PREFACE.
The purposes of this volume will be so very apparent to even the most casual observer, as to render an extended explanation here unnecessary. The author will therefore only say, that he has endeavored faithfully to perform what he was convinced was a much-needed service, not so much, perhaps, to the cause of music itself, as to some of its noblest devotees and the race to which the latter belong.
The inseparable relationship existing between music and its worthy exponents gives, it is believed, full showing of propriety to the course hereinafter pursued,—that of mingling the praises of both. But, in truth, there was little need to speak in praise of music. Its tones of melody and harmony require only to be heard in order to awaken in the breast emotions the most delightful. And yet who can speak at all of an agency so charming in other than words of warmest praise? Again: if music be a thing of such consummate beauty, what else can be done but to tender an offering of praise, and even of gratitude, to those, who, by the invention of most pleasing combinations of tones, melodies, and harmonies, or by great skill in vocal or instrumental performance, so signally help us to the fullest understanding and enjoyment of it?
As will be seen by a reference to the introductory chapters, in which the subject of music is separately considered, an attempt has been made not only to form by them a proper setting for the personal sketches that follow, but also to render the book entertaining to lovers of the art in general.
While grouping, as has here been done, the musical celebrities of a single race; while gathering from near and far these many fragments of musical history, and recording them in one book,—the writer yet earnestly disavows all motives of a distinctively clannish nature. But the haze of complexional prejudice has so much obscured the vision of many persons, that they cannot see (at least, there are many who affect not to see) that musical faculties, and power for their artistic development, are not in the exclusive possession of the fairer-skinned race, but are alike the beneficent gifts of the Creator to all his children. Besides, there are some well-meaning persons who have formed, for lack of the information which is here afforded, erroneous and unfavorable estimates of the art-capabilities of the colored race. In the hope, then, of contributing to the formation of a more just opinion, of inducing a cheerful admission of its existence, and of aiding to establish between both races relations of mutual respect and good feeling; of inspiring the people most concerned (if that be necessary) with a greater pride in their own achievements, and confidence in their own resources, as a basis for other and even greater acquirements, as a landmark, a partial guide, for a future and better chronicler; and, finally, as a sincere tribute to the winning power, the noble beauty, of music, a contemplation of whose own divine harmony should ever serve to promote harmony between man and man,—with these purposes in view, this humble volume is hopefully issued.
THE AUTHOR.
CONTENTS.
| PAGE | |
| A Description of Music | [7-11] |
| The Music of Nature | [12-21] |
| A Glance at the History of Music | [22-50] |
| The Beauty, Power, and Uses of Music | [51-65] |
| Elizabeth Taylor Greenfield (the "Black Swan") | [66-87] |
| The Luca Family | [88-105] |
| Henry F. Williams | [106-113] |
| Justin Holland | [114-130] |
| Thomas J. Bowers (the "American Mario") | [131-137] |
| James Gloucester Demarest | [138-140] |
| Thomas Greene Bethune ("Blind Tom") | [141-159] |
| The Hyers Sisters | [160-179] |
| Frederick Elliot Lewis | [180-191] |
| Nellie E. Brown | [192-208] |
| Samuel W. Jamieson | [209-218] |
| Joseph White (preceded by a brief account of the Violin, pp. [219-223]) | [224-240] |
| The Colored American Opera Company | [241-252] |
| The Jubilee Singers of Fisk University | [253-269] |
| The Georgia Minstrels | [270-282] |
| [PART SECOND.] | |
| Introduction | [285-288] |
| Rachel M. Washington | [288-290] |
| James Caseras | [300] |
| John T. Douglass | [301] |
| Walter F. Craig | [301] |
| William Appo | [302] |
| William Brady | [302-303] |
| Peter P. O'Fake | [304-306] |
| Frank Johnson, and his Famous Military Band and Orchestra | [306-309] |
| Joseph G. Anderson | [308-309] |
| Madam Brown | [309] |
| Sarah Sedgewick Bowers | [309-310] |
| John Moore | [310-311] |
| Samuel Lucas | [312-313] |
| William H. Starr | [314] |
| G.H.W. Stewart | [330] |
| The Lambert Family | [338-340] |
| Edmund Dédé | [340-341] |
| Basile Barès | [341] |
| Samuel Snaer | [341-343] |
| Prof. A.P. Williams | [343] |
| E.V. Macarty | [343-344] |
| Maurice J.B. Doublet | [344-345] |
| Dennis Auguste | [345] |
| The Dupré Family | [347-348] |
| Charles Martinez | [348] |
| Thomas Martin | [349] |
| Other Musical People of— | |
| Portland (Me.) | [300] |
| Boston | [288-298] |
| Worcester | [300] |
| New York | [301-304] |
| Newark | [306] |
| Philadelphia | [306-311] |
| Pittsburgh | [311] |
| Cleveland | [311-312] |
| Washington (O.) | [312-313] |
| Chillicothe (O.) | [313-316] |
| Cincinnati | [316-321] |
| Chicago | [321-323] |
| The Music of the South | [324-329] |
| Baltimore | [329-330] |
| Louisville | [330] |
| St. Louis | [330] |
| Helena | [330] |
| Memphis | [331] |
| Nashville | [331] |
| New Orleans | [333-353] |
ILLUSTRATIONS.
1. [Elizabeth Taylor Greenfield.]
2. [The Luca Family.]
3. [Henry F. Williams.]
4. [Justin Holland.]
5. [Thomas J. Bowers.]
6. [Thomas Greene Bethune.]
7. [The Hyers Sisters.]
8. [Frederick Elliot Lewis.]
9. [Nellie E. Brown.]
10. [Samuel W. Jamieson.]
11. [Joseph White.]
12. [Fisk University.]
MUSIC AND SOME HIGHLY MUSICAL
PEOPLE.
I.
A DESCRIPTION OF MUSIC.
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"In the storm, in the smoke, in the fight, I come To help thee, dear, with my fife and my drum. My name is Music: and, when the bell Rings for the dead men, I rule the knell; And, whenever the mariner wrecked through the blast Hears the fog-bell sound, it was I who passed. The poet hath told you how I, a young maid, Came fresh from the gods to the myrtle shade; And thence, by a power divine, I stole To where the waters of the Mincius roll; Then down by Clitumnus and Arno's vale I wandered, passionate and pale, Until I found me at sacred Rome, Where one of the Medici gave me a home. Leo—great Leo!—he worshipped me, And the Vatican stairs for my feet were free. And, now I am come to your glorious land, Give me good greeting with open hand. Remember Beethoven,—I gave him his art,— And Sebastian Bach, and superb Mozart: Join those in my worship; and, when you go Wherever their mighty organs blow, Hear in them heaven's trumpets to men below." T.W. Parsons. |
WHAT is music? Quite easy is it to answer after the manner of the dictionaries, and say, "Music is (1) a number of sounds following each other in a natural, pleasing manner; (2) the science of harmonious sounds; and (3) the art of so combining them as to please the ear." These are, however, only brief, cold, and arbitrary definitions: music is far more than as thus defined. Indeed, to go no farther in the description of this really sublime manifestation of the beautiful would be to very inadequately express its manifold meanings, its helpful, delightful uses. And yet the impressions made upon the mind and the depth of feeling awakened in the heart by music are such as to render only a partial (a far from satisfying one) description of the same possible, even to those most skilful and eloquent in the use of language; for, in fact, ordinary language, after exhausting all of its many resources in portraying the mind's conceptions, in depicting the heart's finer, deeper feelings, reveals, after all, its poverty, when sought to describe effects so entrancing, and emotions so deep-reaching, as those produced by music. No: the latter must be heard, it must be felt, its sweetly thrilling symphonies must touch the heart and fill the senses, in order that it may be, in its fulness, appreciated; for then it is that music is expressed in a language of most subtle power,—a language all its own, and universal, bearing with it ever an exquisitely touching pathos and sweetness that all mankind may feel.
And so I may not hope to bring here to the reader's mind more than a slight conception of what music is. Nor does he stand in need of any labored effort to teach him the nature and power, the beneficent attributes, of this beautiful art. With his own soul attuned to all the delightful sounds of melody and harmony that everywhere about him, in nature and in art, he constantly hears, the reader requires no great length of words in explanation of that which he so deeply feels, and therefore already understands. Nevertheless, a due regard for the laws of unity, as well as a sincere wish to make this volume, in all its departments, speak the befitting words of tribute to the love-inspiring art of which it aims to treat,—words which, although they may not have the merit of affording great instruction, may at least have that of furnishing to the reader some degree of pleasure,—these are the motives that must serve as an excuse for the little that follows.
I have sometimes thought that only the elevated and elegant language of poetry should be employed in describing music: for music is poetry, and poetry is music; that is, in many of their characteristics they are one and the same. But, to put this idea in another form, let us say that Music is the beautiful sister of Poetry, that other soul-expressing medium; and who would create the latter must commune with the former, and be able to bring to his uses the sweet and finishing graces of her rhythmic forms. In early times, the qualities of the poet and musician were generally actually united in the same person. The poet usually set to music, and in most instances sang, his effusions. Nor to this day have the
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"Poets, who on earth have made us heirs Of truth and pure delight by heavenly lays," |
ceased to sing, in bewitching verse, the noble qualities of music.
I have said that music speaks a language all its own, and one that is universal. Bring together a representation of all the nations of the earth, in which body there shall be a very Babel of tongues. All will be confusion until the all-penetrating, the all-thrilling voice of music is heard. At once, silence reigns; each ear quickly catches and recognizes the delicious sounds. The language of each one in the concourse may be different: but with "music's golden tongue" all are alike innately acquainted; each heart beats in sympathy with the delightful, absorbing tones of melody; and all seem members of one nation.
Again: music may be called that strangely peculiar form of the beautiful, whose presence seems, indeed is, appropriate on occasions the most diverse in character. Its aid is sought alike to add to the joys of festive scenes, to soothe and elevate the heart on occasions of mourning, and to enhance the solemnity, the excellence, of divine worship.
The poet Collins, aptly associating music with the good and beautiful, calls it the "heavenly maid."
Martin Luther, himself a musical composer and performer of merit, paused in his great work of religious reform to declare, "I verily think, and am not ashamed to say, that, next to divinity, no art is comparable to music." And Disraeli utters this noble thought: "Were it not for music, we might in these days say the beautiful is dead."
"Touching musical harmony, whether by instrument or by voice, it being but of high and low in sounds a proportionable disposition, such, notwithstanding, is the force thereof, and so pleasing effects it hath in that part of man which is most divine, that some have thereby been induced to think that the soul itself is or hath in it harmony: a thing which delighteth all ages, and beseemeth all states; a thing as seasonable in grief as in joy; as decent being added unto actions of greatest weight and solemnity as being used when men most sequester themselves from action. The reason hereof is an admirable facility which music hath to express and represent to the mind, more inwardly than any other sensible means, the very steps and inflections of every way, the turns and varieties of all passion whereunto the mind is subject."[1]
"I would fain know what music is. I seek it as a man seeks eternal wisdom. Yesterday evening I walked, late in the moonlight, in the beautiful avenue of lime-trees on the bank of the Rhine; and I heard a tapping noise and soft singing. At the door of a cottage, under the blooming lime-tree, sat a mother and her twin-babies: the one lay at her breast, the other in a cradle, which she rocked with her foot, keeping time to her singing. In the very germ, then, when the first trace of life begins to stir, music is the nurse of the soul: it murmurs in the ear, and the child sleeps; the tones are the companions of his dreams; they are the world in which he lives. He has nothing; the babe, although cradled in his mother's arms, is alone in the spirit: but tones find entrance into the half-conscious soul, and nourish it as earth nourishes the life of plants."[2]
II.
THE MUSIC OF NATURE.
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"The lark sings loud, and the throstle's song Is heard from the depths of the hawthorn dale; And the rush of the streamlet the vales among Doth blend with the sighs of the whispering gale." Matin and Evening Songs. |
TO the inventive genius of man must, of course, be attributed the present developments, and the beautiful, diversified forms, existing in musical art. But, before man was, the great Author of harmony had created what may be called the music of Nature.
Afterwards, the human ear, penetrated by sounds of melody issuing from wind, wave, or bird, the rapt mind in strange and pleasing wonder contemplating the new and charming harmonies,—then it was that man received his first impressions, and took his first lessons in delightful symphony.
Take from man all creative and performing power in music, leaving him only the ear to catch and the mind to comprehend the sounds, and there would still be left to him God's own music,—the music of Nature, which, springing as it did from eternity, shall last throughout eternity.
Passing what must appear to human comprehension as vague (an attempt at the contemplation of which would be without profit in this connection), and what has been called the "music of the spheres,"[3] we may proceed to briefly touch upon those forms of natural music which are ever within our hearing, and which constantly afford us pleasure.
First let us go forth into the summer woods. The eye takes in the charming prospect,—the trees dressed in beautiful green; the "grassy carpet," parted ever and anon by a gliding, gurgling brooklet; the wild flower peeping up near the feet; a landscape of even surface, or at times pleasingly undulated. The atmosphere is freighted with a delightful fragrance; and from rustling bough, from warbling bird, from rippling brook, and from the joyous hum of insects almost innumerable,
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"The air is full of noises, sounds, and sweet airs, That give delight, and hurt not." |
All these, the beauties of animate and inanimate Nature, pleasantly affect the senses. But the chief influence there—the crowning glory of the groves—is the songs, the charming music of the birds, as they warble from tree to tree, untrammelled by the forms of art, their sweetest melodies. How often do their lightsome, inspiriting carollings ring out upon the morning air, persuasively calling us from our couches to listen in delight to Nature's minstrelsy! "After man," says a writer, "the birds occupy the highest rank in Nature's concerts. They make the woods, the gardens, and the fields resound with their merry warbles. Their warbled 'shake' has never been equalled by human gifts of voice, nor by art."
Indeed, it has been found that many of the songs of birds are sung in certain of the keys; while a learned musical writer has produced a book in which are printed many samples of the music often sung by birds. In very recent times it is stated, too, that birds have been taught to sing some of the popular tunes of the day; this being accomplished by placing a bird in a room for a while, allowing it to hear no other bird, and only the tune to be learned. Professor Brown of Aiken, S.C., has mocking-birds which he has taught to sing such songs as "The Star-spangled Banner" and "Yankee Doodle." These birds were to be taken to the Centennial Exhibition, to there exhibit their marvellous skill.
A writer in "The Monthly Reader" thus speaks of that pretty singer the bullfinch:—
"I heard a lady cry out to a little bird in a cage, 'Come, Bully, Bully, sweet little Bully Bullfinch, please give us just one more tune.'
"And then, to my surprise, the little bird whistled the tune of 'Yankee Doodle' as well as I could have done it myself.
"The lady then told me about the bird. It was a bullfinch. She had bought it in the little town of Fulda, in Germany, where there are schools for teaching these birds to sing.
"When a bullfinch has learned to sing two or three tunes, he is worth from forty to sixty dollars; for he will bring that price in London or Boston or New York.
"To teach them, the birds are put in classes of about six each, and kept for a time in a dark room. Here, when their food is given them, they are made to hear music. And so, when they have had their food, or when they want more food, they will sing, and try to sing a tune like that they have just heard; for perhaps they think it has something to do with what they eat."
But as, in presenting these examples of the musical teachableness of the "feathered songsters," I am entering the domain of music as an art, I will not further digress. Certain it is, too, that these delightful musicians of Nature do not require the aid of the skill of man; nor is it desirable, for the sake of musical effect at least, that their own wild, free, and glad-hearted warblings should be changed. They are better as they are, affording as they do a pleasing contrast, and adding freshness and variety to the many other forms of music. Some one, dwelling upon the charming beauty of bird-music, has expressed in words of very excusable rapture the following unique wish:—
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"Oh! had I but the power To set the proper words To all your glorious melodies, My sweet-voiced birds, When words and dainty music Would each to each belong, Together we might give the world A perfect song." |
But I need not refer at greater length to these sweet harmonists of Nature, since scarce an ear is so dull, and few hearts are so cold, as not to be charmed and cheered by their unceasing, joyous melodies.
It might well be thought that flowers, those "fairy ministers of grace," with their delicately tinted, variegated, perfect hues, that emit, in their sweet, delicious perfumes, what may be called the "breath of heaven," possess in these delightful qualities full enough to instruct and charm mankind. But there is a flower, it seems, that, inviting the aid of the evening zephyr, adds sweet music to its other fascinating beauties. Let the poet Twombly sing of the music-giving—
BLUE HAREBELL.
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Have ye ever heard in the twilight dim A low, soft strain That ye fancied a distant vesper-hymn, Borne o'er the plain By the zephyrs that rise on perfumed wing, When the sun's last glances are glimmering? Have ye heard that music, with cadence sweet And merry peal, Ring out like the echoes of fairy feet O'er flowers that steal? The source of that whispering strain I'll tell; For I have listened oft To the music faint of the blue harebell In the gloaming soft: 'Tis the gay fairy-folk the peal who ring, At even-time, for their banqueting. And gayly the trembling bells peal out With gentle tongue; While elves and fairies career about 'Mid dance and song. |
It would be tedious to enumerate and dwell upon all the very numerous music-making agencies of the natural world; and I shall therefore allude only to a few of those not already mentioned.
Many have heard the sounds of waterfalls, and know that from them issues a kind of majestic music, which, to be appreciated, must be heard. Musicians of finely-cultivated ears have studied the tones of waterfalls; and two of them, Messrs. A. and E. Heim, say that a mass of falling water gives
"The chord of C sharp, and also the non-accordant F. When C and D sound louder than the middle note, F is heard very fully, as a deep, dull, humming, far-resounding tone, with a strength proportionate to the mass of the falling water. It easily penetrates to a distance at which the other notes are inaudible. The notes C, E, G, F, belong to all rushing water, and in great falls are sometimes in different octaves. Small falls give the same notes one or two octaves higher. In the stronger falls, F is heard the most easily; in the weak ones, C. At the first attempt, C is most readily detected. Persons with musical cultivation, on attempting to sing near rapidly-moving water, naturally use the key of C sharp, or of F sharp if near a great fall."
Somewhat similar to waterfalls in the character of the tunes they produce (being distinguished, however, generally, by a greater softness and more gentle flow) are the waves, that, handsome in form, roll majestically shoreward, greeting the ear with a strange, dirge-like, yet, as it seems to the writer, pleasing harmony.
Here is given a duet between the waves and zephyrs:—
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"We sit beneath the dreaming moon, And gaze upon the sea: Our hearts with Nature are in tune; List to her minstrelsy. The waves chant low and soft their song, And kiss the rocks in glee; While zephyrs their sweet lay prolong,— Their love-song to the sea." |
There is a pretty, delicate music made by the rippling, gurgling brooklet, as its transparent waters glide over its pebbly bottom. And there's the musical sea-shell. Place it to the ear, and you shall catch, as if in the far distance, the reverberating roll of the billowy ocean as it sings a mighty song. To this the poet Wordsworth very gracefully refers in the following lines:—
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"I have seen A curious child, who dwelt upon a tract Of inland ground, applying to his ear The convolutions of a smooth-lipped shell: To which, in silence hushed, his very soul Listened intensely, and his countenance soon Brightened with joy; for from within were heard Murmurings whereby the monitor expressed Mysterious union with its native sea." |
And an anonymous writer (it does not seem that he had good cause for hiding his name) thus discourses on the music of the sea:—
But the wind is one of Nature's chief musicians. Sometimes singing his own songs, or lending his aid in awaking to musical life the leaves and boughs of the trees; whistling melodies among the reeds; entering the recesses of a hollow column, and causing to issue from thence a pleasing, flute-like sound; blowing his quiet, soothing lays in zephyrs; or rushing around our dwellings, singing his tuneful yet minor refrain,—in these, and in even other ways, does this mighty element of the Creator contribute to the production of melody in the world of nature. A writer in "The Youth's Companion" speaks very entertainingly of "voices in trees." He says,—
"Trees, when played upon by the wind, yield forth a variety of tones. Mrs. Hemans once asked Sir Walter Scott if he had noticed that every tree gives out its peculiar sound. 'Yes,' said he, 'I have; and I think something might be done by the union of poetry and music to imitate those voices, giving a different measure to the oak, the pine, the willow, &c.' The same journal from which we take this anecdote mentions, that in Henry Taylor's drama, 'Edwin the Fair,' there are some pleasing lines, where the wind is feigned to feel the want of a voice, and to woo the trees to give him one.
"He applied to several: but the wanderer rested with the pine, because her voice was constant, soft, and lowly deep; and he welcomed in her a wild memorial of the ocean-cave, his birthplace. There is a fine description of a storm in 'Coningsby,' where a sylvan language is made to swell the diapason of the tempest. 'The wind howled, the branches of the forest stirred, and sent forth sounds like an incantation. Soon might be distinguished the various voices of the mighty trees, as they expressed their terror or their agony. The oak roared, the beech shrieked, the elm sent forth its long, deep groan; while ever and anon, amid a momentary pause, the passion of the ash was heard in moans of thrilling anguish.'"
I shall close this chapter on the music of Nature by appending a beautiful reference to what has been called "the music of the spheres." The lines form, as well, an elegant and elevated description of and tribute to music in general. I regret that the author's name cannot be given.
III.
A GLANCE AT THE HISTORY OF MUSIC.
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"Thespis, the first professor of our art, At country wakes sang ballads from a cart." Dryden. |
MUSIC is as old as the world itself. In some form or other, it has always existed. Ere man learned to give vent to his emotions in tuneful voice, Nature, animate and inanimate, under the hand of the Great Master, sang his praises. Of this we learn in the sacred writings; while all about us, in the songs of birds, the musical sighing of the winds, the fall of waters, and the many forms of the music of Nature, we have palpable evidence of its present existence, and assurances of its most remote antiquity.
It would seem that not long after "God breathed into the nostrils of man the breath of life, and he became a living soul," he learned to express the joys and yearnings of his soul in song first, and then with some sort of musical instrument. And to man it was given, commencing with the early ages, to develop the simple ejaculations or melodies of a praise-giving soul into a beautiful, a noble art, replete at times with harmonic intricacies, and again with melodies grand in their very simplicity; into a beneficent science, divine from its inception, which has ever had as votaries many of earth's greatest minds, and has become a fountain of delight to all mankind.
The history of the music of antiquity—that is, in an art-form—is nearly, if indeed not quite, enveloped in mystery; and it were futile to profess to give an historical presentation of an art from its birth, when documentary evidence of the same is lost.
We may, however, very reasonably suppose of music generally, that it must have been gradually developed, having had its infancy, childhood, and youth; and that it grew slowly into present scientific form with the advance of the centuries.
From all we can gather in regard to the early history of music as a system, it would appear that it had its infancy in ancient Greece; although it is supposed by some that the Grecian method was founded upon that of the still more ancient one of the Egyptians. Dr. Burgh, a learned musical writer states that, of "the time before Christ, music was most cultivated and was most progressive in Greece." The verses of the Greek poet Homer, who was himself a musician, abound in beautiful allusions to and descriptions of this charming science; while in mythology are recounted the wonderful musical achievements of the god Orpheus, who is said to have been so skilled in music that the very rocks and trees followed in his wake of harmony.
The first artificial music of which the Bible speaks was that which was sung or played in praise of the Creator,—sacred music. In fact, this noble quality of the soul was very rarely called into exercise, save in the worship of the Deity, until many centuries had passed. Of music before the Christian era, both vocal and instrumental, the books of the Old Testament often speak. As to its exact character, we are left to conjecture, being, as before intimated, without materials from which to form a judgment; but, in some form or other, there was, during that period, abundance of what was called music.
The first mention of music, either vocal or instrumental, in the Scriptures, is made in Gen. iv. 21: "Jubal was the father of all such as handle the harp and organ." Jubal was only seventh in descent from Adam; and from this passage it is thought by some that he was the inventor of instrumental music. In the year B.C. 1739, in Gen. xxxi. 27, Laban says to Jacob, "Wherefore didst thou flee away from me, and didst not tell me, that I might have sent thee away with mirth and with songs, with tabret and with harp?" This is the first mention in the Bible of vocal music. King David, who has been called "the sweet singer of Israel," is said to have been a skilful performer on the harp. By his magical touch upon its strings at a certain time, he produced sounds so sweetly soothing as to drive away the "evil spirit" from Saul.
The poet Byron pays an elevated, glowing tribute to this "monarch minstrel" in the following lines:—
And here I append from the First of Chronicles, xiii. 8, a description of the music of the "house of Israel:" "And David and all Israel played before God with all their might, and with singing, and with harps, and with psalteries, and with timbrels, and with cymbals, and with trumpets."
Josephus, the learned Jewish historian, states that the Egyptians had two hundred thousand musicians playing at the dedication of the Temple of Solomon. This structure was of most wonderfully immense dimensions: and it may have been that this enormous body of performers played in detachments about the building; otherwise the statement would seem apocryphal.
The Egyptian musical instruments, it appears, were mostly of very rude construction: performance upon them would not now, probably, be tolerated even in circles of the least musical culture.
Of these ancient instruments the Boston "Folio" thus speaks:—
"The Egyptian flute was only a cow's-horn, with three or four holes in it; and their harp, or lyre, had only three strings. The Grecian lyre had only seven strings, and was very small, being held in one hand. The Jewish trumpets that made the walls of Jericho fall down were only rams'-horns: their flute was the same as the Egyptian. They had no other instrumental music but by percussion, of which the greatest boast was made of the psaltery,—a small triangular harp, or lyre, with wire strings, and struck with an iron needle or stick. Their sackbut was something like a bagpipe; the timbrel was a tambourine; and the dulcimer, a horizontal harp with wire strings, and struck with a stick like the psaltery."
The following interesting and able summary of the history of ancient Roman music is taken from a recent number of "The Vox Humana:"—
"Art love was not a distinguished characteristic of the ancient Romans; and we are not astonished, therefore, to find them borrowing music from Etruria, Greece, and Egypt; originating nothing, and (although the study was pursued by the emperors) never finding any thing higher in its practice than a sensuous gratification.
"In the earliest days of Rome, the inhabitants were exclusively farmers or warriors; and their first temples were raised to Ceres or to Mars.
"The priests of Ceres came originally from Asia Minor, and were called the Arval Brotherhood. Flute-playing was a prominent feature in their rites, and they were all proficient upon that instrument. Their number was limited to twelve.
"The worship of Mars was conducted by the Salian priests, whom Numa summoned to Rome from Etruria. These also used the flute as an accessory to their sacrificial rites. In these primitive days of Rome, much was borrowed from the Etruscans in style and instruments of music.
"The earliest songs of Rome were in praise of Romulus, and told the story of the twin-brothers and the divine origin of the city. They were sung by choruses of boys. Similar songs were sung during meals by the elders, with an accompaniment of flutes; these latter songs being especially directed to the young men, and inciting them to be worthy of the deeds of their ancestors.
"Under the rule of the emperors, all these worthy compositions went to decay, and were replaced by a much more degrading school of music. At no time, however, was music considered a necessary part of the education of Roman youth.
"There existed in the latter days of ancient Rome some music-schools; but the study was far less universally pursued than in Greece at the same epoch. The musical course has been given by Quintilian as follows:—
"Theoretical: first, arithmetic, physics; second, harmony, rhythm, metrics.
"Practical: composition, rhythm, melody, poetry.
"Execution: playing instruments, singing, dramatic action; which makes a rather formidable array, even to modern eyes.
"Among the Roman musical instruments, the flute was the most popular, and essentially national. We have already stated that it was used in the worship of their two chief deities: it was in secular use to a yet greater extent.
"This flute (tibia) was hooped with brass bands, and had an immense resonance. It was used by both sexes; but, on public and on most religious occasions, was played by men.
"The frequency with which it was used made the art of playing it a most remunerative one; and the flute-players soon formed themselves into a guild, or protective society. This guild had many privileges accorded to it, and existed for a period of some centuries. The 'Guild of Dionysian Artists' was a society of later date, and was a musical conservatory, academy, and agency, all in one. It flourished greatly under the patronage of various Roman emperors, and for a long time supplied singers and actors to the Roman world.
"Valerius Maximus has given an anecdote which shows how powerful and exacting the guild of flute-players could afford to be.
"They were one day excluded from the Temple of Jupiter, where they had been allowed, by ancient custom, to take their meals; upon which the entire guild left Rome, and went to the village of Tibur near by. This caused great embarrassment: no religious services could be held, and scarce any state ceremony properly conducted. The senate thereupon sent an embassy to induce them to return,—in vain: the angry musicians were inflexible. The wily ambassadors then called the inhabitants of Tibur to their aid, and these pretended to give a great feast to welcome the flute-players. At this feast the musicians were all made very drunk; and, while asleep from the effects of their liquor, they were bundled into chariots, and driven back to Rome, where all their old privileges were restored, and newer and greater ones added.
"They received the right to give public representations and spectacles in Rome; but at these they were all masked, the reason being their shame at the manner of their inglorious return to the city.
"Flutes were used at funerals; and it appears, at one time, the luxury and pomp of Roman obsequies grew so excessive, that a law was passed limiting the number of flute-players on such occasions to ten.
"Only at one time did the flute disappear from any public worship, and that was when the worship of Bacchus was introduced into Rome. To this rite the kithara was used; but this worship, which was somewhat refined, though jovial, among the Greeks, became among the Romans so debauched and uxorious, that it was soon prohibited by law.
"The flute was used in combination with other instruments at times. Apuleius speaks of a concert of flutes, kitharas, and chorus, and mentions its deliciously sweet effect. It was also used as a pitch-pipe, to give orators a guide in modulating their voices when addressing an assembly: thus Caius Gracchus always on such occasions had a slave behind him, whose duty it was to aid him to commence his orations in a proper pitch, and when his voice sank too low, or became too shrill, to call him to a better intonation by the sounds of the flute.
"Although the flute was the favorite Roman instrument, it was by no means the only one. Trumpets were used to a great extent. A one-toned trumpet, of very loud voice, was used for battle-signals. These were of very large size, usually of brass; and their sound is described as 'terrible.' There was also a smaller (shepherd's) trumpet of mellower tone.
"Another much-used instrument, of different character, was the sumphonium, which did not differ materially from the modern bagpipe.
"Instruments of percussion were few, and not indigenous to the Romans: such as were used came from the East, and were chiefly used in the worship of Eastern deities at Rome. When the worship of Bacchus was prohibited, they passed away with that licentious rite. The most complicated instrument of the ancient world appeared in Rome during the first century of our era. It was an organ, not, as in the scriptural days, a mere syrinx, or Pan's pipes, but an undoubted organ, somewhat similar in effect to our modern instrument.
"The instrument is said to have been invented by Ctesbius of Alexandria in Egypt, who lived about 250 B.C. It did not appear extensively in Rome, however, until nearly three hundred years later. This organ has given rise to much fruitless discussion. In the field of musical history especially, 'a little' knowledge has proved 'a dangerous thing;' for, where slight descriptions exist of instruments of music, latitude is left for every writer to form his own theory, to fight for it, and denunciate those who differ from it.
"We have seen what a battle was fought over the three little manuscripts of Greek music; what a host of differing opinions were held about the scriptural word 'Selah:' and now, about this hydraulic organ, each writer mounts his hobby-horse, and careers over the field of conjecture. Vitruvius has given a full description of the instrument from personal inspection; but as his technical terms have lost all significance to modern readers, and have been translated in various ways, and as his work contained no diagrams or illustrations of the various parts, it is useless.
"Some writers imagine the organ to have had seven or eight stops,—that is, so many different kinds of tones,—which would place them nearly on a par with our own. Others think that they possessed seven or eight keys; that is, so many tones only. It has been a point of dispute as to what function the water performed in working it. Vitruvius is rather hazy on this point, saying only that it is 'suspended' in the instrument. The water, when the organ was played, was in a state of agitation, as if boiling.
"There are medals still in existence which were awarded to victors in organ contests, on which this instrument is represented with two boys blowing or pumping; but the representation is too small to clear up any doubtful points."
But, without devoting further space to the music that was in vogue prior to the Christian era, I proceed to notice that our first reliable account of it, as a system, commences with the fourth century; at which time St. Ambrose, Bishop of Milan, arranged the sacred chants that bear his name, and which were to be sung in the cathedrals.
In the year 600 St. Gregory improved upon these chants, inventing the scale of eight notes. His system is the basis of our modern music.
From the close of the eleventh to the commencement of the fourteenth century, minstrels, jongleurs, or troubadours, were the principal devotees of music. They seem to have been its custodians, so to speak; and to their guild many of the knights belonged. Some of the kings and nobles of the time were also, in a sense, troubadours; such as, for instance, Thibault of Navarre, and William the Ninth of Poitou.
These roving musicians, who generally united the qualities of the poet, the musical composer, and performer, were treated with much favor by princes and all the nobility, and were everywhere warmly welcomed for a long period. It is, however, far from pleasant to have to say that this for a long time noble class of musicians, to whom we owe so much for the preservation unbroken for three hundred years of the chain of musical life, as well indeed, also, as that of general literature, spoiled perhaps by the excessive praises and indulgences accorded them, became at last quite dissolute, and fell from their high position. All royal favors were finally withdrawn from them, and orders for their restriction were issued from the throne.
Mr. B.W. Ball (in that faithful exponent of art, "The Boston Commonwealth") thus expressively sings the story of the ancient troubadour, styling him—
"THE POET OF OLD."
During the fourteenth century, music was most cultivated by the people of the Netherlands, who carried the art towards much perfection, producing several fine composers, and furnishing the leading musical instructors for the other parts of Europe. Among some of the ablest musicians of the Netherlands may be mentioned Dufay, Jan of Okenheim, and Josquin Desprès, the latter being the most celebrated of contrapuntists. The Netherland musical supremacy lasted until 1563.
In the year 1400 the claims of music received the recognition of the crown in England, a charter being granted to a regularly formed musical society.
Commencing with the invention of movable type in 1502 (which invention so vastly facilitated the publication and spreading of the thoughts of the composer), and with the Reformation in the sixteenth century, the noble art of music began a new, unimpeded, and brilliant career among the civilized nations of the world. Dating from thence, the steps in the progress of this delightful science can be plainly traced. Unvexed and unfettered by the obscurities that attach to its antique history, we can contemplate with pleasure and profit the wonderful creations and achievements of its devotees.
This I need not attempt here, save in the briefest form; my purpose in preparing this chapter being only to give, as indicated in the title, a glance at the history of music.
To Palestrina, a learned Italian of the sixteenth century, and whose musical genius and industry were most remarkable, is due the greatest homage and gratitude of a music-loving world. Of him an eminent musical writer says, "It is difficult to over-estimate his talent and influence over the art of music in his day. He was regarded as the great reformer of church music. His knowledge of counterpoint, and the elevation and nobility of his style, made his masses and other compositions, of which he wrote a great number, examples for all time of what music should be."
In this century lived many notable composers, nearly all of whom distinguished themselves in the production of madrigal music. To the latter the English people were much devoted. Reading at sight was at that day, even more than now, a common accomplishment among the educated. The English queen Elizabeth was quite fond of music, and was somewhat accomplished in the art, performing upon the lute, virginals, and viol. She often charmed the attachés of and visitors to her court by her skilful performances. During her reign, and by her encouragement, the cultivation of this noble art received a new and strong impulse in England, and several composers and performers of high merit lived.
In the year 1540 oratorio was first composed, followed by opera in 1594. During this period, instrumental music began to be used in the churches; and the violin was brought by the celebrated Amati family to a beauty of form, and sweetness of tone, not since excelled.
During the seventeenth century such great composers as Stradella, Scarlatti, Caldara, and Claudio lived; and the different forms of opera were developed in England, France, and Italy.
During the seventeenth and eighteenth centuries the art of music, in its new, rich, and deep developments, as shown in the masterly, wonderful creations of several of the great composers of those periods, and in the scientific performances of many fine instrumentalists, attained a height of surpassing grandeur. Many men of brilliant musical genius and of remarkable industry and perseverance were born; and, with new conceptions of the scope and capabilities of the divine art, they penetrated its innermost depths, and brought to the ears of the music-loving world new and enrapturing forms of harmony. Among these great masters, leaving out those already mentioned, were Handel, Henry Purcell, Bach, Gluck, Haydn, Mozart, Beethoven, and Spontini.
But, before proceeding farther, the writer considers it proper to remark, that to give a extended description of the progress of music during the three last centuries, mentioning in detail the many creations and achievements of those who have become great, nay, in some instances he might say almost immortal, in its sacred domain, would require a volume far beyond the pretensions and intended limits of this one.
Besides, the author confesses that he pauses with feelings of reverence while contemplating the mighty genius and divinely approximating achievements of Haydn, Mozart, Beethoven, Spohr, and Mendelssohn, fearing that his unskilful pen might fail in an attempt at description. Nor does he feel much less embarrassed when he contemplates the accomplishments of those wonderful interpreters of the works of the noble masters, who have, either through the enchanting modulations of their voices or with skilful touch upon instruments, evolved their magic strains. Let an abler pen than mine portray the sublime triumphs of Hasse, Mario, Wachtel, Santley, Whitney; of Albani, Malibran, Lind, Parepa Rosa, Nilsson; of Haupt, Paganini, Vieuxtemps, Ole Bull, Rubinstein, Liszt, and Von Bulow.[4]
The eighteenth century was a most remarkable period for achievements in the composition of orchestral, oratorio, and operatic music,—the same being finely interpreted by vocal and instrumental artists of most wonderful skill.
In referring to some among that galaxy of bright stars, I use, in regard to Mozart, the clear and beautiful language of another:[5] "The great musical composer Mozart was a wonderful instance of precocity, as well as of surpassing genius. He died at the early age of thirty-five, after a career of unrivalled splendor, and the production of a succession of works which have left him almost, if not entirely, without an equal among either his predecessors or those who have come after him. Mozart's devotion to his art, and the indefatigable industry with which, notwithstanding his extraordinary powers, he gave himself to its cultivation, may read an instructive lesson, even to far inferior minds, in illustration of the true and only method for the attainment of excellence. From his childhood to the last moment of his life, Mozart was wholly a musician. Even in his earliest years, no pastime had any interest for him in which music was not introduced. His voluminous productions, to enumerate even the titles of which would occupy no little space, are the best attestation of the unceasing diligence of his maturer years. He used, indeed, to compose with surprising rapidity: but he had none of the carelessness of a rapid composer; for so delicate was his sense of the beautiful, that he was never satisfied with any one of his productions until it had received all the perfection he could give it by the most minute and elaborate correction. Ever striving after higher and higher degrees of excellence, and existing only for his art, he scarcely suffered even the visible approach of death to withdraw him for a moment from his beloved studies. During the last moments of his life, though weak in body, he was 'full of the god;' and his application, though indefatigable, could not keep pace with his invention. 'Il Flauta Magico,' 'La Clemenza di Tito,' and a 'Requiem' which he had hardly time to finish, were among his last efforts. The composition of the 'Requiem,' in the decline of his bodily powers, and under great mental excitement, hastened his dissolution. He was seized with repeated fainting-fits, brought on by his extreme assiduity in writing, in one of which he expired. A few hours before his death took place, he is reported to have said, 'Now I begin to see what might be done in music.'"
Mozart's compositions number over six hundred, and two hundred of them had not until quite recently been printed. He composed fifty-three works for the church, a hundred and eighteen for orchestra, twenty-six operas and cantatas, a hundred and fifty-four songs, forty-nine concertos, sixty-two piano-forte pieces, and seventeen pieces for the organ.
Of Beethoven, Professor F.L. Ritter, in one of his excellent lectures on music, says, "Beethoven's compositions appeal to the whole being of the listener. They captivate the whole soul, and, for the time being, subdue it to an intense, powerful, poetical influence, impressing it with melancholy, sorrow, and sadness, elevating it heavenwards in hopeful joy and inspired happiness."
The following description[6] of Beethoven's last hours on earth, as he was nearing the time
"When all of genius which can perish dies,"
although replete with sadness, is yet a tribute so touchingly beautiful and eloquent as to make it well worthy of insertion here.
"THE LAST MOMENTS OF BEETHOVEN.
"He had but one happy moment in his life, and that moment killed him.
"He lived in poverty, driven into solitude by the contempt of the world, and by the natural bent of a disposition rendered harsh, almost savage, by the injustice of his contemporaries. But he wrote the sublimest music that ever man or angel dreamed. He spoke to mankind in his divine language, and they disdained to listen to him. He spoke to them as Nature speaks in the celestial harmony of the winds, the waves, the singing of the birds amid the woods. Beethoven was a prophet, and his utterance was from God.
"And yet was his talent so disregarded, that he was destined more than once to suffer the bitterest agony of the poet, the artist, the musician. He doubted his own genius.
"Haydn himself could find for him no better praise than in saying, 'He was a clever pianist.'
"Thus was it said of Géricault, 'He blends his colors well;' and thus of Goethe, 'He has a tolerable style, and he commits no faults in orthography.'
"Beethoven had but one friend, and that friend was Hummel. But poverty and injustice had irritated him, and he was sometimes unjust himself. He quarrelled with Hummel, and for a long time they ceased to meet. To crown his misfortunes, he became completely deaf.
"Then Beethoven retired to Baden, where he lived, isolated and sad, in a small house that scarcely sufficed for his necessities. There his only pleasure was in wandering amid the green alleys of a beautiful forest in the neighborhood of the town. Alone with the birds and the wild flowers, he would then suffer himself to give scope to his genius, to compose his marvellous symphonies, to approach the gates of heaven with melodious accents, and to speak aloud to angels that language which was too beautiful for human ears, and which human ears had failed to comprehend.
"But in the midst of his solitary dreaming a letter arrived, which brought him back, despite himself, to the affairs of the world, where new griefs awaited him.
"A nephew whom he had brought up, and to whom he was attached by the good offices which he had himself performed for the youth, wrote to implore his uncle's presence at Vienna. He had become implicated in some disastrous business, from which his elder relative alone could release him.
"Beethoven set off upon his journey, and, compelled by the necessity of economy, accomplished part of the distance on foot. One evening he stopped before the gate of a small, mean-looking house, and solicited shelter. He had already several leagues to traverse before reaching Vienna, and his strength would not enable him to continue any longer on the road.
"They received him with hospitality: he partook of their supper, and then was installed in the master's chair by the fireside.
"When the table was cleared, the father of the family arose, and opened an old clavecin. The three sons took each a violin, and the mother and daughter occupied themselves in some domestic work.
"The father gave the key-note, and all four began playing with that unity and precision, that innate genius, which is peculiar only to the people of Germany. It seemed that they were deeply interested in what they played; for their whole souls were in the instruments. The two women desisted from their occupation to listen, and their gentle countenances expressed the emotions of their hearts.
"To observe all this was the only share that Beethoven could take in what was passing; for he did not hear a single note. He could only judge of their performance from the movements of the executants, and the fire that animated their features.
"When they had finished they shook each other's hands warmly, as if to congratulate themselves on a community of happiness; and the young girl threw herself weeping into her mother's arms. Then they appeared to consult together: they resumed their instruments; they commenced again. This time their enthusiasm reached its height; their eyes were filled with tears, and the color mounted to their cheeks.
"'My friends,' said Beethoven, 'I am very unhappy that I can take no part in the delight which you experience; for I also love music: but, as you see, I am so deaf that I cannot hear any sound. Let me read this music which produces in you such sweet and lively emotions.'
"He took the paper in his hand: his eyes grew dim, his breath came short and fast; then he dropped the music, and burst into tears.
"These peasants had been playing the allegretto of Beethoven's Symphony in A.
"The whole family surrounded him with signs of curiosity and surprise.
"For some moments his convulsive sobs impeded his utterance; then he raised his head, and said, 'I am Beethoven.'
"And they uncovered their heads, and bent before him in respectful silence. Beethoven extended his hands to them, and they pressed them, kissed, wept over them; for they knew that they had amongst them a man who was greater than a king.
"Beethoven held out his arms, and embraced them all,—the father, the mother, the young girl, and her three brothers.
"All at once he rose up, and, sitting down to the clavecin, signed to the young men to take up their violins, and himself performed the piano part of his chef-d'œuvre. The performers were alike inspired: never was music more divine or better executed. Half the night passed away thus, and the peasants listened. Those were the last accents of the swan.
"The father compelled him to accept his own bed; but, during the night, Beethoven was restless and fevered. He rose: he needed air: he went forth with naked feet into the country. All nature was exhaling a majestic harmony; the winds sighing through the branches of the trees, and moaning along the avenues and glades of the wood. He remained some hours wandering thus amid the cool dews of the early morning; but, when he returned to the house, he was seized with an icy chill. They sent to Vienna for a physician. Dropsy on the chest was found to have declared itself; and in two days, despite every care and skill, the doctor said Beethoven must die.
"And, in truth, life was every instant ebbing fast from him.
"As he lay upon his bed, pale and suffering, a man entered. It was Hummel,—Hummel, his old and only friend. He had heard of the illness of Beethoven, and he came to him with succor and money. But it was too late: Beethoven was speechless; and a grateful smile was all that he had to bestow upon his friend.
"Hummel bent towards him, and, by the air of an acoustic instrument, enabled Beethoven to hear a few words of his compassion and regret.
"Beethoven seemed re-animated; his eyes shone: he struggled for utterance, and gasped, 'Is it not true, Hummel, that I have some talent, after all?'
"These were his last words. His eyes grew fixed, his mouth fell open, and his spirit passed away.
"They buried him in the little cemetery of Dobling."
Among the most eminent composers of the present century may be mentioned Auber, Schubert, Rossini, Meyerbeer, Mendelssohn, Weber, Verdi, and Wagner.
In "The Contemporary Review" there lately appeared the following beautifully worded tribute to the noble qualities of Mendelssohn:—
"Mendelssohn reigns forever in a sweet wayside temple of his own, full of bright dreams and visions, incense, and ringing songs, and partly is he so sweet, because, unburthened with any sense of a message to utter, a mission to develop, he sings like a child in the valleys of asphodel, weaving bright chaplets of spring flowers for the whole world, looking upon the mystery of grief and pain with wide eyes of sympathy, and at last succumbing to it himself, but not understanding it, with a song of tender surprise upon his lips."
Since the times of the great writers of the eighteenth century, and of the first half of the present one, no new developments or advancements have been made in musical creations.[7] Indeed, it would seem that the time has not yet come for attempts to be made to improve upon the works of those great musical luminaries; for they have left too much that is deep, classical, charmingly beautiful, and soul-satisfying. The musical world has paused, not caring to go farther, to conscientiously study their noble creations, so fruitful in the delights, the soul-elevating influences, which they afford.
But, although no great genius has of late years appeared with newer and greater creations to claim our attention from those of the past, it is gratifying to know that great advancement is being made in a more general musical culture among the people; while the number of really great instrumentalists and vocalists is quite large, and is constantly increasing. In these latter respects the present far exceeds the past.[8] In fact, the study of the art of music has begun to be considered a necessity; and ability in its comprehension and performance is now far from being considered as merely an ornamental accomplishment. All this springs from the very nature of this divine art, the mission, so to speak, of which is, to constantly open new fountains of pleasure in the human heart; to cheer, to soothe, and to bless mankind throughout all time.
But, after all, we know not how soon another great musical genius may startle us from our complacent studies of the masters of the past; for we are even now somewhat threatened in this respect by Richard Wagner, the eminent composer of Germany. He is not satisfied with the music of the past nor the present, and points to his own present and prospective creations as samples of what the "music of the future" will be. Just now, musical critics, while generally conceding to him much power as a composer, are divided in opinion as to whether his ideas are to be accepted in their entirety.
Still, who can now tell what the "music of the future" may be?
Before closing this chapter on the history of music, I think it highly proper, as a matter of record and of appropriate interest, to refer briefly to the almost wonderful achievements of that brilliant impressario, P.S. Gilmore of Boston, who in the year 1869 conceived the idea of having a grand musical festival, the noble objects of which were to celebrate the restoration of peace in the United States, and to quicken and increase the interest felt in music throughout this country, and also the world, by bringing together in a single performance a larger body of most skilful musicians than was ever before attempted. An immense building called "The Coliseum" was constructed for the purposes of the festival, which was to continue five days. On the 15th of June, in the city of Boston, "The National Jubilee and Great Musical Festival" was begun. The number of instruments and performers composing the great orchestra was 1,011; and an organ of immense proportions and power, built expressly for the occasion, was employed. The grand chorus and solo vocalists numbered 1,040. Besides, one hundred anvils (used in the rendering of Verdi's "Anvil Chorus") were played upon by a hundred of the city's firemen in full uniform; while to all this was added a group of cannon, the same being used in the performance of the "Star-spangled Banner." The vast chorus, the orchestra, and all the leading performers (among the latter were Ole Bull, Parepa, and Carl Rosa), were selected from the finest musical people of the country, being accepted only after strict testing by skilful judges. At this great gathering many of the works of the great composers were performed, and only works of real merit had a place on the programme. These were all performed by this vast ensemble with a precision and an excellence that were really grand and wonderful. This achievement of Gilmore was considered the most brilliant entertainment of modern times. Of it, it has been truly said,—
"This great event, by the sublimity of its music, held the nation spell-bound. The great volume of song swept through the land like a flood of melody, filling every Christian heart with 'glad tidings of great joy.' It came like a sunburst upon a musical world, shedding light where had been darkness before, and revealing a new sphere of harmony, a fairy-land of promise, and triumphantly realizing greater achievements in the divine art than were hitherto thought possible. It will ever be a memorable epoch in the history of music, a glorious event; and thousands upon thousands are happier for that week of glorious music. The boom of the cannon, the stroke of the bells,[9] the clang of the anvils, the peal of the organ, the harmony of the thousand instruments, the melody of the thousands of voices, the inspiring works of the great masters, the song of the 'Star-spangled Banner,' the cheers of the multitude, the splendor of the spectacle,—the memory of all this is the rich possession of many, and will be ever recalled as the happiest experiences of a lifetime."
The success of the "National Peace Jubilee" was so perfect, and had produced a musical enthusiasm and revival so great, that, in the year 1872, Gilmore, still prolific in startling musical conceptions, projected and carried into execution another festival of the same general character as the first, only that it was far vaster and more daring in its proportions. This one he styled "The World's Peace Jubilee and International Festival." Several times during the week that this great musical festival was held, not less than fifty thousand people were present in the immense Coliseum building. This time the orchestra consisted of two thousand instruments, and the chorus numbered over seventeen hundred voices; while a mighty organ and cannon and anvils were used as before. The great soloists engaged were Mme. Leutner, Johann Strauss, Franz Abt, and Bendel. Foreign governments being invited to send representatives from among their best musicians, England sent the Band of the Grenadier Guards; Germany, its great Prussian Band; France, the brilliant French Republic Band. King William of Prussia sent also, as a special compliment, his classical Court Cornet Quartet; and Ireland sent its best band. To this galaxy of star military bands, perhaps the greatest ever assembled, the United States added its own favorite Marine Band of Washington. At this second great and vast assemblage of artists the almost marvellous achievements of the first "Jubilee" were repeated to the utmost delight of many thousands of people, and Gilmore became at once the most brilliant and daring impressario genius of the world.
As before intimated, Wagner is not at all satisfied with pausing where Mozart, Beethoven, and other great composers, left off. He believes that their music can be improved upon. According to his theory, the music of the opera, in the most highly-developed form of the latter, is but an incidental element, the dramatic part being principal. He lately composed a triology—three operas connected as one—with a prologue, the subjects of the dramas being taken from mythology, and forming beautiful fairy tales. To carry to the greatest perfection his views and firmly-held ideas as to what music should be, and as to what he stoutly avers it will be in the future, he selected from far and near only the best artists for the performance of his opera (these were subjected to long and careful rehearsals under his own conductorship), and erected at Bayreuth, in Bavaria, a large and beautiful theatre, which, in its minutest details even, was built under his own supervision, and after his own peculiar ideas. It being calculated to show to the highest advantage his conception, that, in the expression of sentiment, music is only secondary, his orchestra of one hundred and ten performers was placed out of sight of the audience during the acting of the opera.
The great "Musical Festival," as it was called, continued three days, the performance of each part of the triology occupying—exclusive of a wait of one hour after each act—from four to five hours.
At these performances the nobility of Germany and other countries, together with the Abbé Liszt, and many others in the higher walks of music, were present. The audiences were immense, brilliant, and exceedingly demonstrative in applause. At the close of the opera, Wagner was called before the curtain, receiving quite an ovation: and in his speech he said, "Now we see what can be done: at last we have a German art."
It is perhaps too early, as yet, to decide that Richard Wagner's ideal will be adopted by the musical world; nor should we be in too much haste to conclude that it will not be. Certainly he has succeeded, at least, in dividing the highest critics of the glorious art; and the history of music shows, as does also that of all art, that what is rejected to-day may be warmly and even rapturously accepted to-morrow.
Of the festival at Bayreuth, Mr. Hazard, musical critic of "The New-York Tribune," writes, "The effect of the music was magnificent beyond all description. It far surpassed all expectation; and the general verdict is that it is a triumph of the new school of music, final and complete."
Of the impression created by one of the parts of the opera, "Rheingold" (Mr. F.A. Schwabe), of "The New-York Times," says, "Musically considered, it is not significant. It is hopeless, therefore, to look for popularity for the work; at present, at least."
"The agony is over; and the grandest of all operatic conceptions, the musical drama over which Richard Wagner toiled and dreamed for twenty years, has been given to the world in its complete form."[10]
Very recently, Mr. Moncure D. Conway thus expresses his high admiration for the work of Wagner:—
"I am satisfied that the English-speaking world is little aware at present of the immensity and importance of the work Wagner has done for art. Plato declared that the true musician must have poetry and music harmonized in himself; and the world has waited twenty-five hundred years for that combination to appear. Having carefully read the poems all written by himself which Wagner has set to music, or rather which incarnated themselves in music, and costumed themselves in scenery as he wrote them, I venture to affirm that none can so read them without the conviction that their author is a true poet. In the first place, the general conception of his chief operas, taken together, is in the largest sense poetic, and I might even say Homeric. This man has transmitted an entire religion to poetry, and then set it to music. And it is one of the greatest of religions,—what Nature engraved on the heart of our own Teutonic ancestors. It is all there,—its thousand phantasmal years, from the first cowering cry of the Norse savage before the chariot of his storm-god to the last gentle hymn that rose to Freya under her new name of Mary,—all. It is interpreted as a purely human expression; and, I repeat, no man has done so vast and worthy an artistic work in our time."
While America has perhaps produced as yet no great composers, it has several of very high merit, such as J.K. Paine, Dudley Buck, and others. In the United States there are many remarkable vocal and instrumental artists, a large number of classical musical clubs and societies; while several of its great vocalists, male and female, accept and decline engagements in Europe. Perhaps no finer orchestra exists anywhere than that of Theodore Thomas of New York; while nearly as high praise may be given to the Mendelssohn and Beethoven Quintette Clubs of Boston, and to others in different parts of the country.
Music is quite generally cultivated in this country; and there are many excellent critics, musical writers, and periodicals devoted to this beautiful and elevating science.
A very startling late American musical invention is the "telephone," a description of the working of which is given below:—
"MUSIC BY TELEGRAPH.
"A most interesting field for the musical student is the progress that is being made in telegraphing musical sounds.
"This is done by means of the telephone, which transmits simultaneously several different tones through one wire by means of steel forks made to vibrate at one end of the line, the pulsations passing through the wire independently of each other, and reappearing at the distant station on vibrating reeds.
"Some very interesting tests were made in the Centennial Main Building a few days ago in the presence of about fifty invited guests, among whom were noticed the Emperor and Empress of Brazil, Sir William Thompson, and quite a number of eminent electricians.
"The experiments were of a very interesting and successful character.
"The inventor, Mr. Gray of Chicago, asked his assistant, Mr. Goodridge, to transmit musical sounds, which were received very distinctly amid hearty applause from those present.
"It was the first time that many present had heard 'Home, Sweet Home,' 'My Country, 'tis of Thee,' or 'Old Hundred,' rendered so beautifully by telegraph; and they evidently enjoyed the treat."
By this invention, music played upon a piano-forte or melodeon is reproduced upon a violin attached to the receiving end of the wire at a distance of twenty-four hundred miles.
Another important musical invention (English) is that of the "voice harmonium." Of this Mr. Theo. T. Seward writes,—
"To all such the invention of which I speak is a matter of deep interest, because in it is practically solved the problem of perfect intonation. It is called the 'voice harmonium,' because the securing of perfect intonation brings the tones much nearer to the quality of the human voice. The instrument has been invented and patented by Mr. Colin Brown of Glasgow, Ewing lecturer on music. By the use of additional reeds and a most ingenious keyboard, he has succeeded in giving each key in perfect tune. The 'wolf' is banished altogether, without the privilege of a single growl. I do not need to say that the effect upon the ear is rich, and extremely satisfactory. After listening to it a little while, the tones of a tempered organ sound coarse and harsh. I wish very much that some of our ingenious American instrument-makers could have the opportunity of examining it. It has been publicly exhibited at the South-Kensington Exhibition, before the recent meeting of the British Association, and elsewhere. The highest scientific authorities have pronounced most thoroughly in favor of its 'perfectness, beauty, and simplicity.' Whether the greater complication of the keyboard will interfere seriously with its popular use, remains to be seen."
Mr. Theodore Thomas recently gave an excellent performance of the works of American composers. Among those rendered were compositions by Dudley Buck, A.H. Pease, and William Mason. One of the gems of the evening was a symphonic poem by William H. Foy, entitled "A Day in the Country."
Mr. Thomas's orchestra, noted for placing upon its programmes only works of the highest merit, has recently also presented with much success a new symphony by the talented composer of oratorios, &c., J.K. Paine.
In alluding to the progress of music in the United States, "The Music Trade Review" says, "If the centennial year could disclose all its triumphs, music would shine among its garlands. A hundred years ago was a voiceless void for us compared with the native voices and native workers who now know a sonnet from a saraband."
IV.
THE BEAUTY, POWER, AND USES OF MUSIC.
"The soul lives its best hours when surrounded by melody, and is drawn towards its home, Paradise, dreaming of its hymning seraphs who adore with ecstasies that can find utterance only in song."
"And how can happiness be better expressed than by song or music? And, if the body and mind are both attuned to a true enjoyment of their resources, how much more will the moral nature be refined and educated!"
THE cultivation of the art of music has ever followed closely the progress of civilization; and those nations that have attained to the highest state of the latter have most encouraged the growth, and have been most skilled in the creation and performance, of music. Montesquieu avers that "music is the only one of all the arts that does not corrupt the mind." Confucius said, "Wouldst thou know if a people be well governed, if its laws be good or bad? examine the music it practises." Again: another has quite aptly said that
"Music is one of the greatest educators in the world; and the study of it in its higher departments, such as composition, harmony, and counterpoint, develops the mind as much as the study of mathematics or the languages. It teaches us love, kindness, charity, perseverance, patience, diligence, promptness, and punctuality."
And a writer in "Chambers's Journal" remarks, that
"In society, where education requires a submission to rule singing belongs to the domain of art; but, in a primitive state, all nations have their songs. Musical rhythm drives away weariness, lessens fatigue, detaches the mind from the painful realities of life, and braces up the courage to meet danger. Soldiers march to their war-songs; the laborer rests, listening to a joyous carol; in the solitary chamber, the needlewoman accompanies her work with some love-ditty; and in divine worship the heart is raised above earthly things by the solemn chant."
Happily for the world, this beautiful art is one, the delightful forms of which nearly all may enjoy, the inspiring, soul-elevating influences of which nearly all may feel. I say, nearly all; because it is a sad truth that there are some persons who have no ear whatever for music, and to whom the harsh, rattling noise of the cart on the stony street affords just as much melody as do the sweetest tones that may issue from a musical instrument. Again: there are those, who, although possessing to some extent a faculty for musical discernment, are yet so much governed by what is called a sense of the "practical" in life as to avoid all opportunity for the enjoyment of melody, considering such indulgence as a waste of precious time. It is, however, pleasant to know that the number of all such persons—who must, I think, be regarded as really unfortunate—is but a small one, and that almost every one has a born capacity for musical appreciation and enjoyment.
It is true that the mighty genius of Mozart and Beethoven soared far above common musical minds. With a love for the noble art of music almost sacred in its intensity, these great composers penetrated far, far into its depths, finding their greatest enjoyment in so doing. Starting with the simpler forms of the art left by their predecessors, they deepened, they broadened and varied those forms; while, with every intricacy created, they experienced the sweetest of pleasure. And one of the most fitting tributes that can be paid to these and others of the noble masters of harmony is beautifully embodied in the lines of Rogers:—
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"The soul of music slumbers in the shell Till waked and kindled by the master's spell." |
But this far-reaching art, with all its difficult forms to awaken and enchain the interest, and to inspire the love of the man of genius or the ambitious student of æsthetics, has also those more simple ones for the delight of the humbler mind. Even the babe that lies in its mother's arms has within the yet narrow confines of its new-born soul the germ of musical sympathy. Often, when it is in a state of disquiet, its mother sings to it a simple, pretty song. Soon the crying ceases; the little eyes brighten with a delighted interest; the charm of music is working. The mother continues the touching "lullaby," and anon finds that her tender charge, with the pleasing sounds of melody gently ringing in its ears to the last, has been soothed into dreamland. Indeed, the power of music to touch the heart, to fill the soul, lies oftenest in those tones that are comprised in its least difficult melodies. Nothing is truer than that music, so beneficent in its influence, is meant for the comprehension, enjoyment, and improvement of all; and that it should never be regarded as an all-mysterious art, the charming domain of which only the gifted few are to enter. Whoever can distinguish musical sounds from their reverse, is, in degree at least, a musician; and whether such a one may enlarge his faculty for musical discernment and enjoyment depends only upon the extent of his observations, or rather upon the amount and kind of his study.
As elsewhere remarked, some time has elapsed since the music-loving world has been called to the contemplation of any great, new revelation in harmony. Meanwhile devotees of the divine art have generally been so much employed in endeavors to properly interpret the sublime works left for their study and enjoyment by the great composers of the past, that they have had neither time nor desire to seek for newer creations. For nearly all seem convinced that what is most needed now is, not new music, but that the masses of the people should possess an intelligent appreciation of, and warm love for, the best of that which is already at hand; and as an intelligent, heartfelt religious faith is needed to carry light and happiness alike into the homes of the highly-favored and the lowly, so is the beauty-shedding art of music—a close ally of that faith—needed to cheer, to soothe their hearts, and to develop in the minds of all God's children a love for that which may be fitly called the "true, beautiful, and good." Associating music with the very highest form of happiness, one of the older poets imagines this beautiful scene in heaven:—
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"Their golden harps they took, Harps ever tuned, that glittering by their side Like quivers hung, and with preamble sweet Of charming symphony they introduce Their sacred song, and waken raptures high No voice exempt, no voice but well could join Melodious part, such concord is in heaven." |
But I shall now more particularly invite the reader to a consideration of a few among the many forms in which the beauty, the power, and good uses of music are exemplified, and of the advantages to be derived from its conscientious study.
It may be noticed, that, in those towns and cities containing a preponderance of cultivated people, theatres do not flourish to the same extent as in neighborhoods where the reverse is true. The reason is obvious: cultured people have attractive and generally musical homes, and are thus made, to a great extent, independent of the amusements afforded in public places. This I mention, not to decry the theatre, which, I hold, has its appropriate, and, under proper conditions, educational and refining uses. In fact, the theatre (in which is performed the legitimate drama) would seem to be in certain respects a necessity, affording as it does occasional change of scene, and ministering to that desire for relaxation and amusement so naturally, so invariably felt by those persons who have not, in a true sense, homes. Nevertheless, our firesides should be made to compete with, nay, to far surpass in attractiveness, all places of public amusement; for it is very much better that the employments and entertainments of our homes should charm and retain their members, than that these should be sought for outside their, in some respects, sacred confines. The reasons for this are so apparent to the thoughtful, that they need not be greatly enlarged upon. Briefly, then, in the home is safety: over its members are extended the protecting wings of guardian angels; while without are often snares and danger, either in palpable forms, or in those hidden by the glittering, the alluring disguises which are so often thrown over vice. On this very subject with what truth and directness Cotton speaks, when he says,—
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"If solid happiness we prize, Within our breasts this jewel lies; And they are fools that roam. The world has nothing to bestow: From our own selves our joys must flow, And that dear hut, our home!" |
Nor need I dwell at great length upon the delights and benefits afforded the members of families whose leisure is given to the study and practice of an art so ennobling as music. How charming are those homes in which it is, in its purest style, cultivated! what refinement reigns therein! and what a gentle yet potent aid it is in parental government! The allurements to outside and often harmful pleasures lose their power over the children of that household in which music's engaging, magic influence holds delightful, elevating sway. And then at times, when instruments and voices mingle in a "concord of sweet sounds," how delightful is the effect, how serenely beautiful is the scene! Often have I, when passing in the evening a dwelling from which floated out upon the air the notes of tuneful voices, accompanied by the piano-forte or some other instrument, paused to listen, lingering long, the ear so ravished by the sweet sounds as to cause me to stand almost spell-bound, and to remain under music's magic influence even after its charming sounds had died away.
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"The music in my heart I bore Long after it was heard no more." |
To the great aid afforded them by music in government, the teachers in our common schools can testify. Often a turbulent school, swayed by youthful passions, or wearied by monotonous study into a state of painful unrest, has been stilled, calmed, and refreshed by the singing of a song,—an indulgence in the enjoyment of its melody affording delightful relaxation, and also awaking to life that better, that poetic sentiment that abides in every soul. The writer readily recalls his own experience as a teacher in gently enforcing lessons in polite deportment among his pupils by the aid of music. The exercises of each session of his school were always begun and ended with song; while sometimes, for reasons previously mentioned, books were laid aside, and all joined in singing, even during a part of the time usually devoted to study. By such procedure (the songs were of the simplest kind, and without the adding charm of instrumental accompaniment), even the most unruly pupils were generally induced to yield to the softening influences of "magic numbers and persuasive sound." In regard to the influence wielded over the mind and heart by songs, an eminent writer thus speaks: "Songs have at all times, and in all places, afforded amusement and consolation to mankind: every passion in the human breast has been vented in song; and the most savage as well as the most civilized inhabitants of the earth have encouraged these effusions." The following description of the effects of music at a reform-school is quite interesting in this connection. It is clipped from a recent number of "The Boston Transcript."
"A reporter of 'The San Francisco Chronicle,' who recently visited the industrial school, was very much impressed by what he saw and learned there concerning not only the taming, but the reforming and refining influence of a 'concord of sweet sounds.' Attached to the institution is a music-teacher, who has at all times in active training a number of boys, who perform on the various instruments that make up a brass band. This teacher, who is an intelligent German, and to all appearances an able instructor, testifies to the wonderful efficacy of music in softening the rugged nature of the boys, who are sent to school usually because they are uncontrollable by their parents or guardians. He says he has noticed the singular fact, that boys whose aversion to learning was so great that they could not or would not acquire even a knowledge of their 'a, b, abs,' took hold with evident relish of the comparatively difficult study of theoretical music, and in a very short space of time mastered the notes sufficiently to be able to read a tolerably hard score or piece of music. This seemed to him like a phenomenal phase, and he can only account for it on the ground that a love of music is inherent in the average bad boy. He has usually in training a band of twenty pieces: but he says that this number he could easily augment at any time to two, three, or even four times as many; for he very rarely finds a boy that has not a taste for some musical instrument. The greatest trouble he has yet encountered in the formation of his bands is the fact, that, as soon as his pupils become really proficient, they are ready for a discharge for good conduct, the music possessing such an influence for good over them as to completely reform dispositions that would otherwise be incorrigibly bad. Since he has held the position of music-teacher at the institution, several boys have been discharged for good and promising conduct, who have turned their knowledge of music, acquired within the walls of the industrial school, to profitable account."
We know that music, either vocal or instrumental, and in many cases the two combined, has for many centuries been considered necessary for the proper worship of God. The harmony that issues in grand and melting tones from the noble organ subdues the heart, and fills it with solemnity, sweetness, and hope: the sacred chant, the prayer or thanksgiving, uttered in melodious song by the choir or by all the congregation,—these cause the sordid world with all its cares and wild passions to be for the while forgotten, and the soul, charged with the influences of divine harmony and most holy aspiration, is lifted to heaven. And so music, with its gentle, its ever-winning power, has constantly been used by the churches to secure the attendance of those who without it had been indifferent. This has been especially the practice of the Roman-Catholic Church for inducing the attendance of Protestants, and is after the custom of olden times, when the Gentiles were thus drawn into the Christian churches, coming at first through motives of curiosity. They were, however, often so captivated by the music as to submit to baptism before departing. In most of our large cities, a considerable number of wealthy Protestants are induced, by the superior musical attractions of Catholic churches, to attend for a while, renting pews, and finally, in some cases, to become members; and Protestant churches, to sustain the interest in their services, and to insure the attendance of members and others, have been obliged to recognize this love among the people for the divine art.
The German race is remarkable for the intelligence, steadiness, and industry of its members, and their love for and cultivation of the art of music,—these latter characteristics prevailing to a most pleasing degree among all classes of the race. Indeed, it is rare to find a German not, in some sense at least, a musician. And in what beneficent uses do they employ the art, especially in their social relations! Their children are inducted into its charming beauties and helpful uses from their very earliest years. Of a steady-going, rather practical life, the Teutonic race yet seeks relief from care, and finds delightful rest and recreation, in united song, or in some other form of pleasing harmony; thus wisely uniting the practical with the poetical in life. How in keeping is a musical love so warm, and a musical proficiency so general, with a nation which has given to the world a Mozart, a Haydn, and a Beethoven!
Most persons have remarked the superior affability, the polish of manners, that distinguishes the people of France. It is also observable that this nation is much devoted to music; that which is produced by their own composers, and most in use by the people, being usually of the graceful, brilliant style. An eminent French writer states, that, for the possession of these pleasing characteristics, this nation is indebted to that ancient order of musicians, the troubadours, whose musical qualities, politeness, and other winning graces, laid the foundation of the same.
It is said that the ancient Egyptians held music in such high esteem that they employed it as a remedial agent, believing it a sure cure for certain kinds of disease. While such a belief—that is, in its entirety—may not be held in modern times, yet this notion of the curative qualities of music does not seem so very fanciful or mysterious after a little reflection. We know that nothing so generally conduces to recovery from sickness as those influences that inspire feelings of cheerfulness, and that serve to divert the mind of the patient from a contemplation of his bodily sufferings,—it being almost a proverb, that "a pain forgot is a pain cured,"—and that one of the chief of such agencies is the soothing, inspiriting charm of music. It is not meant by this, of course, that music is of itself and specifically a cure, but that it may be often employed as a powerful aid in effecting the same. We know, moreover, that this delight-affording art may be profitably used to "minister to a mind diseased," and that its aid is often invoked by those physicians who are most skilful, if not in curing, at least in ameliorating the condition of, persons afflicted with that terrible malady, insanity. Perhaps Saul of olden times, who is said to have been once possessed with an "evil spirit," was then simply insane; and, taking this view of his condition,—which is, after all, the one that seems the more correct,—the statement in the Bible, that David drove away this evil spirit by his skilful playing upon the harp, becomes easy to understand, since the occurrence is thus divested of its miraculous character.
But I must not fail to notice here the remark sometimes made, that the study and practice of music do not always give to those engaged in the same the graces of a true refinement; that even persons highly skilled in the art are sometimes unamiable in manners, and coarse in habits. To this I reply, that no art nor human agency is capable of elevating every character to perfection; and that the exceptions above mentioned become very noticeable, and cause surprise, because of the known good influence upon the heart and mind generally exerted by the study and practice of good music. Besides, all great musical "stars" must not be classed with the conscientious, loving student of the art. Some among the former, gifted with phenomenal voices or with rare powers for instrumental performance, having reached, perhaps, with a few easy strides, their high positions, and caring but little for music save as it ministers to their vanity, conceit, or cupidity,—these have missed that gradually unfolding culture of the mind and heart that belongs to the progress of one who conscientiously seeks to know music's manifold beauties, and who with real appreciation for the beautiful in art, loving music for music's sake, feels and exhibits in his deportment towards his fellow-men its delightful and elevating power.
And here I cannot forbear to remark, that the musical education of the youth of our country is not being pushed towards that state of thoroughness so necessary to a real comprehension and enjoyment of the art. Nearly all intelligent parents are frequent, and even fulsome, in their praises of music; and, when they speak or write of it, the laudatory exclamation is often brought into use. And yet they seem to be satisfied, generally, when their children obtain, by a mere skimming over its surface, but a peep into the realities and refining beauties of the science; when the favorite daughter in the use of the piano-forte, for instance, becomes only the most wearisome of "thrummers."
"The London World" is none too severe on the "accomplished" young lady of the period, when it says,—
"The ordinary young lady can only play set pieces on the piano that she has learned at the price of Heaven knows how many valuable hours' practising. She never remembers any thing by heart; could not compose two notes to save her life; and cannot repeat by ear the simplest melody out of an opera, though she has heard it a hundred times. She is perfectly ignorant of the history of music; hates classical works; knows few of the masters' names save Verdi, Donizetti, Offenbach, and Mozart, the latter only as the composer of 'Don Giovanni.' Gregorian or Latin chants convey no especial meaning to her mind: all she can tell you about them is that they are used in church. As for orchestration, scoring, and such like, they are only fit matters for professionals. She will call Wagner horrid, Gounod lovely, Mendelssohn dull, and Beethoven pretty, without knowing why she likes or dislikes any thing. She yawns at an oratorio, is bored at a concert, and only enjoys opera because she knows everybody that sits in the boxes."
Besides, I think a mistake is made in compelling girls to learn to play only the piano-forte. There are other instruments, for performance upon which many of them have talents. Nor need such performance detract from a graceful, ladylike appearance. I mention, for example, the harp, the violin, and, indeed, all the stringed instruments, and even others. But on this point another says,—
"A recent number of the London 'Queen' contains an article recommending the violin as an instrument peculiarly appropriate for the use of ladies. It protests against the custom of teaching girls to play the piano-forte only, arguing that they should have a larger field in music. There is certainly no reason why girls may not gracefully handle the bow; and it is stated in the article referred to, that they 'can learn the violin in half the time that boys can,'—a statement which indicates that a goodly number of girls somewhere have had the opportunity of learning. In this age of progress, girls may certainly have a choice of instruments, and an opportunity to pursue the delightful art of music in whatever way they choose. If taste or fancy incline them to wind-instruments, why should they not try them?"
Mr. Dwight, in his "Journal of Music," very justly and considerately discourses of the utility of violin accomplishment, and the adaptability of the instrument to womanly practice. He says,
"We have always wondered, that in a community where so much attention is paid to music, and where almost every girl and boy is taught to thrum the piano, so few acquire, or even seek to acquire, the art of playing on the violin. The piano, to be sure, is a more representative instrument, enabling one pair of hands to grasp the whole harmony of a composition, or a compendium thereof; but the violin, with the other members of its family, viola, 'cello, &c., is the more social instrument, bringing together groups of kindred spirits who can play in parts, and read together the quartets, &c., of the greatest masters, or play sonata duos, trios, &c., with the piano-forte. And the string-instruments are infinitely the most expressive: their tones lie nearer to the soul, spring more directly from the human breast. They are the heart of the whole orchestra, the most essential part of music, next to the human voice. It is a graceful, manly, healthy exercise, to play the violin. If it be very difficult to play it like an artist, so much the worthier of a manly aspiration. If it is often only vulgar fiddling, it is, on the other hand, with those truly schooled, the most gentlemanly of instruments. And we maintain that it is equally the most womanly. We have many times expressed our interest in female violinists. Who that has seen and heard Camilla Urso, or Teresa Liebe, or Mr. Eichberg's accomplished pupil, Persis Bell, could fail to feel that the violin seemed peculiarly fitted to the female constitution and capacity? How graceful the attitude and motions of a young woman skilfully handling the bow! Her finer sense of touch, her delicate tact, her instinctive feeling-out of the pure truth of tone, give woman a great advantage in this art; and the several examples we have had from time to time in the concerts of the Boston Conservatory of Music have shown that this was no mere dream."
But the limits of this book will not permit me to go much farther into this alluring subject. I shall therefore close this chapter by a brief reference to those who occupy the really noble positions of teachers of the sublime art of music.
He whose own mind has been illumined and whose own soul has been especially cheered and enlarged by the various contemplations, the studies and conceptions, of art, will not, in fact can not, hide his light for his own selfish enjoyment, but will seek to brighten the way of such as wish to learn its beauty, power, and uses. And how honorable, how enviable, is the mission of such a one as he who imparts to his fellows a knowledge of the beautiful science of music, leading them, through all the delighting, soul-filling forms of melody, into the region of a very fairy-land!
And finally, as giving fitting expression to the estimation in which the true musician is held by all intelligent people, I append this elegant tribute by Dr. Burgh:—
"The physician who heals diseases, and alleviates the anguish of the body, certainly merits a more conspicuous and honorable place; but the musician who eminently soothes our sorrows, and innocently diverts the mind in health, renders his memory deservedly dear to the grateful and refined part of mankind in every civilized nation."
V.
ELIZABETH TAYLOR GREENFIELD,
THE FAMOUS SONGSTRESS;
OFTEN CALLED
THE “BLACK SWAN.”
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"A damsel with a dulcimer In a vision once I saw: It was an Abyssinian maid; And on her dulcimer she played, Singing of Mount Abora." Coleridge. |
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"Hovering swans.... Carol sounds harmonious." Callimachus' Hymn to Apollo. |
IN giving a brief sketch of the life of the celebrated cantatrice, Miss Greenfield, the writer is somewhat embarrassed by the amount and richness of the materials at his command. For it would require far too much space to give all, or even a considerable portion, of the many press notices, criticisms, incidents, and the various items of interest, that are connected with her remarkable career; while to judiciously select from among the same a few, so that, while justice is done the subject, the interest of the reader may not be lessened, is far from being an easy task, albeit it is a pleasant one. I find, indeed, that the pages of the public journals fairly teemed with praises of the great prima donna, as she was frequently called by them. The musical world was startled, intensely delighted, electrified, by her notes of sweetest melody. Her magnificent voice, in its great range in both the upper and lower registers, was regarded as nothing short of wonderful. Those who at first were incredulous soon became convinced of this, and were fairly taken captive; while the always friendly ones, especially those with whom Miss Greenfield was most closely identified, felt the keenest pleasure and most unbounded pride in her great triumphs.
ELIZABETH TAYLOR GREENFIELD.
All this was chronicled by the press, and formed the theme of constant conversation and correspondence. Many testimonials from persons in this country skilled in music and of fine general culture, as well as others from the Queen of England and several of the English nobility, were among her rich possessions, and were so great in number and so flattering in character as to have made hers almost, if indeed not altogether, an exceptional case.
These strong evidences of approval did not, however, make Miss Greenfield vain. The natural simplicity of her character remained unchanged. All the many exhibitions of great public and private admiration, and the praises that her performances constantly evoked, while of course affording her much pleasure, served mainly as impulses to newer and higher efforts in her chosen and beloved profession. Nor was her disposition less tried by the many difficulties that often formed in her pathway. Of these I need not speak here. But amidst them all this noble lady and artist was ever brave, patient, hopeful, ambitious in a certain sense, yet modest.
Fully aware of the magnificent quality of her voice, and of its phenomenal character; singing a higher and a lower note than either of her great contemporaries,—Parodi, Kate Hayes, and Jenny Lind,—she yet did not rest content, as most persons under the same circumstances would have done, with the enthusiastic plaudits elicited by her performances, but diligently applied herself to a scientific cultivation of a voice in natural power well-nigh marvellous, as well as to acquiring a scholarly knowledge of the principles of general music. In this commendable course she met with remarkable success, considering the circumstances by which she was surrounded.
And now, quoting at times largely from her "Biography," I proceed to give the following sketch of the career of this remarkable queen of song.
Elizabeth Taylor Greenfield, better known perhaps by her musical sobriquet, the "Black Swan," was born in Natchez, Miss., in the year 1809. When but a year old she was brought to Philadelphia by an exemplary Quaker lady, by whom she was carefully reared. Between these two persons there ever existed the warm affection that is felt by mother and daughter. In the year 1844 this good lady died. In her will the subject of this sketch was remembered by a substantial legacy. The will, however, formed the subject of a long legal contest; and I believe Miss Greenfield never received the bequest.
Her family name was Taylor; but, in honor of her guardian, she took the latter's name,—Greenfield.
"Previous to the death of this lady, Elizabeth had become distinguished in the limited circle in which she was known for her remarkable powers of voice. Its tender, thrilling tones often lightened the weight of age in one who was by her beloved as a mother.
"By indomitable perseverance she surmounted difficulties almost invincible. At first she taught herself crude accompaniments to her songs, and, intuitively perceiving the agreement or disagreement of them, improvised and repeated, until there was heard floating upon the air a very 'lovely song of one that had a pleasant voice, and could play well upon a guitar.'
"There dwelt in the neighborhood of Mrs. Greenfield a physician, humane and courteous; capable, too, of distinguishing and appreciating merit and genius, under whatever prejudices and disadvantages they were presented. His daughter, herself an amateur in the science of harmonious sounds, heard of Elizabeth's peculiar structure of mind. Miss Price invited her to her house. She listened with delighted surprise to her songs. She offered to accompany her upon the guitar. This was a concurrence of circumstances which formed the era of her life. Her pulses quickened as she stood and watched the fair Anglo-Saxon fingers of her young patroness run over the keyboard of a full-toned piano-forte, eliciting sweet, sad, sacred, solemn sounds. Emotion well-nigh overcame her; but the gentle encouragement of her fair young friend dissipated her fears, and increased her confidence. She sang; and before she had finished she was surrounded by the astonished inmates of the house, who, attracted by the remarkable compass and sweetness of her voice, stealthily entered the room, and now unperceived stood gathered behind her. The applause which followed the first trial before this small but intelligent audience gratified as much as it embarrassed her, from the unexpected and sudden surprise. She not only received an invitation to repeat her visit, but Miss Price, for a reasonable compensation, undertook her instruction in the first rudiments of music. The progress of genius is not like that of common minds. It is needless to say that her improvement was very rapid."
But the lessons above mentioned were taken quite privately, and without, at first, the knowledge of her guardian. Elizabeth was rapidly acquiring an acquaintance with music, when some one maliciously informed Mrs. Greenfield, with the expectation of seeing an injunction laid upon the pupil's efforts. The old lady sent for Elizabeth, who came tremblingly into her presence, expecting to be reprimanded for her pursuit of an art forbidden by the Friends' discipline. "Elizabeth," said she, "is it true that thee is learning music, and can play upon the guitar?"—"It is true," was her reply. "Go get thy guitar, and let me hear thee sing." Elizabeth did so; and, when she had concluded her song, she was astonished to hear the kind lady say, "Elizabeth, whatever thee wants thee shall have." From that time her guardian was the patroness of her earnest efforts for skill and knowledge in musical science.
She began to receive invitations to entertain private parties by the exhibition of the gift which the God of nature had bestowed.
"Upon the death of her patroness, in consequence of the contested will she found herself thrown upon her own resources for a maintenance. Remembering some friends in the western part of New York, she resolved to visit them. While crossing Lake Seneca, en route to Buffalo, there came sweetly stealing upon the senses of the passengers of the steamer her rich, full, round, clear voice, unmarred by any flaw. The lady passengers, especially the noble Mrs. Gen. P., feeling that the power and sweetness of her voice deserved attention, urged her to sing again, and were not satisfied until five or six more songs were given to them. Before reaching their destined port she had made many friends. The philanthropic Mrs. Gen. P. became her friend and patroness. She at once invited Elizabeth to her splendid mansion in Buffalo, and, learning her simple story, promptly advised her to devote herself entirely to the science of music. During her visit a private party was given by this lady, to which all the élite of the city were invited. Elizabeth acquitted herself so admirably, that, two days later, a card of invitation came to her through the public press, signed by the prominent gentlemen of Buffalo, requesting her to give a series of concerts.
"In October, 1851, she sang before the Buffalo Musical Association; and her performances were received with marks of approbation from the best musical talent in the city, that established her reputation as a songstress. 'Give the "Black Swan,"' said they, 'the cultivation and experience of the fair Swede or Mlle. Parodi, and she will rank favorably with those popular singers who have carried the nation into captivity by their rare musical abilities. Her voice has a full, round sound, and is of immense compass and depth. She strikes every note in a clear and well-defined manner, and reaches the highest capacity of the human voice with wonderful ease, and apparently an entire want of exertion. Beginning with G in the bass clef, she runs up the scale to E in the treble clef, and gives each note its full power and tone. She commences at the highest note, and runs down the scale with the same ease that she strikes any other lower note. The fact that she accomplishes this with no apparent exertion is surprising, and fixes at once the marvellous strength of her vocal organs. Her voice is wholly natural, and, as might be expected, lacks the training and exquisite cultivation that belong to the skilful Italian singer. But the voice is there; and, as a famous maestro once said, "it takes a hundred things to make a complete singer, of which a good voice is ninety-nine." If this be so, Miss Greenfield is on the verge of excellence; and it remains for the public to decide whether she shall have the means to pursue her studies.'"
To several gentlemen in Buffalo belongs the credit of having first brought out Miss Greenfield in the concert-room. The Buffalo papers took the matter in hand, and assured the public they had much to expect from a concert from this vocalist. The deep interest her first public efforts elicited from them gave occasion to the following certificate:—
Buffalo, Oct. 30, 1851.
Mr. H.E. Howard.
Dear Sir,—At your suggestion, for the purpose of enabling Miss Elizabeth T. Greenfield to show to her Philadelphia friends the popularity she has acquired in this city, I cheerfully certify as follows:—
The concert got up for her was unsolicited on her part, and entirely the result of admiration of her vocal powers by a number of our most respectable citizens, who had heard her at the residence of Gen. Potter, with whose family she had become somewhat familiar. The concert was attended by an audience not second in point of numbers to any given here before, except by Jenny Lind; and not second to any in point of respectability and fashion. The performance of Miss Greenfield was received with great applause; and the expression since, among our citizens generally, is a strong desire to hear her again.
Respectfully yours, &c.,
G. Reed Wilson.
Rochester next extended an invitation for her to visit that city. We copy the invitation:—
"The undersigned, having heard of the musical ability of Miss Elizabeth T. Greenfield of the city of Buffalo, and being desirous of having her sing in Rochester, request that she will give a public concert in this city at an early day, and feel confident that it will afford a satisfactory entertainment to our citizens." (Signed by a large number of the most respected citizens of Rochester.)
Rochester, Dec. 6, 1851.
This evening, in Corinthian Hall, the anticipated entertainment is to be presented to our music-loving citizens. Curiosity will lead many to attend, to whom the performance of a colored prima donna is a phenomenon at once wonderful and rare. Miss Greenfield has received from all who have heard her the name of being a vocalist of extraordinary power.
Speaking of her concert in Buffalo, "The Express" says,—
"On Monday, Parodi in all her splendor, sustained by Patti and Strakosch, sang at Corinthian Hall to half a house. Last night Miss Greenfield sang at the same place to a crowded house of the respectable, cultivated, and fashionable people of the city. Jenny Lind has never drawn a better house, as to character, than that which listened with evident satisfaction to this unheralded and almost unknown African nightingale. Curiosity did something for her, but not all. She has merit, very great merit; and with cultivation (instruction) she will rank among the very first vocalists of the age. She has a voice of great sweetness and power, with a wider range from the lowest to the highest notes than we have ever listened to: flexibility is not wanting, and her control of it is beyond example for a new and untaught vocalist. Her performance was received with marked approbation and applause from those who knew what to applaud."
Another city paper says,—
"Much has been said and written of this personage since she was introduced to the public as a musical prodigy. All sorts of surmises and conjectures have been indulged in respecting the claim put forth of her merit; and generally the impression seemed to prevail, that the novelty of 'color' and idle curiosity accounted more for the excitement raised than her musical powers. Well, she has visited our place, and given our citizens an opportunity of judging for themselves. We are ignorant of music, and unqualified to criticise. But a large audience was in attendance at Ringueberg Hall last evening: among those present were our musical amateurs; and we heard but one expression in regard to the new vocalist, and that was wonder and astonishment at the extraordinary power and compass of her voice; and the ease with which she passed from the highest to the lowest notes seemed without an effort. Her first notes of 'Where are now the hopes?' startled the whole audience; and the interchange of glances, succeeded by thunders of applause at the end of the first verse, showed that her success was complete. She was loudly encored, and in response sang the baritone, 'When stars are in the quiet sky,' which took down the whole house.
"We have neither time nor space to follow her through her different pieces. Suffice it to say, that there never was a concert given in this town which appeared to give more general satisfaction; and every person we met on leaving the hall expressed their entire approbation of her performance. No higher compliment could be paid to the 'Swan' than the enthusiastic applause which successfully greeted her appearance, and the encore which followed her several pieces.
"There was a very general expression among the audience that the sable vocalist should give another concert; and, at the earnest solicitation of several of our citizens, Col. Wood, her gentlemanly manager, has consented to give another entertainment to-morrow evening, when the 'Black Swan' will give a new programme, consisting of some of Jenny Lind's most popular songs.
"The concert on Thursday evening was what in other cases would have been called a triumph. The house was full, the audience a fashionable one, the applause decided, and the impression made by the singer highly favorable.
"We can safely say that Miss Greenfield possesses a voice of remarkable qualities; singular for its power, softness, and depth. She has applied herself with praiseworthy perseverance and assiduity to the cultivation of her extraordinary powers, and has attained great proficiency in the art which is evidently the bent of her genius. By her own energy, and unassisted, she has made herself mistress of the harp, guitar, and piano. We are informed that the proceeds of the entertainment this evening are to be wholly appropriated to the completion of her musical education in Paris under the world-famed Garcia. We predict for Miss Greenfield a successful and brilliant future."
"The Rochester American" says,—
"Corinthian Hall contained a large and fashionable audience on the occasion of the concert by this new candidate for popular favor on Thursday evening. We have never seen an audience more curiously expectant than this was for the début of this new vocalist. Hardly had her first note fallen upon their ears, however, before their wonder and astonishment were manifest in an interchange of glances and words of approval; and the hearty applause that responded to the first verse she sang was good evidence of the satisfaction she afforded. The aria, 'O native scenes!' was loudly encored; and in response she gave the pretty ballad, 'When stars are in the quiet sky.'"
The Buffalo "Commercial Advertiser" says,—
"Miss Greenfield is about twenty-five years of age, and has received what musical education she has in the city of Philadelphia: she is, however, eminently self-taught, possessing fine taste and a nice appreciation, with a voice of wonderful compass, clearness, and flexibility. She renders the compositions of some of the best masters in a style which would be perfectly satisfactory to the authors themselves. Her low, or properly bass notes, are wonderful, especially for a female voice; and in these she far excels any singing we have ever heard.
"We learn that this singer (soon to become celebrated, we opine) will give a concert in this city on Thursday next. There is no doubt that the novelty of hearing a colored woman perform the most difficult music with extraordinary ability will give éclat to the concert. All representations unite in ascribing to Miss Greenfield the most extraordinary talents, and a power and sweetness of vocalization that are really unsurpassed."
"The Daily State Register," Albany, Jan. 19, 1852, said,—
"The 'Black Swan's' Concert.—Miss Greenfield made her début in this city on Saturday evening, before a large and brilliant audience, in the lecture-room of the Young Men's Association. The concert was a complete triumph for her; won, too, from a discriminating auditory not likely to be caught with chaff, and none too willing to suffer admiration to get the better of prejudice. Her singing more than met the expectations of her hearers, and elicited the heartiest applause and frequent encores. She possesses a truly wonderful voice; and, considering the poverty of her advantages, she uses it with surprising taste and effect. In sweetness, power, compass, and flexibility, it nearly equals any of the foreign vocalists who have visited our country; and it needs only the training and education theirs have received to outstrip them all.
"The compass of her marvellous voice embraces twenty-seven notes, reaching from the sonorous bass of a baritone to a few notes above even Jenny Lind's highest. The defects which the critic cannot fail to detect in her singing are not from want of voice, or power of lung, but want of training alone. If her present tour proves successful, as it now bids fair to, she will put herself under the charge of the best masters of singing in Europe; and with her enthusiasm and perseverance, which belong to genius, she cannot fail to ultimately triumph over all obstacles, and even conquer the prejudice of color,—perhaps the most formidable one in her path.
"She plays with ability upon the piano, harp, and guitar. In her deportment she bears herself well, and, we are told, converses with much intelligence. We noticed among the audience Gov. Hunt and his family, both Houses of the Legislature, State officers, and a large number of our leading citizens. All came away astonished and delighted."
A New-York paper says,—
"Miss Greenfield's Singing.—We yesterday had the pleasure of hearing the singer who is advertised in our columns as the 'Black Swan.' She is a person of ladylike manners, elegant form, and not unpleasing, though decidedly African features. Of her marvellous powers, she owes none to any tincture of European blood. Her voice is truly wonderful, both in its compass and truth. A more correct intonation, so far as our ear can decide, there could not be. She strikes every note on the exact centre, with unhesitating decision.... She is a nondescript, an original. We cannot think any common destiny awaits her."
"The Evening Transcript," Boston, Feb. 4, 1852, said,—
"Miss Greenfield, the 'Black Swan,' made her début before a Boston audience last evening at the Melodeon. In consequence of the price of the tickets being put at a dollar, the house was not over two-thirds full. She was well received, and most vociferously applauded and encored in every piece. She sings with great ease, and apparently without any effort. Her pronunciation is very correct, and her intonation excellent. Her voice has a wonderful compass, and in many notes is remarkably sweet in tone."
From "The Daily Capital City Fact," Columbus, O., March 3, 1852:—
"Last evening proved that the 'Black Swan' was all that the journals say of her; and Miss Greenfield stands confessedly before the Columbus world a swan of excellence. She is indeed a remarkable swan. Although colored as dark as Ethiopia, she utters notes as pure as if uttered in the words of the Adriatic."
From "The Milwaukee Sentinel," April, 1852:—
"What shall we say? That we were delighted and surprised? All who were present know that, from their own feelings. We can only say, that we have never heard a voice like hers,—one that with such ease, and with such absence of all effort, could range from the highest to the lowest notes."
Said a Rochester (N.Y.) paper of May 6, 1852,—
... "The magnificent quality of her voice, its great power, flexibility, and compass, her self-taught genius, energy, and perseverance, combine to render Miss Greenfield an object of uncommon interest to musicians.
"We have been spell-bound by the ravishing tones of Patti, Sontag, Malibran, and Grisi; we have heard the wondrous warblings of 'the Nightingale;' and we have listened with delight to the sweet melodies of the fair daughter of Erin: but we hesitate not to assert, that, with one year's tuition from the world-famed Emanuel Garcia, Miss Greenfield would not only compare favorably with any of the distinguished artists above named, but incomparably excel them all."
"The Globe," Toronto, May 12-15, 1852, said,—
"Any one who went to the concert of Miss Greenfield on Thursday last, expecting to find that he had been deceived by the puffs of the American newspapers, must have found himself most agreeably disappointed....
"After he [the pianist] had retired, there was a general hush of expectation to see the entrance of the vocalist of the evening; and presently there appeared a lady of a decidedly dark color, rather inclined to an embonpoint, and with African formation of face. She advanced calmly to the front of the platform, and courtesied very gracefully to the audience. There was a moment of pause, and the assembly anxiously listened for the first notes. They were quite sufficient. The amazing power of the voice, the flexibility, and the ease of execution, took the hearers by surprise; and the singer was hardly allowed to finish the verse, ere she was greeted with the most enthusiastic plaudits, which continued for some time. The higher passages of the air were given with clearness and fulness, indicating a soprano voice of great power. The song was encored; and Miss Greenfield came back, took her seat at the piano, and began, to the astonishment of the audience, a different air in a deep and very clear bass or baritone voice, which she maintained throughout, without any very great appearance of effort, or without any breaking. She can, in fact, go as low as Lablache, and as high as Jenny Lind,—a power of voice perfectly astonishing. It is said she can strike thirty-one full, clear notes; and we could readily believe it."
From a Brattleborough (Vt.) paper, June 23, 1852:—
"The 'Black Swan,' or Miss Elizabeth Greenfield, sang in Mr. Fisk's beautiful new hall on Wednesday evening last to a large and intelligent audience.
"We had seen frequent notices in our exchanges, and were already prepossessed in favor of the abilities and life purposes of our sable sister; but, after all, we must say that our expectations of her success are greater than before we had heard her sing, and conversed with her in her own private room. She is not pretty, but plain: ... still she is gifted with a beauty of soul which makes her countenance agreeable in conversation; and in singing, especially when her social nature is called into activity, there is a grace and beauty in her manner which soon make those unaccustomed to her race forget all but the melody....
"Nature has done more for Miss Greenfield than any musical prodigy we have met, and art has marred her execution less."
But the limits of this book are such as to preclude my giving all or even a hundredth part of the testimonials and criticisms touching the singing of this remarkable performer, that filled the public journals during her career in the United States. I believe, however, that I have given quite enough to show that her noble gifts of voice, and beauty of execution, were of the rarest excellence, while in some notable respects they had never been equalled. Let it suffice to say also, in regard to the excerpts given, that they are but fair samples and reflections of the opinions entertained and expressed by the press, and by music-loving, cultured people, everywhere Miss Greenfield appeared.
After singing in nearly all the free States, she resolved to carry out her long-entertained purpose of visiting Europe, in order to perfect herself in the technique of her art. Learning of her intentions, the citizens of Buffalo, N.Y., united in tendering her a grand testimonial and benefit concert. The invitation was couched in terms most flattering, and signed by many of the most distinguished residents.
The concert took place on March 7, 1853, and was in all respects a grand success.
Leaving Buffalo, she went to New York, where, after singing before an audience of four thousand persons, she received the following complimentary note:—
New York, April 2, 1853.
Miss Elizabeth T. Greenfield.
Madam,—By the suggestion of many enthusiastic admirers of your talents, I have been induced to address you on the subject of another and second concert, prior to your departure for Europe.
Your advent musical in "Gotham" has not been idly heralded among the true lovers of song, and admirers of exalted genius, of which your unprecedented success on Wednesday evening must have sufficiently convinced you; while all are eloquent in the commendation of your superior powers and engaging method.
Confiding, madam, in your reported magnanimity and generosity to oblige, I will divest myself of tedious circumlocution, and fervently exhort you to make a second exhibition of your skill; which, there can be no doubt, will be highly successful to you, and as interesting to your admirers.
The Public.
"Miss Greenfield embarked from New York in a British steamer for England, April 6, 1853; and arrived in Liverpool the 16th of April, 1853; rested over the sabbath, and proceeded Monday morning to London, in which metropolis she became safely domiciled on the evening of the same day.
"But painful trials awaited her from a quarter the most unexpected. The individual with whom she had drawn up the contract for this musical tour was unfaithful to his promises; and she found herself abandoned, without money and without friends, in a strange country.
"She had been told Lord Shaftesbury was one of the great good men of England; and she resolved to call upon him in person, and entreat an interview. His lordship immediately granted her request, listened patiently to her history, and directly gave her a letter of introduction to his lawyer.
"It may perhaps be considered a providential concurrence that Mrs. Harriet Beecher Stowe was in London this same time with Miss Greenfield. We notice in her 'Sunny Memories,' under the date of May 6, the following remarks: 'A good many calls this morning. Among others came Miss Greenfield, the (so-called) "Black Swan." She appears to be a gentle, amiable, and interesting young person. She has a most astonishing voice. C. sat down to the piano, and played while she sang. Her voice runs through a compass of three octaves and a fourth. This is four notes more than Malibran's. She sings a most magnificent tenor, with such a breadth and volume of sound, that, with your back turned, you could not imagine it to be a woman. While she was there, Mrs. S.C. Hall, of the "Irish Sketches," was announced. I told her of Miss Greenfield; and she took great interest in her, and requested her to sing something for her. C. played the accompaniment, and she sang "Old Folks at Home," first in a soprano voice, and then in a tenor, or baritone. Mrs. Hall was amazed and delighted, and entered at once into her cause. She said she would call with me, and present her to Sir George Smart, who is at the head of the Queen's musical establishment, and, of course, the acknowledged leader of London musical judgment.
"'In the course of the day I had a note from Mrs. Hall, saying, that, as Sir George Smart was about leaving town, she had not waited for me, but had taken Miss Greenfield to him herself. She writes that he was really astonished and charmed at the wonderful weight, compass, and power of her voice. He was also as well pleased with the mind in her singing, and her quickness in doing and catching all that he told her. Should she have a public opportunity to perform, he offered to hear her rehearse beforehand. Mrs. Hall says, "This is a great deal for him, whose hours are all marked with gold."'
"Again Mrs. Stowe says, 'To-day the Duchess of Sutherland called with the Duchess of Argyle. Miss Greenfield happened to be present; and I begged leave to present her, giving a slight sketch of her history. I was pleased with the kind and easy affability with which the Duchess of Sutherland conversed with her, betraying by no inflection of voice, and nothing in her air or manner, the great lady talking with the poor girl. She asked all her questions with as much delicacy, and made her request to hear her sing with as much consideration and politeness, as if she had been addressing any one in her own circle. She seemed much pleased with her singing, and remarked that she should be happy to give her an opportunity of performing in Stafford House, as soon as she should be a little relieved of a heavy cold which seemed to oppress her at present. This, of course, will be decisive of her favor in London. The duchess is to let us know when the arrangement is completed.
"'I never so fully realized,' continues Mrs. Stowe, 'that there really is no natural prejudice against color in the human mind. Miss Greenfield is a dark mulattress, of a pleasing and gentle face, though by no means handsome. She is short and thick-set, with a chest of great amplitude, as one would think on hearing her tenor. I have never seen, in any of the persons to whom I have presented her, the least indications of suppressed surprise or disgust, any more than we should exhibit on the reception of a dark-complexioned Spaniard or Portuguese.
"'Miss Greenfield bears her success with much quietness and good sense.'
"Her Grace the Duchess of Sutherland afterward became her ever-unfailing supporter and adviser.
"The piano-forte which previously had been furnished Miss Greenfield to practise upon was taken from her. The Duchess of Sutherland, upon learning the fact, immediately directed her to select one from Broadwood's.
"We cannot refrain from quoting Mrs. Stowe's description of the concert after dinner at the Stafford House:—
"'The concert-room was the brilliant and picturesque hall I have before described to you. It looked more picture-like and dreamy than ever. The piano was on the flat stairway just below the broad central landing. It was a grand piano, standing end outward, and perfectly banked up among hot-house flowers, so that only its gilded top was visible. Sir George Smart presided. The choicest of the élite were there,—ladies in demi-toilet and bonneted. Miss Greenfield stood among the singers on the staircase, and excited a pathetic murmur among the audience. She is not handsome, but looked very well. She has a pleasing dark face, wore a black velvet head-dress and white carnelian ear-rings, a black moire-antique silk made high in the neck, with white lace falling sleeves and white gloves. A certain gentleness of manner and self-possession, the result of the universal kindness shown her, sat well upon her. Chevalier Bunsen, the Prussian ambassador, sat by me. He looked at her with much interest. "Are the race often as good-looking?" he said. I said, "She is not handsome compared with many, though I confess she looks uncommonly well to-day." The singing was beautiful. Six of the most cultivated glee-singers of London sang, among other things, "Spring's Delights are now returning," and "Where the Bee sucks, there lurk I." The duchess said, "These glees are peculiarly English." Miss Greenfield's turn for singing now came, and there was profound attention. Her voice, with its keen, searching fire, its penetrating vibrant quality, its timbre as the French have it, cut its way like a Damascus blade to the heart. She sang the ballad, "Old Folks at Home," giving one verse in the soprano, and another in the tenor voice. As she stood partially concealed by the piano, Chevalier Bunsen thought that the tenor part was performed by one of the gentlemen. He was perfectly astonished when he discovered that it was by her. This was rapturously encored. Between the parts, Sir George took her to the piano, and tried her voice by skips, striking notes here and there at random, without connection, from D in alto to A first space in bass clef. She followed with unerring precision, striking the sound nearly at the same instant his finger touched the key. This brought out a burst of applause.
"'Lord Shaftesbury was there. He came and spoke to us after the concert. Speaking of Miss Greenfield, he said, "I consider the use of these halls for the encouragement of an outcast race a consecration. This is the true use of wealth and splendor, when they are employed to raise up and encourage the despised and forgotten."'
"Tuesday, May 31, 1853.
"Miss Greenfield's first public morning concert took place at the Queen's Concert Rooms, Hanover Square. She came out under the immediate patronage of her Grace the Duchess of Sutherland, her Grace the Duchess of Norfolk, and the Earl and Countess of Shaftesbury. It commenced at three o'clock, and terminated at five."
"The London Morning Post" says,—
"A large assemblage of fashionable and distinguished personages assembled by invitation at Stafford House to hear and decide upon the merits of a phenomenon in the musical world,—Miss Elizabeth Greenfield, better known in America as the 'Black Swan;' under which sobriquet she is also about to be presented to the British public. This lady is said to possess a voice embracing the extraordinary compass of nearly three octaves; and her performances on this occasion elicited the unmistakable evidence of gratification."
"The London Times" said,—
"Miss Greenfield sings 'I know that my Redeemer liveth' with as much pathos, power, and effect as does the 'Swedish Nightingale,' Jenny Lind."
Again: "The London Observer" remarks,—
"Her voice was at once declared to be one of extraordinary compass. Both her high and low notes were heard with wonder by the assembled amateurs, and her ear was pronounced to be excellent."
"The London Advertiser" of June 16 contained the following comments:—
"A concert was given at Exeter Hall last evening by Miss Greenfield, the American vocalist, better known in this country under the sobriquet of the 'Black Swan.' Apart from the natural gifts with which this lady is endowed, the great musical skill which she has acquired, both as a singer and an instrumentalist, is a convincing argument against the assertion so often made, that the negro race is incapable of intellectual culture of a high standard.... Her voice is a contralto, of great clearness and mellow tone in the upper register, and full, resonant, and powerful in the lower, though slightly masculine in its timbre. It is peculiarly effective in ballad-songs of the pathetic cast, several of which Miss Greenfield sang last night in a very expressive manner. She was encored in two,—'The Cradle-Song,' a simple melody by Wallace, and 'Home, Sweet Home,' which she gave in an exceedingly pleasing manner. The programme of the concert was bountifully drawn up; for, in addition to the attractions of the 'Black Swan,' there was a host of first-rate artists. Herr Brandt, a German artist with a remarkably sweet voice, sang Professor Longfellow's 'Slave's Dream,' set to very beautiful music by Hatton, in a way that elicited warm applause. Miss Rosina Bentley played a fantasia by Lutz very brilliantly, and afterward, assisted by Miss Kate Loder (who, however, must now be known as Mrs. Henry Thompson), in a grand duet for two piano-fortes by Osborne. M. Valadares executed a curious Indian air, 'Hilli Milli Puniah,' on the violin; and Mr. Henry Distin a solo on the sax tuba. The band was admirable, and performed a couple of overtures in the best manner. Altogether, the concert, which we understand was made under the distinguished patronage of the Duchess of Sutherland, was highly successful, and went off to the perfect gratification of a numerous and fashionable audience."
"In July she gave two grand concerts in the Town Hall in Brighton, under the patronage of her Grace the Duchess of Sutherland, her Grace the Duchess of Norfolk, her Grace the Duchess of Beaufort, her Grace the Duchess of Argyle, the Most Noble the Marchioness of Ailesbury, the Most Noble the Marchioness of Kildare, the Most Noble the Marquis of Lansdowne, the Earl and Countess of Shaftesbury, the Earl of Carlisle, the Countess of Jersey, the Countess of Granville, the Countess of Wilton, the Viscountess Palmerston, the Lady Constance Grosvenor, and Mrs. Harriet Beecher Stowe.
"Vocalists.—Miss E.T. Greenfield (the 'Black Swan'), Madame Taccani, Countess Tasca, Mr. Emanuel Roberts (Queen's concerts).
"Instrumentalists.—Piano-forte soloist, Miss Rosina Bently (pupil of Miss Kate Loder); violin, M. de Valadares (pupil of the Conservatoire, Paris); accompanist, Mons. Edouard Henri; conductor, Mr. F. Theseus Stevens.
"She gave a series of concerts at the Rotunda in Dublin, Ireland."
"Extract from programme of Miss Greenfield's benefit concert, Aug. 17, 1853:—
"Vocalists.—Miss Louisa Pyne, Miss Pyne, and Mr. W. Harrison; pianist, Miss Rosina Bently; violinist, M. de Valadares from the East Indies; accompanist, Mr. R. Thomas."
"In October, 1853, we find her again at the Beaumont Institution, Beaumont Square, Mile End, London, at Mr. Cotton's concert, supported by Miss Poole, the Misses M'Alpine, Miss Alleyne, Mr. Augustus Braham, Mr. Suchet Champion, Mr. Charles Cotton, the German Glee Union, and the East-Indian violinist M. de Valadares; conductor, Herr Ganz."
"Nov. 3, 1853, at Albion Hall, Hammersmith, she made her appearance under the patronage of her Grace the Duchess of Sutherland, her Grace the Duchess of Norfolk, her Grace the Duchess of Beaufort, her Grace the Duchess of Argyll, the Most Noble the Marchioness of Aylesbury, the Most Noble the Marchioness of Kildare, the Most Noble the Marquis of Lansdowne, Earl and Countess of Shaftesbury, Earl of Carlisle, Countess of Jersey, Countess of Granville, Countess of Wilton, Viscountess Palmerston, the Lady Constance Grosvenor, and Mrs. Harriet Beecher Stowe.
"Artists.—Miss E.T. Greenfield, Miss J. Brougham, Miss E. Brougham, Mr. Charles Cotton, Mr. Augustus Braham the eminent tenor; piano-forte, Miss Eliza Ward."
"At the Theatre Royal, Lincoln, Dec. 23, 1853, under the same distinguished patronage as at Hammersmith.
"Artists.—Mrs. Alexander Newton (of her Majesty's Grand National Concerts), Miss Ward, Miss E.T. Greenfield, Mr. Augustus Braham, Mr. Charles Cotton (from Milan), Mr. Distin."
"Again: to verify the fact of her having received the attention of very distinguished personages, the following certificates are laid before the reader:—
"'Sir George Smart has the pleasure to state that her Majesty Queen Victoria commanded Miss Greenfield to attend at Buckingham Palace on May the 10th, 1854, when she had the honor of singing several songs, which he accompanied on the piano-forte.
"'To Miss Greenfield, from Sir George Smart, Kt.,
"'Organist and Composer to her Majesty's Chapel Royal.
"'June 24, 1854. No. 91, Gr. Portland St., London.'
"'This is to certify that Miss Greenfield had the honor of singing before her Majesty the Queen at Buckingham Palace. By her Majesty's command,
"'C.B. Phipps.
"'Buckingham Palace, July 22, 1854, London.'"
"In May, 1854, she received an invitation through the Rev. Mr. Geary to sing at a concert, but declined, being advised not to sing at public concerts until her return to the United States. She therefore sang only at private parties until July, 1854, when that same noble benefactress, the Duchess of Sutherland, secured for her two places in 'The Indiana' steam-packet for New York.
"With a warm invitation to revisit England at some future period, she embarked at Southampton to return to America."
The trip to London and its attendant circumstances resulted in much benefit to Miss Greenfield in an intrinsic, artistic sense, adding decided éclat to her professional reputation. "The New-York Herald," a journal which in those days was generally quite averse to bestowing even well-merited praise upon persons of her race, was, however, so much moved upon by her exhibition of an increased technical knowledge of the lyric art as to speak of Miss Greenfield as follows: "'The Swan' sings now in true artistic style, and the wonderful powers of her voice have been developed by good training." This was but echoing the general verdict.
During the years that intervened between Miss Greenfield's return from England and her death,—the latter event occurring at Philadelphia in the month of April, 1876,—she was engaged in singing occasionally at concerts, and in giving lessons in vocal music.
Remembering her own hard contests as she ascended the hill of fame, Miss Greenfield ever held out a helping hand to all whom she found struggling to obtain a knowledge of the noble art of music. Possessing, on account of her great vocal abilities, the high esteem of the general public, from a rare amiability of disposition enjoying the warm love of many friends in those private circles where she was always an ornament and a blessing, this wonderfully gifted lady at the age of sixty-eight years died, deeply mourned by all. Of her brilliant career, of her life, which, in many important respects, was so grandly useful, as well as of her peaceful death, nothing more need here be added, further than to place her name in the honorable list of those of whom Milton so eloquently says,—
|
"Nothing is here for tears; nothing to wail, Or knock the breast; no weakness, no contempt, Dispraise, or blame; nothing but well and fair, And what may quiet us in a death so noble." |
VI.
THE “LUCA FAMILY,”
VOCALISTS AND INSTRUMENTALISTS.
|
"God sent his singers upon earth With songs of sadness and of mirth, That they might touch the hearts of men, And bring them back to heaven again.... But the great Master said, 'I see No best in kind, but in degree: I gave a various gift to each,— To charm, to strengthen, and to teach.'" From Longfellow's The Singers. |
WHILE nearly all persons have to a greater or lesser degree musical sympathy and capability, or, to speak generally, capacity for the enjoyment or production, in one way or another, of harmony; and while, too, a goodly number there are who possess what may be called musical aptitude,—it is yet only once in a great while that we find those who are thus endowed in a degree which may be considered extraordinary. For the Muses, however often and earnestly invoked, are never lavish in the bestowment of their favors. This is especially true as applied to the goddess who presides over the art of music. Only here and there is some one selected to whom is given great musical inspiration; into whose keeping is placed the divine harp, which, when swept by his hands, the people shall hear entranced.
1. ALEXANDER C. LUCA, SEN.
2. CLEVELAND O. LUCA.
3. ALEXANDER C. LUCA, JUN.
4. JOHN W. LUCA.
Occasionally we may observe in families one member who appears particularly favored by nature in the possession of rich and varied musical talents, the same being improved by careful cultivation. Such a one readily attracts attention: his native endowments and his extensive acquirements often form the theme of conversation, of warmest praise; while everywhere he is a most welcome guest. But, if in a family a single instance of this kind produces the effects just described, the latter can but be greatly enhanced when is found a family composed of a number of persons in no wise small, each one of which is a highly-talented and finely-educated musician. It is, however,—for the reasons already mentioned,—so rare a thing to see the musical faculty thus possessed, and its advantages thus fully embraced, by an entire household of nearest relatives, as to render the circumstance a cause of much surprise; while a family so greatly skilled in the most beautiful, the most charming, of all arts, easily attains to high distinction, its members becoming objects of such general private and public interest as to render their careers quite worthy of the best efforts of those who would make the same a matter of history.
The foregoing remarks, although made in a somewhat general way, may be particularly applied to that excellent troupe of artists, the "Luca family," a brief account of whose remarkable natural endowments, superior acquirements, and interesting musical life, is here appended.
The family, as at first professionally organized, consisted of six persons,—the father, mother, and four sons. Some changes that occurred afterwards will appear as the narrative progresses.
Alexander C. Luca, the father, whose history shows most pointedly how much may be accomplished by devoted study, deserves especial mention. He was born in Milford, Conn., in the year 1805. He is, in the most proper sense, a "self-made" man. Possessing but few opportunities for acquiring an education, he yet made the most of those he had, and is to-day a man of varied culture, an excellent example of the Christian gentleman. At the age of twenty-one years he apprenticed himself to a shoemaker, having previously spent his life upon a farm; and, while thus engaged, he showed a decided taste for music. In the shop where he worked were several boys who were learning the trade, and who were also members of the village singing-school. Going occasionally into their school, listening eagerly to all they sang and talked about both there and in the shop, he soon learned their songs, and was induced by the surprised teacher to join the school. In a short time, by the aid of a naturally musical ear and a good voice, and by diligent study of the rudiments, he became quite a proficient scholar; surpassing, in fact, most of the other pupils of the school.
After learning his trade he removed to New Haven, Conn., where after a while he was married to a lady of fine musical qualities (she being especially remarked as a singer), and who was also of a musical family. Soon after his arrival at New Haven, Mr. Luca, having acquired by this time quite a fine knowledge of music, and being an excellent vocalist, was chosen chorister of a Congregationalist church. In a short time his choir was considered the equal of any in the city; which was high but well-deserved praise. Some time previously to the formation of what was called professionally the "Luca family," the subject of this sketch organized a quartet consisting of Miss Dianah Lewis,[11] a sister of his wife, his two older sons, and himself, and gave in New Haven and vicinity a number of fine concerts. Mr. Luca trained all his children in music at an early age, and taught them to sing in his choir at the church.
Mrs. Luca heartily sympathized with, and aided her husband in, the musical and general culture of the family. One of the sons thus speaks of her: "Our earlier taste for music was especially encouraged by our mother, who thought that the study of it would claim us from the bad influences which idle hours and mischievous associations engendered."
With such parents it is not strange that the Luca children became so worthy and eminent as exponents of the art of music.
John W. Luca, the oldest son, when quite young, was remarkable, mostly, as a comic singer. He sang frequently at school exhibitions, and often created much sensation in singing a temperance song called "The Old Toper."
Alexander C., jun., who in after-years became so noticeable as a tenor-singer and violinist, was at first the dullest of the boys.
Simeon G. possessed a tenor voice of extraordinary compass, singing high C with the greatest ease. He sang the choicest music from the various operas to astonished and delighted audiences. He was also a solo violinist of rare powers; often thrilling his audiences by the smooth, sweet, and expressive strains evolved from his instrument.
Cleveland O. Luca, the justly celebrated, the wonderful pianist, began to exhibit extraordinary talent at the early age of seven years. It was not, however, the intention of his parents to have him begin to study so early. Indeed, little did they think that the fire of musical genius burned so brightly in the soul of their young boy. But Cleveland, or "Cleve" as he was then called, was not to be restrained. Going often into the room where his aunt was playing on the piano-forte, he listened eagerly and delightedly, his little soul stirred and filled by the sweet sounds of harmony; and, after she had left the instrument, he would go and play the selections even better than his aunt. Of course such striking evidences of genius filled the breasts of his parents with delightful surprise; and it was soon decided to place the gifted boy under the care of a competent instructor. He rapidly developed those remarkable powers for ready reading, facility and brilliancy in execution, that afterwards made him so wonderful and so noted.
When but ten years old, he had become a performer of such excellence as to attract the notice and to receive the unequivocal praise of such good judges as Strakosch, Dodworth, W.V. Wallace, and other noted musicians of New York.
When it was resolved to form as public performers the "Luca family," the decided musical powers possessed by young Cleveland made his services indispensable, and he was of course taken as a member. As the "wonderful boy pianist," he everywhere created quite a furore. The ladies in the audiences were especially delighted with him; and forgetting often, in their enthusiasm, that he was black, it seemed that they would certainly carry him away.
Never satisfied to rest alone upon his fine natural endowments, our young artist pushed his studies, entering the classical, the technical domain of the great master-composers, and playing with easy, graceful, magnetic touch, and delightfully winning expression, any of their works. As a reader at sight of compositions the most difficult, it is doubtful whether he had an equal in this country.
The prejudiced or incredulous, before having observed his rare powers for reading and playing, often as a test, and sometimes with a hope to embarrass him, placed before him some technical and very difficult work. But the readiness with which he played the piece changed one who had come to doubt or to scorn into a silent, deeply surprised, and interested listener; and it was most always the case, too, that such a one, yielding to the exquisite charm of the music, as well as to the gentlemanly, graceful manners of the young virtuoso, became from that time forth his warm admirer and friend.
But this brilliant artist did not confine himself to the interpretation of the more difficult compositions for the piano. At the time of which I am writing,—twenty years ago,—his success as a performer before miscellaneous audiences could not have been so great, had he not possessed, in a most pleasing degree, a versatility of talent. His repertoire was an extensive one, and decidedly "taking" in the varied character of its excellent pieces. Many of the latter were simple, yet always purely musical, and of course highly pleasing.
Before the public, Mr. Luca was, in the best sense, a successful performer; while, in those smaller and finer artistic circles where the more delicate and higher musical forms were appreciated, he delighted and even instructed his listeners, receiving their warmest praise.
True art is ever noble and ennobling: in its domain its devotees are known and valued, not by the color of their faces, but by the depth of artistic love that they feel, and by the measure of success to which they attain. And so the subject of this sketch, although of a complexion quite dark, and often suffering from the coldness, if not the insults, of those afflicted with "color-phobia," was yet ever sought after and cordially received upon terms of equality by all the great musicians wherever he journeyed. Nor did the press of the country, nor people of culture generally, fail to pass upon him the highest encomiums. A few of these are elsewhere given.
Besides his ability as a pianist, Cleveland Luca was also a vocalist of fair powers. No especial pains being taken, however, to develop this faculty, he attracted, as a singer, no great attention.
On the 27th of March, 1872, in far-away Africa, whither he had nobly gone to carry the bright, cheering, and refining light of his musical genius, his frail constitution yielding to a fever, he died at the age of forty-five.
It is hard to over-estimate the great good this remarkable artist accomplished for his much-abused race in dissipating, by his wonderful musical qualities, the unjust and cruel prejudice that so generally prevailed against the former at the beginning of his career; for in him was fully and splendidly illustrated the capacity of the dark-hued race for reaching the highest positions in the walks of the art melodious. The example, moreover, of his intelligent parents, who, when they discovered his talents,—avoiding the mistake often made by some, who, alas! but too frequently rest content merely with observing the signs of genius in their children, allowing the at first bright spark to go untended, to burn "with fitful glare," and to finally become, from this neglect, extinguished,—devoted themselves at once to their fullest and most artistic development,—this example, I say, is one to be highly commended, and ever to be followed.
Having thus described the family individually, I now proceed to speak of their combined efforts. Formed as a vocal quartet, the parts were distributed in this wise: Simeon Luca sang first tenor, Alexander second tenor, Cleveland soprano, and John sang bass (or baritone if desired).
Instrumentally they performed as follows: Simeon on first violin, Alexander second violin, John violoncello (or double bass if required), and Cleveland on the piano-forte. The father fulfilled the duties of musical director and business manager; and occasionally he took part in the performances as a vocalist.
Thus excellently equipped musically, each member of the troupe possessed of general intelligence, and being of genteel appearance, they went forth on their mission of music into fields hitherto untrodden by members of their race; and their fine performances everywhere gave delight, refinement, and a new and high impulse, to the many thousands who heard them.
Their services were at first called into requisition at anniversaries and festivals, and they soon acquired an excellent local reputation. The event that most prominently heralded their names before the public was their first appearance at the May anniversary of the Antislavery Society, held in the old Tabernacle on Broadway, New York, in 1853. Over five thousand persons were present. The sensation produced by the performances of this gifted family on this occasion is said to have been indescribable. The wildest enthusiasm was manifested; and many persons in the audience, overcome by the emotions awakened, shed tears. This is, however, not so strange. Gathered as was this immense concourse of people to advance the cause of human freedom, and entertaining and asserting, as they did, a belief of man's equality, we may well imagine the measure of their delight when in witnessing the display of genius by the wonderful pianist, and listening to the sweet strains of classical harmony formed by the tuneful voices and skilfully-played instruments of this troupe of colored artists, they found their claims for the race so fully sustained.
After the performances just mentioned, letters full of praise and congratulation from many sources poured in upon the "Lucas," as they were familiarly called; and Professor Allen, then editing a paper at Troy, N.Y., induced the parents to intrust the children, now so rapidly acquiring fame, to his charge, to make a musical trip through the New-England States in the interest of his paper. This tour resulted in adding to their fame, and confirming them in a belief of their ultimate general success; but, owing to poor management on the part of their business agent, the trip was not a financial success.
I should have mentioned ere this that John and Alexander Luca had been taught by their father the shoemaking trade, and that for some time they applied themselves to this kind of work; using their leisure time, nevertheless, in pushing their musical studies. Occasionally they would drop the awl and hammer, and make excursions into the country towns of Connecticut; sometimes returning with a full exchequer, and sometimes in debt even, but never without having added to their reputations as musicians.
During these times, the family received many valuable testimonials touching their musical abilities; but to none of these do they owe so much as to a highly commendatory letter from the late Rev. Horace Bushnell of Hartford, Conn. Such testimony from one so eminent, and of critical abilities so great, could not fail to arrest public attention in their behalf.
While travelling, the Luca family suffered greatly from the effects of a cruel caste spirit then so much prevailing,—being often debarred from hotels, and often denied decent accommodation in public conveyances. But this barbarous treatment of those whose fine musical qualities and genteel appearance and deportment—albeit they were of dark complexions—gave them title to enter the very best places aroused the sympathy and indignation of many persons. And so, amidst all their disadvantages, the success and reputation of our artists steadily increased, and the critics accorded them high rank as musicians; Mason, Gottschalk, and others among the finest pianists of the country, receiving Cleveland Luca, the pianist, as an equal.
In the year 1854 the family experienced a sad shock in the death of Simeon G. Luca.
As before intimated, he was a vocalist and violinist of remarkable powers; and professionally, as well as otherwise, his loss to the troupe was a great one.
The vacancy occasioned by his death was filled by the engagement of Miss Jennie Allen of New York. She proved to be a very valuable acquisition to the troupe; for she possessed a rich contralto voice, sang with excellent method, had a graceful, winning stage appearance, and was well known in New York as a very fine pianist.
The quartet thus arranged then (in 1857) began to travel more extensively, giving performances in the States of New York, Pennsylvania, and Ohio, where their success artistically and financially exceeded any thing before within their experience. Had they so chosen, they might have visited all the free States with assurance of good fortune. Wherever they went, the bitter color-prejudice, the chilling doubtings, or the cold indifference, displayed by those who had not heard these talented musicians, were rapidly dispelled when on the stage they beheld their easy, graceful appearance, and heard the delightful sounds of harmony that proceeded from the voices and instruments of this accomplished quartet. The writer well remembers the emotions of delight and pride that filled his own breast when at this period, in Ohio, he witnessed for the first time their performances. After their first concert, the town became the scene of a most pleasant commotion. No such music had ever before been heard there, and praises of the "Lucas" were on the lips of all. The family were entertained at the residences of the first citizens, who vied with each other in extending to them the most complimentary attentions. In these homes of wealth and culture, where the study and practice of choice music formed a portion of each day's employment, these talented artists, surrounded by a selected company of educated persons, shone even more brightly than when upon the public stage; for here they could confine themselves to a rendition of that higher class of music so suitable to their own tastes and powers, as well as most welcome to their cultivated audience. But what befell the Luca family in this town—the writer has mentioned somewhat particularly this instance, because he happened to be a witness of the same—is but a sample of the treatment they often received in other places while travelling over the country.
As representing the estimate of the musical abilities of the Luca family, held by the general press of the country during their concert tours, and in order that it may be seen that my own praises of the family are none too great, I give the following notice from a fair and disinterested source; viz., "The Niagara Courier" of Lockport, N.Y., of Sept. 2, 1857:—
"THE LUCA FAMILY.
"This company of singers, consisting of four [three] brothers and their mother, gave a concert at Ringueberg Hall last (Monday) evening; and their performance was such as to elicit the enthusiastic approval of all present. Coming among us as strangers, their merits were not generally understood; and we presume that the entire audience were agreeably disappointed in the entertainment presented. We hazard nothing in saying that we have not had in our place for years a concert which combined all the elements that please the musical ear, and satisfy the cultivated taste, as did this. The introductory piece, 'Fantasia,' from Lucia, evinced the highest order of musical culture, the most excellent taste, with that superior power of execution which long practice only gives. The two brothers John and Alexander have superb voices, guided by a correct knowledge of music, and enriched by cultivation. Madame Luca was laboring under indisposition; but she sang well, and gave abundant assurance of superior vocal powers. But the great feature of the entertainment was the performance of C.O. Luca on the piano. With the exception of the celebrated Mason, we have never had his superior as a pianist in Lockport; and even he could not execute the pieces presented with greater effect. There is music in his playing which we seldom hear from the piano. It is not simply the striking of the keys in order, emitting a succession of musical sounds; but it is one continual flow of melody without interruption. From the moment he first strikes the keys, the harmonious melody gushes forth, note melts into note imperceptibly, wave after wave of melody goes forth and mingles into one as do the waves of the sea; and there is no breaking of the majesty of its harmony until the last note is touched.
"The family, as has been before announced, are colored, and consequently labor under some disadvantages; but we predict for them a successful future. Such superior musical powers must win for them a reputation that will bring its recompense. The pieces they sing are selected with good taste, and evince a determination to deserve public favor. And we may here say, that we believe the Luca family, in the quiet and unostentatious display of their musical powers, are doing more to secure position for the colored man than all the theorists and speculators about the right of man have yet accomplished in America. The possession of such talent, and its cultivation, show genius and industry which any man might emulate; and, when the colored men shall be represented in all the arts and sciences by those who are able to occupy front ranks, they will need no moralist to assert their rights: they can then maintain their own position. The human mind is so constituted, that it will always pay homage to genius, let it be exhibited under a white or black surface.
"A large number of the audience joined in a request that the Luca family repeat their concert; and they have consented to do so on Friday evening next, when we hope to see an audience out worthy of their superior merits. In the mean time we commend the Luca family to the press wherever they shall go, as every way worthy of their aid and indorsement."
During their second tour of Ohio, in 1859, the "Lucas" met and joined the famous Hutchinson family, giving many entertainments in conjunction with them. The Hutchinsons thus proved the entire sincerity of their professions that they loved their brother man "for a' that." The press of the country was much excited over this novel union, and the expressions emanating from the former were various. Without, however, minding the pros or cons, these two troupes travelled more than a month together, experiencing a pleasurable and profitable season.
I append below two advertisements of concerts given by these troupes at the time mentioned:—
(I.)
THE HUTCHINSON FAMILY,
ASA B., LIZZIE C., and LITTLE FREDDY;
with the
LUCA BROTHERS,
JOHN and ALEXANDER, and CLEVELAND,
The Wonderful Pianist!
Humor, Sentiment, and Opera!
From the established reputation of both these companies, a rare
treat may be expected.
(II.)
By Special Arrangements,
THE HUTCHINSONS
will be assisted at their
CONCERT
in this place by the
LUCA FAMILY,
with their
Wonderful Pianist!
As a reflection of the terrible, the foul spirit of caste, then so largely prevailing, I regret that it is my duty to append the following elegant (?) extract from a paper published at Fremont, O., Feb. 25, 1859:—
"The Hutchinsons,—Asa B., Lizzie C., and little Freddy,—accompanied by the Luca family, gave a concert at Birchard Hall on last Wednesday evening. The house was not more than a paying one. When we went to the concert, we anticipated a rare treat; but, alas! how wofully were we disappointed!... We have, perhaps, a stronger feeling of prejudice than we should have felt under other circumstances, had their abolition proclivities been less startling; but to see respectable white persons (we presume they are such) travelling hand in hand with a party of negroes, and eating at the same table with them, is rather too strong a pill to be gulped down by a democratic community."
No doubt the writer of the above, if now living, would be ashamed to utter sentiments so uncharitable and so vile.
But as an evidence of honest criticism, and in pleasing contrast with the foregoing, I give the following.
"The Norwalk (O.) Reflector," March 1, 1859, says,—
"The concert given in this place on Saturday night last by the Hutchinsons and Lucas was among the best musical entertainments ever given here. The audience was large, and the artists sang with spirit.
"Where all sang so well, it is difficult to select the best.... The Lucas are charming musicians, both instrumental and vocal; and, when two such companies unite, there will be superior concerts."
A Sandusky (O.) paper, March 1, 1859, says,—
"The Hutchinsons and Lucas sang to quite a full audience at West's Hall last evening. The performance could not, coming from troupes possessing talent varied and of the higher order, be otherwise than good. These bands, when they united, made a palpable hit. Their combined concerts are almost invariably successes."
A Wooster (O.) paper, February, 1859, says,—
"The Hutchinsons and Lucas—these two celebrated troupes—will give together one of their unrivalled entertainments at Arcadame Hall on Saturday evening next. They are spoken of in the highest terms by the press in different directions. Both troupes have been in Wooster before; so that it is unnecessary for us to speak of them favorably. The hall will undoubtedly be filled."
A Cleveland (O.) paper, Feb. 28, 1859, says,—
"The well-known Luca family are now giving concerts in connection with Asa B., Lizzie C., and little Freddy Hutchinson, of the Hutchinson family; and their performances are highly spoken of by Western exchanges. They perform in Elyria on Tuesday evening; and will soon appear in this city, we understand."
Shortly after the return of the Luca family from the tour with the Hutchinsons, Cleveland the pianist, with a noble aim, resolved to go to Africa. This circumstance caused the disbandment of the troupe.
Their father has resided for a long time at Zanesville, O., where, although quite advanced in years, he is still esteemed as a vocalist, singing in a church choir, and where he enjoys the respect of all for his many good qualities of heart and mind.
His two sons, John and Alexander, are now, as ever, devoted to the art of music; the former being a valuable member of the celebrated Hyer sisters concert and dramatic troupe, while the latter is vocal director of another company.
As a fitting close to this sketch, as a corroboration of my own testimony, and as an evidence of the noble qualities possessed by that rare musician and Christian gentleman, Asa B. Hutchinson, I add the following beautiful tribute from his pen:—
Geneva, O., Dec. 15, 1875.
In regard to our dear friends the Lucas, I am glad to state that it was our pleasure to associate with them in public concerts "in the cruel days of the prejudiced past;" and this is our testimony: that, in all our concertizing for thirty-five years, we never formed an alliance with any musical people with whom we fraternized so pleasantly, and loved so well, and who evinced so much real genuine talent in their profession, and such courtesy and Christian culture "in their daily walk and conversation." Our dear lamented Cleveland was a thoroughly educated pianist, and won the enthusiastic admiration of the scientific musicians in every city and town we visited. He executed most rapidly, at sight, any and all of the difficult and new compositions that were presented to him by his friends, to their astonishment and our mutual joy; and when the three brothers, "Alex.," John, and Cleveland, united their respective instruments and voices in one grand choral, the effect was intensely thrilling and electrical. In some of our concerted pieces, where they united with us, we carried our reformatory sentiments and songs to a successful termination; and, notwithstanding the then great and bitter prejudice of our audiences against us all for daring thus publicly to associate together, they cheered our combined efforts with loud applause and frequent encores.
And now that each of our bands are broken by death, still believing that the freed spirits of the departed loved ones are re-united in "singing the songs of the redeemed" in that realm of light, liberty, and love beyond, it is a great satisfaction to me, a poor lingering pilgrim, to revert to one of the sweetest experiences of our entire concert-life,—the acquaintance and fellowship of the Luca family.
Asa B. Hutchinson.
VII.
HENRY F. WILLIAMS,
COMPOSER, BAND-INSTRUCTOR, ETC.
"Thy purpose firm is equal to the deed."
"His lyre well tuned to rapturous sounds."
A WRITER in "The Progressive American" for July 17, 1872, said,—
"Having occasion to visit Boston, I attended one of the unrivalled concerts at the Coliseum, where, to my great astonishment, I saw undoubtedly the greatest assemblage of human beings ever congregated under one roof, and heard a chorus of nearly or quite twenty thousand voices, accompanied by the powerful organ and an orchestra of two thousand musicians. I was highly delighted. But what gave me the most pleasure was to see among some of the most eminent artists of the world two colored artists performing their parts in common with the others; viz., Henry F. Williams and F.E. Lewis. Each of these was competent to play his part, or he could not have occupied a place in the orchestra. I was informed by the superintendent of the orchestra that both these man were subjected to a very rigid examination prior to the commencement of the concerts."
HENRY F. WILLIAMS.
The pleasure afforded this writer, by witnessing our subject's appearance on the memorable occasion referred to, was shared by many other persons who were able to distinguish him in that vast concourse of fine musicians. It was not so easy to distinguish him from the others by his complexion as it was by his dignified, graceful appearance. Of this, as well as of Mr. Williams's musical skill, the organizer of the great orchestra, Mr. Baldwin, has, since the event, spoken to me in terms the most complimentary. He said it was not more Mr. Williams's good playing, than his handsome, manly appearance in the orchestra, that afforded him pleasure; and that in both of these particulars Mr. Williams stood in favorable contrast with many other members of the orchestra. This was high praise indeed, but no higher than its recipient deserved, as all will testify who know him.
As stated in the extract just quoted, Mr. Williams, before being accepted as a member of the Jubilee orchestra, was subjected to a severe test; being required to execute on the double-bass the parts written for that instrument in the celebrated overture from "William Tell," and also in Wagner's difficult "Tannhäuser." In regard to this test Mr. Baldwin has since said to the writer, "I myself had no doubts as to Mr. Williams's ability as a musician. My object in arranging the test performance was, that I might afterwards point to its successful result, and thus silence many of the instrumentalists that came from other parts of the country, in case they should object (I knew that many of them would do so), on the weak ground of color, to playing with Mr. Williams. Neither Mr. Gilmore nor myself knew any man by the color of his face. What we wanted for the grand orchestra was good musicians, and, when any one objected to our two colored performers, we triumphantly referred to the exacting and satisfactory test they had undergone as sufficient answer to the foolish clamors of all those afflicted with 'color-phobia.' Seeing the managers of the Jubilee thus resolved, and convinced that the two colored men were artistic performers,—superior in ability to many with whom they were to be associated,—no one declined to play; and all was harmony thereafter."
And here I may be permitted to record the thanks of all well-meaning people for the noble action of Messrs. Gilmore and Baldwin. The two artists mentioned were not the only members of their race who took a part in the memorable Jubilee concerts. Several others in a vocal way occupied even prominent positions at these concerts. Some sang as artists on the stage, and several were members of that great chorus of nearly twenty thousand voices. In all these places they did their share in making the occasion a grand success, while they justified fully the wisdom of those by whom they were invited to participate. The action of the latter was no more than what was due and right, it is true; but it is well to remember (for we must take things as we find them) that Messrs. Gilmore and Baldwin were not obliged to engage these persons. Had the former not been men of pure principles and firmness, they might have yielded to the mean and by far too popular prejudice entertained against colored people, and have refused to allow them to take part in the performances. That they did not thus yield is much to their credit as musicians and gentlemen; and they are to be thanked, I say, for their manly action.
The little ripple of excitement caused by Mr. Williams's appearance among the musicians of the Jubilee might well have provoked from that gentleman a smile of contempt; for he was a far older and much more skilful performer than many who at first objected to playing with him. He had, indeed, more than thirty years of musical experience behind him,—years which were full of manly, persevering struggle against great odds, and years during which he had many times triumphed over opposition far greater than that met by him at the Coliseum. Born in Boston Aug. 13, 1813, beginning his studies when but seven years of age, he had, mainly by his own efforts (he is in the truest sense a "self-made man"), become a thorough musician; was a superior performer on the violin, double-bass, and the cornet; a fair performer on the viola, violoncello, baritone, trombone, tuba, and piano-forte; having been besides for years an esteemed teacher of most of these instruments. Nor did his musical powers stop here; for in addition to being a skilful arranger of music for the instruments just mentioned, and others, he was a composer, many of whose works bore the imprint of several of the most eminent music publishers of the day. Learning these facts, no wonder that those who at first opposed Mr. Williams's entrance into the grand orchestra (these persons, by the way, were not residents of Boston, but came from the West and South) afterwards were ashamed of their foolish prejudices, and became his warm admirers.
Mr. Williams, as an instrumentalist, devotes himself especially to the violin and the cornet. Upon these he executes in a superior manner the finest music of the day. Possessing fine natural talents, of great versatility, and of long study and experience, he is enabled to play any kind of music; passing with the utmost ease from the "light fantastic" of the dance to the grave and profound of the old masters: in either kind he is always noticeable for the finish and tastefulness of his performance. He has given much of his time to the formation and instruction of military bands, frequently arranging and composing music for them. In the former capacity—that of arranging music—he has often been employed by P.S. Gilmore, director of the celebrated Gilmore's Band, and projector of the two great Peace Jubilees. He was at one time connected with the famous "Frank Johnson's band" of Philadelphia, and of several others in the West, travelling extensively, and giving instruction in music. A short while ago, the manager of the Boston Cadet Band—successors of Gilmore's—showed me a quickstep in manuscript, of the merits of which he spoke very highly, composed by Mr. Williams for the first-mentioned band.
The following is only a partial list of the many songs (words as well as the music his own) of which our subject is the author:—
"[Lauriette]," published by Firth & Pond, New York, 1840; "Come, Love, and list awhile," published by Pond & Hall, New York, 1842; "It was by Chance we met," published by O. Ditson & Co., Boston, 1866; "I would I'd never met Thee," published by O. Ditson & Co., Boston, 1876.
Of the above, "[Lauriette]" had a large sale, the publishers realizing a considerable profit from the same. In 1854 O. Ditson & Co. published his "[Parisien Waltzes]." These are a set in five numbers, with a fine introduction, and containing some very bright and sweetly-flowing melodies. These waltzes had a good sale, and added much to the composer's reputation. Besides the above, Mr. Williams has composed eight or ten polka-redowas, and several mazurkas and quadrilles (some of these have been published); and he is the author of several overtures.
Early in his career he composed an anthem which was much praised by persons of musical judgment. At that time so greatly was the judgment of people affected by color-prejudice, that many persons doubted the ability of one of his race to create a work so meritorious as the one just mentioned. They were, however, soon compelled to admit that Mr. Williams was the talented author of it.
Lowell Mason, the eminent composer of sacred music, was one of those who at first entertained doubts as to the authorship of the anthem; and he, like the others, finally yielded to stubborn facts. Moreover, becoming acquainted with our subject, and learning more of his fine abilities as a musician, Mr. Mason remarked that it was a pity one so talented should be kept down merely on account of the color of his face. I am sorry to say, nevertheless, that this gentleman could rise no higher above the common level of that day than to advise Mr. Williams to go to Liberia. Had Mr. Mason, who was so original and bold in music, been only half as bold in creating a sensible, a humane public sentiment; had he, as he looked with pity upon this gifted and devoted young musician struggling against the ignoble spirit of caste to gain a place in art, thrown his great influence on the side of what he confessed was right; and had he, instead of advising Mr. Williams to bury himself in Africa, declared that the latter should have an equal chance with others in this country in developing his musical powers,—had Mr. Mason done this, I say, I feel sure that such encouragement, coming in the very "nick of time," would have resulted in placing the subject of this sketch far above even his present excellent position as a musician, while such noble action on the part of Mr. Mason might to-day be considered as an additional gem in the latter's confessedly bright crown. I hope I do not seem too harsh. I love music and those who create it, and I greatly dislike to speak aught that is ill of such persons. And yet I love too, even more ardently, reform and its promoters; and therefore cannot regard with complacency the acts of those, who, possessing great talents and influence, yet fail to use them in furthering the cause of right. I have said that Mr. Williams has written several overtures: one of these was for the orchestra of the famous Park Theatre. At present he is constantly engaged in arranging and composing music.
In concluding this brief sketch, which I fear falls short of doing its subject justice, I will only add, that in the remarkably fine achievements he has made under circumstances and against difficulties that would have caused many to falter, indeed, to yield in despair,—chief among these difficulties being the hateful, terrible spirit of color-prejudice, that foul spirit, the full measure of whose influence in crushing out the genius often born in children of his race it is difficult to estimate,—in Mr. Williams's triumphs in a great degree against all these, I say, is presented an instance of art-love, and of manly, persevering devotion, that is truly heroic. Falling short, as he does, of an eminence, that, had he been born with a fairer complexion, would ere this have been his, his life is yet a grand example to those younger members of his race who are beginning their careers in the world of music when fairer skies light their pathway; when the American people, regretting the depressing, blighting cruelties of the dark past, now seek to atone for the same by offering encouragement to all who exhibit musical talents, and evince a conscientious desire to improve the same. Mr. Williams may remember with pride that to this gratifying result he has in a very marked degree contributed; and that therefore, in spite of some disappointments, his musical life has really been a noble success.
VIII.
JUSTIN HOLLAND,
THE EMINENT AUTHOR AND ARRANGER,
AND PERFORMER ON THE GUITAR, FLUTE, AND PIANO-FORTE.
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"Gayly the troubadour Touched his guitar." Old Song. |
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"Untwisting all the chains that tie The hidden soul of harmony." Milton. |
No life can be called a truly great one that has not been a truly good one: a very simple saying, and one which, however trite, yet requires frequent repeating, since its importance is but too seldom considered. And the noble fame that sooner or later surely attaches to the author of such a life belongs chiefly, but not entirely, to him; it being in part, in a certain sense, the property of all who would follow in his footsteps, becoming for them an inspiring example; its history, with all its experiences of hope and fear, its occasional failures but frequent successes, its struggles when environed by poverty or other untoward circumstances, and its final triumph over all obstacles, serving as a guide, a beacon indeed, to illumine their pathway as they climb the same difficult but glorious hills of honor.
JUSTIN HOLLAND.
But such renown comes oftenest to those who seek it not,—to those who perform the right for the sake of right. These are they who
"Do good by stealth, and blush to find it fame."
Thoughts very similar to those just expressed are such as will naturally enter the minds of all who contemplate the history of Justin Holland, the distinguished musician. A mere outline of that interesting history is all that can here be given.
But first let me say, that if a little while ago, when arranging the title for this sketch, the writer had been quite sure that in placing after the name of the person to be treated a certain single word,—which really is one of very extensive meaning, although not always so used or understood,—had he been sure that from that word the general reader would have formed a complete idea of this artist's very varied accomplishments, then the heading would have been simply, "Justin Holland, musician." But judging that such brevity, however desirable in some respects, might yet fail in doing justice to one whose great native talents, joined to remarkable attainments made during a life of most industrious endeavor, entitle him to very particular mention from first to last, I have thought it best to state in detail the several departments of the musical art in which he has won the rarest of laurels.
I am not quite certain, though, that such minute mention will be pleasant to Mr. Holland; for I learn that he is as modest as he is learned, and that he has always had a sort of aversion to having his name appear in print at all, albeit during his long career in music it has thus appeared many times, in spite of said aversion, and always most honorably. But when he shall read these pages, on which nought shall be set down save with a regard for truth, and shall perceive by them, that while he steadily, quietly, and effectively worked for many years, with no attempts at ostentatious display, scarcely looking up the while to observe the outer results of his work, and to catch for inspiration the praises of men; when he shall see in his now mature years that all he so noiselessly invented, and fashioned into practical, useful form, is regarded by a well-meaning chronicler as of vast importance in serving as a noble example for the study and imitation of the youth of the land, and therefore to be faithfully recorded,—then it is hoped he will pardon the somewhat free but well-intentioned use that is here made of his name and deeds.
Mr. Holland was born in 1819 amidst the then "solitudes" of Norfolk County, Va. His father, Exum Holland, was a farmer. When quite a young child, Justin evinced a very decided fondness for music. But, nearly sixty years ago, a farm-life in Virginia, ten miles from any town, as may be imagined, afforded but poor opportunities for either hearing or learning music. Such opportunities, however, as were within reach, our subject very eagerly embraced. It is related of him, that, when less than fourteen years of age, he was in the habit of walking on Sundays to a log meeting-house five miles away, and there listening to and joining in such music (?) as was at that time discoursed in such places. But previously to this, when only a boy of eight years, he accidentally came into possession of an old song-book with words only. Being much delighted with this, he often perched himself upon a rail-fence, quite removed from the farm-house and all chance of interruption, where he sang and heartily enjoyed the songs, the music for which this would-be musician extemporized. Years afterward it was found that some of the tunes he thus early invented, and which he retained in his memory, were equal if not superior in merit to those that really belonged to the songs in the book mentioned. Thus was Holland almost born with the composer's art.
When about fourteen years old, Justin left Virginia, and went to Boston; from whence he shortly afterwards removed, going to Chelsea, Mass. Here he spent his youth and several years of his manhood. A short while after becoming a resident of Chelsea, he determined to study in earnest the science of music. At this time he happened to become acquainted with Señor Mariano Perez, a Spanish musician, and one of a troupe that was performing at the old Lion Theatre on Washington Street in Boston. He had many opportunities for hearing Perez play upon the guitar. The richness and beauty of melody and harmony, and the unsurpassed variety and fineness of expression, that were evolved from this beautiful instrument by this master-performer, so charmed Holland, that he decided to give his chief attention to the study of the guitar. Not that he then dreamed of ever becoming a teacher or professor of the instrument: he wished to learn music simply for his own amusement. His first music-teacher was Mr. Simon Knaebel, who was a member of "Ned" Kendall's famous brass band, and who enjoyed a high reputation as an arranger of music. After a while he began lessons with Mr. William Schubert, also a member of Kendall's band, and a correct and brilliant performer on the guitar. Under this teacher our subject soon made rapid progress, becoming a favorite pupil from his ability to play duets with his instructor; the latter being very fond of that kind of music. He afterwards made fine progress with the eight-keyed flute, taking lessons on this instrument from a Scotch gentleman by the name of Pollock. During all this time, it must be borne in mind that our zealous young student was unaided by any one in defraying the great expense incurred in pursuing his studies. He had to depend upon his own hard earnings. Besides, he had no time for practice save that taken from the hours usually devoted to sleep.
In 1841 (his age was then twenty-two years), desiring more education than his hitherto limited opportunities had allowed him to obtain, he went to that noble institution, Oberlin College, where, feeling anxious to make up for all time lost, he diligently pursued his studies, and made rapid advancement. In 1844 his progress had been so good, that we find him one of the authors of a book of three hundred and twenty-four pages on certain subjects of moral reform. In 1845 Mr. Holland went to Cleveland, O., then only a small city of less than nine thousand inhabitants. While prospecting in Cleveland for something to do, it was found that he was an amateur performer on the guitar, playing the best music with a fine degree of proficiency. This brought him applications to give lessons to members of some of the first families in the city, and caused him to make Cleveland his permanent home. His character had now become finely formed, he being quite noticeable for his gentlemanly, scholarly qualities, and for the close attention he gave to the subject of music and to all that concerned true advancement in the profession in which he had now resolved to remain for life. As illustrating the principles by which he was guided, I give the following extract from a letter of his to a friend, describing his life at the time just mentioned. He says,—
"I adopted as a rule of guidance for myself, that I would do full justice to the learner in my efforts to impart to him a good knowledge of the elementary principles of music, and a correct system of fingering [on the guitar], as practised by, and taught in the works of, the best masters in Europe. I also decided that in my intercourse as teacher I would preserve the most cautious and circumspect demeanor, considering the relation a mere business one that gave me no claims upon my pupils' attention or hospitality beyond what any ordinary business matter would give. I am not aware, therefore, that any one has ever had cause to complain of my demeanor, or that I have been in any case presumptive."
He had now become firmly established as a teacher, and was soon at the head of the profession in Cleveland as a guitar-instructor. This, however, did not satisfy him; and he determined to attain to still greater proficiency. Finding that the best systems for guitar-playing were such as were taught in the works (foreign) of Sor, Carulli, D'Aguado, Giuliani, Ferranti, and Mertz, Mr. Holland entered upon a course of study of the French, Italian, and Spanish languages, in order that he might read in the original the systems of those great masters, and thus be the better able to understand and apply the same. He soon by diligent study acquired a knowledge of the languages mentioned; and, as will hereafter appear, this knowledge became of great use to him.
The secret of our subject's great success as a guitar-virtuoso may be readily gathered from the statement I have just made about the foreign languages. He was always thorough, enterprising, singularly industrious. Loving deeply his chosen profession and instrument, he could never be satisfied with a position of mere mediocrity, either as a performer or teacher; but with most studious care he sought both near and far all sources of theoretical information, in order that he might thus secure skill in elucidation; while as a performer he reached to the innermost depths, so to say, of all forms of great musical expression, that he might bring from thence such sweets of melody and harmony as would charm his pupils, and rivet their attention on that beautiful instrument, the guitar. He ever aimed, in fine, to carry guitar-playing in this country to a state that comported with the highest laws of science,—to elevate it to the high level whence it had been taken by the great masters of Europe. His success in these aims will be more fully seen as this account progresses.
Mr. Holland, it seems, has not aspired to distinction as an original composer of music, although he has done something in that line. Of modest pretensions, and rather practical character, he has considered that he could do more for music and the guitar in seeking to make the meritorious compositions of others for other instruments available for guitar practice by skilful arrangements; and in this, his special field of musical labor,—speaking with respect either to the quantity or quality of his works,—he is without an equal in this country: indeed, in certain particulars which will be mentioned hereafter, it will be seen that he has surpassed even the guitar-virtuosos of Europe. His published arrangements for the guitar of the best music composed number more than three hundred pieces, all of them ranking as standard; while with guitar-students, and the principal music-publishers of the day, the name of Holland has been since 1848 as familiar as a household word. It is remarkable, too, that nearly all of this large number of arrangements were made from music sent to Mr. Holland by publishers, with a request that he adapt the same to the guitar. He did not need to sound his own praises. While he quietly worked with his pupils in Cleveland, his fame as a skilful musician was spreading over the country. Soon publishers began to send him orders for arrangements. Such pieces as he had written merely for diversion, or for use with his classes, when it became known that he had them, were eagerly solicited for publication. If the reader will examine the catalogues of the larger music-publishing houses of the country, he will find, that, under the head of Guitar-Music, the name of Holland appears far oftener than that of any other writer. A partial list of his works I have thought of transferring from the publishers' catalogues to the pages of this book; but this, perhaps, is not necessary, nor will space allow it. I will state that his arrangements, with variations, three in number, of "Home, Sweet Home," are considered by competent judges the best adaptations of this immortal air ever made for the guitar. The same opinion is also expressed of his arrangement, with variations, of "The Carnival of Venice." It is a five-page concert-piece, equal to ten or twelve pages of piano-music. Those who love the guitar, or who are desirous of testing the abilities of the author and the correctness of the judgment just given, would do well to procure these two selections: this they can do from any of the music-publishers. Nor is a guitar library complete unless it contains many more of this writer's works; such, for instance, as the following: "Winter Evenings," a collection of fifteen pieces, eight of them with variations; "Flowers of Melody," twenty-three pieces, among which is to be found the charming "Flower-Song" from the opera of "Faust," arranged as a solo; "Gems for the Guitar," twenty pieces; "Summer Evenings," containing an extensive list of songs; and "Bouquet of Melodies," a series of twenty-four arrangements from the most popular operas, all instrumental.
Most of Mr. Holland's writing has been for the eminent firm of S. Brainard's Sons of Cleveland, O., the most extensive music-publishing house in the country, with one exception; next to them, for J.L. Peters & Co. of New York; G.W. Brainard and D.P. Fauld, Louisville, Ky.; John Church of Cincinnati; and for a house in Michigan.
But our talented author has not confined himself to that department of guitar-writing just under consideration. Equal to his fame as an arranger is his fame as a writer of instruction-books for the guitar. These works are distinguished for comprehensiveness of study, general simplicity of arrangement, and for boldness of attack, and clearness of elucidation, of all guitar difficulties. His chief work is "Holland's Comprehensive Method for the Guitar," written for and published by J.L. Peters & Co., New York, in 1874. This book, while in manuscript, was by Messrs. Peters & Co. submitted to the judgment of some of the finest critics in New York, by whom it was pronounced the best ever prepared either in this country or Europe.
On this point I append the following from the Cleveland "Plain-Dealer" of Dec. 24, 1868:—
"AN IMPORTANT MUSICAL WORK IN PREPARATION.
"For several months, Mr. Justin Holland, who has long enjoyed an honorable fame as a teacher of the guitar, a performer upon that instrument, and a successful musical author, has been engaged upon a book of instruction for the guitar. The work was undertaken at the suggestion of Mr. J.L. Peters, the widely-known music-publisher of New-York City, who has purchased the book, and will publish it at once; Mr. Holland having so nearly finished it, that the first portion can be put to press immediately. The work was sent on to New York some time since for Mr. Peters's inspection; and he submitted it to several other prominent musical critics and guitarists, all of whom expressed themselves highly pleased with it. Mr. Dressler, of 'The United-States Musical Review,' published at New York, says, 'I have carefully and thoroughly examined this new method for the guitar, and must confess that it is already, in its present state, the best in this country,—the most thorough, explicit, progressive, agreeable, and satisfactory work ever written in this country or in Europe.' Higher praise than this a book could not receive. The method is very elaborate, and contains many points not heretofore touched on in works of the kind. Mr. Holland's abilities as a composer of music, and his skill as a performer upon the guitar, render him pre-eminently qualified to write such a work; and supplying, as it will, a want long felt, it will achieve popularity at once, we firmly believe."
Some time after the publication of the method just mentioned, the Messrs. Brainard engaged Mr. Holland to write a somewhat similar one, but smaller in size, for them. This they issued in 1876, it being styled "Holland's Modern Method for the Guitar." Although smaller in size than the first one, it is regarded as the best method for beginners that has as yet been produced.
It may perhaps be interesting to those possessing a scientific acquaintance with the guitar, as well, indeed, as to the general student of music, to learn how this accomplished author acquired the power to so clearly—more clearly than it was ever before done in guitar books—explain the method of producing on the guitar the harmonic tones. Writing a friend, Mr. Holland thus speaks of this:—
"When, in writing my first book, I came to the subject 'Harmonics,' I found myself at a loss as to how to explain these tones; not as to how to produce them myself, but to give a correct theory of their production. I searched in vain through a multitude of musical works, not knowing or thinking of anywhere else to look. I stopped for several weeks, and began a series of observations on the vibrations on the strings of my guitar; having nothing to aid me but my eyes, fingers, and ears, and a knowledge of the fact that the vibrations of a string were doubled in number for every octave of ascent in pitch of tone. I thus discovered the true theory of the harmonic tones to be the vibrations of a single string in a number of equal sections, more or less, and all at the same time; and that their production was at the pleasure of the operator as he desired higher or lower tones. Having fully verified my discoveries, I then corrected the erroneous theory on this subject of the great guitarist, F. Sor. I learned afterwards that the subject was discussed and explained in some scientific works that treated on acoustics."
I have before referred to the pecuniary disadvantages under which Mr. Holland had to labor in the beginning of his career. These followed him for a long period. It seems that much time must nearly always elapse ere even genius becomes acknowledged, and its possessor receives that pecuniary reward so necessary to his support. This acknowledgment, and, to an encouraging extent, this substantial reward, came to Mr. Holland after a while, but not until after he had passed through many very trying scenes. One of the latter has been thus described:—
"He always had a horror of asking any one for credit or a loan. At a certain time he found himself out of ready money. It was Sunday, and he had not the 'wherewith' to get his breakfast on Monday morning. He had always lived retired, forcing intimacy with none, and generally mingling only where business called him. He therefore did not feel intimate enough with any one to offer to borrow, nor did he feel like asking anywhere for credit. He had, however, a small job of writing that had been sent in, for which, when done, he was to receive about twenty-five dollars. Here was Mr. Holland's resource. He began his work about seven o'clock on Sunday evening. He wrote till late. Becoming weary, and his eyelids being heavy, he lighted a spirit-lamp; and with a very diminutive French coffee-pot he prepared, and soon was sipping, a cup of coffee that no doubt would have pleased the Arabian prophet, had he been present to partake. Refreshed by this, he continued his labors until the darkness grew to gray dawn, and the dawn to full light of day. At seven in the morning the last note was written. At eight o'clock he took the work to his patron, and before nine returned with a light heart and good material for breakfast."
A touching incident this, surely, but one that has had either a near or perfect counterpart in the lives of many music writers and teachers, who have often been obliged to labor in season and out of season for the bare necessaries of life. And yet how seldom it is that we are aware of the painful vigils that are kept by these gifted but toiling ones when creating the works that so much contribute to the pleasure of our leisure moments!
Of all the music-publishing firms for whom Mr. Holland has written, I believe the only ones that know him personally, and know that he is a colored man, are the Messrs. Brainard and Mr. John Church. On this point of color, a little incident in his life is well worth recording. One day, in 1864, Mr. Holland went into a large music-store (not in Cleveland) to purchase an instrument. The salesmen present seeming disposed—no doubt on account of his color—to give him no attention whatever, he quietly left, and made his purchase elsewhere. He has since been employed by, and has received large sums of money from, that very firm, as a writer of music for them. He does not even now personally know any one of the firm; nor is it supposed that the latter know him otherwise than by his reputation, and through correspondence with him. It is almost certain, that had it been generally known, as it was not outside of Cleveland, that this gifted and accomplished musician was a member of the colored race, his success would have been much curtailed, so greatly has the senseless, the ignoble feeling of color-phobia prevailed in this country. To the Messrs. Brainard and Mr. Church, who proved themselves superior to the low prejudices of the times, all honor be given! To them the brightness of the artist's genius was not obscured by the color of his face.
As another evidence of the esteem in which Mr. Holland is held by one of the firms just mentioned, I append the following extract from a letter which I received a few months ago:—
S. Brainard's Sons' Music-Publishing House,
Cleveland, O., April 2, 1877.
Dear Sir,—... Mr. Justin Holland is one of our finest practical and theoretical musicians. He has written two large methods for the guitar, besides being the composer and arranger of a large amount of guitar-music, both vocal and instrumental. He is a refined and educated gentleman of very modest and unpretending character, but is a thorough musician and student.
Yours,
S. Brainard's Sons.
A few years ago, on his return from a visit to New Orleans, he stopped at Leavenworth, Kan. The editor of the leading paper in Leavenworth, supposing that Mr. Holland intended to remain there, thus spoke of him editorially:—
"PROFESSOR HOLLAND.
"We had the pleasure of a visit yesterday from Professor J. Holland of Louisiana, who is an eminent music teacher and writer of thirty years' practical experience. He purposes locating in Leavenworth, and giving instructions on the guitar, flute, and piano. He has made an especial study of the guitar, and has written a work on it which is pronounced the best in print by competent critics. We need just such a man as the professor in this city, and are glad he has come among us, and hope he may receive a liberal patronage."
And the editor of "The Musical World," Professor Carl Merz, thus mentioned Mr. Holland in the number of that journal for October, 1877:—
... "Again we would mention Mr. Justin Holland, teacher of the guitar, and composer of music for this instrument. Mr. Holland is a great lover of art, a gentleman of culture, who reads fluently several languages, and whose labors are highly esteemed by publishers as well as by lovers of the guitar. From 'Der Freimaurer,' a monthly published in Vienna, Austria, we learn that Mr. Holland is now in his fifty-seventh year. He lives in Cleveland, where he enjoys the patronage of the lovers of music, irrespective of color."
As before intimated, Mr. Holland's pupils have been in many cases members of the richest and most highly cultivated families of Cleveland; and such have been his skill as an instructor, and his noble qualities of heart and mind in general, as evinced in his deportment towards them, that the persons just mentioned, and others of his scholars, have ever entertained for him not only feelings of deep respect, but those also of affection. Among other very pleasing instances of this is one found in the case of Mr. and Mrs. Briggs of Massachusetts, the former a son of Ex-Gov. Briggs of that State, and the latter a native of Cleveland, a lady of great refinement and general culture, who, up to the time of her marriage, was a pupil of Mr. Holland. This estimable couple, who formerly and semi-annually visited Cleveland, never failed at such times to pay their respects to Mrs. Briggs's former tutor, showing by this course that neither time nor space could obliterate the warm regard which had been created by previous pleasant associations.
The writer has thus far said but very little of Mr. Holland's abilities as a performer on, and teacher of, the flute and piano-forte. Let it suffice to say, briefly, that these abilities are such as to show, that, had he chosen to devote himself to either of these two instruments as much as he has devoted himself to the guitar, he might have attained to great distinction in the same. But, even as it is, he is regarded as a fine flutist and pianist. For the piano he has composed and arranged a number of pieces. He has played in public occasionally, of course always with the greatest acceptance. He has, however, never sought for nor made occasions to play in public; being always noticeable for a love of the quieter, and to him pleasanter, walks of musical life.
And now, if this were not intended as a book on musical history alone, the writer might occupy many more pages in narrating the many important events connected with the life of Mr. Holland as a distinguished member for years of the order of Free Masons. We may be allowed to mention incidentally, that his reputation as one of the "noble craft" is even greater than his reputation as a musician. It is more nearly world-wide; for we find that as a Mason he is well known in the South and West of this country, and in South America, Italy, Germany, and France. A sketch of his life, together with his portrait, was published at Vienna, Austria, in the illustrated monthly "Der Freimaurer" ("The Freemason"), in the number for February, 1877. From this journal I learn that Mr. Holland has been a most active and indispensable member of Excelsior Lodge No. 11 of Cleveland (which he assisted in forming in 1865), and of the Grand Lodge of Ohio. In the former he has held the offices of Secretary and Junior Warden; and in the latter he first served two terms (declining a third) as Worshipful Master, and afterwards was elected Senior Grand Deacon, Deputy Grand Master, Deputy Grand High Priest, of the Grand Chapter of Royal Arch Masons for Ohio,—serving three terms,—and Most Excellent Grand High Priest. In conducting the foreign correspondence of the Grand Lodge, Mr. Holland has for a number of years performed a most invaluable service. In this work, his familiar acquaintance with the French, Spanish, German, Italian, and Portuguese languages was put to uses the most important, as through the same, and his very intelligent and painstaking management, the colored Masons of Ohio have been fully recognized by, and brought into communication with, the Grand Lodges of France, Peru, Germany, Portugal, and Spain. Mr. Holland has also been appointed the representative in this country of the Grand Lodges of France and Peru, each appointment a very rare distinction. He has several times received complimentary mention in the addresses of the Grand Masters of the Ohio Lodge; and in 1866 he was the recipient from the members of the latter of a set of highly eulogistic resolutions, and of a valuable gold watch appropriately inscribed. All these honors were tendered as earnest tokens of the high estimation in which he was held by the brotherhood for the skill and zeal he had so often displayed in serving a cause founded on the noble principles of faith, hope, and charity.
What a busy, what a useful, honorable life, have we been following! It is hoped that the reader has been entertained and instructed by even this far from perfect unfolding of the same. As for the writer, he leaves its present consideration with feelings of affectionate regret; while he would fain remain to study again and again the valuable lessons that it teaches, and to watch with unabated interest the fortunes of its future. May the latter bring to our noble friend and artist as little of disappointment as may be! and when the end shall finally come, as come it must some day to all, may he have, as a crowning and sweet reward for the manly, the heroic past, a sleep like that of him who "lies down to pleasant dreams"!
IX.
THOMAS J. BOWERS,
TENOR-VOCALIST;
OFTEN STYLED
THE “AMERICAN MARIO.”
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"Sweet is every sound; Sweeter thy voice." Tennyson. |
THOMAS J. BOWERS, who, owing to his resembling in the magnificent quality of his voice that celebrated Italian singer, has been styled by the press the "American Mario," was born in Philadelphia in the year 1836.
THOMAS J. BOWERS.
When quite a lad he evinced a decided fondness for music, and much musical talent. His father, a man of considerable intelligence, and for twenty years the warden of St. Thomas's P.E. Church in Philadelphia, being desirous that his children should learn music, first procured a piano and an instructor for his eldest son, John C. Bowers; intending, after he became competent so to do, that he should teach the other children. This purpose was accomplished; and our subject was instructed by his brother to perform upon the piano-forte and organ. At eighteen he had become somewhat proficient in the playing of these instruments, and succeeded his brother as organist of St. Thomas's Church.
I must not fail to mention here, that the younger of his two sisters, Sarah Sedgwick Bowers, became a fine singer. In the rendering of classical and all operatic music she exhibited much talent, was of handsome appearance, and elicited very complimentary notices from the press. I shall have occasion to speak of this lady more at length hereafter.
The parents of the subject of this sketch, although highly pleased with the natural musical qualities and with the accomplishments displayed by their children, were such strict church people as not to wish them to become public performers. Recognizing the pleasing, refining influence of music, they desired its practice by their children in the home-circle, for the most part; but were not averse, however, to hearing its sweet and sacred strains issue from choir and organ in church-services, nor to having their children take part in the same.
The wishes of his much-loved parents Mr. Bowers respected. For this reason he refused to join the famous "Frank Johnson's band" of Philadelphia, although strongly urged by its director; and all offers made to him to join other public organizations were declined for a long time.
But his very rare powers as a tenor-vocalist were those which previous to the attainment of his majority had most attracted the attention and excited the admiration of many persons. Indeed, his voice was considered as something extraordinary in its power, mellowness, so to speak, and its sweetness.
Thus endowed, it was not possible, in the nature of things, that he should remain only a singer in private; and so, at Sansom-street Hall, Philadelphia, in 1854, he was induced to appear with the "Black Swan" as her pupil.
Although it was not at this concert that he made his first public "hit," as it is called, yet the press of Philadelphia spoke of his performances on that occasion in the most flattering terms, and called for a repetition of the concert. This was given, our subject meeting with still greater success. At this time, one of the critics, in commenting on the voice and style of singing of Mr. Bowers, called him the "colored Mario." Considering the almost if not quite peerless position then held in the musical world by the distinguished Italian tenor, Mario, this was a most strikingly favorable comparison. But our artist was so modest as to doubt that he merited such high praise. The press, however, generally persisted in styling him the "colored Mario," the "American Mario," &c.; and by these sobriquets he is most known to-day.
Col. Wood, once the manager of the Cincinnati Museum, hearing of the remarkable singing qualities of Mr. Bowers, came to Philadelphia to hear him. He was so much pleased, that he entered into an engagement with him to make a concert tour of New-York State and the Canadas. This was in company with Miss Sarah Taylor Greenfield, the famous songstress. The great vocal ability as well as the novelty formed by the complexions of this couple produced quite a sensation, and secured for them great success wherever they appeared.
During this tour Col. Wood wished Mr. Bowers to appear under the title of the "Indian Mario," and again under that of the "African Mario." He withheld his consent to the use of either of these names, but adopted that of "Mareo." This he has since retained as his professional cognomen.
Mr. Bowers was induced to engage in public performances more for the purpose of demonstrating by them the capacity of colored persons to take rank in music with the most highly cultured of the fairer race than for that of making a mere personal display of his highly-rated musical abilities, and for the attainment of the enjoyment which they would naturally be supposed to afford him.
Writing to a friend, he thus speaks of the principle that governed him:—
"What induced me more than any thing else to appear in public was to give the lie to 'negro serenaders' (minstrels), and to show to the world that colored men and women could sing classical music as well as the members of the other race by whom they had been so terribly vilified."
Nor would he ever yield to that mean and vulgar prejudice, once so prevalent, but now happily disappearing, which either sought to prevent colored persons from entering at all the public-amusement hall, or else to force them to occupy seats near the entrance, or away up in the gallery. All must be treated alike, or he would not sing. As illustrating this characteristic, I give the following incident connected with the concert tour in Canada:—
In Hamilton, a Dr. Brown purchased for himself and some friends six reserved-seat tickets, at a cost of one dollar each. After he had done so, Mr. Bowers's agent was informed by the proprietor of the hall in which the concert was to be held that "colored people were not admitted to first-class seats in Canada." This created much excitement. Our artist espoused Dr. Brown's cause; informed Col. Wood that he would not sing, if he refused to admit the doctor's party on the terms implied by his tickets; that if, after entering, there should be any attempt to oust them, he would assist them; and that he did not leave his home to encourage such mean prejudice. This noble stand against unjust discrimination resulted in granting to Dr. Brown the seats for which he had purchased tickets; and, after this time, no attempt was made to exclude colored persons from the concerts of the troupe.
Mr. Bowers, during his career, has sung in most of the Eastern and Middle States; and at one time he even invaded the slavery-cursed regions of Maryland. He sang in Baltimore, the papers of which city were forced to accord to him high merit as a vocalist.
When we consider the high ideal cherished from the very commencement of his career by our subject, it is not surprising that his musical performances have never been marred by the singing of other than classical or the best music. He does sing, at times, songs in the ballad form; but these are always of the higher class, and such as would be adopted by any first-class singer. His repertoire is composed of most all the songs for the tenor voice in the standard operas and oratorios. He sings with fine effect such gems as "Spirito Gentil," from "La Favorita;" "Ah! I have sighed," from "Il Trovatore;" and "How so Fair," from "Martha."
Mr. Bowers resides at present in Philadelphia, and is a little past forty years of age. He sings as well now as ever; some think better than ever. He appears occasionally in public, but only in company with the first artists, as he firmly believes in maintaining always for himself and others a high musical standard. His voice ranges within a semitone of two octaves.
He is a man of decidedly handsome form, and of graceful, pleasing stage appearance; is, indeed, an ideal tenor, and a real artist.
I append, from among the many press-notices that have appeared during his career, the few that follow.
"The Daily Pennsylvanian" of Feb. 9, 1854, after describing the Sansom-street Hall concerts, and alluding to some defects in the manner of his gestures, thus speaks of the performances of our subject:—
"He has naturally a superior voice, far better than many of the principal tenors who have been engaged for star opera troupes. He has, besides, much musical taste."
"The Boston Journal" said,—
"The tenor of this troupe (Mr. Bowers) possesses a voice of wonderful power and beauty."
Another paper said,—
"As most of our citizens have heard the 'colored Mario,' it is unnecessary for us to speak of his singing, as it is generally admitted that his tenor is second to none of our celebrated opera-singers."
Another said,—
"The concert given by the Sedgwick Company was a great success.... 'Mario's' fine tenor voice was never more feelingly exercised, nor more rapturously encored."
Again he is thus highly praised:—
"The 'colored Mario's' voice is unequalled by any of the great operatic performers."
A Montreal paper said,—
"'Mario' is a very handsome specimen of his race, and has a fine tenor voice.... He, too, was repeatedly encored, both in his solo-pieces and in his duets with Miss Greenfield."
The true value of the foregoing comments from the press will be better understood when the reader calls to mind the fact, that, when they were made, Mr. Bowers had as contemporaries the wonderful Signor Mario, the eminent "Swedish Nightingale," Jenny Lind, the not much less charming songstress, Parodi, as well as several fine tenor-singers connected with the Italian opera companies then performing throughout this country. With such models as these to elevate their tastes and guide their judgments, the critics knew well the worth of all they said in praise of Mr. Bowers. Forming our judgments, then, from what they did say of him (only a very few of their highly favorable comments have here been given), we may safely say that Mr. Bowers is to be ranked with the very first tenor-vocalists of his time.
X.
JAMES GLOUCESTER DEMAREST,
GUITAR AND VIOLIN.
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"Soft is the music that would charm forever." Wordsworth. |
THE guitar, although not of sufficient power for general orchestral purposes, is yet excellent for finished solo-playing, and as an accompaniment to a voice. It was much used by the ancient troubadours, its dulcet tones according well with their songs. In Italy and Spain, in other parts of Europe, as well as in some sections of this country, the guitar is much esteemed. It has always been the favorite instrument of the serenading gallant; and to perform upon it, previously to their more general adoption of the piano-forte, was considered as an almost necessary accomplishment for the gentler sex. Among the greatest of guitar-virtuosos that have lived may be mentioned F. Sor, Fossa, Aguado, Giuliani, Carulli, Holland, Douglass: and, as comparing favorably with these, I may mention Demarest, of whom I shall now briefly speak.
Mr. Demarest, for many years a resident teacher of Boston, was one of the finest guitar-performers in the United States, and, I believe, had only a few equals in the world. With him the numerous guitar "pickers" of the country are not at all to be mentioned; for, thoroughly educated in music, with rich natural gifts all fully cultivated, giving to the instrument the closest, the most conscientious study, and of long practice, he was thus enabled to draw from it music of such richness and beauty, as few, before hearing his playing, imagined it capable. He but rarely indulged himself or his hearers in playing accompaniments to songs (the use, by the way, to which the guitar is often put); but with masterly skill he ever aimed to develop its fullest resources, and showed that, when in his hands at least, the guitar could be rendered a solo instrument of very noticeable power, as well as great sweetness of tone. At public and private performances in Boston and elsewhere, Mr. Demarest has often delighted audiences by fine interpretations of the best music published.
He was also a proficient arranger of music for the guitar, and, besides, composed some fine pieces for it. I do not know that any of his works were ever published: I think they were not; they being prepared simply to facilitate the progress of his pupils, and for his own amusement.
It is said that on one occasion a prominent guitarist,—a teacher of and writer for the guitar,—when asked to give his opinion of one of Demarest's compositions, remarked that it was "too difficult for the guitar." However this may have been, no one could say that it was too difficult for the composer to perform; and, that being true, it ought not to have been considered as beyond the possible reach of other skilful players. Still the critic referred to may only have meant by his remark that the piece was too difficult to become "popular." I only mention the incident to show that Demarest always aimed high.
As a teacher of the guitar he took high rank with those who believed in advancing its performance to the most elevated standards. He found but few pupils, however, that were willing to give the instrument that closeness of study, or who were possessed with that spirit of patience, so necessary to render them remarkable performers. At the almost marvellously skilful manipulations of the strings by their teacher, they listened with the utmost delight; but some of them, regarding him as one exceptionally endowed, despaired of ever being able to follow him into those higher and fuller forms of guitar-playing whither he ever earnestly strove to lead them. He always insisted on a conscientious study of the instrument, and the practice of only the best music, in order that his pupils might place themselves on a much higher level than that occupied by the many who contented themselves with merely "thumping" a simple, unvaried accompaniment to the popular love-songs of the day.
Mr. Demarest was also a violinist of fair ability. In his performances on the violin he evinced the same scholarly spirit as he did in his other studies. He, however, but seldom performed upon the violin in public, and but little in private, save for his own diversion. In 1874, while still a young man, bidding fair to rise to the highest distinction as a musician, he died, deeply regretted by many, not more on account of his high musical than his gentlemanly, genial qualities.
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"Sweet Mercy! to the gates of heaven This minstrel lead, his sins forgiven." |
XI.
THOMAS GREENE BETHUNE,
OTHERWISE KNOWN AS
“BLIND TOM,” THE WONDERFUL PIANIST
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"Who ran Through each mode of the lyre, and was master Of all." Moore. |
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"Bright gem instinct with music." Wordsworth. |
HE is unquestionably and conspicuously the most wonderful musician the world has ever known. No one has ever equalled him in quickness and depth of musical insight and feeling, nor in the constancy with which he bears within himself, in all its fulness, that mysterious power which can be called by no truer name than musical inspiration. He is an absolute master in the comprehension and retention of all sound (and in all sound he finds music); a being in whose sympathetic soul lies the ready, the perfect correlative of every note of melody in nature or in art that is caught by his marvellously sensitive ear. We often speak of those who have an "ear for music." Here is a musician who surpasses all others in all the world in the possession of this quality; for his is a perfect ear. You may sit down to the piano-forte, and strike any note or chord or discord, or a great number of them; and he will at once give their proper names, and, taking your place, reproduce them. Complete master of the piano-forte keyboard, he calls to his melodious uses, with most consummate ease, all of its resources that are known to skilful performers, as well as constantly discovers and applies those that are new. Under his magnetic touch, this instrument may become, at his will, a music-box, a hand-organ, a harp or a bagpipe, a "Scotch fiddle," a church-organ, a guitar, or a banjo: it may imitate the "stump speaker" as he delivers his glowing harangue; or, being brought back to its legitimate tones, it may be made to sing two melodies at once, while the performer with his voice delivers a third, all three in different time and keys, all in perfect tune and time, and each one easily distinguishable from the other! It would be vain to call such performances as these mere tricks. They are far, far more; since they show a musical intuition, and an orderly disposition and marshalling of the stores of the mind, quite beyond the powers of the performer of mere musical tricks. But, even were they such, this wonderful musician would not need to depend upon their performance for the greatness of his fame; for there is no work of the great masters too difficult for his easy comprehension and perfect rendering.
THOMAS GREENE BETHUNE.
He remembers and plays full seven thousand pieces. In short, he plays every piece that he has ever heard. How almost godlike (it cannot be brought to human comparison) is this retentive, this perfect memory, as relating to all that is musical, or even unmusical, in sound!
Nor does he need to depend upon the music composed by others. His own soul is full of harmony, endless in variety, and most ravishing. Take from him, were it possible, all remembrance of the music written by others, and he would still be an object of delight and amazement on account of his matchless power in improvisation. Listen to his own "Rain Storm," and you shall hear, first, the thunder's reverberating peal, and anon the gentle patter of the rain-drops on the roof: soon they fall thick and fast, coming with a rushing sound. Again is heard the thunder's awful roar, while the angry winds mingle in the tempestuous fray,—all causing you to feel that a veritable storm rages without. After a while, the tempest gradually ceases; all is calmness; and you look with wonder upon this musical magician, and marvel that the piano-forte can be made to so closely imitate the sounds made by the angry elements.
No one lives, or, as far as we know, has ever lived, that can at all be compared with him. Only the musical heroes of mythology remind us of him; for he is
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"As sweet and musical As bright Apollo's lute strung with his hair:" |
And Ariel, Shakspeare's child of fancy, who on Prospero's island constantly gave forth melodies of ever-varied, ever-enchanting sweetness, filling all the air with delicious harmony,—that musical spirit was but an anticipation of the coming of this actual wonder in music. Of him an eloquent writer has beautifully said, "There is music in all things; but 'Blind Tom' is the temple wherein music dwells. He is a sort of door-keeper besides; and, when he opens the portals, music seems to issue forth to wake the soul to ecstasy." The skilful metaphysician or the psychologist pauses before him, completely balked: they cannot classify this mind, human-like indeed in some respects, yet in many others surpassing all humanity, and closely approximating that which is godlike.
Some persons, it is true, judging from certain manifestations of his, or from certain lack of manifestations, have had the temerity to say that "Blind Tom" is an idiot. Out with the idea! Who ever heard of an idiot possessing such power of memory, such fineness of musical sensibility, such order, such method, as he displays? Let us call him the embodiment, the soul, of music, and there rest our investigations; for all else is futility, all else is vain speculation.
Thus have I alluded in a general way to the characteristics of this most wonderful pianist. A more particular but brief sketch of his life from infancy to manhood cannot but be interesting, not only to the student in music, but to all classes of readers.
"Thomas Greene Bethune" (I am quoting from his biography), "better known to the public as 'Blind Tom,' was born within a few miles of the city of Columbus, Ga., on the twenty-fifth day of May, 1849. He is of pure negro blood, and was born blind. His first manifestation of interest in any thing was his fondness for sounds; the first indication of capacity, his power for imitating them. Musical sounds exerted a controlling interest over him; but all sounds, from the soft breathings of the flute to the harsh grating of the corn-sheller, appeared to afford him exquisite enjoyment. His power of judging of the lapse of time was as remarkable as his power of remembering and imitating sounds. Those who are familiar with clocks that strike the hours, have observed, that, a few minutes before the clock strikes, there is a sharp sound different from and louder than the regular ticking. There was a clock in the house; and every hour in the day, just precisely when that sound was produced, Tom was certain to be there, and remain until the hour was struck.
"He exhibited his wonderful musical powers before he was two years old. When the young misses of the family sat on the steps of an evening, and sang, Tom would come around and sing with them. One of them one evening said to her father,—
"'Pa, Tom sings beautifully; and he don't have to learn any tunes: he knows them all; for, as soon as we begin to sing, he sings right along with us.'
"Very soon she said,—
"'He sings fine seconds to any thing we sing.'
"His voice was then strong, soft, and melodious. Just before he had completed his second year he had the whooping-cough, from the effects of which his voice underwent an entire change; it became and continued for years exceedingly rough and harsh, though it did not affect the taste or correctness of his singing.
"He was a little less than four years of age when a piano was brought to the house. The first note that was sounded, of course, brought him up. He was permitted to indulge his curiosity by running his fingers over and smelling the keys, and was then taken out of the parlor. As long as any one was playing, he was contented to stay in the yard, and dance and caper to the music; but the moment it ceased, having discovered whence the sounds proceeded, and how they were produced, he was anxious to get to the instrument to continue them. One night the parlor and the piano had been left open: his mother had neglected to fasten her door, and he had escaped without her knowledge. Before day the young ladies awoke, and, to their astonishment, heard Tom playing one of their pieces. He continued to play until the family at the usual time arose, and gathered around him to witness and wonder at his performance, which, though necessarily very imperfect, was marvellously strange; for, notwithstanding this was his first known effort at a tune, he played with both hands, and used the black as well as the white keys.
"After a while he was allowed free access to the piano, and commenced playing every thing he heard. He soon mastered all of that, and commenced composing for himself. He would sit at the piano for hours, playing over the pieces he had heard; then go out, and run and jump about the yard a little while, and come back and play something of his own. Asked what it was, he replied, 'It is what the wind said to me;' or, 'What the birds said to me;' or, 'What the trees said to me;' or what something else said to him. No doubt what he was playing was connected in his mind with some sound, or combination of sounds, proceeding from those things; and not unfrequently the representation was so good as to render the similarity clear to others.
"There was but one thing which seemed to give Tom as much pleasure as the sound of the piano. Between a wing and the body of the dwelling there is a hall, on the roof of which the rain falls from the roof of the dwelling, and runs thence down a gutter. There is, in the combination of sounds produced by the falling and running water, something so enchanting to Tom, that from his early childhood to the time he left home, whenever it rained, whether by day or night, he would go into that passage, and remain as long as the rain continued. When he was less than five years of age, having been there during a severe thunder-storm, he went to the piano and played what is now known as his 'Rain Storm,' and said it was what the rain, the wind, and the thunder said to him. The perfection of the representation can be fully appreciated by those only who have heard the sounds by the falling of the water upon the roofs, and its running off through the gutters.
"There was in the city of Columbus a German music-teacher who kept pianos and music for sale. The boys about the city, having heard much of Tom, sometimes asked the boys of the family to take him to town, that they might hear him. Upon these occasions they asked permission of this man to use one of his pianos; and, though he would grant the permission, he would not hear him. If he was engaged, he would send them to the back part of the store, which was a very deep one; if he had nothing to do, he would walk out into the street. When Tom was about eight years of age, a gentleman, having obtained permission to exhibit him, hired a piano of this man, and invited him to visit his concert. He indignantly rejected the invitation.
"The man, however, succeeded in awakening the curiosity of the wife of the musician sufficiently to induce her to attend; and she gave her husband such accounts, that he went the next night. After the performance was over, he approached the man, and said,—
"'Sir, I give it up: the world has never seen such a thing as that little blind negro, and will never see such another.'
"Encouraged by this, the exhibiter the next day applied to him to undertake to teach Tom. His reply then was,—
"'No, sir; I can't teach him any thing: he knows more of music than we know, or can learn. We can learn all that great genius can reduce to rule and put in tangible form: he knows more than that. I do not even know what it is; but I see and feel it is something beyond my comprehension. All that can be done for him will be to let him hear fine playing: he will work it all out by himself after a while; but he will do it sooner by hearing fine music.'
"It has been stated that Tom was born blind. In his infancy and for years the pupils of his eyes were as white and apparently as inanimate as those of a dead fish. But nature pointed out to him a remedy which gradually relieved him from total darkness, and in process of time conferred upon him, to a limited extent, the blessings of vision.
"When he was three or four years of age, it was observed that he passed most of his time with his face upturned to the sun, as if gazing intently upon it, occasionally passing his hand back and forth with a rapid motion before his eyes. That was soon followed by thrusting his fingers into his eyes with a force which appeared to be almost sufficient to expel the eyeballs from their sockets. From this he proceeded to digging into one of them with sticks, until the blood would run down his face. All this must have been pleasant to him, or he would not have done it; and there is no doubt that he is indebted to the stimulus thus applied to his eyes for the measure of sight he now enjoys. When five or six years of age, a small, comparatively clear speck appeared in one of his eyes; and it was discovered that within a very small space he could see any bright object. That eye has continued to clear, until he is now able to see luminous bodies at a distance, and can distinguish small bodies by bringing them close to his eye. Persons that he knows well he can distinguish at the distance of a few feet; and it is hoped that in process of time his sight will so far improve as to relieve him from many of the difficulties to which he is subject.
"The mere technicalities of music Tom learns without difficulty. Its substance he seems to comprehend intuitively. To teach him the notes, it was necessary only to sound them, and tell him their names. With the elements and principles of music he seemed to be familiar long before he knew any of the names by which they were indicated; as a man going into a strange country may be perfectly acquainted with the appearance and nature of the material objects which meet his view, without knowing the names applied to them by the people.
"Considering that in early life he learned nothing, and later but little from sight, that he is possessed by an overmastering passion, which so pervades his whole nature as to leave little room for interest in any thing else, and the gratification of which has been indulged to the largest extent, it is not surprising that to the outside world he should exhibit but few manifestations of intellect as applicable to any of the ordinary affairs of life, or that those who see him only under its influence should conclude that he is idiotic.
"The elegance, taste, and power of his performances, his wonderful power of imitation, his extraordinary memory,—not only of music, but of names, dates, and events,—his strict adherence to what he believes to be right, his uniform politeness, and his nice sense of propriety, afford, to those who know him well, ample refutation of this opinion.
"Tom sometimes indulges in some strange gymnastics upon the stage, which are considered by many a part of his stage training. So far from this being the case, it is but a slight outcropping of his usual exercises. If those who see him upon the stage could witness his performances in his room, and the enjoyment they afford him, they would perhaps regret the necessity of his restraint in public. He never engaged in the plays of children, or manifested any interest in them. His amusements were all his own. With a physical organization of great power and vigor, and an exuberance of animal spirits, he naturally sought physical exercise. Compelled by want of sight to limit himself to a small space, he put himself in almost every conceivable posture, and resorted to those exercises which required the most violent physical exertion. They are now necessary certainly to his enjoyment, perhaps to his health.
"Tom has been seen probably by more people than any one living being. He has played in almost every important city in the United States and in a great many of the smaller towns, in Paris, and in most of the principal cities of England and Scotland.... Those who have observed him most closely, and attempted to investigate him, pronounce him a 'living miracle,' unparalleled, incomprehensible, such as has not been seen before, and probably will never be seen again."
I find, in reading his biography, that in Philadelphia and Pittsburgh, in England and Scotland, scientists were asked to give an opinion as to "Blind Tom's" musical genius. I select only one from these opinions. The others (from Charles Halle, I. Moscheles, and Professor H.S. Oakley, all very eminent musicians) agree with this one, and need not be given.
Philadelphia, Sept. 16, 1865.
Dear Sir,—The undersigned desire to express to you their thanks for the opportunity afforded to them of hearing and seeing the wonderful performances of your protégé, the blind boy pianist, Tom. They find it impossible to account for these immense results upon any hypothesis growing out of the known laws of art and science.
In the numerous tests to which Tom was subjected in our presence, or by us, he invariably came off triumphant. Whether in deciding the pitch or component parts of chords the most difficult and dissonant; whether in repeating with correctness and precision any pieces, written or impromptu, played to him for the first and only time; whether in his improvisations, or performances of compositions by Thalberg, Gottschalk, Verdi, and others; in fact, under every form of musical examination,—and the experiments are too numerous to mention or enumerate,—he showed a power and capacity ranking him among the most wonderful phenomena recorded in musical history.
Accept, dear sir, the regards of your humble servants,
| B.C. Cross, James M. Beck, G. Blandner, J.A. Stern, | J.H. Rednor, Carl Roese, C. Blancgaur, J.A. Getza, And several others. |
Here are some clippings from American and English newspapers.
From "The Public Ledger," Philadelphia, Sept. 27, 1865:—
"Many professors of music of great eminence have been ready, after listening to him, to declare that they would never touch the piano again. What he has done in public in the way of playing the most difficult pieces after hearing them but once, and with a perfection that years of practice could not usually apply, is known to all the lovers of music in this city.
"The secret of this wonderful power is the most perfect ear for the harmonies of sound ever observed,—'only this, and nothing more.' To him every thing is music. Discords do not seem to disturb him; but his ear catches every harmony, and his whole being seems entranced and controlled by it. Let him stand with his back to a piano, and any number of chords be struck, and he will instantly tell every note sounded, showing that he has been able to discriminate, and his memory to retain distinctly and perfectly, each sound. The phrenologists say that memory is in proportion to clearness and strength of the impression produced at first; and this must be the case with him. From two years old this remarkable power of sound over him has been noticed. He has been blind from birth; and it would seem here, as often observed before, that, by a compensative law of our being, in proportion as one sense is defective, the expenditure of vital energy thus saved is absorbed by some other sense. Probably all our sensations are the result of vibrations; and the pulsations of light that usually enter and give all their exquisite pleasure through the eye-ball are in his case compensated for by the pulsations of sound, which strike on an ear possessed of nerves of double delicacy and vital energy from the absorption and concentration of two senses in one.
"'Blind Tom' is not, however, the senseless being that most imagine him, but rather like one completely guided and governed by this one sense alone. As a lad, the song of a bird would lead him to wander off into the woods; and then the sound of the flute would bring him to those who went in search of him....
"Perhaps a proper study of the case of this lad might show to what extent all (though in less degree) might be educated through music. It is certainly this alone that can be most easily developed. Probably the highest and best emotions might be thus permanently excited within him; while the desire for those pleasures leads him to put forth intellectual efforts that nothing else can.... But his performances in music show how the highest results of art and study are most easily reached by this lad in his one-sided culture and development,—that of the ear alone. It is with him a sort of inspiration. The science of music he will probably never be able to master; but we must remember that the art of it preceded the science in Egypt, in Palestine, in Greece, and in Rome, by long ages. Indeed, it was the music of the Hebrews, and then of the Christian Church, that gave birth to scientific music, and alone developed it, until that of the opera gave rise to a distinct branch of the culture. This re-acted powerfully on sacred music itself. 'Blind Tom' at present likes operatic music best."
"The Albany (N.Y.) Argus" of January, 1866, said,—
"Now test the power of analysis. Three pianos are opened: at two of them persons present hammer away, with the design of producing the most perfect discord imaginable; at the third piano, the professor makes a run of twenty notes. The confusion ceases, and Tom repeats in a moment each of the twenty notes sounded. Still another test. Tom takes the stool himself. With his right hand he plays 'Yankee Doodle' in B flat. With his left hand he performs 'Fisher's Hornpipe' in C. At the same time he sings 'Tramp, tramp,' in another key,—maintaining three distinct processes in that discord, and apparently without any effort whatever. 'Most marvellous!' you say; 'but can he express as well as he perceives?' The gentlemanly director will let you see. He asks Tom to render 'Home, Sweet Home,' by Thalberg. You know, that, of all productions in the current repertoire, there are none which have finer or more difficult shades than this. 'Blind Tom' proceeds; and, were you to close your eyes, you could not tell but Thalberg himself was at the instrument, so perfect and so exquisite is the conception and the touch. Then you have renderings in imitation from Chopin, from Gottschalk, from Vieuxtemps, from anybody you will mention who has been deemed a master of the art; and you turn away convinced, surfeited with marvels, satisfied that you have witnessed one of the most incomprehensible facts of the time."
From "The Manchester (Eng.) Courier," Sept. 26:—
"'Prodigies' of all kinds are presented ever and anon to the public nowadays; but we have had nothing yet produced so truly marvellous as the negro phenomenon known as 'Blind Tom,' who appeared for the first time in Manchester, at the Theatre Royal, last night. In order to test 'Blind Tom's' powers of memory, Mr. Joule gave a short impromptu, avoiding any marked rhythm or subject, but which was imitated very cleverly. To test his powers of analyzing chords, Mr. Joule played him the following discordant combinations: the chord of B flat in the left hand, with the chord of A with the flat fifth and sharp sixth in right hand; the chord of E in the left hand, and the chord of D, two sharps, in the right; the chord of A, three flats, in the left hand, with that of A, three sharps, in the right. All these chords were at once correctly named by enumerating each note in succession from the lowest. Mr. Seymour subsequently was called upon, and gave a subject, which he reproduced upon the piano-forte with great success."
From "The Glasgow (Scotland) Daily Herald," Jan. 2, 1867:—
"'Blind Tom,' the wonderful negro-boy pianist, made his début in Glasgow yesterday, when he gave three of his entertainments, or rather musical exhibitions, in the Merchants' Hall,—two during the day, and one in the evening. He is, without doubt, an extraordinary lad; born blind, though he is now able to distinguish light from darkness; and having a defect in some of his mental faculties, though what that defect is it is very difficult to say. Nature seems to have made up for these deficiencies by endowing him with a marvellously acute ear and a retentive memory. It is not uncommon to find blind people with their other senses much more highly developed, and much more susceptible of impression, than in people possessing all their faculties; but in no case have we ever heard or known of one with auditory nerves so fine, or with memory so powerful, as 'Blind Tom.' Mozart, when a mere child, was noted for the delicacy of his ear, and for his ability to produce music on a first hearing; but Burney, in his 'History of Music,' records no instance at all coming up to this negro boy for his attainments in phonetics, and his power of retention and reproduction of sound.... He plays first a number of difficult passages from the best composers; and then any one is invited to come forward and perform any piece he likes, the more difficult the more acceptable, and, if original, still more preferable. Tom immediately sits down at the piano, and produces verbatim et literatim the whole of what he has just heard. To show that it is not at all necessary that he should be acquainted with any piece beforehand to reproduce it, he invites any one to strike a number of notes simultaneously with the hand, or with both hands; and immediately, as we heard him do yesterday, he repeats at length, and without the slightest hesitation, the whole of the letters, with all their inflections, representing the notes. Nor are his wondrous powers confined to the piano, on which he can produce imitations of various instruments, and play two different tunes—one in common time, and a second in triple—while he sings a third; but he can with the voice produce, with the utmost accuracy, any note which his audience may suggest. Yesterday afternoon, for instance, he was asked to sing B flat, F sharp, and the upper A,—a very difficult combination; and, beginning with the latter, he at once satisfied his auditors of his success. One very funny feat he executed, which, as much as any thing else, showed what he could do. When at Aberdeen, as Dr. Howard explained, Tom heard, in a large ante-room adjoining the hall where he was, a teacher of dancing tuning his fiddle, the strings of which apparently had been rather difficult to get tightened up to proper tune. Tom had but to listen, and he retained every sound which the dancing-master produced. Tom's imitation on the piano—first of the striking of the violin-strings with the fingers for some time, after the manner of violinists, then seeing if they chorded well, again touching up the strings, anon giving a little bit of a polka, and once more adjusting the strings, and so on, all exactly as he heard it—was as amusing as it was astonishing. No one with an ear for music should miss the opportunity of going to hear him ere he leaves."
From "The Edinburgh Scotsman:"—
"'Blind Tom.'—Last night this negro boy, of whose remarkable performances so much has been said and written of late, made his first appearance here in the Operetta House. There was a crowded audience, among whom were a number of the musical cognoscenti of Edinburgh, whose curiosity had been excited by the reputation he had gained in America, as well as by the favorable notices of the press in this country, and the testimony of such men as Moscheles and Halle.... It is only when he sits down to the instrument, that he becomes, as it were, inspired. He played several pieces on this occasion from memory, and displayed great execution, and a greater amount of feeling and expression than we were prepared to expect. One of the best of these was the fantasia on the Hundredth Psalm, which was brilliantly executed. One of his most extraordinary feats is the reproduction of any piece once played over to him. On this occasion, Mr. Laurie, who was present, at the invitation of the manager ascended the platform, and played a composition by R. Muller, which occupied nearly five minutes. He no sooner left the instrument than 'Blind Tom' took his seat, and gave a correct imitation. His ability to name any combination of notes, no matter how disconnected and puzzling the intervals, was fully proved. The professional gentleman we have named struck simultaneously no less than twenty notes on the piano; and these 'Blind Tom' named without a single mistake."
From "The Dundee Advertiser:"—
"'Blind Tom.'—This extraordinary musical prodigy gave two performances in Dundee yesterday, and on each occasion the powers displayed by him were so marvellous as to verge upon the miraculous. Our readers must not suppose that his proficiency is merely of an ordinary kind, or that his notoriety is another species of Barnumism. The letter we published yesterday from a private friend, in whose opinions we place the greatest confidence, shows that it is not so; and we believe the opinions of all who yesterday heard him will be found to be those of astonishment and admiration. History affords no parallel to 'Blind Tom.' His ability would be marvellous, even if he had his eyesight; but, as we have before remarked, when it is considered that he is blind, it is beyond measure strange. Unless one sees or hears him play, he is unable properly to understand the extent of his ability. Test him how you may, he never fails. His memory is as miraculous as his musical powers; and he plays over a piece he has never heard before with almost infallible exactitude. Yesterday several gentlemen went to the platform, and played over pieces; and, during the time they were so occupied, it was amusing to witness Tom's contortions of his body, and his movements generally. He swayed himself about, his eyeballs rolled, his fingers twitched involuntarily, and he seemed like one possessed; and, on being allowed to seat himself at the piano, he repeated from memory the various pieces which had been played to him. In the evening, Mr. Hirst played over a number of pieces of the most difficult character, all of which Tom produced with fidelity.
"On inquiry, we find that his proficiency is a natural gift. From his earliest infancy he betrayed the utmost interest in musical sounds of every kind,—the cries of animals, the moaning of the wind, the rushing of waters, and the like; and when he was allowed to go out in the fields, if he heard a bird sing, he rushed off towards it with frantic delight. We publish a letter we received the other day from an intimate friend in another town,—a gentleman of great musical taste, and no little executive ability,—who is well qualified to give an opinion on such matters. He says,—
"'I presume you have not heard "Blind Tom" play. If not, you never heard a better performer. Like most people, of course, I was inclined to regard this wonderful prodigy as a wonderful humbug; but I assure you, that so far from this being the case, or any thing like it, Tom is as genuine an artist, and possesses as much (and, for any thing I can tell, a great deal more) musical talent or power, either as regards the execution of the compositions of others or of his own, as either Thalberg, Halle, Madame Goddard, or anybody else you ever listened to. I write merely to disabuse your mind of the common impression which we are all apt to form of these singular geniuses; and very strongly recommend you not only to hear him play, but privately test him (as I have done) in any way you like. Improvise to him as difficult or elaborate or out-of-the-way piece as you please, and he will instantly reproduce it. Now, this is no common gift; and therefore you and I, and all who know any thing of music, should use our best efforts to let the public know, that, so far from there being any thing in the nature of clap-trap about Tom, he is, in fact, a musical gem of the first water. Of course I have nothing to do with him; but I have been so highly pleased with his performances, that I thought it might be as well to let you know beforehand (in case you have not already heard him) what my own real impression is of him.'
"He not only repeats every piece he hears from memory, but he improvises and composes; and he last night sang a song of his own composition,—'Mother, dear mother, I still think of thee,'—of great merit for its simple sweetness and pathos. As he cannot possibly remain longer in Dundee than to-night, we would earnestly urge upon all who can afford it the absolute duty of seeing and hearing this wonderful blind negro boy. He is only seventeen; but no man of any age could surpass him for executive ability, as his testimonials from such men as Moscheles, Halle, &c., prove. He performs two or three different melodies at the same time, and plays with his back to the piano with apparently as much ability as in the ordinary position. We would especially recommend all who are interested in anthropology, phrenology, and psychology, to see and hear him for themselves. His ability is a singular confutation of the theories of Hunt and Blake about the inferiority of the negro; for we may challenge any white man to compete with him, in perfect safety. His parallel is not to be found the world over, nor in any time of which the records are known."
As previously stated, Bethune plays full seven thousand pieces. From the subjoined partial list, which I take from his biography, some idea can be gained of the character, the ever-varied character, of the music contained in his amazingly extensive repertoire.
