Music Ubrwy 
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Cornell University 
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CORNELL 
 
 UNIVERSITY 
 
 LIBRARY 
 
 MUSIC 
 
4fl<U^^/7^'^^ 
 
MUSIC 
 
 AND SOME 
 
 HIGHLY MUSICAL PEOPLE: 
 
 COHTAININO BBIEF CHAPTERS ON 
 
 I. A DESCRIPTIOlir OP MUSIC. II. THE MUSIC OF NATUKB. 
 
 III. A GLANCE AT THE HISTORY OP MUSIC. 
 
 IV. THE POWER, BEAUTY, AND 
 
 USES OF MUSIC. 
 
 FOLLOWDTG WHICH AKE GIVEN SKETCHES OF THE LIVES OF 
 
 EEMAEKABLE MUSICIANS OF THE COLORED EACE. 
 TOit]& Portraits, 
 
 AND AS APPENDIX CONTAINING COPIES OF MUSIC 
 COMPOSED BY COLORED MEN. 
 
 BY 
 
 JAMES M. TROTTER. 
 
 " A man sbould hear a little music, read a little poetry, and see a 
 fine picture, every day of his life, in order that worldly cares may not 
 obliterate the sense of the beauUful which God has implanted in the 
 hiinian soul." — Goethe. 
 
 " Tis thine to merit, mine to record." — Hoh&r. 
 
 EIGHTH edition. 
 
 BOSTON : 
 LEE AND SHEPARD, PUBLISHERS 
 NEW YORK: 
 CHARLES T. DILLINGHAM. 
 
 188i5. 
 
Copyright, 1878, 
 Bt JAMES M. TROTTER. 
 
 Franklin Press: 
 
 Stereotyped and Printed Sp 
 
 Hand J Avery f &» Co,, 
 
 Boston, 
 
PREFACE. 
 
 The purposes of this volume will be so very appaicnt 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, as 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, fuU showing of pro- 
 priety to the course hereinafter pursued, — that of mingling the 
 praises of both. But, in truth, 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 skUl in vocal or instrumental performance, so 
 ■ signally help us to the fullest understanding and enjoyment 
 of it? 
 
 As wiU 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 hook entertaining to lovers of the art in general. 
 
 While grouping, as has here been done, the musical celeb- 
 rities of a single race ; while gathering from near and far 
 these many fragments of musical history, and xecording 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 
 aflFect not to see) that musical faculties, and power for their 
 artistic development, are not in the exclusive possession of 
 the fairer-^nned race, but are alike the beneficent gifts of 
 the Creator to aU 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 establish 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'jd man, — with these purposes in view, this 
 jumble volume is hopeMly issued. 
 
 THE AUTHOB. 
 
CONTENTS. 
 
 A DBSCKiPTioir OP MiTSic 7_11 
 
 The Music op Natcbb 12-21 
 
 A Glajice at tece Histobt op Knsic .... 22-50 
 
 The Beauty, Poweb, aito Uses op Music . . . 51-65 
 
 Elizabeth Tati^b Geebnfield (the "Black Swan") . 66-87 
 
 The Luca Family ........ 88-105 
 
 Heney F. Williams 106-113 
 
 JUSTDf HOLLAUD 114-130 
 
 Thomas J. Bowebs (the " American Mario ") . . . 131-137 
 
 James Gloucbstee Dbmabbst 138-140 
 
 Thomas Geeene Bethune ("Blmd Tom") . . . 141-159 
 
 The Hyees Sistees 160-179 
 
 Feedeeick Elliot Lewis 180-191 
 
 Nellie E. Beown 192-208 
 
 Samuel W. Jamibson 209-218 
 
 Joseph White (preceded by a brief accoimt cf the 
 
 Violin, pp. 219-223) . 224-240 
 
 The Coloeed Amebican Opeka Company . . . 241-252 
 
 The Jubilee Slnobbs op Fisk TJotveesity . . . 253-269 
 
 The Geobqia Menstbels 270-282 
 
 paet second. 
 
 Inteoductioit 285-288 
 
 Kachel M. Washingtoit 288-290 
 
 James Casebas 300 
 
 Jowsf T. Douglass 301 
 
 Walteb F. Cbaig 301 
 
 WxLiAM Appo 302 
 
 William Beady 302-303 
 
 Petee p. O'Fakb 304-306 
 
 Feank Johnson, and his Famous Militaby Band 
 
 AND Oechestea 306-309 
 
 Joseph G. Andbeson 308-309 . 
 
 Madam Beown 309 
 
 Saeah Sedgewick Bowebs 309-310 
 
 John Moobb 310-311 
 
 6 
 
6 Contents. 
 
 PAOH 
 
 Samdel Lucas 312-313 
 
 William H. Stabb 314 
 
 G. H. W. Stbwaet 330 
 
 The Lambebt Fajult 338-340 
 
 Edmund Dede 340-341 
 
 BXsiLE Babes 341 
 
 Samuel Snaeb 341-343 
 
 Peop. A- P. Williams 343 
 
 E. V. Macabtt 343-344 
 
 Maueice J. B. Doublet 344-345 
 
 Dbiwis Auguste 345 
 
 The Ddpb6 Family 347-348 
 
 Chaeles Maetinez 348 
 
 Thomas Ma-rtttst ......... 349 
 
 Othee Musical People of — 
 
 POETLAJTO (Me.) 300 
 
 BosTOW 288-298 
 
 wobcesteb 300 
 
 New Yobk 801-304 
 
 Newaek 306 
 
 Philabelphia 306-311 
 
 Pittsbuegh 311 
 
 Clevelaotj 311-312 
 
 Washington (O.) 312-313 
 
 Chlllicothe (O.) 313-316 
 
 CiNCINlfATI 316-321 
 
 Chicago 321-323 
 
 The Music of the South 324-329 
 
 Baltimobe 329-330 
 
 Louisville 330 
 
 St. Louis 330 
 
 Helena 330 
 
 Memphis 331 
 
 Nashville 331 
 
 New Obleaets 333-353 
 
 ILLUSTRATIONS. 
 
 1. Elizabeth Tatloe Gbeenfield. 
 
 2. The Luca Familt. 
 
 3. Heney F. Williams. 
 
 4. Justin Holland. 
 5.- Thomas J. Bowebs. 
 
 6. Thomas Geeenb Bethune. 
 
 7. The Hyees Sistees. 
 
 8. Feedeeick Elliot Lewis. 
 
 9. Nellie E. Beown. 
 
 10. Samuel W. Jamieson. 
 
 11. Joseph Whete; 
 
 12. Fisk TJntveesity. 
 
MUSIC AND SOME HIGHLY MUSICAL 
 PEOPLE. 
 
 A DESCRIPTION OF MUSIC. 
 
 **In (he storm, in the Bmokc, in the fight, I come 
 To help thee, dear, with my fife and my drum. 
 ICy name is Music : and, when the hell 
 Binge for the dead men, I rule the knell; 
 And, whenever the mariner wrecked through the blast 
 Hears the fog-hell 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 Mincius roll ; 
 Then down by Clitumuus and Arno'e vale 
 I wandered, passionate and pale. 
 Until I found me at sacred Rome, 
 Where one of the Medici gave, me a home. 
 Leo — great Leo ! — he worshipped me. 
 And the Vatican stairs for my feet were free. 
 And, now I am come to your glorious land, 
 Give me good greeting with open hand. 
 Bemember Beethoven, — I gave him his art, — 
 And Sebastian Bach, and superb Mozart : 
 Join those in my worship ; and, when you go 
 Wherever their mighty organs blow, 
 Hear in them heaven's trumpets to men below." 
 
 T. W. Parsons. 
 
 "YXT'HAT is music ? Quite easy is it to answer aftei 
 
 V V the manner of the dictionaries, and say, " Musu 
 
 is (1) a number of sounds following each other in a 
 
8 Music and Some BigUy Musical People. 
 
 natural, pleasing manner ; (2) the science of harmoni- 
 ous sounds ; 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 ia the heart by music 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 aU 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- 
 where 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 ijoet 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 
 vhere shall be a very Babel of tongues. All will be 
 confusion until the all-penetrating, the all-thrUiiug 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 id usical 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 
 in it harmony : a thing which delighteth all ages, and beseemetL 
 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 aa 
 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"! 
 
 "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, la 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 breast, 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; 
 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 plants." 2 
 
IL 
 
 THE MUSIC OP NATDBE. 
 
 ** The lark sings lond* and the throstle's song 
 
 Is heard from the depths of the hawthorn dale; 
 And the rush of the streamlet the vales among 
 Doth hlend with the sighs of the whispering gKle.** 
 
 Matik and ETEimia Sonss. 
 
 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 stwmge 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 stUl 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 human comprehension 
 as vague (an attempt at the contemplation of which 
 would be without profit in this conuection), 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 ever 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 from 
 rustling bough, from warbling bird, from rippling brook, 
 and from the joyous hum of insects almost innumera- 
 ble, 
 
 "The air is full of noises, sounds, and sweet aiis, 
 That give 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 Keference is supposed to be made to this in the Book of Job, in 
 these words: " When the muiniug stars sang together, and all the soM 
 oi God shouted for joy." 
 
14 Music and Some EigMy Musical People. 
 
 Indeed, it has been found that manj of the songs of 
 birds are sung in certaiQ 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 beiug 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 
 bMH. 
 
 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 give us just one more 
 tune.' 
 
 " And then, to my surprise, the little bird whistled the tune of 
 ' Yankee Doodle ' as well as I could have 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 
 worth 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 in 
 given 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 tbey 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 further 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- 
 blings 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 v^^ry excusable rap- 
 ture the following imique wish : — 
 
 " Oh 1 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 perfect 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 ienough 
 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 Music and Some Bxghly 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 pelrfumed 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 music 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 tongue ; 
 While elves and fairies career about 
 
 'Mid dance and song. 
 
 It would be tedious to enui^erate and dwell upon all 
 the very numerous music-makirig 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, wliich, 
 bo be appreciated, must be heard. Musicians of finely- 
 cuftivated 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, a« 
 
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, rn 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, dkge- 
 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 ; 
 
 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 love-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 roU 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 Highly 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 he 
 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, 
 
 Binging 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 billo.ws 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 flaw 
 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 is 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, 
 
?0 Music and Some Highly Musical People. 
 
 where the wind is feigned to feel the want of a voice, and to woo 
 the trees to give him one. 
 
 " He applied to several : but the wanderer rested with the pine, 
 because her voice was constant, soft, and lowly deep; and he 
 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 soimds 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,— 
 rris but the faint and fai i « verberation 
 
 Of that great tune to wtuch the planets lolL" 
 
ill. 
 
 A GLANCE AT THE HISTOKY OF MTTSIC. 
 
 ** Thespls, the first professor of onr art. 
 At country wakes sang ballads &om a cart." 
 
 Dbtdbw. 
 
 MUSIC is as old as the world itseK. 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 evidSnce of its present existence, and assurances of 
 its most remote antiquity. 
 
 It woxild seem that not long after " God breathed into 
 the nostrils of man the breath of life, and he became a 
 liviilg 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 verv 
 simplicity ; into a beneficent science, divine from its 
 inception, which has ever had as votaries many of 
 
 22 
 
A Glance at the History of Music. 23 
 
 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 Egjrptians. 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 the 
 Creator, — sacred music. In fact, this noble quality of 
 the 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 olten speak. 
 
24 Music and Some EigMy 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 soothing 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, uo soul so cold. 
 
 That felt not, fired not, to the tone ; 
 
 Till David's lyre grew mightier than his throne. 
 
A Crlance at the Mstory of Music 25 
 
 It told the triamphs of our King; 
 It -wafted glory to our God ; 
 
 It made our gladdened valleys ring, 
 The cedars bow, the mountaiDS 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 aU 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 ' 
 Hi us speaks: — 
 
 « The Egyptian flute was only a cow's-horn, with three or four 
 holes in it ; and their harp, or lyre, had only three strings. The 
 Grecian lyre had only seven strings, and was very small, being 
 told 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 i amw 
 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 fi 
 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 
 nimiber of " The Vox Humana : " — 
 
 " Art love was not a distinguished characteristic of the aucient 
 Romans ; and we are not astonished, therefore, to find them 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 gratifica- 
 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 Nnma 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 tlia 
 city. They were sujig by choruses of boys. Similar songs were 
 sung 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 ancestors. 
 
 " Under the rule of the emperors, all these worthy con^ positions 
 went to decay, and were replaced by a much more tejrading 
 
A Crlanee at the History of Music. 27 
 
 Bcliool of music. At no time, however, was music ccmsideied a 
 liecessaiy part of the educatioti of Roman youth. 
 
 " There existed in the latter days of ancient Rome some 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 : — 
 
 "Theoretical: first, arithmetic, physics; second, harmony, 
 rhythm, metrics. 
 
 " Practical : composition, rhythm, melody, poetry. 
 
 "Execution: playing instruments, singing, dramatic action; 
 whi<!h makes a rather formidable array, even to modern eyes. 
 
 " Among the Roman musical instruments, the flute waa tlie 
 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 (»f 
 later date, and was a musical conservatory, academy, and agency, 
 all in one. It flourished greatly under the patronage of various 
 Roman emperors, and for a long time supplied singers and actors 
 to the Roman world. 
 
 " Valerius Maximus has pven an anecdote which shows how 
 wjwerf ul 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 ; 
 npon which the entirt guild left Rome, and went to the village of 
 Tibur near by. This caused great embarrassment : no religions 
 services could be held, and scarce any state ceremony properly 
 conducted. The senate thereupon sent an embassy to induce them 
 to re ,nm, — in vain : the angry musicians were inflexible. The 
 wily ambassadors then called the inhabitants of Titur to their 
 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 
 I aw 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 
 Ui3 sumphonium, which did not differ materially from the modem 
 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 Rome. When the wor- 
 ship of Bacchus was prohibited, they passed away with that licen- 
 
A Crlance at the History of Music. 29 
 
 tious rite. The most complicated instrument of the ancient world 
 appeared in Rome during the first century of our era. It was au 
 organ, not, as in the scriptural days, a mere syrinx, or Pan's pipes, 
 but an undoubted organ, somewhat similar in efEect tjj our modern 
 instjument. 
 
 " The instrument is said to have been invented by Ctesbius of 
 Alexandria in Egypt, who lived about 250 B. C. It did not appeal 
 extensively in Rome, however, until nearly three hundred years 
 later. This organ has given rise to much fruitless discussion. In 
 (he 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 
 liis own theory, to fight for it, and denuneiate 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 this 
 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 his technical 
 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 Knrfs 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 
 <5igan was played, was in a state of agitation, as if boiling. 
 
 " 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 
 Dmall 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, 
 
30 Music and Some Highly Musical People. 
 
 commences with the fourth century ; at which time St, 
 Ambrose, Bishop of MDan, arranged the sacred chants 
 that bear his name, and which were to be sung in tho 
 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 
 tlieir guild many of the knights belonged. Some of 
 the kings and nobles of the time were also, in a sense, 
 troubadours ; such as, for instance, Thibault of Navarre, 
 and 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 all 
 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 Iheir 
 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 ancient troubadour, styling him— 
 
A Glance at the History of Mu&ie. 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 song. 
 
 ' SuO, sponte heart's-ease 
 In his bosom grew : 
 Happiness as birthright. 
 Like the gods, he knew. 
 
 All life's ha^ and changes 
 On his chords he rtmg: 
 
 Every thought, emotion. 
 In him found a tongue. 
 
 Voiced he for the lover 
 Passion of his breast ; 
 
 Feigusd he, death to lighten. 
 Islands of the Blest. 
 
 Up in ether throned he 
 
 Gods, the world to sway,— 
 
 Gods to bend and listen 
 While their votaries pray. 
 
 Soul and sense, enchanted. 
 Drank his accents in : 
 
 E'en to marble bosoms 
 He his way could win. 
 
32 Musie and Some JERgJdy Musical FeopU 
 
 From her casement Beauty 
 
 Leaned his song to hear : 
 E'en the haughty conqueror 
 
 Bent a willing ear; 
 
 For without the poet 
 
 Aad bis epic lay 
 Passed his vast existence, 
 
 Whirlwind-like, away, — 
 
 Trace nor vestige leaving 
 
 Where 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 fouiteenth 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 DesprSs, 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 beuig 
 granted to a regularly formed musical society. 
 
 Commencing with the invention of movable type in 
 1502 (which invention so vastly facilitated the publica- 
 tion and spreading of the thoughts of the composer), 
 and with the Reformation in the sixteenth century, the 
 
A Crlance at the lEstory of Music. 33 
 
 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, wc 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 Palestrina, 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 virriter says, " It is difficult to over-estimate his 
 talent and influence over the art of music in his day. 
 He was regarded as the great reformer of church 
 roiisic. 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. Heading at sight was at that 
 day, even more than now, a common accomplishment 
 among the educated. The English queen Elizabe'h 
 was quite fond of music, and was somewhat accom- 
 plished in the art, performing upon the lute, virginals, 
 and viol. She often cliarmed the attaches of and visit- 
 ors to her court by her skilful performances. During 
 
34 Music 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. 
 
 In the year 1540 oratorio was first composed, followed 
 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, ami 
 Spontini. 
 
 But, before proceeding farther, the writer considers 
 it pioper to remark, that to give a extended description 
 of tlie progress of music during the three last centuries, 
 mentioning in de(ail the many creations and achieve- 
 ments of tliose who have become great, nay, in some 
 
A Crlance at the History of Music. 35 
 
 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 unskUful 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, Malibran, 
 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 beiug 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 of 
 thirtj'-five, after a career of unrivalled splendor, and 
 
 I For an able criticism of the composers and some of the performers 
 mentioned, the reader is referred to Professor Kltter's very valuabla 
 History of Music, in two volumes. 
 
 a In the Library of Entertaining Knowledge, vol. iii. p. 76. 
 
36 Music and Some Sighly 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 untU 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 exisir 
 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. ' II 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 xmder great mental excitement, hastened 
 bis dissolution. He was seized with repeated fainting- 
 
A Crlance at the Mistory of Music. ST 
 
 fits, brought on by Ms extreme assiduity in writing, in 
 one of which he expired. A few hours before hia 
 death took place, he is 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 th<» 
 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 F. 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 earth, as he was nearing the time 
 
 " "WTien all of genius which can perish dies," 
 
 although replete with sadness, is yet a tribute so 
 touchingly beautiful and eloquent as to make it well 
 worthy of insertion here. 
 
 " THE LAST MOMENTS OF BEETHOVEN. 
 
 " He had but one happy moment in his life, and that moment 
 killed him. 
 
 " He lived in poverty, driven into solitude by the contempt of 
 the world, and by the natural bent of a disposition rendered harsh, 
 almost savage, by the injustice of his contemporaries. But he 
 
 1 Anonymously contribute! to the Boston Folio for May, 1877. 
 
S8 Music and Some ElgJily Musical People. 
 
 wrote the sublimest music that ever man or angel dreamed. He 
 Bpoke to mankind in his divine language, and they disdained to 
 listen to liim. He spoke to them as Nature speaks in the celestial 
 harmony of the livinds, 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 
 more 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 Gdricault, ' He blends his colors well ; ' 
 and thus of Goethe, ' He has a tolerable style, and he commits no 
 faults in orthography.' 
 
 " Beethoven had but one friend, and that friend was Hummel. 
 But poverty and injustice had irritated him, and he was sometimes 
 nnjust 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. He 
 had 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 he stopped before the gate of a small, mean-looking 
 house, and solicited shelter. He had already several leaguas to 
 
A Glance at the Sistory 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. 
 
 " 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 fire 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 herself 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 were filled with tears, and 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 ; f«c I also love 
 music : but, as you see, I am so deaf that I cannot hear any sound. 
 Let me read this music which produces in you such sweet and 
 ilroly emotions.' 
 
 " He took the paper in his hand : his eyes grew dim, his breath 
 came short and fast ; then he dropped the music,- and burst into 
 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 Vie raised his head, and said, ' I am Beethoven.' 
 
40 Music and Some Exghly Musical People. 
 
 " And they uncovered their heads, and bent before him in re 
 Bpectf ul 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 hjs arras, 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 tlie young men to take up their violins, and himself performed 
 the piano part of his chef-d'ceuvre. The performers were alike 
 iQspii-ed : never was music nxore divine or better executed. Half 
 Uie 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 night, Beethoven was restless and fevered. He rose : he need- 
 ed air: he went forth with naked feet into the country. All 
 nature was exhaling a majestic harmony; the winds sighing 
 through the 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 
 Viemia 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, — Hummel, his old and only friend. He had 
 heard of the illness of Beethoven, and he came to him with suc- 
 cor and money. But it was too late: Beethoven was speech- 
 less ; and a grateful smile was all that he had to bestow upon hia 
 friend. 
 
 " Hummel bent towards him, and, by the air of an acoustic 
 instrument, enabled Beethoven to hear a few words of his com- 
 {vassiou and regret. 
 
 " Beethoven seemed re-animated ; his eyes shone : he struggled 
 for utteranc(!, and gasped, 'Is it not true, Hummel, that I have 
 some talent, after all ? ' 
 
 " 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 Eistory of Music. 41 
 
 Among the most eminent composers of the present 
 century may be mentioned Auber, Schubert, Rossini 
 Meyerbeer, Mendelssohn, Weber, Verdi, and Wa~ner. 
 
 In " The Contemporary Eeview " there lately ap- 
 peared the following beautifully worded tribute to tha 
 noble qualities of Mendelssohn : — 
 
 "Mfindeksohn reigns forever in a sweet wayside temple of hia 
 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 mission to develop, he sings like 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 hia 
 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 lumina- 
 ries ; for they have left too much that is deep, classical, 
 charmingly beautiful, and soul-satisfying. The musical 
 world has paused, not earing to go farther, to conscien- 
 tiously study their noble creations, so fruitful in the 
 delights, the soul-elevat\ng influences, which they afford. 
 
 But, although no great genius has of late years ap- 
 peared with newer and gTeater creations to claim our 
 atlsntion fcom those of the past,' it is gratifying to 
 know that great advancement is being made in a more 
 general musical culture among the people; while the 
 
 1 It would, perhaps, be better at present to except those of 'Wagner, 
 ajwu the giirpasaing merits of which the best critics are as yet diviieU. 
 
12 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; 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 cheei;, to soothe, and to bless 
 mankind throughout all time. 
 
 But, after all, we loiow 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" wiU 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. 
 
 StUl, 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. 
 
 1 It should also be here remarted, that there Las heen, too, a remarka- 
 ble improvement made in the construction of most all musical instru- 
 ments; they having been brought to a nicety and beauty of form and 
 lone probably not dreamed of by the makers of the past. 
 
A Glance at the Sistory of Music. 43 
 
 Gilmore of Boston, who in the year 1869 conceived 
 the idea of having a grand musical festival, the noble 
 objects of 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 brining together in a single ter- 
 formance a larger body of most skilful musicians than 
 wa= ever before attempted. An immense buildijig 
 called "The Coliseum" was constructed for the pur- 
 poses of the festival, which was to continue five days. 
 On the 15th of June, in the city of Boston, " The Na- 
 tional Jubilee and Great Musical Festival " was begun. 
 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 " AnvU Chorus ") 
 were played upon by a hundred of the city's firemen 
 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 (among the latter 
 were Ole Bull, 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 
 cciiuposers were performed, and only works of real merit 
 had a place on the programme. These were all per- 
 forn.eJ by this vast ensemble with a precision and an 
 excellence that were really grand and wonderful. This 
 aicliievement of Gilmore was considered the most bril- 
 liant entertainment of modern tunes. Of it, it has been 
 truly said, — 
 
i4 Musie and Some Highly Musical Peo'pU. 
 
 " 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 divine art 
 than were hitherto thought possible. It will ever be a memorable 
 epoch in tHfe 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 inspiriog 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 
 as 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, Gilmore, 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 
 were Mme. Leutner, Johann Strauss, Franz Abt, arid 
 
 1 The chuich-bells of the city were also employed in rendering soma 
 of the mnsic. 
 
A -Glance at the History of Music. 45 
 
 Bendel. Foreign 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 French 
 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 Murine 
 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 Gilmore became 
 at once the most brilliant and daring impressario genius 
 of the world. 
 
 As before intimated, Wagner is not at 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 forming 
 beautiful fairy tales. To carry to the greatest perfection 
 his views and firmly-held ideas as to what music should 
 be, and^s to what he stoutly avers it will be in the fu- 
 ture, ne selected from far and near only the best artists 
 for the performance of his opera (these weie subjected 
 to long and careful rehearsals under his own conductor- 
 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 
 
i6 Music and Some Eighly Musical People. 
 
 pecviliar 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 
 Iriology occupying — exclusive of a wait of one hoar 
 after each act — 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 in his speech he said, "Now we see 
 what can be done : at last we have a German art." 
 
 It 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 a^d 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 cf mufic, final 
 and complete." 
 
 Of the impression created by one of tb-j f.--,\ts of the 
 opera, "Rheingold" (Mr. F. A. Schwabe), -f 'rhe New 
 
A Glance at the History of Music. 47 
 
 York Times," says, " Musically considered, it is not sig- 
 nificant. It is hopeless, therefore, to look for popularity 
 for tlie work ; at present, at least." 
 
 " 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 been 
 given to the world in its complete form." * 
 
 Very recently, Mr. Moncure D. Conway thus expi esses 
 his high admiration for the work of Wagner : — 
 
 " I am satisfied that the English-speaking world is little awaro 
 at present of the immensity and importance of the work Wagner 
 has done for art. Plato declared that the true musician must have 
 poetry and music harmonized in himself; and the world has waited 
 twenty-five hundred years for that combination to appear. Having 
 carefully read 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, the general concep- 
 tion of his chief operas, taken together, is in the largest sense 
 poetic, and I might even say Homeric. This man has transmitted 
 an 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 own Teutonic ancestors. It is all there, — its thou- 
 sand phantasmal years, from the first cowering cry of the Norse 
 savage before the chariot of his storm-god to the last gentle hymn 
 that rose to Freya under her new name of llary, — all. It la 
 interpreted as a purely human expression; and, I repeat, no man 
 has done so vast and worthy an artistic work in our time." 
 
 Wliile America has perhaps produced as yet no great 
 compoBcis, it has several of very high merit, such a» 
 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 
 
 1 From a writer in the New- York Herald. 
 
48 Music and Some Highly Musical People. 
 
 societies ; while several of its great vocalists, male and 
 female, accept and decline engagements in Europe. 
 Perhaps no finer orchestra exists anjrwhere than that 
 of Theodore Thomas of New York; whUe 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 t;his 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 BY TELEGRAPH. 
 
 " 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 means 
 of steel forks made to vibrate at gne end of the line, the pulsations 
 psissing 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, a;mong 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. 
 Goodridge, to transmit musical sounds, which were received very 
 distinctly amid hearty applause from those present. 
 
 " It was the first time that many present bad 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 Qlanee at the History of Music. 49 
 
 By this invention, music played upon a piano-forte or 
 raelodeon 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 perfect' 
 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 effect upon the ear is rich, and ex- 
 tremely satisfactory. After listening to it a little while, 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 scientific 
 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, 
 lemains 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 William Mason. One of the 
 gems 01 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 riCiit, has recently 
 
60 Music and Some Exghly Musical People. 
 
 also presented with mucli success a new symphony by 
 the talented composer of oratorios, &c., J. K. Paine. 
 
 In alluding to the progress of music in the United 
 States, " The Music Trade Eeview " says, " If the cen- 
 tennial year could disclose aU its triumphs, music would 
 shine among its garlands. A hundred years ago was a 
 voiceless void for us compared with the native voices 
 and native workers who now know a "sonnet from a 
 saraband." 
 
IV. 
 
 THE BEAUTT, POWEE, AST) USES OF MUSIC. 
 
 " The soul lives its best honis when surroanded by melody, and is drawn towards 
 Its home, Paradise, dreaming of its hymning seraphs who adore with ecstasies that can 
 find utterance only in song." 
 
 •* And how can happiness be better expressed than by eong or music? And, if 
 the body and mind are both attuned to a true enjoyment of flieir rcsourv:es, how much 
 more will the moral nature be refined and educated I " 
 
 THE cultivation of the art of music has ever fol- 
 lowed closely the progress of civilization; and 
 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 laaow 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 
 Btudy of it in its higher departments, such as composition, har- 
 mony, and counterpoint, develops the mind as much as the study 
 of mathematics or the languages. It teaches us love, kindness, 
 charity, perseverance, patience, diligence, promptness, and punctu- 
 ality." 
 
 And a writer in "Chambers's Journal" remarks, 
 that 
 
 61 
 
52 Music and Some Exghly Musical People. 
 
 "In society, where educatio'^ requires a submission to ruley 
 singing belongs to the domain ot 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 beautifiil art is one, the 
 delightful fonns of which nearly all may enjoy, the 
 inspiring, soul-releYating 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- 
 nity for the enjoyment 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 as really unfortu- 
 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 theii' 
 predecessors, they deepened, they broadened and varied 
 
Beauty, Power, and Uses of Music. 53 
 
 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 is beautifully 
 embodied La 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 aE its difficult forms to 
 awaken and enchain the interest, and to inspire the 
 love of the man of genius or the ambitious student of 
 SBsthetics, 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 mother sings 
 to it a simple, pretty song. Soon the crying ceases; 
 the little eyes brighten with a delighted interest ; 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- 
 ing in its ears to the last, 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- 
 piised in its least difificult 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 ai-t, 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 liiast, a 
 musician; and whether such a one may enlarge his 
 faculty foi- musical discernment and enjoyment depends 
 
64 Music and Some Eighly Musical People. 
 
 # 
 
 only upon the extent of his observations, or rathe] 
 upon the amount and kind of his study. 
 
 As elsewhere remarked, some time has elapsed since 
 the music-loving world has been called to the contera 
 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 
 minds 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 quivers 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 join 
 Melodious part, such concord is in heaven." 
 
 But 1 shall now more particularly invite the reader 
 to a consideration of a few among the many forms in 
 
Beauty, Power, and Uses of Music. 5.5 
 
 which the beauty, the power, and good uses of music 
 are exemplified, and of the advantages to be derived 
 from its conscientious study. 
 
 It may be noticed, that, in those towns 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 : cul- 
 tured people have attractive and generally musical 
 homes, and are thus made, to a great extent, independ- 
 ent of the amusements afforded in public places. This I 
 mention, not to decry the theatre, which, I hold, has its 
 appropriate, and, imder proper conditions, educational 
 and refining uses. In fact, the theatre (in which is per- 
 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 sense, 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 entertainments of our homes should 
 charm and retain their members, than that these should 
 be sought for outside their, in some respects, sacred 
 eonfines. The reasons for this are so apparent to the 
 thoughtful, that they need not be greatly enlarged upon. 
 Briefly, then, in the home is safety : over its members 
 are extended the protecting wings of guardian angels ; 
 rthile without are often snares and danger, either in 
 palpable forms, or in those hidden by the glittering, the 
 alluring disguises which are so often thrown over vice. 
 On this very subject vrith what truth and directness 
 (Tution speaks, when he says, — 
 
56 Music and Some Highly Musical People. 
 
 " If solid happiness we prize, 
 "Within our breasts this jewel lies ; 
 
 And they are fools that roam. 
 The world has nothing to bestow: 
 From our own selves our joys must flow, 
 
 And that dear hut, our home "1 
 
 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 
 refineanent reigns 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 
 power 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 uf)on 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 Uses of Mime. 57 
 
 unrest, has been stilled, calmed, and refreshed by the 
 singing of a song, — an indulgence in the enjoymen'^ 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 begtm 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 thxis speaks : 
 " Songs have at all times, and in all places, afforded 
 amusement and consolation to mankind : every passion 
 in the human breast has been vented in song ; and the 
 most savage as well as the inost civilized inhabitants of 
 the earth have encouraged these effusions." The fol- 
 lowing description of the effects of music at a f eform- 
 schoui 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 th? industrial school, was very much impressed by what he saw 
 and learned there concei-ning not only the taming, bat^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 on the varioua 
 
68 Music and Some lEghly Mmical People. 
 
 instruments that make up a brass band. This teacher, who is an 
 intelligent 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 could not or would not acquire even a 
 knowledge of their ' a, b, abs,' took hold with evident relish of 
 the comparatively difficult study of theoretical music, and in a 
 verj' 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 love of music is inherent in the average bad boy. 
 He has usually in training a band of twenty pieces : but he says 
 that this number he could easily augment at any time to two, 
 three, or even four times as many ; for he very rarely finds a boy 
 that has not a taste for some musical instrument. The greatest 
 trouble he has yet encountered in the formation of his bands is 
 the fact, that, as soon as his pupils become really proficient, they 
 are ready 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 
 have turned their knowledge of music, acquired within the walls 
 of the industrial school, to profitable account." 
 
 We know that music, either vocal or instrumental, 
 and in many cases the two combined, has for many cen- 
 tiu-jes 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 
 chant, the prayer or thanksgiving, uttered in melodious 
 song by the clicir or by all the congregation, — these 
 cause the sordid world with all its cares and wild pas- 
 sions to be for the while forgotten, and the soul, charged 
 
Beauty, Power, and Uses of Music. 69 
 
 ^ith the influences of divine harmony and most holy 
 Aspiiution, is lifted to heaven. And so music, with its 
 gentle, its ever-winuing power, has constantly been used 
 by the churches to secure the attendance of those who 
 without it had been indifferent. This has been espe- 
 cially the practice of the Roman-Catholic Church for 
 inducing the attendance of Protestants, and is after the 
 custom of olden times, when the Gentiles were thus 
 drawn into the Christian churches, coming at first 
 through motives of curiosity. They were, however, 
 often so captivated by the music as to submit to bap- 
 tism before departing. In most of our large cities, a 
 considerable number of wealthy Protestants are induced, 
 by the superior musical attractions of Catholic churches, 
 to attend for a while, renting pews, and fina.lly, in some 
 cases, to become members; and Protestant churches, 
 to sustain the interest in their services, and to insure 
 the attendance of members and others, have been 
 obliged to recognize this love among the people for the 
 divine art. 
 
 The German race is remarkable for the intelligence, 
 steadiness, and industry of its members, and their love • 
 for and cultivation of the art of music, — these latter 
 characteristics prevailing to a most pleasing degree 
 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 children .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, iu 
 united song, or in some other form of pleasing harmony ; 
 
60 Music and Some Bighly Musical People. 
 
 thus wisely uniting the practical with the poetical in 
 life. How in keeping is a musical love so warm, and 
 a musical proficiency so general, with a nation which 
 has given to the world a Mozart, a Haydn, and a Bee- 
 thoven ! 
 
 Most persons have remarked the superior affability, 
 the polish of manners, that distinguishes the people of 
 Prance. 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 bodily sufferings, — n 
 it being almost a proverb, that " a pain forgot is a pain 
 cured," — 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 Music. 61 
 
 over, that this delight-affording art may be profitably 
 used to " minister to a mind diseased," and that its aid 
 is often invoked by those physicians who are most 
 skilful, if not in curing, at least in ameliorating the 
 condition of, persons afflicted 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 imderstand, 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 highly skilled in 
 the art are sometimes unamiable in manners, and coarse 
 in habits. To this I reply, that no art nor hvunan agency 
 is capable of elevating every character to perfection ; 
 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 ," stars " must not be ( lassed 
 with the conscientious, loving student of the art. Some 
 among the former, gifted with phenomenal voices or 
 with rare powers for instrumental performance, having 
 leached, 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 Music and Some Highly Musical People. 
 
 tiously seeks to know music's manifold beauties, and 
 who with rea] appreciation for the beautiful in art, 
 loving music fot music's sake, feels and exhibits in his 
 deportment towards his fellow-men its delightful and 
 elevating power. 
 
 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 tlioroughness 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." 
 
 " 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 
 that 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 simplest melody out of an opera, though she has 
 heard it a hundred times. She is perfectly ignorant of the his- 
 tory of masic; hates classical works; knows few of the masters' 
 names save Verdi, Donizetti, Offenbach, and llozart, 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 orchestrac 
 tion, scoring, and such like, they are only fit matters for profes- 
 sionals. She will call Wagner horrid, Gounod lovely, Mendelssohn 
 'lull, and Beethoven pretty, without knowing why she likes ot 
 
Beauty, Power, and Uses of Music. 63 
 
 dislikes aiiy 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 tMnk a mistake is made in compelling 
 girls to learn to play only the piano-forte. There are 
 other iastruments, for performanee upon which manv 
 of them have talents. Nor need such performance 
 detract from a graceful, lady-like appearance. I 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 incUue 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 violin ac- 
 complishment, and the adaptability of the instrument to 
 womanly practice. He says, 
 
 " We have always wondered, that in a commimity where so muca 
 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; 
 but the violin, with the other members of its family, viola, 'cello, 
 
64 Music and Some ElgJdy Musical People. 
 
 &c., is the more social instrument, bringing together groups ol 
 kindred spirits who can play in parts, and read together the quar- 
 tets, &c., of the greatest masters, or play sonata duos, trios, &c., 
 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 wor- 
 thier of a manly aspiration. If it is often only vvilgar^fiddling, 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. Eiehberg's accomplished pupil, Persia Bell, could 
 fail to feel that the violin seemed peculiarly fitted to the female 
 constitution and capacity? How graceful the attitude and motions 
 of a yomig woman skUf uUy handling the bow ! 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 had 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 
 sublime art of music. 
 
 He whose own 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 liis fellows a knowledge of the 
 
Beauty, Power, and Uses of Music. 65 
 
 beautiful science of music, leading them, through all the 
 delighting, soul-filling forms of melody, into the region 
 of a very fairy-land ! 
 
 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 
 civilized natiou." 
 
V. 
 
 ELIZABETH TAYLOR GREENFIELD, 
 
 XHE FAMOUS SONGSTRESS; 
 
 OITXN 0ALI.aO 
 
 THE "BLACK SWAN." 
 
 "A damsel with a dalcimer 
 In a vision once I saw : 
 It was an Abyssinian maid; 
 And on her dulcimer she played. 
 Singing of Mount Abora." 
 
 C01.EKIDSX. 
 " Hovering swans 
 
 Carol sounds harmonious.** 
 
 Callixacbus' Hymn to ApoOo. 
 
 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 amoiig the same 
 a few, so that, while justice is done the subject, the 
 
 (J9 
 
ELIZABETH TAYLOR GREENFIELD. 
 
Mieabeth 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 coimtry 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, however, 
 make Miss Greenfield vain. The natural simplicity of 
 ner character remained unchanged. All the many 
 exhibitions of great public and private admiration, and 
 the praises that her performances constantly evoked, 
 while 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 EigMy Musical People. 
 
 amidst them all this noble lady and artist was evei 
 brave, patient, hopeful, ambitious in a certain sense, yet 
 modest. 
 
 Fully aware of the magnificent quality of her voice, 
 and of its phenomenal character; singing a higher 
 and a lower note than either of her great contempora- 
 lies, — 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 diligently 
 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 bom 
 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 
 j'ear 1844 this good lady died. In her will the subject 
 of this sketch was remembered by a substantial legacy. 
 The will, 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. 
 
Elizaheth Taylor Greenfield. 69 
 
 " Previous to the death of this lady, Elizabeth had become dis- 
 tinguished in the limited circle in which she was known for her 
 leraarkable powers of voice. Its tender, thrilling tones often 
 lightened the weight of age in one who was by her beloved as a 
 mother. 
 
 " By indomitable 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 whatever prejudices and 
 disadvantages they were presented. His daughter, herself an 
 amateur in the science of harmonious sounds, 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 fuU-toned piano- 
 forte, eliciting sweet, sad, sacred, solemn sounds. Emotion well- 
 nigh overcame her; but the gentle encouragement of her fair 
 yoimg friend dissipated her fears, and increased her confidence. 
 She 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 tmperceived 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 
 w) repeat her visit, but Miss Price, for a reasonable compensation, 
 undertook her instruction in the first rudiments of music. The 
 progress of genius is not like that of common minds. It is E eed- 
 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 HlgMy Musical People. 
 
 guardian. Elizabeth was rapidly acquiring an acquaint- 
 ance with music, when some one maliciously informed 
 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 reprimanded 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 skiU 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 death of her patroness, in consequence of the con- 
 tested will she found herself thrown upon her own resources for a 
 maintenance. Remembering some friends in the western part of 
 New York, she resolved to visit them. While crossing Lake Sen- 
 eca, en route to Buffalo, there came sweetly stealing upon the 
 senses of the passengers of the steamer her rich, full, round, 
 clear voice, unmarred by any flaw. The lady passengers, espe- 
 cially the noble Mrs. Gen. P., feeling that the power and sweet- 
 ness of Ler voice deserved attention, urged her to sing ag2,in, and 
 werj not satisfied until five or six more songs were given to them. 
 Before te<iching 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 elite 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 press, 
 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' 
 elation ; and her performances were received with marks of appro- 
 bation from the best musical talent in the city, that established her 
 reputation as a songstress. ' Give the " Black Swan," ' said they , 
 ' the cJiltivation and experience of the fair Swede or Mile. Parodi, 
 and she will rank favorably with those popular singers who liavt 
 carried the nation into captivity by their rare musical abililietj. 
 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 human voice with wonder- 
 ful ease, and apparently an entire want of exettion. Beginning 
 with G in the hass clef, she runs up the scale to E iu the treble clef, 
 and givep 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 wholly 
 natural, and, as might be expected, lacks the training and ex- 
 quisite cultivation that belong to the skilful Italian siuger. 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 gentlemen in Buffalo belongs the credit 
 of having first brought out Miss Greenfield in the con- 
 cert-rocm. The Buffalo papers took the matter in 
 hand, and assured the public they had much to expect 
 from a concert from this vocalist. The deep interest 
 her first public efforts elicited from them gave occasion 
 to tlie following certificate : — 
 
 Mr. H. E. HowAED. BaFPALO, Oct. 30, 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 MgTily 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's some- 
 what familiar. The concert was attended by an audience not 
 second 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. Keed 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 
 Jliss 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 afEord a satisfactory entertainment to our citizens." 
 (Signed by a large number of the most respected citizens of 
 Rochester.) 
 
 BocHESTEB, Dec. 6, 1851. 
 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 the 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 BufEalo, " The Express " 
 Bays, — 
 
 " On Monday, Parodi in all her splendor, sustained by Patti and 
 Stiukosch, sang at Corinthian Hall to half a house. Last night 
 
Elizabeth Taylor Greenfield. 73 
 
 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 teen 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 Ringue- 
 berg Hall last evening: among those present were our musi- 
 cal a-aateurs ; 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 D'issed 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 
 difierent pieces. Suffice it to say, that there never was a concert 
 given in this town which appeared to give more general satisfan 
 
74 Music and Some Highly 3Iusical People. 
 
 tion ; and every person we met on leaving the hall expressed theii 
 entire approbation of her performance. N(< higher compliment 
 could be paid to the ' Swan ' than the enthusiastic 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-morrow 
 evening, when the 'Black Swan' will give a new programme, 
 conKisting 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 
 raade by the singer highly favorable. 
 
 " We can safely say that Miss Greenfield possesses a voice 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. AVe 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 an 
 interchange of glances and words of aisproval; 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! ' was loudly encored ; and in response she gave the pretty 
 ballad, ' AVhon stars are in the quiet sky.' " 
 
JEJUzabeth Taylor Greenfield. 75 
 
 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 
 singing we have ever heard. 
 
 " We leara 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 Eegister," Albany, Jan. 19, 1852, 
 Baid, — 
 
 " The 'Black Swan's' Concert. — Miss Greenfield made her 
 d&)ut in this city on Saturday evening, before a large and brilliant 
 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 singing 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 of 
 
76 Music and Some Highly Musical People. 
 
 voice, or power of lung, but want of training alone. If her prea 
 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 obstacles, 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 aadience 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 ETening Transcript," Boston, Feb. 4, 1652, 
 said, — 
 
 "Miss Greenfield, the 'Black Swan,' made her debut before a 
 Boston audience last evening at the Melodeon. In 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- 
 '>~>»iBly applaud 3d and encored in every piece. She sings with 
 •"•eat ease, and apparently without any eifort. Her pronuncia- 
 .j 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," OolumLus, O., 
 March 3, 1852 : — 
 
 " Last evening proved that the 'Black Swan 'was all that the 
 journals say of her ; and Miss Greenfield stands confessedly bt 
 fore the Columbus world a swan of excellence. She is indpod a 
 remarkable swan. Although colored as dark as Ethiopia, she 
 utters notes as pur* as if uttered in the words of the Adriatic." 
 
 From " The Milwaukee Sentinel," AprU, 1852 : — 
 
 " What shall we say 7 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, 1852, — 
 
 . . . "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 Patti, 
 Sontag, Malibran, and Grisi ; we have heard the wondrous war- 
 blings of ' the Nightingale ; ' and we have listened with delight to 
 tile 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 uot only compare favora- 
 bly wiih 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 lasi, expecting to find that he had been deceived by the pufCa 
 of the American newspapers, must have found himself most 
 agreeably disappointed. . . . 
 
 " After he [the pianist] had retired, there was a general hush oi 
 expectation to see the entrance of the vocalist of the evening; and 
 pres'sntly there appeared a lady of a decidedly dark color, rather 
 inclined to an embonpoint, and with African formation of face. 
 
(8 Music and Some Highly Musical People. 
 
 She advanced calmly to the front of the platform, and conrtesiecJ 
 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 oh ar- 
 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. 
 risk's beautiful new hall on Wednesday evening last to a large 
 and intelligent audionce. 
 
 " We had seen frequent notices in our 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 those 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- 
 
JElizabeth Taylor Qreenjield. 79 
 
 able performer, tliat 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, ii. 
 regard to the excerpts given, that they are but fair sam- 
 [iles and reflections of the opinions entertained and ex- 
 pressed by the press, and by music-loving, cultured peo- 
 pli!, 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- 
 nique 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 
 coached 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, 1853. 
 Miss Elizabeth T. GKEEinriEiiD. 
 
 Madam, — By the suggestion of many enthusiastic admirers of 
 your laients, 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 heralilod 
 ajcong the true lovers of song, and admirers of exalted genius, o£ 
 which your unprecedented success on Wednesday evening must 
 have sufficiently convinced you ; while all are eloquent in the com- 
 lueudation of your superior powers and engaging method. 
 
 Confiding, madam, in your reported magnanimity and generos- 
 
80 Music and Some ElffMy Musical People. 
 
 ity to oblige, I will divest myself of tedious circumlocution, 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 Kew York in a British steam- 
 er fci England, April 6, 1853 ; and arrived in Liverpool the 16tb 
 oi April, 1853; rested over the sabbath, and proceeded Monday 
 morning to London, in which metropolis she became safely domi 
 ciled on the evening of the same day. 
 
 "But painful trials awaited her from a quarter the most unex- 
 peeled. The individual with whom she had drawn up the con- 
 tract for this musical tour was unfaithful to his promises ; and she 
 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 gi-anted her re- 
 quest, listened patiently to her history, 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, tlie following remarks : ' A good many caljs 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's. She sings a most magnificent tenor, with' such 
 a breadth and volume of sound, that, with your back turned, you 
 conld not imagine it to be a woman. While she was there, Mrs. 
 S. C. Hall, of the " Irish Sketches," was announced. J told her of 
 Miss Greenfield; and she took great interest in her, and requested 
 her to sing something for her. C. 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 \nt\v me, 
 and present her to Sir George Smart, who is at the head of the 
 
Elizabeth Taylor Grreenfield. 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 
 \iaited for me, but had taken Miss Greenfield to him herself. She 
 writes that he was really astonished and charmed at the wond(!rf al 
 weight, compass, and power of her voice. He was also as well 
 plea.sed with the mind in her singing, and her quicfcnesfi 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 begged 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 surprise 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 auietuess and 
 good sense.' 
 
82 Music and Some Highly Musical I'eopie. 
 
 " Her Grace the Duchess of Sutherland afterward becjame hei 
 ever-unfailing supporter and adviser. 
 
 " The piano-forte which previously had been furnished Miss 
 Greenfield to practise upon was taken from her. The Duchess 
 of Sutherland, upon learning the fact, immediately directed her 
 to select one from Broadwood'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 ana 
 dreamy than ever. The piano was on the flat stairway just below 
 the broad central landing. It was a grand piano, standing end 
 outward, aud perfectly banked up among hot-house flowers, so that 
 only its gilded top was visible. Sir George Smart 'presided. The 
 choicest of the dlUe were there, — ladies in demi-toilet and bon- 
 neted. Miss Greenfield stood among the singers on the staircase, 
 and excited a pathetic murmur among the audience. She is not 
 handsome, but looked very well. She has a pleasing dark face, 
 wore a black velvet head-dress and white carnelian ear-rings, a 
 black moire-antique silk made high in the neck, with white lace 
 falling sleeves and white gloves. A certain gentleness of manner 
 and self-possession, the result of the universal kindness shown her, 
 sat well upon her. Chevalier Bunsen, the Prussian ambassador, 
 sat by me. He looked at her with much interest. " Are the race 
 often as good-looking ? " he said. I said, " She is not handsome 
 compared with many, though I confess she looks uncommonly well 
 to-day." The singing was beautiful. Six of the most cultivated 
 glee-singers of London sang, among other things, " Spring's De- 
 lights are now returning," and " Where the Bee sucks, there lurk 
 I." The duchess said, " These glees are peculiarly English.'' 
 Miss Greenfield's turn for singing now came, and there was pro- 
 found attention. Her voice, with its keen, searching fire, its pen- 
 etrating vibrant quality, its tinibre as the French have it, cut 
 its way like a Damascus blade to the heart. She sang the balla<l, 
 "Old Folks at Home," giving one verse in the soprano, and 
 another m the tenor voice. As she stood partially concealed by 
 the piano, Chevalier Bunsen thought that the tenor part was per- 
 formed by one of the gentlemen. He was perfectly astonished 
 when he discovered that it was by her. This was rapturously en- 
 
Elizabeth Taylor Qreenfield. ■ 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. 
 
 She 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 coacert. Speaking of Miss Greenfield, he said, " I consider 
 
 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.'" 
 
 " TcESDAY, May 31, 1853. 
 
 " Miss Greenfield's first public morning concert took place at the 
 Queen's Concert Rooms, Hanover Square. She came out under 
 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 com^pass of nearly three octaves ; and her per- 
 formances on this occasion elicited the unmistakable evidence of 
 gratification." 
 
 " The London Times " said, — 
 
 "Miss Greenfield sings 'I know that my Redeemer liveth' 
 with as much pathos, power, and effect as does the ' Swedish 
 Nightingale,' Jenny Liud." 
 
 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 be 
 excellent." 
 
84 Music and Some EigMy Musical People. 
 
 " The London Advertiser " of June 16 con tained the 
 following comments : — 
 
 " A concert was given at Exeter Hall last evening by Miss 
 Greenfield, the American vocalist, better known in this country 
 nnder 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 against 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 
 efEective 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 she 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 first-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 Rosina Bentley played a fan- 
 tasia by Lutz very brilliantly, and afterward, assisted by Miss 
 Kate Loder (who, however, must now be known as Iilrs. Henry 
 Thompson), in a grand duet for two piano-fortes by Osborne. M. 
 Valadares executed a curious Indian air, ' Hilli MUli Puniah,' on 
 the violin ; and Mr. Henry Distin a solo on the sax tuba. The 
 band was 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 Duchess of Suther- 
 land, was highly successful, and went ofE 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 Ailesbui-y, the Most Noble the Marchioness of Kil 
 
JElkaheth Taylor Greenfield. 85 
 
 dare, the Most Noble the Marquis of Lansdowne, the Earl and 
 Countess of Shaftesbury, the Earl of Carlisle, the Com tf;ss of 
 Jersey, the Countess of Granville, the Countess of Wilton, the 
 Viscountess Palmerston, the Lady Constance Grosveuor, and Mrs. 
 Harriet Beecher Stowe. 
 
 "Focaiiste.— Miss E. T. Greenfield (the 'Black Swan'), Ma- 
 dame Taccani, Countess Tasca, Mr, Emanuel Roberts (Queen's 
 concerts). 
 
 " Instrumentcdists. — Kano-f orte soloist, Miss Rosina Bently (pupil 
 of Miss Kate Loder) ; violin, M. de Valadares (pupil of the Con- 
 servatoire, Paris); accompanist, Mons. Edouard Henri; conduct- 
 or, Mr. F. Theseus 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, I^Iiss Pyne, and Mr. W. Harri- 
 son; pianist. Miss Rosina Bently; violinist, M. de Valadares from 
 the East Indies ; accompanist, Mr. R. Thomas." 
 
 " In October, 1S53, 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 AUeyne, 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 »^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, A'iscountess Palmer- 
 ston, the Lady Constance Grosvenor, and Mrs. Harriet Beecher 
 Stowe. 
 
 " Artists. — Miss E. T. Greenfield, Miss J. Brougham, Miss K 
 Brougham Mr. Charles Cotton, Mr. Augustus Braham the emi- 
 nent tenor ; piano-forte, Miss Eliza Ward." 
 
86 Music and Some Eiglily Musical People. 
 
 "At the Theatre Royal, Lincoln, Deo. 23, 1853, under the same 
 distinguished patronage as at Hammersmith. 
 
 " Artists. — Mrs. Alexander Newton (of her Majesty's Grand 
 National 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 Greenfield 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 GKEENrLui,D, from Sir Geoege Smaet, Kt., 
 
 " ' Organist and Composer to her Majesty's Chapel Koyal. 
 " ' June 24, 1854. No. 91, Gk. Poetland St., London.' 
 
 " ' This is to certify that Miss Greenfield had the honor of sing- 
 ing before her Majesty the Queen at Buckingham Palace. By 
 lier Majesty's command, " ' C. B. Phipps. 
 
 " ' Buckingham Palace, July 22, 1854, London.' " 
 
 " In May, 1854, she received an invitation through the Kev. 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. 
 
 "With 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 mucli benefit to Miss Greenfield in an 
 intrinsic, artistic sense, adding decided Sclat to her 
 professional reputation. " The New- York Herald," a 
 journal Avhich in those days was generally quite averse 
 to bestowing even well-merited praise upon persons of 
 ner race, was, however, so much moved upon by her 
 exhibition of an increased technical knowledge of the 
 
Elizaleth Taylor Greenfield. 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 
 AprU, 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 
 knowledge 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 
 brUliant 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 MUton 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 hia singers upon earth 
 Witli BongB of sadness and of mirth, 
 That they might touch the hearts of men, 
 And bring them hack to heaven again. 
 
 But the great Master said, * I see 
 
 No hest in kind, hut in degree : 
 
 I gave a various gift to each, — 
 
 To charm, to strengthen, and to teach.* ** 
 
 From Longfellow's The ':mgen. 
 
 "T'TT'HILE 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 
 while, 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 bestowment 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 gi-eat 
 
 88 
 
1. AtEXANBER C. tCCA, SEN. ^ 3. ALEXANDER C. LUCA, JTIW. 
 
 a CLETELAND O. LUCA. 4. JOHN W. LUCA. 
 
The "Luca Family. " 89 
 
 musical inspiration ; into whose keeping is placed fcbc 
 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 kind produces the effects 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 
 qmte 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 family," a brief 
 account of whose remarkable natural endowments, 
 superior acquirements, and interesting musical life, is 
 here appended. 
 
 The family, as at first professionally organized, con- 
 
90 3Iusic and Some HiCjlily Musical People. 
 
 siated 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 occar 
 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 joiu 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 famUy. Soon 
 after his arrival at New Haven, Mr. Luca, having ac- 
 quired by this time quite a fine loiowledge of music, 
 and being an excellent vocalist, was chosen chorister of 
 a Congregationalist church. In a short time hus choir 
 
The •■'■Luca Family" 91 
 
 wa& considered the equal of any in the city ; which ■was 
 iiigh but well-deserved praise. Some time previously 
 to the formation of what was called professionally the 
 " Luca family," the subject of this sketch organized a 
 quartet consisting of Miss Dianah Lewis,^ a sister of 
 his Avife, his two older sons, and himself, and gave in 
 New Haven and vicinity a number of fine conceits 
 Mr. I;uca trained all his children in music at an earl} 
 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. One of- the sons thus speaks of her: " 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 wliich idle hours and mischievous 
 associations engendered." 
 
 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 fr-e- 
 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. 
 
 ouneon G. possessed a tenor voice of extraordinary 
 compass, singing high C with the greatest ease. Ho 
 sang the choicest music from the various operas tc 
 
 1 She was a vocalist of rare powers, and was considered the equal o» 
 the celebrated Miss Greenfield, or, as the latter was frequently called, 
 the " Black Swan." 
 
92 Music and Some Eighly 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 yoimg Cleveland made his services indispen- 
 sable, and he was of course taken as a member. As 
 
The '■'■Luca Family" 93 
 
 the "wonderfiil boy pianist," he everywhere crealed 
 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 thtsy 
 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 
 mastar-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 him, 
 placed before him some technical and very difficult 
 work. 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 tne 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 veraa 
 tility of talent. His repertoire was an extensive one, 
 and decidedly " taking " in the varied character of its 
 
94 Music and Some EigMy 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 his 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 being 
 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 Ids much-abused race in 
 dissipating, by his wonderful musical qualities, the 
 imjust and cruel prejudice that so generally prevailed 
 
The "Luca 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 ! but too frequently rest content merely 
 with observing the signs of genius in their eliildren, 
 allo\^dng the at first bright spark to go untended, to 
 burn " with fitful glare," and to finally become, from thia 
 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 this wise : 
 Simeon Luca sang first tenor, Alexander second tenor, 
 Cleveland soprano, and John sang bass (or baritone if 
 desired). 
 
 InstrumentaUy 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 HigMy 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 weU 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 
 trij) 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. 
 
The "■Luoa Family." 97 
 
 I should have mentioned ere this that John and 
 Alexander Luca had been taught by their father the 
 shoemaking trade, and that for some time they applied 
 tliemselves 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 ; 
 sometimes returning vnth 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 public 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 
 tlie 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 Som? ExgJily 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 as 
 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. 
 tShe 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 quartet. 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 
 lown became the scene of a most pleasant commotion. 
 No siich 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 homes 
 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 Diore 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 ciiltivated 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, 1857 : — 
 
 " THE LUCA FAMILY. 
 
 " This company of singers, consisting of four [three] broihera 
 and their mother, gave a concert at Ringueberg Hall last (Mon- 
 day') evening ; and their performance was such as to elicit the 
 entiiusiastic approval of all present. Coming among us as stran- 
 l^ers, 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 Musio and Some SigMy Musical People. 
 
 evinced the highest order of musical culture, the most excellent 
 taste, with that superior power of execution which locj 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. O. 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 thfere 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 secure 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 emtdate; and, when tLj 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 
 so on Friday evening next, when we hope to see an audience out 
 
The "-Luca Family." 101 
 
 worthy of their supeiior 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, and LITTLE FREDDT; 
 with the 
 
 LUCA BROTHERS, 
 
 JOHN AND ALEXANDER, and CLEVELAND, 
 . The Wonderful PianistI 
 
 Humor, Sentiment, and Opera! 
 
 ftem the established reputation o( both these cotnpames, a raie 
 ti-eat may be expected. 
 
102 Muisic and Some Highly Musical People. 
 
 (II.) 
 
 By Special Aerakgements, 
 
 THE HUTCHINSONS 
 
 will tie assisted at their 
 
 CONCERT 
 
 in this place by the 
 
 LUCA FAMILY, 
 
 with their 
 "Wonderful Pianist! 
 
 As a reflection of the terrible, tlie 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 Hutchinsons, — 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 lare 
 treat; but, alas I how wofully were we disappointed! . . . 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 commimity." 
 
 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- 
 uig contrast with the foregoing, I give the following. 
 
The "Luca Family." 103 
 
 'The Norwalk (O.) Reflector," March 1, 1859, 
 says, — 
 
 "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 
 artists 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 cou- 
 certs." 
 
 A Sandusky (O.) paper, March 1, 1859, 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 ordei, 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 B., 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. Tliis 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., Dec. 15, 1875. 
 In 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 the difficult and new compositions that were presented 
 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 reformat 
 tory sentiments and songs to a successful termination ; and, not- 
 irithstanding the then great and bitter prejudice of our audiences 
 
The "-iMca Family ." 105 
 
 against us all for daring thus publicly to associate together, 
 they cheered our combined efiorts 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 Luna family. 
 
 Aba B. HunwrasoJi. 
 
vn. 
 
 UKNRY F. WILLIAMS, 
 COMPOSER, BAND-INSTRUCTOR, ETC. 
 
 A 
 
 *' Thy purpose firm is equal to the deed." 
 *'Hi8 lyre well tuned to rapturous sounds." 
 
 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, vphere, to my great astonishment, 
 I saw undoubtedly the greatest assemblage of human beings ever 
 congregated under 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. 
 AVilliams and F. E. Lewis. Each of these was competent to play 
 his part, or he could not have occupied a place in the orchestra. 1 
 was informed by the superintendent of the orchestra that both 
 these man were subjected to a very rigid examination prior to the 
 sommeucement of the concerts." 
 
 The pleasure afforded this writer, by witnessing our 
 subject's appearance on the memorable occasion referred 
 
 106 
 
HENRY F. "WILLIAMS. 
 
Henry F. Williams. 107 
 
 fco, Tsras shared by many other persons who were able to 
 distinguish him in that vast 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 "William 
 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 aO), on the weak ground of color, to playing 
 with Mr. WilUams. Neither Mr. GUmore nor myself 
 knew any man by the color of his face. What we 
 wanted for the grand orchestra was good musidatis, 
 and, when any one objected to our two colored per 
 
108 Music and Some Elghly Musical People. 
 
 formers, we triumphantly referred to the exacting and 
 satisfactory test they had undergone as suflBcient answer 
 to the foolish clamors of aU those afflicted with ' color- 
 phobia.' Seeing the managers of the Jubilee thus 
 resolvsd, and conyinced 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 wafe harmony thereafter. 
 
 And here I may be permitted to record the thanks of 
 aU 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 all these places they did their share 
 in making the occasion a grand success, while they 
 justified fully 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 we must take things as we 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 be 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 
 
Menry F. Williams. 109 
 
 might well have provoked from that gentleman a smile 
 of contempt; for he was a far older and much more 
 sldlful performer than many who at first objected to 
 playing with him. He 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 times 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 Mi. 
 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 Music and Some Highly Musical 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. Gibnore, 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 iu 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 wliich he spoke very highly, 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 pub- 
 lishers 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 
 mtroduction, and containing some very bright and 
 sweetly-flowing melodies. These waltzes had a good 
 sale, and added much to the composer's reputation. 
 
Senry F. Williams. 1]] 
 
 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 whiclj 
 was much praised by persons of musical judgment. At 
 lliat time so greatly was the judgment of people affected 
 by color-prejudice, that many persons doubted the 
 ability 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 be 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. Williams to go to Liberia. Had Mr. Ma- 
 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. WiUiams t^ 
 hury himself in Africa, declared that the latter should 
 have an equal chance with others in this country iu de- 
 veloping his musical powers, — had Mr. Mason done 
 
112 Music and Some Slghly 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 iU 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 will only add, that in 
 the remarkably fine acliievements 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 measiire 
 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 
 
Senry 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 exhibit musical talents, and evince a conscientious 
 desire to improve the same. 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, his musical life has real< 
 ly been a noble success. 
 
vm. 
 
 JUSTIN HOLLAND, 
 THE EMINENT AUTHOR AND ARRANGER, 
 
 AND PEBFOBMEK ON THE GUITAK, FLUTE, AND PIANO- FOE TK. 
 
 *' Gayly the troubadoar 
 Touched hie guitar." 
 
 Old Sono. 
 
 ** Untwisting all the chains that tie 
 The hidden soul of hannony." 
 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 all who would follow in his footsteps, be- 
 coming for them an inspiring example ; its history, with 
 all its experiences of hope and fear, it? 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. 
 
.rUSTIN HOLLAND. 
 
Justin Holland. 115 
 
 a beacon indeed, to illumine their pathway as they 
 climb the same difficult but glorious hills 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." 
 
 Tlioughts 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 
 airanging 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 complete 
 idea of this artist' s very varied accomplishments, theo 
 the heading would have been simply, " Justin Holland, 
 musician." But judging that such brevity, however 
 desirable in some respects, might yet fail in doing jus- 
 tice Ui 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 Some 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 effectively 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, — 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 learnmg 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 music 
 ( ?} as was at that time discoursed in such places. But 
 previously to this, when only a boy of eight years, he 
 accidentally came into possession of an old song-book 
 mth words only. Being much delighted with this, he 
 
Justin Solland. 117 
 
 often perched himself upon a rail-fence, 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 Seuor 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 cliief 
 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 
 owTi amusement. His first music-teacher was J\Ir. 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 he began lessons with 
 Mr. William Schubert, also a member of Kendall's band, 
 
118 Music and Some Sighly Musical People. 
 
 and a correct and brilliant performer on the giiitar 
 Under this teacher our subject soon made rapid progress, 
 becoming a favorite pupil from his ability to play duets 
 with his 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 
 fi'om 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 opportupities 
 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 liim 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 
 jlose attention he gave to the subject of music and t-^n 
 
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 wliich he was guided, I 
 give the following extract from a letter of his to a friend, 
 desciibing his life at the time just mentioned. He 
 says, — 
 
 '• I adopted as a rule of guidance for myself, that I ■would da 
 full justice to the learner in my efiorts 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 intercourse as teacher I would preserve 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 not satisfy 
 him ; and he determined to attain to stUl greater profi- 
 ciency. Finding that the best systems for guitar-play- 
 ing were such as were taught in the works (foreign) of 
 Sor, CaruUi, 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 dUigent study acqmred a 
 knowledge of the languages mentioned; and, as will 
 hereafter appear, this knowledge became of groat use 
 to him. 
 
 The secret of our subject's great success as a guitar- 
 virtuoso may be readily gathered from the statement T 
 
120 Music and Some Highly Musical People. 
 
 have just made about tlie foreign languages. He wat 
 always thorougli, enterprising, singularly industrious. Lov- 
 ing deeply his chosen profession and instrument, he 
 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 performer 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 coniposer 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 skUful 
 arrangements ; and in this, his special field of musical 
 labor, — speaking with respect either to the quantity or 
 quality of his works, — he is without an equal in this 
 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 
 lie adapt the same to the guitar. He did not need to 
 sound his own praises. While he quietly worked with 
 liis pupils in Cleveland, his fame as a skilful musician 
 was spreading over the country. Soon publishers began 
 to send him "rders for arrangements. Such pieces as 
 he had written merely for diversion, or for use with his 
 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 wUl 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 niunber, 
 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 
 of Venice." It is a five-page concert-piece, equal to ten 
 oi 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 : 
 this they can do from any of the music-publishers. 
 Nor is a guitar library complete unless it contains 
 
122 Music and Some Highly 3fusical 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 jMelod}^" twenty-three pieces, 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 ]\Ielodies," 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 ; 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 considera- 
 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, while 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 CI eve- 
 land " Plain-Dealer " of Dec. 24, 1868: — 
 
Justin Holland. 123 
 
 "AN IMPORTANT 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 wag 
 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 state, 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 composer 
 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, we 
 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 1875, it being styled "Hol- 
 land's Modern Method for the Guitar." Although 
 smaller in size than the first one, it is regarded as the 
 best 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 harmonic 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. 1 stopped for several weeks, and began a series of obser- 
 vations on the vibrations on the strings of my guitar; having 
 nothing 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 liis 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, 125 
 
 " He always had a horror of asking any one for credit or a loan. 
 A-t a certain time he found himself out of ready money. It waa 
 Sunday, and he had not the ' wherewith ' to get his brealdast on 
 Monday momuig. 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 he feel like asking anywhere for credit. He had, 
 however, a small job of writing that had been sent in, for which, 
 when done, he was to receive about twenty-five dollars. Here was 
 Mr. Holland's resource. He began his work about seven o'clock on 
 Sunday evening. He wrote till late. Becoming weary, and his 
 ej elids being heavy, he lighted a sphit-lamp ; and with a very dimiu- 
 utive French coffee-pot he prepared, and soon was sipping, a cup 
 of coffee that no doubt would have pleased the Arabian prophet, 
 had he been present to partake. Refreshed by this, he continued 
 his labors until the darkness grew to gray dawn, and the dawn to 
 full light of day. At seven in 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 pr 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 
 but toiling ones when creating the works that so much 
 aontribute to the pleasure of our leisure moments ! 
 
 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 the 
 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 — no 
 
126 Music and Some Highly Musical People. 
 
 doubt on account of his color — to give liim 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 noAV 
 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 curtailed, 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. Beainakd's Sons' Musio-Puelishing House, 
 Cleveland, O., April 2, 1877. 
 Dear Sir, — ... Mr. Justin Holland is one of our finest practi- 
 cal and theoretical musicians. He has written two large methrtls 
 for the guitar, besides being the composer and arranger of a large 
 amount of guitar-music, both vocal and instrumental. lis is a 
 refined and educated gentleman of very modest and unpretending 
 character, but is a thorough musician and student. 
 Yours, 
 
 S. Brainard's Soxs. 
 
 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 
 that Mr. Holland intended, to remain there, thus spoke 
 of him editorially : — 
 
 " PUOFESSOR HOLLAND. 
 
 " We had the pleasure of a visit yesterday from Professor J, 
 Holland of Louisiana, who is an eminent music teacher and writer 
 of thirty years' practical experience. He purposes locating in 
 Leavenworth, and giving instructions on the guitar, flute, and 
 pi;ino. He has made an especial study of the guitar, and has 
 written a work on it which is pronounced the best in print by 
 competent critics. We need just such a man as the professor in 
 this 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 for October, 1877 : — 
 
 ..." Again we would mention Jlr. 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 Mi. 
 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 Ms deport- 
 ment towards them, that the persons just mentioned, 
 d,nd others of his scholars, have ever entertained for 
 him not only feelings of deep respect, but those also 
 
128 Music and Some EUgMy 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. Brigga 
 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 pupU. 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 dn, 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 himself 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 
 
Justin Solland. 129 
 
 reputation as a musician. It is more nearly world- 
 wide ; for we find that as a Mason he is well known in 
 ll.e 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 monthly " Der Frei- 
 maurer " (" 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 he has held the offices 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 haye 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 
 times received complimentary mention in the addresses 
 of the Grand Masters of the Ohio Lodge; and in 1866 
 
130 Music and Some Sighly 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 canse 
 founded on the noble principles of faith, hope, and 
 charity. 
 
 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, he 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 shall 
 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 " ! 
 
THOMAS J. BOWERS. 
 
IX. 
 
 THOMAS J. BOWERS, 
 TENOR -vocalist; 
 
 OFTEN STTXED 
 
 THE "AMERICAN MARIO." 
 
 ** Sweet is every sound; 
 Sweeter thy voice." 
 
 TBinrTsoN'. 
 
 THOMAS J. BOWERS, who, owing to his resem 
 bliug in the magnificent quality of his voice that 
 celebrated Italian singer, has been styled by the presa 
 the " American Mario," was bom 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 liis children should learn music, first 
 procured a piano and an instructor for liis eldest son, 
 John C. Bowers ; intending, after he became competent 
 so to do, that he sht)uld teach the other childcen. This 
 puq)Ose was accomplished; and our subject was in- 
 
 131 
 
132 Music and Some Highly Musical People. 
 
 structed by Mb 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 exliibited 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. 
 
 TLe parents of the subject of this 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 PMladelphia, 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 sliould 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 hia 
 fii=5t public " hit," as it is called, yet the press of Phila- 
 delphia spoke of his performances on that occasion m 
 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 IMr. 
 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 
 Sarah Taylor Greenfield, the famous songstress. The 
 great vocal ability as well as the novelty fonted by the 
 complexions of this couple produced quite a sensation, 
 and secured for thom great success wherever they ap- 
 pe ired. 
 
 During this tour Col. Wood wished Mr. Bowers to 
 
134 Music and Some Higldy Musical People. 
 
 ajipear 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- 
 taiiied 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 thus 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 ten-ibly vUified." 
 
 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 haU, or else to 
 force them to occupy seats near the entrance, or away 
 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 excite.ment. Our artist espoused Dr. Brown's 
 cause J informed Col. Wood that he would not sing, if he 
 refused to admit the doctor's party on the terms implied 
 by 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 " I] 
 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 Music and Some Sighly 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 great 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 perfonners." 
 
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 liii 
 solo-pieces and in his duets with Miss Greenfield." 
 
 The true value of the foregoing comments from the 
 pi ess will be better understood when the reader calls to 
 mind the fact, that, when they were made, Mr. Bowers 
 had as contemporaries the wonderful Signer 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 hia 
 time. 
 
X. 
 
 JAMES GLOUCESTER DEMAREST, 
 GUITAR AND VIOLIN. 
 
 " Soft is the music that would charm forever." 
 
 WOEDSWOBTH. 
 
 THE guitar, although not of sufficient power for 
 general orchestral purposes, is yet excellent for 
 finished solo-playing, and as an accompaniment to a 
 voice. It was much used by the ancient troubadours, 
 its dulcet tones according well with their songs. In 
 Italy and Spain, in other parts of Europe, as well as in 
 some sections of this country, the guitar is much 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- 
 v.rtuosos that have lived may be mentioned F. Sor, 
 1? )ssa, Aguado, Giuliani, Carulli, Holland, Douglass ; 
 and, as comparing favorably with these, I may mention 
 Demarest, of whom I shall now briefly speak. 
 
 Mr. Demarest, for many years a resident teacher of 
 Boston, was one of the finest guitar-performers in the 
 
 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 tlie couutrj- are not at all to be mentioned ; for, thor- 
 oiij,ddy 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 riclmcss 
 and beauty, as few, before hearing his playing, iiiia 
 gined it capable. He but rarely indulged himself or Ida 
 hearers in playing accompaniments to songs (the use, 
 by the way, to which the guitar is often put) ; but with 
 masterly sldll 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, Mt. Demarest has often delighted audiences by 
 fine interpretations of the best music published. 
 
 He was also a proficient arranger of music for the 
 guitar, and, besides, composed some fine pieces for it. I 
 do not know that any of his works were ever published : 
 I think they were not ; they b«ing prepared simply to 
 facilitate the progress of his pupUs, and for his own 
 amusement. 
 
 It is said that on one occasion a prominent guitarist, 
 — n teacher of and writer for the guitar, — when asked 
 to give his opinion of one of Demarest's compositions, 
 remarked that it was "too difficult for the giiitar." 
 However this may have been, no one could say that it 
 was too difficult for the composer to perform; and, tliat 
 being true, it ought not to have been considered as 
 beyond the possible reach of other skilful players. 
 ytiJl the critic referred to may only have meant by hia 
 
140 Music and Some Highly Musical People. 
 
 remark that the i^iece 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 stilful 
 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, tmvaried accompaniment to the 
 popular love-songs of the day. 
 
 Mr. Demarest was also a violinist of fair abUity. 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, deeply 
 regretted by many, not more on account of his high 
 musical than his gentlemanly, genial qualities. 
 
 " Sweet Mercy ! to the gates of heaven 
 This minstrel lead, his sins forgiven." 
 
THOMAS OREENB BBTHDNB. 
 
XI. 
 
 THOMAS GREENE BETHUNE, 
 
 OTHERWISE KNOWK AS 
 
 "BLIND TOM," THE WONDERFUL PIANIST 
 
 •* Who ran 
 Through each mode of the lyre, and was master 
 
 Of»"-" MOOBK. , 
 
 " Bright gem instinct \7iti1 music." 
 
 WOEDSWORTH. 
 
 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 all 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 bemg in- whose sympathetic 
 soul lies the ready, the perfect correlative of every note 
 of melody in nature or in art that is caught by hia 
 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 consimimate ease, all of its resources that are 
 ki\own to skUful 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 ! 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, qviite beyond the 
 powers of the performer of mere musical tricks. But, 
 even were they such, this wonderful mTisician 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 
 In short,, he plays every piece that he has ever/heard. 
 How almost godlike (it cannot be brought^o human 
 comparison) is this retentive, this p>erfect memory, aa 
 
Thomas Greene Bethune. 143 
 
 relating to all that is musical, or even unmusical, in 
 sound ! 
 
 Nor does lie need to depend upon tlie music composef' 
 by others. His own soul is full of harmony, endless is 
 variety, and most ravishing. Take from him, vrere 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 " Eain 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, 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 vidth 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 one lives, or, as far as we know, has ever lived, 
 that can at aU be compared with him. Only the musi- 
 cal heroes of -mythology remind us of him ; for he is 
 
 " As sweet and musical 
 As lariglit Apollo's lute strung with his hair; " 
 
 And Ariel, Shakspeare's child of fancy, who on Pros- 
 pero's island constantly gave forth melodies of ever- 
 varied, ever-enchanting sweetness, filling aU the air 
 with delicious harmony, — that musical spirit was but 
 an anticipation of the coming of this actuaV wonder in 
 music. Of him an eloquent writer has beautifully said, 
 " There is music in all things ; but ' Blind Tom ' is 
 
144 Music and Some Highly Musical People. 
 
 tlie temple wherein music 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 which is godlike. 
 
 Some persons, it is true, judging from certain mani- 
 festations of his, or from certain lack of manifestations, 
 haye 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, as 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 interestiag, not only to the 
 student in music, but to all classes of readers. 
 
 " Thomas Greene Bethune " (I am qnoting from his biography), 
 " better known to the public as ' Blind Tom,' was bom within a few 
 mUes of the city of Columbxis, Ga., on the twenty-fifth day of May, 
 1849. He is of pure negro blood, and was born blind. His first 
 manifestation 6f 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 aU 
 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 hom-s, have observed, that, a few 
 
Thomas Greene Bethune. 145 
 
 mhmtes 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 -whe a that 
 sound was produced, Tom was certain to be there, and remain 
 until the hour was struck. 
 
 " lie 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, — 
 
 " ' lie sings fine seconds to any thing we sing.' 
 
 " His voice was then strong, soft, and m.elodious. 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 affect 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 whence the sounds pro- 
 ceeded, and how they were produced, he was anxiotis 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 tlieir pieces. He continued to play until the family at the 
 iMTial time arose, and gathered around him to witness and wonder 
 at his performance, which, though necessarily very imperfect, was 
 marvellously strange; for, notwithstanding this was his first known 
 effoit at a tune, he played with both hands, and used the black as 
 well as the white keys. 
 
 " Alter a while he was allowed free access to the piano, and com- 
 
146 Music and Some Sighly Musical People. 
 
 laenced playing every thing he heard. He soon mastered all of 
 that, and commenced composing for himself. lie would sit at the 
 piano for 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 something 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 
 Ihuigs; and not unfrequently 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 
 running water, something so enchanting to Tom, that from 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 obtaiued permission to 
 exhibit him, hired a piano of this man, and invited him to visit 
 his concert. He indignantly rejected the invitation. 
 
Thomas Greene Bethune. 147 
 
 " The man, however, succeeded in awakening the curiosity ol 
 the wife of the musician sufficiently to induce her to attend ; and 
 she gave her hushand such accounts, that he went the ne^t 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 as 
 that little blind negro, and will never see such another.* - 
 
 Encouraged by this, the ezhibiter 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 
 tlian 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 even 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 i;t sooner by hearing fine 
 music' 
 
 ' ' It has been stated that Tom was bom blind. In his infancy an. v 
 for years the pupils of his eyes were as white and apparently as 
 inanimate as those of a dead fish. Bat nature pointed out to him 
 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 uptiurned to the sun, as it 
 gazing intently upon it, occasionally passing his hand back and 
 forth with a rapid motion, before his eyes. That was soon followed 
 by thrusting his fingers into his eyes with a force which appeared 
 to be almost sufficient to expel the eyeballs from their sockets. 
 From tins he proceeded to digging into one of them with sticks, 
 until th6 oiood would mn down his face. All this must, have been 
 pleasant to him, or he would not have done it ; and there is no 
 doubt that he is indebted to the stimulus thus applied to his eyes 
 foi- the measm-e of sight he now enjoys. When five or six years 
 of age, a small, comparatively clear speck appeared in one of lua 
 eyes; and it was discovered that within a very small space he could 
 B5e any bright object. That eye has continued to clear, until he is 
 now able to see luminous bodies at a distance, and can distinguish 
 imaU bodies by bringing them close to his eye. Persons that he 
 
148 Music and Some Highly Musical People. 
 
 knows well he can distinguish at the distance of a few feet; and 
 it is 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 learns witliout difficulty. 
 Its substance he seems to comprehend intuitively. To teach him 
 the notes, it was necessary only to sound them, and tell him their 
 naiaes. 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 BO pervades his whole nature as to leave little room for 
 interest in any thing 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 
 as applicable to any of the ordinary affairs of life, or that those 
 who see him only under 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 i-ublic. He never engaged in the plays of children, or mani- 
 Idi'x.A any interest in them. His amusements were all his own. 
 With, a physical organization of great 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 Bethwne. 149 
 
 put himself in almost every conceivable posture, and resorted to 
 those exercises which requu-ed the most violent physical exertion. 
 They are now necessary certainly to his enjoyment, perhaps to his 
 health. 
 
 " Tom has been seen probably by more people than any one 
 living being. He has played in almost every important cii^y in tha 
 United States and in a great many of the smaller towns, in Fdi'is, 
 and in most of the principal cities of England and Scotland. . . . 
 Tho.se who have observed him most closely, and attempted to 
 investigate him, pronounce him a 'living mu-acle,' unparalleled, 
 incomprehensible, such as has not been seen before, and probably 
 will never be seen again." 
 
 I find, in reading his biography, that in Philadelphia 
 and Pittsburg, in England and Scotland, scientists 
 were asked to give an opinion as to " Blind Tom's " mu- 
 sical genius. I select only one from these opinions. 
 The others (from Charles Halle, I. Moscheles, and 
 Professor H. S. Oakley, all very eminent musicians) 
 agree with this one, and need not be given. 
 
 Philadelphia, Sept. 16, 1865. 
 
 Dear Sir, — The undersigned desire to express to you their 
 thanks for the opportunity afforded to them of hearing and seeing 
 the wonderful performances of your protege, the blind boy pianist, 
 Tum. They find it impossible to account for these immense re- 
 sults upon any hypothesis growing out of the known laws of art 
 and science. 
 
 In the numerous tests to which Tom was subjected in our 
 presence, or by us, he invariably came off triumphant. Whether 
 *n deciding the pitch or component parts of chords the most difli- 
 cult and dissonant; whether in repeating with correctness and 
 precision any pieces, written or impromptu, played to him for the 
 first and only time ; whether in his improvisations, or performances 
 of compositions by Thalberg, Gottschalk, Verdi, and others ; in 
 fact, under every form of musical examination, — and the experi- 
 ments are too numerous to mention or enumerate, — he showed a 
 
150 Music and Some KigUy Musical People. 
 
 power and capacity ranking him among the most -wonderful phe« 
 nomena recorded in musical history. 
 
 Accept, dear sir, the regards of your humble servants, 
 
 B. C. Cross, J. H. Kedncb, 
 
 James M. Beck, Cael Eobse, 
 
 G. Blandneb, C. Blancgau«, 
 
 J. A. Steen, J. A. Getza, 
 
 And several others. 
 
 Here are some clippings from American and English 
 newspapers. 
 
 From " The Public Ledger," Philadelphia, Sept. 27, 
 1865: — 
 
 " Many professors of music of great eminence have been ready, 
 after listening to him, to declare that they would never touch the 
 piano again. What he has done in public in the way of playing 
 the most difficult pieces after hearing them but once, and with a 
 perfection that years of practice could not usually apply, is known 
 tu all the lovers of music in this city. 
 
 " The secret of this wonderful power is the most perfect ear for 
 the harmonies of sound ever observed, — 'only this, and nothing 
 more.' To him every thing is music. Discords do not seem to 
 disturb him ; but his ear catches every harmony, and his whole 
 being seems entranced and controlled by it. Let him stand with 
 his back to a piano, and any number of chords be struck, and he 
 will instantly tell every note sounded, showing that he has been 
 able to discriminate, and his memory to retain distinctly and 
 perfectly, each sound. The phrenologists say that memory is in 
 proportion to clearness and strength of the impression produced at 
 first ; and this must be the case with him. From two years old 
 this remarkable power of sound over him has been noticed. He 
 has been blind from birth ; and it would seem here, as often ob- 
 served before, that, by a compensative law of our being, in pro- 
 portion as one sense is defective, the expenditure of vital energy 
 thus saved is absorbed by some other sense. Probably all our 
 sensations are the result of vibrations; and the. pulsations of light 
 'ihat usually enter and give all their exquisite pleasure through 
 the eye-ball are in his case compensated for by the pulsations of 
 sound, which strike on an ear possessed of nerves of double deli- 
 
Thomas Greene BetJiwne. 151 
 
 cacy and vital energy from the absorption and concentration of 
 two senses in one. 
 
 " ' Blind Tom ' is not, however, the senseless being that most 
 imagine him, but rather like one completely guided and governed 
 by this one sense alone. As a lad, the song of a bird would lead 
 him to wander off into the woods ; and then the sound of the flute 
 would bring him to those who went in search of him. . . . 
 
 " Perhap3 a proper study of the case of this lad might show 
 t<i what extent all (though in less degree) might be educated 
 through music. It is certainly this alone that can be most easily 
 developed. Probably the highest and best emotions might be thus 
 permanently excited within him ; while the desire for those pleas- 
 ures leads him to put forth intellectual efforts that nothing else 
 can. . . . But his performances in music show how the highest 
 results of art and study are most easily reached by this lad in his 
 one-sided culture and development, — that of the ear alone. It is 
 with him a sort of inspiration. The science of. music he will 
 probably never be able to master; but we must remember that the 
 art of it preceded the science in Egypt, in Palestine, in Greece, 
 and iu Rome, by long ages. Indeed, it was the music of the 
 Hebrews, and then of the Christian Church, that gave birth to 
 scientific music, and alone developed it, until that of the opera 
 gave rise to a distinct branch of the culture. This re-acted power- 
 fully on sacred music itself. ' Blind Tom ' at present likes operatic 
 music best." 
 
 "The Albany (N.Y.) Argus" of January, 1866, 
 said, — ' 
 
 " ifow test the power of analysis. Three pianos are opened: at 
 two of them persons present hammer away, with the design of pro- 
 ducing the most perfect discord imaginable; at the third piano, the 
 professor makes a run of twenty notes. The confusion ceaises, and 
 i'om r'epeats in a moment each of the twenty notes sounded. Still 
 anotl.er test. Tom takes the stool himself. With his right hand 
 he playa ' ifankee Doodle ' in B flat. With his left liand he jjer- 
 torms ' Fisher's Hornpipe ' in C. At the same time he sings 
 ■Tramp, tramp,' in another key, — maintaining three diEtiuct 
 processes in that discord, and apparently without any effort what- 
 ever. 'Most mai-veUous! ' you say; 'but can he express as well 
 
152 Music and Some Sighly Musical People. 
 
 as he perceives? ' The gentlemanly director will let you see. Ha 
 asks Tom to render ' Home, Sweet Home,' by Thalberg. Yon 
 know, that, of all productions in the cuiTent reperloire, there are 
 none which have finer or more difficult shades than this. ' Blind 
 l.'om ' proceeds ; and, were you to close your eyes, you could not tell 
 but Thalberg himself was at the instrument, so perfect and so ex- 
 quisite is the conception and the touch. Then you have renderings 
 in imitation from Chopin, from Gottschalk, from Vieuxtemps, from 
 anybody you will mention who has been deemed a master of the 
 art; and you turn away convinced, surfeited with marvels, satis- 
 fied that you have witnessed one of the most incomprehensible 
 facts of the time." 
 
 From " The Manchester (Eng.) Courier," Sept. 26 : - 
 
 " ' Prodigies ' of all kinds are presented ever and anon to the 
 public nowadays; but we have had nothing yet produced so truly 
 maj-vellous as the negro phenomenon known as ' Blind Tom,' who 
 appeared for the first time in Manchester, at the 1 heatre Royal, last 
 night. In order to test ' Blind Tom's ' powers of memory, Mr. Joule 
 gave a short impromptu, avoiding any marked rhythm or subject, 
 but which was imitated very cleverly. To test his powers of ana- 
 lyzing chords, Mr. Joule played him the following discordant com- 
 binations: the chord of B flat in the left hand, with the chord of 
 A with the flat fifth and sharp sixth in right hand ; the chord of E in 
 the left hand, and the chord of D, two sharps, in the right; the 
 chord of A, three flats, in the left hand, with that of A, three 
 sharps, in the right. All these chords were at once correctly named 
 by enxmierating each note in succession fi-om the lowest. Mr. Sey- 
 mour subsequently was called upon, and gave a subject, which he 
 rejroducsd upon the piano-forte with great success." 
 
 From " The Glasgow (Scotland) Daily Herald," Jan. 
 2, 1867 : — 
 
 " ' Blind Tom,' the wonderful negro-boy pianist, made his debut 
 in Glasgow yesterday, when he gave three of his entertainments, or 
 rather musical exhibitions, in the Merchants' Hall, — two dui-ing 
 the day, and one in the evening. He is, without doubt, an ex- 
 traordinary lad; born blind, though he is now able to distinguish 
 light from darkness; and having a defect in some of his mental 
 
Thomas Greene Bethwne. 153 
 
 faculties, though what that defect is it is very difficult to say. Na- 
 ture seems to have made up for these deficiencies by endowiug hiip 
 with a marvellously acute oar and a retentive memory. It is not 
 uncommon to find blind people with their other senses much more 
 highly developed, and much more susceptible of impression, tnan in 
 people piossessing all their faculties ; but m no case have we ever 
 heard or known of one with auditory nerves so fine, or with mem- 
 ory so powerful, as ' Blind Tom.' Mozart, when a mere child, was 
 noted for the delicacy of his ear, and for his ability to produce 
 music on a first hearing; but Bumey, in his ' History of Music,' 
 records no instance at all coming up to this negro boy for hia 
 attainments in phonetics, and his power of retention and reprociuc- 
 tion of sound. . . . He plays first a number of difficult passages 
 from the best composers ; and then any one is invited to come for- 
 ward and perform any piece he likes, the more difficult the more 
 acceptable, and, if original, still more preferable. Tom immedi- 
 ately sits down at the piano, and produces verbatim et lUeraiim th-j 
 whole of what he has just heard. To show that it is not at all 
 necessary that he should be acquainted with any piece beforehand 
 to reproduce it, he invites any one to strike a number of notes 
 simultaneously with the hand, or with both hands ; and immedi- 
 ately, as we heard him do yesterday, he repeats at Irngth, and 
 without the slightest hesitation, the whole of the letters, with aU 
 their inflections, representing the notes. Nor are his wondrous 
 powers confined to the piano, on which he can produce imitations 
 of various instruments, and play two different tunes — one in com- 
 mon time, and a second in triple — while he sings a third; but he 
 can with the voice produce, with the utmost accuracy, any note 
 which his audience may suggest. Yesterday aftei-aoou, for in- 
 stance, he was asked to sing li flat, F sharp, and the upper A, — a 
 ver" difficult combination; and, beginning with the latter, he at 
 once satisfied his auditors of his success. One very funny feat he 
 executed, which, as much as any thing else, showed what he could 
 do. When at Aberdeen, as Dr. Howard explained, Tom heard, in 
 a large ante-room adjoining the hall where he was, a teacher of 
 dancing tuning his fiddle, the strings of which apparently had 
 been rather difficult to get tightened up to proper time. Tom had 
 but to listen, and he retained every sound which the dancing- 
 master produced. Tom's imitation on the piano — first of the 
 
154 Music and Some Highly Musical People. 
 
 Btriting of the Tiolin-strings with the fingers for some time, after 
 the manner of violinists, then seeing if they chorded well, again 
 touching up the strings, anon giving a little bit of a polka, and 
 once more adjusting the strings, and so on, all exactly as he heard 
 it — -was as amusing as it was astonishing. No one with an car 
 for music should miss the opportunity of going to hear him ere he 
 leaves." 
 
 From " The Edinburgh Scotsman : " — 
 
 " ' Bund Tom.' — Last night this negro boy, of whose remarka- 
 ble performances so much has been said and written of late, made 
 his first appearance here in the Operetta House. There was a 
 crowded audience, among whom were a number of the musical cog- 
 noscenti of Edinburgh, whose curiosity had been excited by the 
 reputation he had gained in America, as well as by the favorable 
 notices of the press in this country, and the testimony of such men 
 as Moscheles and Halle. ... It is only when he sits down to the 
 instrument, that he becomes, as it were, inspired. He played sev- 
 eral pieces on this occasion from memory, and displayed great exe- 
 cution, and a greater amount of feeling and expression than we 
 were prepared to expect. One of the best of these was the fanta- 
 sia on the Hundredth Psalm, which was brilliantly executed. One 
 of his most extraordinary feats is the reproduction of any piece 
 once played over to him. On this occasion, Mr. Laurie, who was 
 present, at the invitation of the manager ascended the platform, 
 and played a composition by R. Muller, which occupied nearly five 
 minutes. He no sooner left the instrument than ' Blind Tom ' took 
 his seat, and gave a correct imitation. His ability to name any 
 combination of notes, no matter h6w disconnected and puzzling the 
 intervals, was fully proved. The professional gentleman we have 
 named struck simvdtaneously no less than twenty notes on the 
 piano; and these ' Blind Tom ' named without a single mistake." 
 
 From " The Dundee Advertiser : " — 
 
 '"Bund Tom.' — This extraordinary musical prodigy gave two 
 performances in Dundee yesterday, and on each occasion the pow- 
 ers displayed by him were so marvellous as to verge upon the 
 miraculous. O xr readers must not suppose that his proficiency is 
 merely of an ordinary kind, or that his notoriety is another species 
 
Thomas Greene BetTiune. 155 
 
 of Bamumism. The letter we published yesterday from a private 
 friend, in whose opinions we place the greatest confidence, shows 
 that it is not so ; and we believe the opinions of all who yesterday 
 heard hiin will be found to be those of astonishment and admiration. 
 Histoiy affords no parallel to ' Blind Tom.' His abUity would be 
 marvellou:; even if he had his eyesight ; but, as we have before 
 reii:aiked, when it Ls considered that he is blind, it is beyond 
 measui-e strange. Unless one sees or hears him play, he is unable 
 properly to imderstand the extent of his ability. Test him how 
 you may, he never faUs. His memory is as miraculous as hi? 
 musical powers ; and he plays over a piece he has never heard 
 before with alpiost infallible exactitude. Yesterday several gentle- 
 men went to the platform, and played over pieces ; and, during the 
 time they were so occupied, it was amusing to witness Tom's con- 
 tortions of his body, and his movements generally. He swayed 
 himseK about, his eyeballs roUed, his fingers twitched involuLtanly, 
 and he seemed like one possessed ; and, on being allowed to 
 seat himself at the piano, he repeated from memory the various 
 pieces which had been played to him. In the evening, Mr. Hirst 
 played over a number of pieces of the most difficult character, aU 
 of which Tom produced with fidelity. 
 
 ' ' On inquiry, we find that his proficiency is a natural gift. From 
 his earliest infancy he betrayed the utmost interest in musical 
 sounds of every kind, — the cries of animals, the moaning of the 
 wind, the rushing of waters, and the like ; and when he was al- 
 lowed to go out in the fields, if he heard a bird sing, he rushed off 
 towards it with frantic delight. We publish a letter we received 
 the other day from an intimate friend in another town, — a gentle- 
 man of great musical taste, and no little executive ability, — who 
 is well qualified to give an opinion on such matters. He sa,ys, — 
 
 " ' I presume you have not heard " Blind Tom " play. If not, 
 you never heard a better performer. Like most people, of course, I 
 was inclined to regard this wonderful prodigy as a wonderful hum- 
 bug ; but I assure you, that so far from this being the case, or 
 any thing like it, Tom is as genuine an artist, and possesses as 
 much (and, for any thing I can tell, a great deal more) musical 
 talent or power, either as regards the execution of the compositions 
 of others or of his own, as either Thalberg, Halle, Madame God- 
 daru, jr anybody else you ever listened to. I write merely to 
 
156 Music and Some BUghly Musical People. 
 
 disabuse your mind of the common impression ■which we are all apt 
 to form of these singular geniuses ; and very strongly recommend 
 you not only to hear him play, but privately test him (as I have 
 done) in any way you like. Improvise to him as difficult oi 
 elaborate or out-of-the-way piece as you please, and he wiU in- 
 stantly reproduce it. Now, this is no common gift ; and therefora 
 you and I, and all who know any thing of music, should use our 
 best efforts to let the public know, that, so far from there being 
 any thing in the nature of clap-trap about Tom, he is, in fact, a 
 musical gem of the first water. Of course I have nothing to do 
 with him; but I have been so highly pleased with his performances, 
 that I thought it might be as well to let you know beforehand (in 
 case you have not already heard him) what my own real impression 
 is of him.' 
 
 " He not only repeats every piece he hears from memory, but 
 he improvises and composes ; and he last night sang a song of 
 his own composition, — 'Mother, dear mother, I still think of 
 thee,' — of great merit for its simple sweetness and pathos. As 
 he cannot possibly remain longer in Dundee than to-night, we 
 would earnestly urge upon all who can afford it the absolute duty 
 of seeing and hearing this wonderful blind negro boy. He is only 
 seventeen; but no man of any age could surpass him for executive 
 ability, as his testimonials from such men as Moscheles, IlaUe, 
 &c., prove. He performs two or three different melodies at the 
 same time, and plays vdth his back to the piano with apparently as 
 much ability as in the ordinary position. We would especially 
 recommend all who are interested in anthropology, phrenology, 
 and psychology, to see and hear him for themselves. His ability 
 is a singular confutation of the theories of Hunt and Blake about 
 the inferiority of the negro ; for we may challenge any white man 
 to compete with him, in perfect safety. His parallel is not to be 
 found the world over, nor in any time of which the records are 
 known." 
 
 As previously stated, Bethune plays full seven thou- 
 sand pieces. From the subjoined partial list, which I 
 take from his biography, some idea can be gained of 
 the character, the ever-varied character, of the musio 
 contained in his amazingly extensive repertoire. 
 
Thomas Cheene Bethune. 157 
 
 BLIND TOM'S CONCERTS. 
 
 as^laeaicai Zehctiane. 
 
 1 . Sonata " Path^tique " Beetfioven 
 
 2. " " Pastorale," Opus 28 " 
 
 3. " "MoonUght," 27 " 
 
 4. Andante Mendelssohn 
 
 5. Fugue in A minor Bach 
 
 6. " inGminor " 
 
 7. " Songs without Words " Mendelssohn 
 
 8. ""Wedding March" " 
 
 9. Concerto in G minor " 
 
 10. Gavotte in G minor Sack 
 
 11. "Funeral March" .\ Chopin 
 
 12. " Moses in Egypt " Rossini 
 
 13. " Trovatore," Chorus, Duet, and Anvil Chorus Verdi 
 
 14. " Lucrezia Borgia," Drinking Song (Fantasia) Donizetti 
 
 15. " Lucia di Lammermoor " " 
 
 16. " Cinderella," Non Pin Meste Rossini 
 
 17. " Sonnambula," Caprice , Bellini 
 
 18. " Norma," Varieties " 
 
 19. "Faust," Tenor Solo, Old Men's Song, and Soldiers' 
 
 Chorus Gounod 
 
 20. " Le Prophete " Meyerbeer 
 
 21v " Linda " 
 
 22. " Dinora " Meyerbeer 
 
 23. "Bordsdu Rhine" 
 
 24 "la Montagnarde " 
 
 25. "Shells of the Ocean" 
 
 26. " la Fille du Regiment " Donizetti 
 
 JFantagiaa anlj Capricea. 
 
 27. Fantasia, "Home, Sweet Home" Thalberg 
 
 28. " "Last Rose of Summer" " 
 
158 Music and Some EJighly Musical People. 
 
 29. Fantasia, " Lily Dale," for left hand Tludberg 
 
 30. " " Ever of Thee," &c " 
 
 31. " " Carnival de Venise " 
 
 32. Reverie. "LastHope" Gottichalk 
 
 33. La Fontaine 
 
 34. " Whispering Winds " 
 
 35. "Caprice" Liszt 
 
 36. Fantasia, " Old Hundredth Psalm " 
 
 37. " Auld Lang Synej" and " Listen to the MocMng- 
 
 Bird ' ' (Fiano-Foite Imitations of the Bird) Hoffman 
 
 38. March, " Delta Kappa Epsilon " Pease 
 
 39. " Grand March de Concert " WaUace 
 
 40. "Gen. Ripley's March " 
 
 41. " Amazon March " 
 
 42. " Masonic Grand March " 
 
 Imitattons. 
 
 43. Imitations of the Music-Box. 
 
 44. " " Dutch Woman and Hand-Organ. 
 
 45. ", " Harp. 
 
 46. " " Scotch Bagpipes. 
 
 47. " " Scotch Fiddler. 
 
 48. " " Church Organ. 
 
 49. " " Guitar. 
 
 50. " " Banjo. 
 
 51. " " Douglas's Speech. 
 
 52. " " Uncle Charlie. 
 
 53. Produces three melodies at the same time. 
 
 13«0cripti&e iffiugfc. 
 
 64. "Cascade" 
 
 55. The Rain Storm Blind Tom 
 
 66. The Battle of Manassas •' 
 
 Songg. 
 
 67. "Rocked in the Cradle of the Deep" 
 
 58. " Mother, dear Mother, I still think of Thee " 
 
 69. "The Old Sexton" 
 
 60. " The Ivy Green " 
 
 61. " Then you'll remember Me " 
 
Thomas Cfreene Bethune. 159 
 
 62. " Scenes that are Brightest" 
 
 63. ""When the Swallows homeward fly " 
 
 64. " Oh I whisper what Thou feelest " 
 
 65. " My Pretty Jane " 
 
 66. "Castles in the Air" 
 
 67. "Mary of Argyle" 
 
 68. "A Home by the Sea" 
 
 69. Byron's " Faxewell to Tom Moore " 
 
 Parlot Selectwiws. 
 
 70. "Waltz in Aflat Chopin 
 
 71. "WaltzinEflat " 
 
 72. WaltzinDflat " 
 
 73. Tarantelle in A flat Stephen Heller 
 
 74. " Josephine Mazurka " Heller 
 
 75. " Polonaise " Weber 
 
 76. Nuit Blanche Stephen Heller 
 
 77. Spring Dawn Mazurka WiMam Mason 
 
 78. " Monastery Bells " , 
 
 79. "California Polka" Herz 
 
 80. "Alboni Waltzes" Schuloff 
 
 81. " li'Esplanade " Hoffman 
 
 82. Anen Polka 
 
 Programme for the evening to be selected from the preceding. 
 
xn. 
 
 ANNA MADAH AND EMMA LOUISE HYERS, 
 VOCALISTS AND PIANISTS. 
 
 THB **HTBKS SISTERS." — AM" ACBOSTIC. 
 
 '* Hail, tuneful sisters of a Southern clime I 
 Tour dulcet notes inspire my rhyme : 
 Each in your voice perfection seem, — 
 Rare, rich, melodious. We might deem 
 Some angel vandered from its sphere, 
 So sweet your notes strike on the ear. 
 In song or ballad, still we find 
 Some beauties new to charm the mind. 
 Trill on, sweet sisters from a golden shore; 
 Emma and Anna, sing for us once more ; 
 Raise high your voices blending in accord : 
 So shall your fame be widely spread abroad." 
 
 M. E. H., in Boston Dally JTewi. 
 
 ONE day, two little girls, the one aged seven and the 
 other nine years, came gayly, gleefully tripping 
 Into the room where their parents sat quietly convers- 
 ing, and soon began to sing some of the songs and to 
 enact some of the scenes from operas, performances of 
 whicli they had occasionally witnessed at the theatre. 
 This they did, of course, in childlike, playful manner, 
 yet not without a showing, considering their ages, of a 
 surprising degree of correctness. 
 
 Their parents at first, however, only laughed at what 
 
 IGO 
 
EMMA LOUISE HTERS. 
 
 
 ATn^A MADAH HYERS. 
 
Anna Madah and Emma Louise Eyers. 161 
 
 they considered the gleesome antics of these embryo 
 personators in opera. But, the little girls continuing ui 
 the presence of their relatives and playmates their per- 
 formances, it was ere long discovered that they pos- 
 sessed no small degree of lyrical talent; that their 
 voices, considering their tender years, were remarkably 
 full and resonant ; and that they exhibited much fond- 
 ness for music, and a spirit of great earnestness in all 
 they undertook. 
 
 With these manifestations their parents were of 
 course highly pleased; and they at once resolved to 
 give their children such instruction in the rudiments of 
 music as lay within their power. 
 
 Thus, then, did those two gifted little girls, Anna 
 Madah and Emma Louise Hyers, early show their devo- 
 tion to art, and make that beginning, which, in a few 
 years afterward, was to grow into a musical proficiency 
 and a public success in the highest degree creditable to 
 them. 
 
 After one year's instruction, it was found that the 
 girls had advanced so rapidly as to have quite " caught 
 up " with their teachers (their parents) ; and it was 
 therefore foxind necessary to place them under the in- 
 struction of others more advanced in music. Professor 
 Hugo Sank, a German of fine musical ability, became 
 then their next tutor, giving them lessons in vocaliza- 
 tion and on the piano-forte. With this gentleman they 
 made much progress. Another change, however, being 
 decided upon, our apt and ambitious pupils were next 
 placed under the direction of Madame Josephine 
 D'Ormy, — a lady of fine talents, an operatic celebrity, 
 and distinguished as a skilful teacher. From this lady 
 the sisters received thorough instruction in the Italian, 
 
162 Music and Some MgUy Musical People. 
 
 and were taught some of the rudiments of the German 
 language. It is, in fact, to the rare acconrplishmenta 
 and painstaking efforts of Madame D'Ormy that the 
 Misses Hyers owe mostly their success of to-day. For 
 she it was who taught them that piixity of enunciation, 
 and sweetness of intonation, that now are so noticeable 
 in their singing of Italian and other music ; while under 
 her guidance, also, they acquired that graceful, winning 
 stage appearance for which they have so often been 
 praised. 
 
 Although, as was natural, quite proud of the rich 
 natural gifts possessed by their children, and extremely 
 delighted with the large degree of their acquirements 
 in the art of music, their sensible parents were in no 
 haste to rush them before the public ; and it was there- 
 fore nearly two years after leaving the immediate mu- 
 sical tutelage of Madame D'Ormy when these young 
 ladies made their debut. Tliis they did before an audi- 
 ence of eight hundred people at the Metropolitan Thea- 
 tre in Sacramento, Cal., April 22, 1867. On this occa- 
 sion, and on others afterwards in San Francisco and 
 other places in California, their efforts were rewarded 
 with grand success : the musical critics and the press 
 awarded them unstinted praise, and even pronounced 
 them " wonderful." As a sample of all these comments, 
 I here append the following from " The San Francisco 
 Clironiele : " — 
 
 "Their musical power is acknowledged; and those who heard 
 them last evening were unanimous in their praises, saying that rare 
 natural gifts would insure for them a leading position among the 
 prime donne of the age. 
 
 " Miss Madali has a pure, sweet soprano voice, veiy true, even, 
 and flexible, of remarkable compass and smoothness.. Her rendi- 
 tion of ' Casta Diva,' and her soprano in the tower scene from ' E 
 
Anna Madah and Emma Louise Syen. 163 
 
 Trovatore,' and Verdi's ' Forse e' lui che I'anima,' as also iii the 
 ballad, ' The Rhine Maidens,' was almost faultless, and thoroughly 
 established her claims to the universal commendation she has re- 
 ceived from all the connoisseurs in melody vpho have heard her. 
 
 " Miss Louise is a natural wonder, being a fine alto-singer, and 
 also the possessor of a pure tenor-voice. Her tenor is of wonder- 
 ful range; and, in listening to her singing, it is difficult to believe 
 that one is not hearing a talented young man instead of the voice 
 of a young girl. Her character song was one of the greatest ' hits ' 
 ever made; and henceforth her position as a favorite with an auJ.- 
 ence is assured." 
 
 After these concerts they retired to severe study, 
 preparatory to making a tour of the States. Finally, 
 deciding to proceed towards the East, they sang to 
 highly-appreciative and enthusiastic audiences in several 
 of the Western towns and cities. At Salt-Lake City 
 they were received with the very highest marks of favor. 
 On the 12th of August, 1871, they gave a grand concert 
 in Salt-Lake Theatre, offering some five operatic selec- 
 tions. At this concert, and for some time afterwards, 
 the ladies were assisted by Mr. Le Count, a baritone 
 singer of excellence. I append the following scientific 
 analysis of the music used, and the manner of its ren- 
 dition on the occasion just mentioned. It is from the 
 pen of Professor John Tullidge, and is copied from 
 "The Deseret News:" — 
 
 Remarks on the Hyees Sisters' Concert on SATrBDAT, 
 Adg. 12, 1871. 
 
 bt pbofessob john tttllidge. 
 
 " A portion of two scenes from the first and second acts of Doni- 
 retti's opera of ' Linda di Chamounix ' occupied the whole of the 
 first part of the concert. 
 
 " The first act opened with a recilatitto e cavatina, selected from 
 No. 4, on the words, ' Ah, tardai troppo eal nostro favorito.' 
 
164 Music and Some BlgJily Musici I People. 
 
 " The recitaiivo is in A flat major. But there are no flats oi 
 sharps in the signature: these are placed before the notes as re- 
 quired. When the transitions are rapid, — as they are in this piece, 
 — it renders the reading very difficult in securing correct intonation. 
 But notwithstanding these frequent changes, and intricate skip- 
 ping intervals, Aliss Anna accomplished the difficulty with ease, and 
 perfectly in tune. The rapid cadence on the dominaat was artis- 
 tically rendered. 
 
 " The aria follows with an allegretto in three-four time, and 
 the execution in this division is very rapid; but the vocalist was 
 equal to the task, and performed it with ease and grace. But the 
 most astonishing feat was the cadenza in the cavatina: the singer, 
 instead of closing on D flat, — fourth line of staff, — took an im- 
 provising flight, catching in that flight an appoggiatura grace on 
 the note E flat above the lines; and closed with the D flat, a note 
 below on the pause. 
 
 " This was a dangerous flight for one so young: nevertheless, 
 the note intoned was clear, distinct, and bell-like. 
 
 " Miss Emma sang the alto in the ' Caro Ballato ' with Miss 
 Anna, in a duetto on the words, ' Qui si pria deUa partenza.' The 
 alto takes the notes a sixth below the soprano, and her deep mel- 
 low voice produced a fine effect. The nest is a recitativo by soprano 
 and alto. In this division the intervalic skippings are difficult; but 
 they were correctly interpreted. The alto then takes up a larghet- 
 to in six-eight time, key D minor. This portion required much 
 con dolore expression, which was delivered with much tremolo effect 
 by Miss Emma; and her rich, pure contralto voice in the low regis- 
 ter told well. The scene finished with a duet by the two sisters, 
 who were warmly and deservedly applauded. 
 
 " The scene in act second contained much of the same forms of 
 execution as the first, with the exception of a brilliant duetto in D 
 major, which reminded me of that beautiful florid piece, ' Quest 
 est homo,' from Kossini's ' Stabat Mater.' 
 
 "This duet not only requires fine voices, but rapid execution 
 also, or the rendition would be imperfect; but the asters gave a 
 charming interpretation to the piece. 
 
 "Part third commenced with the 'Magic-wove Scarf,' from 
 Bamett's opera of ' The Mountain Sylph.' Barnett is a fine com- 
 poser, and was theoretically educated in Germany; and, on his 
 
Anna Madah and Emma Louise Eyers. 165 
 
 return, he composed the above opera. The musicians in England 
 were much surprised when this clever author left the field of com- 
 position, after he had received such popularity from his opera of 
 ' The Mountain Sylph; ' but the author was obstinate, and I believe 
 he was offended with some remarks of the critics. 
 
 " The scene of the scarf is laid in Scotland. The mountain 
 sylph is a 'airy, and falls in love with the tenor, a young Scotch- 
 man. The baritone is a Scotch necromancer. The young lover, 
 fearful of losing his fairy love, appeals to this demon for aid; and 
 he, wishing to destroy the power of the fairy, gives the young man 
 the ' Magic-wove Scarf ' to throw around her. He told him that 
 the scaif would secure her. He was enticed, and threw the scarf 
 around; but, the moment it touched her, she became spell-bound, 
 and is supposed to die, but is released by a fairy of superior 
 power. 
 
 " The trio opens with a fine baritone solo; and, considering Mr. 
 Hyers is not a professional singer, the part was creditably ren- 
 dered, f 
 
 " The tenor. Miss Emma, conveyed the author's meaning truly; 
 and her imitation of that voice took her to the F sharp below the 
 stafE. This note was intoned with perfect ease. 
 
 "In Mis') Anna's part there are some beautiful rouladial pas- 
 sages, which were delivered by the young lady smoothly and dis- 
 tinctly; and, when she became speU-bound by the scarf, her espres- 
 sivo and energico were fine. 
 
 " The trio throughout was creditably performed, and was loudly 
 applauded by the audience. 
 
 " « Brighter than stars soft gleaining,' from the opera ' II Trovar 
 tore,' is a fiue composition abounding in espressivo and bravura pas- 
 sages: the compass is also extensive, requiring great range for a 
 baritone voice. The piece was rendered with credit by the yomig 
 rocalist Le Count. 
 
 " A very choice selection from Donizetti's opera of ' Lucia di 
 Lammermoor ' followed, and was sung by Miss Anna Hyers. Thn 
 first line of the English words is, ' See, 'tis the hour: how sinks the 
 stm! ' The whole of this movement is in the affettwoso con amoroso 
 style; and in order to render such a theme effective, as love without 
 hope, but still hoping, the singer must throw a vast amount of 
 pathos into the subject to secure a fine interpretation; which ren- 
 
166 Music and Some BxgMy Musical People. 
 
 dition by the artist was all that could be required. The secoi.'d 
 movement is in D major. The words of the principal line are, 
 ' Gixjw dark, yes, love's pure flame grow dark, like earthly 
 fire.' 
 
 " The author has interpreted these words with rapid sextoles 
 (groups of six notes) and triplets in difficult intervalio skips, and 
 flaishing with an intricate florid cadenza in seconds and thirds. 
 Many passages of the same form may be found in Handel's ' Mes- 
 siah.' The young lady not only glided over these difficulties with 
 ease and grace, but also brought out the espressivo so necessary for 
 the effective rendition of this division. The remaining portions of 
 this fine composition are much varied with rapid executions; and 
 the compass of voice required for effect is extensive, ranging from 
 C above the staff to C below. Every point was delivered by the 
 young vocalist with purity and force. 
 
 "I believe this young lady's compass of voice is from E flat 
 above the lines to A below; having at her command the soprano 
 register, the mezzo-soprano, and a portion of the alto. 
 
 " Both of the sisters sing in the Italian with fluency and with 
 correct pronunciation. 
 
 "'Par Excellence,' sung by Miss Emma, was a complete tri- 
 umph with the audience, and received a triple call. This was a 
 great compliment after Lingard, the original. But it was the lady's 
 pleasing manner that took the comic-loving patrons by storm: 
 hence the third encore." 
 
 After the performance described by Professor Tul- 
 lidge, the Misses Hyers were tendered by the leading 
 citizens of Salt-Lake City a complimentary benefit. 
 The following correspondence, taken from "The Deseret 
 News," explains itself: — 
 
 Salt-Lakb Cirr, Aug. 14, 1871. 
 To THE I-Iyers Sisters, — We the undersigned, residents of 
 Salt-Lake City, haviig witnessed your performances during your 
 recent engagement at the theatre, and being willing to acknowl- 
 edge talent wherever found, as a slight testimonial of our esteom 
 bender you our influence and assistance in making a remunerative 
 
Anna Madah and Emma Louise Eyers. 167 
 
 benefit, to take place at the Salt-Lake Theatre at such tinie as may 
 suit your conveuience. 
 
 JOS. R. WALKER. HOOPER, ELDREDGE, & CO. 
 
 A. W. ■WHITE. WILLIAM M. JOHNS. 
 
 WELLS, FARGO, & CO. ROBERT K. REED- 
 
 (Per C. P. Smith.) CALDER BROTHERS. 
 
 JNO. CUNNINGTON. PROFESSOR THOMAS. 
 
 J. B. MEADER. JOS. J. DATNES. 
 
 M. H. WALKER, H0GH W. McKEE. 
 
 A. M. MORTIMER. R. ROSS. 
 
 JNO. MANlf. THOMAS FITCH. 
 
 B. A. MANIT. JNO. T. CADTE. 
 
 A. BENZON. W. F. ANDERSON. 
 D. CANDLAND. MARK CROXALL. 
 J. C. LITTLE. J. F. HAMILTON. 
 TILDEN & LAWRENCE. CAPT. SHAW. 
 
 B. G. RATBOULD. G. W. LEIHY. 
 JAS. SMITH. F. T. WISWELL. 
 N. S. GOULD & SON. TEASDEL & CO. 
 SEIGEL BROTHERS. H. S. BEATTBE. 
 TAYLOR & CUTLER. JNO. L. BURNS. 
 H. O. PRATT. 
 
 To this the following reply was returned: — 
 
 SaiiT-Lake House, Aug. 15. 1871. 
 Messrs. Walkek, Teodbit, A. TV". White & Co., 
 
 HOOFEB, EliSBIDGE, & CO., AND OtHEBS. 
 
 Gentlemen, — Your esteemed favor is before us; and, gratefully 
 accepting your high compliment to our humble endeavors, we re- 
 spectfully name Thursday, Aug. 17, as the time of the proposed 
 benefit at the Salt-Lake Theatre. 
 
 Respectfully, Hyers Sisters. 
 
 WhUe in St. Joseph, Mo., they elicited from "The 
 Daily Herald" of that city the following encomium : — • 
 
 " Whoever of our readers failed to visit the Academy of Music 
 last evening missed a rare musical treat. The concert of the 
 Hyers sisters was absolutely the best, furnished those in attend- 
 ance with the choicest music, which has been in St. Joseph since 
 we have resided here. 
 
 " The Hyers sisters are two colored ladies, or girls, aged respeo- 
 
168 Music and Some Siffhlt/ Musical People. 
 
 tively sixteen and seventeen years ; but their singing is as mature 
 and perfect as any we have ever listened to. We had read the 
 most favorable reports of these sisters in the California papers, but 
 3onf ess that we were not prepared for such an exhibition of vocal 
 powers as they gave us last night. 
 
 " Miss Anna Hyers, the eldest, is a musical phenomenon. When 
 we tell musicians that she sings E flat above the staff as loud and 
 clear as an organ, they will understand us when we say she is a 
 prodigy. Jenny Lind was the recipient of world-wide fame and 
 the most lavishly-bestowed encomiums from the most musical 
 critics in the Old and New World simply because she sang that note 
 in Vienna twenty years ago. Parepa Rosa, it is claimed, reached 
 that vocal altitude last summer. But the sopranos who did it 
 flit across this planet like angels. Several competent musicians 
 listened to Anna Hyers last evening, and unanimously pronounced 
 her perfectly wonderful. With the greatest ease in the world, as 
 naturally and gracefully as she breathes, she runs the scale from 
 the low notes in the middle register to the highest notes ever 
 reached by mortal singers. Her trills are as sweet and bird-like 
 as those with which the ' Swedish Nightingale ' once entranced the 
 world. In Verdi's famous ' Traviata ' there was not a note or 
 modulation wrong : her rendition was faultless, her voice the most 
 sweet and musical we ever listened to. 
 
 " In the duet, ' There's a sigh in the heart,' her voice was ex- 
 hibited in wonderful range ; and, in the tower-scene from ' II 
 Trovatore,' its great power was singularly and very agreeably 
 apparent. 
 
 " We do not remember to have been more completely and agree- 
 ably surprised than we were last evening in the matchless excel- 
 lence of the singing of the Hyers sisters. They deserve a crowded 
 house ; and we predict that in Boston or New York, by the most 
 severe critics, they will be pronounced musical prodigies." 
 
 In Chicago their success was none the less flattering. 
 In this, styled by many the " Queen City of the West," the 
 remarkable musical powers of these young ladies created 
 hitense excitement, especially among people of the high- 
 est musical culture. The extraordinarily high range 
 
Anna Madah and Emma Louise Syers. 169 
 
 of the voice of Anna Hyers quite astonished every 
 one who heard her, and evoked the warmest praise 
 of the critics. For the purpose of assuring those who 
 had not heard her sing, or who, although present, failed 
 to exactly locate in the scale her greatest altitude, as 
 well as to more pointedly mark this rare achieve- 
 ment in vocalism, a number of the best musicians of 
 Chicago published a card in " The Tribune," in which 
 they declared that " Miss Anna Hyers sang at the con- 
 cert last night the second G above the staff, — a note 
 touched by no other singer since Jenny Lind." 
 
 Still proceeding towards the East, they next appeared 
 in Cleveland, O., where their delightful vocal powers 
 were thus alluded to by " The Daily Leader : " — 
 
 " On Saturday evening last, we had the pleasure of listening to 
 the Hyers sisters, who have, since their appearance in puhlic, been 
 the recipients of the most flattering testimonials; and are war- 
 ranted in saying, not without the best claim to them, the exhibi- 
 tion they gave of their ability was most satisfactory. The soprano 
 (Miss Anna) has an exceptionally pure, sweet voice, with ample 
 power for all the demands of the concert-room. Her execution 
 was admirable. The contralto (Miss Emma) possesses a voice of 
 remarkable quality ; and we do not hesitate to say that a richer or 
 more evenly-conditioned contralto voice is rarely heard. Her exe- 
 cution was all that could be desired." 
 
 Encouraged by the marked success which had thus 
 far crowned their efforts, their father, with whom and 
 under whose direction the Misses Hyers had travelled 
 since leaving California, now determined to enlarge liis 
 troupe. This he did by engaging the services of Mr. 
 Wallace King of Camden, N.J., a gifted and accom- 
 plished tenor-singer ; Mr. John Luca, widely and favor- 
 ably known from his connection formerly with the 
 
170 Music and Some BlgJily Musical People. 
 
 celebrated "Luca family," and who sang baritone; 
 while as accompanist he engaged the fine pianist, Mr. 
 A. C. Taylor of New York. 
 
 An intelligent idea of the composition of Mr. Hyers's 
 troupe can be formed by a perusal of the following, 
 which was the preface given to the programme of his 
 coiicerts : — 
 
Anna Madah and Emma Louise Myers. 171 
 
 THE GEEATEST MUSICAL PHENOMENA OP THE AGET 
 
 THE FAMOUS CALIFORNIA VOCALISTS. 
 
 THE 
 
 HYERS SISTERS! 
 
 (COLOKED.) 
 
 MISS AITNA MADAH HYEES Soprano 
 
 AHD 
 
 MISS EMMA LOUISE HYERS Contralto and Tenore 
 
 ASSISTED ET 
 
 MR. WALLACE KING Tenor 
 
 MR. JOHN LUCA Baritone 
 
 AND THE GIFTED PIAOTST, 
 
 -A.. C. T .A. "Z- li o la. 
 
 These young ladies (as will be seen from criticisms annexed) 
 have created a great sensation wherever they have appeared; and, 
 it being the intention of their father (who accompanies them) to 
 take them to Europe to perfect them in their art, he has been 
 induced, at the request of numerous friends, to make a tour 
 through the principal cities of America, to afford the musical 
 public and those anxious to hear these truly wonderful artists of 
 the colored race an opportunity of hearing thera, and judging 
 for themselves. The music they sing is always of the highest 
 order, and their selections are from the most difficult and classi- 
 cal pieces that have been sung by the most accomplished artists. 
 
 Mr. WalI/Ace King (tenor) possesses a fine voice of splendid 
 quality and great compass, which he uses with marked skill, 
 and is especially adapted to music of dramatic character. 
 
 Mr. John Luca (baritone) is also the possessor of a splendid 
 voice, and sings ia admirable style, both in songs and concerted 
 nmsic. 
 
 Mr. A . C. Tatloe (pianist and accompanist). This gifted art- 
 ist, besidas being an excellent accompanist, is also a solo-player 
 of great promise. He lias had the honor of playing before the 
 most critical audiences of New York and Boston; and it is pre- 
 dicted by our leading musicians he will rank with the first pian- 
 ists of the day. 
 
172 Music and Some lEgMy Musical People, 
 
 As will be seen by the comments drawn from the 
 press, which have been already and which will be here- 
 after given, Mr. Hyers's statements of the artistic merits 
 of his company were by no means exaggerated. 
 
 Their performances in the city of New York and in 
 other parts of the State drew large, cultivated, and 
 enthusiastic audiences, and were, to use the words of 
 one writer, considered "a revelation." 
 
 Thus spoke " The New-York Evening Post : " — 
 
 " The Hyers sisters axe colored, and, to the musical instincts of 
 their race, have added careful musical training. Miss Anna Hyers 
 possesses a flexible voice of great compass, clear and steady in the 
 higher notes. Miss Emma, the contralto, has a voice of great 
 power and depth; qualities which, in impassioned strains, give it 
 a richness not often heard in chamber concerts. 
 
 " The gem of the evening was the ' Miserere ' scene from 
 ' 11 Trovatore,' which was skilfully rendered by the sisters. Miss 
 Emma sin^g the tenor part with very fine effect. 
 
 •' A duet by Millard, sung by Miss Anna and Mr. J. Luca, was 
 also remarkably well rendered; Miss Anna displaying the admira- 
 ble qualities Df her voice and her careful training to the greatest 
 advantage. 
 
 " The audience was enthusiastic, and the encores were frequent." 
 
 Said "The New-York Tribune," — 
 
 " A concert was given last evening by the Hyers sisters at Stein- 
 way HaU. These are two young colored girls who have received a 
 musical training in California, and who are by no means mere 
 ' Jubilee ' singers, as the programme of last evening clearly shows. 
 It embraced several airs and duets from ' Martha ' and ' Trova- 
 tore; ' the last being the 'Miserere,' which called forth hearty 
 applause." 
 
 "The Evening Telegram" alluded to them in the 
 following complimentary terms: — 
 
Anna Madah and Emma Louise Hyers. 173 
 
 ..." The selections last evening embraced a high order of 
 music, operatic and otherwise ; and were rendered with a taste and 
 grace tliat elicited frequent applause. 
 
 •' One of the young girls possesses a very pure soprano, the other 
 an equally excellent contralto voice; and, singly or together, their 
 execution is marked by a refinement, culture, and attractiveness that 
 deserve first-class audiences and first-class appreciation." 
 
 So great was the success of the talented troupe in 
 the metropolis, that when they visited Brookl3na they 
 were already fully advertised, and a general and very 
 eager desire was manifested in that city to witness their 
 performances. So great was this desire, that, said " The 
 Brooklyn Daily Union," 
 
 " Jfot only was every inch of standing-room in the Young Men's 
 Christian Association Hall occupied, but the ante-room and even 
 the stairway were completely jammed. In spite, however, of the 
 uncomfortable crowding, every one was pleased to be present, and 
 all were delighted with the concert. 
 
 " The yoimg ladies are gifted with remarkable voices, and sing 
 together with perfect harmony; displaying the full compass and 
 beauty of their voices, which are clear and sweet. 
 
 " Mr. Wallace King's rendermg of Tennyson's beautiful song, 
 'Come into the garden, Maud,' was really exquisite, and was 
 followed by a vociferous encore. The concert was one of the finest 
 of the series." 
 
 But notwithstanding the many critical tests to which 
 these young ladies had been subjected aU along from 
 California to New York, and despite the fact that their 
 journey had thus far been marked by a continual series 
 of triumpns, — the tlnck walls of color-prejudice every- 
 where yielding before the force of their rare musical 
 abilities, their almost marvellous sweetness of song, — 
 they now approached with feelings somewhat akin to 
 
174 Music and Some SiglJy Musical People. 
 
 dread the " modern Athens," that acknowleged centre of 
 musical and general aesthetic culture, Boston, whose 
 critical audiences ever receive coldly, at first, all new- 
 comers, and who, guided by their own judgments, and 
 having their own standard of merit, never yield praise 
 because it has been accorded in other sections. 
 
 The Misses Hyers, although fully recognizing all this, 
 were not to be daunted by it ; and they therefore chose 
 an ambitious, but what proved to be a wise course : they 
 at first ajipeared at Tremont Temple before a select 
 circle of musical connoisseurs. At this test perform- 
 ance, Mr. Eben Tourji^e, Mr. P. S. Gilmore, and others 
 of the highest musical ability in Boston, were, by invita- 
 tion, present. Before the Misses Hyers began to sing, 
 Mr. Tourjee said that they would be judged by the same 
 standards as would be Nilsson or Kellogg. Mr. Hyers, 
 speaking for liis daughters, readily assented to this : and 
 the sequel proved that his confidence was well founded ; 
 for all became satisfied, after hearing them sing, that 
 these young ladies had not been too highly praised by 
 the press of other cities. Said Mr. Gilmore, " These 
 ladies promise much that is great." 
 
 But the following, taken from one of the Boston par 
 pers appearing the day after the performance just 
 referred to, best describes the effect of the same on 
 those present : — 
 
 " We -were invited with some fifty other persons this forenoon to 
 Lear the singing of two colored young ladies, named Anna and 
 Emma Hyers, of San Francisco, at the Meionaon. They are aged 
 respectively sixteen and fourteen years, and, after a casual inspec- 
 tion, may be called musical prodigies. They are, without doubt, 
 ■iestined to occupy a high position in the musical -v^rld. 
 
 " Anna sings not only alto, but tenor, and both with great exjel 
 leuce. They sang ' Ah forsetui ' from ' Traviata,' ' M'appari ' froni 
 
Anna Maddh and Emma Louise Eyers. 175 
 
 * Martha,' and the ' Miserere ' from ' Trovatore,' each mth remark- 
 able clearness and accuracy, and surprised all with the general ski.; 
 they displayed. Anna has also the faculty of reaching E flat above 
 the staff. Judging from present data, tiiey are on a par vocally 
 with our better concert-singers ; and a further hearing may place 
 them in rank with more pretentious vocalists." 
 
 Having at this musicale satisfied the critics, they were 
 spoken of in words of warmest praise by the oublic 
 press ; and their subsequent performances in Boston cre- 
 ated, after all, the same enthusiasm as that awakened in 
 the West and in New York. I copy from " The Boston 
 Journal " the following : — 
 
 " The young California singers, Miss Anna and Emma Hyers, 
 gave their last concert at Tremont Temple last evening. The 
 audience was both large and enthusiastic ; and a duet from ' I Mas- 
 nadieri,' ' Home, Sweet Home,' by Miss Anna, a duet from ' La 
 Traviata,' a cavatina from ' Lucia di Lammermoor,' and ' The Last 
 Rose of Summer,' also by Miss Anna, appeared to give great satis- 
 faction. The young ladies have made a very marked impression in 
 their concerts here. . . . Mr. Wallace King has a pure, sweet tenor 
 voice of remarkable compass, and sings with excellent taste." 
 
 In Boston they made many warm personal friends, 
 receiving from many of its most cultured people very 
 flattering attentions ; and here, too, were pointed out to 
 them, in a candid and friendly spirit, such slight defects 
 in their voices, or manner of singing, as only those sldUed 
 in thp highest technique of the musical art could detect. 
 Al! s tch suggestions were readily received by the young 
 ladies, who, acting upon the same, made much advance- 
 ment in the technical requirements of the lyrical arc. 
 They lingered long in Boston, being loath to leave its 
 congenial art-circles, and to leave behind its many facili 
 ties for improvement in their profession. 
 
176 Music and Some ExgJdy Musical People. 
 
 Finally deciding to start again on their travels, they 
 visited many of the towns and cities of Massachusetts, 
 and sang also in the principal cities of Rhode Island 
 and Connecticut. Their singing everywhere gave the 
 utmost satisfaction ; and cultivated New England con- 
 firmed, in words of highest praise, the verdict of the 
 West and of New York. 
 
 A writer in " The Springfield (Mass.) Republican " 
 tlius spoke of the troupe : — 
 
 " One of the largest, and certainly one of the best pleased 
 audiences of the ■whole season, attended the concert of the Ilyers 
 sisters at the Opera House last evening. The voice of the soprano. 
 Miss Anna Hyers, is beautifully pure and liquid in its higher 
 range; and she sings notes far above the staff with the utmost ease, 
 where most sopranos gasp and shriek. So easily, indeed, does she 
 sing them, that few persons are aware of the dizzy vocal heights 
 which she scales. Mr. King possesses that great rarity, a real 
 tenor voice, pure and sweet, and of great compass. But the charm 
 of the concert consisted not so much in individual excellence as in 
 the combination of the voices in some wonderfully fine four-part 
 singing. Nothing in this line so exquisite as the ' Greeting to 
 Spring ' (Strauss' ' Beautiful Blue Danube ' waltz vocalized) has 
 been heard in Springfield for many a year. The voices were as 
 one; the shading was perfect; the modulations were absolutely 
 pure and true; melody and harmony were alike beautiful." 
 
 At Worcester, Mass., the performances of the com- 
 pany created a decided excitement in musical circles 
 and among the people generally. " The Daily Press " 
 of that city referred to the performance of the troupe 
 iu the following complimentary manner : — 
 
 " A Larger audience than that of last Saturday evening gi-oeted 
 the Hyers sisters at Mechanics' HaU last evening. The progiamma 
 was 1 new one, with the exception of the ' Greeting to Spring,' 
 which was repeated by request, and was enthusiastically received 
 The ' Excel=ior ' of Messrs. King and Luca, the ' Cavf.tina Linda 
 
Anna Madah and Emma Louise Hyers. Vll 
 
 of ]\Iiss Anna Ilyers, the ' Sleep Well ' of Mr. King, and the ' Non 
 e'ver ' of Miss Emma Ilyers, •were encored, as well as nearly aU 
 the quartets. The quartet-singing was unaccompanied, and was 
 the finest that has been heard in this city for years. The voices 
 blended beautifully, and were full of expression. Nor can too 
 high praise be bestowed upon the soprano and tenor. They 
 showed g^eat cultivation, and a quality of voice rarely equalled." 
 
 While they were in Connecticut, " The Daily Union " 
 of New Haven remarked, — 
 
 " New Haven has but rarely heard such extraordinary artists, 
 or reaped so much benefit as from their concerts." 
 
 And "The Providence (R.I.) Journal" said, — 
 
 " Seldom in the hLstory of our pleasure-seeking has it been om 
 good fortune to enjoy an hour of such exqtiisite pleasure as we 
 were blessed mth on the occasion of our attending a concert given 
 here, a short time since, by the Hyers sisters." 
 
 Our talented artists had now acquired throughout 
 New England a fame so fair, that Mr. P. S. Gilmore felt 
 warranted in inviting them to appear" at the great 
 Peace Jubilee concerts ; and here, before an audience 
 of fifty thousand people, and in the company of several 
 of the great solo-vocalists of the world, surrounded by 
 a chorus of twenty thousand voices and an orcliestra of 
 one thousand performers, these gifted girls occupied a 
 proud position, reflecting upon themselves and all with 
 whom they were identified additional honors. 
 
 During the winter of 1875, the Hyers troupe several 
 times appeared (on Sunday evenings) on the Boston- 
 Theatre stage in sacred concerts, supported by a select 
 orchestra of forty performers, aU under the manage- 
 ment and conductorship of that fine musician and 
 prince of gentlemen, Mr. Napier Lotliian, leader of the 
 
178 Music and Some SigJdy Musical People. 
 
 Boston-Theatre orchestra. At these concerts the music 
 rendered was mostly classical; although the programmes 
 contained also numbers of a popular character, — such 
 as were suited to the tastes of the large, miscellaneous 
 audiences in attendance, — which showed to the Idgh- 
 est advantage the versatility of talent and extensive 
 musical resources of the troupe. The writer recalls 
 with much pleasure the delightful emotions which, 
 on one of the evenings alluded to, were awakened 
 in his breast by the very graceful stage appearance 
 and the divine harmony produced by these accom- 
 plished musicians ; for when not thrilled alone by their 
 music, so faultlessly, so sweetly rendered, he could not 
 repress the thoughts that came forcibly into his mind, of 
 not only how much these noble artists were doing for 
 the cause of pure music, but for that other righteous 
 one, — the breaking-down of a terribly cruel prejudice, 
 founded on the accident, so to speak, of the color of 
 the face. 
 
 The concerts just alluded to, it is needless to say, 
 brought out the warmest praises of the Boston journals. 
 It is unnecessary, after the numerous comments, so 
 highly eulogistic, already given, to quote what would 
 only be a repetition of the same. 
 
 The Misses Hyers have, since the events heretofore 
 mentioned, visited most of the cities and towns of the 
 State of Maine. In that State they are great favorites, 
 and siag always to large and delighted audiences. " In 
 Lewiston," says " The Folio," " they received at a con- 
 cert thirteen encores ; and at Auburn a full .house was 
 gotten out on a half-day's notice." 
 
 It would be pleasant to follow the Misses Hyers into 
 that other walk of art, the drama, which they have of 
 
Anna Madah and Emma Louise Myers. 179 
 
 late been pursuing so successfully, were such a course 
 within the .province of this book ; but, as it is not, we 
 will only briefly state, in concluding this sketch, that 
 they have lately, with an enlarged company, been act- 
 ing in a drama called " Out of Bondage," written ex- 
 pressly for them by Mr. Joseph B. Bradford of Boston. 
 The drama is in four acts ; comprehends four phases in 
 tlie life of a freedman, beginning in slavery, and con- 
 tinuing through to his attainment of education and 
 refinement ; and is full of interesting incidents. Their 
 success in tliis new field has already, in the smaller 
 places in New England, been great ; and it is the inten- 
 tion of the troupe to produce the drama ere long on 
 the Boston stage, and in other of the large cities. 
 
 Mr. Hyers still holds to a resolve to take his talent- 
 ed daughters to Europe, in order to there perfect them 
 in the higher requirements of their art, and to fit them 
 for the operatic stage. 
 
 It is to be hoped that he will not relinquish this 
 ambitious and creditable resolve ; for certainly his 
 gifted children have already clearly shown such rare 
 musical powers, and, incidentally, so much of dramatic 
 talent, and have had so much stage experience, as to 
 fully warrant him and all their friends in firmly believ- 
 ing that these versatile young ladies may, after a short 
 course of tri,ining under the best masters of Europe, 
 easUy attain to the liighest distinction on the operatic 
 stage. 
 
xin. 
 
 FREDERICK ELLIOT LEWIS, 
 PIANIST, ORGANIST, VIOLINIST, ETC. 
 
 Like the honey-making bee, 
 
 FasBing from flower to flower, 
 
 Tasting and gathering the eweets of each. 
 
 IN musical versatility, in capability for playing upon 
 a great variety of musical instruments, there may 
 be possibly, among the large number of talented artists 
 of this country, a few who equal the subject of the fol- 
 lowing sketch : the writer, however, confesses, that, if 
 there be such, he does not know of them. But, be this 
 as it may, such an instance as I am about to present is 
 one, which, in its showing of great musical talents and 
 diversity of acquirements in instriunental performance, 
 will be readily admitted as, to say the least, most extraor- 
 dinary. 
 
 For Frederick E. Lewis performs with ease and with 
 pleasing finish on the piano-forte and the organ, on the 
 violin, viola, violoncello, double-bass, and the guitar, on 
 the clarinet and flute, on the cornet, and on nearly 
 every one of the wind-instrtunents. Indeed, you can 
 scarcely bring to this remarkable musician an instrument 
 180 
 
FREDERICK ELLIOT LEWIS. 
 
Frederick Elliot Lewis, 181 
 
 upon which in tasteful and artistic manner he cannot 
 perform. 
 
 It is not my purpose, however, to present him here aa 
 a musical " prodigy," nor as one of those rather abnor- 
 mal, supernatural beings who astound their hearers by 
 playing upon an instrimient almost at sight, without 
 previous study, or without observable method; play- 
 ing, as it would seem, from a kind of instinct. 1 
 present him rather as he is, — an intelligent, a cultured 
 gentleman ; an artist so great in natural gifts as to often 
 excite astonishment certainly ; but yet one with intelli- 
 gent method, and fully able to understand and explain 
 all he so skilfully performs. 
 
 His extraordinary success in acquiring a good degree 
 of proficiency in playing upon at least fifteen instru- 
 ments — on two or three of which he excels as a perform- 
 er, and most of which, too, he teaches — is due not alone 
 to his great natural endowments, but is largely the result 
 of an assiduous cultivation of the same, and of a severe, 
 steady, and long-continued study and practice of each 
 one of these instruments, in which occupation he has 
 ever aimed at the classical, and avoided all that was 
 coarse or commonplace, either in the compositions used, 
 or in his execution of the same. 
 
 On choosing an instrument for study, Mr. Lewis's 
 plan has been to first learn aU about its structure, the 
 theory concerning its qualities, its tone-producing capa- 
 l)ilities ; and then, choosing the best practical text-books 
 procurable, to commence, without other teachers than 
 the latter, its practice. He is acquainted, therefore, not 
 only with the musical capacity of all the instnmients 
 he plays, but also knows so much in regard to ibeir 
 mechanism, that, when out of order, he can generally 
 
182 Music and Some Siglily Musical People. 
 
 repair them; thus possessing in this latter respect an 
 ability far from common among musicians. He has at 
 his rooms quite a large family of stringed instruments, 
 consisting of two or three violins, a viola, two 'cellos, a 
 double-bass, and a guitar. These have all been carefully 
 chosen for their beauty of form, and nicety and sweetness 
 of tone, their owner being a decidedly good judge, a 
 real connoisseur ; and none of them are for sale. 
 
 His rooms are neatly but not expensively furnislied. 
 A few choice pictures hang on the waUs : but here, there, 
 and everywhere are to be found the emblems and acces- 
 sories of the musical art, — a piano-forte, on the back 
 part of which are great piles of music, and in which .are 
 the latest and choicest publications ; a number of music- 
 stands ; several of the viol family hanging on the walls, 
 or placed in their boxes on the floor ; two or three vari- 
 eties of the clarinet; a cornet, a guitar, a flute, &c. 
 In fact, there is music, music everywhere, and enough 
 instruments to form at any time an orchestra of at 
 least a dozen ^performers; with a skilful instructor or 
 conductor near at hand in the person of Professor Lewis, 
 ready to wield an efficient bdton, to play the leading 
 part, or with pleasing compliance to play in a subordi- 
 nate capacity. 
 
 A visit to these rooms is always highly pleasing and 
 instructive, not only to the practical musician, but to 
 all lovers of good music. With the former Mr. Lewis 
 is ready to join in a duet ; allowing liis visitor to choose 
 from among his many instruments the one with which 
 he is familiar, while he himself is prepared to take any 
 other one necessary in forming the duet. To those who 
 cannot play, or who, perhaps, choose to listen rather 
 than to play, he is ever obliging, and acts as though he 
 
Frederick Elliot Lewis. 183 
 
 considers it a very pleasant duty to entertain his friends. 
 At such times he will commence with his favorite, the 
 piano, and go through successively a performance upon 
 each one of his many instruments, giving his delighted 
 listener a taste, so to speak, of the melodious sweets of 
 each. He delights not only to play, but is also quit,« 
 fond of conversing on general music ; with which subject 
 he is very familiar, and is ever interesting and instruc- 
 tive in discoursing upon the advantages and pleasures 
 to be enjoyed by its study. Indeed, at such times one 
 is in doubt whether to admire him most as a performer 
 or as a theorist ; for as the latter he is remarkably profi- 
 cient, and in treatment delightfully eloquent. As may 
 be inferred from the foregoing, Mr. Lewis is in his man- 
 ners extremely affable and easy. He charms his visitor 
 by his simplicity, modesty, and freedom from that con- 
 ceit which might be perhaps expected from one so won- 
 derfully skilled in his profession. Pope's expressive 
 lines apply to but few persons so closely as they do to 
 Mr. Lewis ; for he is truly 
 
 " Of manners gentle, of afEections mild; 
 Tn wit a man, simpUeity a child." 
 
 In these times of charlatanry, when titles are so 
 often assumed with a reckless disregard of truthfulness, 
 I hesitate to apply even to one so fully qualified, so 
 extra skilled in music, as Lewis, the prefix professor; lor 
 I wish, as I ought, to entirely disassociate him from the 
 mere pretenders to whom, in general, I have just re- 
 ferred. But to him the title sm-ely belongs ; and there 
 is no competent judge, who, when made aware of tlie 
 great talents and acquisitions, theoretical and practi 
 cal, of Mr Lewis in the science of music, will not 
 
184 Music and Some Highly Musical People. 
 
 cheerfully accord it to him. Mr. Lewis does not en- 
 courage a use of this title as applied to himself: it 
 is, however, habitually given to him by those who enjoy 
 his acquaintance, and who believe that it belongs of 
 right to him. 
 
 Although depending for his support upon the pro- 
 fession of music, his intense love for the noble art is so 
 pure, is so conscientious, as to lift him far above the 
 exhibition at any time of a spirit of cupidity, and to 
 cause him frequently to discourse the most exquisite 
 music, when he can expect no other reward than the 
 pleasure he feels in thus gratifying his auditors. 
 
 I have thus given a somewhat general outline of the 
 characteristics and accomplishments of our subject. 
 But what is his history in particular ? What have been 
 the beginnings, the circumstances, that have united to 
 produce a character so pleasingly and so harmoniously 
 formed? These questions I shall now endeavor to 
 briefly answer. 
 
 Frederick Elliot Lewis was born in Boston in the 
 year 1846. His parents, both natives of New England, 
 were.people of musical and general culture ; his father 
 being a performer on the flute, violin, violoncello, and 
 piano, as well as a chorister; while his mother was a 
 pianist, a leading soprano-singer in choirs, a lady of fine 
 musical taste, appearing often in public, and taking 
 always a leading part. 
 
 At the early age of six years, Frederick evinced a 
 surprising fondness for miisic ; but it was not until he 
 was eleven years old that he began its real study. This 
 he did under his mother's direction, taldng lessons on 
 the piano-forte. At this time he found the study of 
 music difficult, and the acquirement of its scientific 
 
Frederick Mliot Lewis. 185 
 
 rudiments was to Mm dry work. In one year, however, 
 its cliarming beauties began to open before his young 
 mind ; and after this he rapidly developed a talent for 
 music, felt the inspiration of the beautiful art, and bo- 
 came ambitious to excel. 
 
 After studying for some time the piano, and becom- 
 ing, for one of his years, quite proficient as a performer, 
 he began to take lessons on the organ under the direc- 
 tion of Miss R. M. Washington, an accomplished teacher 
 of that instriunent, of the piano-forte, and of harmony. 
 The organ for some time quite absorbed his attention. 
 This grand and most comprehensive of instruments, 
 with its great scope and capacity for the production of 
 liarmonic beauties, so delighted, indeed so charmed, our 
 young enthusiast, — for such he had now become, — as to 
 leave him with scarcely any inclination or time for other 
 studies. He resolved then to learn all that it was pos- 
 sible to know about the organ, not only in awaking to 
 life its tones of grandest harmony, but also, and in 
 order to better accomplish the same, to study its won- 
 derful mechanism. 
 
 With this latter purpose in view, he visited the exten- 
 sive and celebrated organ manufactory of the Messrs. 
 E. and G. G. Hook & Hastings, located at what was 
 then called Roxbury, Mass., now a part of the city of 
 Boston. These gentlemen were so pleased with his 
 ambitious spirit, that they kindly gave him permission 
 to visit at will their factory, and to examine into every 
 thing connected with organ-making. After a whUe, 
 tlus firm, discovering the ability of young Lewis as a 
 performer, invited him, in the presence of, and at times 
 in conjunction, with, some of the most skilful organists 
 of Boston, to test their organs before the same were 
 
186 Music and Some Highly Musical People. 
 
 offered for sale. Besides, he sometimes offered sugges 
 tions in regard to their construction before the organs 
 were completed, some of wliich suggestions were 
 adopted by the firm. It will thus be seen that our stu- 
 dent was quite fortunate in having, in the first place, 
 an excellent teacher, and afterwards such beneficial 
 opportunities as those allowed him by the Messrs. Hook. 
 No wonder, then, that with his natural abilities, his 
 ambitious, art-loving spirit, industrious habits, and 
 such facilities, he quite early became a proficient 
 organist. 
 
 Witli his acquisition of skill as a performer on the 
 piano-forte and organ already attained, as well as with 
 his prospects for attaining to great distinction as a 
 player of either of them, our artist might well have 
 been content. But with these he was not satisfied : he 
 longed to roam over the whole field of instrumental 
 music, to evoke and to enjoy the harmonic beauties of 
 the many other instruments. He had, in fine, become 
 an enthusiast in music ; and yearned to become a real 
 connoisseur, theoretically and practically. 
 
 Mr. Lewis, therefore, next took up for study the 
 violin, without other teachers than the best instruction- 
 books treating on that instrxunent. Becoming enam- 
 oured of the tones of that sweet and soul-expressing 
 instrxunent, using in his work only music of the liighest 
 kind (he never, indeed, had a taste for any other), 
 choosing for his models — when not guided alone by 
 his own ideas of fine expression — the most classical 
 perfoi-mers, he rapidly advanced as a pleasing and 
 scholarly violinist, and made his first public appearance 
 as a soloist at New Bedford, I\Iass., in 1861. About 
 this time, having attained to a fine degree of general 
 
Frederick Elliot Lewis. 187 
 
 proficiency in music, and having overcome to some 
 extent a certain shyness and timidity which had hither- 
 to characterized him, he accepted invitations to appear 
 in the best musical circles in Boston, and to take part 
 occasionally in public performances there. Tliis served 
 to increase his desire to learn even other instruments, 
 and caused him to study successively many of the piecea 
 that are comprised in the formation of a large orchestra 
 (ir a militaiy band. He made, however, the cornet his 
 principal study. Having at this time become quite 
 partial to stringed instruments, he soon gave most of 
 his time to the study and practice alternately of the 
 viola, violoncello, double-bass, and the guitar. As a 
 performer on all of these instruments, except perhaps 
 tlie guitar (an instrument which he never much liked), 
 he has on important public occasions appeared, eliciting 
 at such times the favorable comments of the press. 
 
 Leaving for a while the instruments just mentioned, 
 he turned his attention to the clarinet and flute. To 
 the former he is at present much devoted, playing upon 
 it with much taste and skill. 
 
 Being asked why he so much enlarged his field of 
 instrumental performance, and why he did not confine 
 his studies to not more than one or two instruments, he 
 said that it was in order that he might be the better 
 able to arrange and write music for an orchestra or 
 military band ; and in this ambitious endeavor he has 
 attained to a fine degree of success. 
 
 I should have mentioned before this, that, at the ago 
 of fifteen, our subject was considered quite a competent 
 perform; er on the piano-forte, the organ, and the violin; 
 and that at that early age he began to teach the playing 
 of these instruments. 
 
188 Music and Some EigJily Musical People. 
 
 Although his talent and acquirements are displayed 
 iDore particularly as an instrumentalist, Mr. Lewis is 
 also a fair vocalist, understands thoroughly its theory, 
 and teaches singing. He is a valued member of several 
 musical clubs of Boston and vicinity composed of 
 artists of the highest culture, such as the Haydn and 
 Mozart Clubs of Chelsea, Mass. He, besides, meets 
 with a select few in Boston, in a circle of studious 
 amateurs where none but the finest and most classical 
 music is performed. He is a member of the " Boston 
 Musicians' Union," which comprises in its membership 
 most of the best musicians of the city; such as, for 
 instance, Julius Eichberg, P. S. GUmore, C. N. Allen, 
 Messrs. Listemann, Lothian, &c. 
 
 In the Haydn and Mozart Clubs Mr. Lewis has played 
 the part for first violin; and on several occasions, in 
 the absence of the directors of those bodies, he has 
 assumed acceptably the conductorship. His general 
 musical accomphshments, and his acquaintance with 
 each instrument used in these clubs, make him really 
 the most useful and valued member ; for, if a member 
 fails to appear at a performance, he need not be much 
 missed, since Mr. Lewis, if present, can take his instru- 
 ment, whatever it may be, while his own regular place 
 may be taken by the next first yioUnist in rank. 
 
 He has performed on several great occasions, notablj'' 
 at the World's Peace Jubilee, held in Boston in 1872, 
 in an orchestra of nearly two thousand instrumentalists, 
 all selected, and of fine skill. Before being accepted 
 there, he was subjected to a most rigid examination by 
 the superintendent of the orchestra^ being required 
 to play on the violin some of the most complicated 
 and difficult compositions for that instrument. Tliis 
 
Frederick Elliot Lewis. 189 
 
 test he stood so well, indeed, as to elicit from the super 
 intendent, in the warmest manner, the comprehensive 
 exclamation, " Lewis, you are a musician ! " At the 
 grand testimonial concert tendered P. S. Gilnure 
 (the projector of the two great "Jubilees") at the 
 Boston Theatre, prior to his going to New York to re- 
 side, Mr. Lewis appeared in a selected orchestra, and 
 contributed not a little to the success of that interest- 
 ing occasion. 
 
 He is constantly arranging and composing music for 
 his classes, for orchestras and bands. At present he is 
 engaged in composing for the piano what he wUl call 
 "A Meditation," and in which he will include some of 
 the finest ideas that constantly fill his musical mind. 
 Some of these thoughts I have heard him play ; and I 
 have been so pleased by them, as to beg him not to re- 
 linquish his purpose to give them to the public, being 
 convinced that in so doing he would afford delight to 
 all lovers of good music, and add much to his already 
 fine reputation. 
 
 Many complimentary notices touching the musical 
 abilities of Mr. Lewis have from time to time appeared 
 in the public journals. A few of the briefest are given 
 below. 
 
 One of these journals, a good whUe ago, said, — 
 
 " Mr. Lewis is an amateiir performer of marked ability." 
 
 " The Boston Journal," June 11, 1874, said, — 
 
 ' ' Mr. Lewis gained much applause for his violin solos ; and a d net 
 and also a sonata by Mozart, for violin and piano, were well re- 
 ceived. " 
 
 " The Boston Globe," April 16, 1874, said, — 
 
 " Mr. F. E. Lewis, violin soloist, appeared once on the list, and 
 
1.00 Music and Some Highly Blusical Ptople. 
 
 was so demonstratively applauded, that he was a second time forced 
 to come upon the platform. His first solo and the response were 
 very artistically given." 
 
 In these driving days, when competition is so rife in 
 all the trades and professions, and when, even among 
 our best musicians, what begins as a spirit of honest 
 rivalry often degenerates into that of detraction, it is 
 pleasant to record instances in which it is shown that 
 there are those who in their culture so strikingly unite 
 the qualities of the skilful artist and the true gentle 
 man, that their warmest admirers and friends are found 
 among those of the same caUihg. Of Mr. Lewis, Mr. 
 Alonzo Bond, director of Bond's Military Band, and a 
 veteran musician of note, once said, " He is the finest 
 accompanist (piano) in the United States." The writer 
 has also in possession letters, highly commendatory of 
 Mx. Lewis as a musician, from Mr. L. R. Goering, a skil- 
 ful orchestra leader, member of that fine body of musi- 
 cians, the Germania Band, and a teacher of great merit ; 
 from T. M. Carter, director of Carter's Band ; from J. O. 
 Freeman, and J. H. Richardson, — all musicians of high 
 rank, and gentlemen of excellent general culture. From 
 the letter of one of these (Mr. J. O. Freeman) I quote 
 the following reference to the subject of this sketch : — 
 
 "Hook upon him as a person of remarkable musical ability, 
 llis performance on the violiii, viola, violoncello, double-bass, 
 clarinet, and also brass instniments, is really surprising. But where 
 we see his real talent is in his conception and rendering of classical 
 music on the piano-forte. Even in Ms own compositions he has 
 shown much real talent. I regret that he could not have had the 
 chances abroad that so many of our less-talented Americans have 
 had. Besides the numerous instruments I have mentioned, there is 
 stiU another (which, perhaps, in character ranks higher than any of 
 the others) : I mean the church-organ, upon which he also plays." 
 
Frederick Ulliof Lewis. 191 
 
 Tliis writer, like all the others mentioned, could not 
 refrain from closing his letter by a very handsome refer- 
 ence to Mr. Lewis's gentlemanly traits of character. 
 
 Slightly below the medium size, of graceful form, 
 with regular, expressive features, and thoughtful cast 
 of countenance ; always neat in appearance ; of gentle- 
 manly, Christian deportment; genial in manners, — so 
 amiable, as to be almost without an enemy; of vejy 
 industrious habits ; fully impressed with the beauty, 
 the grandeur, and the great usefulness, of the divine 
 art, as a potent means, when properly employed, for 
 elevating the mind, adding to innocent enjoyment, and 
 as an aid to polite culture ; and with a soul absorbed 
 in music, — all this can be truly said of Frederick E. 
 Lewis. Not much more can or need be said to mark 
 him, as he is, the Christian gentleman and the wonder- 
 fully talented musician, — one whose charming qualities 
 fiU the measure of our highest conception of the true, 
 the ideal artist. 
 
XIV. 
 
 NELLIE E. BROWN, 
 THE FAVORITE NEW-HAMPSHIRE VOCALIST . 
 
 "The melody of every grace 
 And music of her Ssux." 
 
 LOTELACX. 
 
 ** And thence flows all that charms or ear or sight; 
 All melodies the echoes of that voice." 
 
 COLESIDGE. 
 
 ALL musical tones please the ear, and affect to a 
 greater or lesser degree the finer senses ; for as 
 beautifully and expressively sings Cowper, explaining 
 this sensibility, — 
 
 " There is in souls a sympathy with sounds: ' 
 
 Some chord in unison with what we hear 
 Is touched within us, and the heart replies." 
 
 The musical instrument, of itself lying cold and 
 inanimate, may become, when touched by the hand of 
 genius, seemingly a thing of life as the performer 
 evolves from its board tones of melody so thrillingly 
 sweet, so soulful, as to awaken in the listener's breast the 
 holiest emotions. Even stout>-hearted men have shed the 
 tear of feeling when listening to the tenderly touching 
 
 192 
 
NELLIE E. BROWN. 
 
Mllie E. Brown. 193 
 
 strains of the voieeful violin ; while the musical moan- 
 ings of the violoncello have caused them to experience 
 feelings of a tender sadness. 
 
 I saw this exemplified, when, a short while ago, I lis- 
 tened with rapt attention to the marvellously sweet sing- 
 ing of the violin of that rare virtuoso, Ole Bull. The 
 performer appeared like one inspired; and his noble 
 instrument seemed sentient as under his magnetic hand 
 ils pure, melodic, and at times human-like voice, so re- 
 plete with poetic, soulful expression, gave out tones of 
 most exquisite beauty and grandeur, while every heart 
 of his vast, enraptured audience throbbed in unison. 
 
 Still it is only once in a great while that one may 
 witness the production of effects like those just de- 
 scribed: and I think, that although the lines of Cow- 
 per, previously quoted, may refer to the effect of musi- 
 cal sounds in general, they yet are more particularly 
 expressive of the impressions produced upon the ear 
 and the heart by the melodious echoings of a human 
 voice when heard in song ; for then a real, a living soul, 
 mth aid of music's charm, breathes to soul its joys, its 
 pathos, its inmost longings, — touching indeed the un- 
 seen, 
 
 " The electric chain wheiewith we are darkly bound," 
 
 wmle heart responds to heart. 
 
 Besides, we know that man, in his rudest, as well as 
 in his most highly-Civilized state, readily pays tribute 
 to the power and beauty of song. In this form of musi- 
 cal expression the singer conveys to the listener's ear 
 not only melodies that the latter naturally delights to 
 hear, but utters also the words of sentiment, of instruc- 
 tion, that appeal to his mind, and touch his heart ; thus 
 
194 Music and Some Highly Musical People. 
 
 doubly enchaining his interest, and enhancing his pleas- 
 ure. Moreover, to the mere charm of resonant vocali- 
 zation is added the one afforded by a warm, a living 
 presence ; the speaking eyes (so aptly called the " win- 
 dows of the soul "), with their glowing, magnetic ex- 
 pression, and the effective gesture, forming together 
 pleasure-giving elements that must ever be wanting ia 
 other forms of musical presentation. 
 
 And so easily are our musical sensibilities awakened, 
 and so readily are we influenced by song-power, that 
 these effects may be exerted upon us, to a very consid- 
 erable extent, even by the singer of ordinary abilities. 
 But by a beautiful cantatrice, gifted with a pure, reso- 
 nant, sympathetic voice, its natural sweetness and power 
 supplemented by careful artistic cultivation, possessing 
 a pleasing, unaffected manner of appearance and ex- 
 pression, all these effects may be amplified, intensified. 
 Such a one may often, nay, at will, call into life our 
 most delightful emotions, and evoke the warmest ad- 
 miration of those who see and hear her. Her sway is 
 over all, and is absolute ; the natural music of her voice 
 merely serving as sufficient charm for those not highly 
 cultured, while the embellishments of art which she so 
 intelligently u^es in her performance add to the pleas- 
 ure of, as thsy satisfy, the esthetic conceptions, the 
 love of full, harmonious development, held by persons 
 of the most critical tastes. 
 
 As prominent among those lyric artists of New 
 England whose fine natural musical powers and many 
 ■winning accomplishments have formed the theme of 
 frequent praise, as they have been the source of con- 
 stant delight for many persons in private circles and 
 public audiences, I may confidently mention Nellie E. 
 
MlUe K Brown. 195 
 
 Brown of Dover, N.H,, — a lady who -vi ithin a very few 
 years has, by the great beauty of her voice, and the ex- 
 hibition of many noble qualities of heart and mind, won 
 a name of which she and all her many admiring Mends 
 may be justly proud. 
 
 At quite an early age Miss Brown evinced a fondness 
 for music, the slightest sounds of which readily attract- 
 ed her attention ; and, long before she had acquired a 
 knowledge of its rudiments, the natural sweetness of 
 her voice, as she was heard merely humming a tune, 
 often arrested the attention ami called out the praises 
 of those who heard her. Thus musically endowed, of 
 an amiable disposition, with spirits ever as free as the 
 mountain winds of her native State, she became the 
 favorite of her school companions, and their leader. 
 
 A few years ago, while attending a private school iu 
 Dover, Miss Caroline Bracket, a teacher in the same, 
 noticing that Miss Brown possessed a naturally supe- 
 rior voice, earnestly advised its fullest cultivation. 
 This lady became her first musio-teacher. Diligently 
 pursuing her studies, she made rapid progress. Boiiig 
 induced to take part in occasional school and other 
 concerts, our subject soon became quite prominent in 
 Dover as a vocalist, and was engaged in 1865 to sing in 
 the choii of the Free-will Baptist church of that city. 
 Here she remained until November, 1872; at which 
 time, having learned of Miss Brown's fine vocal powers, 
 (he members of Grace Church, Haverhill, Mass, earnest- 
 ly invited her to become the leading soprano in their 
 choir, offering her a liberal salary, besides the payment 
 of her travelling-expenses twice each week between 
 Dover and HaverhUl. Tliis very complimentary invitar 
 tion she accepted ; and for four years her fine singing 
 
196 3Iusic and Some Highly Musical People. 
 
 and engaging manners rendered her deservedly popular 
 with the members and attendants of the church men- 
 tioned, — people of fine Christian and general culture, — 
 as well as of the citizens of Haverhill generally, before 
 whom, in the public halls, she sang on several occasions. 
 
 She remained in Haverhill until November, 1876 ; 
 when, on the completion of the new Methodist-Episcopal 
 church at Dover, — the largest and finest church in the 
 city, — she was induced to become a member of its choir. 
 Not, however, until after a severe struggle did the 
 Grace-church people relinquish their claims to the ac- 
 complished vocalist. They say that they will yet have 
 her back with them. At present. Miss Brown is direc- 
 tress of the choir in Dover which I have just men- 
 tioned. 
 
 I bave thus given a rapid sketch of our subject's 
 career as a choir-singer ; a career which, it is seen, has 
 been a most gratifying one. But her musical acliieve- 
 ments have not been made alone in the positions and 
 places mentioned : in others, near and far, she has dis- 
 played such abilities as a songstress as to have won 
 golden opinions of those composing her many large and 
 cultivated audiences, wliile the press have awarded her 
 the highest praise. 
 
 While a leading member of the choirs before alluded 
 to, and wliile winning encomiums that perhaps would 
 have turned the heads, so to say, of many, and caused 
 them to have relaxed that assiduous and scientific study 
 so necessary to the attainment of complete success. 
 Miss Brown continued a zealous student of her much- 
 loved art, being ever resolved to cultivate her voice to 
 the highest point of excellence. Apropos of this, I 
 may mention that she once wrote a friend as follows : 
 
Mllie U. Brown. 197 
 
 " My motto is ' Excelsior.' I am resolved to give my- 
 seK up wholly to the study of music, and endeavor, i". 
 sitite of obstacles, to become an accomplished artist." 
 It may be observed, that none but those who are actu- 
 ated by the most noble motives, and who give utterance 
 tc them in words of such inspiring earnestness as these, 
 do become " accomplished artists." 
 
 Deciding, then, to secure the fullest development of 
 her voice, and to gain those acquirements that belong to 
 a technical education, living witliin a few hours' ride of 
 Boston, she here became first a pupil of Mrs. J. Rametti, 
 and afterwards entered one of the great conservatories, 
 where she was placed under the guidance of Professor 
 O'Neill, a gentleman highly esteemed as a teacher of 
 voice-culture. She had not long been connected with 
 the New-England Conservatory of Music, when its 
 director requested her to appear at the quarterly con- 
 certs of that institution that were held in Music Hall. 
 Here on two occasions, before large and highly-culti- 
 vated audiences, with beautiful voice, correct method 
 of expression, and ease and grace of stage deportment, 
 — singing, in Italian, music of a high order, — Jliss 
 Brown won the most enthusiastic applause. Predictions 
 of her complete success as a brilliant lyric artist were 
 freely made by many connoisseurs. But these have 
 not been her only appearances in Boston. She has 
 many times sung at concerts in the finest music-halls of 
 the city, before many critical audiences ; her charming 
 rendition of the numerous English, Italian, French, 
 Scotch, and Irish songs in her rich repertoire maldng 
 her one of Boston's favorite cantatrices. 
 
 In order that the opinions heretofore given in regard 
 to Miss Brown's vocal abilities and artistic accomplish- 
 
198 Music and Some Highly Musical People. 
 
 ments may be shown not to be exaggerated, I now desire 
 to append some of the notices which her perfonaances 
 have elicited from the press of New England and other 
 sections of the country. And here I am confrcnted by 
 the first real difficulty that has appeared since I began 
 this sketch ; for I have before me nearly one hundred 
 comments, all highly complimentary, only a very small 
 number of which may here be reprinted. To prop- 
 erly arrange and give them all would be an easy 
 and most pleasing task, since the collection forms an 
 unbroken, a delightful series of musical descriptions, 
 interspersed with liigh but always discreet praise of the 
 artist whose performances, in the main, called them 
 forth J but to be compelled, from want of space, to 
 endeavor to select, from among these many encomiums, 
 only those which, while they do justice to our subject, 
 are yet brief and together varied and interesting, is a 
 duty attended with some embarrassment. Before at- 
 tempting to do this, I deem it proper to say, that, if 
 printed together, the comments referred to would make 
 a volume of considerable size ; which, containing, as it 
 undoubtedly would, the truthful, spontaneous tributes 
 of lovers of art to one of its most faithful and accom- 
 plished devotees, might well be considered by herself 
 and many admiring friends as of most inestimable 
 /alue. 
 
 The following have reference to Miss Brown's appear- 
 ances in Boston during the musical season of 1874 : — 
 
 Said " The Bost&n Traveller," April 16,— 
 
 " Miss Nellie E. Brown has for some months been the leading 
 soprano at Grace Church, IlaverhUl, Mass. ; which position she has- 
 GUed with eminent acceptance, and with marked exhibition of 
 irtistic powers." 
 
Nellie E. Brown. 199 
 
 And the same paper at anotlier time said, — 
 
 " Miss Brown possesses a very fine voice under excellent culture, 
 and gave with much taste several solos. Noticeably good was her 
 rendering of Torrey's ' La Prima Vera.' In all her selections sha 
 Dxliibited excellent style and finish." 
 
 " The Globe," March 31, said, — 
 
 " IVIiss Nellie Brown showed a particularly well-modulated voice, 
 trained study, and appreciative method, which served her well in 
 tlie pleasant rendering given by her so gracefijJly and unaffectedly." 
 
 The same paper, after alluding to her rendition of 
 " Del Criel Regina," said, — 
 
 " This lady is fortunate in her exceedingly sweet and well- 
 trained voice, which, in conjunction with her fine personal appear- 
 ance and stage manners, rendered her reception imusuaUy enthusi- 
 astic." 
 
 Speaking of an entertainment given at Parker Memo- 
 rial Hall, a musical writer said, — 
 
 " Miss Brown has a charming voice, and sings with intelligent 
 expression and good taste. Two of her songs, ' Beautiful Erin ' 
 and ' Bonnie Dundee,' were rendered with great sweetness." 
 
 " The Boston Advertiser," March 31, said, — 
 
 " She has an exceptionally pure voice, which has been carefully 
 trailed." 
 
 " The Transcript," April 16, said, — 
 " A soprano of good voice and cultivation." 
 
 « The Jouinal," June 13, 1874, said, — 
 
 " A talented vocalist, with a well-cultivated voice of a remarka- 
 )ly fiue quality. She pleased very greatly in several selections." 
 
200 Music and Some Highly Musical People. 
 
 Said "The Post," Nov. 13,— 
 
 "An artist of exceptional merit, possessing a voice of rare 
 compass, flexibility, and sweetness. In the solo, 'Land of my 
 Birth,' by Operti, she received enthusiastic applause." 
 
 Tlie public journals of her own city and state very 
 early in her career chronicled Miss Brown's musical 
 achievements, and even then felt warranted in award- 
 ing her strong but judicious praise. Latterly they 
 have many times spoken in most enthusiastic terms of 
 her added accomplishments. I shall quote only a few 
 of the briefest of these. 
 
 " The Dover (N.H.) Daily Democrat," Dec. 19, 1873, 
 said, — 
 
 " The concert given in the Ciiy Hall last evening by Miss NeUie 
 Brown, assisted by Misses Gray and Bracket and the Amphion 
 Glee Club of Haverhill, Mass., was a success. . . . Miss Brown 
 was very warmly greeted, and surprised all with the ease and grace 
 of her appearance, the richness of her voice, and the fine rendering 
 f f her music. She was enthusiastically encored." 
 
 " The Dover Enquirer," Sept. 7, 1876, said, — 
 
 " The organ and vocal concert at the new Methodist-Episcopal 
 chvurch on Tuesday evening was one of the finest ever given in 
 Dover. . . . Dover's favorite, Miss Nellie E. Brown, was as warmly 
 greeted as ever, sang most charmingly, and was loudly encored." 
 
 " The Dover Democrat," Sept. 6, 1876, said, — 
 
 " It [the concert] was a grand and complete success. . . . One 
 little incident, or intended incident, was omitted at the coucei-t. 
 An elegant basket of flowers was sent by the friends of Miss Nellie 
 Brown at Haverhill, for presentation to her at the close of her 
 singing; but the express folks failed to deliver it in season. It was 
 too bad; but Miss Brown and her numerous friends appreciate the 
 good-will of the HaverliiU people all tlie same. It was intended as 
 a pretty tribute to one of the best singers in New England; and, so 
 
Nellie K Brown. 201 
 
 far as the act itself was concerned, it stands just as well as thonfh 
 tlie presentation had taken place." 
 
 Miss Brown has sung in quite a number of the largei 
 towns and cities of Massachusetts, in whicli State she 
 is scarcely less a favorite tlian in New Hampshire. She 
 has appeared at concerts in company with some of the 
 most eminent artists of the country (such as, for in- 
 stance. Professor Eugene Thayer, J. F. Rudolphsen, 
 Myron W. Whitney, Mrs. Julia Houston West, Mrs. 
 H. M. Smith, and others), and always with fine success. 
 In her own city and state she enjoys a popularity 
 unequalled by any other cantatrice, her beautiful voice 
 and many excellent traits of character winning her the 
 warmest esteem of all. The people of Dover are very 
 proud of her, and greatly delighted that one of their 
 number is received with such marks of enthusiastic 
 favor in other States. The Dover papers always readily 
 record these triumphs, and proudly speak of her as 
 " our prima donna." 
 
 In November, 1874, our subject sang in Steinway 
 Hall, New York, and was highly complimented by sev- 
 eral of the papers of that city. 
 
 " The Gazette," Nov. 4, 1874, said, — 
 
 " Miss Nellie Brown, born and bred among the Lills of New 
 Hampshire, possesses a voice of rare power and beauty, which she 
 has diligently labored to cultivate and improve by close and unre- 
 mitting study. She has also a rare charm of manner, which, 
 imited with her exquisite singing, won for her an enthusiastic re- 
 csption." 
 
 Another paper thus referred to her : — 
 
 " Miss Brown is not a New- Yorker, but resides at Dover, N.H., 
 where she is the leading soprano in the principal church. Iler 
 Btage presence is quite prepossessing. She sang ' Salve Maria,' and 
 
202 Music and Some Highly Musical People. 
 
 ' Robert toi que j'aime,' with very good effect, besides assisting in 
 Beveral duets and quartets. She possesses a very good voice ; and, 
 although of light calibre, it is even now able to fill a hall like 
 Stein way." 
 
 She has appeared at concerts in Washington, D.C., 
 Portland, Me., Baltimore, Md., and St. John, N.B. In 
 December, 1874, Miss Brown visited the national capi- 
 tal, where she sang in a series of concerts given in 
 Lincoln Hall under the auspices of the Abt Society. 
 Of the part taken by her in one of these " The National 
 Republican " said, — 
 
 " ' La Prima Vera,' by Miss Nellie E. Brown, was beautifully 
 and artistically rendered, the lady possessing a beautiful, full, round 
 voice, which blended harmoniously with the perfect ease and faultr 
 less execution which graced her performance. It being her first 
 appeaiance before a Washington audience, the expectation formed 
 of her excellence in an artistic sense was more than realized. 
 ' Nobody at Home but Me,' sung by the same lady in reply to an 
 encore, more fully, if it were necessary, stamped her as an artist 
 of the first class." 
 
 I believe I have already intimated that the very high 
 esteem in which Miss Brown is held arises not alone 
 from her possession of charming lyric qualities, but also 
 from her obliging disposition and engaging manners. 
 She has ever been the true artist; earnestly devoted 
 to the fullest development of her own musical pow- 
 eR5, but not envying those of others; loving music 
 intensely, as something sacred, and always anxious to 
 aid in extending its benign influence. The i^eople of 
 Dover, of Haverhill, of Boston, and other places, hold 
 her in grateful remembrance for a frequent exercise of 
 those generous impulses that have caused her to often 
 sing without charge at concerts given for the benefit of 
 manv good objects. 
 
Nellie E. Brown. 203 
 
 As one among her many acts to benefit tBe young, to 
 inijpii-e them with a love of the beautiful in music, I 
 may refer to the " Centennial Musical Festival " origi- 
 nated by her, and given under her direction ui Boston 
 on the evenings of May 16 and 17, 1876. For these 
 occasions she had carefully instructed fifty young girla 
 to perform the beautiful cantata of " Laila, the Faiiy 
 Queen," a juvenile operetta. This charming composi- 
 tion is admirably adapted to inspire a love of the 
 beautiful in art, and to nurture sentiments of Christian 
 kindness. The following is in brief the plot : — 
 
 " A band of mountain children are collected to spend the sum- 
 mer day in singing, gathering flowers, and feasting around their 
 table spread beneath the shadowy branches of the trees. They are 
 jiterrupted by the approach of a beggar-woman and her cliildren. 
 A. part of the children at first repulse her, ofEended at having their 
 joyous festival thus interrupted: but one of them, Laila, steps forth 
 with a mild rebulce to her playmates for their unkindness: she wel- 
 comes the poor mothe' and children, and bids them make known 
 their wants. The o%er children soon join with Laila in speaking 
 kindly to the poor • wanderers; and, after they have told them their 
 tale of sorrow, t%ey are invited to the feast which the children have 
 prepared, and aU together go out with a merry song to where the 
 table is sprnad. But Laila, the favorite of aU, wandering off alone 
 to cuD some wild flowers, in the ardor of her search loses her way, 
 and wanders about until night approaches ; and then, as weary and 
 frightened she finds herself in a dark forest, she kneels to ask aid 
 rroiri her good angel, when suddenly a little band of fairies with 
 their queen glide into her presence, glittering in their robes cif 
 beauty; and, after her surprise is over, at her entreaty they conduct 
 feei 1o her playmates. 
 
 " The mountain children soon miss LaUa, and all the afternoon 
 they spend in fruitless search for her; and, as night approaches, 
 they collect in the grove where they first assembled, and are ex- 
 ))r('ssiiig their giief and terror at the loss of Laila, when she is led 
 in by the fairies and then- queen, who steps forth, and announces 
 
204 Music and Some Highly Musical People. 
 
 to the children that they axe the same ones, who, disguised aa 
 wretched beggars, came in the morning to prove the generosity of 
 their hearts; and tells them never in future to hesitate to give 
 the needy, for virtue is sure to be rewarded. All unite in a joyous 
 Bong, and Laila is crowned their queen." 
 
 The many persons who were so fortunate as to wit- 
 ness the performance of those charming misses will not 
 soon forget the delights that were thus afforded them, 
 nor will they fail to remember most gratefully the lady 
 to whose painstaldng and noble efforts they are so 
 much indebted for what was a rare treat. 
 
 I would fain attempt a description of the scene of 
 dazzling beauty upon which our eyes feasted, and the 
 music of the fresh young voices that fell delightfully 
 upon our ears, and touched with gladdening effect each 
 heart; but I forbear, and give place to the musical 
 critic of " The Boston Journal," who, on May 17, 
 said, — 
 
 ..." The occasion was the presentation of the cantata of 
 • Laila ' by fifty young ladies, imder the direction of Miss Nellie 
 E. Brown. The misses, ranging from five to fifteen years, possess 
 very sweet voices; and the music was given with much taste, and a 
 degree of artistic excellence reflecting great credit on Miss Brown's 
 efforts. . . . The audience were gpreatly pleased with the rendering 
 of the music. . . . While the singing was good, there was exhibited 
 considerable dramatic art by some of the young ladies. The 
 dresses worn are neat and pretty, the fairy costumes being very 
 striking and appropriate. The stage, too, was neatly set; and 
 there was quite a good spectacular effort in the representation of 
 the fairy grotto." 
 
 At Haverhill, Mass., Dec. 13, 1876, Miss Brown 
 again gave this operetta, when the fifty young ladies 
 appearing were chosen from the high school of that 
 city. 
 
Nellie E. Brown. 205 
 
 "The HaverMl BuUetin," Dec. 14, 1876, said,— 
 
 " The presentation of the operetta of ' Laila ' at Citj Hall, on 
 Wednesday evening, was a very gratifying success. . . . l.he whola 
 affair was under the direction of Miss Nellie E. Brown, the popular 
 Boprano of Grace Methodist-Episcopal Church. She was assisted 
 l)y some fifty young ladies of this city; and the promptness and 
 harmony with which all the arrangements of the affair were carried 
 out, as well as the musical and dramatic talent displayed by them, 
 are certainly very creditable both to her superintendence and their 
 co-operation." 
 
 In the month of July, 1876, Miss Brown was engaged 
 to sing at the " Great Sunday-school Parliament " held 
 on WeUesley, one of the famous Thousand Islands, iji 
 the River St. Lawrence. The now much-lamented 
 Professor P. P. Bliss (who had become so eminent as 
 a composer of popular sacred songs), his talented -wife, 
 and Miss Brown, were the leading singers and soloists 
 on the occasion mentioned. The two former failing to 
 arrive in time, the musical exercises, which were of a 
 very fine order, were arranged, and for a while con- 
 ducted, by Miss Brown. Mr. and Mrs. Bliss, however, 
 arrived some time after the sessions had begun, and 
 then participated in the singing. At this memorable 
 gathering of Christian people from all parts of the 
 United States and Canada, Miss Brown, in the display 
 of fine musical powers, won new laurels; and her 
 oiiarming singing was made the subject of frequent and 
 very complimentary allusion by newspaper correspond- 
 ents writing from the island. In a handsome volume 
 since published by the director of the "Parliament," 
 and which is a record of its proceedings, she is several 
 limes creditably mentioned. 
 
 The following is one of many like notices which the 
 musical exercises mentioned elicited : — 
 
206 Music and Some Highly Musical People. 
 
 ..." As to the singing of Professor Bliss and Miss Nellie 
 Brown, it seems as though we are all in the third heaven at once, 
 and that it is almost sacrilege to come down to meaner things." 
 
 Said Andrew Fletcher, "I knew a very wise man 
 that believed, that, if a man were permitted to make all 
 the ballads, he need not care who should make the laws, 
 of the nation." This certainly was placing a very 
 high, but perhaps not a much too high, estimate on the 
 song-writing power. As coming next in greatness to 
 the composers of meritorious popular ballads, we may 
 mention those accomplished persons, who, possessing 
 sweetly-toned, sympathetic voices, and evincing by 
 their mode of expression a ready, a full conception of 
 the author's meaning, have, in an eminent degree, the 
 power to correctly, charmingly render them. In tliLs 
 form, of musical expression Miss Brown delights her 
 audiences not less than in her rendition of songs of a 
 more pretentious character. In singing the former she 
 exhibits a most mnning naivete, enters wholly into the 
 spirit of the song, and with a full, pleasing voice, im- 
 presses deeply its melody and meaning upon the hearts 
 of her hearers, thus exhibiting the highest kind of l3Tic 
 eloquence. As a singer, then, of ballads alone, she 
 would take high rank in the musical profession, even if 
 she did not excel — it has been seen that she does — in 
 the rendering of songs of a more technical character. 
 
 And now, in nearing the close of this sketch, if any 
 reader shall ask to know the secret of the fine degree of 
 success to which our subject has thus far attained (for, 
 in considering great instances of individual achieve- 
 ment, we are ever prone to attribute the same to mys- 
 teiious or fortuitous circumstances), let him be assured 
 that there is really no " secret " about it. Miss Brown, 
 
Nellie E. Brown. 207 
 
 no doubt, commenced her career with much musical 
 talent, and Nature was otherwise kind to her : hut she 
 has always been a diligent, persevering worker ; and to 
 this cause, rather than to her possession of rich natural 
 endowments, must be mostly attributed her praise- 
 worthy achievements. Indeed, Nature's generous be- 
 Bt>o^vment of talents, or even of genius, is of but little 
 value when the favored one does not assiduously labor 
 to cultivate and develop the same. 
 
 " No good of worth sublime will Heaven pei-mit 
 To light on man as from the passing air: 
 The lamp of genius, though by nature lit, 
 If not protected, pruned, and fed with care. 
 Soon dies, or runs to waste with fitful glare." 
 
 In her efforts to acquire an artistic acquaintance with 
 music, and to reach her present high and enviable posi- 
 tion as a vocalist. Miss Brown has had the warmest 
 sympathy and active co-operation of loving parents an.d 
 an a.ccomplished brother.' Nor should I in this connec- 
 tion fail to advert to the helping, the inspiring influence 
 of thousands of the noble people of New England, who, 
 fond lovers and constant promoters of the beneficent 
 art of music, are ever prompt in the recognition and 
 encouragement of all its talented devotees. To the 
 words of private cheer from many of these, and to the 
 inspiriting effect of their upturned, delighted faces, and 
 frequent plaudits, when listening to her beautiful voice 
 in the crowded music-halls, she must often revert with 
 
 1 Eugene L. Brown. He was possessed of very promising histrionic 
 ability, had frequently taken a leading part in amateur theatricals at 
 Dover and elsewhere in New Hampshire, and was the author of a 
 drama which was highly spoken of by the press of Dover. Unfortu- 
 nately, in 1875 he died. 
 
'208 Music and Some Highly Musical People. 
 
 feelings not less of justifiable pride than of the warmest 
 gratitude. The writer is quite sure that he but echoes 
 the sentiments of the admiring thousands just men- 
 tioned, when he predicts, that if Miss Brown shall con- 
 tinue to exhibit in the future, as in the past, the same 
 conscientious, ambitious devotion to her chosen profes- 
 sion, she is destined to take rank with the world's great- 
 est singers. 
 
/ / 
 
 ^}#-.-^; 
 
 SAMUEL V.^. JAMIESON. 
 
XV. 
 
 SAIIUEL W. JAMiESON, 
 THE BRILLIANT YOUNG PIANIST. 
 
 " While a skilled artist's nimble lingers iKinnd 
 O'er dancing keys, and wake celestial sound." 
 
 Julian. 
 
 ■* Uor Fame I sligbt, nor for her fevors call : 
 She comes unlooked for, if she comes at all." 
 
 Pope. 
 
 " npHE entertainments at Parker Memorial Hall on 
 J- Sunday evenings in no wise lessen in interest and 
 numbers. One evening, listening to Gounod's 'Ave 
 Maria' by the famous Germania Orchestra, we felt 
 that the worship of the Virgin, of which was born such 
 heavenly strains, if for no other reason, was not with- 
 out its use in the world even now. Another evening 
 Mr. Jamieson awoke the echoes of the piano in a man- 
 ner to do credit to a Liszt and Chopin." 
 
 Thus, a year or two ago, spoke one of Boston's first 
 writers and musical critics, when, in an article published 
 ill " The Commonwealth," alluding to the accomplished 
 pianist, Samuel W. Jamieson. 
 
 In the comparison here made, so highly compliment- 
 ary to our subject, this writer does not stand alone ; for 
 
 209 
 
210 Music and Some Highly Musical People. 
 
 the remarkably fine execution of Mr. Janiieson ha3 
 often drawn from otlier piano-students praise none the 
 less flattering; while his mastery of so many of the 
 difficulties that are connected Avith piano-forte playing, 
 and his fine general musical talents, entitle him to a 
 prominent place in books far more pretentious than 
 this one. He has, in fact, attained to sucb brilliant pro- 
 ficiency (although quite a young man) as to cause him 
 to be already ranked with the first pianists of the 
 country. 
 
 Mr. Jamieson was born in Washington, D.C., in the 
 year 1855. He began the study of music, taking les- 
 sons on the piano-forte, when about eleven years of age. 
 Since then he has been under the instruction of some 
 of the best masters of Boston, such as James M. Tracy, 
 and Fred. K. Boscovitz, the celebrated Hungarian pian- 
 ist. He has been a pupil of the Boston Conservatory ; 
 from which classical institution he graduated in honor 
 in 1876, receiving its valuable diploma. 
 
 WliLle a student at the Boston Conservatory, he was 
 nearly always chosen by the director, Mr. Julius Eich- 
 berg, to represent at the quarterly concerts the fine 
 progress made by its pupils. At such times his perform- 
 ances of numbers, requiring rapidity of reading and exe- 
 cution, together with a good knowledge of piano tech- 
 nique, drew from the press the most favorable comments, 
 and made liim the favorite piano pupil at the institution 
 mentioned. The following, as an instance of tliese com- 
 ments, is taken from " The Boston 'Journal : " — 
 
 ..." But the best thing in the piano line was the rendering 
 of Chopin's ' Polonaise,' in E flat, by Jlr. Samuel AV. Jamieson. 
 The ' Hungarian Khapsodie,' No. 2, of Liszt, was most particu- 
 
Samuel W. Jamieson. 211 
 
 larly characterized by a delicate touch, and a clear conception oi 
 (he subject in hand. 
 
 " It is but just to say that this gentleman is an advanced 
 scholar." 
 
 And this from " The Folio," referring to another like 
 oooa.sion : — 
 
 "Mr. Samuel Jamieson, pupil of the Boston Conservatory, bul 
 directly under the instruction of Mr. Tracy, carried ofE a good 
 share of the honors of the recent maiirde of that very successful 
 school." 
 
 " The Boston Traveller," describing the performances 
 of pupils of the Conservatory at Music Hall, after stat- 
 ing that all the performances were of a high order, 
 makes special mention of Mr. Jamieson, saying that 
 " his execution of a difficult number was worthy of the 
 highest praise." Many other comments equally favora- 
 ble could here be given, were it necessary. 
 
 His performances at these concerts soon made him 
 widely known among the musical and general public of 
 Boston and vicinity, and his services as a soloist became 
 much in demand. As soon as he had attaiaed to a fair 
 degree of proficiency, he began to give lessons on the 
 piano-forte ; and by so doing, and by occasionally appear- 
 ing at concerts, he secured the means to continue his 
 studies at the Conservatory. His playing at one of these 
 concerts was thus spoken of in a Boston paper : — 
 
 " The concert given on Tuesday evening at the Music Hall, 
 though so little known as to be thinly attended, -was a very satisfao- 
 torj' entertainment, and well deserved a large audience. Mr. Jamie- 
 son is a pupil of the Hungarian pianist Mr. V. Boscovitz. some 
 prominent features of whose style he closely imitates. His playing 
 shows him to be a careful, conscientious student, possessed of re: J 
 musical oensibility, without any of the nauseous sentimentalism so 
 common amorg yoimg players. His best performance in every 
 
212 Music and Some E^ghly Musical People. 
 
 respect was Liszt's ' Kigoletto ' fantasia, the mechanical difficul- 
 ties of -which he has well conquered, and the passionate meaning 
 of which he interpreted very finely. In answer to an encore of 
 this piece, he gave Mr. Boscovitz's exquisite little ' Chant du 
 Matin,' Op. 68. 
 
 " He will make an excellent pianist i£ he prosecutes his study 
 a.s faithfully as he has commenced it. Mr. Jamieson carries with 
 him the good wishes and the highest expectations of those who 
 heard him." 
 
 He early showed a singleness of devotion to his chosen 
 work, and has always evinced a spirit of ambitious aim. 
 Some particulars of the latter, while winning him the 
 approval of the thoughtful, have caused him to be mis- 
 understood and censured by others. With fine artistic 
 taste, ever aiming high, fully in earnest, and with no 
 more than (as the writer believes) a just estimate of his 
 attainments and consequent rank as a musician, Mr. 
 Jamieson has sometimes declined to appear at the " two- 
 penny show " concerts given generally in the churches, 
 and often by " artists " (?) of abilities so poor as to ren- 
 der them fit subjects for the training of a rudimentary 
 music school rather than as objects of public view or 
 favor. Still I do not believe that Mr. Jamieson has 
 been unwilling to acknowledge the generally loiown 
 fact, that much good has often been done by amateurs 
 and others at church concerts, both by the aid thus 
 afforded to meritorious causes, and by the musical pnic- 
 tice and public acquaintance obtained for themselves. 
 That he has not been without a ready sympathy for the 
 persons or causes to be benefited by such entertain- 
 ments is well evinced by the fact, that (notwithstand- 
 ing he holds certain views mentioned in this connec- 
 tion) he has appeared at times at the same, at the better 
 kind, making no charge for his services; and yet his 
 
Samuel W. Jamieson. 213 
 
 occasional refusal to appear at certain of tliese concerts 
 has been attributed — generally by ignorant persons, 
 but sometimes also by others, who, as they knew better, 
 must have been influenced alone by bad motives— to 
 his possession of undue self-esteem, &c. But these 
 unjust criticisms, although often causing him pain, could 
 never swerve him from his chosen path. He would never 
 lower his standard, and he always sought to enter the 
 lists with those who contended for ttie'highost prizes in 
 art. The prominent position he holds to-day as an 
 artist is proof that his course has been the right one, 
 and the one which should serve as an example to all those 
 young persons, who, endowed with musical talents, are 
 yet neglecting to cultivate the same ; who are, in fact, 
 allowing them to gradually waste away by giving them- 
 selves to unmusical, injurious associations; and who 
 quite too often spend the precious time that should be 
 given under competent teachers to diligent, untiring 
 study, in appearances before audiences whose applause, 
 of doubtful value, is readQy bestowed in unstinted 
 quantities, and which serves, alas! but tp dazzle, to 
 deceive, and too often to permanently ruin, the young 
 performer. 
 
 Mr. Jamieson's fine, ever-increasing musical abilities, 
 his general intelligence and gentlemanly bearing, soon 
 gained for him the entrSe of the best musical circles of 
 Boston and vicinity, and secured for him association at 
 concerts with the most advanced artists. During the 
 wii-ters of 1875 and 1876 he several times appeared 
 bofyre large and enthusiastic audiences at a series of 
 entertainments given at Parker Memorial Hall. A 
 writer thus mentions his performances at one of these 
 concerts : — 
 
214 Music and Some E^ghly Musical People. 
 
 " Mr. Jamieson, the pianist, was before the public last season, 
 and then gained strong praise. He is a promising young artist, 
 and his performances on this occasion showed marked improve- 
 ment. His selections embraced a f antasie on the ' Wedding March ' 
 of Liszt, a fantasie on themes from * Rigoletto,' and variations on 
 ' Home, Sweet Home; ' and in all three he won deserved applause." 
 
 He has devoted himself solely to the piano-forte, and 
 makes no pretensions to a knowledge of other instru- 
 ments, considering the former as quite worthy of his 
 undivided study, — especially in these days, when, in his 
 own city and state at least, fine piano soloists are so 
 numerous, and whose best performances he desires to 
 equal, and, if possible, to excel. 
 
 From the first, Mr. Jamieson has given himself to 
 the performance of only the higher class of music. So 
 determined is he in this respect, that he will not play 
 dance-music, not even that of the best order. The 
 writer once asked him to play one of Strauss' most 
 bewitching waltzes, — one full of those delicious, so to 
 say, entrancing melodies, for which the productions of 
 this gifted composer are so noticeable, and one which at 
 the time had taken nearly every one completely cap- 
 tive. I refer to the " Beautiful Blue Danube " waltz. 
 But he declined to play it. I again and again entreated 
 him ; for I not only delighted to hear as often as possi- 
 ble this charming selection, but, knowing Mr. Jamie- 
 son's rare powers as a pianist, I was especially anxious 
 to hear him give life to its magic strains. No amount 
 of persuasion could move him, however ; and he finally 
 ended the matter by telling me that he never, under 
 any circumstances, played Jance-music, as he deemed 
 its practice an injury to one who wished to reach the 
 highest positions as a pianist. So I was compelled to 
 
Samuel W. Jamieson. 215 
 
 pocket my disappointment, and to go elsewhere for my 
 "Beautiful Blue Danube." 
 
 Mr. Jamieson is an assiduous student, devoting sev- 
 eral of the early morning hours of each day to practice 
 on the piano-forte. Even during the heated term, when 
 mont artists neglect their instruments, and hie away to 
 enjoy the refreshing breezes of the sea-shore or the 
 mountains, he may much of the time be found at his 
 rooms, undeterred by the hot atmosphere, diligently at 
 work keeping up the nice degree of proficiency he has 
 already attained, or bravely attacking whatever diffi- 
 culties remain to be overcome. He does, it is true, 
 go away every summer to a quiet nook in the country, 
 remaining, however, only a short while, and during 
 which he does not, to any great extent, lessen his hours 
 of practice. 
 
 During the winter of 1874 he several times appeared 
 at public concerts in Boston and in other parts of New 
 England. His performances at a soirSe musicale at the 
 Meionaon, Tremont Temple, Boston, were aUuded to 
 in the following gratifying terms by "The Boston 
 Globe:" — 
 
 " Mr. Jamieson exhibits much power and delicacy, and a certain 
 confident but not obtrusive manner, which will go far, with hia abil- 
 ities, to place him in a high rank among our pianists. He gave 
 much satisfaction; his performance of Liszt's fantasie on themes 
 from Verdi's ' Rigoletto ' showing great skill in mastering the diffi- 
 cult technicalities in the variations on the theme." 
 
 And in this manner by " The Boston Traveller: " — 
 
 " Mr. Jamieson has come into prominence in this city as a pian- 
 ist, and the ability he has shown has won him the regard of musi- 
 cal people. His selections last evening were all of the highest 
 order, and were uniformly well performed. Compositions of Cho. 
 
216 3£usic and Some EigUif Musical People. 
 
 pin, Boscovitz, and Liszt, were given; and in each a clear apprecia- 
 tion of the character of the compositions was shown." 
 
 Referring to another occasion, " The Boston Globe " 
 thus spoke of our artist : — 
 
 " The participant best known to the Boston public, perhaps, waa 
 Mr. S. Jamieson, who has appeared as pianist on several occasions 
 in public and private with marked acceptability. He was on the 
 programme for two solos, both of which were given with a skiU 
 and an artistic conception that sustained the favorable impression 
 that he had previously made." 
 
 Mr. Jamieson has for some time cherished a hope of 
 going to Europe, there to place himself for a while 
 under the direction of one or more of the great masters 
 of piano-forte playing ; being firmly resolved to leave 
 nothing undone the accomplishment of which wOl 
 place him among the first pianists of the world. Those 
 who know of his present abilities commend him for this 
 desire, aud feel warranted in predicting his complete 
 success. Recently a few among the leading musical 
 ladies and gentlemen of Boston tendered him a compH- 
 mentary reception at the residence of one of the former, 
 and at its close presented him a sum of monej' to aid 
 him in carrying out the purpose just referred to. The 
 occasion was thus alluded to by " The Daily Adver- 
 tiser : " — 
 
 " A musical soiree was given last evening at the residence of 
 Mi-s. Jno. W. Perry in aid of Mi. S. W. Jamieson, the talented 
 piiuiist of the Boston Conservatory, who contemplates a pursuarce 
 Df his musical studies in Europe the coming summer. . . . The 
 assemblage, which was one of the highest order of respectability, 
 thoroughly enjoyed the choice music that was selected for their ears. 
 Jli-s. Kempton, Mrs. Perry, and Messrs. Jamieson, Jacobs, Tracy, 
 Ilaggerty, Walker, Willard, and Sweetser, contiibuted ui a pro- 
 gramme made up of numbers from Rossini, Rubenstciu, Sclmbert, 
 Bendel, Mills, Campana, Chopin, Violetta, Liszt, and Gottschalk." 
 
Samuel W. Jamieson. 217 
 
 The writer of the above deemed it quite enough to 
 merely mention the names of composers and artists, 
 leaving to the musical reader to imagine (as easily he 
 could) how rich and plenteous a feast of harmony must 
 have been furnished to those fortunately present on this 
 delightful occasion. 
 
 As may perhaps be inferred from the comments here- 
 tofore given, Mr. Jamieson, as a pianist, is noticeable for 
 the clearness of his touch, the brilliancy of his Style, 
 and the thoroughness of his execution, — not failing to 
 exliibit these pleasing qualities even when playing the 
 most rapid passages, — while he ever shows a full and 
 ready sympathy with the spirit and aims of the com- 
 poser. 
 
 His remarkable proficiency as a pianist, and the pri- 
 vate and public attention which the same has drawn to 
 him, has secirred him, from time to time, many pupils 
 and as a teacher he has been quite successful. 
 
 If the doctrine of " heredity " be true, Mr. Jamieson 
 may trace his possession of musical talent to his grand- 
 father, who attracted much attention as a musician. 
 
 But there is no easy road to proficiency and emi- 
 nence in the musical art ; nor is there one in any other. 
 Art is a right royal and exacting mistress ; and he who 
 would be numbered among the favored attendants at her 
 court must fairly win the distinction by that devoted, 
 undivided loyalty which is ever accompanied by the 
 severest study, the most self-denying application. It 
 cannot be denied, of course, that the possessor of genius 
 or oi ialent may succeed far more easily than he who 
 is without such powerful aid; but it is also true, that 
 those who by their works present examples of great 
 achievement in the science of :inusic, and who cause us 
 
218 Music and Some Highly Musical People. 
 
 often to pause in utter amazement when reflecting upon 
 tlie exceeding beauty, the magnitude and grandeur, of 
 their creations, owed their brilliant success as much to 
 indefatigable labor as to their great gifts of mind. 
 Indeed, as has often been said, " there is no excellence 
 without great labor." 
 
 So our young artist — of course I speak of him in 
 this connection in a comparative sense — owes his pres- 
 ent high sucress not more to his possession of rich 
 natural talents than to the tireless zeal with which he 
 has cultivated the same. 
 
 Possessing naturally a loftiness of spirit, and with a 
 just conception of his powers ; having full faith in and 
 trusting himself; not unmindful of, nor unduly elated 
 by, the many commendations he has received from criti- 
 cal judges touching his musical abilities ; wearing easily 
 all the attentions and honors he so constantly wins, and 
 quickly noting and acting upon any suggestions of 
 errors in his performances ; at all times a conscientious, 
 a zealous student, impelled by a deep and enthu- 
 siastic love for the art of music, and never satisfied 
 unless working amidst its higher forms, — possessing, as 
 Mr. Jamieson does, these rare and valuable characteris- 
 tics, and being withal still quite young, it is but rea- 
 sonable to believe that he will ere long attain to the 
 highest distinction, and be ranked with the very first 
 pianists of the time in either the New or the Old 
 World. 
 
XVI. 
 
 THE VIOLIN.* 
 
 'Thou myBtlc thing, all-beautiful I 'What mind 
 Conceived thee, what intelligence began, 
 And out of chaos thy rare shape designed, 
 Thou delicate and perfect work of man? " 
 
 " The TMin : " Sarper'a Hi igazhM, 
 
 THE violin, so often called the "king of instru> 
 ments," is of great antiquity. As to just when it 
 was invented is a point as yet unsettled, despite the 
 indefatigable researches of historians of music and of 
 general antiquaries. The instrument certainly existed, 
 however, as early as the sixth century ; this being proven 
 generally by the figures of violins observable on very 
 ancient and respectable monuments still existing, and 
 particularly by a figure cut in the portico of the ven- 
 erable Cathedral of Notre Dame in Paris, founded by 
 Cliildebert in the sixth century, which figui-e represents 
 King ChUperic with a violin in his hand. 
 
 It being thus used in a representative character shows, 
 too, that it has for many hundreds of years been a 
 
 1 The writer considers it proper to precede the sketch of the virtuosCj 
 Joseph White, by a brief aecouat 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 Music and Some Sighly 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 best 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 tiolin, 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 past, 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, 
 Paganini, 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, both 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 difficult of mastery, that few 
 \'iolia-stu dents 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 
 voii-e 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 Musical People. 
 
 restful reveries, — it is the possession of such charming 
 qualities as these that has rendered the violin at all 
 tim.es 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 mth brilliancy of 
 tone and 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, wUl 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.' K that is so, we may 
 well imagine that a man, who by dint of perseverance has at 
 length qualified himself to take his place in an orchestra, may 
 content himself 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 himself for the leadership in 
 a provincial orchestra; which, after aU, he failed in doing. AVe 
 have known men who fiddled in bed when they could not sleep, 
 rather than waste the time ; and others who have carried a dumb 
 finger-board in their pockets, in order to practise the fingering of 
 Jifficult paesages while walking abroad or travelling by coach." 
 
 It is, however, far from the purpose of the writer to 
 
The Violin. 223 
 
 discourage those who may wish to become proficient as 
 performers on this delightful instrument, or to do othei 
 wise than attempt to increase the number 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 wliich 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 
 harmonicj mysteries of this expressive, soulful instru- 
 ment. 
 
xvn. 
 
 JOSEPH WHITE, 
 THE EMINENT VIOLINIST AND COMPOSER. 
 
 ** Across my hands tlion liest rante and still : 
 Ttaon wilt not breathe to me thy secret fine ; 
 Thy matchless tones the eager lur shall thrill 
 To no entreaty or command of mine. 
 
 Bat comes thy master : lo ! thou yieldest all, — 
 
 Passion and pathos, rapture and despair : 
 To the sours needs thy searching voice doth call 
 
 In language exquisite beyond compare.'* 
 
 " The Violin: " ITarper'a Sfaffaeine, 
 
 MR. JOSEPH WHITER is a chUd 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, 
 liis eyes never losing sight of the virtuoso. Indeed, by 
 
 ' By peTmission of Mr. White, 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- 
 deljted to my friend Mr. Joseph W. Hendricks of Boston. 
 221 
 
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 instrimient. 
 
 He continued his studies untU 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 
 himself at the Conservatoire, asking to enter as a pupil. 
 After going through a brilliant examination, and after 
 fighting against more than sixty rivals, he was received 
 with unanimity. 
 
 In -J'lly, 1856, one year from the time of his entering 
 the Conservatoire, White won aU the "approbations," 
 and wreaths and laiu^els were given him. 
 
 But we will 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 concur- 
 rents. The Viotti Concerto had abeady beeii 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 carries the 
 head high, and his look is proud and intrepi(i. He approaches the 
 etei-nal concerto, and it instantly becomes an entirely new creation 
 
226 Music and Some nighly Musical People. 
 
 " The jury listened to it -with aa much pleasure as if they heard 
 it for the first time; and scarcely had Mr. White finished this 
 piece -when the jury retired to Tote, proclaiming him the victor. 
 
 " Mr. "Wliite 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 5th of August, 1856, 
 expresses itself in terms none the less flattering : — 
 
 " The concourse 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 Mr. 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. He 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 ordei 
 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 maestro's without the 
 violinist playing on his melodious instrument." He- 
 sides, this letter from Rossini, addressed to White at 
 the time of his father's sickness, shows how much the 
 master loved him : — 
 
 To Me. White. Sir, — Allow me to express to you all the 
 pleasure that I felt Sunday last at my friend Mr. David's. The 
 warmth of youi- execution, tte 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 sjanpathetic wishes I may bring you good fortune 
 by finding again in good health the one for whom you fear to-day 1 
 Accept my blessings. Sir, I wish you a happy journey, and a 
 speedy return. G. Kossini. 
 
 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 the 
 dying man, were a sweet consolation and happiness, — 
 thus to see, before dying, liis son who was called to 
 such a brilliant career. After the death of hip father, 
 he started for France again ; not, 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'lllustration" 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 think, 
 through a courageous work, developed the talent which had caused 
 him to receive the first prize at the Conservatoire. He played with 
 e<]ua] success the concerto by Mendelssohn, and Paganini'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- 
 p<>Bition for violin and orchestra, very well instrumentated, full ol 
 uii.ppy melodies, and where the principal part contained featiu-es of 
 a chiiracter as ingenious as piquant. He possesses an extreme dex- 
 terity in the use of the bow, and makes the staccato with as much 
 audacity as perfection. He has the tone agreeable, the style ele- 
 gant, and the expression just, and not affected. Here he is, then. 
 
228 Music and Some Highly Musical People. 
 
 placed in the first rank in that glori.^us 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 Conservatoire, 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 his career in Spain, the reader is rererred 
 to La Correspondencia of 2Sd December, 1863; La Epoca, La Discu. 
 •ion, &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 mate his instrument 
 sing; and, when a difficulty presents itself, he carries it with a fas- 
 cinating majesty. He is an artist who has succeeded 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 o£ 
 his class at the Conservatoire." 
 
 The " Art Musicale " of the ,15th of January says, — 
 " Our celebrated violinist Alard is now in Nice, where he ex- 
 pects to spend a month. It is the violinist, Mr. White, who is 
 charged with the direction of his class at the Conservatoire." 
 
 The "Presse Th^atrale" of the 26th of January, 
 1 865, says, — ■ 
 
 •' In leaving Paris for a journey, the length of which is not 
 fixed, 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 Ai-ts. We need not say how much this lion- 
 ors the young artist who is the object of it." 
 
230 Music and Some Highly Musical People. 
 
 After this new victory, our eminent violinist was 
 heard at the Soci^te de Concerts of the Conservatoire of 
 Paris, where he was admitted as a member. He played 
 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 — Avhich 
 masters alone dare 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 SiScle," Mr. Commettant, expresses himself on 
 the date of the 13th May, 1872 : — 
 
 " At the last concert of the Society 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 weU-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 he 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 fii'st 
 orchestra of the whole world." 
 
 The " M<inestrel " 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 concei-to by Mendelssohn. 
 He is an artist now complete, this young lival of the Sivoris 
 and of Vieuxtemps. He is not only a ^•irtuoso, but also a com- 
 pos 3r of note, having published several veiy 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. 23] 
 
 Words,' several fantasies, and several pieces for one md 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 that was to cause himself to be 
 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. 
 Vieuxtemps and Leonard are the modern masters who have been 
 the most successful in this difficult style; but how many have been 
 less happy! 
 
 ''Mr. White's concerto is very temperate, of unnecessary length. 
 iTie fabric of it is very well cared for; the mother-thoughts are well 
 separated from the very commencement; the harmonies are unmis- 
 takably elegant and fine; and the orchestration is wi'itten with a 
 firm and siu-e hand, without fumblings or failings. The three epi- 
 sodes are naturally united by the tuttis; the third movement, ' rondr. 
 
232 Music 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 sev- 
 eral times unanunous bravos from the whole assembly. This com- 
 position of a high value has been, in one word, the object of a true 
 QTation 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 in 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 Th(^atrale," " La M^nestrel," " La Semaine Musi- 
 cale," &c. 
 
 On the subject of the " Quatuor for Stringed Instru- 
 ments " we wni cite the article of the " Gazette Musi- 
 cale" of the 12th of March, 1872: — 
 
 " The old Schumann Society, all 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, 
 Salmday, 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 purity 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 : — 
 
 IMPERIAL CONSERVATOIRE OF MUSIC AND DECLAMATION. 
 
 (Extract of the Document of the Seating of the Committee on Musicou 
 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 of the left hand. 
 
 The committee approves these six studies, called to fortify the 
 'ialent of a violinist. 
 
 (Signed) Auber, 
 
 JHrector of Ckmservatoire, and iVe«. 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. Kossini." 
 
 " To Mr. White, whose talent is an honor to the Conservatoire. 
 
 "Auber." 
 
 «« To Mr. 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 liis merit. 
 
 What remains to say after all these proofs of an in- 
 contestable talent? 
 
 There is 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 ilite, of the 
 musical profession, both singly and combinedly, and by 
 the sovereigns of France and Italy, White might well 
 have rested, indulging himself ia no further acquisi- 
 tions. 
 
 But men of such transcendent powers, men within 
 whose souls the fire of musical genius so brightly bums, 
 cannot stop ; for the essence, the very soul, of music, is 
 the predomiaating, 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 gaia new laurels in 
 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. 23£ 
 
 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 addressiag himself 
 to the duties that belonged to his beloved art, little wa? 
 heard of him by the general public for some time. But 
 such almost marvellous power as this artist, this mapter, 
 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 
 di-ew from his violin. That terrible barrier so often, 
 even at the present time, erected in this country, that 
 shameful obstruction, color prejudice, could not long 
 withstand the attacks of this quiet yet courageous mu- 
 sical genius ; and people, at first indifferent because 
 of his complexion, were won anon to his favor, not 
 alone by liis exceptional skiU 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 
 found that he was indeed the true, the conscientious 
 artist, who loved music for its own sake, and was im- 
 bued with a spirit of trutliful 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 spr(>,ad- 
 ing among musicians in New York, he was induced to 
 appear in public. It is needless to say that his success 
 
236 Music and Some Highly Musical People. 
 
 was imeqiiivocal. 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- 
 graphs, 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 pianist, he is nothing wonderful. 
 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. f. 
 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 recall that followed this worthy performance was well 
 earned. White is a Cuban mulatto, fine-lookmg, and extremely 
 gentlemanly in appearance and conversation. A Brooklyn ■WTiter 
 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 jjossesses more feeling than Wieniawski ; the volume 
 of his tone is greater than that of Vieuxtemps.' All of whijh I 
 indorse." 
 
 On March 12, 1876, he appeared in New York as 
 soloist at a grand concert given by that justly celebrated 
 
Joseph White. 237 
 
 and almost perfect body of musicians, the Theodore 
 Thomas orchestra. His performances on this and sev- 
 eral previous occasions elicited the most enthusiastic 
 and 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 emot'ons 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 Boston of March 27, 1876 
 speak. 
 
 "Daily Globe:" — 
 
 " The concert at the Boston Theatre last evening 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 Seiior 
 Joseph White, the Cuban violinist, who made his first appearance 
 before a Boston audience. The numbers on the programme as- 
 signea 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 
 vecalled the best efforts of Ole Bull." 
 
238 Music and Some Highly Musical People. 
 
 " Boston Journal : " — 
 
 " The chief feature of the concert at the Boston Theatre liist 
 evening was the appearance of a new violinist, Sefior Joseph White, 
 a Cuban, who has lately created quite a sensation. Karely has any 
 artist created so great a furore in a single hearing as Senor White. 
 His reaUy 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 
 flrst-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 he 
 was enthusiastically encored ; and, the audience still calling for 
 more, he played ' The Carnival of Venice.' This 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 from 
 " Tlie Daily Evening Transcript." 
 
 " The Sunday-night concert at the Boston Theatre last evening 
 was made memorable by the introduction to the Boston public of 
 Senor Joseph AVhite, the Cuban violinist. . . . The musical frater- 
 nity, however, was very fully represented, the musicians knowing 
 sometliiiig of what was in store for the evening. But not even 
 
Joseph White. 239 
 
 they were prepared for the wonderful and delightful playing of 
 Seflor AVhite. . . . The first of his work last night was something 
 of a disappointmeat. 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 never 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 fiowed 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 triimiph of the virtuoso was complete. 
 The mysterious flowing softness and smoothness of tone was carried 
 with unflagging f acUity 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, Seiior White played a ' Styrienne ' of his own arrange- 
 ment; and this was followed by two more stormy recalls, the audi- 
 ence refusing to be quieted until he had again gratified them, this 
 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 with a finely intelligent and 
 
240 Music and Some ERgUy Musical People. 
 
 daintily clean-cut rendering of a gavotte by Bach. The tumultuous 
 recalls that followed this would be satisfied with nothing less than 
 another performance; and Senor White gave a rich and pleasing 
 arrangement of his own upon a popular air from ' Sonnambula.' 
 With these two ' double encores,' amid such excitement as is rarely 
 witnessed at a concert, Senor White may weU add Boston to the 
 other American cities that have ' adopted ' him." 
 
 And here, for the present, we will take leave of our 
 great -violinist. 
 
 It is not probable that he obtained, whUe in this coun- 
 try, a very great pecuniary success ; and, from what has 
 beeu heretofore stated in regard to his characteristics, 
 th.hi 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 means 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 wliich, 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 wiU ever watch with deepest inter- 
 est his future career, and fondly wish for his speedy 
 return. Therefore we do not say to him '■'■Adieu! " but 
 "■Au revoir!" 
 
xvin. 
 
 THE COLORED AMERICAN OPERA 
 COMPANY. 
 
 "Wbo, as tbey eang, would take the prisoned son]. 
 And lap it in Klyslnm." 
 
 VHJCOM. 
 
 '*For, vheresoe*er I turn ofy ravished eyes. 
 Gay gilded scenes and shining prospects rise; 
 Poetic fields encompass me aroond. 
 And still I seem to tread on classic ground." 
 
 Addisoh. 
 
 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 aU 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 
 uried 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 ; 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 achievements, success 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 chai-ming 
 and exalted beauties found in the opera of " Fidelio " 
 whUe 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 natures. 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, 
 souKul sympathy with the author's aims, who form, in 
 fine, the very embodiment of the latter's ideals, certainly 
 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 round 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 rdW) 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 apply more 
 pai-ticularly to those who constitute the dramatis per 
 
244 Music and Some EigMy Musical People. 
 
 sonce in operatic presentation. Of course we do not for- 
 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 dwell, 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 smnptuous feast of melody; while the kaleidoscopic 
 prospect, formed by richly-costiuned 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 
 UtIc actor. 
 
 These few thoughts, which, it maybe, 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 corae to 
 lue while reflecting vipon an achievement, that, altliough 
 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 AVashington and Philadelphia in the month of Fe1->- 
 ruary, 1873, by an organization called " The Colored 
 American Opera Company." 
 
 This troupe, formed in Washington, was composed of 
 some of the most talented amateur musical people resid- 
 ing in that city. The following-named ladies and gen- 
 tlemen were the principal members and performers : — 
 
 Mr, JOHN ESPUTA 
 
 MusicaX Director. 
 
 Mns. AGJSTES GKAY SMALLWOOD 
 
 Soprano. 
 
 Miss LENA MILLEK 
 
 Contralto. 
 
 Miss MARY A. C. COAKLEY. 
 
 Contralto. 
 
 Mb. henry F. grant .... 
 
 Tenor. 
 
 Mb. RICHARD TOMPKINS . 
 
 Tenor. 
 
 Mb. WILLIAM T. BENJAMIN 
 
 Baritone. 
 
 Me. GEORGE JACKSON .... 
 
 Baritone. 
 
 Mk. THOMAS H. WILLIAMS. 
 
 Basso pro/undo. 
 
 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 va- 
 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 Hall, 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 lEgMy Musical People. 
 
 Of the highly meritorious character of these prosentar 
 tions of opera there exists abundant evidence, emanat- 
 ing from disinterested, trustworthjr sources, from which 
 I quote the following. 
 
 From " The Daily Washington Chronicle," Feb. 4, 
 1873: — 
 
 " THE AMERICAK OPERA-tjOMPANY. 
 
 " The first colored opera-troupe of any merit ever organized in 
 this country appeared at Lincoln Hall last night in Eichberg's 
 oi^era, ' The Doctor of Alcantara.' 
 
 " Lincoln Hall was literally packed. Of course the majority of 
 the audience was colored, and included a host of the j«Sir.onaJ 
 • 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 Patti 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 affaii-; and among them were many representatives 
 of the musical circles of the city, somewhat curious to hear and 
 compare the performance with those 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 betterea by 
 cultivation. The choruses were effective. In dramatic ability 
 there was little lacking, and the singers were quite as natural aa 
 many who appear in Grerman and French opera." 
 
 From "The Daily National Republican," Waslung- 
 ton, Feb. 5, 1873 : — 
 
 "The second representation of 'The Doctor of Alcantara' at 
 Lincoln IlaUlast night was an improvement upon the first. Ihe 
 natural nervousness of the singers was better overcome, and they 
 inade a better use of their fine voices. 
 
 " For the sake of mating some just reflections and comparisons, 
 iye select the name of Miss Lena MiUer, who sang the role of ' Isa- 
 bella.' Here is a young lady, really pretty in form and featm-es, 
 gr;v;ef'il in stage-presence, modest in maimer, and imbued with 
 
The Colored American Opera Company. 247 
 
 true affection 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 l9 included; and 
 liere we might stop. But Miss lililler'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 any of the 
 company, have had 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 in their favor, and protects them from tne 
 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 Mr. Grant's ' Carlos ' won for him de- 
 served applause. 
 
 ' " The role of ' Don Pomposa' by Mr. Williams, the hasso pro- 
 funda, was finely rendered. His acting was good, and his voice 
 full of richest melody. 
 
 " The opera last evening was largely pati-onized by distin- 
 guished people, among them being Senator and Mrs. Sprague, 
 Gen. Holt, and many others. 
 
 " The experiment, doubtful at first, has proved a genuine suc- 
 
 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'lis troupe is composed entirely 
 of amateurs, and is the first colored opera-troupe in existence. 
 We have had the 'Colored Mario' [Thomas J. Bowers], the 
 'Black Swan' [Miss Greenfield], &c. ; but never imtil now have 
 ire had a complete organization trained for ensembles. 
 
248 Music and Some BigUy Musical People. 
 
 "The audience attracted to Horticultural Hall last evening 
 was therefore prepared to make all sorts of allowances for the 
 shortcoiaings of the amateiu^; but it was hardly necessaiy, as the 
 troupe — really excellent, well trained — possesses agreeable voices, 
 sings intelligently, and with experience wiU, 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 still 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 ia 
 poor,' was quite neatly sung. 
 
 "Mr. W. T. Benjamin, as the 'Doctor,' acted and sang with 
 spirit; so did Mr. T. H. Williams as ' Don Pomposo.' Mr. H. 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 chorus, ' Wake, 
 lady, wake.' Mr. 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 
 eSectiTe, 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: — 
 
 "THE COLORED OPBKA-COMPANY. 
 
 " This opera-company made its first appearance in this city last 
 evening at Horticultural HaU, 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 rOle of ' Isabella,' is young and 
 graceful, with a pleasing voice ; and her part was well given. Mn>. 
 A. G. SmaUwood was cast as ' Donna Lucrezia,' and had considera- 
 ble to do. She sings well, and her acting far exceeds that of anj 
 
The Colored American Opera OojApany. iiP 
 
 other member of the company. ' Inez,' a maid represented bj 
 Miss Coatley, and a difficult part, was given with gi'eat accurEicy. 
 ' Carlos,' by IMr. H. F. Grant, was fau-ly 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 imsurpassed by 
 the finest chorus in the best companies." 
 
 From "The Philadelphia Evening Star," Feb. 2S, 
 1873 : — 
 
 " COLOEED AMERICAN OPEBA-COMPANT. 
 
 " This company made its first appearance last evening at Horti- 
 cultural Hall 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, a veiy easy lyric and dramatic method, and a carnage 
 of unusual gi-ace; Miss Lena Miller, whose voice, though less 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; llr. H. F. Grant, whose tenor-voice has good power, 
 range, and quality; Mr. T. H. Williams, who possesses a deep bass- 
 voice, couia-olled with a fair degree of culture; and Messrs. W. T, 
 Benjamin and Smallwood, who filled their parts not unacceptably." 
 
 From " The Age," PhUadelphia, Feb. 22, 1873 : - - 
 
 " The colored ojwrartroupe gave their first performance in Phila- 
 delphia last night in Horticultural Hall. The selection for their 
 deb^.U 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 \vith the fol- 
 lowing cast: Miss llowson, Mrs. Seguin, and Miss Phillips, and Messrs 
 Beguin and Chattersou. 
 
250 Music and Some Highly Musical People. 
 
 " There was a great deal of enthusiasm; and several numbers ol 
 the opera were vociferously re-demanded, including the ^naZe of the 
 5rst act, which I'evealed to us a choral effect which has never been 
 heard upon the operatic stage in our country since the palmy days 
 of Ullman's management. The chorus was large and efficient, 
 every member doing his and her part; and, to all 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 heal 
 tliem in a mass or an oratorio at some future time, behig satisfied 
 that they will 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. SmaRwood, has a full, round, clear, resonant 
 voice of remarkable power; and she uses it with very great effect. 
 She sang the music 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 high 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.) Weeldy," February, 1873: — 
 
 " On Tuesday evening it was the good fortune of your corre- 
 spondent to attend the opera rendered by the ' Colored Amerioau 
 Opera Company,' of which I spoke in my last. 
 
 " To say that eveiy thing passed off well, simply, would be but 
 faint praise. We all Itinow 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 x^om'pany. 251 
 
 " 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 
 tliey 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 writers have 
 tempered very high praise with the faithful poin ting- 
 out of such defects as to them appeared in the per- 
 formances. This is the spirit of true criticism, which, 
 whUe it ever eagerly seeks to discover all the merits of 
 a performance, fails not also to note, in the interest 
 of true progress, aU 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 performance. 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- 
 Qut 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 Washing- 
 ton cannot be spoken. Never before 'had there been 
 
252 Music and Some MgUy 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 tiie same to other cities besides those men- 
 tioned. It is therefore earnestly hoped that ere long 
 they wUl again appear. It is hoped that even now 
 they are devoting themselves to rigid study, and to the 
 arrangement of matters 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 darknef.s, to 
 light the pathway of those that shall follow then 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 re? alts foi 
 all concerned. 
 
XIX. 
 
 THE FAMOUS JUBILEE SINGERS 
 
 or 
 FISK UNIVERSITT. 
 
 " The air he chose was wild and sad : 
 
 Now one shrill voice the notes prolong; 
 Kow a wild chorus swells the song. 
 Oft have X listened and stood still 
 As it came softened up the hill." 
 
 Sib Walteb Scott. 
 
 '*1^ 'ji brief, we might give a faint idea of what It Is utterly impossible to depict 
 we would adopt three words, — to/t, aweet, timple." 
 
 '* The Jubilee Singers: " London Bock. 
 
 THE dark cloud of human slavery, which for over 
 two hundred weary years had hung, incubus-like, 
 over the American nation, had happily passed away. 
 The bright sunshine of emancipation's glorious day 
 shone over a race at last providentially rescued from 
 the worst fate recorded in all the world's dark history. 
 Up out of the house of bondage, where had reigned 
 the most terrible wrongs, where had been stifled the 
 higher aspirations of manhood, where genius had been 
 crushed, nay, more, where attempts had been made to 
 annihilate even all human instincts, — from this accurs- 
 
 253 
 
254 Music and Some Highly Musical People. 
 
 ing region, this charnel-house of human woe, came the 
 latter-day children of Israel, the American freedmen. 
 
 How much like the ancient story was their historj^ ! 
 The American nation, Pharaoh-like, had long and 
 steadily refused to obey the voice of Him who said, 
 between every returning plague, " Let my people go ; " 
 and, after long waiting, he sent the avenging scourge 
 of civil strife to compel obedience. The great war of 
 the Rebellion (it should be called the war of retribu- 
 tion), with its stream of human blood, became the Red 
 Sea through which these long-suffering ones, with ach- 
 ing, trembling limbs, with hearts possessed half with 
 fear and half with hope hitherto so long deferred 
 passed into the " promised land " of blessed liberty. 
 
 Slavery, then, ended, the first duty was to repair as 
 far as possible its immense devastations made upon the 
 minds of those who had so long been its victims. The 
 freedmen were to be educated, and fitted for the enjoy- 
 ment of their new positions. 
 
 lu this place I may not do more than merely touch 
 upon the beneficent work of those noble men and 
 women who at the close of the late war quickly sped 
 to the South, and there, as teachers of the freedmen, 
 suffered the greatest hardships, and risked imminent 
 death from the hands of those who opposed the new 
 order of things; nay, many of them actually met vio- 
 lent death while carrying through that long-benighled 
 land the torch of learning. Not now can we more than 
 half appreciate the grandeur of their Heaven-inspired 
 work. In after-times the historian, the orator, and the 
 poet shall find in their heroic deeds themes for the most 
 elevated discourse, while the then generally cultured 
 sui-vivors of a race for whose elevation these true-heart- 
 
The Famous Jubilee Singers. 255 
 
 ed educators did so much will gratefully hallow their 
 memories. 
 
 Among the organizations (I cannot mention individ- 
 ual names : their number is too great) that early sought 
 to build up the waste places of the South, and to carry 
 there a higher religion and a much-needed education, 
 WAS the American Missionary Association. This soci- 
 ety has led all others ia this greatly benevolent work, 
 having reared no less than seven colleges and normal 
 schools in various centres of the South. The work 
 of education to be done there is vast, certainly; but 
 what a very flood of light wUl these institutions throw 
 over that land so long involved in moral and intellect- 
 ual darkness ! 
 
 The principal one of these schools is Fisk Univer- 
 sity, located at Nashville, Tenn. ; the mention of which 
 brings us to the immediate consideration of the famous 
 ^^ Jubilee Singers," and to perhaps the most picturesque 
 achievement in all our history since the war. Indeed, I 
 do not believe that anyivhere in the history of the 
 world can there be found an achievement like that 
 made by these singers ; for the institution just named, 
 which has cost thus far nearly a hundred thousand 
 dollars, has been built by the money which these former 
 bond-people have earned since 1871 in an American and 
 liuropean campaign of song. 
 
 But what was the germ from which grew tliis remark- 
 able concert-tour, and its splendid sequence, the noble 
 Fisk University? 
 
 Shortly after the close of the war, a number of phil- 
 anthropic persons from the North gathered into an old 
 government-building that had been used for storage 
 purposes, a number of freed children and some growr. 
 
256 Music and Some lEgJily Musical People. 
 
 persons living in and near Nashville, and fonaed a 
 school. This school, at first under the direction of 
 Professor Ogden, was ere long taken under the care of 
 the American Missionary Association. The number 
 of pupils rapidly increasing, it was soon found that 
 better facilities for instruction were required. It was 
 therefore decided to take steps to erect a better, a 
 more permanent building than the one then occupied. 
 Just how this was to be done, was, for a while, 
 quite a knotty problem with this enterprising little 
 band of teachers. Its solution was attempted finally 
 by one of their number, Mr. George L. White, in 
 this wise : He had often been struck with the charm- 
 ing melody of the "slave songs" that he had heard 
 sung by the children of the school; had, moreover, been 
 the director of several concerts given by them with 
 much musical and financial success at Nashville and 
 vicinity. Believing that these songs, so peculiarly 
 beautiful and heart-touching, sung as they were by 
 these scholars with such naturalness of manner and 
 sweetness of voice, would faU with delightful novelty 
 upon Northern ears, Mr. White conceived the idea of 
 taking a company of the students on a concert-tour 
 over the country, in order to thus obtain sufiicient 
 funds to build a coUege. This was a bold idea, seem- 
 ingly visionary; but the sequel proved that it was a 
 most practical one. 
 
 All arrangements w,ere completed; and the Jubilee 
 Singers, as they were called, left Nashville in the fall 
 of 1871 for a concerWour of the Northern States, to 
 accomplish the worthy object just mentioned. Profess- 
 or White, who was an educated and skilful musician, 
 accompanied them as musical director. Mr. Theodore 
 
The Famous Jvhilee Singers. 257 
 
 F. Seward, also of fine musical ability, was, after a 
 while, associated in like capacity with the singers. 
 The following are the names of those who at one time 
 and another, since the date pf organization, have been 
 members of the Jubilee choir : — 
 
 Miss ELLA SHEPABD, Pianist. 
 Mb. THOMAS KUTLING, Miss MAGGIE PORTEK, 
 
 Mb. H. ALEXANDER, Miss JENTSTIE JACKSON, 
 
 Me. F. J. LOUDIN, Miss GEORGIE GORDON, 
 
 Me. G. H. OUSLET, Miss MAGGIE CARNES, 
 
 Me. BENJAMIN M. HOLMES, Miss JULIA JACKSON, 
 Me. ISAAC P. DICKERSON, Miss ELIZA WALKER, 
 
 Me. GREENE EVANS, Miss MINNIE TATE, 
 
 Me. EDMUND WATKINS, Miss JOSEPHINE MOORE, 
 
 Miss MABEL LEWIS, and Miss A. W. ROBINSON. 
 
 This list might well be called the Boll of Sonor. 
 
 I have not space to follow in detail this, ambitious 
 band of singers in their remarkable career through 
 out this country and in Great Britain. The won- 
 derful story of their journey of song is fuUy and 
 graphically told in a book (which I advise all to read) 
 written by Mr. G. D. Pike, and published in 1873, A 
 brief survey of this journey must here suffice. 
 
 The songs they sang were generally of a religious 
 character, — "slave spiritvMls" — and such as have 
 been sung by the American bondmen in the cruel days 
 of the past. These had originated with the slave; 
 had sprung spontaneously, so to speak, from souls natu- 
 rally musical ; and formed, as one eminent writer puts 
 it, " the only native American music." 
 
 The strange, weird melody of these songs, which 
 burst upon the Northern States, and parts of Europe, as 
 a revelation in vocal music, as a music most thrillingly 
 sweet and soul-touching,- sprang then, strange to say, 
 
258 Music and Some Highly Musical People. 
 
 from a state of slavery ; and the habitually minor charac- 
 ter of its tones may well be ascribed to the depression 
 o,f feeling, the anguish, that must ever fill the hearts of 
 those who are forced to lead a life so fraught with woe. 
 This is clearly exemplified, and the sad story of thia 
 musical race is comprehensively told, in Ps. cxxxvii- : — 
 
 " By the rivers of Babylon, there we sat down, yea, we wept, 
 when we remembered Zion. 
 
 " We hanged our harps upon the willows in the midst there «f. 
 
 " For there they that carried us away captive required of us a 
 song; and they that wasted us reqidred of us mirth, saying, Sing ua 
 one of the songs of Zion. 
 
 " How shall we sing the Lord's song in a strange land? " 
 
 And yet, ever patient, ever hopeful of final deliver- 
 ance, they did sing on and on, until at last the joyful 
 day of freedom dawned upon them. 
 
 To render these songs essentially as they had been 
 rendered in slave-land came the Jubilee Singers. They 
 visited most of the cities and large towns of the North, 
 everywhere drawing large and often overwhelming 
 audieacesj creating an enthusiasm among the people 
 rarely ever before equalled. The cultured and the 
 uncijltured were alike charmed and melted to tears as 
 they listened with a new enthusiasm to what was a 
 wonderfully new exhibition of the greatness of song- 
 power. Many persons, it is true, were at first attracted 
 to the concert-hall by motives of mere curiosity, hardly 
 believing, as they went, that there could be -much to 
 enjoy. These, however, once under the influence of 
 the singers, soon found themselves yielding fully to 
 the enchanting beauty of the music ; and. they would 
 come away saying the half had not been told. The 
 
The Famous Jubilee Singers. 25S 
 
 musical critics, like all others in the audiences, were 
 so lost in admiration, that they forgot to criticise ; and, 
 after recovering from what seemed a trance of delight, 
 they could only say that this "music of the heart" 
 was beyond the touch of criticism. 
 
 I have spoken of the origin and the character of 
 these songs. Those who so charmingly interpreted 
 tliem deserve most particular notice. The rendering of 
 the Jubilee Singers, it is true, was not always strictly 
 in accordance with artistic forms. The songs did noi 
 require this ; for they possessed in themselves a pecul- 
 iar power, a plaintive, emotional beauty, and other 
 characteristics wliich seemed entirely independent of 
 artistic embellishment. These characteristics were, with 
 a most refreshing originality, naturalness, and soulful- 
 ness of voice and method, fully developed by the sing- 
 ers, who sang with all their might, yet with most 
 pleasing sweetness of tone. 
 
 But, as regards the judgment passed upon this " Jubi- 
 lee melody " from a high musical stand-point, I quote 
 from a very good authority ; viz., Theo. F. Seward of 
 Orange, N. J. : — 
 
 " It is certain that the critic stands completely disarmed in theL* 
 presence. He must not only recognize their immense power over 
 auaiences ■which include many people of the highest culture, but, 
 if he be not entirely incased in prejudice, he must jdeld a tribute 
 of admiration on liis own part, and acknowledge that these songs 
 toush a chord which the most consummate aa-t fails to reach. Some- 
 tliing of this result is doubtless due to the singers as well as to their 
 melodies. The excellent rendering of the Jubilee Band is made 
 more effective, and the interest is intensified, by the comparison of 
 their former state of slavery and degi-adation with the present pros- 
 pects and hopes of their race, which crowd upon eveiy listener's 
 mind during the singing of their songs; yet the power is chiefly in 
 the sorgs themselves." 
 
260 Music and Some SigUy Musical People. 
 
 It would not do, of course, to assume that to the 
 almost matchless beauty of the songs and their render- 
 uig was due alone the intense interest that centred in 
 these singers. They were on a nohle mission. They 
 sang to build up education in the blighted land in which 
 they themselves and millions more had so long drearily 
 plodded in ignorance ; and it was a most striking and 
 yet pleasing exhibition of poetic justice, when many of 
 those who really, in a certain sense, had been parties to 
 their enslavement, were forced to pay tribute to the 
 signs of genius found in this native music, and to con- 
 tribute money for the cause represented by these delight- 
 ful musicians. 
 
 But I must not give only my own opinion of these 
 singers, as I am supposed to be a partial witness. Many, 
 many others, among whom are the most talented and 
 cultured of this country and England, have spoken of 
 them in terms the most laudatory. Some of these shall 
 now more than confirm my words of praise. 
 
 The Rev. Theodore L. Cuyler of Brooklyn, writing in 
 January, 1872, to " The New-York Tribune," thus spoke 
 of them : — 
 
 " When the Rev. Mr. Chahners (the younger) visited this coun- 
 try as the delegate of the Scotch Presbyterian General Assembly, 
 he went home and reported to his countrymen that he had ' found 
 the ideal church in America: it was made up of Methodist praying, 
 Presbyterian preaching, and Southern negro-singing.' The Scotch- 
 man would have been confirmed in his opinion if he had been in 
 Laiayette-avenue Church last night, and heard the Jubilee Singers, 
 — a company of colored students, male and female, from Fisk 
 University of Freedmen, Nashville, Tenn. In Mr. Beecher's church 
 they delighted a vast throng of auditors, and another equally packed 
 ludience 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 Jvhilee Singers. 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 wai 
 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 the 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- 
 hall, 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 smgers 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 reKgious 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 Music and Some Highly Musical People. 
 
 flemonstrated in Holland and Switzerland, wliere 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 manner of tKeir singing, it must be heard before it 
 can be realized. Like the Swedish melodies of Jenny Lind, it 
 gives a new nmsical 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- 
 quisite refinement of the piano as contrasted with the power of 
 the forte, fill us with delight, and at the same time make us feel 
 how strange it is that these impretending 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. Spuegeon. 
 
 " 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, 
 whi/di are quite touching." — London Journal. 
 
 " There is something inexpressibly touching in their wonderfully 
 sweet, romid, bell voices." — Uev. Geokgb MacDonald. 
 
 Mr. Gladstone, while prime-minister of England, hon- 
 ored them with a complimentary breakfast, and lis- 
 
The Famous Jvhilee Singers. 263 
 
 tened to their songs, as Newman Hall writes, "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 some 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 alfter 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 Jubilee 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. 
 C30 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 
 siieak of them at length. The simple purity of the rendering of 
 the Lord's Prayer, which uiitiated the programme, gave evidence 
 that thby had lost none of their natural -grace and simplicity of 
 expression by their tour across the water; and this was confirmed 
 by the jieculiar 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 Sighly Musical People. 
 
 have been educated to an appreciation of the higher grades of 
 vocalization. The great charm of these singers wiU, however, 
 remain in the reproduction of the melodies of an era that has gone, 
 happily never to return, — melodies which were the natural expres- 
 sion of the fancies and sympathies of an emotional lacB, 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 retiixned 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 $90,000." 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 buUding, 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 
 endovring 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 will teU you something of our summer's experience. 
 The company had passed through a hard year's work, and were 
 
ll« II' 
 
 '6k 
 
 
The Famous Jubilee Singers. 267 
 
 i 
 
 greatly in need of rest. A charming country-seat was rented it 
 Uie suburbs of Gteneva 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 hiunanity; and the singera seldom passed along 'he 
 streets without hearing some remark about 'fes nikgies,^ 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 
 Oiey frequently are elsewhere, gathering around with a rude and 
 impertinent curiosity. 
 
 " Among other pleasant experiences, there was an afternoon spent 
 with Pere Hyacinthe. We found him very genial and agreeable, and 
 his American wife no less so. He speaks no English at all, but Mar 
 dame acted as interpreter; and there was none of the stiffness or awk- 
 wardness that might have been expected under the circimistances. 
 
 "... The most notable event of our stay at Geneva was a con- 
 cert given, just before leaving, in the Salle de la Rdformation. It 
 had been a question of much interest, as to whether the slave-songs 
 would 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 hall 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 wast 
 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 distiaguish 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 Musie and Some EigUy 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 "JubUee 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. StiU 
 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 speU-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 tliis kind 
 they were exceedingly pleasing ; and it is very gratify- 
 
The Famous Jubilee Singers. 269 
 
 ing 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 provision 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 in a manner that would satisfy the 
 most exacting critic of the art ; and at the same time 
 I am pleasantly reminded of the famous " Jubilee Sing- 
 ei-s" of days in the past by the peculiarly thrilling 
 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 minstrel art I know, 
 
 I the viol well can play; 
 
 I the pipe and Byrinx blow; 
 
 Harp and geige my hand obey; 
 Tsaltery, symphoriy, and rote 
 
 Help to charm the listening throng; 
 And Armonia lends its note 
 "While I warble forth my song." 
 
 Tlie Lay of the Minstrel. 
 
 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 
 sliU 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 socieij', 
 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 beeu 
 
 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 quar 
 rels and Hi-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 as 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 painfuUy displeasing contortions 
 of the body ; and, worst of all, the often malicious ca«- 
 caturiug of an unfortunate race. 
 
 It is, however, cause for gratulation, that American 
 minstrelsy has of late been divested of much of its 
 
272 3Iusic and Some MgMy Musical People. 
 
 former coarseness; that its entertainments have become 
 so much diversified and elevated in character — the 
 musical portions of v^hich 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 un- 
 reasoning and cruel race-hatred, no longer enjoys \vilh 
 its former relish tlie " plantation act," so called, witn 
 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- 
 em 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 
 ill the profession. StUl, as will be seen hereafter, this 
 complexional advantage (?) is not by any means the 
 most important cause of their unprecedented success. 
 
The G-eorgia Minstrels. 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 
 which, 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 
 /espect 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 aud 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 
 they thus give "aid and comfort to the enemy." I shall 
 not attempt to refute these statements. They may be 
 true ; but, whether they are or not, it is not within the 
 province of this book to diocuss. They are placed /here 
 
274 Music and Some Eiffhly 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 tc 
 a year or two ago, when, contemplating the preparatior 
 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 lii sketching the troupe. He was not pieasea, oi 
 course, with that portion of the performance (a part of 
 which he was com'pelled to witness) devoted to bui-- 
 lesque. Nevertheless, he found in the vocal and insti'u- 
 meutal 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 G-eorgia MinstreU. 275 
 
 in a manner evincing on the part of the troupe 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 
 questirn ; 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 while witness- 
 ing that part of the performance devoted to caricature. 
 
 Conmiencing about twelve years ago, composed of 
 men some of whom had been slaves in Georgia, aU 
 possessed of much natural musical talent, without (ex- 
 cept in one or two instances) scientific training, tlie 
 Georgia Minstrels began their career imder 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. Callender 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 fiUed 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- 
 Etrumental (most of them both) natural talents and 
 acquirements ; and, wh^n these qualities are combined, 
 a performance of such delightful beauty and finish is 
 presented, as to elicit from their audiences the most 
 
276 Music and Some Highly Musical People. 
 
 entliusiastic 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 music ; one has played ia some of 
 the best orchestras of England ; one is a superior per 
 former upon at least four instruments, while he is « 
 fair player of twelve ; several are excellent performers 
 on two or three instruments ; and three of the troupe 
 arrange and write music. 
 
 The following-named persons are members of the 
 troupe at this writiag (May, 1877) : — 
 
 GEORGE B. CALLENDER. . . Manager. 
 
 GEORGE A. SKILLESTGS . . . Musical Director. 
 
 RICHARD G. LITTLE . . . Stage Manager. 
 
 WILLIAM W. MORRIS . . . Interlocutor. 
 
 F. E. LEWIS, DAVID SOUDDER, 
 
 SAMUEL JOITES, JNO. T. DOUGLASS, 
 
 WILLIAM ELMER LTLE, JAS. GRACE, 
 
 WILLIAM KERSANDS, OCT. MOORE, 
 
 JAS. EMIDY, R. EMIDT, 
 
 PETER DEVONEAR, ROBERT HIGHT, 
 
 GEORGE COOPER, CHARLES ANDERSON, 
 
 ROBERT MACK, JAS. FERNAND, 
 AM) Messes. THOMPSON asd GAINES. 
 
 As showing the estimation ia 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 
 ovei Sunday in a Western city in which they had per- 
 formed during the previous week, this quartet was 
 invited to sing (as its choir) ia one of the most fashion- 
 able churches there. The invitation was accepted; and 
 
The Georgia JiEnstrels. 277 
 
 it may be remarked, that although these fine singers 
 did full justice to the proprieties of the occasion, and 
 thus justified the bestowment of a marked honor upon 
 them, — it may be remarked, I say, that they thus 
 enjoyed a distinction rarely if ever before conferred 
 upon members of a minstrel troupe. 
 
 While 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 haUs 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 witli 
 
278 Music and Some Highly Musical People. 
 
 what I have said respecting the merits of these famoua 
 performers, add some points of interesting description. 
 Says " The New-York Sun," — 
 " Every song was 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 column 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 CaUender'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 tiime^ 
 away from the box-office last night, unable to obtain tickets or 
 entiance, so great was the rush." 
 
 " The Cincinnati Commercial " says, — 
 
 " They have drawn better houses in Cincinnati than any whita 
 troupe." 
 
The Georgia Minstreli, 279 
 
 "The Brooklyn 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, — 
 
 *' "Hiere is no approach to vulgarity. Their audiences are the 
 most fashionable. No minstrel company can compare with Callen- 
 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 yidded to the Georgia Minstrels. 
 If you wish to see the brains, beauty, and fashion of the musical 
 metropolis, a peep into Beethoven HaU. will give you an insight of 
 it. Never has a minstrel troupe created such enthusiasm in any 
 American city as the Greorgia Minstrels have done in Boston." 
 
 And the Boston " Folio," that excellent journal of 
 music, — 
 
280 Musio and Some Highly Musical People. 
 
 " The Georgia Minstrels, who are nightly appearing before 
 crowded houses at Beethoven Hall, deserve more than a passing 
 QOtice, on account of their excellence, and the utter absenoo 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- 
 formance 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, commendable 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 biU.' " 
 
 " The Boston Herald" said, — 
 
 " Beethoven Hall was well filled last evening by admirers of 
 Ethiopian delideations, assembled to see and hear the original 
 Greorgia Minstrels, who have returned from a very successful tour 
 in Europe, 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 their 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 natural, but a cultured artist ; and all have the faculty of 
 being exceedingly mirthful, without overstepping the boimds of 
 refinement. In fact, each performer seems perfect in his r6le ; and 
 all appear to be masters of minstrelsy." 
 
 Again the same paper said, — 
 
 " The Georgia Minstrels have burst upon us like an avalanche. 
 All the reserved seats were sold last evening before the performance 
 commenced; and the house was filled 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 
 ha-^e happily filled a void which existed in the amusement field. 
 ' This troupe of native artists has won the very highest praise 
 
The Georgia Minstrels. 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 
 Inislness 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 his- 
 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 " Hyers 
 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. Callender, 
 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 
 foUow his example. Their motto should constantly be, 
 " Excelsior ! " 
 
 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 
 
The G-eorgia Minstrels. 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 Greorgia Minstrels) are at the head of the minstrel 
 business in this coimtry." 
 
 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 his- 
 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 " Hyers 
 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. Callender, 
 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 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 tills country learned their first lessons at this same 
 school, — the minstrel stage. In their new, higher, and 
 
PAET SECOND. 
 
OTHER REMARKABLE MUSICIANS, 
 
 THE MUSIC-LOVING SPIRIT OF VAEIOUS LOCALITIES. 
 
 "They are the abstracts and brief chronicles of the time.** 
 
 Skaxsfeakb. 
 
 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. Ai^d 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 possess decided talent, and who in 
 their attainments present instances of a character so no- 
 ticeable as to render the same well worthy of record. 
 
 285 
 
286 Music and Some Elghly Musical People. 
 
 It is considered proper to say, also, — a caution whiclj 
 perhaps may not be necessary, — that I shall here make 
 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 reach 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 oae. 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 furnished 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 in 
 
Other Remarkable Musicians. 287 
 
 this one. If it be found necessary, I say; fcr 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 aa 
 this, nor just such books as this, will be considered as 
 necessary. 
 
 Nevertheless, the writer requests all who are inter- 
 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 wiU 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 aesthetic ta,ste 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 
 'jonservatories 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. 
 
 encoxiragement. 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 this 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 have 
 been made by others of the same race residing in other 
 sections of the country, had 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 is 
 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 RemarTcahle Musicians. 289 
 
 person in Boston, is due that love for and proficiency in 
 musical art so noticeable in certain circles of that city. 
 From wliat 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 noble 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 aU these years of arduous toil has been 
 tlie recognition of talent by those of the more favored race, as well 
 .as tiie 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 
 Mozart shall be born with soul full of bright melodies: or a Bee- 
 thoven, with his depth and tenderness of feeling; or a Handel, 
 Id ting us above this earth until we shall hear the multitude of 
 voices joining in one vast song, — 'Alleluia! for the Lord God 
 omnipotent reigneth.' Nor is this impossible. Our history, it 
 seems to me, has but just begun. AU the past is but sorrow and 
 gloom, with here and there a bright ray to bid us hope. ... I hope 
 
290 Musi', 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 tho 
 recipient of public testimonials, and of complimentary 
 notic33 from the New-England press. 
 
 Mrs. Br. C. N. Miller (nie Ariana Coole/) 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 weU-cultivated voice of natural sweet- 
 ness." Mrs. Miller was luitil 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 gifts 
 are suj-plemented by a fine knowledge of music, to 
 which are added also very graceful, winning manners. 
 
Other JRemarhahle Musicians. 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 audiences. 
 These ladies inherit their musical talents fi-om their 
 mother, who possessed a voice of more than ordinary 
 range and sweetness. 
 
 Mrs. Br. G. F. Gravt (nSe Georgina Smith), formerly 
 the efficient organist of the North RusseU-street Church, 
 lias been regarded as a most pleasing vocalist, possess- 
 ing a very pure, sweet soprano-voice. She was for 
 some time a pupU 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 naivete, her graceful, 
 handsome stage-appearance, and expressive rendering, 
 with voice of bird-like purity, of some of the best cava- 
 tina 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 ia witnessing its 
 charming effect on an audience of nearly four thousand 
 people, r^resenting generally Boston's best culture. 
 Her reception really amounted to an ovation. The 
 event was a most remarkable one, and, exhibiting as it 
 so 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 Music and Some SigJily Musical People. 
 
 . . . "Miss Smith, a fine-looting young lady, achieved a lite 
 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 wretched 
 condition of the streets, assembled in Music Hall yesterday even- 
 ing to listen to the quarterly concert of the New-England Conserva- 
 toi-y of Music. The spacious haU was pacted in every part. The 
 most marted success during the evening was that won by Miss 
 Georgiua Smith, who has a fine soprano-voice, and who Sang in a 
 maimer 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 stiU 
 quite young, has had an experience as a vocalist of 
 which she may well be proud. 
 
 Miss Louisa Brown, 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 
 rietired 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 liighest kind of compositions, and, in 
 her rendition of the same, exhibited evidence of most 
 faitliful 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 Remarlcahle Musicians. 293 
 
 state of highest usefulness, she was stricken down by 
 death. All that has here been said, and much moro, 
 was expressed in some of the public journals by admir- 
 ijig friends shortly after her decease. 
 
 Among those whose musical abilities have thus far 
 attracted much attention, and given promise that their 
 possessor wiir attain to still higher distinction ir the 
 future, I mention 3Ir. 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. 
 
 Miss 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. K M. Allen deserve 
 mention for their fine rendering of choice music ; 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. ]\Ir. 
 Copeland's studies are directed at the New-England 
 Conservatory. The ambitious spirit displayed by Mr. 
 Allen is very praiseworthy, he having contended very 
 -^erseveringly and with much success against great ob- 
 stacles. He sang in the bass division at one (if the 
 great Jubilee concerts. 
 
294 Music and Some Sighly 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. Phele Heddick, possessing a clear, ringing so- 
 prano-voice, adds much to the singing of the Twelfth 
 Baptist Church choir. 
 
 Mr. Francis P. Chart/, Mr, James L. Edwards, and 
 Mr. George 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 diificulty is 
 experienced in securing the services of a number of fine 
 nusicians of the other race, — a fact which shows the 
 power of music to destroy the distinctions of caste. 
 
 Mr. Joseph W. Sisndricks 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 Remarkable Musicians. 295 
 
 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 Auher 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, Itlarch 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 iHome, 
 May Harmony's enchanted wand 
 
 Bring sunshine where before was gloomi 
 
 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 Highly Musical People. 
 
 Yet in the outer courts we wait 
 Till Ejiowledge shaU the curtain draw, 
 
 And to our wondering eyes disclose 
 The mysteries the masters saw." 
 
 The following are the numbers performed on the 
 occasion mentioned : — r 
 
Other Remarhahle Musicians. 297 
 
 
 FJEbOOrTi^J^lS/Ll^Ail. 
 
 
 ?Patt JFitst. 
 
 1. 
 
 Tki ) FOB Two Violins and Piano Ehizia 
 
 David Oswzu,, Madaline Talbot, and Mbs. Wilson. 
 
 2. 
 
 QuAETET. — " Sighing for Thee." 
 AnEEB Qdabtet, — Messes. Smith, Hill, Eurrni, and 
 
 Qenbt. 
 
 3. 
 
 Song. — "Down by the Sea" (Bass) 
 
 James Heney, Jun. 
 
 .Knonmlton 
 
 4. 
 
 Duet. — " On Mossy Banks " 
 
 Miss F. E. Allen and E. M. Finknbt. 
 
 ....Gilbert 
 
 6. 
 
 Song. — " Thou everywhere " 
 
 Mes. Wilson. 
 
 ..Lachner 
 
 6. 
 
 SoMANCE. — " Alice, where art Thou ? " 
 
 James M. Bcotteon. 
 
 ....AscTier 
 
 7. 
 
 Quintet. — "The Image of theEose" 
 
 Miss P. E. Allen and Quaetet. 
 
 .Beichardt 
 
 
 ^att StconB. 
 
 
 1. 
 
 Thkivia with Variations. — Violin and Piano 
 
 David T. Oswell. 
 
 Eode 
 
 2. 
 
 "nTrH-T '* TnTcfl now this Hinsr ** Lot f-^ 
 
 - \rumibula 
 
 Mhs. Wilson and James M. Bcotteon. 
 
 3. 
 
 QiTAKTET. — " Soldier's Farewell " 
 
 Messes. Smith, Hill, Eupfin, and Henet. 
 
 ....Kirikel 
 
 4. 
 
 Song. — " Waiting," with Violin Obligato MiUard 
 
 Miss P. E. Allen, Mes. D. Wilson, and David T. Oswell. 
 
 6. 
 
 
 . . . .Becker 
 
 Messes. Smith, Pinknet, Rufpin, and Henet 
 
 
 6. 
 
 Qtjabtet. — " Man the Life-Boat " (by request). 
 
 
 7. 
 
 Chokcs.— "Angel of Peace" 
 
 With Oegan and Piano Accompaniment. 
 
 KeUer 
 
 This concert gave delight to a large audience, and 
 was very much praised by the public journals. 
 
298 Music and Some Sighly 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 fine 
 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 
 
 :PE.0C3-IS/^3^3^B. 
 
 i^att JTirst 
 1. QaARTET.—" Alpine Echoes." 
 
 UlSS BSOWK, UiSS F. WASHUfOTOK, UB. JAUXT, Iljt. FiSHBS. 
 
 a FiANO Soixt.-!-" Fantasia Impromptu" Chopin 
 
 Kb. S. Jakie&on. 
 
 3. Soix>. — "La Primavera" Tarry 
 
 UlSB Bbowh. 
 
 4. DcBT. — "VienMioEdgardo" SfiOard 
 
 iliaa F. Washington, Mb. Janbt. 
 
 B. Asia.— "Infaice" "Emani" 
 
 Mb. Fisheb. 
 
 6. DnET. — "While thus around" "La Faoortta" 
 
 Miss Bbown, Mb. Janbt. 
 
 7. SoiA with CeUo Obligate. — " Peacefully Slumber " .Bandegger 
 
 Miss F. Washehoton. 
 
 8. Soiro.— "Didst Thou but know" Ba(fe 
 
 Mb. Janbt. 
 
 $ait Setana. 
 
 1. QuABTET.—" Sweet and Low" Barriby 
 
 Miss Bbown, Miss Washington, Mb. Janxt, Mb. Fisheb. 
 
 2. Piano Soix>.— "LeCounier" BiUer 
 
 Mb. B. Jauibson. 
 
 3. Song.— "Queen of the Ni^t" "nutmas 
 
 Miss BBOWN. 
 
 i. Song.— "To the Storm Wind" Etxn 
 
 Mb. Fisheb. 
 
 8. Duet.— "Land of the Swallows" JfoMfref 
 
 Miss Bbown, Miss Washington. 
 
 6. Solo — For Violin. 
 Mb. F. E. Lewis. 
 
 7. Song. 
 Miss F. WASHmoioH. 
 
 i 8 Song.— "Love's Delight" Abt 
 
 Mb. B. J. Janet. 
 
 ft. DOET.- "I Pescatori" Gobusi 
 
 Miss Bbown, Mb. Fisheb. 
 
 10. QtTARTET. — " What Phrase Sad and Soft " Bishop 
 
 Miss Bbown, Miss Washington, Mb. Janet, Mb. Fishbb. 
 
300 Music and Some ExgMy 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 Oaseras, who was for a long time the organist 
 of a Catholic church in Springfield, Mass., deserves, on 
 account of his great skill as a performer on the organ 
 and piano-forte, particular mention here. He came to 
 this country some years ago from England, where he 
 had attracted much notice for his fine musicial 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 appieared 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 RemarJcable Musicians. 303 
 
 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 has 
 travelled quite extensively, and has been engaged in 
 many musical enterprises. He is a skilful, artistic per- 
 former on several instruments, chief 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 abtS'ut twenty years of age, he 
 composed a grand overture caUed " The Pilgrim." He 
 enjoys an enviable reputation in New York as a teacher 
 of music, and is very remarkable for the enthusiastic, 
 devoted attention he gives to the study of the art. A3 
 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. Scudder 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 
 very fond. He deserves special mention for his success- 
 ful endeavors to promote a love of good music among 
 Ids acquaintances. 
 
 Mr. Walter F. Craig, although quite young, has 
 j'Jreaiy attracted much attention, and received the 
 praises of the critics, as a performer on the violin. He 
 
502 Music and Some Eiglily Musical People. 
 
 is a close student, very ambitious and enthusiastic, and 
 without doubt will ere long be ranked with the first 
 violinLsts 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 thia 
 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 niun- 
 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- 
 some careers. 
 
 First in loving art mth all their might, 
 They steadily strove in the unequal fight, 
 TiU Prejudice, convinced at last, 
 Betired, 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 meu- 
 
Other Memar&able Musicians. 303 
 
 tioned. 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, 
 Buch 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. Magwm 
 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 metropohs 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 BxgMy 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 senior. 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, 
 ouly the seniors represent the society. The conductor 
 (who is also president) is Mr. P. H. Loveridge ; first 
 violin, Walter F. Craig ; solo cornet, Elmore Bartelle; 
 flute, Ph. Williams ; William Lewis, violoncello. At 
 present the society numbers about twenty members, aU 
 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 will be readily perceived by all ; noir 
 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 
 plays with a great deal of expression." This lady has 
 for more than a year been a valued member of the 
 Hyers Sisters concert-troupe. 
 
 3Ir. Peter P. 0''Fake is considered one of the mc** 
 
Other Remarhable Musicians. 305 
 
 noticeable of the musicians of Newark, N. J. ; whicli is 
 no slight distinction, since in that city are to be found 
 some of the first musicians of the country. He Wd,s 
 born there in 1820. His parents were also natives of 
 Newark. Mr. O'Fake is what is termed "self-taught," 
 and has cultiTated 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 Berioi's 
 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 Mite 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 quadriUe-musie called "The Sleigh- 
 Ride," in which he most ingeniously and naturally 
 introduces tlie crack of the whip and the merry jingle 
 of the sleigh-bells. At such times the dancers are 
 excited to a high state of joyousness by the bewitching 
 mxisic, the latter being of a character so suggestive as 
 
306 Music and Some Eighly 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 D. 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. Lucy Adger ; and the most promi- 
 nent instrumentalists are Miss M. Inez Causey, pianist, 
 F. J. R. Jones, violinist, and Edward Johnson, violinist. 
 
 TJiis 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 
 wiU mention, however, briefly, that Mr. Johnson was a 
 weU-educated miisician, 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 trnmpet, whence he blew 
 Soul-animating strains : alas I too few." 
 
 Besides, he played well several other instruments. He 
 was very much esteemed, and was foremost in promot- 
 
other Hemarkable Musiciaiia. 807 
 
 ing in many ways the musical spirit : he was, in fact, 
 the P. S. GUmore 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 the principal cities of the countiy 
 " astonishing the natives " by a fine rendering of the 
 best music in vogue at that time. Indeed, the novelty 
 formed by such an organization, — all colored men, — 
 its excellent playing, and the boldness of the enterprise, 
 all combined to create a decided sensation wherever 
 these sable troubadours appeared. It is said that some- 
 times, while 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 sEver 
 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 Mush and Some Eighty Musical People. 
 
 in 1846, tKe bugle just 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 countrymen 
 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 that 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 all. 
 
 The band continued in existence, and was much in 
 demand, for many years after the great leader died, 
 retaimng its old and honorable name, " Frank John- 
 son's Band." Mr. Joseph G-. Anderson next became 
 director. This gentleman was a musician of most re- 
 markable powers, both natural and acquired. He per- 
 formed in a very skilful 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. 
 
 Whfrn, during the late war, the State of Pennsvlva> 
 nia was forming regiments, Mr. Anderson was kept 
 
Other Remarkable Musicians. 309 
 
 busily employed for a long period organizing and in 
 structing 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 coimtry 
 to play for gatherings of one kind and another. Tlie 
 writer weU 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 indeed most " soul-animating strains," and winning 
 the while the warm admiration of a vast throng of peo ■ 
 pie that lined the sidewalks. Ah ! we were very, very 
 proud of them ; so elated with their triumphal entry, 
 and so inspirited by the noble music, that it seemed 
 as though we 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 finesv 
 vocalist of her race in this country, while only a tew 
 of the other race could equal her. Although now no 
 longer young, she still sings artistically and beautifully . 
 Her repertoire comprises the gems of the standard 
 operas ; and these she has sung, and does now sing, in 
 J, style that would reflect honor on those far more pre- 
 tentious than herself. 
 
 The other day, while looking over the " scrap-book 
 
310 Mime and Some BUghly Musical People. 
 
 of a friend, I met with another of those pleasant suj. 
 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 these 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 qtdte, 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. 
 
 " We 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 sh* 
 was unanimously encored." 
 
 Tiliss Bowers now lives quietly at her home in PhUa- 
 deli)hia, 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 
 posstr? 5es, through voice and method, the power to charm 
 an audience. 
 
 The name of Mr. John Moore should be mentioned 
 
Other Remarkable Musicians. 311 
 
 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 El?-cornet, he could also play 
 most of the other instruments used in the band ; and 
 was, besides, a good performer on the violin and flnfrft. 
 Tery pleasant recollections of " our band," as we soldiers 
 fondly termed it, remain, I am quite sure, with aU 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 we 
 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 skUl 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. 
 
 Mr. Z. A. Coleman is a good singer of bass. 
 
 Mr. a. Minor Solland of Cleveland, O., is a good per- 
 former on the Bt?-comet, violin, and double-bass. He is 
 quite a young man, and, possessing much talent, may 
 become a musician of great merit if he continues hia 
 studies. 
 
 Miss Mary F. Morris performs upon the piano-forta 
 with fine skUl and taste, and is a vocalist of excellent 
 
312 Music and Some Highly Musical People. 
 
 powers. She has pursued her musical studies iu the 
 Cleveland Convent, the teachers of which enjoy a high 
 reputation; and also under Professor Alfred Arthur, 
 one of the finest instructors of Cleveland. 
 
 I. A. D. MitcMl, playing the El?- 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. 
 
 Mss Clara Monteiih 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^inger, 
 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 respectar 
 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. Melvln, and Fan- 
 nie Chester. Mr. Lucas is at present a valued member 
 of 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 e?er 
 
Other Revmrkahle Musicians. 313 
 
 His rendition of ' Grandfather's Clock,' with distant chorus and 
 refrain, was the sweetest music we ever listened to. The audienco 
 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 veiy remiss did he fail to men- 
 tion here the very remarkable music-loving spirit which 
 has been exhibited by the colored people of Chillicothe, 
 <). This very forcibly arrested his attention, when, 
 several years ago, he 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 Chillicothe 
 a choir for his church, under the leadership of Jos. D. 
 Sachley. 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 
 singing 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 1855 
 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- 
 
314 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 aU 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, whUe 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 lias been quite successful. One of his former 
 pupils is now the leader of a band. 
 
 Mr, Thomae^Earris should also have special mention 
 ].ere. He was a superior El'-cornet player, a good 
 bugler, and a very good performer on the clarinet ; a 
 good reader of music for each of these important instru- 
 ments. 
 
other ReTnarkdble Musicians. 315 
 
 Mr. William S. Dupree, at one time tlie 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 
 here, not only on account of his having always pos- 
 sessed an ardent music-loving 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 Chniicothe 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 acquire- 
 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 
 band, 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 tenaered 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 yoi e 
 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 weU 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 been claimed by Chicago, and 
 even St. Louis. These latter, however, base their riglit 
 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 still be considered as approaching nearer 
 to the Eastern cities than either of the others men- 
 tioned. This is certainly true as regardg the musical 
 devotion of its people; and this characteristic is the 
 one, perhaps, which most threatens the supremacy so 
 long held in the East. 
 
 Having said this much of Cincinnati's residents in 
 general, it will of course be expected that a very 
 promising and brilliant addition is now to be made to 
 these records. The reader, however, must be reason- 
 
Other Memarkahle Musicians. 317 
 
 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 t^he subjects of 
 these sketches have been also always fully in force in 
 Cincinnati. It is thought that all candid observers will 
 ag^ree with the writer when he confidently avows hia 
 belief, that no other people, while laboring imder 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, 
 1 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-chUdren 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 
 sang 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 
 uow. 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 now-distant comrades. 
 
 I think the chorus ran in this wise : — 
 
318 Music and Some lEgUy Musical People. 
 
 " Sound again, clarion, — clarion loud aild shrill I 
 Sound 1 Let them hear the captive's voice. 
 Be still, be still I " 
 
 No answer being made to this signal, the prisonei 
 thus laments his cruel fate : — 
 
 " They have gone ; they have all passed by, — 
 They in whose wars I have borne my 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 tliat 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 
 S. Parham, 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 lookout 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 Remarkable Musicians. 319 
 
 the next day in the Cincinnati " Gazette " and " Com- 
 mercial," and were as follows : — 
 
 CONCEALED MUSICAL TALENT. 
 
 Mr. Editor, — Permit me the use of a small space in your next 
 issue to speak in deserved praise of a musical eritertaii>ment 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 sis months developed a capar 
 citj' 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 themselves a treat, could they prevail 
 on the Circle to render the- cantata in their midst. Not having 
 consulted any one connected with it, it is a voluntary suggestion 
 iom me, that parties craving the enjoyment of a refined musical 
 entertainment open communication with Mr. William H. Farham, 
 its musical director. W. P. W. 
 
 CiNcmKATi, July 7, 1875. 
 
 The Eev. Thomas K. Jackson, pastor of Allen Temple, 
 Iiimself an excellent singer, a few weeks ago organized 
 E- ssv/lcct choir for the purpose of rendering the canta,ta 
 just mentioned. Mr. William JET. Morgan, who sings in 
 the principal rSle, 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 
 thf:m no ons 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 MgMy Musical People. 
 
 considered marvellous. This society promises to give 
 the cantata " Esther." 
 
 From the foregoing it will be seen that much atten- 
 tion is being given to a study of some of the higher 
 foims of composition, — a very encouraging sign indeed. 
 
 Another vocal society is called the Arion Quartet 
 Club. Messrs. Andrew D. Bart 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 Cincinnati 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 skilled pianist, giving lessons on that 
 instrument. 
 
 Misses Ernestine and Consuelo, 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 under her fingers the cabinet-organ itself 
 eeems to sing. 
 
other Remarkable Musicians. 321 
 
 Misses Ella Smith and Ulla BucJcner must not be for« 
 gotten as valuable aids on public musical occasions. 
 
 Among the males, James P. Ferguson is distinguished 
 as a bass, and Thomas Monroe as a tenor singer. 
 
 Joseph Henson^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 prpgramme 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 following 
 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 ; ]\Ir. 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, tnereiore, 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 v/hich have been 
 highly spoken of by the journals of Chicago and those 
 of other cities in the State of Illinois. 
 
322 Music and Some lEgMy 3Iusical People. 
 
 Mrs. Frances A. Powell^ the founder and directress 
 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 asi 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. Sarriett 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 Baumbact of Chicago. 
 
 Mrs. Settle Reed possesses a contralto-voice of re- 
 markable purity and sweetness. She is one of the prin- 
 cipal singers 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 Olivet-Church 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 public 
 schools of that city. 
 
 Mrs. Esther Washington (neS Miss E. Fry) is a fiu- 
 idied performer on the organ and piano-forte. ThLs 
 lady is a graduate in thorough-bass and harmony from 
 Warren's Conservatory of Chicago. 
 
 Miss Franlcie Buekner, an accomplished organist and 
 pianist, received her training at Detroit. She has been 
 
Other Remarkable Musicians. 323 
 
 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. 
 
 Miss Ida Piatt is a brilliant pianist. 
 
 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 Colimi- 
 bns, O. Is organist of Olivet Church. 
 
 Mr. George 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. 
 
n. 
 
 SOME MUSICAL PEOPLE OF THE SOUTH. 
 
 " Songs &om the eiiimy Sonth-land."— A. K. BPEHCi:. 
 
 THE colored people of the South are proverbially 
 musical. They might well be called, ia 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 Ameri- 
 can music ; all other kinds 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, by 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 
 
 321 
 
Some Musical People of the South. 325 
 
 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 Mmie and Some Eighly Musical People. 
 
 Elder the very soiil of music. Moreover, one is made to 
 wonder 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 the 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- 
 h'shes 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^estroying 
 influences of those circumstances equal to that which 
 has been so fully shown by the colored race. But, bo 
 that as it may, the latter has actually been 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 ; although, 
 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. 327 
 
 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 fi-ee- 
 dom. Yet, since the war, many of the religious slave- 
 songs of the South, words and music, have been 
 printed. 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 pleasing 
 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. 
 
328 Musie and Some Highly Mudoal People. 
 
 "A good many years ago," writes a correspoudent 
 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 over to a 
 comer 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 themselves 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, — associations 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 skill 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. C. B. Perry is rector : — 
 
 Mr. H. C. Bishop, general director; Mr. W. S. 
 Bishop, precentor ; J. Hopkins Johns (who has a very 
 pleasing voice) ; Mr. J. Taylor (a fine basso, who haa 
 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 IkLr. George Barrett. 
 
 Mr. Joseph Ockmey is organist of the Bethel (Meth- 
 odist) Church. 
 
 The following are members of the Sharp-street Church 
 choir : — 
 
 Mr. Simpson, leader; Mr. Bongee, organist; MS,sa 
 Mary F. Kelly, soprano ; Miss Emma Burgess, soprano. 
 
 Baltimore has an association of musicians called " The 
 Monumental Comet Band," of which Mr. C. A.' John- 
 son is the efficient leader. 
 
 Some time ago I found in the musical colimin of 
 « The Boston Herald " of Sunday, July 9, 1876, the fol- 
 lowing notice of another " Blind Tom : " — 
 
 " A rival of ' Blind Tom ' has been found at Blount Springs, 
 4.1a., in the person of James Harden, a colored boy from Baltimore. 
 He plays the guitar, and sings the most difficult m.usic, excep* 
 
S30 Music and Some' Highly Musical People. 
 
 tionally well; and is also something of a composer. He has 
 received no instruction, but is most emphatically a natural-bom 
 musician." 
 
 Louisville, Ky., shows its appreciation of music by 
 organizing a society devoted to the latter, numbering 
 o^ er 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. Creorgetta Cox and Miss Nellie 
 Banks, — two ladies who have won golden opinions for 
 their exhibition 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 raie 
 musical and general culture. He was, I think, educated 
 in 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 iDstru- 
 ment he finely interprets the best music of the masters. 
 
 1 St. Louis is placed in this section of the record because the latter ig 
 ievoted to such localities as before the war were within slave territory. 
 
Some Musical People of tJie South. 331 
 
 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 
 abUity as instrumentalists. 
 
 No feats need be entertained that Nashville, Tenn., 
 Avill 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 acHevements as 
 singers wUl 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 instrxmients, 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 readUy 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, not only 
 
832 Music and Some Highly Musical People. 
 
 on accoimt of the charming musical qualities of the 
 latter, but also on account of their winning courtesy 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 cMldren to prefer them, as they 
 ever should, to all places not 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 
 cliapter. 
 
in. 
 
 NEW ORLEANS. 
 
 THE MUSICAL AND GENERAL CULTURE OF ITS 
 COLORED CITIZENS. 
 
 — Tboagb last, not least," 
 
 Shaksfeake. 
 
 BEFORE the late war, the city of New Orleans was 
 often styled " the Paris of America." The Prov- 
 ince of Louisiana, originally settled by the French, and 
 until 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 
 
 333 
 
334 Music and Some EigJily 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, unmigration 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 qiiick 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 operaj with its ravishing music, its romance 
 of sentiment and incident, its resplendent scenery, and 
 the rich costumes and brilliant delineations of its actors, 
 — all so well calculated 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 Jiave 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 ciV/'s many cultured circles; 
 while many others, who, although ardently loving music 
 for its own sake, were yet forced by less fortunate cir- 
 sumstances to seek support in discoursing it to others, 
 — these have always found 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. 335 
 
 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 cid- 
 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 «ame. 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 aiject servitude, 
 although, of course, suffering much from the caste spirit 
 that followed and presented groat 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 I have just 
 been 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 scientific 
 
336 Music and Some ElgUy 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 form 
 many a 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 M 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 
 than 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 fire of genius, and to 
 crowd down aU 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, ^^ Hitherto shalt thou come, hut no far- 
 thtr!" 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 
 
N'ew Orleans. 337 
 
 hearts were oft bowed in anguish, when tears of 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 (viz., 
 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 followmg 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 in 
 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 % 
 sculptor ; Victor S^jour, in Paris, as a poet, and com- 
 poser of tragedy; Caraby, in France, as a lawyer; 
 Dubuclet, in Bordeaux, as a physician and musician; 
 and many others." AU these were forced to leave New 
 Orleans, their native city, because of the prejudice 
 that prevailed against them on account of their color. 
 In other countries, which Americans have been wont to 
 s'yle, forsooth, " despotic," these aspiring men found 
 ••eady recognition, and arose, as has been seen, to high 
 distinction in their chosen callings. 
 
 Of a few others who for these same reasons left their 
 
338 Music and Some EUghly Musical People. 
 
 native city and went abroad, as well as of a large num- 
 ber of talented, educated musical people who remained 
 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. 
 
 Richard L%mhert, the father, has long been higlily 
 esteemed as a teacher of music. Many of his pupils 
 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 abUity. With a style of performance 
 really exquisite, he has always excited the admiration, 
 and sometimes the wonder, of his auditors, by easy 
 trimnphs 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 
 otliers to develop his powers: and so, after a whUe, 
 he went to France ; and, continuing his studies in Paris 
 imder the best masters of the art, he rapidly attained 
 to great sldll 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 ia 
 given the titles of only a very small number of his 
 compositions : — 
 
 "La Juive;" "Le Depart du Consent" (fantasie 
 march); "Les Ombres Aimdes;" "La Br&iliana;" 
 "Paris Vienne;" "Le Niagara;" "Au Clair de la 
 Lune," with variations ; " Ah ! vous disais-je, Maman ; " 
 " L'Amdripaine ; " "La Rose et le Bengali;" "Pluie 
 deCoraUs;" "Cloches et Clochettes;" "JEtude Ma- 
 zurka." ^ 
 
 Sidney Lambert, stimulated by the instruction and 
 good fame of his father and the high reputation gained 
 by liis brother Lucier and himself 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 hst of 
 pieces composed and arranged by him : — 
 
 "Si j'etais 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 of the works hereafter 
 mentioned, although they are the creations of Americans, are yet given 
 in the French language. For the information of such persons, I repeat 
 in substance what has already heen said, that these authors, in adopt- 
 ing the course just referred to, have only followed a custom vfhich is 
 most generally observed in the highest art-circles of New Orlfians, 
 " 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 author? 
 themselves, all of whom speak and write the French language quite 
 perfectly. It may be well t.o 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- 
 lishers of the day, from whom, of course, copies may be ordered, iJ 
 desired. 
 
340 Music and Some MgUy Musical People. 
 
 caine;" "AnnaBolena;" "La Sonnambula;" "L'Eli- 
 sire ; " " Transports Joyeux ; " " Les Cloches." 
 
 Mr. U. Lambert is the very efficient leader and in- 
 structor of the St. Bernard Brass Band. He is a fine 
 musician, performing with much sMU 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 D6d6 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 while he took lessons of Mr. L. 
 Gabici, who was at one time chief of the orchestra of 
 the St. Charles Theatre. Ddde was a cigar-maker by 
 trade. Being of very good habits, and economical, lie 
 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- 
 iyt, but 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 ; is very ardent in his play, throwbig his 
 whole soul into it ; and meets with no dif&culties that he 
 does not easily overcome. Mr. DM6 is now director of 
 the orchestra of "L'Alcazar," ia Bordeaux, France, 
 He is of unmixed negro blood, and is married to a be lu- 
 tiful and accomplished French lady. 
 
 The titles of only a very few of the wor Jrs composed 
 by Edmund Ddd6 can now be given- They are as fo 
 lows : *' Le Sement de I'Arabe," " VaUlant BeUe Rose 
 Quadrille " (this it was called originally ; but I believe 
 the piece has been published under another name), " Le 
 Palmier Overture." 
 
 Basile BarSs 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 composer. 
 His studies on the piano were begun under Eug§ne 
 PriSvost, who was, in years gone by, •director of the 
 Orleans Theatre and the opera-house orchestras. Ba- 
 r^s 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^s .resides in New 
 Orleans. I append this partial list of his works : "La 
 Capricieuse Valse," "Delphine Valse BriUante," *'Les 
 Vari^t^s du Carnavai," "Les Violettes Valse," "La 
 Creole " (march), " i^lodia " (polka mazurka), " Merry 
 Fifty Lancers," " Basile's Galop," " Les Cents Gardes '' 
 (valse), and " Minuit Polka de Salon." 
 
 Professor Samuel JSnaer, 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 
 
342 Music and Some Highly Musical People, 
 
 skilful performer on the violin and violoncello. As a 
 violoncellist he has but few equals anyvrhere. 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 dovm 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 Feng- 
 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 hie many compositions, 
 some of which have been of an elaborate and difficult 
 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 Kst of the works 
 of Professor Snaer : — 
 
 " Sous sa FenStre," published by Louis Grunewald, New Or- 
 leans. 
 
New Orleans. 343 
 
 "Le Chant du Ddpart," published by Louis Grunewald, New 
 Orleans. (Two editions issued.) 
 
 "Rappelle-toi," published by Louis Grunewald, New Orleans. 
 (Two editions issued.) 
 
 " Grand Sckie Lyrique " (solo and duetto). 
 
 " Graziella " (overture for full orchestra). 
 
 " Le Vampire " (vocal and instrumental). 
 
 " Le Boh^mien " (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 UttSrateur ; 
 and in such matters, as well as those of music, much 
 deference is paid to his judgment by his contemporaries. 
 
 Mr. Senry Staes is a 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. 
 
 Professor 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. WUliams, who, a native of Massachusetts, 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 
 Professor J. Norres. In 1840 he was sent to Paris, 
 where, through the intervention of Hon. Pierre Sould 
 and the French ambassador to the United States, he 
 was aoLuitted to the Imperial Conservatoire, although 
 he was then over the age prescribed for admission. At 
 the Conservatoire he studied vocal music, harmony, and 
 
S44 Music and Some EigUy 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 especially dis- 
 tinguished as a vocalist : as a singer he is fuU of senti- 
 ment, and very impressive ; 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. C. 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, FierviUe Repanti, who was formerly a teacher 
 of marked ability, and a composer of music. FierviUe 
 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 
 best 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. 345 
 
 purity of the tones produced,- and the faithfulness he 
 exiiibits in giving expression to the composer's thoughts. 
 These qualities, which it seems were given him by 
 nature, are also noticeable in aU 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. Althougli 
 so young, he is regarded as a fine musician. He grew 
 to manhood in the family of Col. F^lix 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; while in vocal music, 
 harmony, and composition, he became proficient under 
 Mr. Eugene Provost. Mr. Auguste has proved liimself 
 worthy of the care that was given to liis 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 Corhin, for several years a resident in New Or- 
 leans, was born in Cincinnati, O., in the year 1845. 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 
 
846 Music and Some Mghly 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 
 stiite 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. Bouhlet 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. Casnave 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 maybe readily supposed of a community lite that 
 of New Orleans, where there is a large colored popu- 
 lation composed of so many people of culture, the 
 gentler sex are outy beliind the other, in possessing a 
 knowledge of music, to that extent which has been 
 caused by those unreasonable, unwritten, yet inexorable 
 
New Orleans. 347 
 
 rules of society, tliat have hitlierto 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 mtellectual 
 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 
 Buffice. 
 
 Returning to the other sex, I first refer to ConstarAin 
 Deherque, who is a musician of fine ability, a teacher of 
 great skill, and a gentleman of good general cultiu-e. 
 Mr. Deberque wiU again be mentioned on a succeeding 
 page. 
 
 J)r. E. Duhuclet is a finished violinist. He is a brother 
 of Dr. Dubuclet, heretofore mentioned as having re- 
 moved to Bordeaux, France. 
 
 The DuprS family arc remarkable for their excellent 
 musical qualities. Each of the brothers, Ciel, Lucien, 
 
348 Miisic and Some SigMy Musical People. 
 
 and Esebe, play upon several instruments ; while their 
 two sisters are also well versed in music. 
 
 3fr. Raymond Augusts, 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. Emile 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 skilful 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, — beingan artistic guitarist and 
 violinist, a player upon the contra-bass, — and was also 
 a good siager. 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 3Iartin 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 man, very agreeable 
 and gentlemanly in his manners. Professor Martin soon 
 won his way against all obstacles, and became the favor- 
 ite musical instructor not only of those of his own race, 
 but also of many persons connected with the most aris- 
 tocratic white families of New Orleans and its vicinity. 
 This once talented musician is now no more ; he having 
 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 contra-bass, 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 these notices were begun, 
 I wiU shortly close this record. 
 
 As a sample of the concerts frequently given in New 
 Orleans by amateur musicians of the colored race, 1 
 append this programme of one lately given : — 
 
S50 Music and Some Highly Musical People. 
 
 
 GR-A.3srr) 
 
 
 Vocal and Instrumental 
 
 Concert,. 
 
 
 ON OCTOBER 14, 1877, 
 
 
 
 Masonic Hall, cor. of St. Peter and Claude Streets, 
 
 
 UKDEB THE DIEBOTION OP 
 
 
 LO 
 
 UIS MARriN, ASSISTED BY HIS AMATKl 
 
 JR FRIKNDS. 
 
 I=I2,0(3-E.J^3i^3VnEI. 
 
 
 ^att Sixst. 
 
 
 1. 
 2. 
 3. 
 
 OVEETUKE. — " La Muette de Portici " 
 
 THF, FAVORITE. — " VA^Te.."— Donizetti... 
 LE BOKISmIEN.— 5amue« Snacr i 
 
 ..Okchbstka. 
 
 . Miss Mc . 
 
 Mr. O. P. 
 
 4. 
 
 SYMPHONY. — For Two Violins and Piano, 
 
 L. M., J. M., 
 and Miss A. F. 
 
 5. 
 
 MY SUNDAY DKESS. — Song 
 
 .Jos. L., Juu. 
 
 Intctmisston.— ?3att SeconB. 
 
 6. 
 7. 
 8. 
 9. 
 10. 
 
 OVEKTOEE. — "S^miramis" 
 
 JUDITH. — Coficorae 
 
 THE ENCHANTKESS. — Fantasie for Violin 
 T/FXTASE Valse brillante. — L'Arditi 
 
 ..Okchbstra. 
 ....MissE.F. 
 
 L.M. 
 
 .Miss F. 
 
 FORTUNIO'S SONa. — "Alsacian Dream".. 
 
 . .Jos. L., Jun. 
 
 EntcrmisBian.— ?3art CijitU. 
 
 11. 
 12. 
 13. 
 
 OVEETUEE.— " La Dame Blanche " Obchestea. 
 
 CONSTANTINOPLE. — A. Loyd Miss E. F. 
 
 UUE DEOLB DE SOIEISE.— Scfene Hmnoristique, 
 
 D,-> 
 
 Miss A. P. will preside at the Piano 
 The Orchestra under direction of Mr. Louis 
 
 MAKTm. 
 
 T 7 PRECISELY. 
 
 ORS OPEN AT 6. - - - . CONCERT TO BEGIN A 
 
 ^ This composer has heen previously mentioned in these sketches 
 "Le BohC'mien" is one of several of Professor Snaer's pieces that sho\« 
 him to be a writer of fine abilities. 
 
New Orleans. 351 
 
 From the notes of a musical critic of New Orleans 1 
 learn that this concert was in all respects a fine success. 
 The different overtures were well executed by an ensem- 
 hie of twenty instrumentalists, all colored men ; while 
 all the numbers on the programme were rendered, gen- 
 erally, in a manner that would have been creditable, 
 even had the performers been, as they were not, pro- 
 fessionals. 
 
 The audience was a large and brilliant one, composed 
 of members of both races, and was qtute 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. Constantin De- 
 berque and Richard Lambert were among those who at 
 
S52 Music and Some Wghly Musical People. 
 
 times directed the orchestra. Eugene 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 difaeulties against which they ever had to 
 struggle, — not only such difBculties as all must ei- 
 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, all these obstacles, and their triumphs over 
 the same, it will be seen that much has been accom- 
 
New Orleans. 353 
 
 plished tliat 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 wUl in this new era of 
 freedom, — then will such earnest votaries as have here 
 been mentioned, with 
 
 " No fears to beat away, no strife to heal. 
 The past imsighed for, and the future sure," — 
 
 attain to even greater degrees of proficiency and emi 
 nence in that noble 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. 
 
 Musia 
 
PEEFACE TO THE MUSIC. 
 
 It is deemed necessary to offer a few words of explanation 
 touching the music printed on the 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 given; the latter curtailment having been 
 made in the cases of the following: "The Pilgrim" (a grand 
 overture, originally occupying about twenty pages, sheet-music 
 size), only one^-third of which appears in this collection ; of an 
 elegant arrangement of the air of " An 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 ; " 
 v^hile, 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 s jatements, in order that 
 there may be no surprises, and no injustice done the comjosers. 
 
 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 
 Las 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 " Rays 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. 
 
 PAGB 
 
 AsTHEM FOB Chkistmas (WiRiam Brady) 4 
 
 Welcome to the Era Makch (Jacob Sawyer) 22 
 
 Andaute {Guitar) {Justin Holland) 26 
 
 The Pilgrim (Overture) (J. T. Douglass) 30 
 
 PABisiAif Waltzes (H. F. Williams) 44 
 
 JjE Serment de L'Aicabe (Dramatic Chant) (Edmund D€d^ . . 63 
 
 JJA Capricieuse Waltz (BasU Bar€s) 60 
 
 Au Clajb de la Luke (Imden Lambert) 69 
 
 'liACB.rEn'(Baaad)(H.F.WiUiams) 81 
 
 JjES Clocbettes (Fantaisie Mazurka) (Sidney Lambert) ... 86 
 
 Bays OF Hope March (IT. J*". Oaiflr) 96 
 
 Scenes of Yodth (Descriptive) (^. E. Lewis) 101 
 
 Mass fob Three Voices (" Oloria " and " Agnus Dei ") (S. Snaer), 127 
 
 S 
 
ANTHEM FOR CHRISTMAS. 
 
 Composed and Arranged hy W3C. 'BS.A.DY. N. T. 18S1. 
 
 Andante Pastorale. 
 
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 ANTHEM FOR CHRISTMAS. Continued. 
 
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ANTHEM FOE CHEISTMAS. Continued. 
 
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 not, for behold I bring yon glad tidings. 
 
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ANTHEM FOE CHRISTMAS. Continued. 
 
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 tid - Ings of joy, glad tidings of joy, glad tidings, glad tidings, 
 N 
 
'ANTHEM FOE CHRISTMAS. Continued. 
 
 i 
 
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 t^"- 
 
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 not, fear not forbe-hold, I bring yon glad tidings,glad tidings of 
 
ANTHEM FOE CHRISTMAS. Continued. 
 
 
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 tid - ings of joy. 
 
 Which shall 
 
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 to yon Is bora this day in the cl - ty of Da-vid a 
 
10 
 
 ANTHEM FOK CHRISTMAS. Continued, 
 
 i 
 
 pt?t 
 
 ^1- 
 
 m? 
 
 Sav- iour, 
 
 Sav-iour, 
 
 who is 
 
 I 
 
 tS 
 
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 Christ the Lord who is Christ the Lord, who is 
 
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ANTHEM FOE CHRISTMAS. Continued. 
 
 11 
 
 I 
 
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 -!•—•- 
 
 £ 
 
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 not, fear not forbe-hold, I bring you glad tidings, glad tidings of 
 
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 tidings of joy, glad tidings,gtad tidingSjglad tid-ings of joy. 
 
12 ANTHEM FOB CGffEISTMAS. Continaed. 
 
 fe 
 
 h ^ >N N - 
 
 rrTl-T^v^^g ^=l 
 
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 =:35=SE 
 
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 There was with the 
 
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ANTHEM FOR CHRISTMAS. Continued, 
 cnours. Mlegretto. 
 
 Soprano. 
 
 IS 
 
14 
 
 ANTHEM FOE CHRISTMAS. Continued. 
 
 m 
 
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 Glo - ry to God in the higli - est, 
 
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 11 
 
 3^ 
 
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 GIo - ry to God in the high - est, 
 
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ANTHEM FOR CHRISTMAS. Continued, 15 
 
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 Glory to God in the highest. 
 
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 Glory to God in the high 
 
 est, 
 
 and 
 
16 
 
 ANTHEM FOE CHEISTMAS. Continued. 
 
 i 
 
 T 
 
 $ 
 
 peace 
 
 on earth, . 
 
 good will ■ 
 
 towards ■ 
 
 m 
 
 ^ 
 
 pea ce on earthy 
 
 good will. 
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ANTHEM FOE CHRISTMAS. Continued. 17 
 
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18 
 
 AOTHEM FOE CHRISTMAS. Continued. 
 
 6 
 
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 Glory to God, 
 
 -v-v— i'- 
 
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 Glo-ry to God, Glo-ry to, Glo-ry to God in tlie 
 
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ANTHEM FOE CHRISTMAS. Continued. 
 
 19 
 
 m 
 
 It 
 
 itfzfcfc 
 
 -U. 
 
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 towards men, 
 
 and peace en earth, good 
 
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 4= 
 
 good will towards men, 
 
 and peace on 
 — e *-*-»-» — *N- 
 
20 
 
 ANTHEM FOE CHEISTMAS. Continued. 
 
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 J5=&2- 
 
 <J-*-k»^ 
 
 -\^—>/- 
 
 will towards men, good will, pood will, good will towards men, good 
 
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 earth, good will, good will, good will, good will towards i 
 
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 will good will, good will towards men, 
 
 and 
 
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 will good will, good will towards 
 
 ^ 
 
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 §^ 
 
 
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ANTHEM FOE CHRISTMAS. Concluded. 
 
 2i 
 
22 To Misx Fhrinda J. Rufftii, Boston. 
 
 WELCOME TO THE ERA. 
 MARCH. 
 
 Con Spirito. 
 
 J. SJlWTILB, 
 
 z&zuiz 
 
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 Copyright, 1877 by John P. Perry, & Co. Used by per. 
 
WELUOME TO THE ERA. Continued. 
 
 23 
 
24 WEl/'OME TO THE EEA. Continued, 
 
 I 
 
 ii 
 
 ->- 
 
 ^ 
 
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 4=q: 
 
 y=^ 
 
 -?-.^- 
 
 ^ fe ^ 
 
 ■>«=P — ^ 
 
 .0_*_0 — j5L 
 
 
 ^K 
 
 SI 
 
 £ 4 
 
 4:-fi4: 
 
 s 
 
 ^i 
 
 (ra 
 
 i 
 
 =2^ 
 
 9t^ 
 
 £ ^ 
 
 X 
 
 J^- 
 
WELCOME TO THE ERA. Concluded. 
 
 25 
 
 ■^ 
 
 ^ 
 
 ±Jt 
 
 ^t=^ 
 
 J 1,1 
 
 ? • d - W 
 
 :=^z 
 
 ^t 
 
 ?eSe 
 
 ^i^=^ 
 
 -T5»~"^ 
 
 ^ 
 
 32= 
 
 3ZZ 
 
 
 :|=?=i= 
 
 ^ 
 
 ^ 
 
 =^.4 
 
 ?» 
 
 H 
 
 Jk- 
 
 r^ 
 
 3a 
 
 ^ 
 
 -^-•- 
 
 i35^^ 
 
 -* z<»- 
 
 I 
 
 ^--j=l^ 
 
 ?=2=iE: 
 
 ?^:i:i 
 
 -T S*- 
 
 .rsz 
 
 ^^bJ-)-f-i-t~ 
 
 iCiKE 
 
 litrxi^i 
 
 g ^^^^r^iz^im-r-f^"^ 
 
 fc^ 
 
 :* ,g gL 
 
 B 
 
 fe5=|r 
 
 j==^=^ 
 
 :?c 
 
 ■^-i-#- 
 
 t=Ui 
 
 S 
 
 ^ 
 
 T 
 
 ^=^ 
 
 r ^ I 'I 
 
 3E 
 
 ±=£. 
 
 =!ri} 
 
 (i 
 
 
 - f .a — 4- 
 
 =M- 
 
 
 i^ 
 
 =i=. 
 
 J- 
 
 J- 
 
 JL^ 
 
 -i<— r 
 
 
 ig 
 
26 
 
 AN ANDANTE. 
 
 For the Chuitar, hy JTTSTIX BOXX,ANJ>. 
 
 \t=f 
 
 — 1 1 — s— 
 
 T^^ -^-p 
 
 —J — s- 
 
 •• 
 
 14m= 
 
 =tr- 
 
 ^-1^^ 
 
 i - 
 
 
 * 
 
 i 
 
 T— (- 
 
 .a 
 
 ^ 
 
 — E * — 
 
 I — I — -, rs J7 
 
 P^= 
 
 :il 
 
 :^^ JL 
 
AN AITOANTE. Continued. 
 
 2? 
 
 m 
 
 i *-i s 
 
 F3 
 
 7 1 
 
 ^^ 
 
 -T-»— i<r- 
 
 Fine. 
 
 o 
 
 * . ^ 
 
 ^ 
 
 & 
 
 ifiziz 
 
 
 i 
 
 ■^ ST 
 
 -r 
 
 is= 
 
 t 
 
 
 i 
 
 :& 
 
 
 m 
 
 ritard. 
 
 — i ! 4- 
 
 «# ^- 
 
 "=1 
 
28 
 
 AN ANDANTE. Continued. 
 
 Variation. 
 
 n 
 
 ^-^ 
 
 K^- 
 
 ^=t. 
 
 5±Sc:e=i2i 
 
 
 t 
 
 ^^=¥= 
 
 ja 
 
 F=3 
 
 7 -^ f y^ 
 
 r 
 
 i 
 
 '- j-,^. ' 
 
 M^ 
 
 M 
 
 «4:;3c 
 
 =PS=? 
 
 
 I 
 
 :^ 
 
 H* ?- 
 
 -f r c 
 
 ^ \ - i 
 
 "^^IC 
 
 - •> 
 
 ^ 
 
 3=^ 
 
 a..-£= 
 
 u 
 
 F3 
 i-.^- 
 
 ^rf 
 
 t£&r? 
 
 
 •^ Ji> -*-^| T-»^' 
 
 S_^iJl_^ 
 
 =^^- 
 
 s^^ 
 
 -f ^- 
 
AN ANDANTE. Concluded, 
 
 29 
 
 i 
 
 --1i^=:ic=^ 
 
 ^ ^ J" 
 
 ^^ 
 
 1^ 
 
 "^^?t 
 
 i 
 
 :5 
 
 Fine. 
 
 i 
 
 =f=^^ 
 
 -:i:-r 
 
 T 
 f 
 
 i 
 
 
 & 
 
 g _. * j' ;. fcf^^ 
 
 ^ 
 
 •!fP4 — J 2. 
 
 ^ 
 
 
 
 ^= 
 
 r 
 
 i 
 
 -j^ 
 
 F= 
 
 TfcZt 
 
 -> ?- 
 
 J^^ 
 
 -#—!«- 
 
 ^ 
 
 W=^ 
 
 fir^ 
 
 ritard. 
 
 
30 
 
 THE PILGRIM. 
 
 GRAND OVERTURE. 
 
 Composed hy J'OSIT T. VOVGZA88. 
 
 Anddnte. 
 
 I 
 
 ISI 
 
 wm 
 
 s 
 
 ~^ 
 
 -^-n S^^ 
 
 3 ^5 
 
 ^ ^ 
 
 cew. 
 
 ^-g=^^=^ 
 
 h 
 
 
 =1=1^: 
 
 liZS^ 
 
 fc©; 
 
 i 
 
 ft! ^^^ 
 
 ;m4-j4 : 
 
 P 
 
 S 
 
 i=S=S 
 
 
 ■^ 
 
 ■?=f=^ 
 
 ^ ^ 
 
 // 
 
 p;';' 
 
 ^^^^ 
 
 ^^E 
 
 dT-2: 
 
 ^^>^^ 
 
 ^ 
 ( 
 
 ^^•ill^i!! •'irl'/iTi 
 
 
 -«r^t 
 
 Pi^ 
 
1^ 
 
 THE PILGRIM. Continued. 
 Allegro Vivacfi. 
 
 31 
 
 -*;—*- 
 
 .. »: 
 
 ,N* 
 
 :it 
 
 ->— P- 
 
 /f 
 
 5^ 
 
 -■^- 
 
 S 
 
 i 
 
 K^ 
 
 ■«- -^ 
 
 3- £ ^ ♦ 
 
 H P 
 
 * 
 
 if: 
 
 -ig- 
 
 S 
 
 * 
 
 ^^ 
 
 i 
 
 -*« piH*- 
 
 -f-4 
 
 ;. * »fe^-* 
 
 J -« J |» . 
 
 #£ 
 
 ^* 
 
 :^=g-^ 1- 
 
 =^= 
 
 Z/' 
 
 ^^ 
 
 fe 
 
 II I — I- 
 
 g=?^=^ 
 
 ^ 
 
 if=^=^^^4=^ 
 
 -J— 
 
 -^ U-^ 
 
 — L_, 
 
 H — H-=^ 
 
 ^H 
 
 ^ ^ — 
 
 '^ 1 
 
 J5C~ 
 
 !!1_| 
 
 y-* ^8 — 
 
 
 
 1 — » 
 
 
 — 5«! 
 
 1 
 
 t^-i- -^ •*- 
 
 T \r 1 1^^- 
 
I 
 
 L-^ ■•■ 
 
 P=«f= 
 
 THE PILaEIM. Continued. 
 
 P 
 
 
 (I 
 
 : ^r f - i | r .f ^f Jlfe -r.r-lr-r-^^%te 
 
 •flr 1 »*• 
 
 ffmolto animato. 
 
 f 
 
 #i^- liA * 
 
 I U I- 
 
 UtP 
 
 :|^ 
 
 f^ir ■¥• f r 
 
 t?=t 
 
 ^ 
 
 ^ 
 
 7 > ^ ' fir 
 
 ■i^r-^ 
 
 :^= 
 
 i 
 
 *=^ 
 
 .^ M^ %' ^^ii*. i^. 
 
 t-: — t-H — ! — •- 
 
 '■T-l*- •!«- ^■»- ■»■ 
 
 S=t 
 
 ^'^ ^^ i^^^l ^-^-U - 
 
 3V; 
 
 ^ 
 
 ^ 
 
 -g I < g - 
 
 ^ 
 
 i^3 
 
 n^ 
 
 -I — iS It is>- 
 
 .55.- 
 
 iP 
 
 !=£*: 
 
 -*—*■-»-*■ 
 
 i^=fe£^^q^ 
 
 E2 
 
 H«— *-#-(«^ 
 
 .'.„ ■ ■; I, ; J— i_-L 
 
 ?H^- 
 
 — J 7 -W- 
 
 Jn 
 
 ^f^ 
 
 3s 
 
 fe 
 
 
 ^^ 
 
THE PILaEIM. Continued. 
 
 
 3^ 
 
 
 :a a i«-^^ 
 
 -■^ — I— r— --i-^ 
 
 -]«.,,w«;- 
 
 -^-^ 
 
 c>i3=^--: 
 
 // 
 
 €= 
 
 
 w 
 
 ^^-h 
 
 f —#-•-# 
 
 ♦ 8:!=^«. 
 
 +— 5* 4— 
 
 
 ^E^ 
 
 i- ^ i , r 
 
 ^=r^xr 
 
 Pfe 
 
 %^^ 
 
 'f^ *« » ^1 *f "C** •*_,"5; 
 
 ?^B^ql*J5r 
 
 C07* impetuoso. 
 fff . . „. 
 
 -tarzrrfeg^r 
 
 -m^^w^. 
 
 (i 
 
 
 ^f=gip=g^--^=l^i^ z:t;:^^^:^3=^^g^=^ 
 
 l5— r:^— — S= 
 
 ( 
 
 
 
 J^e^E^^Hy^^ 
 
 '^"' ^—s^ ^T^T' ^ -?- 
 
 J5fr5:^=?===te=:fc 
 
 piiib^p^^^^gp 
 
 / Adagio. 
 
 -| fleiJ — ^ — PoiM— 
 
 
 ■jg- -.g- -g- 7^- -g- 
 
 
 -k^ 
 
 :fcrf=^ 
 
 =l=.-gj^^^|: 
 
34 
 
 THE PILGRIM. Continued. 
 
 =M 
 
 qS :£ £ 
 
 V- 
 
 ^1=^ 
 
 151 
 
 -fTl 
 
 n:^ 
 
 ^ 
 
 7-ii- 
 
 
 j^:^^^ 
 
 »s 
 
 s 
 
 1=*^ 
 
 ^T-fEfE^Efe: 
 
 I... 
 1.. _ 
 
 __ ^_-fq 
 
 (?^- — 
 
 -^._^— i — 1 — ^ 
 mf 
 
 -^^*i^ 
 
 ^^r^ 
 
 a Allegro. 
 
 1= 
 
 :^ 
 
 rf^^^#-: 
 
 cen 
 
 do 
 
 -• — » — e — »- 
 
 ^^£^, 
 
 i" 
 
 — » r — "i-. 
 
 ^=^=^=i^r^r^ 
 
 f==^^ff=f^-f>: 
 
 i^=i(-iz±3=*=i= 
 
 
 ?<»- 
 
 — 1-» — 
 -e-f—B- 
 
THE PILGEIM. Continued. 
 
 3S 
 
 (i 
 
 m 
 
 & ftr g 
 
 ■(«-#"(e- > 
 
 I 
 
 fa^=^ 
 
 =g==F 
 
 -z^ 
 
 » ^ 0-' »-^- 
 
 -si — |- 
 
 
 -J — . — I — ^. 
 
 s — s-s^ 
 
 bi-4— - 
 
 ^^^ 
 
 n— I — <- 
 
 V 
 
 ^^-^ 
 
 i=3: 
 
 ^^ 
 
 PP 
 
 * 
 
 I 
 
 S — a — -a. — « ^S- 
 
 i^» — >i — «| ' ^8 
 
 ±11^^^ ^ 
 
 4 -i 1 - 
 
THE PILGEIM. Continued. 
 
 ^^^ 
 
 ^^^^^^ 
 
 ^g^ 
 
 -»^» 
 
 m 
 
 -^ — ^^ 
 -^ — ^^ 
 
 s*.f»a— 4 
 
 -tu . p r^ 
 
 ^^'iJ TX-^W^ 
 
 m^ 
 
 m^ 
 
 ^^^i^E 
 
 ^P 
 
 f ^f - * r r f E^ 
 
 -*^ 
 
 
 5tt 
 
 
THE PILGRIM. Continued. 
 
 37 
 
 
 j'ff-r — I 1 — §1 ^ — fi* — i#- 
 
 E^E^E 
 
 -*_^=qr: 
 
 -» — O — V — • — — — 
 
 ^-^ y r .*-f>jfi^--gi^jg:#. f-p Jf^i- 
 
 
 p=^ 
 
 
 5^1-?— f — *-* r— ^-JS-6i=^— 
 
 -^^^^^- 
 
 ^=— 1 ^-^-;;; ^»r-^r— 
 
 
 =i-: 
 
 sl^=|: 
 
 :^:^^rfg 
 
 A 
 
 ^=1= 
 
 1;!=^5_: 
 
 5^«-R, 
 
 ttfc'i 
 
 
 Sz^nS^; 
 
 -*— a^-* 
 
 -Ir»v- 
 
 -fi5:i-f 
 
 .5 * 
 
 4=t= 
 
 -ii—:«- 
 
 ElE 
 
 1^ 
 
 r^j-#-#-f-5-i- 
 
 * 
 
 -} t ji-iiS^ 
 
 Lento. 
 
 < 1 ■ l-H- 
 
 J-tf:^ ^ 
 
 — ?T^-j<— ^-ar »}— B| > ' *I « |-»i -»r 
 
 iO 
 
 9^%^=^ 
 
 — ^Ht-ia— PH«-ie— ^-J.-^— (B-|C?- 
 
 •»--l»- •O-tf-KJ- •»--l»--(9- -O-l*-!*- 
 
 
 
THE PILGEIM. Continued. 
 
 m^r<- 
 
 \ 
 
 ^ EJ^^E 
 
 Hf: 
 
 =t=5: 
 
 -^F=H=tz 
 
 Allegro. 
 
 j_LrJ— Srai^-^' — « 
 
 ^ 
 
 ^»3<»— i-H- 
 
 j Zfl-;:y: i:^^ — ft > g ^i^. 
 
 -«-«- 
 
 ^ 
 
 =.fc 
 
 -» h0'-e-\ — •-- 
 
 
 m 
 
 =^ 
 
 Efe 
 
 Hg " g= 
 
 =^ 
 
 P^ 
 
 ^-5^^-' 
 
 9^ 
 
 =?z= 
 
 ^^ 
 
 J-_^_s_>«_ 
 
 zstfzli^ 
 
 ?^P= 
 
 =^=fe 
 
 ^=^fc=Sr: 
 
 ( 
 
 ^^^m 
 
 4. 
 
 // 
 
 5^=^ 
 
 3^E 
 
 ^ 
 
 s-rtiSt-taesEE: 
 
 iE||^^!E5^3 
 
 I 
 
 r 
 
 ^^=^=i- 
 
THE PILGEIM. Continued. 
 
 39 
 
 m 
 
 ^^i 
 
 Mifc 
 
 W 
 
 ^f± 
 
 W- 
 
 .fc 
 
 w=^-^=^- 
 
 -f)--»-i— ^ 
 
 ^'p 
 
 m ^-f-v- ^ 
 
 ^ 
 
 :?r: 
 
 -^ 
 
 t — «- 
 
 ^^^ 
 
 :P3^ 
 
 S 
 
 =£=fe 
 
 -T^-*-S-g- 
 
 pE^S^r:^ 
 
 Pt^ 
 
 "rg I ry 
 
 ;i^ 
 
 ^^Th*: 
 
 ^^^ 
 
 /_ 
 
 // 
 
 ^=^-i-^=^=i ^ g^^^ 
 
 ri*:::^!^:::^^ 
 
 ^t 
 
 /iJ^JX^J^- 
 
 
 
 T i 
 
 ( 
 
 i^fe 
 
 im ^^ 
 
 
 
 i^ f- 
 
 d=^ 
 
 -i^-+- 
 
 ^^^^ 
 
 I 
 
 f ^-^~^Tt 
 
 i^^ 
 
 :^ 
 
40 
 
 THE PILGEIM. Continued 
 
 i 
 
 R»* 
 
 m 
 
 fff 
 
 ^S 
 
 * 
 
 ^^^^^i^ 
 
 iii J i ! -? : 
 
 ^.^ 
 
 ;** 
 
 ^^ 
 
 
 i^^ 
 
 P=t 
 
 /l!?..» r'^^^^^i^ 
 
 ■[V|;^f^f-.r.^^^_ 
 
 
 
 ! ^if-f--Hr-r^i=6i-ir- 
 
 dk^^^XX^ 
 
 \ ^i-L-l — 1 — 1 — \ — r tf H|* i|)> — 
 
 -p 1 f 1 1 H 1 1 
 
 ■^M-^^-*-^-*-^-*---*-. 
 
THE PILGEIM. Continued. 
 
 41 
 
 M 
 
 w^-^n 
 
 
 
 
 51^: 
 
 :?=^^^^ 
 
 ^^ 
 
 ^ T-j — ^ 
 
 «. Andantino. 
 
 '3 S- 
 
 ^3^3^B^££ 
 
 ■V — :«-ji «-^ a-w •- 
 
 ^=T 
 
 ^=iZ=E 
 
 -1 — TT- 
 
 iziiH: 
 
 :•■■•••»• -•■•■S- -»■-»■■» -tr-t-i- 
 
 1-«I-J l-#-J !-•- J l-«i- J— 
 
 -•-•-S- -fl"** ■*-#--s- -••-•■-S- 
 
 » 
 
 .^^ 
 
 H **^ * ■ 
 
 ^j 
 
 ^' -t- -}•'-•■ -•-•-J- "•-♦^ 
 
 
 
THE PILGEIM. Continued. 
 
 S-*-» -S-^* 5:-*-r 5:-*-r 
 
 ==: « — r- 
 
 ^S :r% *" 
 
 ^ — r 
 
 ^ 
 
 -^=n^#- 
 
 niit^ 
 
 -•:— — =^*- 
 
 ; — ^-q= 
 
 — I — — _i — I, — ! 1 — ■ — I 1 — I — "— 
 
 -^K-— •= 
 
 ^ 
 
 m 
 
 -I— !-j«- 
 
 ^ 
 
 -*-»- 
 
 EfEt 
 
 =i=i5 
 
 -• m- 
 
 cres. 
 
 (I 
 
 lt« ' 1 — 1 
 
 — i -I > 
 
 ¥^ i 
 
 1. . - 1 i 
 
 ^ 3 
 
 1^-- --^ ^ ^ 1 
 
THE PILGEIM. Concluded, 
 
 13 
 
 m 
 
 1 — 'jt j: 
 
 — \-»- y 1-«- J l-fil-J ^-•-al- 
 
 -«••«••»• ■•-•■-»• -«■-•-*■ -•■••-S- 
 
 -)i§ ==^: 
 
 3^ 
 
 I ! 
 
 I 
 
 P^ 
 
 -TM Jix 
 
 *Hs-«.- 
 
 -5-«l i-«-J 1-«-# 
 
 * 
 
 ^S 
 
 :f*it3***^* 
 
 p;? 
 
 -^^^^ 
 
 i^ 
 
 (^^^^^ 
 
 r-4=t: 
 
 
 im^ 
 
 -i77T-r 
 
 w«=q= 
 
 =t;^=^ 
 
 =^= 
 
14 
 
 THE PARISIAN WALTZES. 
 
 iNTRODnCTION. 
 
 Andante. 
 
 Composed by B. P. WIIiLIJ-MS. 
 
 i 
 
 IfE 
 
 te 
 
 mp 
 
 * ^. 
 
 M. — m — S — m- 
 
 SzzSziz 
 
 -I — hM~^ 
 
 -*-*- 
 
 r«- 
 
 ^ip^=^^ 
 
 -^ ^- 
 
 i^i^m^a^ > > > > 
 
 I I I — ^ 
 
 --pi^-* - 
 
 ^ 
 
 ^as 
 
 -\-, 
 
 v^ 
 
 =p::p 
 
 '^ 
 
 ^ 
 
 I II I I I I 
 
 j! i-«f 
 
 #■*- 
 
 — «» -I < < r»- 
 
 i^r 
 
 Ef^S 
 
 -1— 3C-»- ■Ssa-j I 
 
 S 
 
 if3z2 
 
 »l » li Jt- 
 
 P 
 
 I' I "S 
 
 -n-* 
 
 ^ 
 
 SiS5^^ 
 
 (S 
 
 3=T 
 
 -7--^T- 
 
 i±ti: 
 
 =5=r: 
 
 i«-»tti^- ^ 
 
 ^#J 
 
 H^ 
 
 ■Vi-*- 
 
 ^ 
 
 ■ff — a — 
 
 I^JrJtA^:!. 
 
 pg^EJE^EEg^ 
 
 
 Copyright, 1667 by Olirer Ditson, & Co. Used by pennlsaion. 
 
THE PAEISIAN WALTZES. Continued, 
 
 ii> 
 
 
 =^=^^ 
 
 =^ 
 
 f=iW^- 
 
 »i:*zS 
 
 m 
 
 -m-0-«t- 
 
 =fe 
 
 -^T^- 
 
 i4- i-4 4i4 -i 
 
 'm=i^ 
 
 W^ 
 
 ^ 
 
 ^L. 
 
 i 
 
 3ftg^ 
 
 :?c 
 
 -*—^ 
 
 B^^ 
 
 a tempo. 
 
 »^-J=5-S 
 
 gS^^ 
 
 ^ 
 
 
 
 -t/ al i<- 
 
 ■e^ 
 
 -P'— 
 
 -?*—•• 
 
 -jg -tf— 
 
 ^-^^ 
 
 4— ^- 
 
 adlib. 
 
 M 
 
 «?'-ii- 
 
 ^=4^3=1= 
 
46 THE PARISIAN WALTZES. Continued. 
 
 No. Q. Tempo di false 
 
 I 
 
 L#l 
 
 £=E 
 
 ^^(e- 
 
 ■ C - P ' P - 
 
 m 
 
 :X=-liX. 
 
 *=F 
 
 it-^- 
 
 /' 
 
 gi^S 
 
 1> 
 
 U^ 
 
 -t — *- 
 
 -fi-» — e— 
 
 'W^ir 
 
 n 
 
 ^m 
 
 ^^z^^^fei* 
 
 ■ f ' » p- 
 
 tsi 
 
 i A z-'' - 
 
 9^ 
 
 4- ^«- 
 
 fe 
 
 ■^ ^ 
 
 '^S: 
 
 i 
 
 -n 
 
 ^ 
 
 g 
 
 -<>— » !-^^ 
 
 i^S 
 
 -S-» •— 
 
 -*« »— 
 
 ^Z§=3^f=? 
 
 ->« ^ 
 
 l=t 
 
 P 
 
 ^MM.- 
 
 B 
 
 #■ -^ 
 
 3t=t 
 
 P P 
 
 ^Jt- 
 
 nvpy 
 
 
 S 
 
 ^^^' 
 
i 
 
 THE PAKISIAN WALTZES. Continued. 47 
 
 =C: 
 
 ^^ 
 
 tf^^^^ 
 
 ?P=T|E: 
 
 •iczf^ 
 
 4i^- 
 
 / 
 
 ■& -^ 
 
 btj- 
 
 i 
 
 * 
 
 f^-• 
 
 fc 
 
 e 
 
 *-:^ 
 
 S 
 
 -^ -^ 
 
 #■ -(t 
 
 ^1^± 
 
 q=t 
 
 ■^•F 
 
 1— T 
 
 I I i 
 
 f:4i 
 
 i 
 
 #-it 
 
 ^=^ 
 
 £E 
 
 -* — •-^- 
 
 7> 
 
 9^: 
 
 -* — it- 
 
 -f—t 
 
 -n — ft- 
 
 -f- — \- 
 
 ^ 
 
 •#• ♦ 
 
 S*^ 
 
 i 1 
 
 ^ 
 
 :g ' f * 
 
 -I •is *i 
 
 ■& ■& 
 
 > V 
 
 S^ 
 
 -> — Tf 
 
 -«-*- 
 
 / 
 
 PI 
 
 4^-t- 
 
 ±T± 
 
 Eii^ 
 
 bit 
 
 poco a poco 
 
 ■^ — ?- 
 
 i^^ 
 
 ^ 
 
 cres. 
 
 ff^ ^ 
 
 8* 
 
 ' "^ "jr 
 
48 THE PAEISIAN WALTZES. Continued. 
 
 =1= 
 
 -^WT 
 
 H -r 
 
 e/-- 
 
 
 - y y 
 
 -e — e- 
 
 = y p 
 
 =1=? 
 
 Coda. 
 
 3t 
 
 ^ 
 
 
 g^ 
 
 EfHI 
 
 Eilf^ 
 
 tr^rx-f:? 
 
 Ws^ 
 
 
 ^^ 
 
 iE 
 
 ^ 
 
 ^ 
 
 3t 
 
 2^3 
 
 S 
 
 
 ■*«■ -^ 
 
 — »— 
 
 — »- 
 
 4^ 
 
 i 
 
 Tii- 
 
 
 -? — «- 
 
 -• — I- 
 
 -« — S- 
 
 4=:p 
 
 -€■ ■**■ 
 
 
 .^ .^ 
 
THE.PARISIAIT WALTZES. Continued. 
 
 49 
 
 -k=(^ 
 
 ■e- -^ 
 
 -S 8- 
 
 zi: 
 
 m 
 
 -ft — ft- 
 
 -i g 
 
 y y 
 
 lit — g 
 
 =i»=i 
 
 E3i^= 
 
 =if^ 
 
 3i JII 
 
 4=^ 
 
 t=i=iZ 
 
 mp dolce 
 
 ■g-Hl 1- 
 
 
 -zsi- 
 
 t-^t^ 
 
 ^_|l 
 
 i* 
 
 f y 
 
 -L I 
 
 -* — =?«- 
 
 =p=^^ 
 
 ^^=^=^^=1' 
 
 I 
 
 Ij* 
 
 :^ 
 
 -1?^ 
 
 -V- 
 
 ?2=# .« 
 
 a 
 
 ^,t ^ 
 
 1 — r 
 
 I i 
 
 ^ 
 
 :i^| 
 
 -t_t- 
 
 (i 
 
 If^ 
 
 ^ 
 
 i^H 
 
 S 
 
 fe 
 
 :Si: 
 
 -^ — »er 
 
 ^^ 
 
 * 
 
50 
 
 THE PAEISIAN WALTZES. CQntinaed 
 
 -•-;- 
 
 ^^E 
 
 mf 
 
 -T^- 
 
 ■?■ ■& 
 
 ■fi- A 
 
 — S — »- 
 
 —o — e- 
 
 felE 
 
 =ie— =i«- 
 
 =t=t 
 
 4> 
 
 i^ 
 
 51 
 
 l=t 
 
 ■^ A 
 
 •€■ 4- 
 
 =Je:==i»- 
 
 ^ 
 
 ^^^ 
 
 P 
 
 te 
 
 — «■ — *!— 
 
 -^ — T- 
 
 h-i- -S- 
 
 ^^^^ 
 
 =?t 
 
 i 
 
 =I»:=|3»" 
 
 W7./J 
 
 a 
 
 :^==l^ 
 
 :^ZlI>i- 
 
 ^It J J . j- 
 
 "1 1 
 
 1 1 — fn 
 
 -«■ — - 
 
 TO *^ "^ ^-= *- 
 
 -*■-; 
 
 
 
 — -f-r-^ 
 
 L« ^ k— 1 
 
 y-j — \ — ^ 
 
 L^ 1 
 
THE PARISIAN WALTZES. Continued. 51 
 
 ."it 
 
 ^ 
 
 :^=;e 
 
 ^S 
 
 I ^ I 
 
 
 \ 'i \ I 
 
 7M-P 
 
 t4i^ 
 
 ^?^ 
 
 =tiF=¥ 
 
 I L 
 
 If* 
 
 -G>-^ 
 
 T=^ 
 
 ^^^ 
 
 -^« I * ' I * 
 
 ^ 
 
 t=i=tl 
 
 -/M«— ^-^ 
 
 — / 
 
 ->^ 
 
 gg^^ 
 
 
 5T 
 
 '*> 
 
 
 «=:= 
 
 5— "?f- 
 
 S^ 
 
 i 
 
 « 
 
 :}- r3. :1 i 
 
 I I 
 
 -• »— 
 
 ^ 
 
 -A f- 
 
52 THE PAEISIAN WALTZES. Concluded. 
 
 -I 1 I-Wt 
 
 i 
 
 =^=.p=; 
 
 *—^ 
 
 *-r(«— * 
 
 m 
 
 *- -ff- 
 
 -'i i g — r- 
 
 ff 
 
 f t 
 
 A^jT^ 
 
 ^i^ ^-p-^ 
 
 S 
 
 5=t 
 
 -^!— •- 
 
 S 
 
 I I I 
 
 :i3p: 
 
 ,S 
 
 - T* »» " 
 
 i=4: 
 
 -»f »g- 
 
 |i^ 
 
 i I 
 
 g 
 
 k 
 
 ss 
 
 ^Ihr-*^- 
 
 ^=^ 
 
 ^ 
 
 i=tf 
 
 ?-»^ 
 
 -^'-o—* 
 
 -a.--iu 
 
 * < < 
 
 as 
 
 -^ -•- 
 
 -t-j-i- 
 
 t=^ 
 
 i 
 
 l8=i 
 
 <■ -^ 
 
 
 ^i==ii: 
 
 I S I 
 
 ^ff= r-t-i-h ^ 
 
 ^^E 
 
 =t=t 
 
 « 
 
 '! «| <i 
 
 4j-#- 
 
 - * d . 
 
 f ^— -• d 1 1 • s -I 1 h 
 
 ' i ' * — *-'-ai — r^ '^ ' d ^ 
 
 ^i=F 
 
 i 
 
 h^-- 
 
 -•4^ — .-• — 
 
 'tf=?=^ 
 
 5-i 
 
 J^V, 
 
 IeSe 
 
 ■(« — •- 
 
 El^ 
 
 ^^ 
 
 =^=^ 
 
 ^^ 
 
 3*- 
 
 I ■* 
 
 -siK. 
 
 Fine. 
 
 ^^m 
 
63 
 
 LE SERMENT DE L'ARABE. 
 
 CHANT DRAMATIQUE. 
 
 Farolea de A.. VEMJLBTOir. 
 
 Alle^o Maestoso. 
 
 •<S>- -&- t 
 
 Jtuaiqme d' Em, H. 
 
 ^imi. 
 
 I 
 
 j»- f^ V 
 
 
 E^ 
 
 S£: 
 
 ?g' I * i * I- 
 
 -»^ 
 i^j 
 
 1^ 
 
 // 
 
 b -A' ^.^-t . 
 
 -^ 
 
 • s. 
 
 t^^ 
 
 'J-JU- i r/^ 
 
 - O-J 1 7 
 
 'M 
 
 
 
 i 
 
 J B g^ 
 
 :2di 
 
 ^^ 
 
 ^^; 
 
 :iE 
 
 i-— Ifr 
 
 ^i^ 
 
 -t=l 
 
 ^ 
 
 ^ggES^ 
 
 ni — ' __; '^ _!. "g -' .,!. aJ _; 
 
 ^^ 
 
 -«^r^r»- 
 
54 
 
 LE SERMENT DE L'ARABE. Continued. 
 
 I 
 
 rbii 
 
 SE 
 
 ^ 
 
 ¥ 
 
 -?-.g- -a 
 
 p£ - rciioas sa ten - te Me fit snrl' Al - co - 
 
 s 
 
 't|5-S"g"S- 
 
 :t=l- 
 
 e^ 
 
 -ri~ 
 
 -gH 
 
 Se 
 
 -?-!>s- 
 
 =f5=ts 
 
 1-^ H- 
 
 -I •>• r 
 
 ^=*z 
 
 :1;i 
 
 Pnis ayant BUT mon front po -e£ sa main eSin 
 
 ^ 
 
 ■•-• ■•-•■• •#(=•-■ ■•-••• 1^ 
 ■ te-.> "{r.i» ^-.1^ -«>»*- 
 
 -■*-•-•■•■ -» -«■ -Ch -0- 
 
 
 7> 
 
 iS: 
 
 =?=^^=^ 
 
 i^ 
 
 a^ 
 
 -55-1- 
 
LE SEEMENT DE L'AEABE. Continued. 
 
 55 
 
 ^ 
 
 ' J ^ \^ — -5- 
 
 vers d'auties r€ - gi- ons. 
 
 m 
 
 
 i^^^ 
 
 s 
 
 
 SZI=: 770CO p^u mosso. 
 
 \ &- 
 
 EE 
 
 "W- 
 
 U- 
 
 -N N ir— !■ 
 
 62^ 
 
 P 
 
 fcf^ 
 
 -(«-!-»= 
 
 Aa joar-d'hai 
 
 qae mon 
 
 I 
 
 H#-4-fl4— +- 4- i-4-+-4- 
 
 fJU_+. 
 
 BE 
 
 3=lE 
 
 ••-«-«-• — «-« — € — •- 
 
 -d-a-o-a — «-«— «- -a- 
 
 ^gi 
 
 gs 
 
 :^=l= 
 
 ^ 
 
 =fef: 
 
 i§^.i 
 
 3t<»i 
 
 -N-' 
 
 ^-d- 
 
56 
 
 LE SEEMENT DE L'AKABE. Continued, 
 
 i 
 
 i^ 
 
 ^■^ 
 
 ^ ^ * r 
 
 * i * g r^^^i^ 
 
 m 
 
 baine a gran 
 
 • di 
 
 
 comme a grand -di I'en 
 
 ^ 
 
 hC^-S 
 
 -!«T-Mh«4="-^ 
 
 ESSEC 
 
 _^,t_f:^-fiA 
 
 ^^ 
 
 ■h- 1- 
 
 SE 
 
 P^ 
 
 ^^ 
 
 ' ! I - I J- 
 
 animato. 
 
 ■ font; 
 
 liors qu'nn ragi-sse - ment au Don- ar met I'a - 
 
 I 
 
 K^ 
 
 B 
 
 -4- 
 
 ^ 
 
 :«: 
 
 •t=te 
 
 
 -tsi — F^^ 
 
 (S^ 
 
 £: t: 
 
 
 animato. 
 
 :itz> 
 
 :«t 
 
 :33^|- 
 
 ^-a- 
 
 ?Z= 
 
 *T 
 
 :p"^5^:f 
 
LE SERMENT DE L'AEABE. Continued. 
 
 57 
 
 ^m 
 
 -,^=^^ 
 
 -0^^-^ 
 
 E 
 
 
 V-- 
 
 I 
 
 lar • me, Hea-reux je pars a - lors 
 
 Se 
 
 sous le Eoleil brd ' 
 
 as 
 
 % 
 
 '4^ 
 
 ti=t- 
 
 ?eS3 
 
 KTZft-sgl 
 
 J 
 
 ii 
 
 Alle0ro irillante. 
 
 ^ Refkain. 
 
 :l= 
 
 de not - re saint Fro- pM 
 
 . ris, ae not- re faint rn 
 
 ifc — f^ S — L*-#-B-*-^-| 1 "-1 
 
 i: 
 
 :^=? ?=:? ?- 
 
 :3_jir :it » «_ 
 
 =S_^i ?— =P ft- 
 
 -^ 
 
 te. 
 
 
58 
 
 LE SEKMENT DE L'AEABE. Continued, 
 
 i 
 
 =«*= 
 
 Par AIJ- lah tout puis-sant 
 
 i 
 
 mai - tre de - I'u 
 
 ^i*z?: 
 
 i«=pi 
 
 -m-0-*-0-0- 
 
 -r-i— ^ 
 
 =?=F=f= 
 
 
 i — ±- — r-— — • - . ■ .1— i 1 
 
 (m— ^-. J— 
 
 -r — r— r-^—a-ife ^ — 
 
 vers;.... 
 
 1 — 1 > — 1^ — / — ^-1 
 
 Est - it pins no - bics 
 
 jeux, 
 
 — 1 ■- 
 
 1^ 
 
 ^s p — itis 
 
 
 1 .. 
 
 -f- - i- U 
 
 •Wr •» -^ -Or -m- 
 
 rx-jL^^d^ji^ 
 
 ^^fM^ 
 
 ^ • ^ S S ' ii 
 
 —€> — r ~ 
 
 -1 
 
 ■1 
 
 ores 
 
 can 
 
 dim. 
 
 ^ 
 
 -i^_^_ 
 
 
 =ti: 
 
 S— ^^=^-^3tt 
 
 est - jl plus bcl - le fe 
 
 - te, Qu' - une chasse aux Li ■ 
 
 ^M 
 
 I -^-^a-^-^a-^ 
 
 — — O — — o- 
 
 
 5g=iz=±f 
 
 do. 
 
 -•-r- 
 
 ritard. 
 
 ff rita. 
 V- ■«- -o- ■»■ 
 
 :b « — 5- 
 
 dim. 
 
i 
 
 ^ 
 
 LL SEEMENT DE L'AEAEE. Concluded 
 
 59 
 
 t 
 
 f^=t= -^ 
 
 I 
 
 ■ ons, 
 
 -g- 
 
 P 
 
 dans nos vas-tes. ... d€ - terts ? 
 
 
 ifei 
 
 ^ 
 
 Jl=± 
 
 -f&, 
 
 Be 
 
 «<=- 
 
 
 S 
 
 3i^ 
 
 11^^ 
 
 fe 
 
60 
 
 LA CAPRICIEUSE 
 VALSE. 
 Can affetto. 
 
 jsAsiXiU itjLBMS. Op. r. 
 
 U^ - 
 
 
 — ■■ — 
 
 l==T^- 
 
 f — r- 
 
 W^ 
 
 N^^ 
 
 =t=^ 
 
 =t=^^ 
 
 -* P i>»^ ■ 
 
 ti"^^^ 
 
 — ) — 1 — 
 
 M^ 
 
 a 
 
 =^ 
 
 -= — h-i'i 1 — 
 
 ■ fg g - 
 
 =r=^ 
 
 Jai 
 
 ^J. 
 
 ^ 
 
 \f I r ' 
 
 ^ 
 
 :^EE 
 
 ^ 
 
 ^fi 
 
 / 
 
 p i 
 
 i 
 
 AT 
 
 * Fed. 
 
 '■* — 4— 
 
 8va. 
 
 =t=^ 
 
 ^ 
 
 ^igg=4::t 
 
 ^ 
 
 -<«-h 
 
 *2- 
 
 ik 
 
 // 
 
 W-t-J- 'f-^-t 
 
 E^=fT^ 
 
 Ped^^ 
 
 Copjright, 1869, by A. £. Blackmar. Used by pemueeion. 
 
LA CAPRICIEUSE. Continued. 
 
 61 
 
 Con ele^,an za,. 
 , , n Va Ue. "^ . ^ 
 
 
 3^t 
 
 (b 
 
 77t/ 
 
 -j^^-d^- 
 
 ^ 
 
 
 w^^ 
 
 —o — e— 
 
 ,0 ,'- ^ -■; 
 
 >- 
 
 P-l*" ^^a-*-i 
 
 rf . =^'~. 
 
 ^^-f-N,H*-t^ 
 
 ?=^-r- 
 
 =iiJ-j^3= 
 
 ^t_J_t:j 
 
 
 -1 1 — 
 
 -f T\ 
 
 -^-f- 
 
 -J -g- -g- 
 
 -fl p < 
 
 ^^IM 1 ! 
 
 -I ' 
 
 
 _J — 1 . . J - 
 hi ' 
 
 i 
 
 p^ 
 
 E^a 
 
 •V- -(3- 
 
 — o — o— 
 
 -^-J^- 
 
 -^ *t_ 
 
 js- -a- 
 
 £=E 
 
 ?ir=^- 
 
 fe^^^g^g 
 
 '^-■&-ft-»-it- 
 
 "i — ,-■ Tft — ! — r— 1 — ^rr: 
 
 aircp: 
 
 P 
 
 -V— fa 
 
 9^* 
 
 ores I - r 
 
 ^2: "* 
 
 
 cen j - 1 - 
 
 ■^^- 
 
 ff 
 
 .ie_pi 
 
 ^ 
 
 -d-^- 
 
 hnllante. 
 
 iS 
 
 -<!>— le- 
 
 P-r 
 
 TT^' 
 
 i—^-O-^- 
 
 9S 
 
 -•—?-!«■ 
 
 t;-+- 
 
 '.»~—i^ 
 
 +- -►— 
 
 ■(— J— 
 
 -fc — o— 
 
 8va. . 
 
 — ''-r! 
 
 ^-*--^ .^s**,*. ^.^.^^^ 
 
 :5-'=?2- 
 
 -^- 
 
 u*?LJ!|?-_ 
 
 ■e- -^ 
 
 I «■ -B- 
 
62 
 
 LA CAPEICIEUSE. Continued, 
 
 :^:^ 
 
 -e-^ 
 
 fZWZ 
 
 Aim 
 
 ^ 
 
 -g^ df-- 
 
 fl^ZHZ^HZ^ 
 
 _^_l«- _^ 
 
 
 zr:. 
 
 A- A- 
 
 JO- -o- 
 
 — » — e- 
 
 * 5: 
 
 i 
 
 ^ 
 
 ^ 
 
 -»— # 
 
 -e-fi-i — i-i i — I — 
 
 tir 
 
 -s 
 
 ♦ A 
 
 r: ^ua.'-rrr' 
 
 «-(8. 
 
 -^-^ 
 
 3-t± 
 
 « — 
 
 ^'ri' 
 
 •-H«- 
 
 ^ <- 
 
 -dt-^e:^ 
 
 1/ 
 
 .e= 
 
 1=1= 
 
 fc=?s^ 
 
 "^i*" 
 
 f r 
 
 -F-?-^» =^ 
 
 1 ;_ 
 
 ■A- 
 
 '5^i-J — r- 
 
 ■>- 
 
 1 
 
 J ^ 
 
 -'-1 ^ 
 
 
 A- A 
 
 — 1 1 — 
 
 ■^--\—'i- — 1 — 
 
 
 
 -w 1 •- 
 
 
LA CAPEICIEUSE. Continued 
 
 U3 
 
 
 ♦ A 
 
 flf- 
 
 V<9- 
 
 -» ?-^- 
 
 tZ" 
 
 E 
 
 12^ 
 
 / 
 
 .yt— *!t- 
 
 <»• ir _ 
 
 
 ^- 
 
 
 ^=5=K 
 
 
 ^=S^ 
 
 :# 
 
 ^at 
 
 :f:ii: 
 
 y=H^ 
 
 ■^«-»- 
 
 
 ^E^ 
 
 
 - ar — r~ 
 
 f y 
 
 Se 
 
 i 
 
 f . • 
 
 ^E^- 
 
 p i ~f 
 
 -«=—#- 
 
 -#— H- 
 
 7m/ 
 
 ^ y^ 
 
 <*- <r 
 
 9 V4— 1 ^ 
 
 T==F 
 
 n 
 
 r"r~r5 ^=?= 
 
 
 
 ^l-^ 
 
 
 lizfil 
 
 <■ <r- 
 
 ^ 
 
 i 
 
 2^ 
 
 T=t=? ^ 
 
 S 
 
 ^ 
 
64 
 
 LA CAPEICIEUSE. Continued. 
 
 i 
 
 '^ ' I .^! — H i r- 
 
 ^ 
 
 pqezgiipiirfl: 
 
 -I — . TT — 1 — i -5 
 
 -?!= 
 
 aiifcio 
 
 L4_!- 
 
 ^ 
 
 » u 
 
 
 ^^:^ 
 
 3ti 
 
 P 
 
 ■^l-(t- 
 
 =iX 
 
 ±^ 
 
 ^^ 
 
 ^ <- 
 
 :^ 
 
 — ff 10 
 
 i 
 
 ^=f=r=^r r r ^ 
 
 
 (^ 
 
 
 i-^^^ 
 
 <»■ <r- 
 
 ■*■ it 
 
 -,* — I- 
 
 w=f=i' r~r~ i=w- 
 
 f-n-r 
 
 4 £: 
 
 Pe<i. 
 
 15 
 
 ^ 
 
 rT~r 
 
 -i?- 
 
 I: # 
 
i 
 
 LA CAPEICIEUSE. Continued. 
 Con franchezza. 
 
 t^ f.-- S" ,- 
 
 05 
 
 ^^= 
 
 =1= 
 
 S 
 
 5^=2i 
 
 i3= 
 
 V— *- 
 
 J= | g ■ '=f^ 
 
 f * 
 
 »E 
 
 ^ * 
 
 {^^m 
 
 ^iS^iE 
 
 t^ #^-#- 
 
 -0-fl+-t- 
 
 -4L_t- 
 
 
 ^^ 
 
 ^ 
 
 >-=^ 
 
 "3 r- 4: 
 
 i 
 
 ^^E 
 
 ^^± 
 
 ^- 
 
 >■«■•«■ 
 
 ^ 
 
 (I 
 
 El^ 
 
 -y— !-- 
 
 -!«—»- 
 
 il=r=t: 
 
 -!«—•- 
 
 ^ 
 
 1^ «■ ^ 
 
 i i i 
 
 \^- 
 
 I 
 
 jr-f-f 
 
 ■•■ -ft 
 
 Jtfr 
 
 8va.- 
 
 =«t=PC 
 
 -*— 4t 
 
 ^ :^^ 
 
 i!5=i: 
 
 :i g-r:pr 
 
 -o 7 — ^ 
 
 H9 ^ 
 
 ■Ji—ii- 
 
 -f-T 
 
 :i^^ 
 
 -a — ^ — H 
 
 ^—f^ 
 
 
 s 
 
 E=^i 
 
66 LA CAPEICIEUSE. CoDtinued. 
 
 I 
 
 5^= 
 
 =P=S= 
 
 -4^ 
 
 S 
 
 :ia= 
 
 -k' •- 
 
 / 
 
 i^ 
 
 ^^ 
 
 i 
 
 3^ 
 
 gtdt 
 
 ^— if- 
 
 ^ 
 
 .**■ 
 
 
 
 t±+ip 
 
 =iHirr4: 
 
 =P=P 
 
 * ^ 
 
 ^^ 
 
 -^J ^^J 
 
 -,t^-a- 
 
 -f- 
 
 / 
 
 -t-,^- 
 
 >-•■-•■ 
 
 ^^ 
 
 tel 
 
 s 
 
 -ie— »— i 
 
 J ! 1 !— 1 — 
 
 9i 
 
 i 
 
 I I 
 
 -iC=P 
 
 1 ^ i 
 
 :?23 
 
 ^1?^ 
 
 *AS:fr 
 
 8va.- 
 
 M^^TIXh 
 
 ^&f=1?=^=F^ 
 
 n — , ^-^ 
 
 -M-t 
 
 1 t f- 
 
 1 V ? 
 
 / 
 
 
 Ci; U j 5 5 
 
 U -g -g — 
 
 — s-Jr-n 
 
 
 ^^^-J— ^— i 
 
 Ud \ 1 1 
 
 -1=^-=^- 
 
 
LA CAPEICIEUSE. Continued. 
 
 67 
 
 9^ 
 
 Scherzo. 
 
 ^ 
 
 :E 
 
 If- 
 
 1 2 S 
 
 
 i 
 
 9i 
 
 i=t=t: 
 
 :1=n 
 
 r 
 
 £ ?. -^ ^ 
 
 n — ^ 
 
 i^g^^feu 
 
 ^^ 
 
 ^E^ 
 
 E^ 
 
68 
 
 LA CAPEICIEUSE. Concluded. 
 
 *tL t: 
 
 J F^f^^ ^sg ; 
 
 -^—t>- 
 
 « 
 
 ^ 
 
 ^S 
 
 
 
 A 
 
 I f 1 a 3 
 
 ^^ 
 
 5EFEE 
 
 rfizt 
 
 I I f- 
 
 I 
 
 
 ^^=?3^ 
 
 
 Ei:i 
 
 
 ^^^^ 
 
 -*t «?-- 
 
 s^ 
 
 ^ 
 
69 
 
 AU CLAIR DE LA LUNE. 
 
 (VARIATIONS ET FINAL SUR L'AIR.) 
 
 ZUCIJBy JiA.]U:BXlBT. Op. 30. 
 
 _ Moderato. 
 Thbmb. £ 2*: ♦ * 
 
 ^ T~ "T" +— +— 
 
 
 fc=^ 
 
 F L I ff I ^- -r— -(— 4—4— 
 
 -1"-^ 
 
 S 
 
 f±Sgr=fEEE 
 
 EE 
 
 I I 
 
 Pe<i. leii. * 
 
 7> Fed. 
 
 % Fed. ^Ped.^ 
 
 (i 
 
 -^, I ' - T^ i 'T -i'- 
 
 
 m 
 
 
 t^::?B 
 
 4- I -L. 
 
 & 
 
 :x: 
 
 ■;?4= 
 
 3=: 
 
 -J — 1 — u_ — I — ; — i — ;- 
 
 5^^ 
 
 
 it 
 
 ■•"t— H 1— i-l 1 1— ■•- ->— 
 
 ^^g 
 
 S 
 
 P6d.*Pef«.* 
 
 B 
 
 5cr 
 
 
 T^ 
 
 Pedl. 
 
 * 
 
 -^^r-r-rf^r 
 
 -» 9- 
 
 ed. 
 
 ■a. 
 
 A -fi- 
 
 Oi 
 
 £d. Bote and Q. Bock. Berlin. 
 
70 AU CLA.m DE LA LUNE. Continued. 
 A- -* 
 
 i 
 
 H=^ 
 
 p 
 
 -I- 
 
 aa 
 
 J 
 
 * 
 
 *-^^ 
 
 Fed. 
 
 ♦-•"i— * — I— »-i — *- 
 
 -^^- 
 
 
 
 t=^ 
 
 £E 
 
 •#-■•- ••- -^ 
 
 2: t:: £: 
 
 i 
 
 g , ^ ^- 
 
 \S 
 
 Fed- * 
 
 Fed. ^Fed.^ 
 
 — 1«4=^ — ^^ 
 
 Pet?. *Pe<?. * 
 
 S 
 
 j:4=a-rT--i-LUI I j --g=p:iij 
 
 1>^ 
 
 1 
 
 
 ,.(«-qrr:i 
 
 
 ^25 
 
 -^- 1 I J r 
 
 Si^ 
 
AU CLAIE DE LA LUNE. 
 3d Variation 
 A ndante religioso. 
 
 Continued. 
 
 ^m 
 
 ¥ 
 
 
 jsostenut 
 VV 
 
 «-■•-■«-■#■ 
 
 -^ 
 
 3?B^ 
 
 E 
 
 ^^^TtEZTt'" 
 
 
 
AU CLAIR DE LA UJKE. Continued, 
 
 ^S^^^'s^^ 
 
 I 
 
 :fcd= 
 
 7n.d^ 
 
 m 
 
 ji: 
 
 •-••■#--3~ h— +-*-«-^ —IS — l*-»S»-^* — I-*— i—- (•— t— h 
 ' ■0■■^d—^—^-^ — f-i — i-— — f-rij — ^-^r'S*- H 
 
 —^—^—^ — T-i — 1~ ^—f-rii — ^—^r^G*' 
 
AU CLAIE DE LA LUNE. Continued. 
 
 73 
 
 nnr 
 
 \iU I 
 
 ( 
 
 tj^ 
 
 pp ill canto ben marcato. 
 
 una corda. 
 
 Fed. * Fed. 
 
 m.g 
 
 ^ 
 
 =1= 
 
 i 
 
 
 
 i21 
 
 -*• * 
 
 -i+-r 
 
 tmt± 
 
 « i» — — •-«- 
 
 Ped. 
 
 P«2. 
 
 7?*./. 
 
 TW'.^. 
 
 * 
 
 ^ 
 
 I 
 
 /K^Sffi 
 
 Ji^i^iJ 
 
 ■■*--< J 
 
 =--L 
 
 S-l--i--i-#. 
 
 It 
 
 -l-rf-H-p t-A—\t- 
 
 -*-rr^H — •■■^- 
 
 Pe<i. TW/.^. • * Fed. mg. 
 
 * 
 
 P^ 
 
74 ATI CLAIE DE LA LUNE. Continued. 
 
 tre corde ma piano. 
 
 m 
 
 I \iii 1 1 
 
 "T"!^-^^^!^^' 
 
 
 -*H-tH*-i— *-!-T+*- 
 
 ■U 1 rf-U 
 
 Fed. 
 
 7ng. cres. Fed. 7n.g. 
 
 , ,i^ 
 
 ^ 
 
 i 
 
 'ill 
 
 ?Stk 
 
 
 ta3=?:;±ti;. 
 
 -<-tv — — »-n- 
 
 Fed. 
 
 * 
 
 Fed. 
 
 m.g. 
 
 in.g. 
 
 * 
 
 5i^ 
 
 '^* rhi 
 
 I >- 
 
 =?=^ 
 
AU CLAIR DE LA LUNE. Continued. 
 
 75 
 
 fi 
 
 I-* — I 
 
 =^ 
 
 l^'M 
 
 '-4-i- 
 
 r-i' 
 
 3= 
 
 -«4» — I « l« 
 
 +13^ 
 
 Fed. mg. 
 
 I V 
 
 Pe£?. 
 
 m.g. 
 
 ,* 
 
 ^ 
 
 ^" 
 
 i 
 
 mm 
 
 \\ 
 
 I 1 1 i 1 1 1 ■■ 1 1 
 
 1 — ( — ' — ' — ' — > I I ' I 1 ; 
 
 'ii^il ii 
 
 az±a 
 
 il=i: 
 
 :J^ 
 
 ^ 
 
 "ta 
 
 raf 
 
 -t+f-- 
 
 * Fed. 
 
 I - 
 
 ffPed. 
 
 ■m.g. 
 
 TW-.^. 
 
 * 
 
/6 
 
 AU CLAIE DE LA LUNE. Continued. 
 
 
 
 •^ 
 
 WH 
 
 mi 
 
 ■-i-^ 
 
 ^-H-iV- 
 
 m^ 
 
 £2 
 
 Tt'—ir-t 
 
 t^ 
 
 I 
 
 Fed- 
 
 ■m.g. * Fed. 
 
 ^ 
 
 ^ 
 
 7rb.g. 
 
 * 
 
 i 
 
 >^ 
 
 1 1 1 1 1 1 1 
 
 mi 
 
 TTTT 
 
 1= 
 
 «^: 
 
 ^ 
 
 JW=f^v^ 
 
 ttiiz 
 
 *i-^ 
 
 Pee?. 
 
 TM,.^. 
 
 * Fed. 
 
 m.g. 
 
 * 
 
 §i 
 
 5 
 
 :3: 
 
 i 
 
 II I i I !J =? 
 
 mrj Tr, rT rnnn:n 
 
 1-rii/-^ 
 
 ; , i I I I tj -jH- 
 
 ^^^^ 
 
 TTT 
 
 "TT, 
 
 ■t-**--*-t— « 
 
 HM I' L ' -/ 
 
 T 
 
 LU-i-UJ 
 
 ip^ 
 
 Fed. 
 
 -t^ 
 
 ^^ 
 
 . Pe<?; „ Fed. „ Pe<?. 
 
 * 
 
AU CLAIR DE LA LUNE. Continued, 
 una corde. 
 
 77 
 
 p f f H ^ I 
 
 
 =iii: 
 
 ■■rax: 
 
 -*H 1 «-r-« i I ■»- 
 
 Pcd 
 
 W*;^. 
 
 Pe««. 
 
 .* 
 
 7n.g. 
 
 * 
 
 I 
 
 I I 
 
 ff^ 
 
 g^ 
 
 =-*^^^ 
 
 I I I . I I I I 1 1 1 1 i . i -I. I 
 
 
 >iw»»— — iMw^wwyap^^—— ^idi^^Bw^M^ 
 
 M i rri; 
 
 rt^ 
 
 Pe<?. 
 
 7n.g. 
 
 Fed. m.g. 
 
 * 
 
 
 «:* 
 
 ^ 
 
 IT—I— ■^ 
 
 □> 
 
 4=L-(* 
 
 ^-P= 
 
 | > ' i >' < ""." < I 
 
 JJ^E^iJ 
 
 Fed- m-g. Fed. _ m.§. 
 
 ! ^ — ^' I ; |» I # — -^ ■ — 1 r-* ^ 
 
 'l '*^ ^ 
 
78 
 
 AU CLAIE DE LA LUNB. Continued. 
 
 ' Fed. 
 
 
 ^^ 
 
 I I I I I I I I' 
 
 
 (s: 
 
 7»^. 
 
 PeoJ. nt.^. 
 
 .* 
 
 * 
 
 ^^=^^=^ 
 
 ire corde. 
 
 (i 
 
 =iiS>i 
 
 I* i 
 
 tp0 
 
 rt 
 
 ^^--^ 
 
 ffPed. mS * Perf. 
 
 TM..^. * 
 
 m 
 
 ^ 
 
 (f^ 
 
 B? 
 
 I 
 
 Fed. 
 
 m 
 
 r ' ' ^ 
 
 I I I I I I ' 
 
 I 
 m.g. 
 
 * 
 
 i 
 
AU CLAIR DE LA LUNE, Continued, 
 una corde. 
 
 77 
 
 ^ 
 
 M -SI;' 
 
 2 
 T 
 
 =f3rz,itz 
 
 izpimTlz 
 
 -«H — I «-,-« . , .«- 
 
 3=dttt- 
 
 Fed 
 
 \ PP 
 
 mg. 
 
 Fed. 
 
 * 
 
 Tn-.^. 
 
 1^ 
 
 ■ i t 
 
 I J. 
 
 * 
 
 f:^ 
 
 
 I !■ I. 1 i | i I I I I I 
 I I 'I • J I I I 
 
 I 1 '^--^ 1 
 
 > ■■ I I l i^y^" 
 
 ai* 
 
 '■"^'^r^i I I I nil 
 
 I I ! I I I I I 
 
 I I I J I I I I 
 
 J 
 
 .«-h-.-+.- 
 
 7n.g. 
 
 t:^ 
 
 Fed. 
 
 mg. 
 
 « 
 
 ^ 
 
 d=i= 
 
 Ji 
 
 I I I I . I 1 1 
 I '-' I i 
 
 l' M ' ^" l " |l I I I I I I . . M I 
 
 \Jtii\ 
 
 i i 
 
 Fed. 
 
 -•-r-rl<-^ — «■-'*- 
 
 l3 
 
 I i '• — 
 
 TM,.^. 
 
 Fed. 
 
 * 
 
 f=fT5 
 
 p-._-j ^ 1— 
 
 ^ ^— 
 
 m^. 
 
 ^ 
 
 * 
 
78 
 
 AU CLAIE DE LA LUNE. Continued. 
 
 m 
 
 \ T 
 
 ^^ 
 
 1 I I I I I I 
 
 =c 
 
 I I I I I I I I' 
 
 - -t-i 4 , * i I '-»- 
 
 Pet?. TTO:^. 
 
 Fed. nv.g. 
 
 
 .* 
 
 * 
 
 ^^^=^ 
 
 tre corde. 
 
 =:^ 
 
 
 t^itt^; 
 
 I I I I I 
 
 AZAJ 
 
 ■J-M-l- 
 
 l7-r':a^ 
 
 331 
 
 1-^1 
 
 ?— 
 
 I 
 
 ffPed. m.g, * Pert. /w-^. * 
 
 ^ 
 
 ^ 
 
 4= 
 
 
 (I 
 
 fe^ 
 
 Fed. 
 
 ^i 
 
 — * ; I ^ 
 
 7?*.^. * Pet?. 
 
 ' ^ ' I I ! Ill 
 
 MJ-J I 
 
 
 # ! ! ' < 
 
 * 
 
 =t= 
 
AU CLAIR DE LA LUNE. Continued, 
 
 i 
 
 
 1 1-*- 1 1 
 
 — »-!-l-L#- 
 
 rtttti ^- P^ ^ 
 
 -Tt^^i—,^ 
 
 
 Pet?- 
 
 7».^. * Fed. 
 
 * 
 
 P 
 
 =^ 
 
 =1:: 
 
 I 
 
 ( 
 
 I IJr'J I I 
 
 yE^ij 
 
 i*3 
 
 psa 
 
 tiai^^T^Ti!*- 
 
 Perf. 
 
 mg. 
 
 * 
 
 Perf. 
 
 * 
 
 »^-V- 
 
 I I I I I I I 
 
 W5] 
 
 i -J I " ^ 
 
 U-^Jm 
 
 t:^-= 
 
 =E 
 
 ^ 
 
 ta-u- 
 
 =^' 
 
 :t^ 
 
 iii 
 
 *-4< — f •-)■«— 
 
 i^ 
 
 // Pe<«. 
 sempre. 
 
 t^ 
 
 m.g. 
 
 * Perf. 
 
 mg. * 
 
80 
 
 AU CLAIR DE LA LUNE. Continued. 
 
 =:^ 
 
 11 11 1 1 1 
 
 IMl 
 
 imrr 
 
 V-\f !TJL- 
 
 ^ 
 
 -i-^-r^. 
 
 
 q2=j: 
 
 Ted,. 
 
 m^. 
 
 « 
 
 i 
 
 ^ 
 
 ^ 
 
 J!| i 'j»-U ^^^^ 
 
 ^ 
 
 i 
 
 Htf-t 
 
 ^S 
 
 zH* 
 
 ^^^^V^^v^fjir 
 
 ^ 
 
 In? 
 
 I 
 
 * ritard. 
 
 '1^!^ 
 
 
Xt»peafully Dedicated to Mn. Amelia Xahar. 
 
 '*LAURIETT." 
 
 81 
 
 May be played in 
 
 BALLAD. 
 
 Computed hy U, F. WXUZiIJLXS, 1S40. 
 
 i 
 
 -Hd - H 3- 
 
 ^ ' — 
 
 SE 
 
 31 
 
 i 
 
 dear - est, " I will oft - en tbink of thee, When 
 
 dear - est. Wilt tboa oft - en think of me. When I'm 
 
 J 1 1 ^_ 1 J i- 
 
 1^ 
 
 fei= 
 
 P^ 
 
 Copyright by O. Ditson & Co. Used b; permiasion. 
 
32 
 
 LAUEIETT. Continued. 
 
 m^ 
 
 cres. 
 
 w 
 
 far, 
 far 
 
 -*- 
 
 far a - way o'er the deep. . . . and gloo - my 
 
 from my home, yes, my love,. . . . when far from 
 
 I I I - 
 
 4—1- 
 
 :^=r 
 
 -tratat 
 
 - i s a 
 
 « 
 
 m 
 
 Espressivo. 
 
 X 
 
 ^^ 
 
 l^^£f=5- 
 
 2i 
 
 -0—i-«- 
 
 Z2f—9- 
 
 sea; 
 thee; 
 
 Lau - ri - ett, 
 Lan - ri - ett. 
 
 thoa'lt ne'er for - get 
 Ah ! canst thou tell 
 
 the happy 
 the grief thai 
 
 ^^ 
 
 IE 
 
 -»t— »r- 
 
 J j- 
 
 ^i^ 
 
 m 
 
 =S=F 
 
 ^=t 
 
 L ^ 1»^ U J 
 
 ^A^^- 
 
 ^ 
 
 mom. . . . when first we met, When I saw. . . . and lov'd thee 
 
 in ..... my heart doth dwell. For my love,. ... we soon mnst 
 
 ^-J J 
 
 ^ 
 
 -Jt=3t 
 
 f--£ 
 
 Ig=il 
 
 -g— g- 
 
 ^ilPi 
 
 J J 
 
 ■2?- 
 
 ■z:'- 
 
LAURIETT. Continued. 
 
 83 
 
 m 
 
 -4=^ 
 
 ^=^ 
 
 m. 
 
 dcar-ly; 
 ser -er; 
 
 •g^rxffe 
 
 ^*= 
 
 My chann - ing Lau - ri - ett, When I 
 
 But say, love, ere we part. Wilt 
 
 -» h-»i.— al - 
 
 -i— g— »- 
 
 -It— 9— It- 
 
 E^3 
 
 I I ! 
 
 -*^^< — — 
 
 » 
 
 2t 
 
 T5»- 
 
 adlib. 
 
 
 lento. 
 
 Hk-J 
 
 M*— #- 
 
 -»* 
 
 I * t » ^ 
 
 ZtCIJ- 
 
 :trt 
 
 ^A=is: 
 
 saw., 
 thou . 
 
 and lov'd sin - cerely, 
 be mine for-ev-er? 
 
 My cbarm-ing Lan - ri 
 Are we but one in 
 
 «= 
 
 Et. 
 
 
 I 
 
 3^ 
 
 
 ■zr 
 
 ^ 
 
 ^ 
 
 - ett. 
 Lean? 
 
 t- 
 
 ^i 
 
 -J-+- 
 
 s 
 
 ^-g- ^jj-^ -aiz 
 
 fe 
 
 tzt: 
 
 
 -y-a-g 
 
 ii»i 
 
 3iS 
 
 ^ 
 
 tempo primo. 
 
 (oi — 
 
 -J- 
 
 2^ 
 
84 
 
 lAUEIETT. Continued. 
 
 Animoso. 
 
 -^—o- 
 
 g 
 
 But 
 Once 
 
 tbou, 
 more 
 
 thou wilt ne'er for 
 my love wilt thou em 
 
 ^-^ ^nrj 
 
 ^ 
 
 =3^:3= 
 
 4 7 >-T - 
 
 ^3_g_ 
 
 ^^-^ — 
 
 - ^t me, 
 - brace me, 
 
 Ah 
 For 
 
 no, 
 bark! 
 
 thon wilt not for 
 the sig - nal calls to 
 
 ^. 
 
 ^ 
 
 ftzat 
 
 »— y- 
 
 BE 
 
 g^ 
 
 IE 
 
 ^ 
 
 ^ 
 
 4=1= 
 
 - sake me, 
 du - ty. 
 
 (i 
 
 For thee, 
 I must 
 
 my love, my life, my 
 a - way my love, and 
 
 4. 4 
 
 P 
 
 
 -«L 
 
 ■*-^ 
 
m 
 
 r= 
 
 1^ 
 
 LAU£IETr. Concluded. 
 ritard. ad lib. 
 
 -lz±: 
 
 -B 
 
 ;:^: 
 
 
 (lear - est, 
 leare thee. 
 
 I ne'er 
 Fare -well, 
 
 will 
 fai-e . 
 
 y-.^ 
 
 i 
 
 S 
 
 for 
 thee. 
 
 84 
 
 =^=^ 
 
 ^ 
 
 -J J- 
 
 4=t- 
 
 I 
 
 (i 
 
 ^le: 
 
 -«^='5= 
 
 m 
 
86 
 
 LES CLOCHETTES. 
 
 FAWTAISIE MAZURKA. 
 
 STXtyXlT IiAMBEHT. Op. 9. 
 
 Allegretto. 
 
 (i 
 
 f l ! I I i T- 
 
 -A=^- 
 
 -> ?- 
 
 -FT 
 
 = a==i=^=^ 
 
 ^ 6 legg. 
 
 m^3^ 
 
 ^^^^ 
 
 :^=4=9i 
 
 =-.f=^ 
 
 *2:* 
 
 85^*. ^I^z 
 
 i«-^-«- 
 
 ccn- 
 
 i 
 
 p^ 
 
 ^E3ESE 
 
 Alphonse Leduc. ParU. 
 
LES CLOCHETTES. Continued. 
 
 87 
 
 ^ ^pt. tft. t^t. 
 
 #£^. :^£l&. :^?1L. 
 1 — 1 — 1 — 1 — ^ — 1 — 1 — 1 — «— f- 1 1 ft — 
 
 (h-^^^^^^ 
 
 
 
 dim e 
 
 =m 
 
 Ji=t 
 
 ^T 
 
 
 rail. 
 
 ^ 
 
 Tempo di Mazurka- 
 
 - ft !*~l~f~* — * -| — 1*- ^ ^^ \i ~ 
 
 
 F+H*-; fT^irTjziii. 
 
 a 
 
 -p=f 
 
 ^^. 
 
 * 
 
 ^ 
 
 
88 
 
 LES CLOCHETTES. Continued. 
 
 U9'.f.. if^^. ^ f^*r. *-^* 
 
 -t— I — r ! ! » I * I U — I U I i . . B s ! 
 
 pp senvpre^ 
 
 ii 
 
 Pe<i. 
 
 * Pef?. 
 
 * 
 
 .S~LS^ ^ >:i^>-i <^S ^^J 
 
 r I — i ! — F=^ 
 
 
 
 Pc<«. 
 
 * Fed. 
 
 * 
 
LES CLOCHETTES. Continued, 
 
 89 
 
 
 I >— ^ — r I ! — I — 
 
 -«^-* 
 
 ■! — I — ^ — I — I — \ — •— H — : — : — e- 
 
 Fed- 
 
 * Fed. 
 
 * 
 
 ^immA^ 
 
 ^^==^ 
 
 ^ 
 
 Fed. 
 
 Z-m-t- 
 
 * Fed. 
 
 * 
 
 +— »- -r— !-+- « a-ta-^— ir . ■tr+— fe- . "ff-^- 
 
 :■?-. ^*^?-. 
 
 f*^^#* 
 
 :^f^^ 
 
 h— l--t— F- 
 
 ^-, 
 
 
 c»^ 1 
 
 ■ft. *- 
 ^ ^ 
 
 — r— — 
 
 i-r*- '- 
 -p 
 
 -> 
 
 ^^— 1 — - 
 
 -r- — r \ — 
 
 [-ii 
 
 -J 
 
 I 
 
90 
 
 LES CLOCHETTES. Continued. 
 
 %4--t^. -0^^. 4^ *-. ? ^? 
 
 * Fed. 
 
 ^^ 
 
 -• — ^ — o- 
 
 '^^hkM. 
 
 m 
 
 -•— A- 
 
 4=18= 
 
 # 
 
 ■^_i?- 
 
 PetZ. 
 
 * Fed. 
 
 * 
 
LES CLOCHETTES. Continued. 
 
 91 
 
 — | g IpT 
 
92 LES CLOCHETTES. CoDcluded. 
 
 Sva." 
 
 i 
 
 (I 
 
 4t 
 
 ♦ 4L rn 
 
 ^=?=4 
 
 P=#= 
 
 
 —a 
 
 5=9^ 
 
 I 
 8va. 
 
 J ^ 
 
 -^ — <, — «i , 
 
 J — J \- 
 
 ^ 
 
 7> — 
 
 i 
 
 i4 
 
 —35 « 
 
 ■^ ♦ ♦ 
 
 ^^^ 
 
 
 i: 
 
 i 
 
LES CLOCHETIES. Continued. 
 
 ^=rz^7-T-T . 
 
 -fc= — I— 
 
 ■W — •- 
 
 W Br f 
 
 9^ 
 
 
 */ 
 
 Pe<«. 
 
 * 
 
 Pe«Z. 
 
 93 
 
 ^^EB 
 
 ^ 
 
 ic 
 
 =S 
 
 *— f«- 
 
 ♦|; ;. ^ S: ^ «: 
 
 it=n. 
 
 =t=t 
 
 S^ 
 
 -?—»-> 
 
 -» — ^-1 
 
 ^ 
 
 s/' 
 
 rri^L^ 
 
 ^ 
 
 Pe<?. 
 
 ■»- •»- «^ 
 
 * 
 
 '^efi. 
 
 * 
 
 g y #- 
 
 ♦^1* i--?^ * 
 
 ^ 
 
 ^^r^rr--^ 
 
 -1 — fit — I— 
 
 -» — ^ 
 
 
 =» BT 
 
 Pe^. 
 
 * 
 
 Fed. 
 
 * 
 
 ■«- 2: — ^--^ f:' 
 
 £ f: f: 
 
 -• • » — H -lr- 
 
 s 
 
 Fed/ 
 
 /z* 
 
 ^^=^ 
 
 ::E 
 
94 
 
 LES CLOCHETTES. Continued. 
 
 (I 
 
 ^* — 
 
 ■I— !■■ 1 ■■*- 1 
 
 ■b — P i . I — -*- 
 
 ^E§=? 
 
 4r— t 
 
 
 -»^ «" *l- 
 
 7W./ 
 
 -:?^ 
 
 ^fc 
 
 ^^"=^ 
 
 Fed. 
 
 * Pec?. 
 
 * 
 
 ^ 
 
 5 • f: ± 5 
 
 ^ * 5 * 
 
 p^?: 
 
 ' ( * i*. i * : 
 
 »*n 
 
 S=S=:1= 
 
 ^ 
 
 Perf. 
 
 * Peti. 
 
 * 
 
 i^^: 
 
 
 
 =F 
 
 ■*-•*■••■ JtjL 
 
 -* U • ^ 
 
 E^S 
 
 -* — -o bH 
 
 »E 
 
 Pe<«- 
 
 Fed. 
 
 «• 
 
 
 
 t. 
 
 » — 
 
 -^ 
 
 — |- 
 
 1 ^^ — *^^; jL_5:^-^*_,'_^ 
 
 / 
 
 3 1— 
 
 - — o 
 
 —i— 
 
 — ' 
 
 \=^ ^ i : 
 
 • " - .r. ' 
 
 a — 
 
 1 — 
 
 — ^ 
 
 -f- — 
 
 ■ i. 
 
 
 Fed. 
 
 ¥ 
 
LES CLOCHETTES, Concluded. 
 
 9.". 
 
 m 
 
 ^1 — ~" 
 
 ■^3-8 8 • • 
 
 mf 
 
 ^^^ 
 
 -ai «» ^ — 
 
 Fed. 
 
 * Fed. 
 
 » 
 
 I; U iil |tl f 
 
 (1^^ 
 
 li— t i r g ■ ^ -»fc24 f F ^ 
 
 * 
 
 - f y -jt 
 
 !•= 
 
 • < ; j;j ^ 
 
 "mTJT^ 5 — I — i- 
 
 ^ 
 
 Peci. 
 
 * Ped. 
 
 « 
 
 i«^-. 
 
 i=f= 
 
 ■*■ +5: it 
 ^ ' — ^ 
 
 =t 
 
 '^'^ ' I r 
 
 Ped. 
 
 -• 1 I 
 
 m 
 
 Fed- 
 
 -* — ^ 
 
 * 
 
 Fed. 
 
96 
 
 "RAYS OF HOPE.' 
 MARCH. 
 
 Brillante. 
 
 Compogeahy WAZTEB F. CUA-lft. Op. 1. 
 
 i ^T J^f=^ 
 
 -1>— I- 
 
 -» d— * •- 
 
 ( 
 
 ff 
 
 •#•#■*■■*■ 
 
 'i ^-f^^-^ 
 
 rrtr: 
 
 ^^^ 
 
 -I 1^^ 
 
 H=^ 
 
 :ifi.«- 
 
 Jk—Jk-Jr_ 
 
 ■^ #-f^ 
 
 i? 4/ 7 ^7 ^ 
 
 ^a 
 
 i^^ 
 
 3t 
 
 ^ I *; 
 
 (1^^^^^^ 
 
 i ^ 
 
 :fc^^-=pHE: 
 
 ^^^^ 
 
 crcs. 
 
 '• 1 — ^ — 
 
EATS OP HOPE. Continued. 
 
 97 
 
 -A-Jt. 
 
 ^^53=3. 
 
 V^3_v^Z_^rf_X_j^. 
 
 ■^ 
 
 ^^ 
 
 -^^-•- 
 
 irqi 
 
 ?-iH«-=-i»-- 
 
 :t£p:^=5^5=?: 
 
 5^ 
 
 "!*- ••■ 
 
 =fe 
 
 fc^ 
 
 :t:f: * 
 
 iit 
 
 J I 
 
 ^ 
 
 m 
 
 W ' ' ' 
 
 p 
 
 6- is*. 
 
 j: K ? * ± S: ^a 
 
 «— 1-*- 
 
 fl= 
 
 El^ 
 
 y y y » 
 
 Fine. 
 
 •rJl rJ^ 
 
 ^^ 
 
 jg 'g_>^g= 
 
 =^= 
 
 -4 «—«—«- 
 
 F fi ^ f 
 
 42- -«>- 
 
 J. I 
 
 ■• (i- 
 
 p dolce. 
 
 m 
 
 -€-€-i 
 
 Jtp3i — ft- 
 
 ^=^=n 
 
 -»-••-•—•- 
 
 T=t: 
 
 -^ •- 
 
 -* — • — w •- 
 
 ^«— •- 
 
 4=5= 
 
98 
 
 BAYS OF HOPE. Continued. 
 
 .fS- iff- 2-»- 
 
 -o — ft 
 
 t 
 
 J= I I =t 
 
 W^- 
 
 ^^dh 
 
 -e — » — — V- 
 
 « ' L j I iiqjqnii: 
 
 =S=c 
 
 7^ 
 
 i 
 
 ,11 
 
 -I ! 1 1 1 P 
 
 -X=Xi 
 
 I * I * 
 
 r L— i 
 
 I>.<7. aZ Segno. 
 
 i 
 
 f- f . f-^^^- 
 
 ::j^ 
 
 -• — » — * — » — •- 
 
 m^ 
 
 =1=^ 
 
 Animato. 
 
 (^^ 
 
 iFh i -' 
 
 1—1 
 
 1 f 
 
 ~^ 
 
 F^ 
 
 =^=^ 
 
 ^£a''" 
 
 ^=^ — 
 
 1 — 
 
 — • — * — 
 
 -^ — 
 "1 
 
 -r4- 
 
 -t— 
 
 ^ 
 
 5: 
 
 H K 
 
 ^_^_i 
 
 — j — 1 . 
 
 * r 
 
 d= 
 
 i 
 
 ' i 
 
EATS OP HOPE. Continued. 
 
 99 
 
 ■te 
 
 r=#*^E^ 
 
 jSZ. 
 
 * g^ = 
 
 H 1 
 
 ffi ^=^- 
 
 f: f: f: f: f: f*: fcs 
 
 -• — a »-■ 
 
 W^ 
 
 I 4- 
 
 •A- ^ 
 
 -»''»■ 
 
 ■»- 
 — »— 
 
 i 
 
 i:f: £:• |2: 
 
 f 
 
 :efei 
 
 -«— e- 
 
 ^^ 
 
 ^ 
 
 5: ^ 
 
 — p I g— 
 
 1 J~ -L- 
 
100 
 
 BAYS OF HOPE. Concluded. 
 
 ^ 
 
 I I I- 
 
 ± :^ 4^ ji 
 
 -^<sf^ 
 
 :t=t 
 
 iy. f I- 
 
 q=^ 
 
 -» — — 9 O- 
 
 ^ 
 
 ■^ s#- a^s^ 
 
 I 
 
 i?2: :& 
 
 32: $:.':£. 
 
 H^=t|g=Ji^ 
 
 i ^ 
 
 • — « — <»- 
 
 E^ 
 
 -t- B^- 
 
 q^ £f:g:tlAg:£:g:^ 
 
 ^^ 
 
 -j2_ 
 
 D.(7. al Fine. 
 
 ± 
 
 =^=^ 
 
 3 
 
 ^^^^^M 
 
 * 1^ 
 
 I I l-g : 
 
101 
 
 SCENES OF YOUTH. 
 
 FANTAISIA for PIANO 
 
 INTEODUCnON. 
 
 Alle&-o can^=~ hrio. 
 
 JSy J?. JS. XjJSWIS. Op. 3. ' 
 
 f-^-fl |»V-H» — 1 ! — ^ 
 
102 
 
 SCENES OP YOUTH. Ccntinued. 
 
 8va.' 
 
SCENES OP YOUTH. Continued. 
 
 103 
 
 Hf Meditation. Cantahile. Pensive. Con, espressive. 
 
 fe 
 
 Moderato. 
 
 ^ 
 
 o— 
 
 ^^ 
 
 ^^=± 
 
 mf 
 
 ^ 
 
 3Ec3: 
 
 ^^^55^ 
 
 ^ ir r — -H 
 
 ^ 
 
 ^ 
 
 fi: 
 
 -#-F-f 
 
 ■t=^. 
 
 -?-b-?- 
 
 -?T^ 
 
 3ir 
 
 ? — »'- 
 
 -N-1- 
 
 I * • » - 
 
 ■g-zsi- 
 
 -b-B* 1- 
 
 fa^ 
 
 > -J: 
 
 rii. 
 
 g 
 
 -#^4- 
 
 ^N^^?-^ 
 
 J-^-p / I ■^'^- j ^3=^^=^; ^gi.= ^^2g 
 
 (i 
 
 :jt3=: 
 
 5: 
 
 -^^^ — ^ 
 
 a tempo. 
 
 m 
 
 t:^-iz. 
 
 ^ =r£ > u~^r^- 
 
 :5ia 
 
 5-S--1-- 
 
 -V— i-u'- 
 
 /I#:| 
 
 i 
 
 1=4= 
 
 r^ 
 
 :?=^ 
 
 ^ 
 
 m 
 
 % 
 
 i23r£ 
 
 1^>^=r 
 
 ^??-?- 
 
 5?: 
 
 ■A JL L3- 
 
104 
 
 SCENES OP YOUTH. Continued. 
 
 P^^ 
 
 :§£=^r 
 
 i^^ 
 
 ISI 
 
 JT-H-^rgM^ ^ 
 
 -f-l — r?-^^-?- 
 
 -P i^-J 
 
 ^E^5 
 
 ^#:: 
 
 -*— P- 
 
 J2I 
 
 t-cp^ 
 
 s=t 
 
 « 
 
 > r f ^ 
 
 l*£ 5: 
 
 ^ ^g^ 
 
 Ja«-f:J= r^ 
 
 -M-^- 
 
 fv-y- 
 
 tei^5=^ 
 
 -y-ll 
 
 ia: 
 
 ^^ 
 
 Si^ 
 
 PPff 
 
 ^^- 
 
 ■^ l*-±—r 
 
 ::rJf:p=i= 
 
 1?:^ 
 
 M^^^^ 
 
 ^ 
 
 J^ Sr 
 
 ^ 
 
 -fcg-t 
 
 irrT - r 
 
 3^ 
 
 =^=i^ 
 
 W'^^ 
 S^^ 
 
 S 
 
 jc- 
 
 ^:3=d; 
 
 --jf,-*- 
 
 i^^^ 
 
 -:4r-^ 
 
 ^^§ii 
 
 iMf=^^ 
 
 £5^^52z5 
 
 -t- •♦ 
 
 ti=!:izMzl 
 
 '■j i-^ r = i r=B =:gd-r-t-^' 
 
 S^ 
 
 Tt*I*Z 
 
 =P^- 
 
 T?5=C 
 
 z^j^!: 
 
 ^ 
 
 -te- 
 
 :#=pz= 
 
 »t 
 
 
 #J 
 
 f 
 
 
SCENES OF YOUTH. Continued. 
 
 105 
 
 -c-a-^ -P- 
 
 ]=?— p=^ 
 
 -i^^^ 
 
 1 — r 
 
 a tempo. 
 
 -Nfl-O- 
 
 —o— 
 
 &2r5±:tt 
 
 id=±± 
 
 5^^ 
 
 TVJTT - ^ 
 
 zSifc 
 
 -#-•. 
 
 ±it: 
 
 S^^ 
 
 +^^- 
 
 fe 
 
 i i ^ i t 
 
 r-**- ^«- 
 
 ^B^^g 
 
 dHeif: 
 
 ^^^vi^ 
 
 15;.:^ 
 
 Jtt 
 
 £^=U:5: 
 
 ^^ 
 
 I 
 
 If^^ 
 
 j — ^ J r"! ; ^-^^^- 
 
 -o— z:)- 
 
 m 
 
 -I — k — ■•— 
 
 -g -f I s 
 
 i^ia 
 
 -?-f-?- 
 
 - f-T— r 
 
 ?=g:fe 
 
 :5iEi£ 
 
 1-=^^^^ 
 
 _p ^ L^. 
 
 ■^^^^tV- 
 
106 
 
 SCENES OP YOUTH. Continued, 
 
 t4lZegramente. 
 
 f 
 
 4afcs=fe«q 
 
 -4, 
 
 M 4 » 
 
 §afeS 
 
 prft* 
 
 =^=r^f 
 
 
 -^-i-n'- 
 
 t 
 
 I j- 
 
 -*:»— P- 
 
 =:;;^te^-t- 
 
 _ie_i&_ 
 
 ■^g* 
 
 — I — C^ I r» rtBSi — I — 
 
 S 
 
 -* — •=F-^ — 1^- 
 
 ll"z:iI 
 
 -e——e — I — e—-~o- 
 
 ( 
 
 
 t±±i 
 
 I^Z 
 
 :^^ 
 
 H^ 
 
 i^^^^ 
 
 -.P-THS=!=P-a-P- 
 
 -» — — i — — (j- 
 
 I 1 f I 
 
 t . ....i r3 iiiii.! i!^ 
 
SCENES OP YOUTH. Continued. 
 
 107 
 
 i 
 
 :s^ 
 
 ^ 
 
 g-^ r-t-r- ^qg: 
 
 4=p=p; 
 
 r — I — I — a~t- 
 
 •#-1 j I f I 
 
 ?^^ 
 
 I rif 
 
 as 
 
 ^ 
 
 EE 
 
 -ai g j i 
 
 — >v^^ Scherzando. repeat. 
 
 repeat 8va. 
 ^ f2dMme.pp 
 
 », 
 
 E© 
 
 ^^ 
 
 -V — ?- 
 
 ^ — ?- 
 
 igj 
 
 afefe 
 
 -V — ?- 
 
 ? " I . ■? - 
 
108 
 
 SCENES OP YOUTH. Continuod. 
 
 i^ 
 
 t 
 
 H/ * 7 l - 
 
 S 
 
 -V— ?- 
 
 V ? 
 
 5i;a.. 
 
 (i 
 
 ^wa. 
 
 fe 
 
 « 
 
 & 
 
 -f— »- 
 
 f=^ 
 
 -(« — »- 
 
 -!« — »- 
 
 -P=#- 
 
 ;^-r— - 
 
SCENES OP YOUTH. Continued. 
 
 109 
 
 8va.- 
 
 £^ 
 
 J<!=5= 
 
 s 
 
 g A ♦ ^ 
 
 ='^--1 f^ o~ 
 
 — I ■ 1 — 
 
 ^^ 
 
 ■O- 
 -I 
 
 ^ 
 
 :?z: 
 
 -f-f- 
 
 yiz 
 
 =^ 
 
 S: 
 
 -C tl-«- 
 
 gSzi 
 
 Iff i 
 
 -^ 3^-"^- 
 
 ^ 
 
 
 ^=^ 
 
 ^ 
 
 -*— i^ 
 
 
 -S— y— 8— S 
 
 ig^z^=i=5= 
 
 
 - a—a—e—^—^ 
 
110 
 
 SCENES OF YOUTH. Continued. 
 
 (i 
 
 -1 — g— ;<- 
 
 =^=»: 
 
 JTIl ^ 
 
 5i 
 
 -o — o — o — o- 
 -e — a — o — *r- 
 
 d e, » , d 
 
 ■tP^-eP-^eP-sf^ 
 
 
 
 15^ 
 
 I I I 1^^ 
 •— g— »— < S 
 
 M 
 
 '- 
 
 ^ 
 
 ^<l w «l, d 1 
 
SCENES OP YOUTH. Continued. 
 
 Ill 
 
 8va. 
 
 8va- 
 
 • TP o m-*-^ 
 
 nJd-S-g-SsJ-CijMliUU-J t 
 
 i 
 
 -» * * — -S— 
 
 * t 
 
 -A U 
 
 5z?a 
 
 8va- 
 
112 SCENES OP YOUTH. Continned. 
 8va 
 
 ^ I P — e 9-^-c- 
 
 =g=H-g ~ g t. »?-» 
 
 ^^ k ' 
 
 
 J^^^^^v*- 
 
 T g — — — 1 r- Wf E mf 1 ^ M im 
 
 * * * * 4 
 
 * :^ 
 
 8va- 
 
 ^SS^ 
 
 ^T" ! ^ 
 
 -.-^^? 
 
 ^ 
 
 I^^^^^S 
 
 ~ i» ^ ip — ** — =• — «•- 
 
 
 ^ ^g 
 
 ^=3^ 
 
 > v ^ l» ^ # ^ » ^ l> g#- 
 
 II ! — i 
 
 ■+T^ 
 
 V 
 
 8va.. 
 
 Sva 
 
SCENES OP YOUTH. Continued. 
 
 113 
 
 8va. 
 
 i 
 
 ^r f r r r--tf ^ 
 
 ^^ 
 
 //. 
 
 Fed. 
 
 * 
 
 ^ 
 
 : ^_ 
 
 m 
 
 :?=>e: 
 
 I I 
 
 
 
 -» » »- 
 
 Fed. 
 
 tit 
 
 :P=^. 
 
 ^^ 
 
 ■U--^ 
 
 N, "» g-»0 
 
 ^ 
 
 H. ^ ^ |>-^r - ^ --i r^ 
 
 i 
 
 ->-rr I r « L f 
 
 te^ 
 
 * 
 
 ^i 
 
 '7 7 - 
 
 jm > ^' 
 
 mf Legato. 
 Fed. 
 
 * 
 
 -«i-«-a-o-«-«— 1 
 
 ^p >->-j 'i;*3'^'^^ 
 
114 
 
 SCENES OF YOUTH. Continued. 
 
 "^^r^^ 
 
 8va- 
 
 ^in^ 44 4 4^ 
 
 
 -M- 
 
 
 ^^^-~ 
 
 -l«— i»- 
 
 -0Ji~it- 
 
 Ped. 
 
 * 
 
 :?£:? 
 
 rit. 
 
 ^^ m^ 
 
 ^^^m 
 
SCENES OP YOUTH. ContinuecL 
 
 115 
 
 Pomposo. Tempo di March. 
 
 ~^=^=K?=f!zz^ 
 
 PH 
 
 l::j i:^ 
 
 a^ 
 
 =?=p: 
 
 *S: 
 
 :ii^:zgz=^z 
 
 
 :5r-^ 
 
 -t^;^ — I- 
 
 =JE=jC 
 
 5:^1: * 
 
 fJ^-^- 
 
 ^l-ffjr *-tX^ t 
 
 
 y- f f t 
 
 
 ^ 
 
 -#-^ 
 
 4— «- 
 
 :sr_-fe_ 
 
 •?s- •#- 
 
 ££ 
 
 -#— P- 
 
 -#— #- 
 
 ;^=;?s- 
 
 8va. 
 
 -*-.f — J ~ F 1 — »^-#-»-F-H- 
 
 ■ ' ' h—J — — - — I — *-i-^-?* 
 
 ^^>^3 
 
 t=* — U 
 
 
 
 ■*- ,H»- '4-0-0-v- 
 
 Jt=±J 
 
 
 'K*'^ 
 
116 
 
 SCENES OP YOUTH. Continued. 
 
 (^ 
 
 -b te la U-n — k to— 
 
 ipzzp: 
 
 1— e-8- 
 
 ■¥-18^ 
 
 £ 1 i 1 — =5- 
 
 -^- — « — S. 
 
 
 
 S:* 
 
 iiE 
 
 ng — r 
 
 y y - 
 
 rjp^ 
 
 W^ 
 
 8va.- 
 
 
SCENES OF TOUTS, Continued. 
 Pin, AUe^Eo. 
 
 117 
 
 -^— •- 
 
 ^ fe^=^ 
 
 ••=1= 
 
 I * • * 
 
 ni/. 
 
 ^ 
 
 r^^^i^i 
 
 lf^i!^^5^E£^: 
 
 - ^ i . i P' 
 
 Lu- ' U^-^ ^. 
 
 1^ 
 
 tg==^ 
 
 T-g — g^ 
 
 :PL 
 
 y y 
 
 tta-^ 
 
 1 1 1 1 fii 
 
 i 
 
 :1=;b= 
 
 :^P=:ff 
 
 ^^^ 
 
 ^^^=P 
 
 ores 
 
 i-'St 
 
 ^ 
 
 He-^-#- 
 
 ^^^;^=^ 
 
 r^ 
 
 ^ 1* 1 
 
 =^^=-fH 
 
 f: f: S:!?:- £: f: ^ £:' :g: ^a ?-^ 
 
 ■^ 1 ■ I . I 1— I _- .. L *-l 
 
 ■».• 4- ^ TZ 
 
 g 
 
 ttfif:- Ub. 
 
 •■fi-e- A-- 
 
 :^=fe=5= 
 
 nx. 
 
 -Vf 
 
 *-«-" 
 
 EfeS 
 
 k^ 
 
 f 
 
 ^ 
 
 :?3z:? 
 
 3=iSP 
 
 B9f& 
 
 ^ 
 
 J^^ 
 
 T i I 
 
 -fcd=H-T 
 
 ^= p| i ! I I ^z::^; 
 
 
 is 
 
 ^ 
 
 ^ 
 
 _-0-i—0- 
 
 
 -I — P — 
 
 -t— »- 
 
 
 -*-±iL 
 
118 
 
 SCENES OP YOUTH. Continued. 
 8va, 
 
 (P 
 
 
 iE^^ 
 
 t?5'S^ 
 
 Sva." 
 
 -&-\fm-0t- 
 
 s*— 
 
 I [ I I I ii-H 
 
 ad lib. , 
 
 ^zi-+ i. ! I I i rr 
 
 3^^ 
 
 B»— aH 
 
 P 
 
 Maestoso. 
 
 ^ — !— 4 - =?^^?^^^ 
 
 4 ^. W-a^ 1!- 
 
 itzai: 
 
 ^=^ 
 
 < ; * < — •- 
 
 
 y*.*^ 
 
 cres. 
 
 IM 
 
 ^^ 
 
 •»h=-»h-«| -:fi:«|- 
 
 :^ 
 
 ^t^--! 
 
 5.3-t!^ - 
 
 , Ele^amente. tempo di redowa. 
 
 ^ 
 
 ■f — •- 
 
 :*=fe3=t 
 
 5^ 
 
 -"^-'—f—i- 
 
 mf 
 
 JkS 
 
 t. ti 
 
 ^ 
 
 4& 
 
 >^^¥= 
 
 I 
 
 i'_^^viJ' 
 
 S 
 
 
 =t5i 
 
 i-^ — 0- 
 
 -b-S-#^^ 
 
 » 
 
 ^^ 
 
 ^ 
 
 Ti'- ? II - 
 
 ^i^^-^^zi: 
 
 1 — ^ — r 
 

 SCENES OF YOUTH. Continued. 
 
 119 
 
 -f-S- 
 
 "^J^^^- 
 
 ^S 
 
 v-'F?::^ 
 
 
 E=jidit2ie=± 
 
 ■e- *>- 
 
 P^ 
 
 ^F=F 
 
 :J55z 
 
 ^^—^ 
 
 % 
 
 
 fe^ 
 
 
 =8=— ii 
 
 ^^^^=^^ 
 
 I 
 
 i^ 
 
 3^ 
 
 :^3z 
 
 f--?z 
 
 ■^^ 
 
 -3t- 
 
 ^ AW" 
 
 f -T-|1 »-» f «, f : I g- 
 
 
 ifcfc 
 
 -M — ■ 
 
 -iJi«£-- 
 
 -#- 
 
 ^ — ?- 
 
 3S 
 
120 
 
 SCENES OP YOUTH. Continued. 
 hm. i:* -fit- 
 
 .^iti^ H £ S . -. -. .^ 
 
 fci^r: 
 
 1 «i j •- 
 
 **^ 1— ^ 
 
 S 
 
 ^ 
 
 J > s. I h 
 
 9*T-^ 
 
 zh^- 
 
 -»-?-»- 
 
 JL 
 
 -3-t 
 
 i>>l ^«'V^'4''fe^^-^« ' 4^:;r ^^^ U^^-i ' 
 
 I 
 
 Piu lento. 
 
 ^ 
 
 1^ 
 
 f5=t: 
 
 +; 1 1-: 1- 
 
 ^ 
 
 (I 
 
 ar* — 'j!r% — 
 
 marcato ill basso 
 
 — 1- 
 
 -*' V 
 
 ?: 
 
 j^- — X 
 
 -tf- ■*■ 
 
 B6i 
 
 rtfi 
 
 in ri 
 
 itifit 
 
 ••• • ••■-•■• 
 
SCENES Of" YOUTH. Continued. 
 
 12- 
 
 fc==s=fc 
 
 i 
 
 -jgT ' 4. I t 
 
 ?l=MF 
 
 q^ 
 
 1-**: -^^s* 
 
 Si 
 
 :t 
 
 rjr 
 
 tSH 
 
 ^>-^ i — r 
 
 =t 
 
 -<5!- 
 
 cni?ge^3; 
 
 ^ 
 
 fei 
 
 Andante maestoso. 
 
 ■^ ^ 
 
 * r,-« 
 
 t^ 
 
 ^ 
 
 -f— - 
 
 ^ 
 
 i^rifz 
 
 -=■1 ?j- 
 
 EB^ 
 
 /" 5^ ♦ 
 
 '^ 
 
 I 
 
 iifeg 
 
 ffi 
 
 -fei — :S 
 
 * 1}* 
 
 — !• ^ "^ ^ 
 
 i 
 
 fe 
 
 ^=^ 
 
 w 
 
 s 
 
 w 
 
 *3 
 
 sost. dim- rit. 
 
 I ^1 
 
 ^ 
 
 r I _! 
 
 s^ 
 
 3= 
 
 I s - 
 
 ^f4 
 
 3 • f 
 
 Larghetto^Con molto sentemento. 
 
122 
 
 SCENES OP YOUTH. Continued. 
 
 -|5 - ■ 
 
 *^ 
 
 I ILi 
 
 ^'^'d =S' 
 
 r^TrZS"^^ 
 
 
 
 ^«^ 
 
 ^-tf 
 
 4:? 
 
 
 -^-H' 
 
SCENES OP YOUTH. Continued, 
 
 133 
 
 {P 
 
 ^. 
 
 -fl-r- 
 
 — 1 tf 1- P 
 
 -pp-i — o——^p-^--o o 
 
 -=J-i — ! — I J-t— ^ — I — I— 
 
 i— P- 
 
 -^-1 =--1 J<-\ 1 1 3J-I ■?->- 
 
 -g-T^ 
 
 \l: 
 
 (^ 
 
 I — ^ J — ^ i a 
 
 5^?^ 
 
 
 .-t ^ —I- -^ 
 
 ti^^ 
 
 -s- 
 
 
124 
 
 SCENES OP YOUTH. Continued. 
 
 Grandioso. Tempo di March. 
 
 m 
 
 ^$±=:^ 
 
 > fi fi^ 
 
 
 If ^ ' p ^ -=S=p: 
 
 «-*- 
 
 V|g >>— j g 
 
 f-^-^-^r>->- 
 
 *! — f« — ^i-: 0-p- 
 
 I 1 1 °( f 
 
 /r~ ^ — ^ 
 
 .^^i 
 
 k i^rj". 
 
 ^*^ 
 
 -»-if- 
 
 p^ppa 
 
 =«£ 
 
 
 
 25^* 
 
 I [ I I I [ r 
 
 Z — ^ — ^ iJ — ■ ' ■ 
 
 Ifciv- 
 
 :fa^ 
 
 H?=S= 
 
 :1?=ti 
 
 3 ' "l l '^^jjjl 
 
SCENES OP YOUTH, Continued. 
 
 125 
 
 pi 
 
 tilt: 
 
 -jp p y =i^-i- B v ~ 
 
 ie:i=e:s=M 
 
 j g -C- g 'P-l 
 
 9-. — *^p=az-g^-f-f^-i ^ ■; 
 
 ( 
 
 ^^; 
 
 
 
 
 8va.- 
 
 8va- 
 
 ^v^E t-^ 
 
126 
 
 SCENES OP YOUTH, Concluded. 
 
 8va.. 
 
 
 * 
 
 ■9- 
 
 ^ 
 
 s 
 
 1=^ 
 
 8va. 
 
 
 ■•-T-»«4^.ii:JS=»I::*: 
 
 
 ^^^ 
 
 1^ t^ 
 
 ^ua. 
 
 "-I *ss — ^ — «r 
 
 I 
 
 1 
 
 Efe 
 
 ^ g— ^— ^ 
 
 * /5^ accelerando. 
 
 Fine. 
 
 ^t: 
 
 ^^ 
 
 ^S 
 
MASS 
 FOR THREE VOICES- 
 
 127 
 
 i 
 
 ^ Allegretto. ^^ 
 
 GLORIA. 
 
 X^ SAMVEZ, SNAER, Ifete Orleans. 
 
 f trompette. 
 
 f 
 
 n 
 
 ^ 
 
 -^-y- 
 
 m 
 
 GIo - ri - a, 
 2d Tenor. 
 
 glo - ri - 
 
 : - eel - si& 
 
 P 
 
 =ltt 
 
 Glo - ri - a,. ... 
 
 Bass. 
 
 glo 
 
 in ex - eel - sis 
 
 K^ 
 
 m 
 
 Glo - li - a. 
 
 glo 
 
 in ex - eel - sis 
 
 i 
 
 fe^ 
 
 m 
 
 
 5=1: 
 
 3t 
 
 i^ilj 
 
 -0—0-W 
 
 -»-^ 
 
 -*-• 
 
128 
 
 GLORIA. Continued. 
 
 m 
 
 • — ^ 
 
 i^ip: 
 
 $E 
 
 Dc-o, 
 
 glo - ri - a, glo - ri - a in ex - %1 - eis 
 
 t^=^ 
 
 I I I 
 
 r^-^g_-^^ 
 
 ■*-= — — •- 
 
 f-^i=^- 
 
 ■:^± 
 
 De-o, 
 
 glo - ri - a, glo - ri - a 
 
 in ex - eel - sis 
 
 a 
 
 H« (• ^ 
 
 I I I 
 
 De-o, 
 
 glo - ri - ai glo - ri - a in ex - eel - j 
 
 =SF=f 
 
 -4— » 
 
 S 
 
 J- 
 
 ~ | g . ;«'S' 
 
 g^ »ft 
 
 
 t=:S= 
 
 =?E=p: 
 
 a 
 
 E 
 
 ^^^s 
 
 i^ 
 
 
 P F 
 
 p Soix>. 
 
 ^ 
 
 :it:li 
 
 -:*'— u'- 
 
 De-o. 
 
 jt7 SoLa 
 
 4—0- 
 
 £t in ter - ra pax ho- 
 
 ^i ggzi^z^-^ 
 
 ?^ 
 
 *?=^ 
 
 ■»-^ 
 
 i^fil- 
 
 T 
 
 -i.^— ><- 
 
 Be-o. £t iater-rapaxbo-mi-ni-bus. 
 
 
 t^=1^ 
 
 ■^ ^ 
 
 %-irjir 
 
 
 3^ 
 
m 
 
 GLORIA. Continued. 
 
 n Solo. 
 
 129 
 
 *- -m ■!— ? 
 
 ^; 
 
 g^ 
 
 i 
 
 -V— P- 
 
 Et in ter-ra pax ho- mi-ni-bus, 
 
 i 
 
 • ml - ni - bag, 
 
 m 
 
 i 
 
 
 Si 
 
 •^ v •# 
 
 5^4= 
 
 pe 
 
 Tdtti. 
 
 jczjr 
 
 ?=l=^ 
 
 ^ 
 
 ^«— h 
 
 ^^ 
 
 ^-H-V- 
 
 bo - nae vo- lun - ta 
 
 / 
 
 tis, 
 
 ^^'i 
 
 Lau- 
 P 
 
 da- mas 
 
 Zi=t 
 
 - Ti-* 
 
 ^ 
 
 bo - VlS& to - lun - ta - - tis, 
 f 
 
 -?-^>-H^ 
 
 I<aa- 
 
 Sfe 
 
 da -mas 
 
 * 
 
 ^t 
 
 -(«— /»--!«• 
 
 -t- 
 
 =5=tC 
 
 bo - nsB vo-lan - ta - - tia. 
 
 i=J 
 
 P^ 
 
 (^ 
 
 T5<- 
 
 ^ 
 
 g^ 
 
 -OH*- 
 
 ^ 
 
 -#-*-l<-*- 
 
 Laa-da-mns 
 
 w 
 
 -jii 
 
130 
 
 GLOEIA. Continuea, 
 
 i 
 
 ^-^-4-^-0- 
 
 ^ 
 
 ^^ 
 
 -tt-^-m-^-»- 
 
 V-l^-U-UJ =t 
 
 te, A-do - ramus te, glori-fi-camns te. 
 
 i 
 
 N — t ^-a 
 
 =?=s 
 
 ^#d^=** 
 
 -Tpj-a^- 
 
 1^ 
 
 ■#-^-#-a^ 
 
 te. 
 
 ^^ 
 
 A-do - ramus te . 
 
 glorl-fi-camus te. 
 
 #-•- 
 
 ■i ' i, I — S^i-^h- 
 
 S 
 
 ^.q? 
 
 V-v^-ki-./'-V- 
 
 
 te, A-do - ramus te, glori-fi-camns te. 
 
 m^ 
 
 ■^ 
 
 ^*»-^ «j K-^ 
 
 i=3=t 
 
 rm I 
 
 !f — — •«•« T I I I I 1 
 
 ^ 
 
 
 3'i»i*'- 
 
 -r v —- 
 
 :z^ 
 
 
 I ^ f I * -r- 
 
 1^ iz^ 
 
GLOEIA. Continued. 
 
 1st Tenor. DUO. 
 
 Moderato. 
 dol. 
 
 m^^^ 
 
 =?R=5= 
 
 -SEE 
 
 Z^f^^^ 
 
 Gra - ti - as 
 2d Tenor. 
 
 a - gl - mna tl - bi. 
 
 gra 
 
 U-:S:l 
 
 :S=± 
 
 -*-=nt 
 
 m 
 
 Gia-ti - as 
 Moderato. 
 
 a - gl • mas ti • bi. 
 
 gra 
 
 ■f—^ 
 
 S<— !^ 
 
 W 
 
 ^^^ 
 
 ^ ** —. 
 
 V dol. 
 
 a^ 
 
 fe 
 
 i 
 
 W 
 
 3E 
 
 =t 
 
 :5i=iE: 
 
 I 
 
 gi-mus ti - bi prop • tcr mag-nam glo - ri - am 
 
 ± 
 
 3=1= 
 
 W 
 
 -n—*- 
 
 gi-mns ti - bl 
 
 i 
 
 -s—«—it- 
 
 --^ 
 
 prop 
 
 Mi 
 
 ter mag-nam glo - ri - am 
 
 -I- 
 
 32= 
 
 :^ 
 
 9^ 
 
 =f2: 
 
 Wi 
 
 ■t±3tl 
 
 -^ 
 
132 
 
 GLOEIA.. Continued. 
 
 ^^^ 
 
 ^ 
 
 y*— *- 
 
 ?=^ 
 
 tD - am, 
 
 Do - mi-ne 
 
 He 
 
 ccB - les - tis, 
 
 ^ 
 
 ?^P 
 
 ! .. 
 
 m 
 
 ta - am, 
 
 — jg- 
 
 Do - ml-ne De - ns 
 
 les - tis. 
 
 =5n= 
 
 ^=^ 
 
 j l « i »i— al- 
 
 12^ 
 
GLORIA. Continued. 
 
 133 
 
 i 
 
 h^ 
 
 *—i 
 
 =?zr 
 
 Do 
 
 - mi - ne 
 
 fi • 
 
 - li 
 
 u - ni - ge - ni - 
 
 T 
 
 So 
 
 ^^- 
 
 mi - ne. 
 
 fi . 
 
 - -li.. 
 
 u - ni - ge - ni • 
 
 T 
 
 Do 
 
 m 
 
 fi - 
 
 =i*=t= 
 
 -u 
 
 n - m - ge - ni - 
 
 S— 
 
 P 
 
 -^ 
 
 ->^ 
 
 4, u<i - 
 
 » 
 
 -• — *-F 
 
 z^ipup; 
 
 _j^ 
 
 
 i 
 
 -*M»-^ 
 
 ^S 
 
 - te,, 
 
 Je 
 
 - gn Cliri 
 
 £le. 
 
 Je - Gu, Je - sa 
 
 S^ 
 
 1 ^ 1 I I — j - 
 
 =i*-* 
 
 :-i!:r«z 
 
 - te,. 
 
 a 
 
 Je 
 
 Chri - Ete, Je - sn, Je - so. 
 
 -#— J«- 
 
 ^^: 
 
 - te. 
 
 M 
 
 Je 
 
 Cliri - ste, Je - sa, Je - sa 
 
 
 =^'=«- 
 
 ^ 
 
 ist: 
 
 m 
 
 ~*^ — 
 
 -^Tg-e- 
 
 • i : I 
 
 I I I 
 
134 
 
 GLOEIA. Continued. 
 
 
 -Jt-o — ^:^*^ 
 
 ^ 
 
 It 
 
 ^ 
 
 Cbri-Bte 
 
 Do - mi - ne De - us, Ag - nus De - i 
 
 m. 
 
 It: 
 
 ^ 
 
 -»— 
 
 ^-o — (tS»~ 
 
 P 
 
 ¥ 
 
 -i ^ ! U:;. 
 
 Chri-Ete 
 
 Do - mi - ne De - us, Ag - nus De - 
 
 a 
 
 :^ 
 
 Cliri-ste 
 
 dim, - in - uen - do- 
 
 -*i=P^ 
 
 =ti=tt 
 
 Ag - nus 
 
 De 
 
 li - us 
 
 1^ 
 Ag - nus De 
 
 --¥=- 
 
 Ag - nus De - 1 
 
 dim 
 
 H.± 
 rt^ 
 
 in. 
 
 li - us 
 
 — i— 1- 
 
 ri ^ — 
 
 uendo. 
 
 =zt 
 
GLORIA. Continued. 
 
 13£ 
 
 n 
 
 9 
 
 pa - tris. 
 
 II 
 
 m, 
 
 pa - trls. 
 
 -4- 
 
 jsii 
 
 pa tns. 
 
 ^P 
 
 ^ 
 
 3S 
 
 s 
 
 1^ 
 
 Pif^^T^ 
 
 iN^ 
 
 i^ 
 
 Poco Andantino- 
 
 Solo. 1st Tenor. 
 
 Qui tol - lis, qui tol - lis pec - ca - ta mun 
 Poco ^ndantino. 
 
 ^^i^^Sl^P 
 
 j-*'-j- 
 
 :t=:t: 
 
 -^nn*- 
 
 PP 
 
 J>P 
 
 fe 
 
 -«^ 
 
 :2fc 
 
136 
 
 GLOEIA. Continued. 
 
 1st Tenor. 
 
 i 
 
 Pi^^ 
 
 -bis. 
 2d Tenor. 
 
 m 
 
 DUO. 
 
 ^5 
 
 fif^ 
 
 •»--&- 
 
 -» — •- 
 
 P 
 
 5* 
 
 ta: 
 
 Bass. 
 
 S 
 
 Qui tol-lis, qui tol-lis 
 
 pec - ca - ta 
 
 "^ *• 
 
 :l3^ 
 
 ^ 
 
 i 
 
 Ifi^! 
 
 Qui tol - lis, qui tol - lis pec - ca • ta 
 
 ¥-»■ 
 
 *-0^ 
 
 Efe 
 
 ^M^i^ r^ 
 
 -^— • 
 
 
 i-±£. 
 
 -V-f-- -" 
 
 1^ 
 
 r: 
 
 P 
 
 1^^ 
 
 I! 
 
 .1 
 
 i-f:^j ^l=l^ 
 
 ■*- ^ 1 ■ -i 1 
 
 ^=5- 
 
 -V— v^ 
 
 -4- 
 
 ^^yl—i^ 
 
 mun - di. 
 
 mi-se-re-re, nu-ee-re-re no - 
 
 m 
 
 ■k=^-^ 
 
 ^^-4 
 
 -+-J 
 
 Eb=f 
 
 2ti=t 
 
 mi-se-re-re, mi-se-re-re no - 
 
 "ZT 
 
GLORIA. Continued. 
 
 13? 
 
 i^=g^^^^^^^ 
 
 -^ \ iii..-j^ 
 
 
 Qai tol - lis, qui tol - lis pec - ca - ta mun 
 
 Sv 
 
 
 ifi^if: 
 
 - bis. Qui tol - lis, qui tol - lis pec - ca - ta mun 
 
 a 
 
 -e— *i- 
 
 l! 
 
 1^ 
 
 t 
 
 --i 
 
 d: 
 
 -•— p- 
 
 PZ3t3t 
 
 -l_ 
 
 - bis. 
 
 Qui tol - lis. 
 
 qui tol - lis 
 
 ^^g^^i^ 
 
 
 pec - ca - ta 
 
 -g-g^-# 
 
 ^S:^* 
 
 i-s^EsiH: 
 
 
 g^ 
 
 if^= 
 
 ZStL 
 
 ¥-- 
 
 ^ 
 
 m 
 
 *£ 
 
 -0 — » — •-»- 
 
 -Mf: 
 
 -i U,-L 
 
 #^ 
 
 t=?-I.CCX 
 
 :3~ 
 
 :5=wE 
 
 = ^P~ ~ P 
 
 itrr 
 
 - di,. ... sus -ci - pe, sns-ci- pe de-preca-ti - o-nemnos. 
 
 - di,. . . 
 
 l-snki 
 
 ^3S 
 
 -* — — •-»- 
 
 -i^- 
 
 
 ^:5: 
 
 -V— i^- 
 
 -w-v-U- 
 
 ^•^^^ 
 
 « 
 
 Eus-ci - pe, sus-ci-pede-precarti - o-nem nos - 
 
 -0-^-0- 
 
 -^/.T,,^:},. 
 
 i^ 
 
 ^^1 
 
 -I- 
 
 -i^-* - 
 
 -^-(e- 
 
 fe 
 
 -V-b. 
 
 mun - di, sus - ci - pe, sus - ci - pe de - pre - ca^tl - o - nein nos 
 
 p^5^3?^3S 
 
 ^ I 
 
 \m 
 
 ^^ 
 
 ^ 
 
 ^^^4- 
 
 sf 
 
 ■e— s 
 
 .K-U 
 
 gg 
 
 9--*;;'^ 
 
 5d: 
 
 -a^»i- 
 
 3«i35- 
 
 '^^-^ 
 
 
 5 •2^-. 
 
 — I— -►— h-j- e^ 
 
138 
 
 GLOEIA, Continued, 
 
 11^ 
 
 lo. tempo. 
 
 ¥ 
 
 gfi^^^I^^ 
 
 - tram. 
 
 JSjEfeS 
 
 m 
 
 10. tempo. 
 
 ife|=ftg±^^: 
 
 El==E 
 
 f^^P^P 
 
 i?^ 
 
 ^:^^ 
 
 gM" 
 
 rrr-t : 
 
 ?5i=t 
 
 ^^^5: 
 
 Solo. 2d Tenor. 
 
 *:ts 
 
 i^ 
 
 ^-r- 
 
 ^g^ 
 
 rt 
 
 L4- 
 
 -Sii/e- 
 
 ^: 
 
 tu so -lus al 
 
 ^ 
 
 tis - - si - mus Je - EU 
 
 -G>- 
 
 m 
 
 I Lj — I — 
 
 -a- 
 
 - a^— ^- 
 
 D(!8. 
 
 5E^ 
 
 -P- 
 
 I*!- 
 
lb. Tenor. 
 Poco Allegro. 
 
 GLOEIA. Continued. 
 
 139 
 
 E 
 
 i: 
 
 t^^- 
 
 
 Cum sane - to 
 2d Tenor. 
 
 spi - ri - tu, 
 
 cam sane - to 
 
 g=d=t--^=^ 
 
 -4^* 
 
 Cum sane - to 
 Bass. 
 
 spi - ri - tn, 
 
 cam sane - to 
 
 mft- 
 
 -Ji — ai — 7t- 
 
 ^=1= 
 
 t^ 
 
 :l=3i 
 
 Cum sane - to 
 Toco Allegro. 
 
 m 
 
 ^^ 
 
 -•dr-i r- 
 
 i^sW: 
 
 spi - ri - tn. 
 
 f^-e- 
 
 cum sane - to 
 
 C==^ 
 
 3?E 
 
 *: ^S:. 
 
 ^-1 
 
 ( 
 
 r^ris • « •- 
 
 -tih — » — I » 
 
 cres - - een - - do. 
 
 Bi^^^^fl^ 
 
 ff, f 
 
 * 
 
 ¥ 
 
 liizip- 
 
 -V^^*— U 
 
 -/- 
 
 m 
 
 spi - ri - tu 
 
 in glo - ri - a 
 
 Dc - i pa - tris. 
 
 -N— S- 
 
 -N-» — t- 
 
 l!5=fcl 
 
 P 
 
 -4=-t 
 
 4 « • j—r 
 
 -jtzjr-ji- 
 
 ^ 
 
 9!ej 
 
 spi - ri - tu 
 
 =!=:!= 
 
 in glo - ri - a 
 
 — : — >-^ zX 
 
 Be - i pa - tris. 
 
 - f • * 9 
 
 4 # . a 4- 
 
 -o-^ 
 
 V^V I 
 
 spi - ri - tu 
 
 a ' I 
 
 ife 
 
 Q?ft 
 
 -#—<•- 
 
 ^#= 
 
 i^LTc; 
 
 in glo - ri - a 
 
 Do - i pa - tris. 
 
 ^-^t-- 
 
 cres - cen 
 ■c • — a e 
 
 P— 1- 
 
 I Ti 
 
 -i»i*-»- 
 
 Ei^ 
 
 -e — o- 
 
 ^ 
 
 it^:Z^S=f 
 
 m 
 
140 
 
 GLOEIA.. Continued. 
 
 ^^m 
 
 ■^^=r^ 
 
 ^=i-^^-M-f^ 
 
 liZSZil 
 
 ^Sit 
 
 A - men, amen, a - men, a - men, a - men, a - men, a - men, 
 
 
 A - men, amen, a - men, a-men, a - men, a - men, a-raen, 
 
 :^$ 
 
 -fi—tt- 
 
 ! ! r^ f-- 
 
 fe 
 
 V— »i- 
 
 
 A- men, amen, a -men, a -men, a - men, a - men, a -men. 
 
 ^mm^ 
 
 5-«-^«- 
 
 5?2=; 
 
 fEt 
 
 -a-=i-ai-^-<si- 
 
 -^m^-i-i^ 
 
 -T-S*- 
 
 te 
 
 ^ 
 
 ■ J. ^. 
 
 :ati<3t^=z±: 
 
 - it-^ ^*-. 
 
 ■«-«i-«-«-«- 
 
 H 1 1 1 h- 
 
 «-0-0-0-6>- 
 
 i 
 
 s^^ 
 
 *= 
 
 ^«-S•--5=i 
 
 -?-?: 
 
 :5=^±t 
 
 a - men, 
 
 , - men, a - men. 
 
 :|^ 
 
 !5= g — » '-i--:ig 
 
 a 
 
 men. 
 
 men, a - men, a 
 
 men, 
 
 '?^ 
 
 a - men, a - men, a - men. 
 
 a - men. 
 
 I 
 
 
 «== 
 
 *3fifcd: 
 
 
 Ifctit?! 
 
 
 '-^. 
 
 ± 
 
 I I 
 
 B»-#- 
 
 >- 
 
 I , I 
 
 i? 
 
GLOEIA. Concluded. 
 
 in 
 
 § 
 
 t?3? 
 
 1 
 
 ^ 
 
 :i= 
 
 i 
 
 /. 
 
 A - men, amen, a - 
 
 
 4=^- 
 
 ^^ 
 
 m 
 
 A - men, amen, a 
 
 men. 
 
 ^ 
 
 4^^ 
 
 -• • «■ 
 
 A - men, amen, a • 
 
 men, 
 
 -rrr-r 
 
 
 zzr 
 
 A - 
 
 4=^ 
 
 =^=^ 
 
 m 
 
 
 ^m 
 
 r-^#- 
 
 3 
 
 -^-^- 
 
 #-»- 
 
 2±: 
 
 a 
 
 _j_j_j_ 
 
 -a^— #- 
 
 
 Ii2I 
 
 ^ 
 
 «=Ti=1= 
 
142 
 
 AGNUS DEI. 
 
 Solo. 
 
 -P- >^ 
 
 P% 
 
 '--^A-e 
 
 -(«— ^- 
 
 ^X^-f- 
 
 =tiq 
 
 ^ — I — ^.-1 — j- 
 
 ^-g--!»— *-|{g^ 
 
 =1;^: 
 
 Ag - nus De 
 Moderato. 
 
 3, ,- 3 
 qui - tol - lis pec - ca 
 
 - ta 
 
 
 l=i=l= 
 
 ^i rr rtr-rt - 
 
 iSE 
 
 1^ 
 
 :^=:^k=, 
 
 3^1= 
 
 ^ 
 
 mun - di, 
 
 i 
 
 qui 
 
 tol - lis pec - ca - ta 
 
 If?*: 
 
 g^ 
 
 ^^ 
 
 =tl 
 
 ^^3^ 
 
 ^Ti: 
 
 -« — « 
 
 y y 
 
 :^=* 
 
 4^^=i= 
 
 ^ 
 
 1st Tenor. 
 
 i 
 
 S/Tc 
 
 ^S= 
 
 2d Tenor. 
 
 sf 
 
 Mi - - se - re 
 
 a= 
 
 Bass. 
 
 PS 
 
 :?z= 
 
 «/ 
 
 Mi 
 
 f * f 
 
 -P=e: 
 
 man - - - di. 
 
 =r3=3- — ^ 
 
 
 pl: 
 
 i=fc 
 
 Mi - 
 _i2 ; 
 
 ^-«?- 
 
 -9--g-?- 
 
 ^ 
 •^^ 
 
-ff-i ^ — I — ^- 
 
 irt2*: 
 
 AGNUS DEI. Continued, 
 
 143 
 
 - bis, 
 
 =t 
 
 vi,-n- 
 
 mi 
 
 se - re - re 
 
 - bis. 
 
 It 
 
 :za*i 
 
 VtrT-l— ^ 
 
 ' bis, 
 
 :|2t 
 
 iSt 
 
 :l2*i 
 
 mi - se - re • re 
 
 bis, 
 
 :5ii 
 
 i^ 
 
 1^ 
 
 i: 
 
 bis, 
 
 se - re - re 
 
 no - - bis. 
 
 =1 
 
 
 \*±^3=Jt5ztSL 
 
 -^w-' 
 
 
 »i-?- »^ 
 
 ^ 
 
 It*- 
 
 S 
 
 ft 
 
 P<9- 
 
 K 
 
 =5=zfc 
 
 
 IzS^ 
 
 )^ 
 
 i 
 
 -f-^ 
 
 ^3=t: 
 
 i 
 
 mi 
 
 ziti: 
 
 se - re - re 
 
 9J-r- 
 
 © 
 
 mi 
 
 5te 
 
 -^-H«- 
 
 m 
 
 ^t^ 
 
 -+- 
 
 -I- 
 
 5=t 
 
 mi - se - re - re, 
 
 s 
 
 mi - se - re - re no 
 
 —a . 12— 
 
 PEEVES 
 
 -*-= — p- 
 
 Ell 
 
 
 
 4li*- 
 
 
 
144 
 
 AGNUS DEI. Continued. 
 Solo. Ist Tenor. 
 
 =1=^ 
 
 ^ 
 
 M 
 
 i- 
 
 - bis. 
 
 I 
 
 Ag - 
 
 De 
 
 --i=^- 
 
 ' - bis. 
 
 ^ 
 
 i=^ 
 
 I 
 
 - bis. 
 
 i-i- 
 
 P^ 
 
 =• s •- 
 
 ^t 
 
 
 qai tol - lis pec - ea - ta man - di. 
 
 lis, 
 
 ^^^^4-i-ii-. 
 
 
 qai tol 
 
 s ±^ rt ■ 1^ r. 
 
 3?« 
 
 5^^ 
 
 ^ 
 
 -5-3^ 
 
 1 — I- 
 
 * 
 
 ^* 
 
 ^^ 
 
 i=t 
 
 :zj 
 
 fei^^gSEl^? 
 
 -0-^0—^ 
 
 u > '^ ^ 
 
 qui tol - - lis pec - ca - - ca mun - di. 
 
 1 m ff| 1 1 
 
 
 4^ 
 
 -n — I h 
 
 -a-g-r^- 
 
 -o-^- 
 
 a^ 
 
 !#-: 
 
 Btl 
 
 =-=i:fe3^ 
 
 rzd 
 
AGNUS DEI. Continued. 
 
 145 
 
 I 
 
 :l-r-^-:fc->v-tr 
 
 e:?5ziS: 
 
 :&:±ii!5i:±: 
 
 ^hi^S^^^*-:^ 
 
 w 
 
 -90-^- 
 
 1 N - N K 
 
 -5=^ 
 
 i 
 
 Mi - se-re- re, ml-se - re - re. 
 
 |i?:Nzit:i5r±i 
 
 P 
 
 -4« 
 
 :N-P— ^-N— ^i 
 
 N S S 
 
 = «-7-»-il~l ^ 
 
 Mi - se-re- re, mi-se - re - re. 
 
 mi - se-re - re no - bis. 
 
 9a-^»- 
 
 1«i-N— j V— - 
 
 y. 
 
 >.T- 
 
 mi - se-re - re no - bis, 
 
 1?^^^^ 
 
 2iti^ 
 
 h-^^-^-M» 
 
 hV— f-i- 
 
 ^^^± 
 
 Mi - se-re- re, mi-se- re - re, 
 
 mi - se-rc - re no - bis, 
 
 1^3= 
 
 -N-?- 
 
 
 ?«-?— ^— j-^y-t^ 
 
 -^1^ 
 
 e^Z. 
 
 5ti^ 
 
 ^ 
 
 -* i- 
 
 V^ 
 
 ^^i 
 
 ■Sz 
 
 i 
 
 i^ 
 
 in^ 
 
 Ti=!P=I 
 
 5=^- 
 
 P 
 
 mi- se-re -re, mi 
 
 V-»— N— N 
 
 1^1 
 
 V— f- 
 
 -ut:*- 
 
 mi-se-re-re, mi-se-re-re, 
 
 / b._^_u 
 
 ^h 
 
 y.-Mf—c- 
 
 #-=-« — >— >■ 
 
 -!^— + 
 
 ipzzp; 
 
 
 V^^v*— i-^i?- 
 
 mi se-re -re, mi- se-re -re. 
 
 
 dol. 
 
 m 
 
 -53. 
 
 ^'-?- 
 
 / 
 
 -*-?- 
 
 i^ 
 
 fell 
 
 — ■'■i ^ i 1^ — 
 
 eitiZ. 
 
 -:-r-'^-? 
 
146 
 
 AGNUS DEI. Contmued. 
 
 i^SE 
 
 ->— iS- 
 
 mi- se 
 
 -j;±£: 
 
 re-re 
 
 no - bis. 
 
 -V— 5- 
 
 V^^- 
 
 zS2ii3: 
 
 :i?= 
 
 PlE^ 
 
 mi-se-re-re no-bis. 
 
 ^ft 
 
 fe 
 
 a p j ■ !/- 
 
 _t/_5i. 
 
 mi - se - re - re no - bis. 
 
 mi 
 
 Solo. 
 
 ^-i- 
 
 EE^ 
 
 i 
 
 Ag 
 
 De- 1. 
 
 a=ti 
 
 s^b™ 
 
 i^^i=T= 
 
 fcS 
 
 
 W^^*-»- 
 
 -*ir— •*•" 
 
 -»H^ 
 
 ^ 
 
 ^^ 
 
 ^- 
 
 i^:^ 
 
 H«-»-^- 
 
 2d Tenor. 
 
 
 
 =t^ 
 
 — ■ r^ \ 
 
AGNUS DEI. Continued. 
 
 147 
 
 1t-e- 
 
 ^r^f • L i -^-=^ 
 
 -^m 
 
 ^ 
 
 -^— r 
 
 I?I5C-C 
 
 qui tol -lispcc-ca- ta 
 
 mun - - 
 
 - di. 
 
 i 
 
 li 
 
 i^ 
 
 ai. 
 
 HI! 
 
 - di. 
 
 i 
 
 ^ 
 
 -(•-•- 
 
 -a-a. — a- — 
 
 •z*!r 
 
 -Nj^ 
 
 -a-»i 
 
 5« 
 
 S 
 
 -f^-t— f- 
 
 -4—2 
 
 fefc 
 
 •a- 
 ped. 
 
 Allep-etto. 
 
 cres 
 
 cen - do. 
 
 -6-w«-|— 
 
 |y- 
 
 r1 — ' 
 
 ^ — ^ 
 
 r' — ^~ 
 
 1 
 
 
 1 , 
 
 /». ^ ' ' 
 
 
 •ji 
 
 
 
 
 • • « 
 
 rm 'in 
 
 If •< 
 
 T 
 
 
 
 w P 1 
 
 i ' 
 
 1 1 7 
 
 \i,\;4 « . 
 
 
 
 
 / 
 
 \j 
 
 \j 
 
 Do- 
 
 na 
 
 no - bis. 
 
 do - 
 
 na 
 
 no - bis, do - na no - bis 
 
 
 
 
 '■> 
 
 
 1 i 
 
 1 
 
 /L * ' ' 1 
 
 1 «' 
 
 1 ' 
 
 ' f 
 
 
 J JI « 
 
 r/"\ r. J J 
 
 ^ J 
 
 / 
 
 
 J - 7 
 
 
 
 
 
 • * 
 
 
 " 
 
 
 
 
 Do- 
 
 na 
 
 no - bis. 
 
 do- 
 
 na 
 
 no - bis, do - na do - bis 
 
 r\» •> V* • 
 
 
 m m 
 
 m • 
 
 a 
 
 * m 
 
 r * 1* 
 
 ^ ^ 1 
 
 ^. £ fF 
 
 \ - 
 
 1 1 
 
 
 
 1 ^1 
 
 ^ « 1 
 
 •j 
 
 1 \i 
 
 ' 
 
 1 \i 
 
 1 V ' 
 
 1 ly 
 
 Ir' ■ 1 
 
 
 
 
 
 
 
 i»o- 
 
 na 
 
 no - bis, 
 
 do- 
 
 na 
 
 no ■ bis, do - na no - bis 
 
 1 ' ' 
 
 y-n -^ - 
 
 
 1 
 
 
 
 ,d 
 
 /rv4 ^ 
 
 1 
 
 -€^ 
 
 -<S! 
 
 -S — — — — 
 
 -^ 
 
 ^4—^5^ 
 
 -1S>- 
 
 -^ 
 
 -g, 
 
 -tf*- 
 
 ^S 
 
 i; 
 
 p 
 
 
 
 cres - 
 
 C^?l. - 
 
 do. 
 
 CV. 41. 
 
 •5 
 
 (n 
 
 1^ 
 
 (-5 
 
 (^ 
 
 (^ 4 
 
 ' !• a 
 
 
 
 
 
 
 
 J 4- 
 
 ■ 
 
 4- 
 
 -J 
 
 _j 
 
 A 
 
 -j 
 
 
 
 
 
 
 
 
 
 
 ^0 1 
 
 i 
 
 T 
 
148 
 
 AGNUS DEI. Continued. 
 
 ^^ 
 
 =5=5: 
 
 =•-(»-' 
 
 5^ 
 
 I 
 
 pa 
 
 cem, 
 
 do 
 
 bis 
 
 pa 
 
 ^ 
 
 5i 
 
 33: 
 
 - cem, 
 
 do - na no - bis 
 
 pa 
 
 #f^ 
 
 =J=T 
 
 ^^ h- 
 
 :tt 
 
 i 
 
 pa - 
 
 cem. 
 
 m 
 
 do - na 
 
 I S_ 
 
 bis 
 
 pa 
 
 m~ 
 
 '^?^ 
 
 "^ 
 
 ■ ?^ 
 
 i^ 
 
 i^ 
 
 '^ 
 
 •H^ 
 
 ±=i. 
 
 -•-{«-#- 
 
 ^ 
 
 i 
 
 do - na no r bis 
 
 pa 
 
 do 
 
 ^ 
 
 -a-f-^ 
 
 do - na no - bis 
 
 Pa_ 
 
 cem. 
 
 3= 
 
 ^ 
 
 do - na 
 
 - f • f 
 
 (i 
 
 9i: 
 
 - cem, do - na no - bis 
 
 h 
 
 pa 
 
 4==.- 
 
 do 
 
 I 
 
 na 
 
 ^ 
 
 
 3ZI 
 
AGNUS DEL Continued. 
 
 ,149 
 
 no- bis 
 
 
 :f^ 
 
 ■^- 
 
 no - bis 
 
 pa - 
 
 cem> 
 
 do 
 
 na na - bis 
 
 pa 
 
 i 
 
 3^: 
 
 --:^ 
 
 tet 
 
 jza 
 
 e: 
 
 -g>- 
 
 i 
 
 ^ 
 
 ^ 
 
 ?=2: 
 
 ic 
 
 5^ 
 
 -cem. 
 
 do 
 
 na no - bis, 
 
 do 
 
 no - bis 
 
 i 
 
 i: 
 
 ^ 
 
 ! > 
 
 i^ 
 
 do 
 
 na no - bis. 
 
 do • na no - bis 
 
 f 
 
 m 
 
 ^ 
 
 -*-j^ 
 
 -g — g- 
 
 :*=3i 
 
 ■ cem. 
 
 po - na no • bis. do - na no - bis 
 
 m 
 
 ^. 
 
 4- 
 
 ^^ 
 
 ^ 
 
 • *: 7 
 
 ^ 
 
 ^ 
 
 -e>- 
 
 S^ 
 
 ^ 
 K 
 
 
150 
 
 AGlfUS DEL Continued. 
 
 i 
 
 :P=4= 
 
 pa 
 
 i 
 
 -ft- 
 
 pa 
 
 ^ 
 
 ^ 
 
 9^^ 
 
 pa 
 
 cem,. 
 
 do - na no - bis 
 
 1-i-l =^ 
 
 ^ 
 
 ^ 
 
 =F 
 
 32: 
 
 i 
 
 P 
 
 
 « 
 
 feS 
 
 -•-f-p- 
 
 nc 
 
 -4- 
 
 pa 
 
 cem. 
 
 pa 
 
 cem, do - na 
 
 s 
 
 -•-^-p 
 
 *ii±i 
 
 pa 
 
 pa 
 
 =?5= 
 
 ^ 
 
 ^E 
 
 T 
 
 pa 
 
 cem, do - na no - bis pa - 
 
 ^^ 
 
 W^ 
 
 ^. 
 
 i 
 
 igC 
 
 HP-^ - 
 1—1- 
 
 i 
 
 cem, 
 
 1— 
 
 P 
 
 -«t- 
 
 ~-^ 
 
 3 
 
AaNTJS DEI. Continued. 
 
 151 
 
 i 
 
 =*=?= 
 
 d: 
 
 ^ 
 
 =C=^ 
 
 • cem, do - na no -bis pa - 
 
 1^ 
 
 cem. 
 
 do - na 
 
 =S-7- 
 
 
 •cem. 
 
 do • na ' no-bis pa • 
 
 cem. 
 
 *i= 
 
 do - na 
 
 ^ 
 
 PZ= 
 
 ^ 
 
 do - na no-bis pa • 
 
 (i 
 
 2S: 
 
 
 do - na 
 
 ^ 
 
 ^ 
 
 ^ 
 -^ 
 
 ^ 
 
 tS:*: 
 
 J. 
 
 :^: 
 
152 
 
 AttJNas DEI. Cop .I'idecL 
 
 i 
 
 ^ 
 
 -i^*-»- 
 
 1^ 
 
 
 bfc 
 
 no- bis pa 
 
 ceir, 
 
 'lo 
 
 na no -bis 
 
 pa - 
 
 I 
 
 ^ 
 
 !=3:t 
 
 r_^^-1: 
 
 -•-p-it- 
 
 no - bis pa - 
 
 cem, 
 
 do • na 
 
 no -bis 
 
 pa 
 
 BI: 
 
 =t 
 
 ^ 
 
 =^=¥ 
 
 no - bis pa 
 
 do . na no • bis 
 
 ^^ 
 
 :^^M 
 
 h=^ 
 
 P 
 
 ^ 
 
 -kt- 
 
 pa 
 
 -r 
 
 :^ 
 
 1*^3; 
 
 P 
 
 do 
 
 na no - bis pa - cem. 
 
 /TV 
 
 ts— M 
 
 ^ 
 
 ■ cem. 
 
 do 
 
 na no - bis pa • cem. 
 
 S:^ 
 
 ^ 
 
 i 
 
 do 
 
 na no - bis pa 
 
 i 
 
 ^ 
 
 :^ 
 
 /TV 
 
 I 
 
 3fc 
 
 PP 
 
 =2*: