoary hairs, as well as those younger in the assembly, were moved even to tears as they listened with rapt attention to some of the identical slave-songs which these emancipated ones rendered with a power and pathos perfectly indescribable."—London Rock.

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,"—

"The Jubilee Singers.—The students of Fisk University, Nashville, Tenn., whose sweet voices made such a popularity for the Jubilee Singers in this city two or three years ago, and won royal favor on the other side of the Atlantic, gave their first concert since their return at Tremont Temple last evening. The audience numbered some two thousand persons, and manifested an enthusiasm seldom witnessed at a concert in this city. From the initial to the finale of the programme the singers were applauded and encored, and now and then the enthusiasm broke forth in the interludes. So many thousands have listened with delight to the full, rich voices of the 'Jubilees,' and the sweet undertone which disarms criticism while it charms the popular ear, that it is needless to speak of them at length. The simple purity of the rendering of the Lord's Prayer, which initiated the programme, gave evidence that they had lost none of their natural grace and simplicity of expression by their tour across the water; and this was confirmed by the peculiar and plaintive melodies of the South-land in the days of slavery, which made up the major part of the programme. A few selections of more artistic composition were introduced, for the purpose of demonstrating, as they did most fully, that the students have been educated to an appreciation of the higher grades of vocalization. The great charm of these singers will, however, remain in the reproduction of the melodies of an era that has gone, happily never to return,—melodies which were the natural expression of the fancies and sympathies of an emotional race, and which no musical culture or refinement can ever render with the sweet simplicity and charming grace that flow from the lips of those to whom they are the native music."

"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:—

... "I will tell you something of our summer's experience. The company had passed through a hard year's work, and were greatly in need of rest. A charming country-seat was rented in the suburbs of Geneva at a very reasonable rate, and the months of July and August were spent there with great benefit to all. The citizens were evidently astonished at this introduction of a new shade of humanity; and the singers seldom passed along the streets without hearing some remark about 'les nègres,' or 'les noirs.' But they were invariably treated with the greatest respect, and, in fact, were never once annoyed by a rabble in the streets, as they frequently are elsewhere, gathering around with a rude and impertinent curiosity.

"Among other pleasant experiences, there was an afternoon spent with Père Hyacinthe. We found him very genial and agreeable, and his American wife no less so. He speaks no English at all, but Madame acted as interpreter; and there was none of the stiffness or awkwardness that might have been expected under the circumstances.

"... The most notable event of our stay at Geneva was a concert given, just before leaving, in the Salle de la Réformation. It had been a question of much interest, as to whether the slave-songs would retain any thing of their power where the words were not understood. The result was a new triumph for those mysterious melodies, showing that the language of nature is universal, and that emotion is capable of expressing itself without the intervention of words. The hall was packed to its utmost capacity, and the enthusiasm at fever-heat. When asked how they could enjoy the songs so much when they knew nothing of the sentiment that was conveyed, the reply was, 'We cannot understand them; but we can feel them.' Père Hyacinthe presided at the concert as chairman, and evidently enjoyed it as keenly as the rest of the vast audience."

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 melody 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 gratifying 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.

XX. THE GEORGIA MINSTRELS.

"All the minstrel art I know,
I the viol well can play;
I the pipe and syrinx blow;
Harp and geige my hand obey;
Psaltery, symphony, and rote
Help to charm the listening throng;
And Armonia lends its note
While I warble forth my song."
The Lay of the Minstrel.

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 been 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 its 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.

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 here 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 played 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 most 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):—

GEORGE B. CALLENDER	Manager.
GEORGE A. SKILLINGS	Musical Director.
RICHARD G. LITTLE	Stage Manager.
WILLIAM W. MORRIS	Interlocutor.

F.E. LEWIS, SAMUEL JONES, WILLIAM ELMER LYLE, WILLIAM KERSANDS, JAS. EMIDY, PETER DEVONEAR, GEORGE COOPER, ROBERT MACK,	DAVID SCUDDER, JNO. T. DOUGLASS, JAS. GRACE, OCT. MOORE, R. EMIDY, ROBERT HIGHT, CHARLES ANDERSON, JAS. FERNAND,
and Messrs. THOMPSON and GAINES.

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; and 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 with what I have said respecting the merits of these famous performers, add some points of interesting description.

Says "The New-York Sun,"—

"Every song was encored some two or three times."

"The New-York Herald,"—

"The new melodies find in them the fittest interpretations."

"The Memphis Appeal,"—

"We might write a column of praise, and even then there would be something unsaid of their merit. They are good in every thing they attempt."

"The Indianapolis Journal,"—

"We doubt if a more successful entertainment of this kind has ever been given in this city. We no longer wonder that Boston sent forty thousand to hear them at the Hub."

"The Petersburg (Va.) Index,"—

"We do not hesitate to pronounce Callender's Minstrels the superiors in this line to any we have ever seen. They far outreach the usual small range of excellence, and leave their rivals far behind."

"The Philadelphia Inquirer,"—

"So great was the rush to see them, that the sale of tickets at the box-office had to be stopped half an hour before the performance. They are unquestionably excellent."

"The Philadelphia Record,"—

"It is estimated that at least one thousand people were turned away from the box-office last night, unable to obtain tickets or entrance, so great was the rush."

"The Cincinnati Commercial" says,—

"They have drawn better houses in Cincinnati than any white troupe."

"The Brooklyn Eagle" says,—

"From first to last, all are absorbed in admiration."

"The Cincinnati Inquirer" says,—

"It is an unusually fine company, and superior to any that visit here."

"The Baltimore News" says,—

"There is no approach to vulgarity. Their audiences are the most fashionable. No minstrel company can compare with Callender's."

"The Brooklyn Union" says,—

"They are superlatively excellent."

"The Memphis Appeal" says,—

"They are masters of minstrelsy."

"The Baltimore American" says,—

"All other companies are tame in comparison with these."

William Lloyd Garrison writes,—

"It is gratifying to see that no imputation is brought against them of presenting any thing offensive to the eye or ear."

Mr. P.T. Barnum says,—

"They are extraordinary, and the best I ever saw. They fully deserve their large patronage."

Said Dexter Smith, the eminent song-writer,—

"Boston has unconditionally yielded to the Georgia Minstrels. If you wish to see the brains, beauty, and fashion of the musical metropolis, a peep into Beethoven Hall will give you an insight of it. Never has a minstrel troupe created such enthusiasm in any American city as the Georgia Minstrels have done in Boston."

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

"The Georgia Minstrels, who are nightly appearing before crowded houses at Beethoven Hall, deserve more than a passing notice, on account of their excellence, and the utter absence of aught that could offend the most fastidious. 'The Traveller' expresses our sentiments so exactly, that we cannot indorse them better than by quoting:—

"'There is a freshness and a completeness about the whole performance which entitle it to the fullest praise. As for the whole evening's enjoyment, it may be characterized as novel from the fact that it is native and not imitative, commendable because it is wholly refined, and most pleasant because it is always artistic. The comedians are very numerous, and all unite in giving a perfection to the rendering of the whole bill.'"

"The Boston Herald" said,—

"Beethoven Hall was well filled last evening by admirers of Ethiopian delineations, assembled to see and hear the original Georgia Minstrels, who have returned from a very successful tour in Europe, and are now located at the above-named hall for a short season. The company is a novelty from the fact that all the members are colored, and their performances possess a genuineness which no burnt-cork artists can fully imitate. Their music, both vocal and instrumental, is excellent. Each performer seems to be not only a natural, but a cultured artist; and all have the faculty of being exceedingly mirthful, without overstepping the bounds of refinement. In fact, each performer seems perfect in his rôle; and all appear to be masters of minstrelsy."

Again the same paper said,—

"The Georgia Minstrels have burst upon us like an avalanche. All the reserved seats were sold last evening before the performance commenced; and the house was filled by a fashionable audience,—one rarely seen at a minstrel entertainment. The troupe have made a decided hit, and their performances last night were received with great enthusiasm. Their songs and choruses are excellent; their puns, jokes, and stories, fresh and laughable; and their special acts new, and of a superior order. The performances of the troupe have happily filled a void which existed in the amusement field.

"This troupe of native artists has won the very highest praise from every one wherever it has appeared. In England and America over three thousand performances have been given. The troupe has appeared before the Queen of England, and bears the highest testimonials of the press from across the water."

"The Boston Advertiser" said,—

"They (the Georgia Minstrels) are at the head of the minstrel business in this country."

The "Chicago Post,"—

"The company merits all the praise which has been bestowed upon them."

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, and 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.

(COLORED.)

XIII.

FREDERICK ELLIOT LEWIS,

PIANIST, ORGANIST, VIOLINIST, ETC.

XIV.

NELLIE E. BROWN,

THE FAVORITE NEW-HAMPSHIRE VOCALIST.

XV.

SAMUEL W. JAMIESON,

THE BRILLIANT YOUNG PIANIST.

XVI.

THE VIOLIN.[13]

XVII.

JOSEPH WHITE,

THE EMINENT VIOLINIST AND COMPOSER.

XVIII.

THE COLORED AMERICAN OPERACOMPANY.

XIX.

THE FAMOUS JUBILEE SINGERS

OF

FISK UNIVERSITY.

XX.

THE GEORGIA MINSTRELS.

PART SECOND.

THE COLORED AMERICAN OPERA
COMPANY.