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." |