^ Cornell University S Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/cletails/cu31924074305321 3 1924 074 305 321 '^^^^^.^o?^^^^^ /' '/ MUSIC Aim SOME HIGHLY MUSICAL PEOPLE: CONTAINIWO BBIEF CHAPTERS ON I. A DESCRIPTION OP MUSIC. II. THE MUSIC OF NATURE, m. A GLANCE AT THE HISTORY OF MUSIC. IV. THE POWER, BEAUTY, AND USES OF MUSIC. rOI.LO'WINO WHICH ARE GIVEN SKETCHES OF THE LIVES OF EEMARKABLE MUSICIANS OP THE COLORED RACE. mui) potttatte, AND AN APPENDIX CONTAINING COPIES OF MUSIO COMPOSED BY COLORED. BiEN. BT JAMES M. TEOTTER. " A mnn ■honid hcnr n little music, rend a little poetry, and ice a One picture, every day ot his life. In order that worldly cares may not obliterate the sense of the beautiful which Qod has liuplanted In the human soul." — QoBTHE. " 'Tl« thine to merit, mine to record."— HoMBB. FOUBTR TnorsAKD. BOSTON : LEE AND SHEPABD, PtJBLISHERS. NEW YORK: CHARLES T. DILLlNaHAM. 1880. OoPTBiaHT, 1878, Bt jambs U. TEOTTBB. Franklin Preu! Simatyped and Printed 6]) Rand, Avery, &> Ca., Batten. PREFACE. The purposes of this volume will be bo 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, bb 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 pro- priety to the course hereinafter pursued, — that of mingling the praises of both. But, in truths 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 3 4 Preface. setting for the personal sketches that follow, but also tc render the book entertaining to lovers of the art in general. While grouping, as has here been done, the musical celeb- rities of a single race ; whUe 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 complex- ional 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 informa- tion which is here afforded, erroneous and unfavorable esti- mates 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 estabhsh 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 chroni- cler ; 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 a;id man, — with these purposes in view, this aumble volume is hopeftilly issued. THE AUTHOR. CONTENTS. vAoa A Descbiption of Mtrsio ...,.,. 7-H Tub Musio op Natuke ....;.. 12-21 A Glance at the Histobt of Mubio .... 22-60 The Beauty, Poweb, and Uses of Musio . . , 51-65 Elizabeth Taylob Gbeenfield (the " Black Swan ") , . 66-87 The LucA Family . , ., . . . . . iS8-105 Henbt F. Williams 106-113 Justin Holland 114-130 Thomas J. BowEBS (the "American Mario") . . . 131-137 James Gloucestbb Demabest 138-140 Thomas Gbeene Bethune ("Blind Tom") . . . 141-159 The Hyebs Sistebs 160-179 Fbbdebick Elliot Lewis 180-191 Kellie E. Bbown • . . . 102-208 Samuel W. Jamiebon . . . 20J^-218 Joseph White (preceded by a brief account of Ihe Violin, pp. 219-223) 224-240 The Colobed Amebioan Opera Company . . . 241-252 The Jubilee Sinoebs of Fisk Untvebsity . . . 263-269 The Geobgia Minstbels 270-282 PART SECOND. Introduction 28&-288 Rachel M. Washington 288-290. James Cabbbas 300 John T. Douglass 301 Walteb F. Cbaig 301 W'LLiAM Appo 302 William Bbady 302-303 Peteb p. O'Fakb 804-306 Feank Johnson, and his Famous Military Band and Orchestba 806-309 Joseph G. Andebbon 808-309 Madam Bbown 309 Sabaii Sedoewiok Bowebs 309-310 John Moobe 810-311 S 6 Contents. PAQB Samubi. Ltjoas 812-313 William H. Stabb 814 G. H. W. Stewabt 330 The Lambert Family 338-340 Edmuitd Dtot 840-341 Basile Bab^s 841 SAM0EL Snaeb 841-343 Pbop. a. p. Williams, 343 E. V. Macabtt . . . 343-844 Mattbice J. B. BoimLET 844-345 Dennis Auguste 345 The DuPBf: Family 347-348 Chableb Martinez 843 Thomas Mabtin 849 Othee Musical People of — POBTLAND (Me.) 800 Boston 288-208 woboestbb 800 New Yoek 801-804 Nbwabk . . . : .800 PBILADELFniA 800-811 PiTTSBUBOn 811 Cleveland 811-812 Wabhington (O.) 312-313 Chillicothe ^O.).. 813-316 Cincinnati . . . .... . . . . • . . 316-321 CmoAGO . . 821-323 The Music of tee South 324-829 Baltimobe . . . 829-330 Louisville 830 St. Louis 330 Helena 330 Memphis . ' . . 831 Nashville 331 New Obleans 833-353 ILLUSTRATIONS. ♦ 1. Elizabeth Tatlob Gbeenfield. 2. The Luca Family. 8. Henby F. Williams 4. Justin Holland. 6. Thomas J. Bowebs. 6. Thomas Gbebnb Bethunb. 7. The Hyebs Sistebs. 8. Fbedebice Elliot Lewis. 9. Nellie E. Bbown. 10. Samuel W. Jamieson. 11. Joseph White. 12. FiSK Univebsity. MUSIC AND SOME HIGHLY MUSICAL PEOPLE. A DESOniPTION OF MUSIO. "In the Btorm, In the etnoke, In the fight, I come To help thee, dear, with my fife and my drum. Uy name to Music : and, when the bell Kings for the dead men, I rule the knell ; And, whenever the mariner wrecked through the blaat 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 lUnclus roll; Then down by CUtumnus and Amo's vole I wandered, passionate and pale. Until I found me at sacred Rome, Where one of the Medici gave me a home. Leo — great Leo I — he worshipped me. And the Vatican stairs for my feet were ftee. 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 thoae In my worship ; and, when you go Wherever tbclr mighty organs blow. Bear In them heaven's trumpets to men below." T. W. Fabbons. WHAT is music ? Quite easy is it to answer after the manner of the dictionaries, and say, " Mu'sio is (1) a number of sounds following each other in a, 8 Music and Some Highly Musical People. natural, pleasing manner ; (2) the science of harmoni- ous soimds ; 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 descrip- tion of this really sublime manifestation of the beau- tiful would be to very inadequately express its mani- fold meanings, its helpful, delightful uses. And yet the impressions made upon the mind and the depth of feeling awakened in the heart by mu'sic are such as to render only a partial (a far from satisfying one) de- scription of the same possible, even to those most skil- ful and eloquent in the use of language ; for, in fact, ordinary language, after exhausting all of its many re- sources in portraying the mind's conceptions, in depict- ing the heart's finer, deeper feelings, reveals, after all, its poverty, when sought to describe effects so entran- cing, 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 ex- pressed in a language of most subtle power, — a lan- guage all its own, and universal, bearing with it ever an exquisitely touching pathos and sweetness that all man- kind 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 every- «'here about liim, in nature and in art, he constantly A Description of Music. 9 hears, the reader requires no great length of words in explanation of that which he so deeply feels, and there- fore 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 de- scribing 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 cre- ate 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 quali- ties 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 " 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 representa 10 Music and Some Highly Musical People. tion 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 dif- ferent: 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 per- former 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 nj asical harmony, whether by instrument or by voice, it being but of high and low in sounds a proportionable disposi- tion, 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 iu it harmony : a thing which delighteth all ages, and beseemeth all states ; a thing as seasonable in grief as in joy ; as decent A Description of Music. 11 being added Unto actions of greatest ■weight and solemnity as being used when men most sequester themselves from actioa. 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 sub- ject." 1 " I would fain know what music is. I seek it as a man seeks eternal wisdom. Yesterday evening I walked, late in the moon- light, in the beautiful avenue of lime-trees on the bank of the Bhine ; 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 brea;st, 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 j , 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 plfjits."" 1 Hooker. * BertiiiL II. THE MUSIC OF NATTJBE. " The lark alnga loud, and the tbrostlc'a song la heard from tbo depths of the hawthorn dalo; And the rush of the streamlet the vales among Doth blend with the sighs of the whispering gr.le." Matin and Eveninq Sohqb. TO the inventive genius of man must, of course, be attributed the present developments, and the beau- tiful, 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 hvunan comprehension as vague (an attempt at the contemplation of which would be without profit in this connection), and what 12 The Music of Nature. 13 has been called the " music of the spheres," ' we may proceed to briefly touch upon those forms of natural music which are eTer 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 atmos- phere is freighted with a delightful fragrance ; and &om rustling bough, from warbling bird, from rippling brook, and from the joyous hum of insects almost iimmnera- ble, . " The air is full of noisea, sounds, and sweet airs, That g^ve delight, and hurt not." All these, the beauties of . animate and inanimate Nature, pleasantly affect the senses. But the chief in- fluence 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 light- some, inspiriting carollings ring out upon tlie 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." 1 Reference is supposed to be made to this in the Book of Joh, in these words: " When the morning stars sang together, and all the son* of God shouted for joy." 14 Music and Some Highly Musical People. 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 Cen- tennial Exhibition, to there exhibit their marvellous skiU. 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 gire us just one more tune.' " And then, to my surprise, the little bird whistled the tune of ' Yankee Doodle ' as well as I could hare 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 wcrth 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 gfi^en 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 dc with what they eat." But as, in presenting these examples of the musical teachableness of the " feathered songsters," I am enter- The Music of Nature. 15 ing the domain of music as an art, I will not fuxther di- gress. 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 war- bliugs 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 rap- ture the following unique wish : — " Oh I 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 /)er/ec< 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, va- riegated, perfect hues, that emit, in their sweet, de- licious 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 — 16 Musio and Some Highly Musical People. BLUE HAREBELL. 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, Bing 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 musio 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 tougue ; 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 natu- ral 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, aa The Music of Nature. , 17 a deep, dull, humming, far-resounding tone, with a strength pro portionate 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 attempt- ing 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 majestic- ally 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 zeph- yrs:— " We sit beneath the dreaming moon, And gaze upon the sea : Our hearts with Nature are in tune j 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 lore-song to the sea." There is a pretty, delicate music made by the rip- pling, 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 : — 18 Music and Some lEgUy Musical People " 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 hea'd Murmurings whereby the monitor expressed Mysterious union with its native sea." And an anonymous writer (it does not seem that ha had good cause for hiding his name) thus discourses on the music of the sea : — " The gray, unresting sea, Adown the bright and belting shore Breaking in untold melody, Makes music evermore. Centuries of vanished time. Since this glad earth's primeval mom, Have heard the grand, unpausing chime, Momently new bom. Like as in cloistered piles Rich bursts of massive sounds upswell, Ringing along dim-lighted aisles With spirit-trancing spell ; So on the surf-white strand Chants of deep peal the sea-waves raise, Like voices from a viewless land Hymning a hymn of praise. By times, in thunder-notes, The booming billows shoreward surge ; By times a silver laugh it floats; By times a low, soft dirge. The Music of Nature. 19 Souls more ennobled grow Listing the worldly anthem rise ; Discords are drowned in the great fl>w Of Nature's harmonies. Men change and ■ cease to be,' And empires rise and grow and fall ; But the weird music of the sea Lives, and outlives them all. The mystic song shall last Till time itself no more shall be ; Till seas and shores have passed, Lost in eternity." But the wind ia 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 dwell- ings, 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 verv 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 Tay- lor's drama, 'Edwin the Fair,' there are some pleasing lines, <50 Music and Some Highly Musical People. where the wind is feigned to feel the want of a voice, and to woo the trees to gire him one. " He applied to several : but the wanderer rested with the pine, because her voice was constant, soft, and lowly deep; and ha welcomed in her a wild memorial of the ocean-cave, his birth- place. 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 can- not be given. " The Father spake : in grand reverberations Through space rolled on the mighty music-tide ; While to its low, majestic modulations The clouds of chaos slowly swept aside. The Father spake : a dream, that had been lying Hushed from eternity in silence there, Heard the pure melody, and, low replying. Grew to that music in the wondering air, — Grew to that music, slowly, grandly waking. Till, bathed in beauty, it became a world ; Led by his voice, its spheric pathway taking. While glorious clouds their wings around it furled. The Music of Nature. 21 Not yet has ceased that sound, his love revealing ; Though, in response, a universe moves by ; Throughout eternity its echo pealing, World after -world awakes in glad reply. And wheresoever in his rich creation Sweet music breathes, — in wave, in bird, or soul, — 'Tis but the faint and far reverberation Of that great tune to which the planets lolL" 111. A GLANCE AT THE HISTORY OF MUSIO. '* Thespls, the first professor of our art, At country wakes sang ballads from a cart." Drtdbh. 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 sa- cred 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 palpa- ble 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 yearn- ings of his soul in song first, and then with some sort of musical instrument. And to man it was given, com- mencing 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 22 A Qlance at the Mstorj/ of Music. 28 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 histori- cal presentation of an art from its birth, when docu- mentary 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 ad- vance 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 beauti- ful allusions to and descriptions of this charming sci- ence ; 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 th« Creator, — sacred music. In fact, this noble quality of Die 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 in- strumental, the books of the Old Testament often speak. 24 Music and Some Highly Musical People. 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 instru- mental, in the Scriptures, is made in Gen. iv. 21: " Ju- bal 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 sootliing 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 : — " The harp the monarch minstrel swept, The king of men, the loved of Heaven, Which Music hallowed while she wept O'er tones her heart of hearts had given, — Redoubled be her tears ; its chords are riven. It softened men of iron mould ; It gave them virtues not their own : No ear so dull, no soul so cold, That felt not, fired not, to the tone ; Till David's lyre grew mightier than his throne. A Glance at the History of. Music. 26 It told the triumphs of our King; It -wafted glory to our God ; It made our gladdened valleys ring, The cedars bow, the mountains nod : Its sound aspired to heaven, and there abode. Since then, though heard on earth no more, Devotion, and her daughter Love, Still bid the bursting spirit soar To sounds that seem as from above. In dreams that day's broad light cannot remove." 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 dimen- sions : 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' U'us speaks: — " The Egyptian flute waa only a cow's-horn, with three or four boles 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 26 Music and Some Highly Musical People. Jericho fall down were only rams'-horns : their flute was the t ama 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 hori- zontal 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 lind tlieni bor- rowing music from Etruria, Greece, and Egypt ; originating noth- ing, and (although the study was pursued by the emperors) never finding any thing higher in its practice than a sensuous gratiflca- tion. "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 promi- nent 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 primi- tive 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 Bung 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 ancestor/s. " Under the rule of the emperors, all these worthy con positions vent to decay, and were replaced by a much more cegrading A Crlance at the Exstory of Music. 27 school of music. At no time, however, was music cctnsideied a necessary part of the education of Koman youth. " There existed in the latter days of ancient Rome eome 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: — " Tlieoretical : first, arithmetic, physics; second, harmony, rhythm, metrics. " Practical : composition, rhythm, melody, poetry. "Execution: playing instruments, singing, dramatic action; which makes a rather formidable arrays even to modern eyes. " Among the Boman 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 play- ing 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 Koman 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 Titur to theii aid, and these pretended to give a great feast to welcome the flute- players. At this feast the musicians were all made very drunk; 28 Music and Some Highly Musical People. and, ■while asleep from the effects of their liquor, they were bundled into chariots, and driven back to Rome, where all their old privi- leges 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 occa- sions to ten. " Only at one time did the flute disappear from any public wor- ship, 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-sig- nals. These were of very large size, usually of brass ; and their sound is described as ' terrible.' There was also a smaller (shep- herd'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 Rotne. When the wor- ship of Bacchus was prohibited, they passed away with that lioen- A Glance at the History of Musics 29 tious rite. The most complicated instrument of the ancient world appeared in Home 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 instniment. " 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 Home, however, until nearly three hundred yeai-s 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 tjiis hydraulic organ, each writer mounts his hobby-horse, and careers over the field of conjecture. Vitruvius has given a full descrip- tion of the instrument from personal inspection ; but as histechnical 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 Hnrfs 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 oigan was played, was in a state of agitation, as if boilingi ' " " 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 iimall 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) 80 Music and Some Highly Musical People. commences with the fourth century ; at which time St, Ambrose, Bishop of MUan, 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 trou- badours, 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 Idngs and nobles of the time were also, in a sense, troubadours ; such as, for instance, Thibault of Navarre, add William the Ninth of Poitou. These roving musicians, who generally united the qualities of the poet, the musical composer, and perform- er, were treated with much favor by princes and aU 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 preserva- tion 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 disso- lute, 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 fincient troubadour, styling him— A Glance at the Mistory of Music, 81 "THE POET OF OLD. Once the poet wandered, With his lyre in hand, — Wandered, singing, harping, On from land to land. Like a bird he hovered ; And, where'er he came, Kindled he each bosom With his song to flame. Careless of the morrow, Journeyed he along ; Opened every portal " To the sound of songi Sud sponte heart's-ease In his bosom grew : Happiness as birthright. Like the gods, he knew. All life's haps and changes On his chords he rung : Every thought, emotion. In him found a tongue. Voiced he for the lover Passion of his breast ; Feigued he, death to lighten, islands of the Blest. Up in ether throned he Gods, the world to sway, — Gods to bind and listen While their votaries pray. Soul and sense, enchanted, Drank his accents in : E'en to marble bosoms He his way could win. 82 Musio and Some Highly Musical People. From her casement Beauty Leaned his song to hear : E'en the haughty conqueror Bent a willing ear ; For without the poet And his epic lay Passed his vast existence, Whirlwind-like, {iway, — Trace nor vestige leaving ■^Tiere his legions trod, ^ Which the year effaced not From the vernal sod. Thus the poet wandered In a nobler time, — Wandered, singing, harping. Free of every clime. During the fourteenth century, music was most culti- vated 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 Despr^s, 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 publica- tion arid spreading of the thoughts of the composer), and with the Reformation in the sixteenth century, the A Glance at the Sistory of MuBtc? 83 noble art of music began a new, unimpeded, and brilliant career among the civilized nations of the world. Dat- ing 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 devo- tees. 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 Falestrina, a learned Italian of the sixteenth century, and whose musical genius and industry were most remarkable, is due the greatest homage and grati- tude 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. Ho was ■ regarded as tlie great reformer of church music. His knowledge of counterpoint, and the eleva- tion 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 accom- plished in the art, performing upon the lute. Virginals, and viol. She often charmed the attachSs of and visit- ors to her court by her skilful performances. During 84 Mtisio and Some Highly Musical People. 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. Jn the year 1540 flratorio was first composed, foUo-vred 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 Eng- land, 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, leav- ing 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 achieve- ments of those who have become great, nay, in some A Q-lanee at the History of Music. 85 instances he might say almost immortal, in its sacred domain, would require a volume far beyond the preten- sions 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, MalibraU) Lind, Parepa Rosa, Nilsson ; of Haupt, Paganini, Vieux- temps, Ole Bull, Rubinstein, Liszt, and Von Bulow.' The eighteenth century was a most remarkable period for achievements in the composition of orchestral, ora- torio, 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:' "The great musical composer Mozari, was a wonderful instance of precocity, as well as of surpassing genius. He died at the early age o£ thirty-five, after a career of unrivalled splendor, and 1 For an able criticism of the composers and somo of the performers mentioned, the reader is referred to Professor Bitter's very Talnahlo History of Music, In two volumes. 2 In the Library of Entertaining Knowledge, vol. iii. p. 7G. 36 Music and Some Highly Musical People. 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 illustra- tion 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 pro- ductions, 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 exist- ing 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. *I1 Flauta Magico,' 'La'Cle- menza di Tito,' and a ' Requiem ' which he had hardly time to finish, were among his last efforts. The compo- sition of the 'Requiem,' in the decline of his bodily powers, and under great mental excitement, hastened his dissolution. He was seized with repeated fainting- A Glance at the Bistory of Mudd. 87 fits, brought on by liis extreme assiduity in writing, in one of which he expired. A few hours before his death took place, he ia 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 P. L. Ritter, in one of his excellent lectures on music, says, " Beethoven's compo- sitions 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 ' of Beethoven's last hours on iearth, as be was nearing the time " When all of genius •which can perish dies," although replete with sadness, is yet a tribute so louchingly beautiful and eloquent as to make it well worthy of insertion here. " TBI! LAST MOMENTS OF BEBTHOVEIT. « ^ " He had but one happy moment in his life, and that moment killed him. " He lived in poverty, driven into solitade by the contempt of Ihe world, and by the natural bent of a disposition rendered harshj almost sarage, by the injustice of his contemporaries. But ha I Anonymously contributed to the Boston Folio for May, 1877. 88 . Music and Some HigMy Musical People. 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 Kature 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 taore 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 iu saying, ' He was a clever pianist.' *' Thus was it said of G^ricault, ' He blends his colors well ; ' and thus of Goethe, ' He has a tolerable style, and he commits no faults in orthography.' " Beethoven bad 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 com- pletely 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 at- tached by the good offices which he had himself performed for The youth, wrote to implore his uncle's presence at Vienna. Ila liad 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 be stopped before the gate of a small, mean-looking bouse, and solicited shelter. He had already several leagues to A Glance at the History of Music. 39 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.sup- per, 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. I " 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 flre 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 heraelf weeping into her mother's arms. Then they appeared to consult together : they resumed their in- struments; they commenced again. This time their enthusiasm reached its height ; their eyes werd filled with tears, aid 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 1 also love music : but, as you see, I am so deaf that I cannot hear atiy 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 bifrst inft 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.' 40 Musio and Some Highly Musical People. f And they uncovered their heads, and bent before him in re spectful 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'oeuvre. 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 pight, Beethoven was restless and fevered. He rose : he need- ed air: ho went forth with naked feet into the country. All nature was exhaling a majestic harmony; the winds sighing through tho 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 re- turned 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, — Plummel, his old and only friend. He had heard of the illness of Beethoven, and he came to him witli suc- cor and money. But it was too late : Beethoven was speech- ' less ; and a gratef al 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 com.- passion.and regret. " B6ethoven seemed re-animated ; his eyes shone : he struggled for utterance, and gasped, 'Is it not true. Hummel, that I have some talent, after all 7 ' " 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." A Glance at the Mttor^ of Music. 41 Among the most eminent composers of the present century may be mentioned Auber, Schubert, Eossini Meyerbeer, Mendelssohn, Weber, Verdi, and Wagaef. In " The Contemporary Review " there lately ap- peared the following beautifully worded tribute to the noble qualities of Mendelssohn : — " Mendelssohn reigns forever in a sweet wayside templg of hid 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 mksiou to develop, he sings lilie 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.' Indeed, it would seem that the time has not yet come for attempts to be made to im- prove upon the works of those great musical limiinar ties ; for they have left too much that is deep, classical, charmingly beautiful, and soul-satisfying. The musical world has paused, not caring to go fartherj to conscien- tiously study their noble creations, so fruitful in the delights, the soul-elevating influences, which they afford. But, although no great genius has of la,te years ap- peared 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; whUe the ^ It would, perhaps, be better at present to except those of Wagner, upon the surpassing merits of which the best critics are as yet divicled. 42 Music and Some Highly Musical People. number of really great instrumentalists and vocalists is quite large, and is constantly increasing. In these lattei respects the present far exceeds the past.^ In fact, the study of the art of music has begun to be considered a necessity 5 and ability in its comprehension and perform- ance 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 pleas- ure 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 en- tirety. 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 won- derful achievements of that brilliant impressario, P. S. » It should also be here remarked, that there has been, too, a remarka- ble improvement made in the construction oi most all musical instru- ments; they having been brought to a nicety and beauty of form and tone probably not dreamed of by the makers of the paat. A Glance at the Mstory of Muii6. ■ 48 Gilmore of Boston, who in the year 1869 conceived the idea of having a grand" musical festival, the noble objects (Jf ■which were to celebrate the restoration of peace iu 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 per-' formance a larger body of most skiKul musicians than wa". ever before attempted. An immense building called " The Coliseum " was constructed for the pur- poses of the festival, which was to continue five days. On the 16th of June, in the city of Boston, " The Nar tional Jubilee and Great Musical Festival " was begiln. The number of instruments and performers composing the great orchestra was 1,011 ; and an organ of im- mense 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 firemeti 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 orches- tra, and all the leading performers (alnong the latter were Ole BuU, 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 per* fom;ed by this vast ensemble with a precision and an excellence that were really grand and wonderful. This achievement of Gilmore was considered the most bril- liant entertainment of modern times. Of it, it has been truly said, — 44 Music and Some Highly Musical People. " 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 diyine 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,' 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 a« 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, GUmore, 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 Festi- val." 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 in- struments, and the chorus numbered over seventeen hundred voices ; while a mighty organ and cannon and anvils were used as before. . The great soloists engaged vfQxe Mme. Leutner, Johann Strauss, Franz Abt, and 1 The church-bells ol the city were also employed in rendering soma of the music. A Crlance at the Histoty of Musid. 45 Bendel. Forei^ governments being invited to send representatives from among their best musicians, Eng- land sent the Band of the Grenadier Guards ; Germany, its great Prussian Band ; France, the brilliant Fi-ench Republic Band. King William of Prussia sent also, as a special compliment, his classical Court Cornet Quar- tet ; and Ireland sent its best band. To this galaxy of star military bands, perhaps the.greatest ever assem- bled, 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 de- light of many thousands of people, and GUmore became at once the most brUliant and daring impressario genius of the world. As before intimated, Wagner is not kt 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 formiiig beautiful fairytales. 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 fu- ture, n« selected from far and near Only the best artists for the performance of his opera (these weiej subjected to long and careful rehearsals under his own cohductbr- ship), 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 46 Mum and Soma Highly Musical People. 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, con- tinued three days, the performance of each part of the triology occupjdng — exclusive of a wait of one hour after each act -r- from four to five hours. At these performances the nobility of Germany and other countries, . together with the Abb^ 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 iu his speech he said, "Now we see what can be done ; at last we have a German art." ' -lit 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* A Glance at the Sistory of Muiioi 47 York Times," says, " Musically considered, it is not sig- nificant. It is hopeless, therefore, to look for popularity for the work ; at present, at least." I "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 beeii given to the world in its complete form*" ' .,..,:! Very recently, Mr. Moncure Di Conway thus expreflsea his high admiration for the work of Wagner : — ^ " I am satisfied that the Englisti-speaking 'iirorld is little award at present of the immensity and importance of the work Wagnef has done for art. Plato declared that the true musician must have poetry and music harmonized in himself; and the world has waited twenty-fire hundred years for that combination to appear. Having carefully jread 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, th6 general concept tion of his chief operas, taken together, is in the largest Sense poetic, and I might even say Homeric. This man has transmitted tin 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 dwn Teutonic ancestors. It is all there, — its thott-. sand phantasmal years, from the first cowering cry of. the Norse savage before the chariot of his storm-god to the laSt gentle . hyitiS that rose to Freya under her new name of M&ry,^all. It is interpreted as a purely human expression ; and, I tepeat, lio maa 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 I From a writer In the New-Tork Herald. 48 Muaio and Some Highly Musical People. ' Bocieties ; 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 Bee- thoven 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 BT TELEQBAPH. : ' <' 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 mean^ of steel forks made to vibrate at one end of the line, the pulsations passing . through the wire independently of each other, and re- appearing 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. Gtoodridge, to tra.nsmit musical sounds, "ffhich were received very distinctly amid hearty afiplaiise from those present. "Itwas the first time that many present had heard 'Home, Sweet Home,' ' My Country, 'tis of Thee,' or ' Old Hundred,' ren- dered so beautifully by telegraph ; and they evidently enjoyed the treat." A C^lanee at the History of Muaid 49 By this inventioii, 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 petfect 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 fefEect upon the ear is rich, and ex- tremely satisfactory. After listening to it a little whilcj 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 exhib- ited at the South-Kensington Exhibition, before the recent meeting of the British Association, and elsewhere. The highest scientifio authorities have pronounced most thoroughly in favor of its ' per- fectness, beauty, and simplicity.' Whether the greater complica- tion 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 WUliam 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 60 Music and Some Highly Musical People. also presented with much success a new symphony by the; talented composer of oratorios, &c., J. K. Paine, ulii alluding to the progress of music in the United States, " The Music Trade Review " says, " If the cen- tennial 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 a?id native workers who now know a sonnet from a Baraband." IV. THE BEAUTY, POWEK, AND USES OP MUSIC. " The mill lives Its best honra when Borronnded by melody, and Is drawn towards Its home, Paradise, dreaming of Ita hymning serapha who adore with ecstasies that can find utterance only In song." "And how can happiness he better expressed than by song or moslc? And, If the body and mind are both attuned to a tme ei]t]oymcnt of their resources, how much more will the moral nature be refined and educates I " , npHE cultivation of the art of music has ever fol- -L lowed closely the progress of civilization ; an4 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." Con- fucius 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 Btudj of it in its higher departments, such as composition, har^ mony, and counterpoint, develops the mind as much ai the study of mathematics or the language^. It teaches us love, kihdhfesd^ charity, perseverance, patience^ diligence, promptness, and puiictu^ ality." And a writer in "Chambers's Journal" remarks, that ' 61 52 Muaie and Some Highly Musical People. "In society, where education requires a submission to rule\ ringing 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 pos- sessing to some extent a faculty for musical discern- ment, are yet so much governed by what is called a sense of the " practical " in life as to avoid all opportu- ^ty for the enjojmient of melody, considering such indulgence as a waste of precious time. It is, how- ever, pleasant to know that the number of all such per- sons — who must, I think, be regarded 9& really tmfortu- nate — 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 Bee- thoven 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 Beauty, Power, and tlsei of Music. 63 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 ia beautifully embodied in the lines of Rogers : — " 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 aesthetics, has also those more simple ones for the de- light 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 inother sings ' to it a simple, pretty song. Soon the crying ceases; the little eyes brighten with a delighted interest j 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 ring-i ing in its ears to the }ast, has been soothed into dream- land. Indeed, the power of music to touch the heart, to fill the soul, lies oftenest in those tones that are com-' prised 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 musi- cal sounds from their reverse, is, in degree at laast, a musician; and whether such a one may enlarge hi3 faculty for musical discernment and enjoyment depends 54 Music and Some Highly Musical People. only upon the extent of his observations, or rathei upon the amount and kind of his study, i' As elsewhere remarked, some time has elapsed since the music-loying world has been called to the contem- plation of any great, new revelation in harmony. Mean- while 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 nainds of all God's children a love for that which may be fitly called, the " true, beautiful, and good." Asso- ciating music with the very highest form of happiness, one of the older poets imagines this beautiful scene in heaven ; — ' " Their golden harps they took, • Harps ever tuned, that glittering by their side Like qpivers 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 jou 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 Beauty, Power, atid TTtei of Musie. ' 66 which the beauty, the power, atid good uses of inusic are exemplified, and of the advantages to be derived from its conscientious study. It may be noticed, that, in those toAvns and cities con- taining 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 J cul- tured people have attractive and generally musical homes, and are thus made, to a great extent, indepehd> ent of the amusements afforded in public places. This 1 mention, not to decry the theatrej which, I hold, bas.its appropriate, and, -under proper conditions* educational and refining uses. In fact, the theatre (in which is pei^ formed the legitimate drama) would seem to be in cer-; tain respects a necessity, affording as it does occasional change of scene, and ministering to that desire for relax-, ation and amusement so naturally, so invariably felt by those persons who have not, in a true senscj 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 ent.ertainment8 of our homes should charm and retain their members, than that these should oe sought for outside their, in some respects, sacred eonfines. The reasons for this are so apparent to the Choughtful, that they need not be greatly enlarged upon. Briefly, then, in the home is sc^fety : over its members are extended the protecting wings of guardian angels J ivhile without are often snares and danger, either in palpable forms, or in those hidden by the glittering, the aliuring disguises which are so often thrown over vice. On this very subject with what truth and directness t«>tton speaks, when he says, — 66 Music and Some Highly Musical People. " If eolid happiness we prize, Within our breasts this jewel lies ; And they ^re fools that roam. The world has nothing to bestow : • ^ From our own selyes our joys must flow, And that dear hut, our home "I • 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 feigns therein! and what a gentle yet po- tent aid it is in parental government! The allure- ments to outside and often harmful pleasures lose their pO'^ef ' over the children of that household in which music's engaging, magic influence holds delightful, ele- vating sway. And then at times, when instruments and voices mingle in a " concord of sweet sounds," how de- lightful 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 tune- ful 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. '* The music in my heart I bore Long after it was heard no more," To the great aid afforded them by music in govern- ment, 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 Beauty, Power, and tJaei of'Musie. . 57 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 i '; "Songs have at all times, and iA all places, afforded i amusement and consoloition to mankind: eyery passion ^ in the human breast has been vented in song j and the ; most savage as well as the most civilized inhabitants of • the earth have encouraged these effusions." The fol- lowing 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 Tran- script." " A reporter of ' The San Francisco Chronicle,' who recently visit' ; ed the industrial school, was very much impressed by what he saw . and learned there concerning not only the taming, but the reform- ing and refining influence of a 'concord of sweet sounds.' At- tached to the institution is a music-teacher, who has at all times in active training a number of boys, who perform oh the various 58 Muaio and Some HigJily Musical People. iltstruments that make up a brass band. - This teacher, who is an iiftelligent 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 £ould not or would not acquire even a knowledge of their 'a, b, abs,' took hold with evident relish of the comparatively c|ifficult. 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 loye of music is inherent in the average bad boy. lie. has usually in training a baqd of twenty pieces : but he says that this number he could easily augment at any time to two, threie, or even four times as many ; for he very rarely finds a boy that has not a taste for some musical instrument. The greatest troiible he has yet encountered in the formation *of his bands is the fact, that, as soon as his pupils become really proficient, they are jready 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 hare turned their knowledge of music, acquired within the walls of the industrial school, to profitable account." We know that music, either vocal or instrumeutal, and in many caseg the two combined, has for many cen- turies been considered necessary for the proper worship of God. The harmony that issues in grand and melt- ing tones from the noble organ subdues the heart, and fills it with solemnity, sweetness, and hope : the sacred ohant, the prayer or thanksgiving, uttered in melodious song, by the choir or by all the congregation, — these ca\ise the sordid world with all its cares and wild pas- sions to be for the while forgotten, and the soul, charged Beauty^ Power,' aiHd Usei of Musio/ 69 ;fith the influences of divine harmony and most holy iispiration, is lifted to heaven. And so music, with its gentle, its ever-winning power, haS Constantly beeii Used by the churches to secure the attendance of those who without it had been indifferent. This has been 'esjie- cially the practice of the Rotiati-Catholic Churcli'for inducing the attendance of Ptotestftnts, and ia after tho custom of olden times, when the Gentiles were thus drawn into the Christian churches, coining at first through motives of curiosity; They were, howeterj often so captivated by the music as to submit td bapi tism before departing. In most of our large cities, a considerable number of wealthy Protestants are induced; by the superior musical attractions of Catholic churclies, to attend for a while, renting pews, and finally, in some cases, to become members; and Protestant churchesj to sustain the interest in their services, and to insure the attendance of members and others, have beeu obliged to recognize this love among the people for the divine art. . ■ ' ' The German race is remarkable forthe^ intelligence^, steadiness, and industry of its members, and theit lovd for and cultivation of the art of music, -^ thfese latiei? • characteristics prevailing to a most pleasing degtee 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, espe^ cially in their social relations! Their chUdreh 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 ; 60 Music and Some Highly Musical People. thus wisely uniting the practical with the poetical in life, How in keeping is a musical love so warm, and ^ musical proficiency so general, .with a nation which has given to the world a Mozart, a Haydn, and a Bee- thpyen I 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 dis- ease. 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 fanci- ful 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 bodUy sufferings, — it, being almost a proverb, that " a pain forgot is a pain cured," r^- 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, more Beauty, Power, and Uses of Mude, 61 over, that thia delight-affording art tnay be profitably used to " minister to a mind diseased," and that ita aid is of ben invoked by those physicians . wbd are most skilful, if not in curingj at least in ameliorating the condition of, persons afSicted with that terrible maladv, 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 cor- rect, — 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 some- times 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 liighly 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 J 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 " atari " must hot be classed with the conscientious, loving student of the art. Some among the former, gifted with phenomenal voices or with rare powers for instrumental perforinance, having reached, perhaps, with a few easy strides, their high positions, and caring but little for music save as it min- isters 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 conscien- 62 Munio and Some Highly Muaioal People. tiously seeks to know music's manifold beauties, and wlio with real appreciation for the .beautiful in art, loving music foi music's sake, feels and exhibits in his deportment towards his fellow-men its delightful and eleyating power. ' i 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 ful- some, 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." ■ J..*' 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 Uiat 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 ^implest melody out of an opera, though she has heard it a hundred times. She is perfectly ignorant of the his- tory 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 orchestral- tidn, scoring, and such like, they are only fit matters for profes- sionals. She •will call Wagner horrid, Gounod lovely, Mendelssohn dull, and Bsethoven pretty, without knowing, why she likea oi Beauty, Power, and Uies of Mudc. 63 dislikes auy thing. She yawns at an oratorio, is bored at a con- , cert, 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 ne^d such performance detract from a graceful, lady-like appearance. 1 men- tion, 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 arti- cle recommending the violin as an instrument peculiarly appropri- ate for the use of ladies. It protests against the custom of teach- ing 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 re- ferred 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 what- ever 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 violiii kc complishment, and the adaptability of the instrument to ■womanly practice. He says, - " We have always wondered, that in a community where so tnuon 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, ihe art of playing on the violin. The piano, to be sure, is a more reprjsentative instrument, enabling one pair of hands to grasp the whole harmony of a composition, or a compendium thereof j but the violin, with the other members of its family, viola, 'cello, 64 Music and Some HigMy Musical People. &o., is the more social instrument, bringing together groups of kindred spirits -who can play in parts, and read together the quar- tets, &c., of the greatest masters, or play sonata duos, trios, &o., ■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 V70r- thier of a manly aspiration. If it is often only yvUgar ^ddling, it is, on the other hand, with those truly schooled, the most gentleman- ly 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, Fersis Bell, could fail to feel that the violin seemed peculiarly iitted to the female constitution and capacity? How graceful the attitude and motions of a young woman skilfully handling the bowl 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 bad 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 there- fore close this chapter by a brief reference to those ■who occupy the really noble positions of teachers of the aublime art of music. He ■whose o'wn 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 Beauty, Power, and Uses of Music. 65 beautiful science of music, leading them, througli all the delighting, soul-filling forms of melody, into the region of a very fairy-land I And finally, as giving fitting expression to the estima- tion 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 con- spicuous 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 oivLUzed nation." V. ELIZABETH TAYLOR GREENFIELD, THE FAMOCS SONGSTBESS; OmN OAU^IO THE "BLACK SWAN." « A damsel with n dulcimer In a vision once I saw : It was an Abyssinian maid ; And on her dulcimer she played, Blnglng of Mount Abora." CoLEBioaa. " Hovering swans Carol sounds harmonious." ' CAI.LIMACBDS' TZi^mn 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 • 06 ELIZABETH TATLOB GnEENFIELD. Elizabeth Taylor Greenfield. 67 interest of the reader may not be lessened, is far from being an easy task, albeit it is a pleasant one. I find, in- deed, that the pages of the public journals fairly teemed with praises of the great prima donna, as she was fre- quently called by them. The musical world was star- tled, intensely delighted, electrified, by her notes of sweetest melody. Her magnificent voice, in its great range in both the upper and lower registers, was re- garded 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. 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, howeverj 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, whUe 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 68 Music and Some Highly Musical People. amidst them all this noble lady and artist was evei brave, patient, hopeful, ambitious in a certain sense, yet inodest. Fully aware of the magnificent quality of her voice, and of its phenomenal character; singing a highei and a lower note than either of her great contempora- ries, — 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 diligentlj' 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 " Biog- raphy," 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 exem- plary 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 3'ear 1844 this good lady died. In her will the subject of this sketch was rememtiered by a substantial legaicy. The wUl, 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. Elizabeth Taylor Crreenfield. 69 " Previous to tlie death of this lady, Elizabeth had become dis- tinguished in tho limited circle in which she -was known for her leinarkable powers of voice. Its tender, thrilling tones often lightened the weight of age in one who was by her beloved as n- mother. " By iqdomitable perseverance she surmounted difficulties al- most invincible. At first she taught herself crude accompani- ments 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 physi- cian, humane and courteous; capable, too, of distinguishing and appreciating merit and genius, under tyhatever prejudices and disadvantages they were presented. His daughter, herself an amateur in the science of harmonious soimds, 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 cir- cumstances which formed the era of her life. Her pulses quick- ened as she stood and watched the fair Anglo-Saxon fingers of her young patroness run over the key-board of a f uU-toncd 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. Slie 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 unex- pected 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. Tho progress of genius is not like that of common minds. It is need- less 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 70 Music and Some Highly Musical People. ■ guardian. Elizabeth was rapidly acquiring an acquaint ance with music, when some one maliciously inlbrmed 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 pres- ence, expecting to be reprimg,nded 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." Eliza- beth 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 deatli of her patroness, in consequence of tlio con- tested will she found herself thrown upon her own resources for a maintenance. Remembering some friends in tlie western part of New York, she resolved to visit them. While crossing Lake Sou- eca, en route to Buffalo, there came sweetly stealing upon the senses of the passengers of the steamer her rich, full, round, clear voice, nnmarred by any flaw. The lady passengers, espe- cially the noble Mrs. Gen. P., feeling that the power and sweet- ues." of her voice deserved attention, urged her to sing agun, and werj not satisfied until five or six more songs were given to them. Before i etching 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 her- self entirely to the science of music. During her visit a private party was given by this lady, to which all the Uite of the city were invited. Elizabeth acquitted herself so admirably, that, two days Elizabeth Taylor Greenfield. ' 71 ter, a card of invitation came to her through the public prciss, Signed by the prominent gentlemen of Buffalo, requesting her to give a series of concerts. " In October, 1851, she sang before the Buffalo Musical Asso- ciation ; and her performances were received with marks of appro- bation from the best musical talent in the city, that established het reputation as a songstress. ' Give the " Black Swan," ' said they-, ' the cultivation and experience of the fair Swede or Mile. 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 humai; voice with wonder- ful ease, and apparently an entire want of exeition. 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 whoUy natural, and, as might be expected, lacks the training and ex- quisite 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 geutlemen in Buffalo belongs the credit of having first brought out Miss Greenfield in the con- cert-room. The Buffalo paperg took the matter in hand, and assured the public they had much to expect from a concert from this vocalist. The deep interest her fir it public efforts elicited from them gave occasion to tlie following certificate : — Mr. n. E. IIowARn. Buffalo, Oct. iso, 1851. Dear Sir, — At your suggestion, for the purpose of enabling ■Miss Elizabeth T. Greenfield to show to her Philadelphia friends 72 Music and Some Highly Musical People. 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 resi- dence of Gen. Potter, with whose family she had becom'^ some- what familiar. The concert was attended by an audience not becond 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 gen- erally, is a strong desire to hear her again. Respectfully yours, &c., G. Reed Wiison. 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 de- sirous 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 afiord a satisfactory entertainment to our citizens." (Signed by a large number of the most respected citizens of Rochester.) BocHESTEB, Dec. 6, 1861. This evening, in Corinthian Hall, the anticipated entertain- ment is to be presented to our music-loving citizens. Curiosity ■will lead many to attend, to whom this 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 Fatti and Strakosch, sang at Corinthian Ilall to half a house. Last niglit Elizaheth Taylor Greenfield. 78 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 vocal- ists 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 per- formance 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 unquali- fied to criticise. But a large audience was in attendance at Kingue- berg llall last evening: among those present were our musi- cal a-aiateurs ; and we heard but one expression in regard to the new vocalist, and that was wonder and astonishment at the ex- traordinary 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, suc- ceeded 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 difEerent pieces. SufiBce it to say, that there never was a concert given in this town which appeared to give more general satisf ao 74 Music and Some Highly Musical People. tion ; and every person we met on leaving the hall expressed theii entire appi-obation of her performance. N(j higher compliment could be paid to the ' Swan ' than the enthnsiastic applause -which successfully greeted her appearance, and the encore which fol- lowed 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-raori'ow 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 audi- ence a fashionable one, the applause decided, and the impression made by the singer highly favorable. " Wo can safely say that Miss Greenfield possesses a.voico of remarkable qualities ; singular for its power; softness, and depth. She has applied herself with praiseworthy perseverance and assi- duity to the cultivation of her extraordinary powers, and has at- tained 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 Green- field 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 debut of this new vocalist. Hardly had her first note fallen upon their ears, how- ever, before their wonder and astonishment were manifest in au interchange of glances and words of approval; and the hearty applause that responded to the first verse she. sang was good evi- dence of the satisfaction she afforded. The aria, ' O native scenes I ' was loudly encored ; and in response she gave the pretty ballad, ' When stars are in the quiet sky.' " Elizabeth Taylor Greenfield. 76 The Buffalo " Commercial Advertiser " says, — " Miss Greenfield is about twenty-five years of age, and has re- ceived 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 wonder- ful, especially for a female voice ; and in these she far excels any einging 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 eclat to the concert. All representations unite in ascribing to Miss Greenfield the most extraordinary talents, and a power and sweet- ness of vocalization that are really unsurpassed." " The Daily State Register," Albany, Jan. 19, 1852, said, — "Tub 'Black Swan's' Concert. — Miss Greenfield made her ddhut in this city on Saturday evening, before a large and brillianti 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 preju- dice. Her smging 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 on.y 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 ol 76 Music and Some Highly Musical People. voice, or power of lung, but want of training alone. If her pres ent tour proves successful, as it now bids fair to, she will put her- self under the charge of the best masters of singing in Europe ; and with her enthusiasm and perseverance, which belong to gen- ius, she cannot fail to ultimately triumph over all obstiicles, and even conquer the prejudice of color, — perhaps the most formida- ble 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 offi- cers, 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 pleas- ure 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 unhesi- tating decision. . . . She is a nondescript, an original. We can- not think any common destiny awaits her." "The Evening Transcript," Boston, Feb. 4, 1852, said, — "Miss Greenfield, the 'Black Swan,' made her dibut before a Boston audience last evening at the Melodeon. Iii 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 vocif- erously applauded and encored in every piece. She sings with great ease, and apparently without any effort. Her pronuncia- tion is very correct, and her intonation excellent. Her voice has a wonderful compass, and in many notes is remarkably sweet in tone." Elizabeth Taylor Greenfield, 77 From "The Daily Capital City Fact," (Jolumbus, O., March 3, 1852 : — "Last evening proved that the 'Black Swan' waa all that the journals say of her; and Miss Greenfield stands confessedly be- fore 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, 1862 : — " 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, 1862, — . . . "The magnificent quality of her voice, its great power, flexibility, and compass, her self-taught genius, energy, and per- severance, combine to render Miss Greenfield an object of uncom- mon interest to musicians. " We have been spell-bound by the ravishing tones of Fatti, Sontag, Malibran, and Grisi j -we have heard the wondrous war- blings 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 favora- bly with any of the distinguished artists above named, but incom- parably excel them all." "The Globe," Toronto, May 12-15, 1852, said,— " Any one who went to the concert of Miss Greenfield on Thurs- day last, expecting to find that he had been deceiv&i 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. T8 Music and Some Highly Musical People. 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 flexi- bility, 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 clear- ness 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 appear- ance 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 onr 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 tliose unaccus- tomed 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 testimo- nials and criticisms touching the singing of this remark- Elizabeth Taylor Greenfield. 79 able 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, iii regard to the excerpts given, that they are but fair sam- ples and reflections of the opinions entertained and ex- pressed by the press, and by music-loving, cultured peo- plis, everywhere Miss Greenfield appeared. After singing in nearly all the free States, she re- solved to carry out her long-entertained purpose of visiting Europe, in order to perfect herself in the tech- tiique of her art. Learning of her intentions, the citi- zens 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, 1883. Misa Elizabeth T. 6beenfi£i.d. Madam, — By the saggestion of many enthusiastic admirers of your Talents, 1 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 com- mendation of your superior powers and engaging method. Confidhig, madam, in your reported magnanimity and generos- 80 Musia and Some Iligldy Musical People. ity to oblige, I will divest myself of tedious ciroumlooution, 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 steam- er 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 domi oiled on the evening of the same day. " But painful trials awaited her from a quarter the most unex - peoted. The individual with whom she had drawn up the con ■ tract for this musical tour was unfaithful to his promises ; and shu 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 re- quest, listened patiently to her histoiy, 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 interest- ing 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'si 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. 0. 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 Elizabeth Taylor Greenfield. 81 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 •VI aited for me, but had taken Miss Greenfield to hira 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 ihind in her singing, and her quickness in doing and catching all that he told her. Should she have a public oppor- tunity 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 bogged leave to present her, giving a slight sketch of her history. I was pleased with the kind and easy Affa- bility with which the Duchess of Sutherland conversed with her, betraying by no inflection of voice, and nothing in her air or man- ner, 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 sur{»rise 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.' 82 Music and iSume Highly lluaicai Jr'eopte. ". Her Grace the Duchess of Sutherland afterward became hei ever-unfailing supporter and adviser. " The piano-fortu which previously had been f urnislied Miss Greenfield to practise upon was taken from her. The Uuchesa" of Sutherland, upon learning the fact, immediately directed her to select one from Jiroadwood'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 uj) among hot-house flowers, so that only its gilded top was visible. Sir George Smart presided. The choicest of the c7i; of the gentlemen. He was perfectly astonished when he discovered that it was by her. This was rapturously en- Elizabeth Taylor Greenfield, 83 cored. 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, yhe 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 aftei the coucert. Speaking of Miss Greenfield, he said, " I considei 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."' " ToESDAT, May 31, 1863. " Miss Greenfield's first public morning concert took place at the Queen's Concert Kooms, Hauover Square. She came out undtt 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 person- ages assembled by invitation at Stafford House to hear and de- cide 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 per- formances on this occasion elicited the unmistakable evidence of gratification." " The London Times " said, — "Atiss 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 bo excellent." 84 Music and Some Highly Musical People. " The London Advertiser " of June 16 con tained the following comments : — " A concert was given at Exeter Hall last evening by Miss Gi-eenfleld, the American vocalist, better known in this country under the sobriquet of the ' Black Swan.' Apart from the natu- ral 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 algainst 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 mel- low 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 Wal- lace, and ' Home, Sweet Home,' which slie 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 iirst-rate artists. Herr Brandt, a German art- ist 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 Bosina Bentley played a fan- tasia by Liitz 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. Yaladares executed a curious Indian air, * Hilli Milli Puniah,' on the violin ; and Mr. Henry Distin a solo on the sax tuba. The band wras 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 Duchuss of Suther- land, 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 Suth- erland, her Grace the Duchess of Norfolk, her Grace the Duchess of Beaufort, her Grace the Duchess of Argyle, the Most Noble the Marchioness of Ailesbuiy, the Most Noble the Marchioness of Kil Elitoibeth Taylor Q-reenfield. 86 dare, the Most Noble the Marquis of LSinsdowne, the Earl and Countess of Shaftesbury, the Earl of Carlisle, the Com toss of Jersey, the Countess of Granville, the Countess of Wilton, the Viscountess Falmerston, the Lady Constance Grosvenor, and Mrs. Harriet Beecher Stowe. " Vocalists. —Miaa E. T. Greenfield (the 'Black Swan'), Ma- dame Taccani, Countess Tasca, Mr. Emanuel Roberts (Queen's concerts). " Instrumentalists. — Piano-forte soloist, Miss Ro^ina Bently (pupil of Miss Kate Loder) ; violin, M. de Valadares (pupil of the Con- servatoire, Paris); accompanist, Mons. Edouard Henri; conduct- or, Mr. F. Theseas Stevens. • " She gave a series of concerts at the Rotunda in Dublin, Ire- land." "Extract from programme of Miss Greenfield's benefit concert, Aug. 17,1853: — - " Vocalists. — Miss Louisa Pyne, Miss Pyne, and Mr. W. Harri- son; 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 Institu- tion, 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 Vala- dares ; conductor, Herr Ganz." " Nov. 3, 1853, at Albion Hall, Hammersmith, she made her ap- pearance u^der the patronage of her Grace the Duchess of Suth- erland, 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 Falmer- ston, the Lady Constance Grosvenor, and Mrs. Harriet Beecher Stowe. "Artiils. — Uiss E. T. Greenfield, Miss J. Brougham, Miss E. Brougham, Mr. Charles Cotton, Mr. Augustus Braham the emi- nent tenor ; piano-forte, Miss Eliza Ward." 86 Music and Some Highly Mlusical People. • " At the Theatre Royal, Lincoln, Dec. 23, 1853, under the same distinguished patronage as at Ilammersinith. " Artists. — Mrs. Alexander Newton (of her Majesty's Grand iNational Concerts), Miss Ward, Miss E. T. Greenfield, Mr. Augus- tus 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 Greeufleld to attend at Buck- ingham Palace on May the 10th, 1854, when she had the honor of singing several songs, which he accompanied on the piano-forte. " ' To Miss Gkeenfield, from Sir Gbokob Smart, Kt., " ' Organist and Composer to her Majesty's Chapel Boyal. " ' June 24, 1854. No. 91, Gn. Pobtlanb St., London.' ' " 'This is to certify that Miss Greenfield had the honor of sing- ing before her Majesty the Queen at Buckingham Palace. By her Majesty's command, " ' C. B. Piiipps. " ' 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. "AVith 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 Sclat to her professional reputation. " The New-York Herald," a journal A^hich 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 Elhaheih Taylor Q-reenfield. 87 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 ver- dict. 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 loiowledge 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 disposi- tion 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 peace- ful 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 hut well and fair, And what may quiet us in a death so noble." VI. THE "LUCA FAMILY," VOCALISTS AND INSTRUMENTALISTS. " God Bent his alngers upon earth With songs of sndncss and of mirth, That they might touch tho hearts of men, And hrlng them bock to heaven again. But the great Master said, ' I see No best in l^ind, but In degree : 1 gave a various gift to each, — To charm, to strengthen, and to teach.' " J'rom LoNorsLLOw's Tke imgen, "TTTHILE nearly all persons have to a greater or VV lesser degree musical sympathy and capability, or, to speak generally, capacity for the. enjoyment or production, in one way or another, of harmony; and whDe, 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 extraor- dinary. For the Muses, however often and earnestly invoked, are never lavish in the bestowmcnt of their favors. This is especially true as applied to the god- dess who presides over the art of music. Only here and there is some one selected to whom is given great 1, ALEXANDER C. LUCA, BEN. 2. CLEVELAND 0. LUCA. 8. ALEXANDER C. LDCA, JUN. 4. JOHN W. LUCA. The "Luca Family:* 89 musical inspiration ; into whose keeping is placed the divine harp, which, when swept by his hands, the people shall hear entranced. 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 o^ conversation, of warmest praise ; while everywhere he is a most welcome guest. But, if in a family a single instance of this Idnd produces the cflFects 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 gen- eral 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 excel- lent troupe of artists, the "Luca famUy," a brief account of whose remarkable natural endowments, superior acquirements, and interesting musical life, is here appended. The fanuly, as at first professionally organized, con? 90 Music and Some Highly Musical People. sisted of six persons, — the father, mother, and four sons. Some changes that occurred afterwards will ap- pear as the narrative progresses. Alexander C, Luca, the father, whose history shows most pointedly how much may be accomplished by devot- ed study, deserves especial mention. He was born in Mil- ford, Conn., in the year 1805. He is, in the most proper sense, a " self-made " man. Possessing but few oppor- tunities for acquiring an education, he yet made the most of those he had, and is to-day a man of varied cul- ture, 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 occa- sionally 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 pro- ficient 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 ac- quired 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 TJie ''Luca Family" 91 was considered the equal of any in the city ; which was laigh but well-deserved praise. Some time previously to the formation of what was called professionally the " Jjuca family," the subject of this sketch organized a quartet consisting of Miss Dianah Lewis,^ a sister of his wife, liis two older sons, and himsplf, 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 fam- ily. Ouo of the sons llius speaks of lior : " 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." i 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 fre- quently at school exhibitions, and often created much sensation in singing a temperance song called " The Old Toper." Alexander C, jun., who in after-years oecame so -no- ticeable as a tenor-singer and violinist, was at first the dullest of the boys. iSimeon G. possessed a tenor voice of extraordinary \!onipass, singing high C with the greatest ease. He sang the choicest music from the various operas to 1 Slin was a vocalist ot rare powers, and was considered the equal ol the celebrated Miss Greenfield, or, as the latter was frequently called, tho " Black Swan." 92 Music and Some Highly Musical People. 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 wonder- ful 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 par- ents 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 exe- cution, 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 pos- sessed by young Cleveland made his services indispen- sable, and he was of course taken as a member. As The "■Luca Family." 93 the "wonderful boy pianist," he everywhere created quite a furore. The ladies in the audiences were espe- cially 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, enter- ing the classical, the technical domain of the great master-composers, and playing with easy, graceful, mag- netic 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 ob- served his rare powers for reading and playing, often as a test, and sometimes with a hope to embarrass himi placed before him some technical and very difficult woi'k. 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 me gentlemanly, 'graceful manners of the young vir- tuoso, 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 versa- tility of talent. His repertoire was an extensive one, and decidedly " taking " in the varied character of its 94 Music and Some Highly Musical People. 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 h^s 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 musi- cians 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 beinjg 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 consti- tution yielding to a fever, he died at the age of forty- five. It is hard to over-estimate the great good this remark- able artist accomplished for his much-abused race in dissipating, by his wonderful musical qualities, the unjust and cruel prejudice that so generally prevailed The '^iMca Family" 95 against the former at the beginning of his career ; foi 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, more- over, of his intelligent parents, who,- when they discov- ered his talents, — avoiding the mistake often made by some, who, alas I 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 exam- ple, 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 thiswise : 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 violon- cello (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 everj where gave delight, refinement, and a new and high impulse, to the many thousands who heard them. 96 Music and Some Highly Musical People. Their services were at first called into requisition at anniversaries and festivals, and they soon acquired an excellent local reputation. The event that most promi- nently 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 enthusi- asm 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 im- mense 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 tune- ful 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. Tlus '*Luca Family." 97 i should have mentioned ere this that John and Alexander Luca had been taught by their father the shqemaking 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 j sometimes returning with a full exchequer, and some- times in debt even, but never without having added to their reputations as musicians. During these times, the family received many valua- ble testimonials touching their musical abilities; but to none of these do they owe so much as to a high- ly 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 pubUo convey- ances. But this barbarous treatment of those whose fine musical qualities and genteel appearance and de- portment — 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. 98 Music and Some Highly Musical People. 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 aa 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 appear- ance, and heard the delightful sounds of harmony that proceeded from the voices and instruments of this accomplished q^lartet. 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 The "■iMca Family." 99 citizens, who vied with each other in extending to them the most complimentary attentions. In these homea of wealth and culture, where the study and practice of choice music formed a portion of each day's employ ment, 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 in- stance, 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, 1867 : — " THE LUCA FAMILY. " This company of singers, consisting of four [three] brothera and their mother, gave a concert at Ringueberg Hall last (Mon- day) evening; and their performance was such as to elicit the enthusiastic approval of all present. Coming among us as stran- gers, their merits were not generally understood ; and we presume that the entire audience were agreeably disappointed in the enter- tainment 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, 100 Music and Some Highly Musical People. evinced the highest order of musical culture, the most excellent taste, with that superior power of execution which lon^ 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. 0. 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 determina- tion to deserve public favor. And we may here say, that we be- 'lieve the Luca family, in the quiet and unostentatious display of their musical powers, are doing more to secm-e 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 thj 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 10 on Friday evening next, when we hope to see an audience out The ''Luca Family." 101 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 ex- pressions emanating from the former were various. Without, however, minding the pros or cons, these two troupes travelled more than a month together, ex- periencing 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, Am> LITTLE FREDDY; with tbe LUCA BROTHERS, JOHN AND ALEXANDER, and CLEVELAND, Thb Wonderful PianistI Humor, Sentiment, and OpesaI « From the eBtabllshed repntation of both these companies, a rare treat may be expected. , 102 Musio and Some Highly Musical People. (n.) By Spxoiai. Asa^^d'EosaiB, THE HUTCHINSONS will be assisted at their CONCERT In this place by the LUCA FAMILY, with their "Wonderfta 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 Hutohinsons, — Asa B., Lizzie C, and little Freddy, — ac- companied by the Luca family, gave a concert at Birchard Hall on last Wednesday evening. The house was not more than a pay- ing one. When we went to the concert, we anticipated a rare treat; but, alasl how wofuUy were we disappointed I . . . 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 pleas- ing contrast with the foregoing, I give the following. The "Luca Family." 108 "The Norwalk (O.) Reflector," March 1, 1859, Bays, — " The concert given in this place on Saturday night last bj the Hutchinsons and Lucas was among the best musical enter- tainments ever given here. The audience was large, and the nrtists 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 con- certs." A Sandusky (O.) paper, March 1, 1869, 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 Arca- dame 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 13., 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 'J'uesday evening; and will soon appear in this city, we under- stand." 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 circum- stance caused the disbandment of the troupe. 104 Music and Some Highly Musical People. 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 valu- able 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., Deo. 15, 1875. la 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 testi- mony : that, in all our concertizing for thirty-five years, we never formed an alliance with any musical people with whom we fra- ternized 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 tho diflioult and now oonipositions that were prusuntoi] 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 con- certed pieces, where they united with us. we carried our reforma- tory sentiments and songs to a successful termination j and, not- ivithstanding the then great and bitter prejudice of our audiences The "Luca Family.'" 106 against us all for daring thus publicly to associate together, tJiey 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 experi- ences of our entire concert-life, — the acquaintance and fellowship of the Jjuna family. iUlA B. HUTOHLNSOM. VII. UENRY P. WILLIAMS, COllPOSER, BAND-INSTRUCTOR, ETC. A ** Thy purpose firm Is equal to the deed." " nia lyre well tuned to rapturous Bouuds." "WRITER in "The Progressive American" for July 17, 1872, said,— " Having occasion to visit Boston, I attended one of the unri- valled concerts at the Coliseum, where, to my great astonishment, I saw undoubtedly the greatest assemblage of human beings ever congregated imder 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 de- lighted. 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 ■sommeiicement of the concerts." The pleasure afforded this writer, by witnessing our Bubject's appearance on the memorable occasion referred 106 HENBT r. "WILLIAMS. Henry F, WilliamB, 107 to, was shared by many other persons who were able to distinguish him in that yast concourse of fine musi- cians. 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. Wil- liams'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 or- chestra, 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 "Williain Tell," and also in Wagner's difficult " Tannhauser." 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 instru- mentalists 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. GUmore nor myself knew any man by the color of his face. What we wanted for the grand orchestra was good musidam; and, when any one objected to our two colored per- 108 Music and Some Highly Musical People. formers, we triumphantly referred to the exacting and satisfactory test they had undergone as suificient 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 sev- eral were members of that great chorus of nearly twenty thousand voices. In aU these places they did their share in making the occasion • a grand success, while they justified fuUy 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 wo must take things as wo 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 preju- dice entertained against colored people, and have re- fused 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 bo thanked, I say, for their manly action. The little ripple of excitement caused by Mr. Wil- liams's appearance among the musicians of the Jubilee Ilenry F. Williams. 109 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. lie 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 tiiAes tri- umphed over opposition far greater than that met by him at the Coliseum. Born in Boston .Aug. 13, 1813, be- ginning 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 supe- rior performer on the violin, double-bass, and the cornet ; a fair performer on the viola, violoncello, baritone, trom- bone, 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 per- sons, 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 ■ 110 Mueio and Some Highly Mudcal People, 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 perform- ance. 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 em- ployed by P. S. Gilmore, director of the celebrated Gil- more'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 liighly, 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 pvh- Ushers 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 Bweetly-flowing melodies. These waltzes had a good sale, and added much to the composer's reputation. Smry F. Williams. Ill Besides the above, Mr. Williams has composed eight oi 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 whicli 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 abUity of one of his race to create a work so meritori- ous 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 bo 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. WiUiams to go to Liberia. Had Mr. Mar son, 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 de- veloping his musical powers, — had Mr. Mason done 112 Music and Some Highly Musical People. 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 confess- edly bright crown. I hope I do not seem too harsh. I love music and those who create it, and I greatly dis- like to speak aught that is ill of such persons. And yet I love too, even more ardently, reform and its promot- ers ; and therefore cannot regard with complacency the acts of those, who, possessing great talents and influ- ence, yet fail to use them in furthering the cause of right. I have said that Mr. Williams has written sev- eral 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 wUl 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. Fall- ing 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 Henry F. Williams. 113 the world of music when fairer skies light their path- way ; when the American people, regretting the de- pressing, blighting cruelties of the dark past, now seek to atone for the same by offering encouragement to all who exliibit musical talents, and evince a conscientious desire to improve the samo. Mr. Williams may remem- ber with pride that to this gi'atifying result he has in a very marked degree contributed ; and that therefore, in spite of some disappointments, bis musical life has real- ly been a noble success. VIII. JUSTIN HOLLAND. THE EMINENT AUTHOR AND ARRANGER, AND FESFOBMEB ON THE GUITAR, FLUTE, AND PIANO-FOBTK. " Gayly the troubadour Touched bis guitar." Old Bona. ** 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 repeat- ing, 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 en- • tirely, to him ; it being in part, in a certain sense, the property of aU who would follow in his footsteps, be- coming for them an inspiring example ; its history, with all its experiences of hope and fear, its occasional fail- ures but frequent successes, its struggles when envi- roned by poverty or other untoward circumstances, and its final triumph over all obstacles, serving as a guide, JUSTIN HOLLAND. Justin Holland. Ii5 a beacon indeed, to illumine their pathway as they climb the same difficult but glorious hUls of honor. 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 con- template the history of Justin Holland, the distin- guished 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 completo idea of this artist' s very varied accomplishments, then the heading would Jiave been simply, " Justin Holland, musician." But judging that such brevity, however desirable in some respects, might yet fail in doing jus- tice to one whose great native talents, joined to remark- able 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 men- tion 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 116 Music and iS'ome Highly Musical People. 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 eifectively 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, use- ful 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 there- fore to be faithfully recorded, -p 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 " soli- tudes " of Norfolk County, Va. His father, Exum Hol- land, 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 oppor- tunities for either hearing or learning music. Such op- portunities, 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 muiiic (?) as was at that time discoiirsed in such places. But previously to this, when only a boy of eight years, he accidentally came into possession of an old song-book rnth words only. Being much delighted with this, he Justin Holland. 117 often perched himself upon a rail-feiice, 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. Yeai s afterward it was found that some of the tunes he thus early invented, and which he retained in his mem- ory, 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 Senor 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 hear- ing 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 lie began lessons with Mr. William Schubert, also a member of Kendall's bandj 118 Music and Some Highly Musical People, and a correct and brilliant performer on the guitar. Under this teacher our subject soon made rapid progress, becoming a favorite pupQ from his ability to play duets with Ms 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 insti- tution, 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 noticea- ble for his gentlemanly, scholarly qualities, and for the close attention he gave to the subject of music and to Justin Holland. 119 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 intorcourse ns teacher I would presorvo 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 hot sa.tisfy him ; and he determined to attain to still greater profi- ciency. Finding that the best systems for guitar-play- ing 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 groit use to him. The secret of our subject's great success as a guitar- virtuoso may be readily gathered from the statement I 120 Musio and Some Highly Musical People. have just made about the foreign languages. He waa always thorough, enterprising, singularly industrious. Lov- ing deeply his chosen profession and instrument, lie could never be satisfied with a position of mere medioc- rity, 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 perfor?ner 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 beau- tiful instrument, the guitar. He ever aimed, in fine, to carry guitar-playing in this country to a state that com- ported 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, — spealdng with respect either to the quantity or quality of his works, — he is without an equal in tliis 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 Justin Holland. 121 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 house- hold 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 hia 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 often- er 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 cf his arrangement, with variations, of " The Carnival ol Venice." It is a five-page concert-piece, equal to ten o] 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 : iSais, they can do from any of the music-publishers. Nor is a guitar library complete unless it contains 122 Music and Some Highly Musical People. 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 ; " Flow- ers of ' Melodj'-," twenty-three j)ieces, 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 emi- nent firm of S. Brainard's Sons of Cleveland, O., the most extensive music-publishing house in the country, with one exception j next to them, for J. L. Peters & Co. of New York ; G. W. Brainard and D. P. Fauld, Louis- ville, 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 considerar tion. 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, gener- al 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, wliile 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 pre- pared either in this country or Europe. On this point I append the following from the Cleve- land " Plain-Dealer " of Dec. 24, 1868 : -*• Justin Holland 123 "AN IMPOUTANT 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 en- gaged 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. Dressier, 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 statb, 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 cbmposei 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, wo 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 "Hol- land's Modern Method for the Guitar." Although smaller in size than the first one, it is regarded as the host 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 124 Music and Some Highly Musical People. 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 har,monic tones. Writing a friend, Mr. Holland thus speaks of this: — " When, in writing my first book, I came to the subject ' Har- monics,' 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 multi- tude of musical works, not knowing or thinking of anywhere else to look. I stopped for several weeks, and began a series of obser- vations on the vibrations on the strings of my guitar; having notliipg 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 veri- fied 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 sup- port. 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 : — Justin Holland. 126 " 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 lie feel like asking anywhere for credit. He had, however, a Fmall job of writhig that liad been sent in, for which, when done, he wm to receive about twenty-five dollars. Here was Ml-. Holland's resource. He began his work about seven o'clock on Sunday evening. He wrote till late. ]3ecoming weary, and his eyelids being heavy, he lighted a spirit-lamp ; and with a very dimin- utive French coffee-pot he prepai-ed, -and soon was sipping, a cup of coffee that no doubt would have pleased the Arabian prophet, had he been present to partalre. llefreshed by this, he continued his labors until the darkness grew to gray davm, and the dawn to full light of day. At seven m the morning the last note was writ- ten. 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 neces- saries of life. And yet how seldom it is that we are aware of the painful vigils that are kept by these gifted "jut toiling ones when creating the works that so much contribute to the pleasure of our leisure moments I Of all the music-publishing firms for whom Mr. Hol- land has written, I believe the only ones that know him personally, and know that he is a colored man, are tie Messrs. Brainard and Mr. John Church. On this point of color, a little incident in his life is well worth record- ing. One day, in 1864, Mr. Holland went into a large music-store (not in Cleveland) to purchase an instru- ment. The salesmen present seeming disposed — Ho 126 Music and Some Highly Musical People. doubt on account of his color — to give him no at- tention whatever, he quietly left, and made his pur- chase 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 repu- tation, 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 ac- complished musician was a member of the colored race, his success would have been much cui'tailed, 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. Hol- land 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. Bbainabd's Sons' Music-Publishing House, Cletbland, O., April 2, 1877. Dear Sir, — . . . Mr. Justin Holland is one of our finest practi- cal and theoretical musicians. He has written two large inethrda for the guitar, besides being the composer ond 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 ed- Justin Holland. 127 Itor of the leading paper in Leavenworth, supposing Lhat Mr. Holland intended to remain there, thus spoke of him editorially : — "professor HOLLAND. " We had the pleasure of a visit yesterday from Professor J. IloU.and of Louisiana, who is an eminent music teacher and writer of .tliirty years' practical experience, lie 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 compotent critics. We need just such a man as the professor in tliis 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 /or 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 pub- lishers as well as by lovers of the guitar. From ' Der Freimau- rer,' 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 deport- ment 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 128 Music and Some Highly Musical People. 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. Hol- land. 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 cre- ated 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 liimself 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 mu- sical history alone, the writer might occupy many more pages in narrating the many important events con- nected 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 Juitin Holland. 129 reputation as a musician. It is more nearly world- wide ; for we find that as a Mason he is well known in iJ.o 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 montlily " Der Frei- raaurer " ("The Freemason"), in the number for Feb- ruary, 1877. From this journal I learn that Mr. Hol- land 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 ho has hold the oflices 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 per- formed a most invaluable service. In this work, his familiar acquaintance with the French, Spanish, Ger- man, 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. Hol- land 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 limes received complimentai-y mention in the addressen of the Grand Masters of the Ohio Lodge; and in 1866 130 Music and Some Highly Musical People. 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 nliarity. . 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 per- fect unfolding of the same. As for the writer, ho 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 shaU 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 " I TBOMAa J. B0WEE8. IX. THOMAS J. BOWERS, tenob-tocalist; OFTEN 8TTLED THE "AMERICAN MARIO." " Sweet is every sound ; Bweeter thy voice." Tenntbon. THOMAS J. BOWERS, who, owing to his resem- bling 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. 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 iu- 131 132 Musio and Some Highly Musical People, structed by hie brother to perform upon the piano-forte and organ. At eighteen he had become somewhat pro- ficient in the playing of these instruments, and suc- ceeded his brother as organist of St. Thomas's Church. T 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 ap- pearance, 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 tliis 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 Mi. Bowers respected. For this reason he refused to join the famous "Frank Johnson's band" of Philadelphia, al- though, strongly urged by its director ; and all offers made to him to join other public organizations were de- clined 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 ad- miration of many persons. Indeed, his voice was considered as something extraordinary in its power, mellowness, so to speak, and its sweetness. Thomas J. Bowers. 133 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 fii ^t public " hit," as it is called, yet the press of Phila- delphia 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 per- sisted in styling him the " colored Mario," the " Ameri- can Mario," &c. ; and by these sobriquets he is most known to-day. Col. Wood, once the manager of the Cincinnati Mu- seum, 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 engage- ment with him to make a concert tour of New- York State and the Canadas. This was in company with Miss Sarali Taylor Greenfield, the famous songstress. The great vocal ability as well as the novelty fonned by the complexions of this couple produced quite a sensation, and secured for them great success wherever they ap- peired. During this tour Col. Wood wished Mr. Bowers to 134 Mmie and Some Highly Musical People. appear under the title of the " Indian Mario," and again under that of the '■^African Mario." He with- held his consent to the use of either of these names, but adopted that of " Mareo." This he has since re- tained as his professional cognomen. Mr. Bowers was induced to engage in public perform- ances 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 thiis 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 disappear- ing, 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 aAvay 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 Thomas J. Bowers. 135 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 tli(3 doctor's party on the terms implied bj- 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 discrimina- tion 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 " II 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 136 Mtmo andi Some Mghly Musical People. as ever ; some think better than ever. He appears oc- casionally 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 ad- mitted that his tenor is second to none of our celebrated opera- singers." Another said, — " The concert given by the Sedgwick Company was a gi-eat suc- cess. . . . ' Mario's ' fine tenor voice was never more feelingly ex- ercised, nor more rapturously encored." Again he is thus highly praised : — " The ' colored Mario's ' voice is unequalled by any of the great operatic performers." Thomas J. Bowers. 137 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 hia solo-pieces and in his duets with Miss Greenfield." The true value , of the foregoing comments from the piess 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 com- panies 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 judg- ments, 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. JAMES GLOUCESTER DEMAREST, GUITAR AND VIOLIN. " Boft Is tbo mDsic tliut would charm forever." WOBDSWOBTU. THE guitar, although not of sufiBcient 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 es- teemed. It has always been the favorite instrument of the serenading gallant; and to perform upon it, pre- viously 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, CaruUi, Holland, Douglass; and, as comparing favorably Avith 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 138 James Gloucester Demarest, 139 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, thor- oughly 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, ima- gined it capable. He but rarely indulged himseH 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 re- sources, 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 else- where, Mr. Demarest has often delighted audiences by fine interpretations of the best music published. IIo 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 Ins 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 teaciier 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, fcjtill the critic referred to may only have meant by his 140 Music and Some Highly Musical People. remark that the piece was too difficult to become " pop- ular." I only mention the incident to show that Dema- rest 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 remark- able 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 conscien- tious 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, how- ever, 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, deepl}' regretted by many, not more on account of his high musical than his gentlemanly, genial qualities. " Sweet Mercy I to the gates of heaven This minstrel lead, his sins forgiven." TII0MA8 O nEENE BETUUNE. XI. r THOMAS GREENE BETHUNE, OTHEBWIBE KNOWN AS "BLIND TOM," THE WONDERFUL PIANIST " Who rnn Through each mode of the lyre, and was master OfaU." MOOBE. " Bright gem instinct with music." WORDSWOBTH. 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 aU 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 141 142 Music and Some Highly Musical People. 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 consmnmate ease, all of its resources that are known to skilful performers, as well as constantly dis- covers and applies those that are new. Under his mag- netic 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 glow- ing 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 I 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 great- ness of his fame; for there is no work of the great masters too difficult for his easy comprehension and perfect rendering. He remembers and plays full seven thousand pieces. Ip 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 Thomas Qreene Bethune. ' 143 relating to all that is musical, or eTen immusical, in Bound I Nor does he need to depend upon the music composet^ by others. His own soul is full of harmony, endless m variety, and most ravishing. Take from himj 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 im- provisation. 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 j 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 calm- ness; 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 ele- ments. No oiie lives, or, as far as we know, has evej lived, that can at all be compared with him. Only the musi- cal heroes of mythology remind us of him ; for he is " As sweet and musical As bright Apollo's lute strung with his haii; " And Ariel, Shakspeare's child of fancy, who on Pros- pero'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 tilings; but 'Blind Tom' ia 144 Musio and Some HigUy Musical People. the temple wherein musio 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 be- fore him, completely balked : they cannot classify this mind, human-like indeed in some respects, yet in many others surpassing all humanity, and closely approximat- ing that wliich is godlike. Some persons, it is true, judging from certain mani- festations 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 mu- sical sensibility, such order, such method, ias he dis- plays? 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 charac- teristics of this most wonderful pianist. "^ A more par- ticular 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 com-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 Thomas Greene Bethwne. 145 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 afEect the taste or correctness of his sing- ing. " 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 con- tented" to stay in the yard, and dance and caper to the music; but the moment it ceased, having discovered whenoa the sounds pro- ceeded, 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 veiy imperfect, was marvellously strange; for, notwithstanding this was his first known efEoit 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 com- 1'46 Musio and Some Highly Musical People. inenced playing every thing he heard. He soon mastered all of that, and commenced composing for himself. He would sit at the piano &r 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 somethuig 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 unf requently 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 ronuing water, something so enchanting to Tom, that fi-om his early childhood to the time he left home, whenever it rained, whether by day or night, he would go into that passage, and re- main 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 gut- ters. " 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 bis concert. He indignantly rejected the invitation. Thomas Greene Bethune. 147 " 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 aa 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 evep 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 bom blind. In his infancy an4 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 Mm 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^bef ore his eyes. That was soon followed by tlirusting 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 oo 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. Ferisons that he 148 Muaio and Some Highly Musical People. knows well he can distinguish at the distance of a few feet; and it ia 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 learus 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 tiling 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 88 applicable to any of the ordinary affairs of life, or that those who see him only imder its influence should conclude that he is idiotic. " The elegance, taste, and power of his performances, his wonder- ful 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 us-.al exercises. If those who see him upon the stage could witness his performances in his room, and the enjoyment they affo'd him, they would perhaps regret the necessity of his restraint in public. He never engaged in the plays of children, or mani- feised any interest in them. His amusements were all his own. With a physical organization of gi-eat 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 Thomas Greene Bethune. 149 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 haa been seen probably by more people than any one living being. Tie has played in almost every important city in tha United States and in a groat many of the smaller towns, in Py a brief account of that wonderful instrument to which the latter has given his chief study, and in the playing of which he has become in at least four countries so deservedly famous. 219 220 Musio and Some HigTily Musical People. favorite instrument. Of that ancient guild of musi- cians, the troubadours, — so long the principal devotees and custodians of the divine art, — those were most esteemed by royalty and the general public who were the beat violists. In the construction of most musical instruments, improvements have been constantly made up to the present time. This is particularly true of the piano- forte ; the handsome form, and the purity and beauty of tone, observable in a lately-made " Chickering " or " Steinway," rendering them so much superior to a piano of the olden times, as to barely admit of the lat- ter's being called by the same name. But this is not true of. the violin, inasmuch as a long time has elapsed since any change has been made in its construction that would add to its delicate, graceful form, to its nicety, sweetness, and purity of tone, or general musical capa- city. To-day a Cremona, or an Amati, as well as violins of other celebrated makers of the long p&,st, commands almost fabulous prices. A Cremona very lately sold for four thousand dollars ; while such instruments as I have mentioned, when in the possession of a soloist, are scarcely to be purchased at any price. , Up to the times of the celebrated violin-virtuoso, Faganini, there had not been, it would seem, much improvement made in performance upon this instru- ment. He startled and electrified the musical world, and in his wonderful playing developed and amplified such resources and effects, ]}oth as to instrument and performer, as were not, previously to his coming, thought possible. After him, and to be compared with him, have come Vieuxtemps, Ole Bull, Wieniawski, and Joseph White. The latter, although not as yet so well known as The Violin, 221 the others (he is only a little over thirty years of age), is considered by competent critics to be fully entitled to rank with them. But these are " bright particular stars," men of gen- ius. The instrument is so diflScult of mastery, that few violin-students may hope to equal such marvellous play- ers as those mentioned ; although long-continued and severe application may make them good orchestral per- formers or fair soloists. The violin is said to be the " king of instruments ; " but, by this, reference is made to those powers and extensive resources of expression that are made mani- fest when the instrument is subject to the brain and hand of the very skilful performer. At such a time it is made to sing a song, which, readily awakening the sympathies of the soul, causes the listener to recognize and feel the effects of the intonations of pathos, of passion, of deepest melan- choly, or those of lightsomeness and wildest joy. Indeed, this noble instrument, under the deft finger- ing and skilful bowing of a master-player, becomes almost sentient, and is shown to possess the superior and exclusive power of expressing nearly all the human voice can produce except the articulation of words. A music-teacher once wrote that " the art of playing on the violin requires the nicest perception and the most sense of any art in the known world ; " and many there are who will agree with him. The purity, the sweetness, of its tones, — to produce which calls into exercise the most delicate faculties of the mind, — and the power of these tones to awaken in the heart the most tender feelings, to lead the performer at times into delightful imaginations, into pleasing, 222 Music and Some Highly Mutical People. restful reveries, — it is the possession of such charming qualities as these that has rendered the violin at all times the favorite companion of the leisure moments of men eminent in the walks of literature, of princes, and other persons of taste and refinement. Some among those first mentioned have excelled as violin-performers, notwithstanding their other occupations. Girardini, when asked how long it would take to learn to play the violin, replied, " Twelve hours a day for twenty years." Another thus intimates how long and arduous must be the toil before its mastery can be acquired : — "The difficulty of thoroughly mastering the violin-^ the diffi- culty, that is, of combining perfect execution with brilliancy of tone ^d perfect expression — is so vast, that nothing short of indomitable patience and perseverance, united with those indis- pensable faculties which all good players must possess, will suc- ceed in overcoming them. ' Twelve years' practice,' says a musical critic, 'on the violin, will produce about as much profi- ciency as one year's practice on the piano.' If that is so, we may well imagine that a man, who by dint of perseverance has at length qualified himself to take hia place in an orchestra, may content himseK by merely maintaining his acquired skill, without attempting to rival the great heads of the profession. " The time which some students will devote to fiddling is almost incredible. We have known a clever man to practise every waking hour in the day, rising early and sitting up late, and sparing hardly one hour in the twenty-four for meals, for two years together, in the hope of qualifying himseU for the leadership in a provincial orchestra; which, after all, he failed in doing. We have known men who fiddled in bed when they could not sleep, rather than waste the time ; and others who have carried a dumb flnger-boord in their pockets, in order to practise the fingering of lifflcnlt passages while walking abroad or travelling by coach." It is, however, far from the purpose of the writer to The Violin. 22S discourage those who may wish to become proficient as performers on this delightful instrument, or to do other- wise than attempt to increase the ntimber of those, who, having carefully listened to master-players, and having thus learned of the wonderful intonations and of the great refinement of musical expression of which the violin is capable, have resolved to become far more than mere " fiddlers ; " and are therefore conscientiously and patiently addressing themselves to an endeavor to over- come its difficulties, and to take rank as real violinists.- To many of this number a good ■ if not a perfect degree of success must come, as it ever surely comes to the ' earnest, persevering student of any- art. To all such, then, the writer tenders his best wishes ; while he earnestly commends the above examples to all . who may have a desire to learn to develop the beautiful harmonis mysteries of this expressive, soulful instru- ment. XVII. JOSEPH WHITE, THE EMINENT VIOLINIST AND COMPOSEB. " Aoroes my hands Ibou Uest mute and still : Thou irtlt not breathe to me thy secret flue; Thy matchless tones the eager air shall thrill To no entreaty or command of mine. But comes thy master : lo I thou yleldest all* — Fasslon and pathos, rapture and despair : To the sours needs thy searching voice doth call In language exquisite beyond compare." " The Violin: " Barper'a Magaxin*. MR. JOSEPH WHITE 1 is a cliUd of the New World. He was born in Matanzas, Cuba. His first steps in art were made in his native town. His father, an amateur in music, thought he had rec- ognized from the early infancy of the great artist a more than ordinary taste for art. When the child heard the tones of a violin, he used to leave off play, and run in the direction where the instrument was singing, his eyes never losing sight of the virtuoso. Indeed, by 1 By permission of Mr. Wliite, I quote now, and to some extent shall do so hereafter, from his Biography, published in Paris in 1874 by Paul Dupont. For the excellent translation used I am much in< dehted to my friend Mr. Joseph W. Hendricks of Boston. 224 JOSEPH WHITE. Joseph White. 225 his actions at such times, he seemed not to belong to this world. As soon as his hands were large enough to hold a violin, they gave him one; and were much' astonished, when, at the end of a few months, he presented him- self before a large audience, striking the same with amazement by the manner, entirely magisterial, in which he so early attacked the instnmient. He continued his studies until the year 1855, when, at the suggestion of the famous Gottschalk, who had noticed the signs of genius in the young man, he started for Paris, the city of wonders, and centre of attraction for all aspirations. He came then, this young virtuoso, and presented liimself at the Conservatoire, asking to enter as a pupU. After going through a brilliant examination, and after fighting against more than sixty rivals, he was received with unanimity. In July, 185G, one year from the time of his entering the Conservatoire, White won all the "approbations," and wreaths and laurels were given liim. But we wiU let the newspapers of the time speak ; for our own pen will be powerless to give an account of the successes of the eminent artist. The "Gazette Musicale " of the 3d of August, 1856, speaks thus : — ..." We ■will say as much of the pupil -who has -won the first prize for violin, and who came the last in the list of concTir- rente. The Viotti Concerto had already been played nineteen times ; and, notwithstanding the great beauties of this classic work, the jury began to listen to it with but a dreamy ear. Mr. White ap- peared the twentieth. He belongs to a race whose complexion is more of a copper-color, with black and frizzled hair. He can'ies the head high, and his look is proud and intrepid. He approaches the eternal concerto, and it instantly becomes an entirely new creation 226 Musio and Some Highly Musical People. " The jury listened to it with aa much pleasure as if they heard it for the first time; and scarcely had Mr. ^Wite finished this piece when the jury retired to vote, proclaiming liim the victor. " Mr. White is eighteen years and a few months old. Since a year ago he has been in the Conservatoire, and studies in Alard's class. " But where has he taken his first lessons? How did this son of America become the equal of the greatest violinists known in Europe? That is what we do not know, and what we ask to know for the honor of the American school, of which Mr. White is a splendid example." The paper, "Le Pays," of the 6th of August, 1856, expresses itself in terms none the less flattering : — " The concoiirse of violinists has presented this year a beauti- ful sight. The fight has been one of the most brilliant. The first prize has been awarded to lilr. White, pupil of Mr. Alard. ..." As for Mr. White, he showed himself so much superior, that there ought to have been (so we think) created in his favor an exceptional prize, lie has played with an extraordinary anima- tion, not like a pupil, but like a master, — like a great artist who commands his auditory. The jury itself was electrified. In order to compete with that young man, there ought to have been masters there." It was at this brilliant concourse that Rossini, the great composer, remarked of White, " Since the day he took an interest in him, and protected the young artist^ there was no festivity at the maestfo's without the violinist playing on his melodious instrument." Be- sides, this letter from Rossini, addressed to White at the time of his father's sickness, shows how luuch the master loved him : — To Mb. White. Sir, — Allow me to express to you all the pleasure that I felt Simday last at my friend Mr. David's. The trarmth of your execution, tlie feeling, the elegance, the brilliancy of the school to which you belong, show qualities in you as an Joseph White. 227 artist of which the French school may be proud. May it be, sir, that through my sympathetic wishes I may bring you good fortune by finding again in good health the one for whom you fear to-day I Accept my blessings. Sir, I wish you a happy journey, and a speedy return. G. Rossini. In November, 1858, Mr. White was obliged to return to Havana, called back to his dying father. He then left France ; accounts of his success in which, carried to thfr dying man, were a sweet consolation and happiness, — thus to see, before dying, his son who was called to such a brUliant career. After the death of hi'' father, he started for France again ; hot, however, without hav- ing first obtained great success in different cities of Cuba, where he was received in triumph. Gottschalk, the celebrated pianist, who was one of the first who had advised White's family to send him to Paris, said that in all his life he had never seen such a beautiful success, and such a deserved one. After his return to Paris, White gave a great concert. " L'lUustration " of the 4th of May, 1861, gives. an account of that evening's entertainment in the follow- ing terms : — . " :Mr. White, whom America sent to us a year ago, I thinkj through a courageous work, developed the talent which had caused him to receive the first prize at the Conservatoire. He played with equal success the concerto by Mendelssohn, and Faganini's fanta- sias : which is to say, that he is ready to play every thing you may wish ; for there is a place for every thing between these two extremes. He played even his own music; and played at his concert a com- pcsition for violin and orchestra, very well instrumentated, fuU of h8.ppy melodies, and where the principal part contained features of a ch/iracter as ingenious as piquant. He possesses an extreme dex- teri/y in the rise of the bow, and makes the staccato with as much audacity as perfection. He has the tone agreeable, the style ele-, gaut, and the expression just, and not afiected. Here he is, then^ 228 Musie and Some Highly Musical People. placed in the first rank in that glori.ius phalanx of violinists which Europe envies us." After having given a splendid description of this con- cert (which want of space forces us not to publish here), the " Patrie " of the 30th of April, 1861, speaks thus : — " We have seen Mr. White begin. We have been present at the concourse at the Conservatou-e, where he won successively all the prizes. Then it was but a scholar who gave brilliant hopes: it is a master that we congratulate to-day in him." Some time after, he left for Spain, where he played at Mme. the Comtesse de Montijo's (mother of the Empress of France), and before the Queen of Spain. Her Spanish Majesty presented him, the brilliant vir- tuoso, with a magnificent set of diamond studs, and created him chevalier of the order of Isabella the Catholic. We reproduce some lines from " La France Musicale " of the 22d of November, 1863 : -— " White, the violinist, has had the honor to be received on the 12th of this month by the Queen of Spain. Her Majesty has accepted the dedication of a piece composed by this eminent artist, and has told him that she would try and find an occasion for hear- ing him play it; and, in fact, our violinist played at the queen's on the 22d of December." ^ After his return to France, he played at the Tuileries before their Majesties Napoleon the Third and the Em- press Eugenie. These sovereigns congratulated the artist most fully. We reproduce an extract from the " Constitutionale : " — " In the concert given at the Palace of the Tuileries on the 1st of March, Mr. White, violinist, and very distinguished, executed a 1 For further accounts of hia career in Spain, the reader is referred to La Correspondencla of 23d December, 1863; La Epopa, La Discu- lioQ, &c., of about the same date. Joseph White. 229 fantasie on Nabucco by Mr. Alard, in -which he displayed all the qualities of a virtuoso. He knows how to make his instrument sing; and, when a difficulty presents itself, he carries it with a fas- cinating majesty. He is an artist who has sncceeded in taking place among the best violinists of France and Italy." This was going on in the year 1864. This same year, Alard, White's old professor, was obliged to be absent, and leave his class in the care of others. After considering into whose care he should leave his class, Mr. Alard thought that White was more able to help him than any other, — White, his old first prize. Since that day, it was he, who, during the ab- sence of the master, has had the directing of his class at the Conservatoire. In order to thank him for his services so weU given, Alard presented White with a magnificent bow ornamented with gold and with tor- toise-shells. One reads in the " France Musicale " of the 24th of December, 1864, the following lines : — " Our celebrated violinist Alard, who has been on a short tour in the country, has just returned to Paris. During his absence, one of his pupils, Mr. White the violinist, took the management of his class at the Conservatoire." The " Art Musicale " of the 15th of January says, — " Our celebrated violinist Alard is n«w in Nice, where he ex- pects to spend a month. It is the violinist, Mr. White, whc is charged with the direction of his class at the Conservatoire." The "Presse Th^atrale" of the 26th of Januuty, 1865, says, — " In leaving Paris for a journey, the length of which is not fixedj Mr. Alard has confided the care of his violin class at the Conservatoire to Mr. White. This choice, there is no need to say, has been approved by the ministry of the emperor's house, and that of the Beautiful Arts. We need not say how much this hon- ors the young artist vfho is the object of it." 230 Music and Some Highly Musical People, After this new victory, our eminent violinist was heard at the Soci^tfe de Concerts of the Conservatoire of Paris, where he was admitted as a member. He pla3'^ed the piece in F by Beethoven ; and, when a second time they encored the artist, he distinguished himself in a classic work — the concerto by Mendelssohn — which masters alone daro to confront. The success was com- plete. One could have heard the buzzing of a fly in the hall. All eyes and hearts were in complete subjec- tion to the bow of the young virtuoso. Here is how the eminent musical critic of the paper " Le Si^ele," Mr. Commettant, expresses himself on the date of the 13th May, 1872 : — "At the last concert of the Socidt^ de Concerts, Mr. White, violinist of our beautiful French school, a composer learned and inspired, executed the concerto by Mendelssohn, one of the most melodious and the best proportioned of this illustrious master. The virtuoso showed himself the worthy interpreter of the com- poser; and through his playing, full, correct, warm, and well-mod- erated, Mr. White has obtained a success which is akin to en- thusiasm. They unanimously called back the artist; and he came to bow to the public, and then calmly went back to his place in the orchestra, from which ho had just stepped forth. These are things which are only to be seen in this celebrated musical company of the Conservatoire, which, in spite of everything, remains the first orchestra of the whole world." The " M^nestrel " of the 12th of May, 1872, says,— " Let us recognize the great success won last Sunday at the Con- servatoire by the violinist White, in the concerto by Mendelssohn. He is an artist now complete, this young rival of the Sivoris and of Vieuxtemps. He is not only a \-irtuoso, but also a com- pos sr of note, having published several very remarkable pieces for the violin. We shall notice his six brilliant ' Studies for the Conservatoire.' He has composed one concerto with large or- chestral accompaniment, a quatuor for strings, ' Songs without Joseph White. 231 Words,' severpi fantasies, and several pieces for one 'and two vio- lins." His concerto brought forth the following lines in the " France Musicale " of the 3d of March, 1867 : — " Mr. Joseph White is one of the most distinguished violinists of the French school. While yet very young, he jumped with one bound to the first rank ; and since then he has each day strength- ened his reputation through new and incontestable successes. He . has always distinguished himself as well by the manner, grand and magisterial, with which he renders the masters' works, as by his style, together elegant and sober, when he interprets music of our time. In order to be more than a virtuoso of note, there was only one thing wanting in him; and tliat was to cause himself to bo appreciated as a composer. " If virtuosity is acquired through obstinate work, guided by good studies, and helped by that indispensable element, natural aptitude, genius is a gift from Heaven, which neither treatise on harmony, nor the works on counterpoint, nor a given song, shall ever procure to those who have no sacred fire. " Last Tuesday Mr. White gave a concert in the Herz Hall; and here he has had the good fortune to receive, from the delighted audience that surrounded him, a double wreath, given together to the violinist and to the composer. The concerto he played, and whose author he is, is one of the best modern conceptions we ever heard of the kind. " The style of a concerto must be, at the same time, serious in thoughts and in their developments, graceful and brilliant, in order to bring forth the talent of execution of the virtuoso. Here is a double reef to avoid, and here many artists have been wrecked. Vieuxtonips and Leonard are the modern masters who have been the most successfid in this difficult style ; but how many have been less happy I " Mr. White's concerto is very temperate, of unnecessary length. The fabric of it is very well cared for ; the mother-thoughts are weU separated from the very commencement; the harmonies are unmis- taka))ly elegant and fine ; and the orchestration is written with a firm and sure hand, without fumblings or failings. The three epi- Bodeb are naturally united by the tuttis; the third movement, ' rondo 232 Mudo and Some Highly Musical People. h la turca,' is charming in cut and manner, its rhythms original and frank, and has wen all approbations, and brought forth ae-^- eral times unanimous bravos from the whole assembly. This com- position of a high value has been, in one word, the object of a true ovation 'for Mr. White, who was both author and composer." The " Art Musicale " speaks thus of this concerto : — " From the first measures one feels himself in presence of a na- ture strong and individual, and not iu the presence of a proletaire of the large tribe of virtuoso composers. " Not a single note in the composition has been given to virtuosi- te, though the difficulties of execution be enormous. ' With every true artist there is an eternally vibrating chord, which goes to the heart,' says Boileau; and that is why Mr. White asks only that his own emotion shall excite emotion, and, to the astonishment of charlatanry, renounces at once those means of success employed by coarse musicians." Then follows an analysis of the work, which want of space prevents us from giving. No need to say that it is favorable to our violinist-composer. We will mention only some of the papers which have spoken of the evening in question, — " La France," " La Liberty," "La Revue et Gazette des Theatres," "La Presse Thd3,trale," " La Mdnestrel," " La Semaine Musi- oale," &c. On the subject of the " Quatuor for Stringed Instru- ments " we will cite the article of the " Gazette Musi- cale " of the 12th of March, 1872 : — "The old Schumann Society, aU concerts of which are conse- crated to the liberation of the territory, is not as exclusive in the composition of its programmes as its title would make you suppose. " Thus is it that one has there very vivaciously applauded, Satuj-day, a ' Quatuor for Stringed Instruments,' by Mr.' White. We signal this beautiful composition to the amateur's attention. This young master shows in it the most serious qualities united to a perfect clearness and pm-ity of melody, with execution very remarkable, and which received one of the warmest receptions." Joseph White. 233 Here is the document we have before mentioned t — IMPERIAL CONSERVATOIRE OF MUSIC AND DECLAMATION. {Extract of (he Document of the Seating of the Committee on Musica. Studies, 16th December, 1868.) The Committee on Musical Studies for Violin, of the Conserva- toire, has read with interest the work -which Mr. White has pre- sented for its approbation. The -work is composed of six studies for violin, where the prin- cipal difficulties of execution which that instrument presents are confronted. One remarks in these pages ingenious combinations proper to develop the mechanism pf tlie left hand. The committee approves these six studies, called to fortify the talent of a violinist. (Signed) Avder, Director of Conservatoire, and lYea. of Committee. Then follow ten signatures of members of the com- mittee. As a token of his artistic value, four great masters have presented White with their likenesses, with the following dedications : — " Remembrance, admiration, and thankfulness are offered to my young friend White, a violinist very distinguished. ' ' (Signed) ' ' G. Rossini. ' ' " To Mr. White, whose talent is an honor to the Conservatoire. "AUBEK." " To iSi. White. Friendly remembrance. "Ambrose Thomas." " To my young friend White. " Gounod." The numerous medals sent to him by the musical societies are homages rendered to his merit. What remains to say after aU these proofs of an in-t ' contestable talent ? There ia nothing we might wish for Mr. White in 234 Music and Some Highly Musical People. what touches his art : in it he unites every thing. He IS certainly one of the most toasted and most appreciated professors of Paris, the soloist beloved by the public. We repeat it, we can say nothing more, but that we wish to hear him as much as possible. And here his biographer, after thus expressing, in terms the most affectionate and flattering, his inability to say more that would add to a fame so great, so nobly and so rapidly won throughout Cuba, France, and Spain, — here he closes the record. With all these brilliant and remarkable achievements, with all these rare honors so enthusiastically awarded him by the most distinguished, the very Slite, of the musical profession, both singly and combinedly, and by the sovereigns of France and Italy, White might well have rested, indulging himself in no further acquisi- tions. But men of such transcendent powers, men within whose souls the fire of musical genius so brightly burns, cannot stop ; for the essence, the very soul, of music, is the predominating, the all-absorbing quality that forms their natures ; and therefore it is that their ever new, their ever charmingly beautiful revelations in divine harmony, cease only when the sacred flame is extin- guished by death itself. Thus, then, it was with the subject of our sketch, who was to gain new laurels hi still another country. To speak of the same briefly is the cause of this continuance of his history. Although born so near the United States (in Cuba), White had never until the year 1876 visited this coun- try. In that year, however, he came to New York. In keeping with that modesty of demeanor, which, despite Joseph- White. 235 the many and rare honors he had won in Europe, had ever characterized him, he came to our shores unpre- ceded by that blowing of trumpets (usually paid for) which generally heralds the approach of the foreign artist ; and quietly, unostentatiously addressing himself to the duties that belonged to his beloved art, Uttle was heard of him by the general public for some time. But such almost marvellous power as this artist, this master, possessed, could not long remain unrevealed. People of musical culture were ere long electrified by the sweet tones of wondrous melody which with perfect ease he drew from his violin. That terrible barrier bo often, even at the present time, erected in this country, that shameful obstruction, color prejudice, could not long withstand the attacks of this qniet yet courageous mu- sical genius ; and people, at first indifferent because of his complexion, were won anon to his favor, not alone by his exceptional skill as a performer, but also by the polish, the ease and dignity, of his manners, so refreshingly free from ostentatious affectation on the one hand, or hesitating timidity on the other. They fotmd that he was indeed the true, the conscientious artist, who loved music for its own sake, and was im-" bued with a spirit of truthful enthusiasm, in such pleasing contrast with the characteristics exhibited by many of the foreign artists who had preceded him, as to render the same decidedly charming. The possession of these rare traits of character served, of course, to add to the attractiveness of a form which was one of most pleasing symmetry. A knowledge of his great abilities as a soloist spread- ing among musicians in New York, he was induced tc appear in public. It is needless to say that his success 236 Music and Some Highly Musical People. was unequivocal. Of the impression he made in New York, a city that has so often been the scene of the success or failure of the foreign artist, I shall call another person — a purely disinterested and competent art critic — to testify in the following, written from New York to " The Musician and Artist " of Boston of March, 1876 : — " Joseph White is in some respects the best violinist who has visited this country within my remembrance, not excepting Wie- niawski. He and his companion Ignasio Cervantes, pianist, made their appearance in this city some few months since, very modestly advertised, and unheralded by any sensational newspaper para> grraphs, and at their very first concert insured themselves undoubted future success. This success has been due entirely to White ; for, although Cervantes is quite a nice piaidst, he is nothing woudei-ful. But White was a revelation. His first New- York introduction to a large general audience was at a philharmonic concert (the date of which I cannot now recall), when he played the Mendelssohn con- certo and the Bach chaconne. The Mendelssohn concerto was excellently played, especially the last movement; but it was in the Bach chaconne that he proved how really good he was. I have heard this composition by every violinist of eminence (except Vieuxtemps) who has visited our city; but I never heard so satis- factory a playing of it. The three voices flowed on so smooth- ly and evenly, never seeming to be in each other's way: there always seemed to be plenty of bow, and just in the right place for each individual voice to receive exactly its due prominence. The vociferous recaU that followed this worthy performance was well earned. White is a Cuban mulatto, fine-looking, and extremely gentlemanly in appearance and conversation. A Brooklyn writer speaks of him as follows: ' His style is perfection itself; his bow- ing is superb, and his tone exquisite His execution is better than Ole Bull's ; he possesses more feeling than Wieniawski ; the volume of his tone is greater than that of Vieuxtemps.' All of which I indorse." On March 12, 1876, he appeared in New York aa soloist at a grand concert given by that justly celebrated Joseph White. ■ 237 anij almost perfect body of musicians, the Theodore Thomas orchestra. His performances on this and sev- eral previous occasions elicited the most enthusiastic ajQd unbounded praise from the critical " Arcadian " and the other New- York papers, nearly all of whom placed him beside the three or four great violin-artists of the world. On the 26th of March, 1876, White appeared at a grand concert given in the Boston Theatre^ in company with Levy the renowned cornetist. I shall long and delightfully remember the emotions of thrilling pleas- ure produced in my own breast by this virtuoso's mag- netic execution, and the feelings of joyful pride that I experienced when witnessing, on this occasion, his great triumph. After he had played the first few bars of the "Ballade et Polonaise" by Vieuxtemps, the audience felt that he was a master; and his reception readily became a grand ovation. He received a double encore after the performance of each regular number on the programme. But of his grand success on this occasion I shall let the journals of Ifoston of March 27, 1876, speak. "Daily Globe:" — " The concert at the Boston Theatre last evenmg attracted one of the largest audiences of the season ; and it is seldom that any artist receives such an ovation as that which was given to Senor Joseph White, the Cuban violinist, who inade his first appearance before a Boston audience. The numbers on the programme as- signeu to this gifted artist were a ' Ballade et Polonaise ' bv Vieuxtemps, and ' Chaconne ' by J. S. Bach ; but a double encore to each of these was responded to by other selections, including the ' Jarnival of Venice,' and a gavotte by Bach : all of which were rendered with a perfection rarely heard in violin performances, and recalled the best efEorts of Ole Bull." 238 Music and Some Highly Musical People. " Boston Journal : " — " The chief feature of the concert at the Boston Theatre last evening was the appearance of a new violinist, Senor Joseph White, a Cuban, who has lately created quite a sensation. Rarely has any artist created so great' a furore in a single hearing as Senor White. His really wonderful playing took the audience captive at once. His tone is remarkably true, pure, and firm, and his execution at all times clear and perfect. In short, he seems to have perfect command of the instrument." . "Herald:" — " He handles the king of instruments with the utmost ease and confidence. He has no useless flourish in his manner, and none of the ' hifalutin ' in his style. He draws and pushes his bow, and the instrument responds with delightful sweetness and passionate eloquence. He is probably entitled to a place in the catalogue of first-class violinists. Certainly those who heard him last night accorded him praises which would have perhaps ruined a less vain man." " Daily Advertiser : " — " But the success of the evening may be awarded to Joseph White. He plays in a style together firm and strong, and delicate and refined. His masterly rendition of Vieuxtemps' well-known * Ballade et Polonaise ' at once captivated the audience, and lie was enthusiastically encored ; and, the audience still calling for more, he played ' The Carnival of Venice.' Tliis second selection was played without accompaniment ; and he again was triply en- cored, the last time giving an air from ' Sonnambula.' " I have reserved for the last a very excellent critical analysis of our artist's performances. It is taken froip " The Daily Evening Transcript." " The Sunday-night concert at the Boston Theatre last evening waa made memorable by the introduction to the Boston public of Senor Joseph White, the Cuban' violinist. . . . The musical frater- nity, however, was very fuUy represented, the musicians knowing something of what was in store for the evening. But not even Joseph White. 239 they were prepared for the wonderful and delightful playing of Senor White. . . . The first of his work last night was something of a disappointment. There appeared to be a deficiency of tone, owing, as it seemed, to the use of an instrument not loud enough for so large an auditorium. But it was soon evident that the selec- tion of such an instrument was in accordance with the style and taste of the artist. Possessing the most perfect ease and freedom in his command of the resources of the violin, with a fine breadth of style, and an evidently strong and quick sensibility, yet he did not aim to produce his effects on a large scale of tone. He seemed to desire to confine his exhibition of the violin to the range where its fineness and sweetness, rather than its power, may be illustrated, and to check himself inside of the limit where a coarse, scratchy body of tone is obtained at the expense of purity and delicacy. His bow, though 'dividing the strings with fire,' seemed neVef to touch them. The direction or the position of its stroke, whether up or down, at the beginning or at the end of it, could never be told from any changes in the quality of the sound extracted. -' The tone flowed as though after the keen incisions of a knife-blade,, not as if scraped out by the friction of horse-hair upon catgut. When to this delicious quality of tone was added an exhibition of the . most perfect technique, the triumph of the virtuoso wSw complete. The mysterious flowing softness and smoothness of tone was carried with unflagging facility through the most rapid and difficult chord and harmonic playing; and this, with other wonderful feats of bow- ing, added new and bewitching charms to the diablerie of violin variations. The reception of the artist was cordial at the outset; but at the close of the first performance, a ' Ballade et Polonaise ' by Vieuxtemps, the enthusiasm was overwhelming. In response to the encore, Senor White played a ' Styrienne ' of his owji arrange- ment; and this was followed by two more stormy recalls, the audi- 3nce refusing to be quieted until he had again gratified them, tliis time with the ' Carnival of Venice,' arranged by himself in an elegant transcription of the familiar commonplace variations. At the conclusion of his second nmnber, Bach's ' Chaconne,' a famous and difficult violin solo, which was played, and interpreted as well, in a most masterly manner, the applause was again equally enthusi- astic, notwithstanding the character of the selection; and for an encore the scholarly artist responded vrith a finely intelligent and 240 Music' and Some Highly Musical People. daintily clean-cut rendering of a gavotte by Bach. The tumtiltuous recalls that followed this would be satisfied with nothing 'less than another performance ; and Senor White gave a rich and pleasing arrangement of his OY(n upon a popular air from ' Sonnambula.' With these two ' double encores,' amid such excitement as is rarely witnessed at a concert, Senor White may well add Boston to the other American cities4hat have ' adopted ' him." And here, for the present, we will take leave of our great -violinist. It is not probable that he obtained, while in this coun- try, a very great pecuniary success ; and, from what has been heretofore stated in regard to his characteristics, thin will not seem strange. White was not a showman. He has ever been too purely, too entirely devoted to his chosen art to admit of his using the moans generally employed by the mere money-seeking musician, — means which seem so out of keeping with those finer aspirations which a contemplation and practice of the noble art of music are expected to promote, and the use of which, detracting as it does from his dignity, lessens the respect, the admiration, which people of culture would fain feel for the gifted performer. A few months ago our artist sailed for Paris, the scene of his earliest triumphs. He has gone from our shores with his brow laden with new laurels, all honestly won ; and he leaves behind an admiring multitude of musical people who will ever watch with deepest inter- est his future career, and fondly wish for his speedy veturn. Therefore we do not say to him "Adieu/" but ".4m revoir ! " XVIII. THE COLORED AMERICAN OPERA COMPANY. " Who, as they sang, would take the prisoned son], And lap It In Elysium." Miunnr. " For, wheresoe'er 1 turn my ravished eyes. Gay gilded scenes and shining prospects rise; Poetic fields encompass me around, And still I seem to trend on classic gronnd." AsDiaoir. THE opera, or music drama, in which, in lieu of the ordinary forms of speech, music and song are used to give elevated expression to thought, is the most extensive, and, to nearly all lovers of melody, the most charming, of musical compositions. In its construction several of the other forms of music are most pleasingly united. In the opera, with the language of poetry, music is associated, giving increased ornamentation; and it is iised also to bridge over, so to speak, the places where mere language, either common or poetical, could never pass. That is to say, there are some phases of feeling of such fineness and depth, that only the soulful tones 241 242 Music and Some Highly Musical People, of music can call them into exercise, or give them ex- pression. ' The requirements for operatic construction are of course very great, — so great, that none may hope to succeed in the same save those endowed, if not with genius, at least with very superior talents. They must possess both marked originality, and power for continuity of thought ; in fact, must form in their capa- bilities a very " Ariel," a fountain-head of music, from which must constantly flow melody after melody, har- mony after harmony, ever new, ever pleasing, the whole presenting an artistically-woven story of the vicissi- tudes of human life. In the composition of an opera, two persons are usually associated j the one creating the words of the drama (the song), and the other compos- ing its music. In this field of musical creation, men of great genius find a more varied, a wider scope for the employment of their powers ; and but a few of the world's most emi- nent composers of music have failed to avail themselves of its opportunities for grand achiovomonts, buccobs in it being generally considered as necessary for a round- ing-out of their inventive harmonic capacities; while, for the establishment of their titles to greatness, they have sought to make some grand opera the chef-d 'oeuvre of their life-work. I would not imply, however, that all the great com- posers of opera worked simply for fame. To assert that they did, would, no doubt, be unjust, as it would be. denying that they possessed the " sacred fire of genius," and that deep and pure affection for art, which, judging from the noble beauty, the grandeur, of their works, they must have possessed. It does not seem allowable, for The Colored American Opera Company, 243 instance, to believe that Beethoven created the charming and exalted beauties found in the opera of " Fidelio " while inspired by. no higher feelings than those which fill the breast of him who labors mainly for renown. No : we think of Beethoven, and of others like him, as those, who, while they were favored with extraordinary native powers, were also imbued with a pure love for music, — a love of such strength, that it formed a part of their very natiu:es. To such minds and hearts ele- vated artistic work was as natural as life itself; in truth, we might almost say, was necessary to life. But, if great powers are required by the composer of an opera, so also is it necessary that those who are to make known its meanings fully — especially those who are to interpret its leading parts — should possess, as singers and actors, more, to say the least, than ordinary abilities ; and those who, in their capability for complete, soulful sympathy with the author's aims, who form, in fine, the very embodiment of the latter's ideals, certaitdy deserve to stand next to him in greatness. Generally the brightest vocal stars have shed their effulgence upon the operatic stage : here these singers have found the widest range for their extensive powers of voice and dramatic action. The part of a performer in opera (and here I refer not alone to one who acts the leading rdle') is a most exacting one ; for the artist must unite in himself the qualities of both the singer and the actor. While called upon to demonstrate with prop- er melody of voice and expression the meaning of the music of the opera, he is also required to portray by suitable dramatic movements its corresponding meaning as found in the libretto. These remarks iEipply more particularly to those who constitute the dramatis per 244 Music and Some Highly Musical People. nonee in operatic presentation. Of course we do not foi^ get the very important aid afforded by those who are included in the pleasing chorus, nor those who by instru- mental accompaniment add to the charm of — in fact, give indispensable support to — the whole performance. It would perhaps be superfluous to here dwelf, at least more than incidentally, upon the deep pleasure enjoyed by the lovers of music and of dramatic art when witnessing the performance of a good opera. At such a time their truly musical souls enjoy a delicious, a sumptuous feast of melody; while the kaleidoscopic prospect, formed by richly-costumed actors, and appro- priate, beautiful scenery, fills them with delight. The harsh realities of every-day life are so much relieved by the poetic charms of the ideal, that they live amidst a scene of fairy-like enchantment. Nor does all that be- longs to the bewitching occasion end with the regretted close of the performance ; for •' Music, when soft voices die, Vibrates in the memory; " And for days and days, nay, often throughout life, do the best melodies, the " gems of the opera," delightfully "haunt the memory," and awaken in the heart the most pleasing emotions. In all this, no more than a just tribute is paid to .the noble genius of the composer, and the, fascinating power of his faithful coadjutor, the lyric actor. These few thoughts, which, it may be, present nothing new to the student of the various forms of musical ex- pression, fall very short of doing justice to a subject of most delightful interest, and one which, for its proper treatment, requires far more of elaboration than The Colored American Opera Company. 245 can here be given. They are among such as corne to me while reflecting upon an achievement, that, although not in a general way extraordinary, was nevertheless, in some important respects, exceedingly remarkable- and noteworthy. I refer to a series of performances given at Washington and Philadelphia in the month of Feb- ruary, 1873, by an organization called " The Colored American Opera Company." This troupe, formed in Washington, was composed of some oT the most talented amateur musical people resid- ing in that city. The following-named ladies iand gen- tlemen were the principal members and performers : — Mb. JOHN ESPUTA . . . . Mbs. AGNES GRAY SMALLWOOD Miss LENA MILLER . Miss MART A. C. COAELET. Mb. HENRY F. GRANT . Mb. RICHARD TOMPKINS . Mb. WILLIAM T. BENJAMIN Me. GEORGE JACKSON . '. Mb. THOMAS H. WILLIAMS. Musical Director. Soprano. Contralto. Contralto. Tenor. Tenor. Baritone. Baritone. Basso prcfunio. Mr. Henry Donohoe acted as business manager. Around these, the central figures, were grouped a large, well-balanced chorus, and a fine orchestra; nor was appropriate mise en scene, nor were any of the var rious accessories of a well-equipped opera, wanting in the presentation. The opera chosen for these performances was Julius Eichberg's excellent " Doctor of Alcantara." The first performances were given in Lincoln Hall, Washington, on the evenings of Feb. 3 and 4, 1873; the next at Philadelphia, in Agricultural HaU, Feb. 21, 22, and 23. Returning to Washington, the two laSt performances of the series were given in Ford's Theatre. 246 Music and Some HigUy Musical People. Of the highly meritorious character of these presentar tions of opera there exists abundant evidence, emanat- ing from disinterested, trustworthy sources, from which I quote the following. From " The Daily Washington Chronicle," Feb. 4, 1873: — "the AMERICAN OPERA-COMPANY. " The first colored opera- troupe of any merit ever organized in this country appeared at Lincoln Hall last night in Eichberg's opera, ' The Doctor of Alcantara.' " Lincoln Hall was literally packed. Of course the majority of the audience was colored, and included a host of the }«:iaonal friends of the singers. Glancing over the house, the full opera- dresses scattered liberally through the audience reminded one not a little of the scene at a concert by Carlotti Fatti or the Theodore Thomas orchestra. Quite a third of the audience was composed of white ladies and gentlemen, largely attracted, perhaps, by the novelty of the affair; and among them were many representatives of the musical circles of the city, somewhat curious to hear and compare the performance with these they have been accustomed to hear. "The criticisms, as a whole, were favorable. It was evident that the voices of two or three of the singers will be bettered by cultivation. The choruses were effective, la. dramatic ability there was little lacking, and the singers were quite as iiatm-al as many who appear in German and French opera." From "The Daily National Republican," Washing- ton, Feb. 5, 1873 : — "The second representation of 'The Doctor of Alcantara' at Lincoln Hall last night was an improvement upon the first. The natural nervousness of the singers was better overcome, and they made a better use of their fine voices. " For the sake of making some just reflections and comparisons, ire select the name of Miss Lena Miller, who sang the role of ' Isa- bella.' Here is a young lady, really pretty in form and features, graceful in stage-presence, modest in manner, and imbued with The Colored American Opera Company. 247 true afEection and spirit for art. At present she is not a great singer; but her voice is sweet and clear, and at times sympathetic. In this simple statement high but judicious praise is included; and here we might stop. But Miss Miller's presence in opera has a significance and a promise infinitely pleasing to all candid and well-judging minds concerning the race to which she belongs. "Neither Miss Miller nor Mrs. Smallwood, nor toy of the company, have liad the advantage of musical training in European or American conservatories. They have to depend alone upon their natural gifts and personal acquirements. This fact is one which makes vastly iu their favor, and protects them from the standard by which Adeline Patti or Louise Kellogg would be judged as artists. Under all the circumstances, they sing and perform extraordinarily well; and as for the chorus, it is superior to that of any German or Italian opera heard in this city for years. "Mr. Benjamin's impersonation of 'Dr. Paracelsus' was'reaUy a good bit of acting, and, lilr. Grant's ' Carlos ' won for him de- served applause. " The role of ' Don Pomposa ' by Mr. WilUams, the basso pro- funda, was finely rendered. His acting was good, and his voice full of richest melody. " The opera last evening was largely patronized by distin- guished people, among thein being Senator and Mrs. Sprague, Gen. Holt, and many others. "The experiment, doubtful at first, has proved a genuine suo- From « The All-Day City Item," Philadelphia, Feb. 22,1873: — " ' The Doctor of Alcantara' has at last attracted a number of colored amateurs of AVashington; and they have lately appeared in that city, with such success that they are induced to present it in Philadelphia. " It must be remembered that t^is troupe is composed entirely of amateurs, and is the first colored opera-troupe in existence. We have had the < Cblored Mario' [Thomas J. Bowers], the 'Black Swan' [Miss Greenfield], &c. ; but never imtil' now have «7e had a complete organization trained for ensembles. 248 Music and Some W,gMy Musical People. " The audience attracted to Hortioultural Hall last evening was therefore prepared to make all sorts of allowances for the shortcomings of the amateurs ; but it was hardly necessai y, as the • troupe — really excellent, well trained — possesses agreeable voices, fiings intelligently, and with experience will, we are confident, attract a great deal of attention, and receive high praise. " The principal success was achieved by Mrs. A. G. SmaUwood, who sang the music of ' Lucrezia ' remarkably well. Her voice is full and pleasing. Miss Lena Miller, however, sang ' Isabella ' very prettily; her romance, 'He stUl was there,' being rendered with "excellent taste. Miss Mary A. C. Coakley, as 'Inez,' acted and sang with considerable spirit. Her arietta, ' When a lover is poor,' was quite neatly sung. " Mr. W. T. Benjamin, as the ' Doctor,' acted and sang with spirit i so did Mr. T. II. Williams as 'Don Pomposo.' Mr. II. F. Grant,- the tenor, has a powerful voice, which, with cultivation, will become excellent. He sang ' Love's cruel dart ' judiciously, and was effective in the opening serenade with choi-us, ' Wake, lady, wake.' Mx. Grant is not yet at home on the stage, but acted and sang the duet, ' I love, I love,' with ' Lucrezia,' remarkably well. "The chorus, numbering nearly forty, was worthy of warm praise. The serenade that opens the opera was charmingly sung by the male voices; and the finale to Act 3 was so spirited and efEecti\e, that it was encored. We do not exaggerate when we say that this is one of the best choruses we have heard for some time." From "The PhUadelphia Inquirer," Feb. 22, 1873: — "thk colored opera-company. " This opera-company made its first appearance in this city last evening at Horticultural Hall, and was most favorably received. The performance, which was given to quite a large and intelligent audience, was Julius Eichberg's opera entitled ' The Doctor of Alcantara,' which was excellently rendered. " Miss Lena Miller, who sang the r6le of ' Isabella,' is yoimg and graceful, with a pleasing voice; and her part was well given. Mrs. A. G. Smallwood was cast as ' Donna Lucrezia,' and' had considera- ble to do. She sings weU, and her acting far exceeds that of anj The Colored American Opera Qompany. 249 other member of the company. 'Inez,' a maid . represented by Miss Coakley, and a difficult part, was given with great accuracy. 'Carlos,' by Mr. H. P. Grant, was fairly rendered. . . . W. T. Benjamin as ' Dr. Paracelsus,' although a little stiff, fairly per- formed his part. " The chorus, composed of probably thirty voices, male and female, was a feature; and their singing is really unsurpaiised by Ihe finest chorus in the best companies." From "The Philadelphia Evening Star," Feb. 22, 1873 : — " COLORED AMERICAN OPERA-COMPANY. " This company made its first appearance last evening at Horti- cultural Ilall to an audience, which, though not large, was attentive and sympathetic. The attendance would, no doubt, have been larger, but for an unfortunate mistake. ... As it was, the performance was an agreeable surprise to all who were present; not only being a decided success, but in the matter of choruses surpassing any per- formances of the same opera ever given in this city by any of the foreign or ' grand English ' opera-troupes.* The cast of the col- ored troupe included Mrs. Smallwood, who has a beautiful ringing soprano-voice, q. very easy lyric and dramatic method, and a carriage of unusual gi'ace; Miss Lena MiUer, whose voice, though les9 pow- erful, is very pleasant, and whose acting was notable for its unaf- fected style; Miss M. A. C. Coakley, a mezzo-soprano of very fair capacities; Mr. H. F. Grant, whose tenor-voice hds good power, raftge, and quality; Mr. T. H. WiUiams, who possesses a deep bass- voice, controlled with a fair degree of culture; and Messrs. W. T. Benjamin and Smallwood, who filled their parts not unacceptably." From "The Age," Philadelphia, Feb. 22,1873: — "The colored opera-troupe gave their first performance in Phila- v.lelphia last night iii Horticultural Hall. The selection for their debut was ' The Doctor of Alcantara,' by Julius Eichberg, which has frequently been given previously by various English companies, but, we venture to say, never so perfectly in its ensemble as by this company. 1 The same opera was performed here a few days before with the f«l- )owing cast: Miss Howson, Mrs. Seguiui and Miss Phillips, and Messrs Seguin and Chatterson. 250 Musio and Some Highly Musical People. " There was a great deal of enthusiasm; and several numbers of the opera were vociferously re-demanded, including the ^na?e of the first act, which revealed to us a choral efEect which has never been heard upon the operatic stage in our country since the pahny days of Ullman's management. The chorus was large and efficient, every member doing his and her part; and, to aU appearances, there was no^ dead wood ' among them. It must be understood, besides, that all the music was sung; every part in harmony being taken with exactness and precision, whether as to time or intonation. " Indeed, so admirably did the chorus sing, that we hope to hear them in a mass or an oratorio at some future time, being satisfied that they wiU make a most favorable impression." From "The Philadelphia Evening Bulletin," Feb. 22, 1873 : — " A company of colored persons appeared at Horticultural Hall last night in Eichberg's opera, ' The Doctor of Alcantara.' The opera was given in a really admirable manner by singers who understand their business, and have vocal gifts of no mean description. The leading soprano, Mrs. Smallwood, has a full, round, clear, resonant voice of remarkable power ; and she uses it with very great effect. She sang th6 niusic with correctness and precision, and played her part capitally. " The tenor and bass are both excellent; but, while they display fine voices, they show a want of higli training. This is also the single defect of the two subordinate female voices of the company. '» The chorus was very fine indeed ; and its performance, like that of the principal singers, proceeded without a flaw or blunder from first to last." From the Washington correspondent of " The Vine- land (N.J.) Weekly," February, 1873: — "On Tuesday evening it was the good fortune of yom- corre- spondent to attend the opera rendered by the ' Colored American Opera Company,' of which I spoke in my last. " To say that every thing passed off well, simply, would be but faint praise. We all know that the colored race are natural musi- cians ; and that they are susceptible of a high degree of cultivation is evinced by their rendition of the opera on the occasion of which I speak. The Colored American Opera Kyompany. 251 i " As for the chorus, it is not saying any thing extravagant ■when I make the assertion, that it has never been excelled by that of any of the professional opera-troupes -which have visited this city." The comments just given, taken, as it may be seen they are, from the' principal journals of Washington and Philadelphia, without regard to party bias, would be of little value here, were it not for the vein of candor that runs through them all. In them the ^VTiters have tempered very high praise with the faithful pointing- out of such defects as to them appeared in the per- formances. This is the spirit of true criticism, which, while it ever eagerly seeks to discover all the merits of a performance, fails not also to note, in the interest of true progress, all its errors. Praise, then, from such a source, is praise indeed. Moreover, it is not pre- tended that our little troupe of amateurs presented a perfect performa,nce. Others of longer experience and of far more pretentious character had not done this. Nor was or is such a thing possible ; for, as Pope says in his " Essay on Criticism," " Whoever thinks a faultless piece to see Thinks what ne'er was, nor is, nor e'er shall be." But, allowing for such errors as caught the sharp eye and ear of the critic (it is seen that these errors were but trifling in number and character), the series of operatic representations under consideration was a fine, a brilliant success. For the happy conception and successful carrying- out of the idea of presenting to the public a rendition of opera by musicians of the colored race, words too high in praif e of these ambitious pioneers of Wasliing- ton cannot be spoken. Never before had there been 252 Music and Some Highly Musical People. an attempt by persons of their race to enter, as the equals of others, the exacting domain of the music drama. The performances, although few in number, were of such a highly-pleasing description, and the movement was withal so entirely novel, as to render it a somewhat startling and a most delightful revelation. Mingled with the feelings of just pride that many persons experience when reflecting upon the grand musical and dramatic success achieved by these artists, ever, and anon arise those of regret, — regret that they did not longer continue their charming performances, extending the same to other cities besides those men- tioned. It is therefore earnestly hoped that ere long they will again appear. It is hoped that even now they. are devoting themselves to rigid study, and to the arrangement of uaatters of detail ; and that, guided by past valuable experience, they will soon give represen- tations of opera in a style even exceeding in finish that which characterized those which they formerly gave. As the avants-courrieres in art of those of their race, whom, let us hope, a fast-approaching day of. better opportunities shall make plentiful enough ; holding as they do their torches in the remaining dai-kness, to light the pathway of those that shall follow them into the bright, the delightful realms of the operatic Muse, — theirs is therefore a beneficent, a noble mission, the continuance of which promises the happiest results foi all concerned. XIX. THE FAMOUS JUBILEE SINGERS OF FI8K UNIVERSITY. " The air he chose was wild and sad : Now one shrill voice the notes prolong; Now a wild chorus swells the song. Oft have I listened and stood still ' As It came softened np the hill." Sib WaiiTsb Soott. "If, eedmen, NashvOle, Tenn. In Mr. Beecher's church they delighted a vast throng of auditors, and another equally packed audience greeted them last evening. "I never saw a cultivated Brooklyn assemblage so moved and melted under the magnetism 'of music before. The wild melodies The Famous Jubilee Sirtgers. 261 of these emancipated slaves touched the fount of tears, and gray- haired men wept like children. . . . " The harmony of these children of nature, and their musical execution, were beyond the reach of art. Their -wonderful skill wat put to the severest test when they attempted ' Home, Sweet Home,' before auditors who had heard these same household words from the lips of Jenny Lind and Parepa; yet these emancipated bond- women, now that they knew what the word 'home' signifies, rendered that dear old song with a power and pathos never sur- " Allow me to bespeak through your journal ... a universal welcome through the North for these living representatives of the only true native school of American music. We have long enough had its coarse caricature in corked faces: our people can now listen to tlie genuine soul-music of the slave-cabins before the Lord led his ' children out of the land of Egypt, out of the house of bondage.' " The welcome thus eloquently bespoken for the sing- ers was enthusiastically extended to them all over the North. The journals of the day fairly teemed with praises of them; and often, in the larger cities, hun- dreds of persons were turned away from the concert- haU, unable to obtain admittance, so great was the rush. After a while they visited England, where they sang before the Queen and others of the nobility, every- where repeating the triumphs that had been theirs in this country. In fact, it was proved that their power as singers held sway wherever they sang ; wherever was found a soul in unison with melodious sound, a heart capable of human emotion. It was not so much the words of their songs — these, it is true, were not with- out merit in a religious sense — as the strangely pathetic and delightful melody of their music, and the freshness and heartiness of the rendering, that gave them their greatest chaim. This has since been most pointedly 262 Musio and Some Highly Musical People, demonstrated in Holland and Switzerland, where these singers have drawn crowded and delighted audiences that neither speak nor understand a word of English : such is the beautiful, far-reaching power of this, in the truest sense, "music of the heart." I now present a few of the many tributes of admira- tion which their performances drew from cultured Eng- lish people. Thus spoke Mr. Colin Brown, Ewing Lec- turer on Music, Andersonian University, Glasgow : — " As to the maimer of their singing, it must be heard before it can be realized. Like the Swedish melodies of Jenny Lind, it gives a new musical idea. It has been well remarked, that in some respects it disarms criticism ; in others it may be truly said that it almost defies it. It was beautifully described by a simple High- land girl: ' It filled my whole heart.' " Such singing (in which the artistic is lost in the natural) can only be the result of the most careful training. The richness and purity of tone both in melody and harmony, the contrast of light and shade, the varieties and grandeur in expression, and the ex- qtusite refinement of the piano as contrasted with the power of the forte, flU us with delight, and at the same time make us feel how strange it is that these unpretending singers should come over here to teach us what is the true refinement of music; make us feel its moral and religious power." Others spoke as follows : — "I never so enjoyed music." — Rev. C. H. Sforgeon. " They have beautiful voices." — London Graphic. " Their voices are clear, rich, and highly cultivated." — London ■Daily News, " This troupe sing with a pathos, a harmony, and an expression, which are quite touching." — London Journal. " There is something inexpressibly touching in their wonderfully sweet, round, beU voices." — Rev. George MacDonald. Mr. Gladstone, while prime-minister of England, hon- ored them with a complimentary breakfast, and lis- Tfte Famous Jubilee Singers. 263 tened to their songs, as Ne^vrman Hall -nrites, "with rapt, enthusiastic attention, saying, ' Isn't it wonderful? I never heard any thing like it.' " " We never saw an audience more riveted, nor a more thorough heart entertainment. Men of hoary- hairs, as well as those younger in the assembly, were moved even to tears as they listened with rapt attention to sMne of the identical slave-songs which these emancipated ones rendered with a power and pathos perfectly in- describable. ' ' — London Rock. I might now, if it were necessary, fill many pages with the comments made upon these charming singers by the American press both before and after their trip to England ; but these would only be repetitions of the laudatory notices just given. The following is quoted because it is descriptive of the improvement made by the singers. Said " The Boston Journal," — "The Jobilee Singers. — The students of Fisk University, Nashville, Tenn., whose sweet voices made such a popularity for the Jubilee Singers in this city two or three years ago, and won royal favor on the other side of the Atlantic, gave their first concert since their return at Tremont Temple last evening. The audience numbered some two thousand persons, and manifested an enthusi' asm seldom witnessed at a concert in this city. From the initial to the finale of the programme the singers were applauded and encored, and now and then the enthusiasm broke forth in the interludes. So many thousands have listened with delight to the full, rich voices of the 'Jubilees,' and the sweet undertone which disarms criticism while it charms the popular ear, that it is needless to opeak of tbem at length. The- simple purity of the rendering of the Lord's Prayer, which initiated the programme, gave evidence that they had lost none of their natural grace and simplicity of expression by their tour across the water; and this was confirmed by the peculiar and plaintive melodies of the South-land in the days of slavery, which made up the major part of the programme. A few selections of more'artistic composition were introduced, for the purpose of demonstrating, as they did most fully, that the students 264 Music and Some Highly Musical People. have been educated to an appreciation of the highei grades of vocalization. The great charm of these singers •will, however, remain in the reproduction of the melodies of an era that has gone, happily never to return, — melodies whioh were the natural expres- sion of the fancies and sympathies of an emotional race, and which no musical culture or refinement can ever render with the sweet simplicity and charming grace that flow from the lips of those to whom they are the native music." " In the summer of 1874 they returned to Nashville, having given two seasons of concerts in this country, and one in Great Britian. The best evidence of the appreciative and enthusiastic welcome given them in both countries is the fact that the net result for Fisk University was over 190,000." The "problem" of the little band of faithful teachers had been nobly, glorious- ly solved. The old government-building in which they began their labors was soon discarded. To-day, on a beautiful, commanding site of twenty-five acres, with all the appliances of the best modern colleges, stands a noble building, forever dedicated to learning and to Christianity. Since the events whose record is just closed, it has been determined by the faculty of Fisk University to raise by other concert tours $100,000 as an endowment fund. At the present writing (June, 1877) the Jubilee Singers are making a tour of the Continent. They are now in Holland. Thus far their success continues un- abated; and undoubtedly they will succeed in amply endowing the institution which, in a manner so praise- worthy and remarkable, they have • erected. The fol- lowing extract from a letter affords a pleasant glimpse at the European life of the singers : — ... "I win teU you something of our Summer's experience. The company had passed through a hard year's work, and were The Famous Jubilee Singers. 267 greatly in need of rest. A charming country-seat was rented iij tUe suburbs of Geneva at a very reasonable rate, and the months of July and August were spent there with great benefit to all. The citizens were evidently astonished at this introduction of a new shade of humanity; and the singera seldom passed along '■ha streets without hearing some remark about 'ft» nkgtes,' or 'les noirs.' But they were invariably treated with the greatest respect, and, in fact, were never once annoyed by a rabble in the streets, as they frequently are elsewhere, gathering aroimd with a rude and impertinent curiosity. " Among other pleasant experiences, there was an afternoon spent with Pfere Hyacinthe. We found him very genial and agreeable, and his American wife no less so. He speaks no English at all, but Ma- dame acted as interpreter; and there was none of the stiffness or awk- wardness that might have been expected under the circumstances. "... The most notable event of our stay at Greneva waa a con- cert given, just before leaving, in the Salle de la B^formation. It had been a question of much interest, as to whether the slave-songs woidd retain any thing of their power where the words were not understood. The result was a new triumph for those mysterious melodies, showing that the language of nature is universal, and that emotion is capable of expressing itself without the intervention of words. The haU was packed to its utmost capacity, and the en- thusiasm at fever-heat. When asked how they could enjoy the songs so much when they knew nothing of the sentiment that was • conveyed, the reply was, ' We cannot understand them ; but we can feel them.' Pfere Hyacinthe presided at the concert as chairman, and evidently enjoyed it as keenly as the rest of the vast audience." And now to discriminate ; for the writer, while dis- claiming all censorious or pretentious aim, yet, for rea- sons which may be readily understood and fully appre- ciated by the reader, intends this volume to inculcate the lessons of advancement by always attempting to honestly distinguish between that which is progressive in music and that which is the reverse. Have, then, these famous Jubilee Singers, who everywhere thrilled the hearts of their hearers, and whose charming melody 268 Music and Some HigUy Musical People. of voice, and style of rendition, " disarmed the critic," — have they established by all this a model for the pres- ent and the future ? In some respects they have ; in others they have not. And is there to be no aim beyond the singing of " Jubilee songs " ? Professors White and Seward and all these talented singers will say, I am quite sure, that there is to be a higher aim. The songs they sang were for- the present, forming a delightful novelty, and serving a noble purpose. Still it must be sadly remembered that these Jubilee songs sprang from a former life of enforced degradation; and that, notwithstanding their great beauty of mel- ody, and occasional words of elevated religious charac- ter, there was often in both melody and words what forcibly reminded the hearer of the unfortunate state just mentioned ; and to the cultured, sensitive mem- bers of the race represented, these reminders were al- ways of the most painful nature. And yet such per- sons could not have the heart to utter words of dis- couragement to an enterprise having an object so noble. They, like all others, could not but enjoy the rich melody and harmony of the wonderful Jubilee voices. They, too, often listened spell-bound ; and when in- clined, as at times they were, to murmur, the inspiriting voice of hope was heard bidding them to turn from a view of the dark and receding past to that of a rapidly- dawning day, whose coming should bring for these singers, and all others of their race, increase of oppor- tunities, and therefore increase of culture. On the foregoing pages but little has been said of the secular songs with which at times the troupe in- dulged their audiences. Even in music of this kind they were exceedingly pleasing ; and it is very gratify- The Famous Jubilee Singers. 269 iug to reflect that the members of the company con- stantly aimed to obtain a scientific knowledge of general music. No fears need be entertained that the students of Fisk University will ever lack for instruction in music of the highest order, as ample pro-vision is there made for the same. Of course the model of slave " spirituals " will in a short while give place to such music as befits the new order of things. The students themselves will wish to aim higher, as the spirit of true progress will demand it. Nevertheless, some of the characteristics displayed by the great Jubilee choir it will be well for them to ever retain, and for all other singers to imitate : I mean the heartiness, the soulful- ness, of their style of rendition. Indeed, in their strik- ing exhibitions of these latter qualities, I think they may justly claim the honor of standing quite peerless and alone, and of having presented a model for the present and the future, — a model founded on that power of the singer, which enables him to melt, to stir to Its inner- most recesses, the human heart ; that power that enables him to sing as one inspired. And here let me conclude by venturing a brief pre- diction. My mind goes a few years into the future. I attend a concert given by students or by graduates of Fisk University ; I listen to music of the most classi- cal order rendered m a manner that would satisfy the most exacting critic of the art ; and at the same time L am pleasantly reminded of the famous " Jubilee Sing- ers" of days in the past by the peculiarly thrUlihg sweetness of voice, and the charming simplicity and soulfulness of manner, that distinguish and add to the beauty of the rendering. XX. THE GEORGIA MINSTRELS. " All the mlnetrol art I knowi I tbo viol well can piny; I t]io pipe and ayrlnx blow; narp and gulge my baud obey; f Baltcry, sympbony, and rote Help to charm the listening throng; And Armenia lends its note ■While I warble forth my song." The Lay of the Mmairel, THE origin of troubadours, or minstrels, dates back to the year 1100 (A.D.) at least. There are ac- counts, somewhat vague, however, which make them slill more ancient. They were at one time almost the sole producers of poetry and music, always composing the songs they sang, accompanying the same generally, at first, with the music of the dulcet-toned harp, and, at a later period, with that of the guitar. Their accomplishments, especially in music, secured for them the ready entrSe of the most refined society, particularly that of elegant ladies, of whom they were great favorites ; while the most polished princes always extended them a warm welcome. At one time in their history, the fate of letters was in the sole keeping of the troubadours. Had it not been 270 The Georgia Minstrels. 271 for the frequent presentations and allusions made to literature in their songs, its chain, connecting past and present, would have been broken. An elegant French writer, speaking of the ancient troubadours, observes, " They banished Scholastic quai^ Tels and ill-breeding, polished the manners, established rules of politeness, enlivened conversation, and purified gallantry. That urbanity that distinguishes us (the French) from other peoples is the fruit of their songs ; and, if it is not from them that we derive our virtues, they at least taught us how to render them amiable." I have thus briefly alluded to the early history and characteristics of the minstrel, because I consider such a course as just towards the present profession, and in order to show how sadly (in this country certainly) have its members deviated from the refined, the brilliant practices of their predecessors. Besides, in doing this, I am not without a hope that I may be contributing in some slight degree towards elevating a profession, the archetypes of which discoursed the finest music of their times, and whose courtliness of demeanor and varied acquirements were such a:i to render them the fit asso- ciates of persons of the highest culture. For, in this instance, why may not what has been be again ? . It is unnecessary to dwell at length upon the fact so sadly apparent, that the American minstrel has had for his principal " stock in trade " the coarse, the often vul- gar, jest and song ; a disgusting (to the refined) buf- foonery, attended with painfully displeasing contortions of the body ; and, worst of all, the often malicious cari- caturing of an unfortunate race. It is, however, cause for gratulation, that American minstrelsy has • of late been divested of much of its 272 Music and Some Highly Musical People. forpier coarseness ; that its entertainments have become 80 much diversified and elevated in character — the musical portions of which at times so nearly approach the classical — as to render the same entirely differ- ent from the minstrel performances so common a few years ago. It is found that a public rapidly becoming enlightened, and freed from the influences of an ua- reasioning and cruel race-hatred, no longer enjoys with its former relish the " plantation act," so called, with all its extravagant and offensive accompaniments. Com- pelled to recognize this change of sentiment and taste, the best troupes now frequently give, instead of the " act " just mentioned, some other one, which, while comical enough, is yet free from features distasteful to people of refinement. In view of all this, may we not ask. Is the minstrel guild going back to the standards of its ancient and more noble days ? Let us hope that it is. And to the attention of those who have regarded with . aversion (often with good cause too) the mod- ern race of " troubadours " I commend the cheering tendencies just noted, since these may be held as indi- cating the dawn of a brighter day for all concerned. I next invite the reader to the perusal of a sketch of the famous " Georgia Minstrels," who not only in this country, but in some parts of Europe, have become justly celebrated as the finest troupe of minstrels extant. Being all real colored men, and therefore not dependint upon "burnt cork," — being, as some have put it, " the genuine article," — they in this respect possess an advantage over their naturally fairer-skinned brethren in the profession. Still, as will be seen hereafter, this complexional advantage (?) is not by. any means the most important cause of their unprecedented success. The Georgia Mimtreh. 273 But the reader is first requested to pardon what may be thought a digression : the writer considers it a neces- sary one. He is aware, that, in presenting in this book the fol> lowing account of the Georgia Minstrels, — an account whicli, on the whole, must be regarded as highly compli- mentary to the latter, — he maybe incurring the dis- pleasure of some very excellent people who belong to the same race as that of the members of the troupe men- tioned. This he very much regrets ; for although he considers these persons as perhaps unnecessarily sensi- tive, and certainly mistaken in some of the opinions which they hold regarding this company of minstrels (whose performances, by the way, most of. said persons have never witnessed), he yet entertains the fullest respect for the honorable motives that inspire their dis; favor. The main grounds of their opposition to minstrel performances in general, and to those of the Georgia Minstrels in particular, may be stated briefly, but fairly, as follows: That these performances consist, for the most part, in a disgusting caricaturing ostensibly of the speech and action of the more unfortunate members of the colored race, but which are really made to reflect against the whole ; that these public performances do much to belittle their race generally, arouse and keep alive in the breasts of other races a feeling of contempt for it ; and that these effects are greatly enhanced when colored men themselves engage in such performances, as (hey thus give "aid and comfort to the enemy." I shall not attempt to refute these statements. They may bo true ; but, whether they are or not, it is not within the province of this book to discuss. They are placed here 274 Music and Some Highly Musical People. in order that both sides may be heard. Against their severe and somewhat sweeping character I place the fine musical achievements of the subjects of this sketch. Of these, assuredly, we can all be proud ; and therefore the recounting of these shall serve as a full justifica- tion of the course I have taken in presenting the sketch. The author well remembers, that, when only a boy of fourteen years, he was so much opposed to seeing colored men appear as minstrels, that he indignantly refused to comply when requested to post and other- wise distribute play-bills for a company of colored min- strels who were to appear, in the town in which he lived; for he considered it alike disgraceful for them to thus appear, and himself to give aid to such appear- ance. He fully retained this feeling of aversion up to a year or two ago, when, contemplating the preparation of this book (which, by the way, was for the sake of consistency, as a work on music, to trace the footsteps of the remarkable colored musician wherever they might lead), he had to force himself, so to say, into the hall, to witness the performances of the Georgia Min- strels. He resolved as he entered, however,- that he would give his particular attention to the musical part of the programme, and try to discover in that such evi- dences of talent and fine attainments as would justify him la sketching the troupe. He was not pieasea, oi course, with that portion of the performance (a part of which he was compelled to witness) devoted to bur- lesque. Nevertheless, he found in the vocal and instru- mental part much that was in the highest degree grati- fying ; for during the evening he listened to some of the most pleasing music of the time, sung and played The Q-eorgia Mimtreh. 276 in a manner evincing on the part of the trou])e not only fine natural talent, but much of high musical culture. And so he came away, thinking, on the whole, that there were, to say the least, two sides to the minstrel questivn; feeling that the Georgia Minstrels had pre- sented so much that was really charming in a musical way as to almost compensate the sensitive auditor for what he was ready to confess he suffered whUe witness- ing that part of the performance devoted to caricature. Commencing about twelve years ago, composed of men some of whom had been slaves in Georgia, all possessed of much natural musical talent, without (ex- cept in one or two instances) scientific training, the Georgia Minstrels began their career under the leader- ship of Mr. George B. Hicks. Although from the first attracting by their performances no little attention, their fortune was for some time only a varying one ; nor did they attain to a firm position before the public until after Mr. George B. Callendor assumed the direct- orship. By studious application, most of the original " Georgias " became fairly versed in music. The places of those who left were from time to time filled by adding to the company educated musicians and performers of high merit ; the skilful director " pressing into the ser- vice," so to speak, as he passed through the country, the best talent obtainable. At present, only two or three of the original members are with the company. The troupe is now composed of twenty-one per- formers; and each possesses either rare vocal or in- strumental (most of them both) natural talents and acquirements; and, wh?n these qualities are combined, ft, performance of such delightful beauty and finish is presented, as to elicit from their audiences the most 21(i Music and Some Highly Musical People. enthusiastic applause. From the instrumentalists of this company either a fine orchestra or brass band can at any time, as occasion requires, be formed ; while they present solo, single and double quartet, and ensemble singing, of most charming power and sweetness. At least four of their number have been in the past accom- plished teachers of piusic ; one has played in some of the best orchestras of England ; one is a superior per former upon at least four instruments, while he is a fair player of twelve ; several are excellent performers on two or three instruments ; and three of the troupe arrange and Avrito music. The foUowing-named persons are members of the troupe at this writing (May, 1877) : — GEOEGE B. CALLENDEl! . . . Manager. GEORGE A. SKILLINGS . . . Musical Birector. EICHAED G. LITTLE ... . Stage Manager. "WILLIAM W. MOERIS . . . Interlocutor. P. E. LEWIS, DAVID SCUDDEE, SAMUEL JONES, JNO. T. DOUGLASS, WILLIAM ELMER LYLE, JAS. GRACE, WILLIAM KERSANDS, OCT. MOORE, JAS. EMIDY, R. EMIDY, PETER DEVOKEAE, EOBEET HIGHT, GEOEGE COOPEE, CHAELES ANDEESON, EOBEET MACK, JAS. FEENAND, AJSTD Messbs. THOMPSON and GAINES. As showing the estimation in which the vocalism of their quartet is held by persons of culture, I may state, that, a year or two ago, while the company remained over Sunday in a Western city in which they had per- formed during the previous week, tliis quartet was invited to sing (as its choir) in one of the most fashion- able churches there. The invitation was accepted ; and The Georgia Minstrels. 277 it may be remarked, that although these fine singera did full justice to the proprieties of the occasion, and thus justified the bestownlent of a marked honor upon them, — it may be remarked, I say, that they thus enjoyed a distinction rarely if ever before conferred \ipon members of a minstrel troupe. Wliile in Boston in 1876, the company were invited to a " camp-fire " of Grand Army Post 115, composed for the most part of ex-officers of high rank, and all gentlemen of education and good social position. On this occasion, their own classical quartet and that of the "Georgias" united in presenting some of the most exquisite music, while other pleasing incidents of the evening rendered it one long to be remembered. In the same city, at another time, they were entertained at the residence of one of the most accomplished of its musicians. I mention these pleasant occurrences sim- ply to show the character and extent of the popularity which this excellent troupe everywhere wins : for to please a miscellaneous throng in public halls and the- atres, and, after the curtain falls at the close of the performance, to be almost forgotten by the same, . is the experience of most all minstrel companies ; but to be sought after when off the stage by people of the best character, and invited to contribute with their fine musical attainments and social qualities to the enjoy- ments of select private circles, is a distinction, in the constant winning of which the Georgia Minstrels stand almost if not entirely alone. And now, as proofs of the great popularity of this company on the stage, I shall present a few from among the many press notices, regarding their performances, in my possession. These, while fully in harmony with 278 Mudc and Some Highly Musical People. what I have said respecting the merits of these famous performers, add some points of interesting description. Says "The New-York Sun," — " Every song waa encored some two or three times." « The New-York Herald," — " The new melodies find in them the fittest interpretations." "The Memphis Appeal," — << We might write a colunm of praise, and even then, there would be something unsaid of their merit. They are good in every thing they attempt." " The Indianapolis Journal," — << We doubt if a more successful entertainment of this kind has ever been given in this city. We no longer wonder that Boston sent forty thousand to hear them at the Hub." "The Petersburg (Va.) Index," — "We do not hesitate to pronounce Callender's Minstrels the superiors in this line to any we have ever seen. They far outreach the usual small range of excellence, and leave their rivals far behind." " The Philadelphia Inquirer," — " So great was the rush to see them, that the sale of tickets at the box-office had to be stopped half an hour before the perform- ance. They are unquestionably excellent." " The Philadelphia Record," — " It is estimated that at least one thousand people were turned away from the box-office last night, unable to obtain tickets or entrance, so great was the rush." " The Cincinnati Commercial " says, — " They have drawn better houses in Cincuwati than any white troupe." The (Georgia Mnstrels. . 279 "The Brooldyn Eagle " says, — " From first to last, all are absorbed in admiration." " The Cincinnati Inquirer " says, — " It is an unusually fine company, and superior to any that -visit here." " The Baltimore News " says, — " There is no approach to vulgarity. Their audiences are the most fashionable. Ifo minstrel company can compare with CaUen- der's." " The Brooklyn Union " says, — " They are superlatively excellent." " The Memphis Appeal " says, — " They are masters of minstrelsy." " The Baltimore American " says, — " All other companies are tame in comparison with thesa William Lloyd Garrison writes, — "It is gratifying to see that no imputation is brought against them of presenting any thing* offensive to the eye or ear." Mr. P. T. Barnum says, — " They are extraordinary, and the best I ever saw. They fully deserve their large patronage." Said Dexter Smith, the eminent song-writer, ^ — " Boston has unconditionally yielded to the Greorgia Minstrels. If you wish to see the brains, beauty, and fashion of the musical metropolis, & peep into Beethoven Hall vdll give you an insight of it. ]bTever has a minstrel troupe created such enthusiasm in any American city as the Georgia Minstrels have done in Boston." And the Boston " Folio," that excellejit journal of music, — 280 Music and Some Highly Musical People. " The Georgia Minstrels, who are nightly appearing before crowded houses at Beethoven HaU, deserve more than a passing notice, on account of their excellence, and the utter abserio« of aught that could offend the most fastidious. ' The Traveller ' expresses our sentiments so exactly, that we cannot' indorse them better than by quoting : — " ' There is a freshness and a completeness about the whole per- foi-manoo which entitle it to the fullest praise. As for the whole evening's enjoyment, it may be characterized as novel from the fact that it is native and not imitative, conmiendable because it is wholly refined, and most pleasant because it is always artistic. The comedians are very numerous, and all unite in giving a perfection to the rendering of the whole bUl.' " " The Boston Herald " said, — " Beethoven Hall was well filled last evening by admirers of Ethiopian delineations, assembled to see and hear the original Georgia Minstrels, who have retiu-ned from a very successful tour in Em-ope, and are now located at the above-named hall for a short season. The company is a novelty from the fact that all the mem- bers are colored, and then* performances possess a genuineness , which no burnt-cork artists can fully imitate. Their music, both vocal and instrumental, is excellent. Each performer seems to be not only a natm-al, but a cultured artist ; and all have the faculty of being exceedingly mirtliful, without overstepping the bounds of refinement. In fact, each performer seems perfect in his rWe; and all appear to be masters of ndnstrelsy." Again the same paper said, — " The Georgia Minstrels have burst, upon us like an avalanche. All the reserved seats were B0I4 last evening before the performance commenced; and the house was fiUed by a fashionable audience, — one rarely seen at a minstrel entertainment. The troupe have made a decided hit, and their performances last night were received with great enthusiasm. Their songs and choruses are excellent; their puns, jokes, and stories, fresh and laughable; and their special acts new, and of a superior order. The performances of the troupe have happily flUed a void which existed in the amusement field. " This troupe of native artists has won the very highest praise The Georgia Mnstrela. 281 from every one -wherever it has appeared. In England and Ameri- ca over three thousand performances have been given. The troupe has appeared before the Queen of England, and bears the highest testimonials of the press from across the water." " The Boston Advertiser "said, — " They (the Georgia Minstrels) are at the head of the minstrel business in this country." The "Chicago Post," — " The company merits all the praise ■which has been bestowed upon them." I need only further mention, in conclusion, that sev- eral members of this troupe possess musical and liia- trionic abilities of an order so high as to fit them to grace stages of a more elevated character than the one upon which they now perform. Indeed, one formerly attached to it is now a valuable member of the " Hyejs Opera Company." On the minstrel boards his talents as a singer and actor were developed. It is to be hoped (and here I crave the pardon of Mr. CaUender, their gentlemanly director, who is requested to try to appreciate the good motive, at least, that prompts a sug- gestion which seems to aim at the disintegration of his famous company) that others of the " Georgias " will follow his example. Their motto should constantly be, « Excelsior I " I have been informed that in the city of Boston, at a certain time, not many years ago, the then directors of the three principal theatre orchestras were persons who had previously been members of minstrel troupes. It is also known that several of the finest operatic singers in this country learned their first lessons at this same school, — the minstrel stage. In their new, higher, and 282 Musie and Some Highly Musical People. of course far more desirable positions, these persons have achieved artistic results which reflect upon them the highest credit, and which show also that the min- strel profession has some beneficial, elevating uses, not- withstanding all that may be truly said against it. PART SECOND. OTHER REMARKABLE MUSICIANS, ijn> THE MUSIC-LOVIN» SPIRIT OF VARIOUS LOCAUTIES. " They are the ahBtracts and brief chronicles of the thne." Shasspearx. ON the following pages I shall make mention in col- lective form, and somewhat briefly, of a number of artists whose histories, although not less important than those by which they are preceded, could not, owing to various causes, be placed in the first part of this book. The true value of musical proficiency does not con- sist alone in the power it gives one to win the applause of great audiences, and thereby to attain to celebrity : it consists also in its being a source of refinement and pleasure to the possessor himself, and by which he may add to the tranquillity, the joys, of his own and the home life of his neighbors and friends. And here will be found, therefore, a brief mention of those, who, although they are not public performers, are yet sincere devotees of the art of music, who ijossess decided talent, and who iq their attainments present instances of a character so no- ticeable as to render the same well worthy of record. 285 286 Music ancl Some Highly Musical People. It is considered proper to say, also, — a caution which perhaps may not be necessary, — that I shall here maku mention by name of none but persons of scientific musical culture ; of none but those who read the printed music page, and can give its contents life and expression, generally, too, with a fine degree of excellence, either with voice or instrument; and who evince by their studies and performances the true artistic spirit. The singer or player " by ear " merely, however well favored by nature, will not be mentioned. This course will be followed, not. because persons of the latter class are regarded contemptuously, — not by any means ; but be- cause it is intended that the list here given shall be, as far as it goes, a true record of what pertains to the higher 'teach and progress of a race, which, always con- sidered as naturally musical, has yet, owing to the blighting influences of the foul system of slavery, been hitherto prevented from obtaining, as generally as might be, a scientific knowledge of music. Nor must the list of names furnished be understood as an exhaustive one. Had the author the time in which to collect more names, or had he here the space for printing the same, he assures the reader of this only partial chronicle that one could be fm-nished which would be many times larger. And moreover, if any meritorious musician shall complain because his name does not here appear, I ask him to pardon the omission, made not from choice, nor with the purpose of giving personal offence. If the first edition of this book shall be received with such favor as to warrant the issuing of a second one, I shall, if it be found necessary, take the time and pains to supply in it such omissions as appear to be made iu Other Bemarhahle Musicians. 287 this one. If it be found necessary, I say ; for I am inclined to opine that ere long, — judging from a " view of the field" that I have lately taken, and after wit- nessing there the many delightful evidences of musical love and culture, — that ere long neither such lists as this, nor just such books as this, will be considered ad necessary. Nevertheless, the writer requests all who are iuter- ested in the more general cultivation of music by the people to send him such names as have been here left out, together with all facts that may additionally illus- trate the subject treated in these pages ; all names and statements to be accompanied by as strong confirmation as can possibly be procured. These will be published in case other editions of the book are issued. It is hoped that the persons here mentioned, on see- ing that their present achievements in art are regarded as of so much value in indicating the sBsthetic taste and musical capacity of their race, may be impelled thereby to put forth even greater efforts, and to thus attain to that still higher state of usefulness and distinction, which, it is believed, their talents and present accom- plishments show is quite possible. In the city of Boston, which is the acknowledged great art centre of this country, the amplest facilities for the study of music are afforded. There the doors of conservatories and other music schools, among the finest of any in the world, are thrown open to all; the cost of admission being, considering the many advan- tages afforded, quite moderate. A love of the " divine art " pervades all classes in Boston ; and there the ear- nest student and the skilful in music, of whatever race he may be, receives ready recognition and full 288 Music and Some Highly Musical People. encouragement. It is, in fact, almost impossible for one to live in that city of melody, and not become either a practical musician, or at least a lover of music. It need not, then, be a matter of surprise that so many of the most finely-educated artists mentioned In jthis book are found to have been residents of the city mentioned. Affected by its all-pervading, its infectious, so to say, musical spirit, they eagerly em- braced the many opportunities offered for culture ; and their noble achievements are only such as would havo been made by others of the same race residing in other sections of the country, h,ad the latter enjoyed there (^as, alas ! mostly on account of the depressing, the vile spirit of caste that prevailed) they did not) the same advan- tages as the former. Commencing with Boston, then, I first mention Miss Rachel M. Washington, a lady of fine artistic qualities, thoroughly educated in music, performing in finished, classical style on the piano-forte and organ, and who ia a most accomplished teacher of those instruments and of harmony. In the last-mentioned department of music she a few years ago graduated, receiving the valuable diploma of the New-England Conservatory at Boston. Many of the most pleasing amateurs of Boston and vicinity received their first instructions in music from Miss Washington. Hers is a musical family, as her two sisters and brother are each possessed of nice musical taste and education. The subject of this notice early awakened their interest, and directed their studies. It is gratefully acknowledged, too, that to Miss Washing- ton's earnest efforts, more than to those of any other Other Remarkable Mmiciana. 289 person in Boston, is due that love for and proficiency in musical art so noticeable in certain circles of that city. From what I have learned of this artist's history from my own observation and otherwise, I am convinced that its full recital here would add much to the interest and value of this book. But I am prevented from doing this by her own earnest request, conveyed in language which, although, as I think, a trifle too gloomy^ yet shows that she is animated by the most elevated ideas concerning the beautiful art of which she is so nobld an exponent. I cannot forbear quoting a part of her excellent letter, in which she says, — " Now a word about my own musical life. . . . Perhaps I have had much success, and, like many others, many failures^ My life has been one of persevering struggle to attain to a high degree of musical knowledge, and, through this, to assist in the elevation of my race. If I have been successful in any degree in helping to lay the foundation of future or present success, in awakening a love for the beautiful in musical art, or in kindling an ardent desire and aspiration for that which elevates and ennobles, removes the harsh- ness of and dignifies our natures, then I am glad that I have not sown in vain, though another shall reap the harvest. " A part of the reward for all these years of arduous toil has been the recognition of talent by those of the more favored race, as well as the appreciation and kindness shown me by those with whom I am identified. . . . " As I read the lives of the great composers, and think of their sacred devotion to the art dearer to them than their own lives, I feel anxious for the time to come in our history when a child like Rlozait shall be born with soul full of bright melodies ; or a Bee- Ihoveii, with his depth and tenderness of feeling; or a Handel, lifting us above .this earth until we shall hear the multitude of voices joining in one vast song, — ' Alleluia t for the Lord Giod omnipotent reigneth.' Nor is this impossible. Our history, it Beems to me, has but just begun. All the past is but sorrow and gloom, with here and there a bright ray to bid us hope. ... 1 hope 290 Music and Some Highly Musical People. they [the colored youth of the country] -will early develop a love and taste for the beautiful in musical art; that soon we shall be proud to mention those whose names through their works shall be immortal." Miss Washington has long been the organist of the Twelfth Baptist Church, Boston, as well as the direct- ress of its choir. She is a lady of fine general culture and Christian character, and has many times been the recipient of public testimonials, and of complimentary notic3S from the New-England press. Mrs. Dr. C. N. Miller (nSe Ariana Cooley) was for a long time the leading soprano-singer of Rev. L. A. Grimes's church. She has been long and favorably known in Boston musical circles as a very pleasing vocalist, possessing a pure, rich voice of great range, and highly cultivated. She renders with fine expres- sion the best music. Her repertoire of songs is quite extensive, and she has often been complimented by the press. " The Boston Globe " of March 31, 1876, allud- ing to her singing at a public concert, said, " She is the possessor of a well-cultivated voice of natural sweet- ness." Mrs. Miller was until recently a valued member of the Tremont-Temple choir, so noticeable for excel- lent singing. She is now a member of the Berkeley- street Church quartet. Mrs. P. A. Glover and Mrs. Hester Jeffreys, who will be better known by their maiden names, — Phebe A. and Hester Whitehouse, — possess voices of rare natu- ral beauty considerably cultivated. These sisters, had they so chosen, could have long since become public singers of much prominence ; since their rich vocal giftai are su]-'plemented by a fine knowledge of music, to which are added also very graceful, winning manners. Other Remarhahle Muaioiang, 291 As it is, they have often delighted their hearers in pri- vate circles by their rendering of some of the choicest music of the day. They have occasionally appeared in public, always to the acceptance of large ftiidiences. These ladies inherit their musical talents from their mother, who possessed a voice of more than ordinary range and sweetness. Mrs., Br. G. F. Q-rant (nie Georgina Smith), formerly the efficient organist of the North Russell-street Church, has been regarded as a most pleasing vocalist, possess- ing a very pure, sweet soprano-voice. She was for some time a pupil of the New-England Conservatory of Music ; and on more than one occasion was chosen to represent at its quarterly concerts, before large and cultivated audiences in Music Hall, the system taught and fine progress made by the attendants of that insti- tution. On such occasions, her naivetS, her graceful, handsome stage-appearance, and expressive rendering, with voice of bird-like purity, of some of the best cava- Una music, always elicited the most enthusiastic plaud- its and recalls. The writer was fortunately present ou one of these occasions, and remembers with much satis- faction the delight he felt, not only in hearing this lady's melodious voice himself, but in witnessing its charming effect on an audience of nearly four thousand people, representing generally Boston's best onlttire. Her reception really amounted to an ovation. The event was a most remarkable one, and, exhibiting as it 60 fully did the power of art. to scatter all the preju- dices of race or caste, was most instructive and re-assur- ing. Of her appearance at one of the concerts just men- tioned " The Boston Globe " thus spoke : — 292 Musie and Some Highly Musical People. . , , "Miss. Smith, a fine-looking young lady, achieved a like success in all her numbers and in fine presence on the stage, and in her simple, unobtrusive manner, 'winning the sympathies of the audience." And " The Boston Journal " said, — " An immense audience, in spite of the storm and the nretched condition of the streets, assembled in Music HaU yesterday even- ing to listen to tlie quoi-terly concert of the New-England Conserva- tory of Music. The spacious hall was packed in every part. The moat marked success during the evening was that won by Miss Greorgina Smith, who has a fine soprano-voice, and who sang in a manner which could but receive the warmest plaudits." Miss Smith was a member of the chorus, composed of selected singers, that sang at the memorable " Inter- national Peace Jubilee Concert," and, although still quite young, has had an experience as a vocalist of which she may well be proud. Miss Louisa Broum, now deceased, was a pianist of ambitious aim and much promise. She had been in- structed by some of the best teachers of Boston ; but never appeared as a performer in public, being of a retired disposition. She, however, often by her musical performances, as well as by her general acquirements and knowledge in art-matters, afforded pleasing enter- tainment and instruction for the members of her family and their visitors. In her piano-studies she evinced a taste for only the highest kind of compositions, and, ui her rendition of the same, exhibited evidence of most faithful application, and no little proficiency. She was a graduate of the Girls' High and Normal School of Boston, was fairly skilled in drawing, and had added much to her store of general knowledge by a visit to Europe. While in almost the flower of youth, and a Other MemarkMe Muaidans. 293 state of highest usefulness! she was stricken down by death. All that has here been said, and much more, was expressed in some of the public journals by admir- ing friends shortly after her decease. Among those whose musical abilities have thus far attracted much attention, and given promise that their possessor will attain to still higher distinction in the future, I mention Mr. B. J, Janey, whose fine tenor- voice has often won for him the praises of private and public audiences. He has studied privately under one of the professors at the New-England Conservatory of Music ; is a pleasing performer on the flute ; and, as a singer, has more than once been favorably mentioned by the press. Mis8 Fannie A. Washington has for some time afforded much pleasure to public audiences as a contralto-singer. She was for a while a pupil of the Conservatory previ- ously mentioned. She has been complimented by the press. Miss Ellen Sawyer possesses a soprano-voice which is quite elastic, of great range, and strong and clear in the upper register. She has been favorably received on several occasions by public audiences. Mr. W. H. Copeland and Mr. E. M. Allen deserve mention for their fine rendering of choice milsio ; the former singing tenor, and the latter bass. They are conscientious lovers and students of music, ever seek- ing to attain to the highest positions as artists.. Mr. Copeland's studies are directed at the New-England Conservatory. The ambitious spirit displayed by Mr. Allen is very praiseworthy, he having contended very perseveringly and with much success against great ob- stacles. He sang in the bass division at one of the great Jubilee concerts. 294 Music and Some Highly Musical People. Mrs. Cecelia Boston, who will be better known by her maiden name, — Cecelia Thompson, — has long been much remarked for clever abilities as organist, pianist, and contralto-vocalist. Miss Rachel Thompson is a ready reader of music, and a good soprano-singer. Mrs. Phebe Meddick, possessing a clear, ringing so- prano-voice, adds much to the singing of the Twelfth Baptist Church choir. Mr. Francis P. deary, Mr. James L. Edwards, and Mr, Creorge W. Sharper, all band-directors, deserve men- tion here for their efforts while connected with such organizations. Of the musical bodies who play upon instruments of " Sonorous metal, blowing martial sounds," I mention the '■'■ Excelsior Brass Band;" an ambitious title, it is true, but one which the future may show to be well taken. This band contains a number of young men who seem to be in earnest, and studious ; and some of them possess noticeable talent. Their leader, Mr. George W. Sharper, is painstaking, and ambitious to have the band succeed. Whenever in filling engagements it is necessary to add to the regular force of the " Excelsiors," no difficulty is experienced in securing the services of a number of fine musicians of the other race, — a fact which shows the power of music to destroy the distinctions of caste. Mr. Joseph W. JTendricks has exhibited a commenda- ble ambition in his efforts to acquire a knowledge of music, devoting several hours each day to practice on the piano-forte. Mr, Joseph Thompson is an assiduous student of, and Other Remarhahle Musicians. ;296 fair performer on, the Bt'-tenor and the flute. He is a member of the " Excelsior Brass Band." I have thus mentioned briefly the best-known artists of Boston. As I have indicated, most of them have musical abilities of a high order, entitling them to a much fuller notice than can here be given. There are, of course, others of fine musical attainments who adorn private circles. Boston contains two or three musical societies, and several vocal quartets. The Avier Quartet have attract- ed much attention by their very pleasing rendering of some of the best popular music of the day. The names of its members appear hereafter. The Progressive Musical Union is the name of one of the societies above mentioned. It is well organized. Elijah W. Smith, the poet, is president. The noble purposes of this society are eloquently stated in the following lines, composed by the gentleman just men- tioned, and which prefaced the programme of the first public concert given by this society, March 9, 1875 : — " Progressive: ay, we hope to climb With patient steps fair Music's height, And at her altar's sacred flame Our care-extinguished torches light; And, while their soft and cheering rays Life's rugged path with joys illume, May Harmony's enchanted wand Bring sunshine where before was gloom I And though we may not walk apace With Mendelssohn or Haydn grand, Nor view with undimmed eyes the mount Where Mozart's shining angels stand; 296 Music and Some MgUy Musical People. Yet in the outer courts we wait Till Knowledge shall the curtain draw, And to our wondering eyes disclose The mysteries the masters saw." The following are the numbers performed on the occasion mentioned : — Other Remarkable Musicians. 297 I=I?.OC3-I?.^3yCJyCE. ^Patt JFitat. 1. Tai ) FOB Two Violins and Piano Khivtn J Datid OawELi,, Madalinb Talbot, ahd Mbb. Wilbon. 2. Quartet. — " Sighing for Thee." AimBR Quartet,— Messbs. Smith, Hui., Ruttin, ahd Henbt. 3. SoNO. — " Down by the Sea" (Bass) James Hehbt, Jun. ^Krvowlton 4. Duet. — " On Moasy Banks " Gilbert MiBB P. E. AliBN AND E. M. FlHEHEY. 6. Song. — "Thou everywhere" Mbs. Wilson. 6. Romance. — " Alice, -where art Thou ? " Jakes M. Boottboh. . . . .Atcher 7. Quintet. — "The image of theEose" Ifiss P. E. Allen and Quartet. .Relchardt i^art ^ceonn. • 1. Thbma with "Variations. — Violin and Fiano jlode David T. Obwell. 2. Duet. — " Take now this Ring" : Laf Mbb. Wilson and Jaueb M. Boottbon. ■ \fW,mlyula 3. Quajbtbt. — "Soldier's Farewell" Kinkel Mebbbb. Bhith, Hill, Buffin, and Henbt. 4. SoNO. — " ■Waiting," with Violin Obligate Maiard Miss P. E. Allen, Mbs. D. Wilson, and Datid T. Obwell. 6. March. — Vocal ....Seeker Mebbbb. Bmith, Pinkhet, Buepin, and Hehby. 6. Quartet. — " Man the Life-Boat " (by request). 7. Chorus.— "Anffel of Peace *' . .. .KeUer With Obgak and Piano Accohfanihent. This concert gave delight to a large audience, and was very much praised by the public journals. 298 Music and Some Highly Musical People. I close the list of Boston musical people by present- ing the following programme of a hastily-arranged concert given by a number of artists on the evening of April 15, 1874. It is given simply as a specimen of the numbers often performed at concerts by those whose names appear, and by others mentioned heretofore, with but little rehearsal. Although the music is of a line order, it is by no means as difficult as that frequently rendered by these persons at other concerts, the pro- grammes of which I have not now at hand. Other Remarkable Musicians, 299 ZPE/OCa-E^JLIMinv^dlB. i^ait iFirst. 1. QuABTET.— "Alpine Echoes." UiBS Bbowh, Misb F. Wabhinotoh, Mb. Jahet, Mb. Fishxb. 2. PiAifo Solo. — " Fantasia Impromptu " Choptn Mr. S. Jahieson. 3. Solo. — " La Primavera " Torry Miss Brown. 4. Ddbt. — " Vien Mio Edgardo " ; MUa'-d Misa F. 'WIbuimgtoh, Mr. Jahet. B. Abia. — "Infflice" "Emani" Mr. Fisbxb. 6. Duet. — "While thus around" "La Favorita" Miss Brown, Mb. Jankt. 7. Solo with Cello Ohligato. — " Peacefully Slumber " . Rcmdegger MlBB F. Wabhihotoh. 8. Song. — " Didst Thou but know " .' Balfa Mr. Janet. iPart Aeconb. 1. QuABTBT. — " Sweet and Low " Bamhy Miss Bbown, Miss WABniNSTON, Mb. JanbTi Mb. Fhhbb. 2. PiAuo Solo. — "LeCourrier" Ritter Mr. B. Jauieson. 3. Song. — " Queen of the Night " Thomax Mibb Brown. 4. SONG. — " To the Storm "Wind " Evert Mr. Fisher. B. Duet. — "Land of the Swallows" MaxHni Miss Brown, Miss WAsaniaTOH. 6. SoLO. — For Violin. Mr. F. B. Lewis. 7. SONO. Miss F. WAsmNGiON. 8 SoNO. — " Love's Delight " Aht Mr. B. J. Janet. 9. Duet. — " I Pesoatorl " OabvM Miss Brown, Mr. Fisher. 10. QnABTET. — " "What Phrase Sad and Soft " Bishop Miss Brown, Miss Wabhinqton, Mr. Janet, MA. Fisbbb. 800 Music and Some Highly Musical People. Mr. David T. Oswald, residing at Worcester, Mass., is an artistic violinist, performing in a finished style the most classical and difficult music for the violin. He has, besides, become deservedly popular as an organ- izer of musical entertainments, and as a promoter of a regard for good music by the people. He is quite well known in St. John, N.B., Portland, Me., and in Boston, in which places he has frequently appeared at public concerts ; and has been often complimented by the press. James Caseras, who was for a long, time the organist of a Catholic church in Springfield, Mass., deserves, on account of his great sMll as a performer on the organ and piano-forte, particular mention here. He came to this country some years ago from England, whore he had attracted much notice for his fine musical qualities. In Scotland he had frequently played before the no- bility. A few years ago, shortly after his arrival in this country, he was tendered a reception by some of the first musicians of Boston. This occurred at Mercantile Hall. Here he rendered with most remarkable skill, on the piano-forte, some of the more difficult music of the great masters, receiving the warmest praises of the best judges of art. Mr. T. M. Fisher of Portland, Me., is noticeable as a fairly good baritone-singer. He has appeared occasion- ally at concerts in his own city and in Boston, and has been favorably mentioned by the press. In another place the violin has been recommended as a proper instrument for study and practice by ladies. Among the latter who have given attention to it, I am pleased to mention Madam Adaline Talbot of Portland, Me. She has not yet become a great player, but now shows sufficient proficiency to warrant the belief, that, Other RemarkaUe Musiotaits. . 801 if she continues her studies of this delightful instru- ment, she may in time become an excellent performer. The city of New York has some very excellent musi- cians. John T. Douglass is very justly ranked with the best musicians of this country. His fame is by no means confined to New-York City or State, as he ha3 travelled quite extensively, and has been engaged in many musical enterprises. He is a skilful, artistic per- former on several instruments, cliief of which are the violin and guitar. As a performer on the last-mentioned instrument he has few equals, while for it he has ar- ranged and composed a great deal of music. He has also composed many fine pieces for orchestras and for the piano. When only about twenty years of age, he composed a grand overture called " The Pilgrim." He enjoys an enviable reputation in New York as a teacher of music, and is very remarkable for the enthusiastic, devoted attention ho gives to the study of the art. As Mr. Douglass is but thirty years old, — having been born in New York in 1847, — it will be seen that he has made most wonderful progress, and that he has before him a very brilliant future. Mr. David S. Sevdder has fine natural talents, and has made very commendable progress in music. He is a fair performer on the flute, piano, and double-bass ; playing quite well Mendelssohn's music, of which he is veiy fond. He deserves special mention for his success- ful endeavors to promote a love of good music among his acquaintances. Mr. Walter F. Oraig, although quite young, has already attracted much' attention, and received the praises of the critics, as a performer on the violin. He 302 Mu»io and Some Highly Musical People. is a close student, very ambitious and enthusiastic, and without doubt will ere long be ranked with the first violinists of the day. He has lately composed a march. William Appo is a veteran musician, having had a long and varied experience, beginning his career when there were but very few persons of his race in this country that could compare with him in scientific ac- quaintance with music. He was for a long time one of the principal performers in the once famous " Frank Johnson's Band " of Philadelphia. He taught music for several years in New York. Quite advanced in years that have been filled with incidents well worth recording for the instruction of those who follow him, he now leads a retired life on his farm in New-York State. , These pioneer musicians of ours should ever be grate- fully remembered. But few, if any, of the large num- ber of musical students of these better times, can realize the vast difficulties that on every hand met the colored musician at the time when Mr. Appo and some others elsewhere mentioned began their ambitious, toil- soiie careers. First in loving art with all their might, They steadily strove in the unequal fight, Till Prejudice, convinced at last, Retired, ashamed of the cruel past. Now all who prize fair Music's ways Pursue their journey with far brighter days. The laurel crown, then, give the pioneer. Whom ever in our memories hold we dear. Mr. William Brady, although numbered with those who have passed away, should not be forgotten when- ever the noble deeds of colored men are to be men- Other Remarkable Musicians. '808 tioued. He was an artist of the finest natural talent, and of varied musical acquirements of a high order of excellence. Mr. Brady was very much esteemed as a composer, being the author of many fine pieces of music, such as quadrilles, polkas, waltzes, marches, and songs. He also essayed more elevated work with fine success, having been the composer of a musical service for the Episcopal Church, and a beautiful Christmas anthem. He died in March, 1854. Among those of the gentler sex in New York who have won much praise for their fine rendering of vocal music are Miss Mary Williams and Miss Blanche D, Washington. They have occasionally sung in other cities at concerts, and have been favorably mentioned by the public journals. Mrs. V. A. Montgomery and Miss Emma B. Magnon should have prominent mention here on account of their fine abilities displayed in piano-forte and organ performance. They both read music readily, — or "at sight," as we say, — and at present are engaged as organists in New -York churches. Miss J. Imogene Howard, formerly of Boston, but now an esteemed teacher in one of the public schools of New-York City, deserves to be mentioned in this list. When in Boston this lady exhibited commendable zeal in the study of music, and at an early age was quite noticeable for good piano-forte performance. Miss Howard is a graduate of the Girls' High and Normal School of the city last mentioned. A most encouraging indication of musical progress in the metropolis is the existence there of the Philhar- monic Society, which was organized somewhat over two years ago. Two or three of its members are fine solo- 304 Music and Some Highly Musical People. ists, while others possess fair abilities. The music prac* tised is instrumental, and all of a high order. The society is divided into two classes, called the one junior, and the other sp-xior. The juniors are the newer and less skilful members : these are required to take lessons of a competent teacher, and are not allowed to play • with the senior class until they attain to a certain de- gree of proficiency. At public performances, of course, only the seniors represent the society. The conductor (who is also president) is Mr. P. H. Loveridge ; iirst violin, Walter P. Craig ; solo cornet, Elmore Bartelle ; flute, PA. Williams; William Lewis, violoncello. At present the society numbers about twenty members, all young men of intelligence and moral character ; and it has an excellent library of music, and a fund in bank. It is entirely unnecessary for the writer to say a word in praise of this enterprise, for its present and prospec- tive good results wUl be readily perceived by all ; nor need he, it is hoped, for the same reason, urge upon the young men of other cities the great importance of organizing similar societies. Miss Celestine 0. Browne of Jamestown, N.Y., pos- sesses fine ability as a pianist. She is thus mentioned by " The Folio " of Boston, in the number for Decem- ber, 1876: "She is a fine pianist, very brilliant and showy as soloist and accompanist." Again : the same journal, in the number for February, 1877, said of Miss Browne, " A pianist of great merit. Her natural abili- ties have been well trained. She has a clear touch, and pliiys with a great deal of expression." This lady has for more than a year been a valued member of the Hyers Sisters concert-troupe. Mr. Peter P. O'Fake is considered one of the most Other Remarkable Musicians. 806 noticeable of the musicians of Newark, N. J. ; which is no slight distinction, since in that city are to be found some of the first musicians of the country. He was born there in 1820. His parents were also natives of Newark. Mr. O'Fake is what is termed "self-taught," and has cultivated most industriously, against many dis- advantages, the talents with which he was naturally endowed. He is a skilful, expressive performer on the violin (his specialty) and the flute. He has, of course, often performed in public. In 1847 he took a promi- nent part at a concert given by the notable Jullien Society of New York, playing on the violin De BerioVs Sixth and Seventh Airs with Variations, In 1848 he took position on one occasion as leader in the Newark- Theatre orchestra, — a rare distinction for one of his race, on account of the prevailing color-prejudice. In 1850 he performed in Connor's Band at Saratoga, play- ing at times the cornet and flute. These are some of the most notable of his public appearances. He is occa- sionally called upon to take part in concerts given by the various musical organizations of Newark, the acci- dent of complexional difference but seldom serving to counteract the effects produced by his well-known musical abilities. He often furnishes the music for receptions given at the homes of the ilite of Newark. Mr. O'Fake has composed, and his orchestra often per- forms to the great delight of all who hear it, a most be- witching piece of quadrille-music called "The Sleigh- Ride," in which he most ingeniously and naturally introduces tlie crack of the whip and the merry jingle of the sleigh-beUs. At such times the dancers are excited to a high state of joyousness by the bewitching music, the latter being of a character so suggestive as 306 Music and Some MigMy Musical People. to cause them to almost imagine themselves in the en- joyment of a veritable sleigh-ride. This composition has greatly added to the fame of the author. Mr, O'Fake is also a fair vocalist, — singing baritone, — and has been director of the choir of one of the Epis- copal churches in Newark since 1856. This choir fre- "quently renders Dudley Buck's music, and that of others among the best composers, eliciting most favora- ble comments from the press. Misses Rosa and Malvina B. Sears are musical people of Newark, N. J., who deserve mention here. Philadelphia has, of course, many fine musicians. The most prominent vocalists are Madam Brown, Mr. John Mills, and Mrs. Luoy Adger ; and the most promi- nent instrumentalists are Miss M. Inez Cassey, pianist, F. J. R. Jones, violinist, and Udward Johnson, violinist. This city enjoys the honor of having been the home of Mr. Frank Johnson, and the place of organization of the celebrated brass band that bore his name. It has been the intention of the writer to give a somewhat extended sketch in this book of this famous impressario and his talented body of performers ; but as yet he haa not succeeded in obtaining the necessary materials. He will mention, however, briefly, that Mr. Johnson was a well-educated musician, very talented and enthusiastic, with fine powers for organization and leadership. He was exceedingly skilful as a performer on the bugle. In his hand this instrument "Became a trumpet, whence he blew Soul-animating strains : alas I too few." Besides, he played weU several other instruments. He was very much esteemed, and was foremost in promot- Other Remarkable Musicians. 807 ing in many ways the musical spirit : he was, in fact, the P. S. Gilmore of his day. His band attracted much attention all over the country for fine martial music. Some .time between the years 1839 and 1841 Mr. Johnson organized a select -orchestra, with which he visited several of tlie principal cities of the country, "astonishing the natives" by a fine rendering of the best music in voguo at that time. Indeed, the novelty formed by such an organization, — all colored men, — its excellent plajdng, and the boldness of the enterprise, all combined to create a decided sensation wherever these sable troubadours appeared. It is said that some- times, whUe the band was on this tour, many persons would doubt the ability of its members to read the music they were playing, believing that they performed "by ear," as it is called; nor could such persons be con- vinced of their error until a new piece of music — a piece not previously seen by them — was placed before the band, and by the same readily rendered from the printed page. Mr. Johnson at one time visited England with his band, and gave concerts in all the principal cities, be- ing received everywhere with the most ' demonstrative marKs of favor. They were invited to play before Queen Victoria and her court. This noble-hearted sovereign was so highly pleased with the musical ability displayed by Mr. Johnson and the other mem- bers of the band, that she caused a handsome silver bugle to be presented to him in her name. • Returning to this country with such a nobly-won mark of honor, he became the centre of attraction, and thereafter, as a musician, easily maintained before the country a posi- tion of great popularity. At his funeral, which occurred 308 Musiis and Some Highly Musical People. in 1846j the bugle juBt alluded to was placed upon the coffin, and so borne to the grave, as a fitting emblem of one of the important victories he had won, as well as of the music-loving life he had led. The memory of this gifted musician and indefatigable worker should long be kept green in the hearts of all the members of his'race,"and in those of his countrjonen in general, For the former he of course performed a specially noble service in demonstrating so powerfully its capability for musical comprehension and for the scientific performance of music, — points which, strange to say, were much in dispute when he began his career ; while in his well-nigh matchless ability as a musician, displayed in no selfish manner, but in a way tliat pro- moted in a high degree a general love for the elevating art of music, Frank Johnson proved himself an honor to the whole country, and one who should be long and gratefully remembered by aU. The band continued in existence, and was much in demand, for many years after the great leader died, retaining its old and honorable name, " Frank John- son's Band." Mr. Joseph Cr. Anderson next became director. This gentleman was a musician of moat re- markable powers, both natural and acquired. He per- formed in a very skUful manner upon almost every instrument that was in use, reading music like one reads a book. In short, it has been said of him, that " what he did not know of music was not worth know- ing." He, too, was a great organizer ; and he showed himself, in many important respects, a fit successor of Johnson. Whdn, during the late war, the State of l^ennsylva- nia was forming regiments, Mr. Anderson was kept Other Eemarkable Musicians. 809 busUy employed for a long period organizing and in Btructing brass bands for many of these regiments; "With his great musical skill and experience, he proved to be indispensable at this time to the State, and won the brightest of laurels. Under Mr. Anderson's leadership, the band was occa- sionally engaged to go to distant parts of the country to play for gatherings of one kind and another. The writer well remembers when in 1852, on " St. John's . Day," this fine corps of musicians came to Cincinnati. With ranks so deployed as to almost extend . across Broadway Street, they moved in most soldierly man- ner up the same at the head of a Masonic order, play- ing rudeed most " soul-animatuig strains," and winning the while the warm admiration of a vast throng of peo- ple that lined the sidewalks. Ah I we were very, very proud of them ; so elated with their triumphal entryj and so inspirited by the noble music, that it seemed as though wo could have followed them for days with- out yielding to fatigue. Mr. Anderson died at Philadelphia in 1874. The successor of " Frank Johnson's Band " is called " The Excelsior." I am informed, that the latter Con- sists of a number of superior musicians. " Madam Brown " was long regarded as the finest vocalist of her race in this country, while only a tew of the other race could equal her. Although now no longer young, she stUl sings artistically and beautifully. Her repertoire comprises the gems of the standard operas ; and these she has sung, and does now sing,' in a style that would reflect honor on those far more pre- tentious than herself. The other day, whUe looking over the " scrap-book ' 310 Music and Some HigMy Musical People. of a friend, I met with another of those pleasant sur* prises that have occasionally cheered me since I began this volume. In this "scrap-book" I found a large number of cuttings from Philadelphia, New York, and other papers, that related to the concerts given in the year 1856, and later, by Miss Sarah Sedgewick Bowers. By lliese comments, I find that this lady possessed a voice of most charming power' and sweetness, and that in her interpretations of operatic and music of a classi- cal character she was well-nigh, if not quite, equal to the finest cantatrices then before the public. These papers styled Miss Sedgewick — this was her profes- sional name — the "Colored Nightingale." It would perhaps be interesting to here append a number of these very complimentary comments. A single and representative one must, however, suffice. It is from " The Daily Pennsylvanian " of May 3, 1856. "Wa have never been called upon to record a more brilliant and instantaneous success than has thus far attended this talented young aspirant to musical honors. From obscurity she has risen to popularity. She has not been through the regular routine of advancement; but, as it were in a moment, endowed by nature with the wonderful power of song, she delighted the circle in which she moved, and is now enchanting, the public. Last even- ing the hall was thronged at an early hour. In every song sho was unanimously encored." Miss Bowers now lives quietly at her home in I'hila- delphia, singing' in public only on special occasions. She is, of course, still a devoted lover of the art of which she has been so fine an exponent ; while she yet posses jes, through voice and method, the power to charm an audience. The name of Mr. John Moore should be mentioned Other Bemarhahle Musicians. 811 here. He was a born musician, so to speak, and was ever "full of music." I remember him as the leader of the band of the Fifty-fifth Massachusetts Regiment during the late war. Although in this position he gen- erally played upon the E|7-cornet, he could also play most of the other instruments used in the band ; and was, besides, a good performer on the violin and flntn. Very pleasant recollections of " our band," as we soldiers fondly termed it, remain, I am quite sure, with all the surviving members of the Fifty-fifth Regiment. In camp- life it often enlivened the dull hours, and gave, by sweet- est music, a certain refinement to what would have been without it but a life of much coarseness ; while upon the wearisome march we often forgot our fatigue as wo briskly marched, keeping step to the animating music. To Mr. Moore, the, leader, much praise is due for the great benefits afforded the members of the regiment by good music ; nor do we forget the skill displayed by the other members of the band, which. enjoyed the reputa- tion of being the best in the Department of the South. Mr. Moore died at Philadelphia in 1871. Professor Lott of Pittsburg, Penn., has attracted atten- tion as one of the very first violoncellists of the country. He has travelled quite extensively in the United States with a concert-troupe. Mk. Z. a. Coleman is a good singer of bass. Mr. U. Minor ffoUand of Cleveland, O., is a good per- former on the B|vcornet, violin, and double-bass. He is quite a young man, and, possessing much talent, may become a musician of great merit if he continues his studies. , Miss Mary F. Morris performs upon the piano-forte with fine skill and taste, and is a vocalist Of excellent 312 Muaio and Some Highly Musical People. powers. She has pursued her musical studies in the Cleveland Convent, the teachers of which enjoy a high reputation; and also under Professor Alfred Arthur, one of the finest instructors of Cleveland. J. A. B. Mitchell, playing the Et^ cornet, is the very efficient leader of a band. Miss Annie Henderson is a very pleasing vocalist. She also studied at the convent previously mentioned, and under Professor Arthur. Miss Clara Monteith Holland, a young daughter of Justin Holland, the celebrated guitar virtuoso, gives much promise of becoming a brilliant pianist. Washington, O., enjoys the honor of being the home of Mr. Samuel Lucas, a fine baritone character-singer, the author of a book of songs. He, besides, has but few equals as an actor in comedy ; has travelled throughout the country as a performer, receiving everywhere the warmest praises of the press. While on a visit to his home last summer, Mr. Lucas was the recipient of a complimentary benefit tendered by the admiring citizens. The offer of this flattering testimonial was signed by over fifty of his most rospectii- ble townsmen, and the affair was in all respects a suc- cessful one. Mr. Lucas was assisted in the performances by the following young ladies : Misses S. Logan, Dora Chester, Laura Reed, Delia Lamon, S. Melvin, and JFan- nie Chester. Mr. Lucas is at present a valued member (if the Hyers Sisters opera-troupe, who are performing in " Out of Bondage " throughout the West. " The Milwaukee Sentinel " of a late date thus aUudes to his performances with this troupe : — " As an actor he takes high rank ; but it was in his singing that he made an already-delighted audience more pleased than ever Other Remarkable Musicians. 8l3 His rendition of ' Grandfather's Clock,' with distant chorus and refrain, -was the sweetest music we ever listened to. The audience was breathless ; the lowest whisper could be heard distinctly all over the house ; and, as the last tones died away in the seeming distance, a hush as of death came over the audience, followed by thunders of applause." , The writer would be vexy remiss did he fail to men- tion here the very remarkable music-loving spirit which has been exhibited by the colored people of Chillicothe, O. This very forcibly arrested his attention, when, Bovoral years ago, ho visited that somewhat ancient city, once the capital of the State. It was then found that among the class of persons just mentioned — who formed, by the way, only a small portion of the city's entire population — there existed two or three singing societies, two brass bands (the latter the only organi- zations of the kind then in existence there), and two church-choirs, one of the same being composed of very good vocalists indeed. In 1857 Rev. John R. Bowles organized in ChiUicothe a choir for his church, under the leadership of Jas. D. Hackley. This choir was considered one of the very best in Southern Ohio. Its leader possessed a tenor- voice of rare sweetness and power, and was quite pro- ficient in rendering church-music, and in directing the singj-ig of the same by his choir. But a few persons in the State equalled Mr. Hackley in the possession of these qualities. Of the two bands, the one called the ^^ Scioto -Valley Brass Band" was organized in 1865 under the leadership of Richard Chancellor and John Jones. The other was called the " Roberts Band" and was organized in 1857, the directors being Thomas Harris and William Davis. In 1859 these two organi- 814 Music and Some Highly Musical People. zations were united under the name of the "Union- Valley Brass Band," Thomas Harris and A. J. Vaughn leaders. This consolidation, composed of the best musicians of the two bands previously in existence, made a corps of performers that was unequalled in Ross and the adjacent counties, while it was one of the finest in the State. They owned a handsome band- wagon, and furnished the music for all such gatherings — irrespective of the color of the attendants — as coun- ty fairs, picnics, celebrations, political meetings, &c., throughout Ross County. This band contained several performers of such excellent natural and acquired abilities as would render them prominent among the best musicians of any section of the country. Besides those already mentioned as leaders, I would now refer to Mr. William H. Starr, one of the finest musicians of Ohio. He has been for a long time the leading spirit in all matters musical among the people. A good reader of all kinds of music, Mr. Starr easily gives it beautiful expression on any one of the many instruments used in a brass band of ordinary size. On several of these he is a pleasing soloist. His favorite is the Et'-alto, while he is also a skilful arranger of music for them all. Mr. Starr has also composed a number of pieces for his own and other bands ; besides others, a quickstep, a march, and a polka. As a teacher Mr. Starr has been quite successful. One of his former pujjils is now the leader of a band. Mr, Thomas Harris should also have special mention Lore. He was a superior Et'-cornet player, a good bugler, and a very good perforiner on the clarinet ; a good reader of music for each of these important instru- ments. other Remarkable Musicians. 315 Mr. William R. Dupree, at one time the very efficient manager of the Union-Valley Brass Band, in which he was also a performer on the Bl'-baritone, is a gentleman whose history is such as to warrant particular mention liere, not only on acc6unt of his having always pos- sessed ail ardent music-loviag spirit, but also from his general intelligence, and the fine progress he has made in attaining to several high stations of honor and use- fulness. Mr. Dupree remained a member of the band in ChiUicothe until 1863, when, on the first call for colored troops for the late war, he went to Massachu- setts, and enlisted in the Fifty-fifth Regiment. He be- came first sergeant of Company H ; in which position he won golden opinions from those in command for his strict attention to duty, his steady and rapid acqiiire- ment of military knowledge (becoming one of the very best drill-masters and disciplinarians of his regiment), and for his generally fine, officer-like bearing. At one time Sergeant Dupree was manager of the regimental baind, in which position he rendered important service. In 1864 he was promoted to the grade of a commis- sioned officer, — a rare distinction for one of his race, owing to causes so well understood that they need not be mentioned here. In this new place of honor he so discharged his duties as to prove the wisdom of those who tendered the appointment ; for he was always dis- tinguished for an increased display, if possible, of those excellent qualities, the possession of which caused his promotion. Mr. Dupree is now the very capable and popular superintendent of Station A Post Office in Boston, Mass. This office is situated in a district that comprises nearly forty thousand inhabitants, composed, for the greater 316 Music and Some Highly Musical People. part, of those among Boston's most intelligent and wealthy citizens. He was formerly connected with a musical organization in Boston. Although prevented by his other occupations from devoting much attention to music, Mr. Dupree has lost none of his old-time love for it ; nor has he forgotten the pleasant days of yore when he was connected with the brass band at Chilli- cothe, of whose members he now speaks in terms of the most friendly regard. Cincinnati now claims to be (very justly too) a de- cidedly musical city; and Boston and other older places, which have all along enjoyed the reputation of leading in matters pertaining to general art-culture, have been warned to look well to their laurels if they would not lose them through the advancement made by this their younger sister, so long considered the " Queen of the West." It is true that this distinguishing title, has within a few years b6en claimed by Chicago, and even St. Louis. These latter, however, base their right to the name mostly on the results of the census-returns. In all that relates to the substantial greatness of a city, ■ -viz., the general intelligence, solidity of character, and proportionate wealth of its inhabitants, — Cincinnati, I think, may stiU be considered as approaching nearer to the Eastern cities than either of the others men- tioned. This is certainly true as regards the musical devotion of its people; and this characteristic is the one, perhaps, which most threatens the supremacy so long held in the East. Haying said this much of Cincinnati's residents in general, it will of course be expected that a very promisiag and brilliant addition is now to be made to these records. The reader, however, must be reason- Other RemathaUe Musicians. 817 able, and not expect too much ; for the same depressing causes (these have already been sufficiently particular- ized in other parts of this book) which have operated in other Sections of the country against the subjects of these sketches have been also always fully in force in Cincinnati. It is thought that all candid observers will agree with the writer when he confidently avows his belief, that no other people, while laboring under so many disadvantages, would have or could have done better than these have done. But, judging from the facts at hand, there is really no need to beg the ques- tion; and therefore, without offering further excuses, I shall proceed with the record. The colored children attending the public schools of Cincinnati are regularly taught to read music. They are frequently complimented for their good singing by their music-teachers. The mention of the Cincinnati schools, by the way, brings to the writer's mind very pleasant recollections of his boyhood's home, and of the times when he at- tended school there. Twenty-five years ago, the colored school-children of Cincinnati were much remarked for excellent singing. They were not then, as they are now, taught to read music in the schools, but readily " caught " the pieces to be sung from the teacher, who snng them over a few times. I remember that at one time our favorite school-song was one called " The Cap- tive." But only detached portions of it come to me now. It was a piece descriptive of the fortunes of war. A soldier of the defeated army is left behind a prisoner. The song describes his longings for freedom, and desire, to rejoin his nowidistant comrades. I think the chorus ran in this wise : — 818 Music and Some Highly Musical People. " Sound again, clarion, — clarion loud and shrill I Sound I Let them hear the captive's voice. Be still, be still I " No answer being made to this signal, the prisoner thus laments his cruel fate : — " They have gone ; they have all passed by, — They in whose wars I have borne niy part, They whom I loved with a brother's heart : They have left me here to die." The melody was quite pretty, and the solo of the cap tive was of music so appropriate and pathetic as to bring tears to the eyes of both singer and auditory. Some of my former schoolmates, now grown to womanhood and manhood, will probably remember better than myself this song and others that with " glad hearts and free " we used to sing so earnestly in the schoolroom and at our school-exhibitions. From what I learn from credi- ble sources, it may be stated, that a visit now to the schoolrooms of Cincinnati would reveal a scientific acquaintance with music so great as to almost prevent the making of a comparison between the two periods under consideration. The Mozart Circle, under the direction of Mr. William H. Parliam^ is a vocal organization of twenty-five mem- bers, established about three years ago. In July, 1875, this society gave a public performance, in costume, of the cantata of "Daniel." No attempt was made to notify the press that the cantata was to be rendered ; but a gentleman of fine taste, and one who is generally on the Idokout for all signs of art-advancement made by . the colored people, was present on the* occasion referred to. His impressions of the performance were recorded Other RemarkaUe Musicians. 319 the next day in the Cincinnati " Gazette " and " Com- mercial," and were as follows : — CONCEALED MUSICAL TALENT. Mr. Editok, — Permit me the use of a small space in your next issue to speak in deserved praise of a musical entertainment en- joyed by a portion of our citizens last Monday night. It -was the cantata of " Daniel," rendered in full costume by the recently organized Mozart Circle, which, embracing about twenty members, has in the short space of six months developed a capa- city which gave them success in this enterprise. It is a pity that their excessive modesty prevented their seeking the service of the press ; for they have thereby kept themselves in an obscurity which it is my hope that this article will serve to draw them from. The preparation made for this entertainment should not have its ser- vice limited to a single occasion. It deserves repetition, and an appreciative public deserves the opportunity to enjoy it. Louisville, Columbus, Toledo, Cleveland, and other cities more or less remote, would give thejnselves a treat, could they prevail on the Circle to render the cantata in their midst. Not having coiiaultcd any one connected witii it, it is a voluntary suggestion Irom mo, that parties craving tlic enjoyment of a refined musical entertainment open communication with Mr. William H. Parham, its musical director. W. P. W. Cincinnati, July V, 1875. The Rev. Thomas H. Jachson, pastor of Allen Temple, liimself an excellent singer, a few weeks ago organized i.. select choir for the purpose of rendering the cantata just mentioned. Mr. William R. Morgan, who sings in the principal rdle, is a young gentleman quite worthy of the high praise which his performances have elicited. All the members of the choir sing well; but among thom no one gives more marked promise than does a young schoolgirl of only thirteen years, named Elnora .Johnson. The compass and sweetness of her voice are 320 Music and Some Highly Musical People. considered marvellous. This society promises to give the cantata " Esther." From the foregoing it will be seen Ihat much atten- tion is being given to a study of some of the higher forms of composition, — a very encouraging sign indeed. Another vocal society is called the Arion Quartet (ylub. Messrs. Andrew J). Hart and John Lewis are two of its members : the names of the others I have not learned. There are at present no instrumental societies except one or two very good quadrille bands. Mrs. Ann S. Baltimore is an accomplished pianist, and possesses, besides, a melodious voice. She has been favorably noticed by the press. Professor Moore plays skilfully the parlor-organ and piano-forte. He teaches the playing of these instru- ments, and also teaches vocal music. Mr. D. W. Hamilton is the very popular leader of a string-orchestra. The private circles of Cincinriati are ornamented by several classical singers of both sexes. First among the ladies is Miss Fannie Adams. She is welcomed as a member of the Cincinnati Choral Society ; and is a slcilled pianist, giving lessons on that instrument. Misses Ernestine and Gonsuelo, daughters of Peter H, Clark, Esq., are sweet and scientific singers. They are pianists also. . Misses Mary and Fannie Cole, members of the Mozart Circle, are distinguished for the beauty of their voices, the last-mentioned particularly. Miss Sarah Werles has a voice which is much appre- ciated, and imder her fingers the cabinet-organ itself seems to sing. Other Remarkable Musicians. 821 Misses Mia Smith and Mia Buckner must not be for- gotten as valuable aids on public musical occasions. Among the males, Jam^s P. Ferguson is distinguished as a bass, and Thovnas Monroe as a tenor singer. Josej)h JETenson's voice always has in it music of an inspiring character. Fountain Lewis, Jun., was diligently prepared during his boyhood for an organist, and in that direction is proving quite worthy of his father's care. By reference to a programme of a combined dramatic and musical entertainment given in Cincinnati in May, 1876, under the direction of the popular elocutionist, Powhatan Beaty, I find the names of the foll9wing musical people not previously mentioned : — Mr. Charles Hawkins performed "Streamlets" and " A Summer's Reverie " on the piano ; Mrs. Emma E. Clark sang the solo, " Brightest Eyes ; " Mr. Charles Singer sang a baritone solo ; Mr. Edwin de Leon sang "Poor Old Joe;" and Mr. William H. Jones sang "My Soul is Dark." I am not informed as to the extent of proficiency dis- played on this occasion by these performers; but rely- ing, as I ought, upon the good judgment of Mr. Beaty, presume that he called none to his aid except those at least fairly skilled in the rendering of music. The above names are, therefore, recorded here. The city of Chicago contains quite a large number of very excellent musicians belonging to the race whose acquirements are here recorded. Besides several Very fine church-choirs, there is a large organization of well- trained vocalists, the performances of which have been highly spoken of by the journals of Chicago and those of other cities in the State of Illinois. 322 Music and Some Highly Musical People. Mrs. Frances A. Powell, the founder and directresa of this society, is also the leading soprano of the Olivet Baptist Church choir. She was educated at Buffalo, N.Y. ; and her superior powers at/ a ■Vocalist have been made the occasion of very flattering testimonials by the press of Chicago and of the States of Illinois and Wis- consin. Mrs. Harriett E. Freeman, an excellent mezzo-soprano, leading the singing of Quinn-Chapel choir, has been complimented by the press. She was educated at New Bedford, Mass. Mrs. Charlotte M. Alexander, leading soprano of Bethel-Church choir, was educated at Cincinnati. Mrs. Bessie Warwick, soprano and brilliant pianist, was formerly a pupil of Professor Baumback of Chicago. Mrs. Hettie Heed possesses a contralto-voice of re- markable pm:ity and sweetness. She is one of the prin- cipal siugers of the society first mentioned, and has been highly complimented by the critics of Illinois and Wisconsin. Miss Eliza J. Cowan, educated at Chicago, a member of the OlivetrChurch choir, is a very promising con- tralto-singer. Miss Flora Cooper has a voice of such great depth, that it really may be styled baritone. She was edu- cated in Chicago, and is a teacher in one of the publio schools of that city. Mrs. Esther Washington (neS Miss E. Fry) ij a fin- ished performer on the organ and piano-forte. Tliis lady is a graduate in thorough-bass and ■ harmony from Warren's Conservatory of Chicago. Miss Franlcie Buckner, an accomplished organist and pianist, received her training at Detroit. She has been Other JRemarkdble Muaioians. 823 praised by the papers of Madison, Wis.; was at one time pianist to a large singing society ; and is a contralto vocalist. Mr. William D. Berry is a finely-cultured tenor, a ready reader of music, and excellent in oratorio per- formance. Mr. Berry formerly lived in Hamilton, Ont. 3Iis8 Ida Piatt is a brilliant pianist. 1 Mr. Elias Perry is a young tenor-singer with a very pleasing voice. He is a member of Olivet-Church choir. Mr. John F. Ransom, baritone and organist, is a musi- cian of excellent culture, possessing one of the finest male voices in Chicago. He was educated at Colum- bus, O. Is organist of Olivet Church. Mr. Creorge W. Mead is leading basso of the sing- ing society heretofore mentioned, and of Olivet-Church choir. Mr. Mead renders his music with correct and very pleasing expression. He has been favorably men- tioned, in connection with others with whom he has performed, by the papers of Chicago. All of the persons whose names are included in the list just closed read music at sight, and are entitled to be ranked as artists. II. SOME MUSICAL PEOPLE OF THE SOUTH. " Bongs from the sunny Bouth-land." — A. E. SPENCIE. THE colored people of the South are proverbially musical. They might well be called, in that sec- tion of the country, a race of troubadours, so great has ever been their devotion to and skill in the delightful art of music. Besides, it is now seen, and generally acknowledged, that in certain of their forms of melodic expression is to be found our only distinctively AmerU can music ; all other Idnds in use being merely the echo, more or less perfect, of music that originated in the Old World. All who have listened to the beautiful melody and harmony of the songs sung by those wonderful minstrels, the "Jubilee Singers," will readily admit that scarcely ever before the coming of the latter had they been so melted, so swayed, so entirely held cap- tive, ty a rendering of music ; nor will they fail to admit that in these "slave-songs" of the South was to be found a new musical idea, forming, as some are wont to term it, a " revelation.'" And if it were necessary to prove that music is a language by which, in an elevated manner, is expressed Some Musical People of the South. 825 our thoughts and emotions, what stronger evidence is needed than that found in this same native music of the South? for surely by its tones of alternate moaning and joyousness — tones always weird, but always full of a ravishing sweetness, and ever replete with the ex- pression of deepest pathos — may be plainly read the stoiy of a race once generally languishing in bondage, yet hoping at times for the coming of freedom. Of the character of this music, and of its effect upon those who hear it, no one speaks more clearly than does Longfellow in the following lines from his poem, " The Slave singing at Midnight : " — " And the voice of his devotion Filled my soul with strange emotion ; For its tones by turns were glad, Sweetly solemn, wildly sad." Mrs. Kemble, in writing of life on a Southern plan- tation, tells how on many an occasion she listened as one entranced to the strangely-pleasing songs of the bond-people. Often she wished that some great musi- cian might be present to catch the bewitching melodies, and weave them into a beautiful opera ; for she thought them well worthy of such treatment. It is often said that the colored race is naturally mu- sical. Certainly it is as much so as other races. More - than this need not be, nor do I think can be, claimed. It is, however, very remarkable, that a people who have for more than two hundred years been subjected, as they have, to a system of bondage so well calcu- lated, as it would seem, to utterly quench the fire of musical genius, and to debase the mind generally, should yet have originated and practised continually certain forms of melody which those skilled in the science 'con- 326 Music and Some Highly Musical People. sider the very soul of music. Moreover, one is made to vronder how a race subjected to such cruelties could have had the. heart to sing at all ; much more that they could have sung so sweetly throughout all the dark and dismal night of slavery. Here is seen, it must be ad- mitted, what appears very much like genius in tho mel- ody-making power. Something it is, undoubtedly, that shows an innate comprehension, power in expression, and love of harmony, in a degree that is simply intense. The history of the colored race in this country estab- lishes the fact, too, that no system of cruelty, however great or long inflicted, can destroy that sympathy with musical sounds that is born with the soul. Only death itself can end it here on earth, while we are taught that for ever and ever heaven shall be rich in harmony formed by the songs of the redeemed. Perhaps other races, under the same terribly trying circumstances, would have shown a power to resist the mind-destroying influences of those circumstances equal to that which has been so fully shown by the colored race. But, be that as it may, tho latter has actually boon subjected to the awful test ; and the sequel has proved, that, to say the least, it may be considered as the equal nat- urally of any of the other " musical " races composing the human family. , But the music of which I have been speaking was never cradled, so to say, in the lap of science ; altliough, in its strangely-fascinating sweetness, soulfulness, and perfect rhythmic flow, it has often quite disarmed the scientific critic. It is a kind of natural music. Until quite recently no attempt was made to write it out, and place its melodies upon the printed music-page. Slave- ry, of course, prevented that. And this vile system, Some Musical People of the South. 827 although it could not stamp out the "vocal sjark," the germ of great musical ideas, could still prevent such growth of the same, such elaboration, as would have been secured by education in a state of free- dom. Yet, since the war, many of the religious slave- songs of the South, words and music, have been jirinted. It has been found that they are as subject to the laws of science as are others ; that they were not, as many persons have supposed, merely a barbarous confusion of sounds, each warring, as it were, against the other. For a proof of this (if there be those who doubt), the reader is referred to the " History of the Jubilee Singers of Fisk University," in which he will find printed the music of many songs like those to which I have alluded. Thus have we considered, in part, the native min- strelsy of the South. Notwithstanding their lack of a scientific knowledge of music, colored men, as instrumentalists, have long furnished most of the best music that has been pro- duced in nearly all of the Southern States. At the watering-places, orchestras composed of colored musi- cians were always to be found ; in fact, at such places their services were considered indispensable. Many of them could not read music ; but they seemed naturally full of it, and possessed a most remarkable faculty for " catching " a tune from those of their associates who learned it from the written or printed notes : in truth, the facility of all in executing some of the most pleasmg music in vogue was so great, that, when these little orchestras played, it was almost impossible to discover the slightest variation from the music as found on the printed page. 828 Mudo and Some Highly Muaiodl People. "A good many years ago," writes a correspondent from the White Sulphur Springs of Virginia, " the statesman Henry Clay was here, enjoying a respite from his arduous government duties. Being present at a grand reception where dancing was in progress, Mr. ' Clay wished to have played the music for a ' Virginia Reel;' but, to his great surprise, he learned that the colored musicians present did not know the necessary tune. Not to be cheated out of an indulgence in this, his favorite dance, Mr. Clay took the band oyer to a corner of the room, and whistled the music to them. In a very few minutes they ' caught ' it perfectly ; and, returning to their places, the enterprising statesman and his friends enjoyed tliemselves in dancing the 'Virginia Reel' just as though nothing unusual had occurred." At levees, at other public festive gather- ings, and at the receptions given in the homes of the wealthy, these orchestras were nearly always present, adding to the enjoyments of the hour by discoursing the most delightful music. In short, they were to be found everywhere, always receiving that warm welcome with which a music-loving people ever greet the talented musician. But, besides the associations of which I have just been speaking, — aasociations composed in part of those who understood music as a science, and in part of those who did not, — there has always been a goodly number of other persons of the same race, who, in spite of obsta- cles that would seem to be insurmountable, have ob- tained a fair musical education, and who have exhibited an artistic skiU and general aesthetic love and taste that would be creditable to many of those who have enjoyed far greater advantages for culture. Some Musical People of the South. 329 I shall now proceed to mention the names of only a few of such persons residing in some of the principal towns and cities of the South. The list could be largely extended did time and space permit. Baltimore, Md., has quite a number of musical people well worthy of mention in this connection. The fol- lowing are members of the choir of St. Mary's Episcopal Church, of which the Rev. 0. B. Perry is rector : — Mr. H. 'C. Bishop, general director; Mr. W. R. Bishop, precentor ; J. Hopkins Johns (who has a v^ty pleasing voice) ; Mr. J. Taylor (a fine basso, who has been a member of a meritorious concert-troupe) ; Mr. C. A. Johnson, organist ; and Mr. George Barrett, tenor. Mr. Johnson has on several occasions been the director of excellent public concerts in Baltimore and its vicinity, and is deserving of much praise for his activity in promoting the, music-loving spirit. The same may be said of Mr. George B'arrett. Mr. Joseph Ochmey is organist of the Bethel (Meth- odist) Church. The following are members of the Sharp-street Church choir : — Mr. Simpson, leader; Mr, Dongee, organist; Miss Mary F. Kelly, soprano; Miss Emma jBttr^ess, soprano. Baltimore has an association of musicians called " The Monumental Cornet Band," of which Mr. C. A. John- son is the efficient leader. Some time ago I found in the musical column of " The Boston Herald " of Sunday, July 9, 1876, the fol- lowing notice of another " Blind Tom : " — r " A rival of ' Blind Tom ' has been found at Blount Springs, Ma., in the person of James Harden, a colored boy from Baltimore. He playa the guitar, and sings the most difficult mjisic, excep- S30 Music and Some Highly Musical People. tionally well; and is also something of a composer. He baa received no instruction, but is most emphatically a natural-bom musician." Louisville, Ky., shows its appreciation of mu&ic by organizing a society devoted to the latter, numbering over a hundred persons. This fact has attracted the attention of Brainard's " Musical World," which journal, in the number for October, 1877, alludes to it as a bright evidence of the dawn of better times in the South. In St. Louis ^ live Mrs. Georgetta Cox and Miss Nellie Banks, — two ladies who have won golden opinions for their exliibition of fine musical qualities. They are both excellent vocalists and pianists. Mr. L. W. Henderson as a vocalist, Mr. Alfred White and Mr. Samuel Butler as vocalists and instrumental- ists, all possess artistic abilities of a fine order. Miss Johnson has attracted the attention and won the high praise of competent judges for her proficiency in piano-forte performance. , Mr. James P- Thomas is a finished violinist. With such artists as the above mentioned, and others whose names I have not learned, it will be seen that the city of St. Louis is not behind in musical culture. , Helena, Ark., is fortunate in numbering among its citizens George H. W. Stewart, — a gentleman of rare musical and general culture. He was, I think, educated ui Indiana, and received a diploma as a graduate from a college of music located at Indianapolis. Mr. Stewart's specialty as a performer is the piano, with which instru- ment he finely interprets the best music of the masters. 1 St. LouJB is placed in this section of the lecoid because the latter is devoted to siich localities as before the war were within slave territory. Some Musical People of the South. 831 He has also a soft yet powerful baritone-voice ; and, as a singer, he has often delighted private and public audiences. Miss Annie S. Wright of Memphis, Tenn., has few- equals in that State as a ready reader of music, or in the feeling and expression with which she awakes the echoes of the piano-forte. In Memphis there are several others possessing good ability as instrumentalists. No fears need be entertained that NashvUle, Tpnn., will not keep pace with the advance of other cities in musical culture. The famous Jubilee Singers of Fisk University, located near Nashville, may well be men- tioned here as noble representatives of that city, and as those whose splendid example and achievements as singers will always serve as a stimulus to the cultivation of music by their towns-people. I mention here with much pleasure the Lord family of Charleston, S.C. The father was a musician of good ability, a pleasing performer on the cornet and (I think) one or two other instruments, and was leader of an orchestra. He early gave his two daughters instruction in music. I recall with much interest a visit I made this accom- plished family early in 1865, when the regiment with which I was connected lay encamped near Charleston. On this occasion, after our indulgence in conversation touching the war, &c., I begged that I might be favored with some music. The request was readily complied, with, the father and daughters uniting in a performance of several very pleasing selections. Other members of my regiment, I know, also retain very pleasant recollections of the Lord family, hot only 332 Music and Some Highly Musical People. on account of the charming musical qualities of the latter, but also on account of their winning courtesjf to the Union soldiers. One of these was so far captivated (it could not have been by the music alone) by the elder daughter, as to invite her to adorn as his bride a home of his own. Our gallant Sergeant White was accepted ; and the lady has since shared with him the enjoyment of many honors which his fine abilities have won for him in the *' sunny South." Mr. Lord died a few years ago'. His example in in- culcating in his children a love for the elevating art of music cannot be too strongly recommended for the imi- tation of all heads of families who desire to form at their firesides such sources of interest, refinement, and pleas- ure, as will cause their children to prefer them, as they ever should, to all places npt comprised in the sacred name of " home." In making this brief survey, another locality of the South is now approached, which is so rich in musical culture as to occasion (at least to the writer) delight- ful surprise^ and warrant special mention of the circum- stances connected with the same. I refer to the city of New Orleans, which will be treated in the next chapter. III. NEW ORLEANS. . THE MUSICAL AND GENERAL CULTURE OF ITS COLORED CITIZENS. ' Though last, not lent." Shakbfeabb. BEFORE the late war, the city of New Orleans waa often styled "the Paris of America." The Prov- ince of Louisiana, originally settled by the French, and untU. 1812, when it became a State of the American Union, contained a population naturally distinguished by the same general characteristics as those which marked the people of France. The Frenchman has for a long time been proverbially a devotee of the fine arts ; and of these that gay and brilliant city Paris — which has ever been to its enamoured citizens not only all. .France, but all the world — became for France the centre. Here, then, a love of that beautiful art, music, since the days, hundreds of years ago, of the courtly meneS' trels, has been a conspicuous trait in the character of the people. Of course, in leaving Paris and France, and crossing the seas, — first to Canada, and then to 834 Musio and Some SRghly Musical People. Louisiana, — the Frenchman carried with him that same love of the arts, particularly that of music, that he felt in fatherland. And so New Orleans, which in time grew to be the metropolis of Louisiana, became also to these French settlers the new Paris. In fact, even for years after the State was admitted into the Union, and although meanwhile immigration had set in from other parts of the country, New Orleans remained of the French " Frenchy." The great wealth of many of its citizens, their gayety, their elegant and luxurious mode of living, their quick susceptibility to the charms of music, their generous patronage of general art, to- gether with certain forms of divine worship observed by a large number of them, — all this served for a long time to remind one of the magnificent capital of France. The opera, with its ravishing music, its romance of sentiment and incident, its resplendent scenery, and the rich costumes and brilliant delineations of its actors, — all BO well c?ilculated to charm a people of luxurious tastes, — has always been generously patronized in New Orleans; and so, too, have been the other forms of musical presentation. Amateur musicians have never been scarce there : such persons, pursuing their studies, not with a pecuniary view (being in easy circumstances), but simply from a love of music, have ever found con- genial association in the city's many cultured circles; while many others, who, although ardently loving music for its own sake, were yet forced by less fortunate cir- cumstances to seek support in discoursing it to others, — these have always foiand ready and substantial recog- nition in this music-loving city. But does all I have been saying apply to the colored people of New Orleans as well, almost, as to the others? New Orleans. 886 Strange to say, it does. Natural lovers of the "art divine," and naturally capable of musical expression, — they too, although with far less of advantages for cul- ture than the others, have with voice and instrument, and even as composers, helped to form the throng of harmonists, playing no mean part in the same. The colored people of New Orleans have long been remarked for their love of and proficiency in music and other of the elegant arts. Forty years ago " The New-Orleans Picayune" testified to their superior taste for and ap- preciation of the drama, especially Shakspeare's plays. A certain portion of these people, never having been subjected to the depressing cruelties of abject servitude, although, of course, suffering much from the caste spirit that followed and presented great obstacles to even such as they, were allowed to acquire the means for defraying the expenses of private instruction, or for sending their children to Northern or European schools. Indeed, as regards the exhibition of this ambitious musical spirit, this yearning for a higher education and a higher life, these people often exceeded those of fairer complexions ; many of their sons and daughters attaining to a surpass- ing degree of proficiency in music, while they became noticeable for that ease and polish of manners, and that real refinement of living, which ever mark the true lady or gentleman. Again : there was another portion of this same race, who, in the circumstances of their situation, were far less fortunate than even those of whom 1 have just l)een speaking : I mean those who were directly under the " iron heel of oppression." Nevertheless, many of these were so moved by a spirit of art-love, and were so. ardent and determined, as to have acquired a scientifio .836 Music and Some Highly Musical People. knowledge of music, and to have even excelled, strange to say, in its creation and performance, in spite of all difficulties. As to just how a thing so remarkable, nay, I , may say wonderful, was accomplished, would foi-m many ^ story of most intense and romantic interest. But with present limits I may not narrate the many in- stances of heroic struggle against the foul spirit of caste prejudice, and the many noble triumphs over the same, that belong to the lives of nearly if not quite all of the artists of whom I shall presently briefly speak. And here it is utterly impossible to resist the depress- ing effects of that deep feeling of gloom which settles upon one as thoughts like the following crowd into the mind. How much, how very much, has been lost to art in this country through that fell spirit which for more th9.n two hundred years has animated the majority of its people against a struggling and an unoffending minority, — a spirit which ever sought to crush out talent, to quench the sacred Are of genius, and to crowd down all noble aspirations, whenever these evi- dences of a high manhood were shown by those whose skins were black ! Ah 1 we may never know how much of grandeur of achievement, the results of which the country might now be enjoying, had not those restless, aspiring minds been fettered by all that was the echo of a terrible voice, which, putting to an ignoble use the holy words of Divinity, cried up and down the land unceasingly, '■^Mitherto shalt thou come, but no far- thbr!" For to judge as to what "might have been," and what yet may be, despite the cruelties of the past (since, even in, this instance, " the best prophet of the future is the past "), we have only to look at what is. But from those bitter days of a barbarous time, when New OrteaM. 837 hearts were oft bowed iti anguish, when tears b£ blood were wept, and when often attempts were made to dwarf yearning intellect to a beastly level, — let us turn quickly our weeping eyes from those terrible days, now gone, we hope never again to return, towards that brighter prospect which opens before our delighted vision : let us joyfully look upon what is, and think of what may be. For " The world is cold to him who pleads ; - The world bows low to knightly deeds.'' Returning, then, directly to the subject in hand (viZi,' the colored musical artists of New Orleans), I first quote from a paper prepared by a cultured gentleman of that city, himself a fine musician, the following retrospective comment on some of the former residents there : — " For want of avenues in which to work their way in life, and for many reasons which are easily understood^ our best artists [colored] removed to other countries ih search of their rights, and of proper channels' in which to achieve success in the World. Among these were Eugene Warburg, since distinguished in Italy as a sculptor ; Victor Sdjour, in taris, as a poet, and com- poser of tragedy ; Caraby, in France, as a lawyer \ Dubuclet, in Bordeaux, as a physician ^ahd musician J and many others*" All these were forced to leave New Orleans, their native city, because of the prejudice that prevailed against them on account of their c6lor. In other countries, which Americans have been wont to 9*>le, forsooth, "despotic," these aspiring men found ready recognition, and arose, as has been seen, toj high distinction in their chosen callings. :> • i Of a few others who for these same reasons left their 338 Music and Some JBighly Musical People. native city and went abroad, as well a? of a large num« ber of talented, educated musical people who remaiaed in New Orleans, I shall now speak. The Lambert family, consisting of seven persons, presents the remarkable instance of each of its mem- bers possessing great musical talent, supplemented by most careful cultivation. Miohard Lzmbert, the father, has long been highly esteemed as a teacher of music. Many of his pupUs have attained to a fine degree of proficiency as per- formers of music, and some of them are to-day com- posers. Lucien Lambert, very early in life, attracted attention by his ardent devotion to the study of music. He used to give six hours of each day to practice, and became a pianist of rare ability. With a style of performance really exquisite, he has always excited the admiration, and sometimes the wonder, of his auditors, by easy triumphs over all piano difficulties. But his genius and ambition were such, that mere performance of the music of others did not long satisfy him. He became a com- poser of great merit. A man of high soul, he also, ere long, grew restive under the restraints, that, on account of his complexion, were thrown around him in New Orleans. He longed to breathe the air of a free country, where he might have an equal chance with all others to develop his powers: and so, after a whUe, he went to France ; and, continuing his studies in Paris under the best masters of the art, he rapidly attained to great skill in performance and in composition. He finally went to BrazU, where he now resides, being engaged in the manufacture of pianos. He is about fifty years of age, a gentleman of imposing appearance. New Orleans. 339 Lucien Lambert has written much music. Below is given the titles of only a^ very small number of hia compositions : — "La Jtiive;" "Le Depart, du Consent" (fantasie march); "Les Ombres Aim^es;" "La Br^silianaj" "Paris Vienne;" "Le Niagara;" "Au Clahr de la Lune," with variations ; " Ah 1 vous disais-je, Maman ; " " L'Am^ricaine ; " "La Rose et le Bengali;" "Pluie deCorails;" "Cloches et Clochettes;" "itude Ma- zurka." ' Sidney Lamiert, stimulated by the instruction and good fame of his father and the high reptitation gained by his brother Lucien, and himseK possessing rich natural powers, soon became conspicuous for brilliant execution on the piano-forte, and as a composer of music for that and other instruments. He has also written a method for the piano, the merits of which are ■ such as to cause him to be lately decorated for the same by the King of Portugal. He is now a professor of music in Paris, France. Here is a partial list of pieces composed and arranged by him : — "Si j'^tais Roi;" "Murmures du Soir;" "L'Afri- 1 Only to those who have not read the introduction to these sketches will it seem strange that the titles of these, and o{ the works hereafter mentioned, although they are the creations of Americana, are yet given in the French language. For the information of such persons, I repeat in substance what has already been said, that these authors, in adopt- ing the course just referred to, have only followed a custom which is most generally observed in the highest art-circles of New Orleans, "the Paris of America," — a custom, too, which, no doubt, is in har- mony with the tastes, as it is with the acquirements, of the authors themselves, all of whom speak and write the French language quite perfectly. It may be well to here say also, that all of the above, mentioned works, and all others (not otherwise specified) mentioned hereafter, bear the imprint of some one of the principal music-pub- Ushers of the day, from whom, of course, copies may be ordered, if desired. 340 Music and Some JSigKly Musical People, caine j " " Anna Bolena ; " " La Sonnambula ; " " L'l^li- sire ; " " Transports Joyeux ; " " Les Cloches." Mr. H. Lambert is the very efficient leader and in- structor of the St. Bernard Brass Band. He is a fine musician, performing with much skill on several instru- ments. John Lambert, only sixteen years of age, is already regarded as an excellent musical artist. He was edu- cated in St. Joseph School, New Orleans. He seems almost a master of his principal instrument, the cornet, playing with ease the most difficult music written for the same. He is a member of the St. Bernard Band, — a very valuable member too, since he can play a variety of instruments. The two Misses Lambert are accomplished pianists. One of them is an excellent teacher. Edmund DSdS was born in New Orleans in the year 1829. He learned first the clarinet, and became a good player. He afterwards took up the violin for study, under the direction of C. Deburque, a colored gentleman. After a whUe he took lessons of Mr. L, Gabici, who was at one time chief of the orchestra of the St. Charles Theatre. D^de was a cigar-maker by trade. Being of very good habits, and economical, he accumulated enough money after a while to pay for a passage to France, where, on his arrival in 1857, he re- ceived a welcome worthy of a great people and of so fine an artist. He is very popular, not only as a violin- ist, l^ut.as a man, being of fine appearance, of amiable disposition, and very polite and agreeable in his man- ners. While a student in New Orleans, many were they who seemed never to grow tired in listening to his peculiarly fine playing of the studies of Kreutzer and New Orleans. 341 the ' Seventh Air Vari^ de Beriot." He is considered alike remarkable in his perfect making of the staccato and the legato 5 is very ardent in his play, throwing his whole soul into it ; and meets with no difficulties that he does not easily overcome. Mr. Ddd6 is now director of the orchestra of "L'Alcazar," in Bordeaux, France. He is of unmixed negro blood, and is married to a beau- tiful and accomplished French lady. The titles of only a very few of the worJis composed by Edmund Ddd^ can now be given. They are as fol- lows : " Le Sement de I'Arabe," " VaUlant Belle Rose Quadrille " (this it was called originally ; but I believe the piece has been published under another name), " Le Palmier Overture." Basile Bar4s was born in New Orleans Jan. 2, 1846, and is what may be called a self-made man. He to-day enjoys a fine reputation as a pianist and compose!:. His studies on the piano were begun under EugSne Provost, who was, in years gone by, director of the Orleans Theatre and the opera-house orchestras. Bar rds studied harmony and composition under Master Pedigram. In 1867 he visited the Paris Exposition, at which he remained four months, giving many perform- ances upon the piano-forte. Mr. Bar& resides in New Orleans. I append this partial list of his works : " Lii Capricieuse Valse," " Delphine Valse Brillante," " Les Varidt^s du Carnaval," "Les Violettes Valse," "La Creole " (march), " Elodia " (polka mazurka), " Merry. Fifty Lancers," "BasUe's Galop," "Les Cents Gardes'" (valse), and " Minuit Polka de Salon." Pi ofesaor Samuel Snaer, a native of New Orleans, is in his forty-fourth year, and is a musician of remarka- bly fine powers. He is a brilliant pianist, and a most 842 Music and Some JBiffhly Musical People. ekilful performer on the violin and violoncello. As a violoncellist he has but few equals anjrwhere. He is an esteemed teacher of violin and piano, and is organist at St. Mary's (Catholic) Church. But Professor Snaer's musical abilities do not end with the accomplishments just mentioned. He is, be- sides, a ready composer, and has produced much music of a varied and very meritorious character. Extreme modesty, however, has prevented him from publishing many of his pieces. Generally his habit has been to sit down and compose a piece, and then allow the manu- script to go the rounds among his acquaintances. As he would make no request for its return, nor express solicitude regarding its fate, the music rarely returned to the composer ; so that to-day the most unlikely place to find copies of his works is at the professor's own residence. Professor Snaer has a memory of most wonderful power. When he was eighteen years old (that was twenty-six years ago), he composed his " Sous sa FenS- tre." Without having seen this music for many years, he can to-day write it out note for note. He remem- bers equally well each one of his many compositions, some of which have been of an elaborate and difhcult character. He has lately rewritten from memory, for a gentleman in Boston, a great solemn mass which he composed several years ago. Those who are familiar with the original draught of this mass say that the present one is its exact counterpart. The following comprises in part a list of the works of Professor Snaer : — "Sous aa Fen6tre," published by Louis Grunewald, New Ot- leans. New Orleans. 348 " Le Chant du Ddpart," published by Louis Grunewald, Ne\» Orleans. (Two editions issued.) "llappelle-toi," published by Louis Grunewald, New Orleans. (TwT) editions issued.) " Grand Sofene Lyrique " (solo and duetto). " Graziella" (overture for full orchestra). "Lo Vampire" (vocal and instrumental). " Lo Bohdmien " (vocal and instrumental). "Le Chant des Canotiers" (trio); and a large number of Polkas, Mazurkas, Quadrilles, and Waltzes. . Professor Snaer is also a man of letters, a littSrateur; and in such matters, as well as those of music, much deference is paid to his judgment by his contemporaries. Mr. Henry StaesM.& youth quite ardent in his study of the piano-forte. Mr. Lanoix Parent, formerly a member of the Phil- harmonic Society, is a performer on the violin, viola, and some other instruments. ProfesBor'A. P. Williams, born in Norwich, Conn., in 1840, is highly esteemed as a vocalist and pianist. He is an efficient teacher of vocal and instrumental music. He received his musical training from his father, Mr. P. M. Williams, who, a native of Massachusettsi was a proficient vocalist and organist. Professor Williams is a man of decided intellectual merit, and is principal instructor in a grammar-school in New Orleans. Mr. E. V. Macarty, a native of New Orleans, was born in 1821.' He began lessons on the piano under Prpfessor J; Norres. In 1840 he was sent to Paris, where, through the intervention of Hon. Pierre Soul6 and the French ambassador to the United States, he was admitted to the Imperial Conservatoire, although he was then over the age prescribed for iEidmission. At the Conservatoire he studied vocal music, harmony, and 344 Musia and Some Highly Musical People. composition, He has composed some pieces tliat have been published, the names of which, however, aie not known to the writer. Mr. Macarty is especjally dis- tinguished as a vocalist : as a singer he is full of senti- ment, and very impressive j is a fine pianist ; and much admired, too, as an amateur actor. In the rdle of Antony, in the play of that name, by Alexandre Du- mas, as well as in that of Buridan in "La Tour de Nesle," by the same author, Mr. Macarty has won high honors. He also has held several positions of trust under the State government. Mr. F. 0. Viccus is a gentleman of fine musical abili- ties, a performer on the violin, cornet, and even other instruments. McDonald Repanti, before going to Mexico, became one of the most remarkable pianists of New Orleans. His trade in early life was that of a worker in marble ; and being very fond of music, and desirous to study the piano, he used to work very hard at his trade during six months of the year, and then devote the other six to severe study of music, and practice on his favorite instrument. This he did under the instruction of his brother, Fierville Repanti, who was formerly a teacher of marked ability, and a composer of music. Fierville removed to Paris, where he died some years ago. Maurice J. B. Doublet was born in New Orleans in the year 1831. In that city he takes rank with the. besjt violinists, and is highly rated as a general musician. Modesty has kept him away from the public but too often, since he possesses powers that would cause him always to be the recipient of much applause from large and cultivated audiences. He studied under L. Gabici. Mr. Doublet, as a violinist, is most remarkable for the New Orleans. 346 purity of the tones produced, and the faithfulness he exhibits in giving expression to the composer's thoughts. These qualities, which it seems were given him by nature, are also noticeable in all of his pupils. Mr. Doublet is also a composer, but is so modest as to hide from the general public all that he has done in that line. Dennis Auguste was born in New Orleans in 1850, and is therefore twenty-seven years of age. Although 80 young, he is regarded as a fine musician. He grew to manhood in the family of Col. F<51ix Labatut, by whom and his wife Dennis was treated as a son. Mr. and Mrs. Labatut, who were a noble and high-minded couple, of well-known liberal ideas, spared no pains to give their charge a thorough education. Teachers were employed to instruct him in many branches of learning. Mr. Ludger Boquille, a colored gentleman, became his teacher in French ; Prof. Richard Lambert gave the' youth his first lessons in music and on the piano ; Prof. Rolling, a well-known artist, directed him in the same studies afterward; whUe in vocal music, harmony, and composition, he became proficient under Mr. Eugene Prdvost. Mr. Auguste has proved himself worthy of the care that was given to his training by his Christian-like guardians and faithful teachers. As a performer he is held in high esteem, and is often em- ployed by the best families of both races in his native city. Henry Corbin, for several years a resident in New Or- leans, was born in Cincinnati, O., in the year 1846. He learned the violin under a German teacher and under Professor Bonnivard. He has played as an amateur on many occasions at concerts, and always with marked 346 Music and Some Highly Musical People. acceptance to his audiences. Mr. Corbin's musical acliievements are very fine, considering the great amount of time he has given to employments connected with state and city government. He was at one time private secretary to Gov. Pinchback ; at another, secretary of the Board of Directors of the Public Schools of New Orleans ; and is now tax-collector for the Sixth District in that city. J. M. Doublet is only eighteen years of age, but is considered already a violinist of excellent ability. He has studied music under the direction of his father, J. B. M. Doublet. Adolphe Liantaud is one of the best performers on the cornet in New Orleans: indeed, for purity and smoothness of tone, as weU as power, he is regarded as most remarkable. Mr. Henry Berrot is considered an excellent player on the contra-bass, although beginning its practice only a few years ago, and at an age when most persons would despair of acquiring a knowledge of that or any other instrument. Mrs. P. Oasnave is a brilliant pianist. Miss Macarty has on several occasions appeared at public concerts, and has always been received with marked favor. She is quite studious, and renders diffi- cult and classical compositions for the piano in a most creditable manner. As may be readily supposed of a community like that of New Orleans, where there is a large colored popu- lation composed of so many people of culture, the gentler sex are only behind the other, in possessing a knowledge of music, to that extent which has been caused by those unreasonable, unwritten, yet inexorable New Orleans. 847 rules of society, that have hitherto forbidden women to do more than learn to perform upon the piano-forte and guitar, and to sing. But among the ladies of New Orleans there are many who may be called excellent pianists, and those who, possessing good voices, sing the choicest music of the day with a fine degree of taste and expression. Most of these (only a few of them are performers in public), by their musical culture, and the possession of those general graces of a beau- tiful womanhood, — graces the possession of which " Show us how divine a thing A woman may become," — add to the adornments and refining pleasures of many private circles, and thus keep pace with their male relatives and friends in demonstrating the intellectual equality of their race. It would, however, take up far too much of space to here present a larger number of the names of these accomplished ladies than has al- ready been given; and it is therefore hoped that the latter, — fair representatives of many others that might be given, — and the general mention just made, may suifice. Returning to the other sex, I first refer to Constantin Beherque, who is a musician of fine ability, a teacher of great skill, and a gentleman of good general culture. Mr. Deberque will again be mentioned on a succeeding page. Br. E. Bvhuclet is a finished violinist. He is a brother of Dr. Dubuclet, heretofore mentioned as having re- moved to Bordeaux, France. ' The Bupri family are remarkable for their excellent musical qualities. Each of the brothers, del, Lucien, 348 Music and Some Highly Musical People. and Esebe, play upon several instruments ; while theii two sisters are also well versed in music. Mr. Raymond Auguate, as a cornetist, is quite notice- able for the purity, strength, and fine expression of the tones he produces. Eugene Convertie is a classical student ; wins golden opinions for his piano performances; and has been highly esteemed as a teacher of that instrument. He is now succeeding as a dry-goods merchant in New Orleans. Mr. Kelly, band-director, is very effective as a per- former on the cornet. Mr. ^^ile Ricard is regarded as a good pianist and teacher. Joseph A, Moret is a violin-player, to whom all listen with pleasure. He was first a pupil under Professor Snaer, and afterwards studied under Professor Bonni- vard. Mr. Moret, having been instructed by such good teachers, possessing much natural talent, and being withal so young, has before him a brilliant future. Joseph Mansion is an amateur violinist, and a gentle- man of much intelligence. He was formerly a member of the Louisiana House of Representatives, and is now State-tax assessor. Joseph Bazanac was an excellent performer on the flute and bassoon, and a teacher of music. He was, be- sides, acknowledged as a skUful instructor in the French and English languages. He died a few months ago. Charles Martinez, who died in 1874, was most re- markable for proficiency in performance upon a great number of instruments, — being an artistic guitarist and violinist, a player upon the contra-bass, — and was also a good singer. Being of an ambitious turn of mind, Mr. Martinez studied, without a teacher, to become a no- tary-public, and was appointed as such. New Orleans. 349 Professor Thomas Martin was at a time one of the first musicians of New Orleans and of I^ouisiana, being without an equal as a guitarist, was a great performer on the violin and piano-forte, and played even other instru- ments. He was also a fine vocalist, a ready and good composer, and was much celebrated for abilities in teaching music. A fine-looking mah, very agreeable and gentlemanly in his manners. Professor Martin soon won his way against all obstacles, and became the favbr- ite musical instructor not only of those of his own race, but also of many persons connected with the most aris'^ tocratio white families of New Orleans and its vicinity. This once talented musician is now no more ; he haying died some years ago in Europe, as I am informed. Octave Piron was once very prominent as an excellent vocalist and guitarist. He devotes his attention now more to the contrarbass, upon which instrument he is regarded as a good performer. J. M. Holland is a young man who gives much prom- ise of becoming an excellent pianist. And thus I might go on and on, mentioning name after name, and achievement after achievement ; but warned by the great number of pages already devoted to these praiseworthy musical people of New Orleans, and believing that enough has been presented to serve the object had in view when the^e noticed were biegun, I will shortly close this record. As a sample of the concerts frequently given in New Orleans by amateur musicians of the colored raoe, I append this programme of one lately given : -^ 850 Music and Some Highly Musical People. a-RA.NI> Yocal and Instrumental Concert, ON OCTOBER 14, 1877, IN Masonic Hall, cor. of St. Peter and Claude Streets, UNSBB TBI DIBBOTION Or LOUIS MARTIN, ASSISTED BY HIS AMATEUR ' FRIENDS. ?Part iFltgt. 1. OVERTUBB. — " La Muette de Portioi " Obohbstba. 2. THE FAVORITE. — "Prii>re."—Z)omj;e«i.... Miss Mo . 3. LE BOED^MIEN. — SamMeiSnaej'i Mr. O. P. i. SYMPHONY. — For Two Vlollas and Piano, { ^nd Mlas A^F. 6. MY SUNDAY DRESS. — Song Jos. L., Jun. InUrmfssion.— Part iSetonlf. 6. OVERTURE. — "Sfiniramis" Obchestba. 7. JUDITH. — Cojiflojie Miss R. F. 8. THE ENCHANTRESS. — Fantasia for Violin L. M. 9. L'EXTASB.— ValsebriUante. — i'^idj« MissF. 10. PORTUNIO'S SONG. — "Alsacian Dream "... .Jos. L., Jim. Intetmissfon.— iPatt STbirD. 11. OVERTURE.— " La Dame Blanche " Oboiibstba. 12. OONSTANTINOPLB.— ^. Loyd MiasR. F. 13. UNE DROLE DE SOIRlilB. — Sc&ne Humoristlque, J. A. COLUN. Miss A. F. will preside at the Piano. The Orchestra under direction of Mr. Louis Mabiin. DOORS OPEN AT 6. - . - - CONCERT TO BEGIN AT 7 PRECISELY. ^ This (x>mposer has heen previously mentioned in these sketches, "Le Boh^mien" is one of several of Professor Snaer's pieces that show him to be a writer of fins abilities. New Orleans. 361 From the notes of a musical critic of New Orleans 1 learn that this concert was in all respects a fiae success. The different overtures were well executed by an ensem- ble of twenty instrumentalists, all colored men ; while all the numbers on the programnle were rendered, gen- erally, in a manner that would have been creditable, even had the performers been, as they were not, pro- fessionals. Tlie audience was a largo and brilliant one, composed of members of both races, and was quite demonstrative in. the bestowment of applause and in floral offerings. As at first remarked, concerts like the one just described are frequently given in New Orleans. New Orleans has several fine brass bands among its colored population. " Kelly's Band " and the " St. Ber- nard Brass Band " deserve particular mention here. The " St. Bernard " is composed of a very intelligent class of young men, studious, and of excellent moral charac- ter ; in fact, they form a splendid corps of musicians, equalled by but few others, and excelled by none. With these two bands and some others, the names of which I have not now at hand, the people of New Orleans are always well supplied with the best of mar- tial music. Before the late war, the city had an association of colored men called the "Philharmonic Society." Sev- eral liberal-minded native and foreign gentlemen of the other rac3 were always glad to come and play with the " Philharmonics " overtures and other music of a clas- sical character. This was really a scholarly body of musicians, with whom the very best artists of any race might well be proud to associate. Cbnstantin De- berque, and Richard Lambert were among those who at 852 Music and Some Higldy Musical People. times directed the orchestra. EugSne Rudanez, Camille Camp, Adolph Angelaine, T. Delassize, Lucien and Vic- tor Pessou, J. A. Bazanac, Charles Martinez, and over one hundred other amateur musicians, added a lustre to the good name of the colored men of New Orleans, even during the gloomy days of oppression. These, men with all, their souls loved music and the drama ; but were kept away from the grand opera, from concerts and theatrical performances, because they would not submit to the degradation of sitting in a marked place designated "for colored persons." Nevertheless, they were not to be deterred from following that bent of their minds which a love of art directed ; and so, thrown entirely upon their own resources, these high-minded men formed the " Philharmonic Society " and other musical associations, finding in the same much to com- pensate them for what they lost by being debarred from entering those circles of culture and amusement, the conditions of entrance to which were, not a love of and proficiency in art, but that ignoble and foolish one, the mere possession of a white face. And thus has been briefly and (as the writer fears) imperfectly told the story of these highly musical peo- ple of New Orleans. Bearing in mind the great and manifold difficulties against which they ever had to struggle, — not only such difficulties as all must ea- counter who study the science of music, but also those far, far greater ones that are caused by color-prejudice, the extent of whose, terrible, blighting power none can ever imagine that do not actually meet it, — bearing in mind, I say, aU these obstacles, and their triumphs over the same, it will be seen that much has been accom- New Orleans. ' 868 plished that may be considered realy wonderful. As better opportunities for culture, and that fulness of recognition and appreciation without which even genius must languish and in many cases die, — as these come to them, as come they surely will in this new era of freedom, — then wiU such earnest votaries as have here been mentioned, with " No fears to beat away, no strife to heal, The past unsighed for, and the future sure," — attain to even greater degrees of proficiency and emi nence in that notle art of which Pope thus beautifully sings : — " By Music, minds an equal temper know, Nor swell too high, nor sink too low. If in the breast tumultuous joys arise. Music her soft, assuasive voice applies, Or, when the soul is pressed with cares, Exalts her in enlivening airs ; Warriors she fires with animated sounds ; Pours balm into the bleeding lover's wounds* Melancholy lifts her head ; Morpheus rouses from his bed ; Sloth unfolds her arms, and wakes; Listening Envy drops her snakes ; Intestine war no more our passions wage ; And giddy factions bear away their rage. Music the fiercest grief can charm, And Fate's severest rage disarm; Music can soften pain to ease, And make despair and madness please; Our joys below it can improve, And antedate the bliss above." APPENDIX. MUSIC. PREFACE TO THE MUSIC. It is deemed necessary to ofEer a few word» of explanation tonching the music printed on tlie following pages. The collection is given in order to complete the author's pur- pose, which is not only to show the proficiency of the subjects of the foregoing sketches as interpreters of the music of others, but, further, to illustrate the ability of quite a number of them (and, relatively, that of their race) to originate and scientifically arrange good music. For want of space, only a few selections have been made from the many compositions in the writer's possession; and, for the same reason, only parts of several works, somewhat elaborate in character, have been giten; the latter curtailment having been made in the cases of the following : " The Pilgrim " (a gi^and overture, originally occupying about twenty pages, sheet-musio size), only one-third of which appears in this collection; of an elegant arrangement of the air of " Au Clair de la Lune " (con- taining Introduction, Theme, First, Second, and Third Variations, and Finale), only the " Theme " and Third Variation are given ; of the Parisian Waltzes (a set of five), only the introduction, coda, and Waltz No. 3 are given ; of " Les Clochettes," — f antaisie mazurka, — only a part appears ; and so of " La Capricieuse ; " while, of the "Mass," only two movements appear, the "Gloria" and "Agnus Dei." The attention of all who shall examine the 1 2 Preface to the Music. music is particularly called to the above statements, iu order that there may be no surprises, and no injustice done the composers. In two instances only have very long compositions been reprinted in full. The first (the " Anthem for Christmas ") is so given as a mark of respect to the memory of a pioneer musician, now de- ceased; and the second ("Scenes of Youth"), because a different treatment would seriously interrupt a continuous description which has been so vividly given by a young and talented composer. The author of " Welcome to the Era March " is less than eigh- teen years old. The author of " Bays of Hope '' has just attained to his majority. But none of the foregoing statements are made as excuses ; nor, on the other hand, is there any intention on the writer's part to present them in a boasting way. The collection of music is sub- mitted to the candid consideration of all music-loving people, with the hope that it may add to their enjoyment, and help to serve the purposes for which this book was prepared. CONTENTS TO THE MUSIC. PAQH AJirtrimi voB CweasivLAB {WiUiam Brady) 4 ■Welcome to thb Eba March {Jacob Sawyer) 22 Andaktb {Guitar)' [Justin Sollanc^ 26 The Pii,OBrM {Oiierture) {J. T. Douglass) 30 Farisiait ■Waltzes {H. F. Wtiliams) H I/E Seruent de L'Arabb {Dramatic Chant) {Edmund Didi) . .63 IiA Capbicieqse Waltz {Batil Saris) 60 Au Clahc de la Ijowb {Lucien Lamhert) ...... 69 liAUBiETT {Ballad) {H. F. Williams) 81 TljVs^ OLoatiRiTitB {Fantaltlo Maxvrka) {Sidney Lamhorl) , , , 80« Bats of Hope Maboh {W. F. Craig) ....... S8 Scenes of Touth {Descriptioe) {F. E. Lewis) 101 Mass fob Thbee Voices (" Oloria " and "Agnus Dei ") {S. Snaer), 127 S ANTHEM FOR CHRISTMAS. Composed and Arranged by WX. BBADT. JT. T. ISBl, Andante Pastorale, ] J- A-* m » p » m. iEEE& fi. I j'^ a C!=F »-^ « « '-"^-H 1 1 — s ^ b<:» 1 ^=^^ m m m i #=*= dp=^==:i=^ itrzMz There were (P gg rrrr -« — s- -J^-*^ ANTHEM. FOR CHRISTMAS. Continued. m Shepherds a -bid -Ing In the fields. Keeping watch o-veriheli i m ^ -w ^te ':sc. % -b=^ » -^•^-.t- flocks by night, And 80 the an-gei of the m ^i ^3 tn ^ ^£*~*T .j,i is^= fcfi ^ ftzTz E^3 -> — #- I ^^^^ r=g: Lord a^ came up - on them, ' and the glo -ry of the ' > '^1 gp^ ANTHEM FOE CHRISTMAS. Continued. ^^ fr-r Tlf. :. * M , f I V U V - p — i- liord shone roaod a-bontthem> And they were sore a-fir^ld, i i2z: ^* ^ fe!^#1=f^=^ pEfe^^ ^^iJ;^^ and the an -gel said nn-to them, Fear m^ E ^^ ■isz ^=^ -i^—%—^ ^■^:*^ pn-^^r-^ E 5=2= ^ Efc=i= » p -»^-#- 5^ 1^-l^-U- not, for behold I bring yon glad tidings. i /^^ ^ B^=Tt a-i i T^^ S =i^ J s m rn rn ^^g^^ ANTHEM FOR CHRISTMAS. Contldued. -7 ^-*^^=*=3¥=f= ^ ^^^ Olad tld - Ings of great Joy,. fci^f-r ^^^ ;i=p= F"F£f"£r" ^ — ]/- glad tld - Ingg of Joy, ^m^^ I I I ^s=g=g rn-rr- Ff-i'^ (fe £cfte*£ E& ^g. • :fc=ibi:^2^.^:i==:{5drfc45z45==fe ^m ^^ssy *=t ita; -U-IA-U tid - Ings of Joy, glad tidings of Joy, glad tidings, glad tidings, ' / w^ ANTHEM FOE CHEISTMAS. Continued. i 1^^^ ^El g-M X ]» ' V^ giad tid - Ings, glad tid - Ings, m s i^ 3 m — 4 ^ ^ P I -k=f: f jErrz =t?=i= :5=t JdU— '-lA-i-t ;<— p not, fear not forbe-hold, I bring you glad tidings,glad tidings of I ■"-J-^^-J- *3^3 ^^^^ ^ -8-M-lg.. gg g^^q d=j=f^^^^^ Joy ^ -»— ^- glad tl - dings of Joy, glad -u ^^s--± iitt* m^^^ n ^r= -^=h=^^^^ •(tju -•-i«-r v^^f^- ANTHEM FOE CHRISTMiS. Continued. ( ^^^^^^^m -ft _^<_v--i^ . to you Is bom -this day in the cl-ty ofDa-vId b n ^^=e^ ''tE^ -^^0^m r '^t^=M^l!=£iii ^ S^^ ,10 ANTHEM FOR CHRISTMAS. Continued, I -b ^^^^^^^1^ --f^^f? -V, — V- -^^—^i^ Sav- iour, a Sav-iour, who is I ■>4- ^ ^=U^- £K ^a^^^ fes- i 1^=^ ^^^ H* ft- ^^ ^^ Christ the Lord who is Christ the Lord, who Is [% fe^ i ^= P^^ ^ =M==^? Anthem jtor christMas. ' contlniied. i 1 m ^r=* 5^ ^ f *=i; 5=ta:tz=Ji ^ t ^?=P not, fear not forbe-hoId> I bring yon glad tidings, glad tidings of liat ^ ^£ ^^ :^ S J ^i ti:^. :^±=t :5=p: ^ SS ^ @ 4 rJ-faf-W= joy,- giad tid - Ingg of joy, ghu. 4 13 hc=s= *= ^ ^^ ^^^^ ■■•It ^ t=5= ^2=1? -i/-*'- tldlngsof Joy, glad tldlngs.glad tidings.glad tid-ings of Joy. ^ }2 ANTHEM FOE CHRISTMAS. Continued. p^t=^=f^=^^ ss tJ=^ And suddenly, Tbei-e was with the m ^^^$- \\> 3-S'C*l«*-*f: ^ EEL '^^r^- h-^^±:^^P^^ ^ ?=v= i I . a mul - ti-tade, of the heavenly % Els^Hi ■^ ^ ^ ^ ■<9 fc ^^Mi ^^fr^Fi^^g ^EEfei BE host, FralBingQod, and say - ing, I ztl^rrjt: I I a^ Er=t ^^^. ANTHEM FOR CHRISTMAS. Continued. CHORUS. AlleSreUo. Soprauo. 13 14 ANTHEM FOR CHRISTMAS. Continued. i jM^ It ^E^ ir m Glo - ry to God in the high - est, It ^ m a^^ 3: Glo - ry to Ood in the hlj;h - est, W^^^ ±: m £feb ^^ gE ^ sFSi :f tf ■»■ * ^ ^^ I t=t i Glo - ry to God, Glo - ry to God, i^ --^ --?=f? It Glo - ry ,to God, Glo - ry to ^i^^ P=5=1EE 3_i^^ ^S :i^E ^ 5I^S i -■M^ ;-j— -(*— bj a ^^ ANTHEM FOR CHRISTMAS. Continued, 'is ^^^^^^^m p= ^^n=nrf^ Glorjr to God In the highest. Glory to God, -N— +v J- I h- * ' * < V ^^=^1 od In a*-H«-^- gc EEfe Qod In the high est, a-^H fe^^fefe^ i :^^^z^z.^£g3-:^&^ -V-V — k' — V i Glory to Qod, Glory to God in the high - est and S N S :|5=:t -*— ^ d ^ d --^ v-^ i a^g Glory to Qod in the high eEt, N N N ■ N N— N- and »E -^ — 0—0—0 — rf~# 1^ ^i ^ ^^ rTZLr ffii f- -* • 16 ANTHEM FOK CHRISTMAS. Continued. $ 3= ip: i peace on earth, . good will towards m -p-^ •-!- peace on earth, good will towards ^^ :t= ^^m B=r¥^%l«iP men, and peace on and pe ace on I BOLO. ^ ,itn; ANTHEM FOR CHRISTMAS. Continued. 17 wiU towards men, and peace on earth good 18 ANTHEM FOK CHRISTMAS. Continued. i p f 0- t^^. g=y-b-u EE^ y-^-^- =!F dodin i Glory to God, Glory to God, Glo-ry to the -^-1'- ^m. 45::t= V- , r r f-|>J - =?=-^^i 5--P=p: Glo-ry to God, Glo-ry to, Glo-ry to God in the ss^^^ ^^^^^ »==ir: < ^ ^ V k^^=M n i.iZB_J- « r>^ b r- i ■6-^ ES Q? i Ji---fi ^ a :C ^ rrSJff 1^ :j :j^:S 3: 5: -^ m fs==T: =^ high • est and pe on earth, good ^^ high est and peace. ^ on earth,. good s F=^ (I S%= ^ i» ^ g ti«^ ^ « * * 53 m^ ^m M ANTHEM FOR CHEISTMAS. Continued. 19 I F^ m ?^§^^ will 1^ towards men, Ahd peace on earth good 3^ ^ will. S5 towards men. and peace on ■i^-r— Pf r f^ m =P=C ^ ^ fi* I . I f«-«^ I |gj-5::5=S=5=8=r3r ■»•¥■»• I jfe^ ^^i2^^^^3 i will towards men, and peace on earth, good ^ i*;*;fcS 5: =if= i ^=r-r— t ^ 4^=^ ^ eartll g6od will towards men, and peace on :i=t t^=i^=^ n^i r, gc:^ 20 ANTHEM FOR CHRISTMAS. Continued, ^^^^^ i^m^^n E6^ 12= ^?=P will towards men, good will, good will, pood will towards men, good f-r~>" 3 :t m ^ t5P=t: It t53te=t ^- earth, good will, good will^ good will, good will towards men, good " * * I II l * I — 9=-V;'-\/-7=^ — H?- oj'n' i?Lq3=^-# ?^^^^ ^=^^? 3: T i will good will, good will towards men, and i will good will, good will towards men, and — >s - at iiS- *=i: ^^m ^ ES^ i3 =3=?l^ 5^^^ ANTHEM FOR CHRISTMAS. Concluded. 2i I & Mr ^ pence on earth good will- to - wards men. and ¥-=t: -N S- I ■^- ^ (i 0- -I 1- peace on earth good will to - wards men, and S^ ?=?= -»^-»— ^ ')^^m 22 To Miss Florinda J. Ruffin, Boston. WELCOME TO THE ERA, ^ „ . ., MARCH. Ccm, Spvnto. ^ J-. aA.WTEB. 1 h- S S i^ -w %^^ ^ ^ ^E J^ j!!/fi- ^fe /. ^ i=^ ^ ^ ■(«■ #- ^ -*^-r i F^ D** M I t ^^ ^ ^ s s l^^-^^M^^ is#. ftff=;fe3r ^ 3=t2= e^ fei S: M i^ ^=« ^ -^ I I i ^1^ 1 I I r ^ pSj^ ?"T =^ ^ ElEfc g 1» — 9 — * TO — 9 — »• r-r-r-T-+rV-f-F- ^ ■ • ^ - ■ ■ ^ Copyright, 1877 by John F, Ferry, & Co. Usod by per. WELCOME *0 THE EUA. Contbuod. 88 t:'Sd.f: a It S:^ 2i WEf/'OME TO THE ERA. Continued. I 5— i sl -• i s J I * tqu5= a g E^^l 1=1=: ^t ■r^- T^^ 53" ^ ^t:;;^ g TRIO. -«- 'f '^ t i 3 |a- |!- ;£ =t— :^= a^^^^Ej s 2C ^^ gJE|;|El:zi:ilzj Eg^ ♦- A *. H^^ itiSiti! ;> t— t ^ ? g 3S it^fc: ■•I B»- =*=:i: :S^i S3g fes ^^t^ S^ li =t:i: -F-»-i e^ ^ •s ?»= I: i I n i 25^ =1^ lE^= P^^ P V i=^ 3 -t- $:«: iricli: g^ ^ ant: (i ig^ e^ .^^ s. #_f ^ F5q=3=ni'i -6— iffl-- T^=^ ^ 26 AN ANDANTE. Vor the auUar, hy 'TVSTXN BOZZASB. Andante. ^ — « — «- r? g: rr -^ ^^ ^- ^3^; tl r— 1 f! r p^^ m^ AN ANDANTE. Continued. 27 t-J- m^E^di I I — -+- Fine. 5^E*F=~'; -^ « i »|- M,=.^=S: f *E*^^I^ ^ ?^S LI 3^? ^=^ T r ^ ti=# ^^ ritard. ^^^^i-d D.C.\R % 1- ^ r r 28 AN ANDANTE. Continued. Variation. i j=5 1,-/- -.5=-^ t±a= E^^E^ I ^v ^5 ^ *=^ B. -? IT .a 1 ^ '^ ^A m i »-4 -?- ^3= f^ ::f^ "^i^lC a,-j- Ji aj^ . ' ^ :J 5 = -^-T-»: 7 ^^^^=, AN ANDANTE. Concluded. 29 i -.t 1 . i H^J^ as^ .^ =^=^ ^ rart ^ ^ Fine. ^ fmr "sj: =p^ ? — J-? J *=PP — *} — -S — ^ — i*!- *' 7 «J^^ a r ^ --/ flUf i ^^^^S^^^J f — ¥ — 'tJ — T i -^ .4 f^ -h— ^- /-^ -F ?- ^-hf-^ ?- ritard. D.C.ifi 30 THE PILGRIM. Andante. GRAND OVERTURE. Composed by JOjBN I. XfOUOXASS. i ( g [g- s -^i ^ cres ^ ^ ^^^^S P^^i^^ ^^ P sn- I ^ m w 3 ^ ■*• S ^ ^fei^r^ cere :53^^E£ •=p? f53 ^El3; •=a^ ^^g^ e^^s S ^=«-?-pf-r=f= e:P^-E:f // pw i^ ¥^|- ^^=^-^ «0"'t±?-^^ H i THE PILGRIM. Continued. 31 Allegro Vivacf. , , ^ —I ^ i H K • 1 I I S _ ( ■-, ?=?e =P==c: ^ /f ^^ E^ I «^ 4 — p-i-#ii — f — ?: — ■ I . r — 1<^4- — Tr I II i P= t: P!^ ^ i -# — •i-^ -r-lf— .t ttfi^fl t'^* ^^ ^1=^ :fe= /Z' ^^^^^ g^^ *■■ r • # J 4-f L- k^n% -^^ '^. 1 f^ '. !l_| _ i i fe.»#.f f *f ¥ fff« ■^ 8«- -ft- m/ Pi^ |*-t-r t-^-^X-VSr^-i—i :^=t «^^ fi i ife^ :flP THE PILGRIM. Continued. iK<=i4<--^--1tih^*n ^ ■^f^ ^ i I ! -ilt J^Je. ^=17^ fc * ^ ff^»--^g: ifx^Ur^it g^ //^ molto animato tt^f • ^ g t-xjr-H- r ¥ ■¥• t-t-j ^fi^ =f= :^ 41^ ^ 3^ pa £E^^ -«^ -i — — If- — a> — .♦ ^ti. ^^^^^^^^^^ a^ ^^^ ^ S^* - T- |g tir- O- THE PILGRIM. Continued. S3 ^Efi // Et^^g^ i ' :^fT -?^ fF pfe '"♦p" con- impetiooso. fff . -^ i ^mwM ^^ Is- £ ii £ ?=P=f^=fa-?=^:fcf^^^^^^=f^^=^^:fy^!^^^ ^ / iC-w-V- ^iij:::^:?=g-^-^^:?:^^ 5r"rfEe^EeE|3EE gr^^^E^g^ :fti5=5: ^ijz^z^^^^^ / .Adagio. -?:i=*iTn=s-j ^K£ite^ t=^ pr:f^ 3f: g :&- JS £: j^^E^a^ ilE=: ElE :^.i.^=r=4: El^'-^^^eEfi^l 34 THE PILGEIM. Continued. ■ 4^ ■( — 4- :r«i:;a: ^1=^ -CL' dB:*= ^^ PW ^^£r3ia H f£ f#^ ^E^^=tp = — i-^ ^^ — mf =^WW F — ^=i^ Allegro. t=F: ^EStoE^^BS^ ^^-t^ t=t: ^ cres ^^ff I j g -T .ig- ce/i - - do ■.■^hT^Yf''f ■■W—fC==.i. £=t=2=Uff=tit ^ m^^T^m^ : r-r L^ ^^^ ^ i ^r:nq3 El^E^^ :i— pit -frfcgfe pzgz g^ Ti=& -^"- :^=:^:^ cres 7/^ - -'f2-— cew' t;f -tif ,i=-C THE PILGEIM. Continued. ' 35 i ¥ iM^Ei^^^ m-Mi^-^^m , -^=^^^ ^=^=^=l^ gjgKr c ^ ^ =^ i i^ ^^^fc£i a PU w m^^ - 2^ ^^]5v ;» v-i- ■ r - i=3: -# _ :|=¥ T'P * m. ^i^j^^^^ = i— ^ 1^ -Iff- :^-==r^ •iS'-r :!:;3:= ^ ■^-■=?s:l THE PILGEIM. Continued. I u ^^^a? «^^ 2 ls>l_M-' ^=^=s-- 'M — ^ „ i M , -*' B-l ill ir ^t=^ ^^"^^==1^ =^ P -^^S t=l: n T8=i= m*f^» ^ _i — « — «. 1^ L/ L^ =P==F T I I ^m f T ^ fX^ -r-F- ^ [^ ^m -M^e -(i=5=E r — r « -^ ^^^ THE PILGRIM. Coutlnuod. 31 iMl^gg^: —— p-1 — ^ -> — ^ j — ~-| — r~\~~T I — r~! — ^~r~'~r-^- f-i— f-i— P \ »i—0+- »+-* §^EM^fefeM-^^^= -4—4 III ii I I ^1 5=H«— S=S- -» — • — w — # — • - i^gE^i^ g^^=|: ;^^^ .fs . 9ii :tti' -Vfi* -^^ :*r±!i mm^ =i?==c: ^ i =i — i-^^ -^-^h-k- Ies =^_r*_ ii^ ^^ Ef^E^ Lent V sj? ^a^sSESiE THE PILGEIM. Continued ^••ip A *- t= X 1= $5: 3:£^ $£ «^« ^fe ^^^^^^^^ — I—! Fi— 1 '-t-H h- 1— I- n g^^. i?T I m^, Hf: 5ii=ii^ -«••.£: ♦ 1 — ri^Lt | g^g=P —J ^ S-«-«-Sn-| — -f-i ■S-«=ffi5=«- ?^^=^ t=t: ES'E^ =* ^'i» i^^ES Efe i ^ F#^ i^ fi^ .!• S- ^s^ -n — 'I — r Pi= =?c =?c ^^ /^ // p|^:=^-^zr:zrfa=^= I^SNSe^ I r :M=J=i= THE PILGRIM. Coutinuod. 30 F#=l ^^^^m w i=e" M. ■P S (!•-•- J h- ^il i9- ^\J^ t ~f2= ^ 1=8= ^P^ pi^ -«'- Si -3^^- i=^ ^=* gE ■<9- -^ It J== tey^ // ^^^^3^ rivpr:iV|irifcr|?^=^:#] ^t=t^ ' —4— -*. -4— ¥W # fe^ |±^SE3 ^^^i^ ^^^ isPj^ ii=li i ig 1^ B a; 5fe^ -.«"=^i ^^ ii=^ g^P ?3HS^ :4=|i== S35«=l i:it^:i:^iJH 40 THE PILGEIM. Continued a M W^ ^ Sfei=rei:p=piStji=Bro;iHi=FfeF: mm ^m^mm^: ^^-^ ^pi k^ h- i^ SS! ^_LV- V-Lp- *H.-lt^J!?H«.fH.jfi^.rH«J^-(t- -f-*A.f:^f:^^ A:f ,f>- ir=r=^ , ^r= p ■f=t=r- jK j j — 1 1 ■ff — c — 5 — B — B — 2~ m m^'i^m THE PILGRIM. Continued. 41 9^, fc'r tri*» ^•s: ^^^ F=F ^=^ ^^^ .^j^g.-iJd5-E^^Ej: i^=rj i^Iz^ .-55^ -S — ^ J*^ — I — \-d-9-^ #Si ^Andantino. ^3^3^^SS *' — i-jL — •-* — i-^ — •-J— V—i—\/ — cz5= =::jzi|: J_j_^_J_j-;-;--|-i' i± g^i ^*r5**s*^** ^ ? 5e S *■** ■*■'■» 5** 5-*-r 5ii^^^ —Ji^ix==Mi ^^- f— ' — ( 1 1 1 ! 1 1 ^—l-»-J — -J-ai-J — ^-•-■1 — i-*-i(- ♦*-■»■ ♦-♦•»• 5** S"*-*- * lUE fll/SBHI. ConUnuad. p3Tr^^*-jrj-^ g rsr— i:^ ->— ^ ^^^^P — ^--1- I I J,-j= qixq=:j=qiq:- » :Sr If ipt h ,-H— ! ^-4 Ei3 1==^^::^ ^1^51^1=^8=^ ^i^r^^^^^t * s _^-,. ?=F-Si= r i-i i^^^^^^s =^ -T i -4-T i -1-3 =;=l=:t: ^ fe tiP=t ores. ^^ sis^i^^^^ -0-±—0. Eg^^^I^ THE PILGRIM. Concluded. 43 r&-i n P5H \ — ^^-i Jv^^-': ^ j..-^0, — J- — M=r iz=±^- ^^ -X- Ml PA" :P5 siST \ :§»iizfz=t ^m. pp =l^^lE P^p 3Z: 44 THE PARISIAN WALTZES. iNTRODnOTION. Andante, Composed by H. X". WII.ZXAM8, I i«-TB- m ji-1 — I- - ;j T"^ ' ^ ;sz- -it-0 mp gij|:tS— <-t: ^^^S; # m > > > > SS^g^ 'i^ -^^,. S ■h-t -=r-w- '^ m 4-_ ^ & #-•- ^ !«-#- 3 ^&1J Copyright, 1867 by Oliver Ditaoa, & Co. Usca by permiBSloii. THE PARISIAN WALTZES. Continued. 46 gs ^^=^^ =i=^ *±:tt ■f=ilfri- ^ZXJZ'S^ * -€-&S- k -^4h«- LfflLS: ^ &:■ p-pzup; t=t ^ 19- ^ :£ i =#=?= -»^-^—0- -H 1- Pii fff— f?^ ritard. f-^Mf ==E g Sfcl p^g^ tza3 *— #i- f i*z=t±i »!-•- a tempo. yj _ ^ »- ^^i^ 46 THE PAEISIAN WALTZES. Continued. No. S. Tempo di false ^ j: ^- y ' -^ -• — ^—i-0- m -ttz^=::qtz ^ 5 4^t t=#--t= -t*^ li^e^ ?^^::s?c: _t-t--r. 5#* rt=t 1^ ^ pS :-^- JEE RF-*B.#- t±rt <- I ' ' -^ ¥=i=iH^ ^ fegf:: -r-^f- n fe ^^ ^^E ^^^§1^^ :&=-r=? ^t^ =l?r ^ Hi — -^- t=:t i?- tm^ »-f- E^ #-5- fine m te* i & -t-t- s =«£=»S: ? p il m H^ft^H^ I=t: fe wp> P^^F^ THE PAEISIAN WALTZES. Contintied. 47 mm :p=t: ^ :^^ -t^ •ff- ■«• g ^m isfe ^^ if:^- flt-tra3 ^ §1 *=f M €- €■ J I I ij I I fr*=3=ff=r=nm ^mi #-^ 5=P= ;£E ^^ s; =t=t =fc=t ^^i ^ !j I I iiri=p; •tff=i^P 4=3 H =t=fc=:lc: ■I?- ■§• -* I I . i 3— »-•- m m s 3^3 ^ ¥=W- f i^ ;70co a poco ores. $^ ff t. t m r-'f—'fi 48 THE PARISIAN WALTZES. Continued. 1st. V 2d. e -z^El-J^^ Pi^^ —4- -S — S- ^ =i= l=§ -?= Coda. i 1^ ^3 sr:?Sz m m D.C. al fine ^4- ^ ^ rt=P=^ '«:i ^^^J^ :^^> ic=f: ztlt I I I f|?|fz^g*-i: — — ^b-'-t- J-M- 1 ^^i^^ -Si: ^ ?i^ m V dolce. --1^ ■^—f- ?z: 3^ i^^ ^ -t-f ■!«- ■#• -t — -Ir ^E$^ THE PARISIAN WALTZES. Continued. 49 m m t-^ i^ m ^^ 1 ji^ ■s* tr tnp dolce. ^. J m^ 4=i-- g^ ^4^^m 1^ JL |iP=:t=z:f f: -fcr. I I* -fs^ B* ^ -^ 3::^ S -•-*F — t— ^-^- ^ ?:^: (I ^1* ^ ;S -t-t- *5 — ^- r=f=^ ~l r~ 2^ i^= 50 THE PARISIAN WALTZES, Continued, i ■^ 3? i=f^ mf §i!pl^ -±$=*r- *w— * 4- * 4=^ W^ 3=^ 3^ ,* ,* *r ■*- -^^ ^ rpzzrpz -I — r ft P-^^^ %-i=t « Jl*_.-t- f^E fel =*-=! d:=c p^^j t=5: =(i=lli«= -V- wip a * * 4 -T— s- =? — ^p- :^=^=l= -* !•- -^ §.- '^ eS ^i =?=?! -t- :#^=T zpzrit THE PARISIAN WALTZES. Continued. 51 ,^ %i K^: t=t: r=f^ 5^1 •^»** m ^ mp 3=4 ^ E?S -b--r » ? ? PM^ tz=irt: '-^-l»-^-l»3 -/ .^^S t-t :^=^ :tr=t: 3=t #■ ■«■ i:|=i=||ife^= i=l^ t'Er-te /? -• — ^=»-#^ 4^t ;i i-=^ ^1= I i- ^ -* •- ^ .1?= 52 THE PARISIAN WALTZES. Concluded. -*-T-r — »-U -/^ — ^ I — i — I — I — 1— fri — I — A «- #— •- :l3ic m -i g ig i ^=t -T»i; — i ;-- tfl* r ^g&^gg^ggg g^|EE|EE ^, =d=i PI^M «J=n ^ is P ^--r- «- ■#- =*=F5=^^— ^ t^-SL :Pi=i=t =i=i= ^ _i« — ,_ f-h*— * — j- H — P - -»i — ^- ^— r -• — i^- 5-^r i I 13=1= =l=j= El^ ElElE 5^i 4-1?^ ^P =i^= 1^^ Fine. -»— A^- 63 LE.SERMENT DE L'ARABE. CHANT DRAMATIQUE. Parolea de A.. VJESCAnxOlT. AUe^ro Maestoso. |1 fefe^ :e^^ ^ :^^ §1=S ^-f -.^^ — :5!r- S^ El5 ^=a s^^ 2t ;^ tg-' ^ &; ■p =^ g ^' ^ S :i ^ ^ -# — a — ■— tin jour il m'cn Bou - vlont, mon % r tTTX s ! I I :1=i=t: ^ ■#■•■•■■•■•••"•■ p;' (^^^^ ^^ -.t^t^ iSE ?7' 54 LE SEKMENT DE L'AEABE. Continued. I k^ :^=-^=1= H ■?-!'- a-. tf^-JTT pd - re sous sa ten - te Me fit snrl' Al - co • I ;^E / :^=:j=^_E^ rau ja - rer mort anx Li - ona TT / ^ml^ '- a ' t ^ ff r^-a-^ ■-*^B- ^ ^S tte^^^; ^1^ 3i: ^ 9^ -i— s-^ =^^ '■ir. — i-"^ LE SEEMENT DE L'ARABE. Continued. 55 ^ !z-P ^~^ | P^|:j ^J— ;;J^ ^^ tsc { glan - ti. Son & - me s'enr -o - la ^^^ i ^I3E^^^ pp II" T^ ^ ^ EEE ^ S 5B -0—0 — #-i — f. h L ! . — =l<=-«sc -v_^/_v — -5'- vera d'autres rd - gi- ons m ^^^^^ ■m^ J: ;c70co piu 7H0880. Pfe^ - 1-^ i ^ ilriz ^^ P -N N i , ! & 52 ^ f • <'3 Au Joar-d'hiil qne mon Isrf^c'^J 56 LE SEEMENT DE L'ARABE. Coutinaed, J ^-"T57jj g=^ i f=F«- s Ifczt 5=^ I hoiae a graa !>»: P^ eI - di commo a grand - di I'en ■|S^ f4="-M^P4^-i^ r-.^-rr^ ^f:^ .*£^ -r-tr ffit ,*- ^«---(«- =P=R #-PA. ^fe33 ES ^■' ii j- P^ :^ animato. ■ fant ; Lors qu'un rugi-sse • ment au Dou- ar met I'a • is;^^ ^ -S3—; 3^ S^ ^^ animato. ^ ^ -! S- Wi^ 3t* ^ ■fe LE SERMENT DE L'ARABE. Continued. 57 ^Izb^i -V — I 1>- -'-^-»- Inr - me, Hcu-reux je pars a - lors sous lo Boleil bra ■ !^ la ^^- --^ -5- i^fc ?^^==i{^ S -B»- 4 J- ip-^gg KSi It* ^^ I -■5=i---^«'^ -a(-»T !±zt i Allegro hnllante. Jf! Kkfjiain. 4 — -g^ SEl=l: It: :t 5J= -#-^- • lant!. Est il pat - les hoa - ^^^m Sal -»-r— 1 — I — a-« ritard . f=p-- # :?ca f-.-^ H8= BisS^2= ^. tie, -•— «J— ^ --^^ «- do not - ro saint Pro- phd : to, i rf* ffsggiitiiii ^ ••-••-■»• ■•: ♦■ r ; I I — ; — =P 1^=^ =p-^ 58 LE SEEMENT DE L'AEABE. Continued. i =«^= iMz Far AIJ- lab tout puls-sant i mai - tre de - I'u ^=1*=^=^ §^ rfzr^i -»=/»= __._^_,__^^ Vii-i'^- — — •— •- ^fT^— r-.'-^f-F-t— F— r- jj? 4 :-| ■-;■■ - . . . .l"-J ■ ..1 fe=-sJ-^z:^j= pf r. .r. ,.;.-•-. S-h-z^v 1 vera;.... E 1 T- — ^ — i^ — ^ — ^j Bt - il plus no - bles jeux, 1 . 1 =t -i- — r— ^ — i* i ^* ^^^^> - f-T- r-f nr^' — 1 — #■ *< ¥ d* *^ ares cen dim. p^m^^^M^m -V V- est - il plus bel - le fu tc, Qu' - una cliassc aux LI •=?■ !^ dim. LL SERMENT DE L'AEABE. Concluded. 59 I m tE4 i ©-=^3^ If.- s -S5- ^ ^ ~" ^ -^^^a^a a=^ -Jr-z^ ^fit ^^ iA y? ii -?— ?^ i ^=^^ -?—?-- i 7 60 LA CAPRICIEUSE. VALSE. Con ajfetto. HASIZV jt^nxis. Op. 7- hs. i^ -e>- P^ ^ifet M: 3E^^ .l|<^ eI=e: Fed. m ^ EtgsE?; j^tit =p= jii -^ ^J^ EEl^^ E&E^ ;i=3= El^ 13 /■ =jc=r ^~\ — ' — tar EP i « l - * Pec? i .2:£ 8va. 8va. o^^ajiEpi ^^ =*!=ri=F ff m llESfjEj^ Peti Copyright, 1869, by A. B, Blackmar. Used by pcrmiaeioii. LA CArmCIEUSE. Coutlnuod. Gl ^1^ ( Con elega nza. Valse. "^ - ^^^ a* mf ^^ ■i( — ^ ^^^ -- tf-- r-'-n-i -H: g^ ■^ -» »— :?=«= ^ _p_^. _,_^_ t:ti ■0. -^ Sva." V — ?-^ E -^n?!?^ 35 E f-t iis :^^ // fc V'Of^—^- Ped^ 8va.- I tt:^^ Z4L ♦ •-»- -^ W^^ -#- — «- £^§# i«-5- £^E^3^ ^fcg rf- -B-g — f - -^-^- =p— =?t- 1^ ^ — -! u: * 5 I^W gf, fS-i." f: <5i;a. -^-t fcfe=t= -i£=?: 1— ^ -J-^-^- ^_ £ :& m =t=^= -•-^-#- ^ *=r=^-i= iiq -7-t dim .-#A ^^: 5: t — • — w — LA CAPRICIEUSE. Coutinued 63 ^ -•—(•- ?=t=t + t7" 5^^— P— P ^ 3:53^Dfe: / * # J^z^ ^I3t Pec?.N- 8va. ^ £ ^ ^^^ is ..^n^_jf_ s i^cnjii ^Ei 3=p 5t :5 feS -^ •' =jir:=ip =f=1=» ^-^ ^^ ±3^ w*/ ^_*?L ^ <»■ -|L_t ^ £=1=^= T=P=F I tEfE&f^ ^S: «: ig^ P=J= ^_^s A^_ ihr=t t t i ^ 1 1 m^ -^-j^ -O—h =i^ i-l 64 ^^?^l LA CAPEICIEUSE. CoDtinued I ■ MT I I I -vr MZ^ iz^iizp: tsnx-i— :>=zrrj= \»-^ -S£ S ,Ui-i i u 1 1 :tSJ H— H-i«- i-5i (I lElEET^S S^ ^^ El^'E *!?Lj«!?-_ ? ~r p ■ff- -s- -» — »— ?^^ ^ i^=f=Nr=f=r Jilt^rflSL 3!=!- _rfL_•--— ^-#- pzi: f^2^: i^qilfif: 33^ =^ ^=C .^ £ I a fi— f LA CAPEICIEUSE. Continued. Con franchezza. 05 ^ -^ 1^- ^1= Ei^3^ -4- -^—a- f ^ ^ zr=M=ir^ S * * =t^ It -*— T ^ ' \) - f—f- l^N^^ 7^ irjc ti ± pg i t^ t "■« ' K* •- ^^1 -f t- Jt I ••- T- -^ ■•- ^^=^^ ->^r:^ S^ i ^ i X_4 :I1^ ^#-f:t 8va,- ^^ =it=p: -»— ^ . ^^ :S=^- " 1 ■ ■ — I r= V r S! -J -t — -t- ff -t— -f-t- 66 I ^ LA CAPEICIEUSE. Continued. ^^P '4-- S^ =t:t p_5i -I — (•— I — («- ^ ^ - «: ^ Se i f:.^ •^'i-*- Xd: 1^^ =li=f=z: Pifefc -f— f^ IHI f: ± Jr— M'-fi IS ^^-£ -■?■— 4L ^ I J ^1^ -t— ?:- > Jr J. i t ! : :P^^="^: 3E23E :£ 5^-i'- qr_„.. -»'— P PEE%3 1 -[ * ^'P H^i— _ :^^ I J ■ |7-|>-f- ^!^^ ♦ --(t 1^ ^?z=^-Siz5- :^=^ al— ^- -*-p- s -.4 1 f- — e 8— / — f^ 1^^ LA CAPEICIEUSE. Continued. 67 ♦2: t. i -#-#- |^^E^§ ^^^ Scherzo. A .—_ -1 ^ ^ *-#•••- 13 8 ^— e- ^: ^:=P=P ^*-X- f: +— -■ir- J_|- .?_«?_ 68 LA CAPKICIEUSE. Concluded. ? ^ l^^gg ^ fE^^^ f . t 4 gF^^^?=s{ ■fi. IL-tt. A „ J ? 1 2 8 ^ .M. M. .». ' ' E^3^t^S^ : :] r r--r, ;— f- I _ -g- +- 4- ^=n3^ Ee#g4 ;t=P=^p: EC^ S !,^_| _«* -«~ lEg P?=f- g^ ^i * iM -:^- -c — t_i — I — F — f. — 0- -pJ-o- ^-^^ I^S t-lt f i -0- *- -^ EiEE: ^•— •- 9 9in=!t -^--tzq^ * — t— *= ^&t-A t £- ^tf: -fitii.'.^ :P^^=4=t o« ^»J —"L. :o-FipS^s^ :S;E=^=^ ig j^—jL ^—^ ^-^- 69 AU CLAIR DE LA LUNE. -M Q^EfE Tf te (VARIATIONS ET FINAL SUR L'AIR.) ZUCIJEy liAJaitMItT. Op. 30. „ Moderato. _o. Theme. f Ji ■•■ £ ^- 1c=:Jc=^= Fed- ^ it * Fed. * Ped, * Pe<«. * Fed^ ^gi>- Ed. Bote and G. Bock. Berlin. 70 AU CLAIR DE LA LUNE. Continued. r ^ Fed- * .5. M- 1^5 £^^£ d^-- Ped. ^Ped^^ ■h-Fh — #-1— I— +- £S itr -t— t « 4-4— ^-fc gp^F^ ^^ EE =F f I Fed. leig. Fed. * Fed. ^ M 4— «* i E^ . ^Fed.:^ i. 4 5^ #4: ^3^ :« i+^E+i • 1~Li~ ii. ^ t: ^ S^ r^S:^ 3= *^ 5S Pe^.*Pe(i.* : ^-Lll~- 1 f -t- ^^^^i^ Fed. * O- M^ #■1— ai^sifl-- 5:^1^1 Pet?. raZZ. i&^ 1± AU CLAIR DE LA LUNE. Continued. 3d Variation Andante religioso. 71 ?g^czfr~^ m.d. ^^r::' s I ■«■ S 4' ^ *W^^^^ Ses ??3 53?^5» I :ral= e!^^|:e ^z- s/»~ '^^^^^iii -rff- 2« ^=^plll^f.^5^^^^=a± r-B AU CLAIR DE LA LUNE. Continued. ^^^^^P^^^ .^T t^^ # V^W-r-^\ — I — I — h-k — I — I — i — I ~r- J-— > • ^* AU CLAIR DB LA LUNE. Contlnubd, Ma^gwre. 78 i jii. jH 1-^ 'i! m 4: ttitx -0 •- pp ill canto ben marcatc. una, corda. Fed. * Fed. It m.£. \g± -^ =2k ma pjT- ^' ? n +^i ^— — ■^^^- 7. JSJ *-M — »-+«• Ped. T?*.^. Fed. mg. * m Fed. m.g. * Fed. iij m.^. * i 74 ATI CLAIE DE LA LTJNE. Continued. fzErrr:*J trtr[--^' — * — ^i: <9 'Jl.'^ -*irt \IM\\ Fed. m.g, * Perf. Tn..^. * It =i= =i= =i^ 313 tjztat^tiJii Fed. mg. * Fed. * ^^ Efe '-^ ;^ HI ^'=^ 'M VR- HI ^ setnpre. 1 , 1 ^ * Fed. mg. * I'* 80 AU CLAIR DE LA LUNE. Continued. i^ IM wn sma 7 i ^^^i^- ^ !xa Fed. m.g^ SI ^ ill rm S?f te I — '^ 7 ^ ± * ritard. •\^i ^=1= ^«feg-'£ '?KfC!t:t w I I I Jt«ip«e(flittg Dedicated td l£ri. Amelia Nahar. "LAURIETT." 81 May be played in BALLAD. aS"M Composed by B, T. WIIiIiIAMa. iSdOt ^StS ^= fei=M=i^ 1; Laa - ri - et! 2. Fare thee well: Ah I my. Ah I my ^1^ ^ ^^S Pt i=i=i ^ tzrj: Se ^ -^ — ^ ^^^ •n- i ± 381 ^ 53 4c=;5= 3=!?= 3t^=t dear - est, I will oft - en think of theei When dear -est, Wilt thou oft -en think of me, When I'm J I I ^^^ m s^ -g — g- -* — •- 113 J=4 -J- -iSI- ^^ TBI- -E^ Copyright by O. Dlteon ft Co. Used by permlaBion. 82 i LAUEIETT. Continued. cres. — ■ S ^ w-*- -ri- Si far, far B - way o'er the deep. . . . and gloo - my far tcom. my home. yes. my love,. . . . when far fk'om i k-,-U-i ^^^^ * BE m 5E 4 ^^ •B»- -Bf- P Espressivo. 4^ S^S ■:— 's' -?-#- -•-?-*-|-# sea; thee; Laa - ri - ett, Lau - ri - etti thoa'lt ne'er for - get Ah I canst thou tell the happy the grief that P^ riM ^=i ^1 i=t=^i m J— J- ■si- m a ^n-i-jvjt ^j =!?=p: mom when first we met, When I saw.,., and lov'd thee in my heart doth dwell. For my love,.... we soon must i t-t-j-j i m ^1= ^4 " t I J— i- ElES; •^P LAUEIETT. Continued. 83 dear-ly; M7 charm -ing Lan - ri - ett, sev-er; But say, love, ere we part, When li Wilt B =^ :i=i M ^E EE^ =g=Ji^^=^=^=^ a J— J- S IZt .TBf i ^ra a<2 Zi&. lento. a ;v=P- ^ saw. , . . and lov'd sin - cerely, thou .. be mine for-ev-er? My charm-lng Lan • rl \ Are we bat one ' in | ?if=t ^ m - » * ed. 88 LES CLOCHETTES. Continued. %^f:^^ ■#■'?>•*■. ■i-'i^-e- f^rf f^f : t -f- t- . tft. U^i-.-^'^-i- Fed * Fed. m=m.mMMM ^ ^ 'ed. * Fed. * LES CLOCHETTES. Continued. 89 ±t:±. v3E>-. - t— I r II -* — I— I— •■ * Pet?. i S *=* m^: J.' 4=i^ ^ ,l^t i Ped. * Pcrf. * if^f-. ■g-'?V-^8^^ 90 LES CLOCHETTES. Continued. —m-A — *-■ s — m-i — itf-i- t-f-S:-#-. -^^s-. A* -#-#- *iti_lii^J_4f i rsc ^^^^^ # L L ^^J^ / Ped. 9f J^t -s^^=± * Fed. * i • • • -v^ I- r r r h mM. ^ »— ^ ^ -t- Fed. * Pet?. * LES CLOCHETTES, Continued. 91 ' #^ ^ 8va-' 92 LES CLOCHETTES. Concluded. -» B-H» ^- B— k fc 1 I I 1 ^H 1 8va: f i -^t^r^ f:r f: -• — n- =Iizt=t=t P legg. ^1= 8va.. ^ 3=9! LES CLOCHETTES. Contlaued. 93 t t t tt t fe j ^^B^Qg^=S ^ sf ^ ^ Fed. ;^S m^m * Fed. * m ^ s 23E53 fT T r «/ J^t -n-T— T r-f— t ¥ ^BE ^ed. :i: «: ?: fer W^ ^ ^23*^ ^ ^ S Perf. * Fed: * Fed/ e see /«* t— T— r -4==i^ 94 LES CLOCHETTES. Continued. (| y ^^^ ^ 5 • m i S:a. ^ =3=4=^ mf -J— >■'—;- %fc ^' Fed. * Ped. * i ^^ 4^ 1^ ^ PetZ. * Perf. * i^. £^^-1j^-^ Pflii. ^ ^' i LES CLOCHETTES. Concluded. 95 iii i^^^M^^ * Fed. ^ -t t- gE Pet?. * Fed,. * (i gpg:^ . f: fi f: gifeE E^ Pet?- * Fed. H 1 1- -* • *- * Fed. 96 BrillaVite. 'RAYS OF HOPE.' MARCH. Composed iy WAZTEBF. CBAia. Op. 1. ■^■ ^^^ ^^Eig^^ ■• — d— • — »■ '--i- T? T? T? ;f ^^P -iCT-#- -fegj— -f- — F -[— ^- 1^=^^ y;* ..Tf^ 4 Ht—J^—A- — r— - ■ ! — — I — »— =5=5^333=2: ? 9i=:|=i^^ aS= =<=:F«fc ^^e: ^^ ^ ^ -<^ »p-^- (2o. PE^ =4= =ii= * -^- p^ BAYS OF HOPE. Continued. 97 ^ :3s; =3: _^_±t:± f: ^ m m p^^^^a^ ^^ 7i=t «e- fe- is*. '7\WZ JM^rpM ':^E t^- T— t ^--==2#: =1=^ 4^—?- P Fine. i i 52: .^ -• — (»- ^^^ P p dolce. m ^ §--r r ^ ^ -Ig— r- ^ I Tfc iil -» — 8 — * — •- 98 i EAYS OP HOPE. Continued. ^ -^ f ,tf_^ -•-H«- t»-^ ^- T -• • /C I I I ^i^ =M= -8 «- IS T=F 1=t=^ -< I #=e: si as^g ^= Z).(7. at Segno. i ■S — • — — — i>— U — 1 — • V . ;g£«. , Jiifi -• — •— • 0—s ■ -» ^ 1 — r P§^ I Se ^= 1 1 I THIO. -I h — I— I — r- # • t:titi t. ff. ^P$E^ 4 8— «— « S— ^=^ fe!: 1=1 8- ES^ -P— p — p- Animato: r r -W-=*- RATS OF HOPE. Continued. 99 -t — t ^ ~ \ r e^ r=tl»=i^ S-i-z* ^ t -F < 5fg - J u p 1»- -^ +- -^^ ■#• [ I i .z r-1 1 f - p^^ f .i^-fe ^^ t^=^ I' ^ i r fffr #— #- -I V — p — »• Jfe • — » — » ffi»- ^-^ ^ 9 ' rf =l=^ ^ ^ ^ -# ^ 1 F tS'-: Y~% :— £ £££ f: f=^ cr6scen.t?o. f •£: §*: ±' Is: #. ^-^^ 1=-^ -t^-- £^ ^ 100 ^ s KA.YS Of HOPE. Concluded. t^t f f: if: 3=n -»— P — »- ^^^PP I _?_S^ *- A * #■ ■♦ I i I I ^^f: £: S •* h — t — t 1 -^-^±t^_ te ^^S^^ -•± ^ S^^ ^tv^ i^ ^3 =p — 1^= I ^-T ^ aE^feSEb S fe^ r-*-g^.- ri<. fe j-l-L. ' I -h--g r:=3: js^^rE^^^S P^ V ►<- ( *«=: I I a tempo. -it 4^ q? g — rT I 4, 8=;'- — pT i , v-g- = 5^ ztszii^ # m=r!^=^ -0—i- ^^ 104 SCENES OP YOUTH, Continued. g^^i ^ir=r-i- :3i Ef^E E^^-f ml^p^^ P ^ '-. -I*- S EE? ft-?: tatr-N-— ti — JiT'^ '^i''^ ?fctr=r^tl^ fel #---^ *ii=i ^i? 1?^^=*- ^:s r i u3 5^ -t # W^^^ .*fe ^^ L>_J-L ?:3: ^ ^ ^^^ PS T- r-*^ ^iS^gg •jt^r ^^^^ ^?-J^ 3fff=?^=i =i^sJ= ?* 3 ipiS: 3te^^ ±a: P=i: p^ fe p- ^ — £^- -^^ SCENES OP YOUTH. Continued. 105 ^i^^ d S= ^\ a tempo. -h— • — ^— ^^f-i-- r=^ g i3 SJ=j^n^-;^j 1 7 [ ; If H^ g^i^ ^ (I !— r-t-t « a ^gi^^ A I i&rgzgS ^^ te«z»j S S 1^^^ ^ liF^Sa ^a r 2^ - 4 4 ^^^ ^.^- ^^a ^^ V^^^ is ^ iFj: ^ i?=^*:^ti i^^ ai^^g ~i^^m I fi* P?^ F ^? =f-?-F ^^=^^^=^ i==f5r — ; ' I I ^ I^ 4=t i dim. ^ -r- »' =*^r^ 106 SCENES OF YOUTH. Continued. Allegramente^ P^ ^m ^ f-r 3tg3=f =4=1^ r i, -i'-0—r 5^E m -^-^ p=^ ?3E^ ■^ ■f-i-f- ♦ ^a: -^— *- -.?^£± =flf= -(«-p ^S ■•-■»■'«- r|:j"- -? Vt p. Fpc ■^ I N — r - ^ I , ^-t W ^ — i»^ 8va ^E ( ^^i 4i =^^^= s=? =tJf 'C:^ -P——0 — I — •• fes^^Ete ^rt±±d-" ^ ^^, ^ii^^ m^^' f=^^--n- ?|TT S ^-: -(« — •- y=^ btd rg— ^ i^r^^ SCENES OP YOUTH. Contiaued. 101 r^ ifej ^*~ Seller zando. repeat. a^ :*i3->: repeat 8va. \ f2d.time.pp % gg| E^9=i==|=^=:=^y ESEElE 11"^ -V — ?- EEE s p^±^ ri:;=r ^^-^^i^!? 1^^^ ^^ ^?- 1?^^:^=:^- 108 SCENES OF YOUTH. Contiauod. iteji^ =J=3 3^3 t=tM=i:t: ^ lis ^v=^ -9=^ H?=¥= ^ SCENES OF YOUTH. Continued. 109 ^m 1^ -■i — »- 1 i m^- WVi m^ 5^ ^i^ ? 3 5 5 g£a=£ ^^ — ■ t- :t=i: SEi^E^ ^^^^ £&^ 9— 9-9— 9 .bc uti # 110 SCENES OF YOUTH. Continued. i -O— 3l- —*—•—« — « — =S*=i«=5«_^ -! 1- ■* -J r - Jt -^ W^ lEEl ):* • **- ^ ^ Es^aE^S lit— •- J J J 1^ zS^smst: dI2Jl-^ 5^ ^ i I I r ^ -•— «( — •■ =l=i^=3t=st W3 5:3 5 Igf '11 9t=|=i=S=S= t^ .«t ^r :^ ^ ^iirrr^5 3ES: sro 5 ^ t :5E /jj — h— -r ■ -= — ->- — '■ — — > — Ty PI \ — «. 1 — -1 — —A 1 — • ■V- M 1 ■ 1 1 ,« u SCENES OP YOUTH. Contintted. Ill 8va.. fCon brio. « * ^ I . L 8va. *-ft-0- ^g^ ^^ ^ ^^ ^^ f-f-M- f * * ^ 5i>a 112 SCENES OF YOUTH. Continued. 8va ( f * * :Jb * ^^ — o e— 5z;a- ^va.. ^ii I i: SCENES OP YOUTH. Continued. 113 8va. i £ -t- // Fed. * Fed. ^ ^ a =|s=r S ii=g*=^i!*ii*>3i3P 114 SCENES OP YOUTH. Continued. m ■^t&iE^ -*• 3t. ^ ■0-$-U-M-»- Ped. * Fed. * 8va- 4^4 4 4^ 8va.- I tk ^. i dli-L-L-r iy: -F=P^ arr: 4 — .inii__|«_ — g » -j__fe_|«ili= it Pet?. * jp ig^= -f-t ^^ ^— = ^J^fztz 1^ -»-J- (I £ff fff — !a-»-5— h: i: iSES ^__^p. PhSh*- it ^ Peci. 9^=^i ^ * rii. 3^ =!!•: ^ SCENES OP YOUTH. Continued. 115 Pofmposo. Tempo di March. E=?E^^^^^=^ 7^ S^ ::?=?£: ! I ii iniiriszzpi :H— t 3^ S:^ 3^ r±=t u. nzzt Mfe^^^t^ ^ii£i |#^ ^±:tt^ .^ii ?^ 5 2 — a,—- e— t-t- «- M 9i -p=f- ;?— p- 5ua. :fc-r-¥— t^fr x=t?r=?: ^ Jl :tJ==g= ^=^±.^ — f — ; 45^-: :_^E JO- ,if- .1h»"I0"»- I a 116 SCENES OP yOUTH. Continued. ^' tiiit: fz4L-t.t=.^ iiixii5=i[=|za-=t±rii: qizqc 7^ £=e :p=P= [:j~[:^^ ^ * :S: «- r Tngj- L^Sj: g— ?- ii g n ^rxj =P=p: 5i;a.. Ie&SS * s^is ^^^-=^ 1-/: :i^ 5i::5ir *|:l* t|l3 ?X#>3: --ir- ^^l^t J^>> -HI . 1 r I I s* eS 5 .t 1=1= 3Ee5^ lE^IE^?^ ^J^M S ^f .:>,^ ztrflt^ ,|- SCENES OF YOUTH. Contintied. Piu Allegro. 117 n ^ ^^^^ - ^ .- Tr^^ L. t ■ T b n j ~-i 1 . — „-, 1 I 1 . — I 1 1 L, , — *-f.m ♦• ^ ^ E /■^ H«iH^ ^^ffiggE Hil l I g s g ^ £ t ^^^lA*^*-*- ^' -^^^M.. 3::;a #-#j i^feiB ^ 55^ ^ S? r I* r -g -g-r eS^a yrtt: agffi E^S^^a ±±±: M I I I I M S^^— ^— '^^^ ^ gigtei&i^ 118 SCENES OP YOUTH. Continued. 8va. #^Pa<«r- '-r^ii — 1 — i — >—'' — ■ — i — ! — *- w -IS>-U.-01- TTT -'^ ^imJtmil^mUm ad lib. ^ g^ 3= ts Maestoso. -J=-!- :«:i3|Tt=it :t=:t: ^ip=ii= ?-?-^-B ^^ 5-g— -r * : < « — •- '^.^■^ V ores. t -#-^- -•I*- ■•«■ ^i^^S :C Eggi^^ Ji , Ele^amente. tempo di redowa.^^ i S t:, ^ ^^ S^ fe ^-^-0■ =5^ 5b!±35=2: 7n/ i§ -f^ ^— Lg- ^Mi S ^M: — • B— ^^m ^3E 1=1 g ^gS ^eS t=^35± zizuL E^5& *:2: f:J: ^^^ -t-t- IN?- ^■ SCENES OF YOUTH. Continued. 119 ^ 5^g^ ^ $ ?3^3E v^-ij-o—tf r fsS:?; ( mf _t_f. -fi- • ■ li^S =F=t: -^=^ -»— a. E ^ «4 ^3=9fT^ f-ZT(«- 1 1 ^ ^ ^ ! -a__ 4— Ki- =±tJ=&r±t±d:SJ3±^ :S^5l ^^fi^l* *-ffe fc5zfa:= E^a ^^i N _^gr^ #fe ig ^^l^ * ii * Blgl§ fe ^ ^^ PS I f —=T-i =^^=S==^ -^*-^ itHS^ '- -^^a:?: 120 SCENES OP YOUTH. Continued. i^^£^l-^^ gESf^ rpnzT:;: ^_ i^: --fe:=SS=i=g=: gp?EF'^ it - i-?— r-?- ifcqii s -r=a-J^- =^=3r -t^iS ^— r— f- -f- ^g^.ES^.EE^;EEE^^E3^^^l ■#g jri^^-^4> V ^■jri'-^j-'^g:^^^-^-^^-^^^ - 3: PJM. lento. :t=T: f :ii:=fc :!tifc marcato ill basso. 5: 5 5 «: « 5: 5 5 §-%e5SES|s; :^|= :i=?iS: SCENES OP YOUTH. Continued. 12: fel= ^ ^ =*=:)= 5: «S ^Si =t rrr ^ h-l-T— I— 3^ — J- ^ :^«:= *: *«: izilz^. 3= 3^ Andante maestoso. jEj^ggpEa ^ L-i-^ / ^ 5 ^ S ^r 5^ :? S: iifefe ^E3E ^1 B!^ 'tr^ w=f i El^ te ^^^ :l :^=^ ^ 5 «?' sosf. cZiwt- rit. i^ a .^ l^tt! ^r LarglvettOfCon molto sentemento. ^ 13 *=i ^ jTt •=*: i ( mf il ♦ •*■ r ?^ ^i^---^- S ^f^54=^SE| 1=^ F=n -wl-" ^_^ ^ ^ §&" zt V (^^^^^ i ^iig is ^^^ ^ ^ 1=^ 122 SCENES OP YOUTH. Contiqued. im m I: h. fe^ tU ^I2|t- 1^ M ^ t=t ?=T=4 ?E=5C ■r—n ^ f^3-J77? ^^ i=^i± =i:3: ^*=^ s ^^ r M 3 — ^ fri?^^|^fe ^iF a— -^ «— "5 h- 53 ^ ^ ^m --ii== > l ^ It— i 5=:t: ^ t^-^ >n ^ £^^ 3~^ 3 3 SCENES OP YOUTH. Coatinued. ;1S3 (P ^ znn*: mw=^ ^'^r^ i^ ^^^s ^^ JTi j:^ JTI ^ e^^^ 124 SCENES OP YOUTH. Continued. Orandioso. Tempo di March. w^- — !»-i» L I ■ " i ^t^ ^ a n ^^j^MH^^ ■£- ^^ SCENES OP YOUTH. Continued. 12fi E= ( =|i=ii==tt ,*4t2:* e S:2: t. S:#.£t:v ^Se itritifi: £E5 8va.. 8va- ^^^^ 126 SCENES OP YOUTH. Concluded. 8va.. ^m ■X. ^ ■p=di}FHF^p=4^ ^3 (i t. Sr rht^ Ate ^^"^WW^^^ 8va. m \^ fff . 8va. * fff accelerando. I Fine. ^^ m=^=^i^ i — ^ — ^^ MASS FOR THREE VOICES. 127 Allegretto. GLORIA. njf 8AMUX1Z SlfAER, Xeu) Orteaiit. i aio - ri 2d Tenor. in ex - eel - sis ^= -* -t- Glo - rl - a,. Bass. glo in ex - eel - sis m ge Glo ri - a. glo in ex • eel - sis la ^ ^ -si- m T^ ■— jtr^ — S'r\-w-< 128 GLORIA. Continued. J>r rB S3 -• — ^ — f=P=S^ =7=t I De-o, glo - ri - a, glo - ri • a ia ex - !el - sis fe^^ uzjnn rg It ^i De-o, -& — •- lEE glo - il - a, 1»- glo - rl - a in ex - eel • sis -/»— ^•- -1 — r— r -•-T-*- De-0, glo - ri - ai glo - ri - a in ex - eel - sis De-o. ^^ p Solo. Lt4i — — U=D ^' De-o. a p Solo. £t in ter - ra pax bo- B^ m t -v-fi^ V— VL-L-— >. De-o. £t in ter - ra pax ho - mi- ni-bus. ifiE^3=ir m ^W ^a r^is ^^^ -f-^- ii GLORIA. Continued. » SOM). 129 :inc ■r^ — w — s 3t=t: rtfczji: 5=5: 1^^^ £t in tcr-ra pax ho - mi-ni-bns, ■ ml - nl - bus, — • « — be - ne- di - ci- mas te, A - do • ramus ^P^S Js=JS=fe::::}5 S :^ £ •y—y- i V-V te, tauda-mus te, be-ne-di-cl-mus te, A -do -ramus ^^^ 4 ^^•^^^ -f — 1-f- te, lauda -mus te, be-ne. dl-ci-mus te, A -do -ramus J ^^=gS i ^^ i- -4=^- i* * -jt^iaz i =^=^ 5 ^ rt=F I =?f^ ^^^ =¥^c =tMAp4J^ te, A-do - ramus te, glori-fi-camus te. i e *15 t5*:fc45 zMzit •J — -H-"-)-!- -: 11--+ te, A-do - ramus te , glori-fi-camns te. m -^-» 0-0- 33:«ii 5EE =?^^ i^«i; te, A-do - ramus te, glori-fi-camns te. =S: -0--^---m-- K=i ^ii^ -jjj- -M l««».o--- «fe l# =^: ^. ^^ ir=l:t ^^ ^~^~ GLORIA. Continued. 131 ^^^^^ i 1st Tenor. DXTO. Moderato. dot. I^^IE^E ^: MJk-, — •- ± m. =17=5: ^ Ora - tl - as 2d Tenor. a - gl - mng tl - bl, gra - ti - as ^es i^ ^-'^ 4z=l5=::t ^^ » — zy~ Gra-ti'- as Moderato. a - gi - mns ti • bl, gra ti - bA Wf=^ w ^ V del. Cd- ■az PI^eS i § I L/ p- ^^ ^ V y>- gi-mu8 ti - bi prop • ter mag-nam glo-ri-am' ^ ^1 t v-r 4 4 gi-mns tl - bi prop • ter mag-nam glo-ri-am i g!E :^ S -T- ;^ ^ ^^ e 132 6L0EIA.. Continued. m ^^ S3 y«— #- 1?=t ^5=3= ~tl9, tu - am, Do - mi-ne Be CO) - leg ' i ^S a^ - us :2r: ^^ HiiB F-1 ^ H lC8 - tis, _L Se ^ -i<— «< ^ - i<- i2i: *•' - tens. Allegretto. ^=^ ^t <^^ teas. Allegretto. &^ fel— I^3EI _4i p. zl= ^^gJE / GLORIA. Continued. isa !?#? 3:: ^ Do - ml - ne u - ni - ge - nl ^ r--^ 4 ;t==* i: Do mi - ne. ■ 11. . . . n - ni - ge - nt - ^^ P Do - ml - ne a - ... II =11 u - nl - ge - nl I 4— J- ^ 3t Pi #=p= -0 •-FH— r 4 4 134 GLORIA. Continued. f ^^^ £(3^ =*q5= 1=3: SS Chri-Bte Do - ml - ne De - ns, Ag - dus De - i ^S ES -&- i^a: Cliri-ste Do - mi - ne De • us, Ag - nus Do - i a^ g =^ Chri-ste Do - mi - ne De - ns, Ag - nas De - 1 ^m^ -S^ t?g^=ll¥ ^ ^ i=3= qi^f I — "o—jt — ,1 — ^ i =i=^ ^ ^ w dim in - uen - do- ■0 #-B- -F ss fi • li - ns pa - tris, Ag - nus De - i fi • li - us E ^^ ^ ^:p '^-j -* — « — •- d - li-nspa-tris, Ag - nus 1 fl - li - ns m -N-^ H x==i= I I IP F fl - II - ns pa - tris, Ag - nus De - i fi - 11 - ns i^ :g= vn uendo. GLORIA. Continued. 13ft i^h=p^ ^= pa - tris. ^^ pa - trls. a^iHtir^fe pa - tris. m m ^ s -^-=- i=3= m ^:JU=^=jf^ fe i -#-7 tit =5'2 Poco Andantino- Solo. 1st Tenor. Qni tol - lis, qui tol - lis pec-ca-ta rnnn- Poco Andantino. _^-=__^_ rT^ . *^ a< i _. _l ««__»■_ MA *nl - BA _ va . m tin . / ml-se- re-re, ml-fle-re-re, ml-se - re - re no - f 136 GLORIA. Continued. Ist Tenor. ^f=^=^ m ■bl8. 2d Tenor. I DUO. m -#— #- -0—0- '^ 5± tiji Bass. m Qui tol-lis. qui tol-lU pec - ca ^^ ^=^^^m^ Qui toi - lis, qui tol - Us pec - ca - ta -\ ^-^^m ^ h^ 0-f- r ^-0 .- J^-gJ^ JJ-Jt3- i g^g^P^Eg^^^m ?? a - mun - di, mi-se-re-re, mi-se-re-re no ^ ^a^^ffl g ^ ^^gg mun-di, mi-se-re-rei mi-se-re-re no ■^ 1-^ HP — •■ 5^^-.-,^J.til-J.I ^^1 ( ^^ y^ E £ ^ ^*=tt ^ J:==C i^ig •ZT" GLORIA, Continued. 13? Qai - tol - lis, qui tol - lis pec - ca - ta mnn S3e s s E^EE w- bis. Qui tol - Us, qai tol - lis pec - ca - ta mnn as -f-T—f- * ?=p= ;I3^ lE^^Ei ^ITtDt bis. ^^ Qui tol - lis, qui tol - Us pec - ca-.U : ^uy ^: il?: ^ ^ Si -^ -^l-J- ¥? S ^ i 5i ;:) w- i^p:g^^ -0—0-0- n Wrf!^ h3s?: PT P=P: - di, ... BUS - ci - pe, sua - ul - po do - preca-ti - o - neni nos - ;- - dl Eus-ci - pe, EDS-ci-pede-precB-tl • o>nemnoS' i S^iP I^^ It5ia fe ^•^:s?Efe mun-di, BUB-Cl - pe; 8UB-Ci' ( fi ^^fe^= po de-pro - ciuti - o - nem nos -. ''• J « a ^ thE* 'f m i-fif ^^^ 138 6L0BIA. Continued. 10. tempo. i^m ^^ - tmm. « ffS^ tram. 10. tempo. s^^Et^eteas^i^E s^p^ Se 1^ m f ^m -•-#-• >=i,;:j_uj £^ p Sou>. 2d Tenor. ^ :3ESE Sig: ±ri EO-lus al - - tis - • Bl-musJe- su Cliri ste. I m ^^ <|«=^- iN=i f o o — o- z^rA m :*=3t =i«<"^ #= ^ -.«—#- i=t=t -• — g — =- Isi Tenor. Poco Mle^o. GLORIA. Continued. 139 H* ftZ "mm *£ Cum Eanc - to 2d Tenor. Bpl - rl - tu, l=l =^J=i= g 3^ Cum sane - to Bass. ^iglE T spi - rl - tn, -i m~0^a— 3^ cum sane - to qrzx cum eanc - to Cum sane - to Poco Allegro. -4-4— fT-t spi - ri - tn. eum sane - to P O^ t^i ores - - cen - - do. :?=?c i=4±b=i^ =*._lJ_flz H?^?- i spi - ri - tu g P^l^^fS ^J^ inglo-ri-a t Be - i pa - tris, ^5: fe -¥-rV^ iii spi - ri - tu ?''^~r1 t=-^ inglo-ri- a De- pa - tris. ^i^E^^^^ spl-ri-tu *±1 fe^ zBc in gio -/I - a De . i pa - tris. J±z :?iS:5= ^ :?=»■ *««ssa- i¥fcr-:=S= -^«— #- =JK=)= cres - cen .0 — « — 0- - do. 5--P' -• — # •- 1^ -4= 140 GLORIA.. Continued. ^^^^^^ A - men. amen, a - men, a - men, a - men, a - men, a - men, ^^^pg^^^j^ Pg ^:^ A -men, amen, a - men, a -men, a- men, a- men, a -men. PS 1 — r-=i=f^g^ # — (•— # — p 5:5 J- I I ±=MZ -• — 0- A- men, amen, a - men, a - men, a - men. a - men, a - men. ^^m :tr±: ^^ m HiX^ =S:5: XX / ^^ m :it^ ^ ■nr}. tKS *— i5>- ly^^'fifr giB^-te ^ i men, a - men, a - men, a :^5g P >| — ti-3zzei a - men, a - men, a - men, a - men, a - men. m fc^ ?z= - i* — W — »^— ai ^t^^ men, a - men, a - men, 4- meu, a - men, 1=0: t^l=g -4 ::«^ ^ 4-i B^^^ ^i^ m 'M ^ m i GLORIA. Concluded. zfzir S-f 3Z= A - men, amen, a g lil 1 — l—^ f-f-jr-isr =i= :^r* 3=2 ^ / A - men, amen, a ^^^ men, ^EEE A - men, amen, a men, ^ H ^t=-- i 4=: 3z: ^ :t=: ^g n p I i -f^J- -^ -<7- 142 AGNUS DEI. Soto. pie ' :i! Li-gzi-^ mm 3=#" jcizrpr:? m ^Esse I Ag - nus De - - 1. Moderato. qui - tol - lis pec - ca - ta ^i^i-t ■^^ ^ Q 'ttrt w 4r.- rt-rt - 4— J-i- p= -m-ilf!^ -Hf-^.- 3^1: i^g ^ mun • ' dl, qui tol - Us pec - ca - ta mm ^iSEN^lgg H *_fr ^^ :^=i: ^=3=4= ^ r Ist Tenor. ay ToTTi. #-i =12^- ^-gr=i^ 2d Tenor. sf Mi ee - re - re - Bass. sf Mi - m^ i: m-2 - di. Mi - - ee - re - re ^3E :ikg=^=^ g =^ g =yz P=i^ ^ =ts^ 24: ■ ^ J AGNUS DEI. Continued. 1 143 - bl3, Be -re - re no • - Ws, m=^ ^^B n m^ no - - bis, mi - se - re - re no - - bis. ^^^^^^ ^^^ t ff pe j t ^i ^ s ^i^ l^ ^" b^ i :f= *-=:b/c ^ f^Ff^ iB: ml - se - re - rei mi - se - re • re kLJLi J hfc^^^ mi - se - re - re. ml - so - re - re ^^ mi - se - re - re. -#-i- :^=t 144 AGNUS DEI. Continued. 1= Solo. 1st Tenor. ^ =t^i 4=^ m 3^ :^Si=X. - bis. i Ag - - nus. ... Be • - I ^-^== bis. S ^i=^ bis. i^i? i Ei^felE ^^ m ^^=i=--^ =i: § h^ ^as Jf ii-^- m -f^W- ^ ^ I^IC^. qui tol - lis pec - ca - ta man - di, AGNtJS DEI. CoQtltiued. 145 ifei%^^^^^# Ml - se-re- re, inl-«e ?re - rei Ml - se-te- re, ml-se - re - re, mm r^-r ^ t=t5r ml-.»e-re-re no- bis. l^^i^^^^ ?^=!^ P ml - se-re - re no - bis, i ?-*c tcq? tttjt -P— P-f 5=g:Sig i MI - se-re- re, mi-se - re - re. ^^^ ml -se-re -re no- bla. ^i e2o2. gi i_[L'? r . 'r f/r ^ 2c- g ^t*? ^- 'U^ tS=it i ^^^^ i ml- se- re-re, mi -se-re-^re. ^^ r » • »■ ^^ ml-se-re-re, ml-se-re-re, ^y^ ^^V^^ tc^j: V k * » < ^ ml-se-re-re, ml-se-re-re. 146 AGNUS DEI. Continued. I |:if R^^^^^ mt H/izp: mi- se -re-re no -bis. m ^^m '-^—9=X "^mt =?- mi-se-re-re no-bls. s^^^fe ipzi5^ rai-se-re-ra. no-bts. dol. ^^^'^"r^^ ^ ■^ T-f—r^ ^i- f^^ V i< < - Solo. ^ ^a^^ ±£t ^ Ag - nus De - i. ^^ S©i^ *-^ ^ ^ ^^P ^^i '• f 0-*^ ^"^ 2d Tenor. w 5=^q=l=5 £S SzEE =9=Q Ag nuB De - 1, ;5?;^ ^^^ ^ -!«=#= * ?a= ?^ ^ AGNUS DEI. Continued. 147 i 1=:^^ ?S?H^ feS 3=fc ^-[g- gE pip: i-iSiq: qui tol -lispcc-ca- ta di. 3 ^ ?2= - di. i ->t-#-=-i--pa ± gS^ :^ ^-N»>- Zt3t :^ :^^ =3= lig J M.. 3ElE S 7?ei I. Allegretto. ores cen do. ¥^: ^- S^ i: ^=^ Do - na no - bis, do - na no - bis,- do - na no - bis I I^H ^ ^33 4—*^ -< . 0—\-0 *■ Do - na no - bis, do - na no - bis, do - na no - bis S^ p=l-(* — ft- ^-yt — I* p^ Do - na no - bis, do - na no • bis, do - na no - bis I 4- — cem, H do - na no - bis 1 pa cem, do - na -/- ^£5 (P -*tS>" F= -ezi -S?: 12^ AGNUS DEI. Continued. r ^3E :|2fc ¥^ no - bis pa do - na no - bia i Sfc -# — •- cein, do - na no -bis no- bis pa ^^ ^ :f: -i — .+- -+- no - bis pa - i # cemi do - na ha - bis J IS_ pa - i :K S? B ^ ^ :2fc 2i: •- ^^ X 3: ■ cem< do na no - bis, do na no - bis i ±=Je =#=?==? ^^?=^ Efe i ^i =5^ do - na no - bis. do no •■ bis -t bl.l ES: f ^ po - na no - bis, do • na no - bis ¥=t^=^ -gf- ^ ^ -zn- ^ 1^ fe 150 AGNUS DEI. Continued. i i^t- :?z: pa i 3z: -^ pa p^^f— 1-f— N sf T pa ii do - na no - bis ^ w =2^ i =^ p 3= ;^ g H fcSi ^-^-#- •hi rxic: pa - - cem. pa - - cem, do - na ^^5 m m ^s pa - - cem. pa cem, ^ ^ s :?Ei: pa - cem, do - na no • bis pa - • cem, i T ::t: SS^ titr I*?P: F ^ ^-. f :i A0NU8 DEI. Continued. 151 ^ --f=f^- -cem, do - ns no -bis pa - cem, ^^ do - na ± do - na no -bis pa - cem, ^ :p do - na ^ SE IZfc do - na 4=^ no - big pa - - cem, ^4n te do • na EC tk± ^=?^ -