Spencer Hamilton
Thunderous applause of appreciation greeted Abou Shimshek, at the conclusion of his interesting recital, and bowing right and left his acknowledgements, with beaming countenance he retired to his seat
An intermezzo of mellifluent music in the interim was followed by the celebrated “Dusky Quartette.” This aggregation consisted of the following members: Madam Celeste D’oumbalooloo, a south African soprano of heavenly sweetness, and a beauty of “hippopotamic gracefulness;” Miss Guza Mulomba, the Kaffir prodigy, with a contralto voice of tremulous colorature; Signor Bombasto Reales, of Kabaloogan, a Filipino tenor of high pitch and clearness, and the basso, Signor Dido Abazuza, a Maori celebrity of thunderous profundity.
“The Dusky Quartette”
Indeed, under the felicitous protection of British and American sovereignty, these colonies had made such rapid advancement toward civilization, that they had produced an abundance of men and women of extraordinary talent and capacity in art and music, so as to eclipse their confreres of Hungarian and Polish origin, in days gone by.
The portfolio of their operatic creations was a revelation. Especially did an operetta, called “Phantasie Senegambienne” arouse the enthusiasm of the audience to such a high pitch of spirituelle tension that at the conclusion—regardless of the (color line)—there was a simultaneous rush of both sexes to where the singers stood. A scene of indescribable osculatory battle raged, the sound of the contact of those luscious thick lips of the Dusky Quartette echoing and reverberating to the utmost recesses of the spacious hall. It took quite a long time before this charming labial fusillade of musical appreciation subsided.
After another soothing interlude, giving the assemblage a chance to recover their composure, a clamorous applause brought forth the American violinist, to make his first debut in Bombay. As he stepped forward, Spencer Hamilton instantly made a deep impression upon the audience. His masterful technique and wonderful skill of execution, when he rendered a new composition of his own, called “The Niagara,” aroused anew the enthusiasm of the throng and, under pressure of vociferous acclamation, he was obliged to render another selection.
With the appearance of this splendid young specimen of manhood upon the platform there was created in the bosom of Aurora a strange psychological condition. Although surrounded with many gallant officers and youths of noble lineage, she was perceptibly affected by the sight of this handsome young American musician. At a glance at the violinist there sprang in her heart afresh the memories of her college days in America.