PROGRAMME.
Classical Selections.
| 1. Sonata "Pathétique" | Beethoven |
| 2. " "Pastorale," Opus 28 | " |
| 3. " "Moonlight," 27 | " |
| 4. Andante | Mendelssohn |
| 5. Fugue in A minor | Bach |
| 6. " in G minor | " |
| 7. "Songs without Words" | Mendelssohn |
| 8. "Wedding March" | " |
| 9. Concerto in G minor | " |
| 10. Gavotte in G minor | Bach |
| 11. "Funeral March" | Chopin |
| 12. "Moses in Egypt" | Rossini |
Piano-Forte Solos.
| 13. "Trovatore," Chorus, Duet, and Anvil Chorus | Verdi |
| 14. "Lucrezia Borgia," Drinking Song (Fantasia) | Donizetti |
| 15. "Lucia di Lammermoor" | " |
| 16. "Cinderella," Non Più Meste | Rossini |
| 17. "Sonnambula," Caprice | Bellini |
| 18. "Norma," Varieties | " |
| 19. "Faust," Tenor Solo, Old Men's Song, and Soldiers' Chorus | Gounod |
| 20. "Le Prophète" | Meyerbeer |
| 21. "Linda" | |
| 22. "Dinora" | Meyerbeer |
| 23. "Bords du Rhine" | |
| 24. "La Montagnarde" | |
| 25. "Shells of the Ocean" | |
| 26. "La Fille du Régiment" | Donizetti |
Fantasias and Caprices.
Marches.
| 38. March, "Delta Kappa Epsilon" | Pease |
| 39. "Grand March de Concert" | Wallace |
| 40. "Gen. Ripley's March" | |
| 41. "Amazon March" | |
| 42. "Masonic Grand March" |
Imitations.
43. Imitations of the Music-Box.
44. " " Dutch Woman and Hand-Organ.
45. " " Harp.
46. " " Scotch Bagpipes.
47. " " Scotch Fiddler.
48. " " Church Organ.
49. " " Guitar.
50. " " Banjo.
51. " " Douglas's Speech.
52. " " Uncle Charlie.
53. Produces three melodies at the same time.
Descriptive Music.
| 54. "Cascade" | |
| 55. The Rain Storm | Blind Tom |
| 56. The Battle of Manassas | " |
Songs.
57. "Rocked in the Cradle of the Deep"
58. "Mother, dear Mother, I still think of Thee"
59. "The Old Sexton"
60. "The Ivy Green"
61. "Then you'll remember Me"
62. "Scenes that are Brightest"
63. "When the Swallows homeward fly"
64. "Oh! whisper what Thou feelest"
65. "My Pretty Jane"
66. "Castles in the Air"
67. "Mary of Argyle"
68. "A Home by the Sea"
69. Byron's "Farewell to Tom Moore"
Parlor Selections.
| 70. Waltz in A flat | Chopin |
| 71. Waltz in E flat | " |
| 72. Waltz in D flat | " |
| 73. Tarantelle in A flat | Stephen Heller |
| 74. "Josephine Mazurka" | Heller |
| 75. "Polonaise" | Weber |
| 76. Nuit Blanche | Stephen Heller |
| 77. Spring Dawn Mazurka | William Mason |
| 78. "Monastery Bells" | |
| 79. "California Polka" | Herz |
| 80. "Alboni Waltzes" | Schuloff |
| 81. "L'Esplanade" | Hoffman |
| 82. Anen Polka |
Programme for the evening to be selected from the preceding.
XII.
ANNA MADAH AND EMMA LOUISE HYERS,
VOCALISTS AND PIANISTS.
THE "HYERS SISTERS."—AN ACROSTIC.
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"Hail, tuneful sisters of a Southern clime! Your dulcet notes inspire my rhyme: Each in your voice perfection seem,— Rare, rich, melodious. We might deem Some angel wandered from its sphere, So sweet your notes strike on the ear. In song or ballad, still we find Some beauties new to charm the mind. Trill on, sweet sisters from a golden shore; Emma and Anna, sing for us once more; Raise high your voices blending in accord: So shall your fame be widely spread abroad." M.E.H., in Boston Daily News. |
ONE day, two little girls, the one aged seven and the other nine years, came gayly, gleefully tripping into the room where their parents sat quietly conversing, and soon began to sing some of the songs and to enact some of the scenes from operas, performances of which they had occasionally witnessed at the theatre. This they did, of course, in childlike, playful manner, yet not without a showing, considering their ages, of a surprising degree of correctness.
EMMA LOUISE HYERS.
ANNA MADAH HYERS.
Their parents at first, however, only laughed at what they considered the gleesome antics of these embryo personators in opera. But, the little girls continuing in the presence of their relatives and playmates their performances, it was ere long discovered that they possessed no small degree of lyrical talent; that their voices, considering their tender years, were remarkably full and resonant; and that they exhibited much fondness for music, and a spirit of great earnestness in all they undertook.
With these manifestations their parents were of course highly pleased; and they at once resolved to give their children such instruction in the rudiments of music as lay within their power.
Thus, then, did those two gifted little girls, Anna Madah and Emma Louise Hyers, early show their devotion to art, and make that beginning, which, in a few years afterward, was to grow into a musical proficiency and a public success in the highest degree creditable to them.
After one year's instruction, it was found that the girls had advanced so rapidly as to have quite "caught up" with their teachers (their parents); and it was therefore found necessary to place them under the instruction of others more advanced in music. Professor Hugo Sank, a German of fine musical ability, became then their next tutor, giving them lessons in vocalization and on the piano-forte. With this gentleman they made much progress. Another change, however, being decided upon, our apt and ambitious pupils were next placed under the direction of Madame Josephine D'Ormy,—a lady of fine talents, an operatic celebrity, and distinguished as a skilful teacher. From this lady the sisters received thorough instruction in the Italian, and were taught some of the rudiments of the German language. It is, in fact, to the rare accomplishments and painstaking efforts of Madame D'Ormy that the Misses Hyers owe mostly their success of to-day. For she it was who taught them that purity of enunciation, and sweetness of intonation, that now are so noticeable in their singing of Italian and other music; while under her guidance, also, they acquired that graceful, winning stage appearance for which they have so often been praised.
Although, as was natural, quite proud of the rich natural gifts possessed by their children, and extremely delighted with the large degree of their acquirements in the art of music, their sensible parents were in no haste to rush them before the public; and it was therefore nearly two years after leaving the immediate musical tutelage of Madame D'Ormy when these young ladies made their début. This they did before an audience of eight hundred people at the Metropolitan Theatre in Sacramento, Cal., April 22, 1867. On this occasion, and on others afterwards in San Francisco and other places in California, their efforts were rewarded with grand success: the musical critics and the press awarded them unstinted praise, and even pronounced them "wonderful." As a sample of all these comments, I here append the following from "The San Francisco Chronicle:"—
"Their musical power is acknowledged; and those who heard them last evening were unanimous in their praises, saying that rare natural gifts would insure for them a leading position among the prime donne of the age.
"Miss Madah has a pure, sweet soprano voice, very true, even, and flexible, of remarkable compass and smoothness. Her rendition of 'Casta Diva,' and her soprano in the tower scene from 'Il Trovatore,' and Verdi's 'Forse e' lui che l'anima,' as also in the ballad, 'The Rhine Maidens,' was almost faultless, and thoroughly established her claims to the universal commendation she has received from all the connoisseurs in melody who have heard her.
"Miss Louise is a natural wonder, being a fine alto-singer, and also the possessor of a pure tenor-voice. Her tenor is of wonderful range; and, in listening to her singing, it is difficult to believe that one is not hearing a talented young man instead of the voice of a young girl. Her character song was one of the greatest 'hits' ever made; and henceforth her position as a favorite with an audience is assured."
After these concerts they retired to severe study, preparatory to making a tour of the States. Finally, deciding to proceed towards the East, they sang to highly-appreciative and enthusiastic audiences in several of the Western towns and cities. At Salt-Lake City they were received with the very highest marks of favor. On the 12th of August, 1871, they gave a grand concert in Salt-Lake Theatre, offering some five operatic selections. At this concert, and for some time afterwards, the ladies were assisted by Mr. Le Count, a baritone singer of excellence. I append the following scientific analysis of the music used, and the manner of its rendition on the occasion just mentioned. It is from the pen of Professor John Tullidge, and is copied from "The Deseret News:"—
Remarks on the Hyers Sisters' Concert on Saturday, Aug. 12, 1871.
BY PROFESSOR JOHN TULLIDGE.
"A portion of two scenes from the first and second acts of Donizetti's opera of 'Linda di Chamounix' occupied the whole of the first part of the concert.
"The first act opened with a recitativo e cavatina, selected from No. 4, on the words, 'Ah, tardai troppo e al nostro favorito.'
"The recitativo is in A flat major. But there are no flats or sharps in the signature: these are placed before the notes as required. When the transitions are rapid,—as they are in this piece,—it renders the reading very difficult in securing correct intonation. But notwithstanding these frequent changes, and intricate skipping intervals, Miss Anna accomplished the difficulty with ease, and perfectly in tune. The rapid cadence on the dominant was artistically rendered.
"The aria follows with an allegretto in three-four time, and the execution in this division is very rapid; but the vocalist was equal to the task, and performed it with ease and grace. But the most astonishing feat was the cadenza in the cavatina: the singer, instead of closing on D flat,—fourth line of staff,—took an improvising flight, catching in that flight an appoggiatura grace on the note E flat above the lines; and closed with the D flat, a note below on the pause.
"This was a dangerous flight for one so young: nevertheless, the note intoned was clear, distinct, and bell-like.
"Miss Emma sang the alto in the 'Caro Ballato' with Miss Anna, in a duetto on the words, 'Qui si pria della partenza.' The alto takes the notes a sixth below the soprano, and her deep mellow voice produced a fine effect. The next is a recitativo by soprano and alto. In this division the intervalic skippings are difficult; but they were correctly interpreted. The alto then takes up a larghetto in six-eight time, key D minor. This portion required much con dolore expression, which was delivered with much tremolo effect by Miss Emma; and her rich, pure contralto voice in the low register told well. The scene finished with a duet by the two sisters, who were warmly and deservedly applauded.
"The scene in act second contained much of the same forms of execution as the first, with the exception of a brilliant duetto in D major, which reminded me of that beautiful florid piece, 'Quest est homo,' from Rossini's 'Stabat Mater.'
"This duet not only requires fine voices, but rapid execution also, or the rendition would be imperfect; but the sisters gave a charming interpretation to the piece.
"Part third commenced with the 'Magic-wove Scarf,' from Barnett's opera of 'The Mountain Sylph.' Barnett is a fine composer, and was theoretically educated in Germany; and, on his return, he composed the above opera. The musicians in England were much surprised when this clever author left the field of composition, after he had received such popularity from his opera of 'The Mountain Sylph;' but the author was obstinate, and I believe he was offended with some remarks of the critics.
"The scene of the scarf is laid in Scotland. The mountain sylph is a fairy, and falls in love with the tenor, a young Scotchman. The baritone is a Scotch necromancer. The young lover, fearful of losing his fairy love, appeals to this demon for aid; and he, wishing to destroy the power of the fairy, gives the young man the 'Magic-wove Scarf' to throw around her. He told him that the scarf would secure her. He was enticed, and threw the scarf around; but, the moment it touched her, she became spell-bound, and is supposed to die, but is released by a fairy of superior power.
"The trio opens with a fine baritone solo; and, considering Mr. Hyers is not a professional singer, the part was creditably rendered.
"The tenor, Miss Emma, conveyed the author's meaning truly; and her imitation of that voice took her to the F sharp below the staff. This note was intoned with perfect ease.
"In Miss Anna's part there are some beautiful rouladial passages, which were delivered by the young lady smoothly and distinctly; and, when she became spell-bound by the scarf, her espressivo and energico were fine.
"The trio throughout was creditably performed, and was loudly applauded by the audience.
"'Brighter than stars soft gleaming,' from the opera 'Il Trovatore,' is a fine composition abounding in espressivo and bravura passages: the compass is also extensive, requiring great range for a baritone voice. The piece was rendered with credit by the young vocalist Le Count.
"A very choice selection from Donizetti's opera of 'Lucia di Lammermoor' followed, and was sung by Miss Anna Hyers. The first line of the English words is, 'See, 'tis the hour: how sinks the sun!' The whole of this movement is in the affetturoso con amoroso style; and in order to render such a theme effective, as love without hope, but still hoping, the singer must throw a vast amount of pathos into the subject to secure a fine interpretation; which rendition by the artist was all that could be required. The second movement is in D major. The words of the principal line are, 'Grow dark, yes, love's pure flame grow dark, like earthly fire.'
"The author has interpreted these words with rapid sextoles (groups of six notes) and triplets in difficult intervalic skips, and finishing with an intricate florid cadenza in seconds and thirds. Many passages of the same form may be found in Handel's 'Messiah.' The young lady not only glided over these difficulties with ease and grace, but also brought out the espressivo so necessary for the effective rendition of this division. The remaining portions of this fine composition are much varied with rapid executions; and the compass of voice required for effect is extensive, ranging from C above the staff to C below. Every point was delivered by the young vocalist with purity and force.
"I believe this young lady's compass of voice is from E flat above the lines to A below; having at her command the soprano register, the mezzo-soprano, and a portion of the alto.
"Both of the sisters sing in the Italian with fluency and with correct pronunciation.
"'Par Excellence,' sung by Miss Emma, was a complete triumph with the audience, and received a triple call. This was a great compliment after Lingard, the original. But it was the lady's pleasing manner that took the comic-loving patrons by storm: hence the third encore."
After the performance described by Professor Tullidge, the Misses Hyers were tendered by the leading citizens of Salt-Lake City a complimentary benefit. The following correspondence, taken from "The Deseret News," explains itself:—
Salt-Lake City, Aug. 14, 1871.
To the Hyers Sisters,—We the undersigned, residents of Salt-Lake City, having witnessed your performances during your recent engagement at the theatre, and being willing to acknowledge talent wherever found, as a slight testimonial of our esteem tender you our influence and assistance in making a remunerative benefit, to take place at the Salt-Lake Theatre at such time as may suit your convenience.
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JOS. R. WALKER. A.W. WHITE. WELLS, FARGO, & CO. (Per C.F. Smith.) JNO. CUNNINGTON. J.B. MEADER. M.H. WALKER. A.M. MORTIMER. JNO. MANN. S.A. MANN. A. BENZON. D. CANDLAND. J.C. LITTLE. TILDEN & LAWRENCE. B.G. RAYBOULD. JAS. SMITH. N.S. GOULD & SON. SEIGEL BROTHERS. TAYLOR & CUTLER. H.O. PRATT. | HOOPER, ELDREDGE, & CO. WILLIAM M. JOHNS. ROBERT K. REED. CALDER BROTHERS. PROFESSOR THOMAS. JOS. J. DAYNES. HUGH W. McKEE. R. ROSS. THOMAS FITCH. JNO. T. CAINE. W.F. ANDERSON. MARK CROXALL. J.F. HAMILTON. CAPT. SHAW. G.W. LEIHY. F.T. WISWELL. TEASDEL & CO. H.S. BEATTIE. JNO. L. BURNS. |
To this the following reply was returned:—
Salt-Lake House, Aug. 15, 1871.
Messrs. Walker, Tilden, A.W. White & Co.,
Hooper, Eldridge, & Co., and Others.
Gentlemen,—Your esteemed favor is before us; and, gratefully accepting your high compliment to our humble endeavors, we respectfully name Thursday, Aug. 17, as the time of the proposed benefit at the Salt-Lake Theatre.
Respectfully,
Hyers Sisters.
While in St. Joseph, Mo., they elicited from "The Daily Herald" of that city the following encomium:—
"Whoever of our readers failed to visit the Academy of Music last evening missed a rare musical treat. The concert of the Hyers sisters was absolutely the best, furnished those in attendance with the choicest music, which has been in St. Joseph since we have resided here.
"The Hyers sisters are two colored ladies, or girls, aged respectively sixteen and seventeen years; but their singing is as mature and perfect as any we have ever listened to. We had read the most favorable reports of these sisters in the California papers, but confess that we were not prepared for such an exhibition of vocal powers as they gave us last night.
"Miss Anna Hyers, the eldest, is a musical phenomenon. When we tell musicians that she sings E flat above the staff as loud and clear as an organ, they will understand us when we say she is a prodigy. Jenny Lind was the recipient of world-wide fame and the most lavishly-bestowed encomiums from the most musical critics in the Old and New World simply because she sang that note in Vienna twenty years ago. Parepa Rosa, it is claimed, reached that vocal altitude last summer. But the sopranos who did it flit across this planet like angels. Several competent musicians listened to Anna Hyers last evening, and unanimously pronounced her perfectly wonderful. With the greatest ease in the world, as naturally and gracefully as she breathes, she runs the scale from the low notes in the middle register to the highest notes ever reached by mortal singers. Her trills are as sweet and bird-like as those with which the 'Swedish Nightingale' once entranced the world. In Verdi's famous 'Traviata' there was not a note or modulation wrong: her rendition was faultless, her voice the most sweet and musical we ever listened to.
"In the duet, 'There's a sigh in the heart,' her voice was exhibited in wonderful range; and, in the tower-scene from 'Il Trovatore,' its great power was singularly and very agreeably apparent.
"We do not remember to have been more completely and agreeably surprised than we were last evening in the matchless excellence of the singing of the Hyers sisters. They deserve a crowded house; and we predict that in Boston or New York, by the most severe critics, they will be pronounced musical prodigies."
In Chicago their success was none the less flattering. In this, styled by many the "Queen City of the West," the remarkable musical powers of these young ladies created intense excitement, especially among people of the highest musical culture. The extraordinarily high range of the voice of Anna Hyers quite astonished every one who heard her, and evoked the warmest praise of the critics. For the purpose of assuring those who had not heard her sing, or who, although present, failed to exactly locate in the scale her greatest altitude, as well as to more pointedly mark this rare achievement in vocalism, a number of the best musicians of Chicago published a card in "The Tribune," in which they declared that "Miss Anna Hyers sang at the concert last night the second G above the staff,—a note touched by no other singer since Jenny Lind."
Still proceeding towards the East, they next appeared in Cleveland, O., where their delightful vocal powers were thus alluded to by "The Daily Leader:"—
"On Saturday evening last, we had the pleasure of listening to the Hyers sisters, who have, since their appearance in public, been the recipients of the most flattering testimonials; and are warranted in saying, not without the best claim to them, the exhibition they gave of their ability was most satisfactory. The soprano (Miss Anna) has an exceptionally pure, sweet voice, with ample power for all the demands of the concert-room. Her execution was admirable. The contralto (Miss Emma) possesses a voice of remarkable quality; and we do not hesitate to say that a richer or more evenly-conditioned contralto voice is rarely heard. Her execution was all that could be desired."
Encouraged by the marked success which had thus far crowned their efforts, their father, with whom and under whose direction the Misses Hyers had travelled since leaving California, now determined to enlarge his troupe. This he did by engaging the services of Mr. Wallace King of Camden, N.J., a gifted and accomplished tenor-singer; Mr. John Luca, widely and favorably known from his connection formerly with the celebrated "Luca family," and who sang baritone; while as accompanist he engaged the fine pianist, Mr. A.C. Taylor of New York.
An intelligent idea of the composition of Mr. Hyers's troupe can be formed by a perusal of the following, which was the preface given to the programme of his concerts:—
