Mr. Jamieson's fine, ever-increasing musical abilities, his general intelligence and gentlemanly bearing, soon gained for him the entrée of the best musical circles of Boston and vicinity, and secured for him association at concerts with the most advanced artists. During the winters of 1875 and 1876 he several times appeared before large and enthusiastic audiences at a series of entertainments given at Parker Memorial Hall. A writer thus mentions his performances at one of these concerts:—
"Mr. Jamieson, the pianist, was before the public last season, and then gained strong praise. He is a promising young artist, and his performances on this occasion showed marked improvement. His selections embraced a fantasie on the 'Wedding March' of Liszt, a fantasie on themes from 'Rigoletto,' and variations on 'Home, Sweet Home;' and in all three he won deserved applause."
He has devoted himself solely to the piano-forte, and makes no pretensions to a knowledge of other instruments, considering the former as quite worthy of his undivided study,—especially in these days, when, in his own city and state at least, fine piano soloists are so numerous, and whose best performances he desires to equal, and, if possible, to excel.
From the first, Mr. Jamieson has given himself to the performance of only the higher class of music. So determined is he in this respect, that he will not play dance-music, not even that of the best order. The writer once asked him to play one of Strauss' most bewitching waltzes,—one full of those delicious, so to say, entrancing melodies, for which the productions of this gifted composer are so noticeable, and one which at the time had taken nearly every one completely captive. I refer to the "Beautiful Blue Danube" waltz. But he declined to play it. I again and again entreated him; for I not only delighted to hear as often as possible this charming-selection, but, knowing Mr. Jamieson's rare powers as a pianist, I was especially anxious to hear him give life to its magic strains. No amount of persuasion could move him, however; and he finally ended the matter by telling me that he never, under any circumstances, played dance-music, as he deemed its practice an injury to one who wished to reach the highest positions as a pianist. So I was compelled to pocket my disappointment, and to go elsewhere for my "Beautiful Blue Danube."
Mr. Jamieson is an assiduous student, devoting several of the early morning hours of each day to practice on the piano-forte. Even during the heated term, when most artists neglect their instruments, and hie away to enjoy the refreshing breezes of the sea-shore or the mountains, he may much of the time be found at his rooms, undeterred by the hot atmosphere, diligently at work keeping up the nice degree of proficiency he has already attained, or bravely attacking whatever difficulties remain to be overcome. He does, it is true, go away every summer to a quiet nook in the country, remaining, however, only a short while, and during which he does not, to any great extent, lessen his hours of practice.
During the winter of 1874 he several times appeared at public concerts in Boston and in other parts of New England. His performances at a soirée musicale at the Meionaon, Tremont Temple, Boston, were alluded to in the following gratifying terms by "The Boston Globe:"—
"Mr. Jamieson exhibits much power and delicacy, and a certain confident but not obtrusive manner, which will go far, with his abilities, to place him in a high rank among our pianists. He gave much satisfaction; his performance of Liszt's fantasie on themes from Verdi's 'Rigoletto' showing great skill in mastering the difficult technicalities in the variations on the theme."
And in this manner by "The Boston Traveller:"—
"Mr. Jamieson has come into prominence in this city as a pianist, and the ability he has shown has won him the regard of musical people. His selections last evening were all of the highest order, and were uniformly well performed. Compositions of Chopin, Boscovitz, and Liszt, were given; and in each a clear appreciation of the character of the compositions was shown."
Referring to another occasion, "The Boston Globe" thus spoke of our artist:—