[Illustration:

BLIND TOM'S CONCERTS.

PROGRAMME.

Classical Selections.

1. Sonata "Pathetique" Beethoven 2. " "Pastorale," Opus 28 " 3. " "Moonlight," 27 " 4. Andante Mendelssohn 5. Fugue in A minor Bach 6. " in G minor " 7. "Songs without Words" Mendelssohn 8. "Wedding March" " 9. Concerto in G minor " 10. Gavotte in G minor Bach 11. "Funeral March" Chopin 12. "Moses in Egypt" Rossini

Piano-Forte Solos.

13. "Trovatore," Chorus, Duet, and Anvil Chorus Verdi 14. "Lucrezia Borgia," Drinking Song (Fantasia) Donizetti 15. "Lucia di Lammermoor" " 16. "Cinderella," Non Piu 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 21. "Linda" 22. "Dinora" Meyerbeer 23. "Bords du Rhine" 24. "La Montagnarde" 25. "Shells of the Ocean" 26. "La Fille du Regiment" Donizetti

Fantasias and Caprices.

27. Fantasia, "Home, Sweet Home" Thalberg 28. " "Last Rose of Summer" " 29. Fantasia, "Lily Dale," for left hand Thalberg 30. " "Ever of Thee," &c. " 31. " "Carnival de Venise" " 32. Reverie. "Last Hope" Gottschalk 33. La Fontaine 34. "Whispering Winds" 35. "Caprice" Liszt 36. Fantasia, "Old Hundredth Psalm" 37. "Auld Lang Syne," and "Listen to the Mocking-Bird" (Piano-Forte Imitations of the Bird) Hoffman

Marches.

38. March, "Delta Kappa Epsilon" Pease 39. "Grand March de Concert" Wallace 40. "Gen. Ripley's March" 41. "Amazon March" 42. "Masonic Grand March"

Imitations.

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.

Descriptive Music.

54. "Cascade" 55. The Rain Storm Blind Tom 56. The Battle of Manassas "

Songs.

57. "Rocked in the Cradle of the Deep" 58. "Mother, dear Mother, I still think of Thee" 59. "The Old Sexton" 60. "The Ivy Green" 61. "Then you'll remember Me" 62. "Scenes that are Brightest" 63. "When the Swallows homeward fly" 64. "Oh! 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 "Farewell to Tom Moore"

Parlor Selections.

70. Waltz in A flat Chopin 71. Waltz in E flat " 72. Waltz in D flat " 73. Tarantelle in A flat Stephen Heller 74. "Josephine Mazurka" Heller 75. "Polonaise" Weber 76. Nuit Blanche Stephen Heller 77. Spring Dawn Mazurka William Mason 78. "Monastery Bells" 79. "California Polka" Herz 80. "Alboni Waltzes" Schuloff 81. "L'Esplanade" Hoffman 82. Anen Polka

Programme for the evening to be selected from the preceding.]



XII.

ANNA MADAH AND EMMA LOUISE HYERS,

VOCALISTS AND PIANISTS.

THE "HYERS SISTERS."—AN ACROSTIC.

"Hail, tuneful sisters of a Southern clime! Your dulcet notes inspire my rhyme: Each in your voice perfection seem,— Rare, rich, melodious. We might deem Some angel wandered 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 Daily News.

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 conversing, and soon began to sing some of the songs and to enact some of the scenes from operas, performances of which 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 they considered the gleesome antics of these embryo personators in opera. But, the little girls continuing in the presence of their relatives and playmates their performances, it was ere long discovered that they possessed no small degree of lyrical talent; that their voices, considering their tender years, were remarkably full and resonant; and that they exhibited much fondness 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 devotion 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 found necessary to place them under the instruction of others more advanced in music. Professor Hugo Sank, a German of fine musical ability, became then their next tutor, giving them lessons in vocalization 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, and were taught some of the rudiments of the German language. It is, in fact, to the rare accomplishments 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 purity 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 therefore nearly two years after leaving the immediate musical tutelage of Madame D'Ormy when these young ladies made their debut. This they did before an audience of eight hundred people at the Metropolitan Theatre in Sacramento, Cal., April 22, 1867. On this occasion, 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 Chronicle:"—

"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 Madah has a pure, sweet soprano voice, very true, even, and flexible, of remarkable compass and smoothness. Her rendition of 'Casta Diva,' and her soprano in the tower scene from 'Il Trovatore,' and Verdi's 'Forse e' lui che l'anima,' [Transcriber's Note: 'Ah, fors'e lui che l'anima'] as also in the ballad, 'The Rhine Maidens,' was almost faultless, and thoroughly established her claims to the universal commendation she has received from all the connoisseurs in melody who 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 wonderful 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 audience 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 selections. 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 rendition on the occasion just mentioned. It is from the pen of Professor John Tullidge, and is copied from "The Deseret News:"—

REMARKS ON THE HYERS SISTERS' CONCERT ON SATURDAY, AUG. 12, 1871.

BY PROFESSOR JOHN TULLIDGE.

"A portion of two scenes from the first and second acts of Donizetti's opera of 'Linda di Chamounix' occupied the whole of the first part of the concert.

"The first act opened with a recitativo e cavatina, selected from No. 4, on the words, 'Ah, tardai troppo e al nostro favorito.'

"The recitativo is in A flat major. But there are no flats or sharps in the signature: these are placed before the notes as required. 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 skipping intervals, Miss Anna accomplished the difficulty with ease, and perfectly in tune. The rapid cadence on the dominant was artistically 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 improvising 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 della partenza.' The alto takes the notes a sixth below the soprano, and her deep mellow voice produced a fine effect. The next 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 larghetto 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 register 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 Rossini's 'Stabat Mater.'

"This duet not only requires fine voices, but rapid execution also, or the rendition would be imperfect; but the sisters gave a charming interpretation to the piece.

"Part third commenced with the 'Magic-wove Scarf,' from Barnett's opera of 'The Mountain Sylph.' Barnett is a fine composer, and was theoretically educated in Germany; and, on his return, he composed the above opera. The musicians in England were much surprised when this clever author left the field of composition, 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 fairy, and falls in love with the tenor, a young Scotchman. 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 scarf 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 rendered.

"The tenor, Miss Emma, conveyed the author's meaning truly; and her imitation of that voice took her to the F sharp below the staff. This note was intoned with perfect ease.

"In Miss Anna's part there are some beautiful rouladial passages, which were delivered by the young lady smoothly and distinctly; and, when she became spell-bound by the scarf, her espressivo and energico were fine.

"The trio throughout was creditably performed, and was loudly applauded by the audience.

"'Brighter than stars soft gleaming,' from the opera 'Il Trovatore,' is a fine composition abounding in espressivo and bravura passages: the compass is also extensive, requiring great range for a baritone voice. The piece was rendered with credit by the young vocalist Le Count.

"A very choice selection from Donizetti's opera of 'Lucia di Lammermoor' followed, and was sung by Miss Anna Hyers. The first line of the English words is, 'See, 'tis the hour: how sinks the sun!' The whole of this movement is in the affetturoso con amoroso [Transcriber's Note: affettuoso e 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 rendition by the artist was all that could be required. The second movement is in D major. The words of the principal line are, 'Grow 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 intervalic skips, and finishing with an intricate florid cadenza in seconds and thirds. Many passages of the same form may be found in Handel's 'Messiah.' 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 triumph 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 Tullidge, 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-LAKE CITY, Aug. 14, 1871.

TO THE HYERS SISTERS,—We the undersigned, residents of Salt-Lake City, having witnessed your performances during your recent engagement at the theatre, and being willing to acknowledge talent wherever found, as a slight testimonial of our esteem tender you our influence and assistance in making a remunerative benefit, to take place at the Salt-Lake Theatre at such time as may suit your convenience.

JOS. R. WALKER. A.W. WHITE. WELLS, FARGO, & CO. (Per C.F. SMITH.) JNO. CUNNINGTON. J.B. MEADER. M.H. WALKER. A.M. MORTIMER. JNO. MANN. S.A. MANN. A. BENZON. D. CANDLAND. J.C. LITTLE. TILDEN & LAWRENCE. B.G. RAYBOULD. JAS. SMITH. N.S. GOULD & SON. SEIGEL BROTHERS. TAYLOR & CUTLER. H.O. PRATT. HOOPER, ELDREDGE, & CO. WILLIAM M. JOHNS. ROBERT K. REED. CALDER BROTHERS. PROFESSOR THOMAS. JOS. J. DAYNES. HUGH W. McKEE. R. ROSS. THOMAS FITCH. JNO. T. CAINE. W.F. ANDERSON. MARK CROXALL. J.F. HAMILTON. CAPT. SHAW. G.W. LEIHY. F.T. WISWELL. TEASDEL & CO. H.S. BEATTIE. JNO. L. BURNS.

To this the following reply was returned:—

SALT-LAKE HOUSE, Aug. 15, 1871.

Messrs. WALKER, TILDEN, A.W. WHITE & CO., HOOPER, ELDRIDGE, & CO., AND OTHERS.

Gentlemen,—Your esteemed favor is before us; and, gratefully accepting your high compliment to our humble endeavors, we respectfully name Thursday, Aug. 17, as the time of the proposed benefit at the Salt-Lake Theatre.

Respectfully,

HYERS SISTERS.

While 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 attendance 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 respectively 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 confess 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 exhibited in wonderful range; and, in the tower-scene from 'Il Trovatore,' its great power was singularly and very agreeably apparent.

"We do not remember to have been more completely and agreeably surprised than we were last evening in the matchless excellence 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 intense excitement, especially among people of the highest musical culture. The extraordinarily high range 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 achievement 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 concert 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 public, been the recipients of the most flattering testimonials; and are warranted in saying, not without the best claim to them, the exhibition 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 execution 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 his troupe. This he did by engaging the services of Mr. Wallace King of Camden, N.J., a gifted and accomplished tenor-singer; Mr. John Luca, widely and favorably known from his connection formerly with the 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 concerts:—

[Illustration:

THE GREATEST MUSICAL PHENOMENA OF THE AGE!

THE FAMOUS CALIFORNIA VOCALISTS,

THE

HYERS SISTERS!

(COLORED.)

MISS ANNA MADAH HYERS Soprano AND MISS EMMA LOUISE HYERS Contralto and Tenore ASSISTED BY MR. WALLACE KING Tenor AND MR. JOHN LUCA Baritone

AND THE GIFTED PIANIST,

A.C. TAYLOR.

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 them, and judging for themselves. The music they sing is always of the highest order, and their selections are from the most difficult and classical pieces that have been sung by the most accomplished artists.

MR. WALLACE 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 in admirable style, both in songs and concerted music.

MR. A.C. TAYLOR (pianist and accompanist). This gifted artist, besides being an excellent accompanist, is also a solo-player of great promise. He has had the honor of playing before the most critical audiences of New York and Boston; and it is predicted by our leading musicians he will rank with the first pianists of the day.]

As will be seen by the comments drawn from the press, which have been already and which will be hereafter 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 are 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 'Il Trovatore,' which was skilfully rendered by the sisters, Miss Emma singing 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 admirable qualities of 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 Steinway Hall. 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 'Trovatore;' the last being the 'Miserere,' which called forth hearty applause."

"The Evening Telegram" alluded to them in the following complimentary terms:—

... "The selections last evening embraced a high order of music, operatic and otherwise; and were rendered with a taste and grace that 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 Brooklyn 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,"

"Not 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 young 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 rendering 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 all along from California to New York, and despite the fact that their journey had thus far been marked by a continual series of triumphs,—the thick walls of color-prejudice everywhere yielding before the force of their rare musical abilities, their almost marvellous sweetness of song,—they now approached with feelings somewhat akin to dread the "modern Athens," that acknowledged centre of musical and general aesthetic culture, Boston, whose critical audiences ever receive coldly, at first, all newcomers, 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 appeared at Tremont Temple before a select circle of musical connoisseurs. At this test performance, Mr. Eben Tourjee, Mr. P.S. Gilmore, and others of the highest musical ability in Boston, were, by invitation, 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 his 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 papers 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 hear 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 inspection, may be called musical prodigies. They are, without doubt, destined to occupy a high position in the musical world.

"Anna sings not only alto, but tenor, and both with great excellence. They sang 'Ah forsetui' [Transcriber's Note: 'Ah, fors'e lui'] from 'Traviata,' 'M'appari' from 'Martha,' and the 'Miserere' from 'Trovatore,' each with remarkable clearness and accuracy, and surprised all with the general skill they displayed. Anna has also the faculty of reaching E flat above the staff. Judging from present data, they 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 public press; and their subsequent performances in Boston created, 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 Masnadieri,' '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 satisfaction. 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 skilled in the highest technique of the musical art could detect. All such suggestions were readily received by the young ladies, who, acting upon the same, made much advancement in the technical requirements of the lyrical art. They lingered long in Boston, being loath to leave its congenial art-circles, and to leave behind its many facilities for improvement in their profession.

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 confirmed, in words of highest praise, the verdict of the West and of New York.

A writer in "The Springfield (Mass.) Republican" thus 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 Hyers 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 company 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 in the following complimentary manner:—

"A larger audience than that of last Saturday evening greeted the Hyers sisters at Mechanics' Hall last evening. The programme was a new one, with the exception of the 'Greeting to Spring,' which was repeated by request, and was enthusiastically received. The 'Excelsior' of Messrs. King and Luca, the 'Cavatina Linda' of Miss Anna Hyers, the 'Sleep Well' of Mr. King, and the 'Non e'ver' [Transcriber's Note: 'Non e ver'] of Miss Emma Hyers, were encored, as well as nearly all 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 great 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 history of our pleasure-seeking has it been our good fortune to enjoy an hour of such exquisite pleasure as we were blessed with 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 orchestra 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, all under the management and conductorship of that fine musician and prince of gentlemen, Mr. Napier Lothian, leader of the 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 highest 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 accomplished 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 sing always to large and delighted audiences. "In Lewiston," says "The Folio," "they received at a concert 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 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 acting in a drama called "Out of Bondage," written expressly for them by Mr. Joseph B. Bradford of Boston. The drama is in four acts; comprehends four phases in the life of a freedman, beginning in slavery, and continuing through to his attainment of education and refinement; and is full of interesting incidents. Their success in this new field has already, in the smaller places in New England, been great; and it is the intention 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 talented 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 believing that these versatile young ladies may, after a short course of training under the best masters of Europe, easily attain to the highest distinction on the operatic stage.



XIII.

FREDERICK ELLIOT LEWIS,

PIANIST, ORGANIST, VIOLINIST, ETC.

Like the honey-making bee, Passing from flower to flower, Tasting and gathering the sweets 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 following 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 instrumental performance, will be readily admitted as, to say the least, most extraordinary.

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-instruments. Indeed, you can scarcely bring to this remarkable musician an instrument upon which in tasteful and artistic manner he cannot perform.



It is not my purpose, however, to present him here as a musical "prodigy," nor as one of those rather abnormal, supernatural beings who astound their hearers by playing upon an instrument almost at sight, without previous study, or without observable method; playing, as it would seem, from a kind of instinct. I 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 intelligent 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 instruments—on two or three of which he excels as a performer, 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 all about its structure, the theory concerning its qualities, its tone-producing capabilities; 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 instruments he plays, but also knows so much in regard to their mechanism, that, when out of order, he can generally 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 furnished. A few choice pictures hang on the walls: but here, there, and everywhere are to be found the emblems and accessories 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 varieties 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 baton, to play the leading part, or with pleasing compliance to play in a subordinate 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 his 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 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 quite fond of conversing on general music; with which subject he is very familiar, and is ever interesting and instructive 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 proficient, and in treatment delightfully eloquent. As may be inferred from the foregoing, Mr. Lewis is in his manners extremely affable and easy. He charms his visitor by his simplicity, modesty, and freedom from that conceit which might be perhaps expected from one so wonderfully 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 affections mild; In wit a man, simplicity 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; for I wish, as I ought, to entirely disassociate him from the mere pretenders to whom, in general, I have just referred. But to him the title surely belongs; and there is no competent judge, who, when made aware of the great talents and acquisitions, theoretical and practical, of Mr. Lewis in the science of music, will not cheerfully accord it to him. Mr. Lewis does not encourage 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 profession 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 music; but it was not until he was eleven years old that he began its real study. This he did under his mother's direction, taking lessons on the piano-forte. At this time he found the study of music difficult, and the acquirement of its scientific rudiments was to him dry work. In one year, however, its charming 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 became ambitious to excel.

After studying for some time the piano, and becoming, for one of his years, quite proficient as a performer, he began to take lessons on the organ under the direction of Miss R.M. Washington, an accomplished teacher of that instrument, 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 harmonic 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 possible 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 wonderful mechanism.

With this latter purpose in view, he visited the extensive 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 while, this 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 offered for sale. Besides, he sometimes offered suggestions in regard to their construction before the organs were completed, some of which suggestions were adopted by the firm. It will thus be seen that our student 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.

With 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 instrument. Becoming enamoured of the tones of that sweet and soul-expressing instrument, using in his work only music of the highest 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 performers, he rapidly advanced as a pleasing and scholarly violinist, and made his first public appearance as a soloist at New Bedford, Mass., in 1861. About this time, having attained to a fine degree of general proficiency in music, and having overcome to some extent a certain shyness and timidity which had hitherto characterized him, he accepted invitations to appear in the best musical circles in Boston, and to take part occasionally in public performances there. This served to increase his desire to learn even other instruments, and caused him to study successively many of the pieces that are comprised in the formation of a large orchestra or a military 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 the 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 age of fifteen, our subject was considered quite a competent performer on the piano-forte, the organ, and the violin; and that at that early age he began to teach the playing of these instruments.

Although his talent and acquirements are displayed more 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. Gilmore, 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 accomplishments, 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 instrument, whatever it may be, while his own regular place may be taken by the next first violinist in rank.

He has performed on several great occasions, notably 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. This test he stood so well, indeed, as to elicit from the superintendent, in the warmest manner, the comprehensive exclamation, "Lewis, you are a musician!" At the grand testimonial concert tendered P.S. Gilmore (the projector of the two great "Jubilees") at the Boston Theatre, prior to his going to New York to reside, Mr. Lewis appeared in a selected orchestra, and contributed not a little to the success of that interesting 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 will 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 relinquish 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 while ago, said,—

"Mr. Lewis is an amateur performer of marked ability."

"The Boston Journal," June 11, 1874, said,—

"Mr. Lewis gained much applause for his violin solos; and a duet and also a sonata by Mozart, for violin and piano, were well received."

"The Boston Globe," April 16, 1874, said,—

"Mr. F.E. Lewis, violin soloist, appeared once on the list, and 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 gentleman, that their warmest admirers and friends are found among those of the same calling. 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 Mr. Lewis as a musician, from Mr. L.R. Goering, a skilful orchestra leader, member of that fine body of musicians, 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:—

"I look upon him as a person of remarkable musical ability. His performance on the violin, viola, violoncello, double-bass, clarinet, and also brass instruments, 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 his 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 still another (which, perhaps, in character ranks higher than any of the others): I mean the church-organ, upon which he also plays."

This writer, like all the others mentioned, could not refrain from closing his letter by a very handsome reference 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 gentlemanly, Christian deportment; genial in manners,—so amiable, as to be almost without an enemy; of very 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 wonderfully talented musician,—one whose charming qualities fill 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 face."

LOVELACE.

"And thence flows all that charms or ear or sight; All melodies the echoes of that voice."

COLERIDGE.

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 strains of the voiceful violin; while the musical moanings of the violoncello have caused them to experience feelings of a tender sadness.



I saw this exemplified, when, a short while ago, I listened with rapt attention to the marvellously sweet singing 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 its pure, melodic, and at times human-like voice, so replete 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 described: and I think, that although the lines of Cowper, previously quoted, may refer to the effect of musical 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, with aid of music's charm, breathes to soul its joys, its pathos, its inmost longings,—touching indeed the unseen,

"The electric chain wherewith we are darkly bound,"

while 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 musical 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 instruction, that appeal to his mind, and touch his heart; thus doubly enchaining his interest, and enhancing his pleasure. Moreover, to the mere charm of resonant vocalization is added the one afforded by a warm, a living presence; the speaking eyes (so aptly called the "windows of the soul"), with their glowing, magnetic expression, and the effective gesture, forming together pleasure-giving elements that must ever be wanting in 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 considerable extent, even by the singer of ordinary abilities. But by a beautiful cantatrice, gifted with a pure, resonant, sympathetic voice, its natural sweetness and power supplemented by careful artistic cultivation, possessing a pleasing, unaffected manner of appearance and expression, 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 admiration 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 uses in her performance add to the pleasure of, as they satisfy, the aesthetic 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 constant delight for many persons in private circles and public audiences, I may confidently mention Nellie E. Brown of Dover, N.H.,—a lady who within a very few years has, by the great beauty of her voice, and the exhibition of many noble qualities of heart and mind, won a name of which she and all her many admiring friends may be justly proud.

At quite an early age Miss Brown evinced a fondness for music, the slightest sounds of which readily attracted 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 and 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 in Dover, Miss Caroline Bracket, a teacher in the same, noticing that Miss Brown possessed a naturally superior voice, earnestly advised its fullest cultivation. This lady became her first music-teacher. Diligently pursuing her studies, she made rapid progress. Being 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 choir 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, the members of Grace Church, Haverhill, Mass, earnestly 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 Haverhill. This very complimentary invitation she accepted; and for four years her fine singing and engaging manners rendered her deservedly popular with the members and attendants of the church mentioned,—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 accomplished vocalist. They say that they will yet have her back with them. At present, Miss Brown is directress of the choir in Dover which I have just mentioned.

I have 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 achievements have not been made alone in the positions and places mentioned: in others, near and far, she has displayed such abilities as a songstress as to have won golden opinions of those composing her many large and cultivated audiences, while the press have awarded her the highest praise.

While a leading member of the choirs before alluded to, and while 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: "My motto is 'Excelsior.' I am resolved to give myself up wholly to the study of music, and endeavor, in spite of obstacles, to become an accomplished artist." It may be observed, that none but those who are actuated by the most noble motives, and who give utterance to 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 within 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 concerts of that institution that were held in Music Hall. Here on two occasions, before large and highly-cultivated audiences, with beautiful voice, correct method of expression, and ease and grace of stage deportment,—singing, in Italian, music of a high order,—Miss 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 making her one of Boston's favorite cantatrices.

In order that the opinions heretofore given in regard to Miss Brown's vocal abilities and artistic accomplishments may be shown not to be exaggerated, I now desire to append some of the notices which her performances have elicited from the press of New England and other sections of the country. And here I am confronted 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 properly 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 high but always discreet praise of the artist whose performances, in the main, called them forth; 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 attempting 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 accomplished devotees, might well be considered by herself and many admiring friends as of most inestimable value.

The following have reference to Miss Brown's appearances in Boston during the musical season of 1874:—

Said "The Boston Traveller," April 16,—

"Miss Nellie E. Brown has for some months been the leading soprano at Grace Church, Haverhill, Mass.; which position she has filled with eminent acceptance, and with marked exhibition of artistic powers."

And the same paper at another 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 she exhibited excellent style and finish."

"The Globe," March 31, said,—

"Miss Nellie Brown showed a particularly well-modulated voice, trained study, and appreciative method, which served her well in the pleasant rendering given by her so gracefully and unaffectedly."

The same paper, after alluding to her rendition of "Del Criel Regina," [Transcriber's Note: 'Del Ciel Regina'] said,—

"This lady is fortunate in her exceedingly sweet and well-trained voice, which, in conjunction with her fine personal appearance and stage manners, rendered her reception unusually enthusiastic."

Speaking of an entertainment given at Parker Memorial 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 trained."

"The Transcript," April 16, said,—

"A soprano of good voice and cultivation."

"The Journal," June 13, 1874, said,—

"A talented vocalist, with a well-cultivated voice of a remarkably fine quality. She pleased very greatly in several selections."

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."

The 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 awarding 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 City Hall last evening by Miss Nellie 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 of her music. She was enthusiastically encored."

"The Dover Enquirer," Sept. 7, 1876, said,—

"The organ and vocal concert at the new Methodist-Episcopal church 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 concert. 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 Haverhill people all the same. It was intended as a pretty tribute to one of the best singers in New England; and, so far as the act itself was concerned, it stands just as well as though the presentation had taken place."

Miss Brown has sung in quite a number of the larger towns and cities of Massachusetts, in which State she is scarcely less a favorite than in New Hampshire. She has appeared at concerts in company with some of the most eminent artists of the country (such as, for instance, 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 several of the papers of that city.

"The Gazette," Nov. 4, 1874, said,—

"Miss Nellie Brown, born and bred among the lulls of New Hampshire, possesses a voice of rare power and beauty, which she has diligently labored to cultivate and improve by close and unremitting study. She has also a rare charm of manner, which, united with her exquisite singing, won for her an enthusiastic reception."

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. Her stage presence is quite prepossessing. She sang 'Salve Maria,' and 'Robert toi que j'aime,' with very good effect, besides assisting in several duets and quartets. She possesses a very good voice; and, although of light calibre, it is even now able to fill a hall like Steinway."

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 capital, 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 faultless execution which graced her performance. It being her first appearance 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 powers, but not envying those of others; loving music intensely, as something sacred, and always anxious to aid in extending its benign influence. The people 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 many good objects.

As one among her many acts to benefit the young, to inspire them with a love of the beautiful in music, I may refer to the "Centennial Musical Festival" originated by her, and given under her direction in Boston on the evenings of May 16 and 17, 1876. For these occasions she had carefully instructed fifty young girls to perform the beautiful cantata of "Laila, the Fairy Queen," a juvenile operetta. This charming composition 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 summer day in singing, gathering flowers, and feasting around their table spread beneath the shadowy branches of the trees. They are interrupted by the approach of a beggar-woman and her children. A part of the children at first repulse her, offended at having their joyous festival thus interrupted: but one of them, Laila, steps forth with a mild rebuke to her playmates for their unkindness: she welcomes the poor mother and children, and bids them make known their wants. The other children soon join with Laila in speaking kindly to the poor wanderers; and, after they have told them their tale of sorrow, they are invited to the feast which the children have prepared, and all together go out with a merry song to where the table is spread. But Laila, the favorite of all, wandering off alone to cull 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 from her good angel, when suddenly a little band of fairies with their queen glide into her presence, glittering in their robes of beauty; and, after her surprise is over, at her entreaty they conduct her to her playmates.

"The mountain children soon miss Laila, 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 expressing their grief and terror at the loss of Laila, when she is led in by the fairies and their queen, who steps forth, and announces to the children that they are the same ones, who, disguised as 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 song, and Laila is crowned their queen."

The many persons who were so fortunate as to witness 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 painstaking 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, under 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 greatly 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.

"The Haverhill Bulletin," Dec. 14, 1876, said,—

"The presentation of the operetta of 'Laila' at City Hall, on Wednesday evening, was a very gratifying success.... The whole affair was under the direction of Miss Nellie E. Brown, the popular soprano of Grace Methodist-Episcopal Church. She was assisted by 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 Wellesley, one of the famous Thousand Islands, in 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 conducted, 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 charming singing was made the subject of frequent and very complimentary allusion by newspaper correspondents 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 times creditably mentioned.

The following is one of many like notices which the musical exercises mentioned elicited:—

... "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 this 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 winning naivete, enters wholly into the spirit of the song, and with a full, pleasing voice, impresses deeply its melody and meaning upon the hearts of her hearers, thus exhibiting the highest kind of lyric 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 achievement, we are ever prone to attribute the same to mysterious or fortuitous circumstances), let him be assured that there is really no "secret" about it. Miss Brown, no doubt, commenced her career with much musical talent, and Nature was otherwise kind to her: but 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 praiseworthy achievements. Indeed, Nature's generous bestowment 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 permit 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 position as a vocalist, Miss Brown has had the warmest sympathy and active co-operation of loving parents and an accomplished brother.[12] Nor should I in this connection 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 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 mentioned, when he predicts, that if Miss Brown shall continue to exhibit in the future, as in the past, the same conscientious, ambitious devotion to her chosen profession, she is destined to take rank with the world's greatest singers.

[Footnote 12: 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. Unfortunately, in 1875 he died.]



XV.

SAMUEL W. JAMIESON,

THE BRILLIANT YOUNG PIANIST.

"While a skilled artist's nimble fingers bound O'er dancing keys, and wake celestial sound."

JULIAN.

"Nor Fame I slight, nor for her favors call: She comes unlooked for, if she comes at all."

POPE.

"The entertainments at Parker Memorial Hall on 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 without its use in the world even now. Another evening Mr. Jamieson awoke the echoes of the piano in a manner 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 in "The Commonwealth," alluding to the accomplished pianist, Samuel W. Jamieson.

In the comparison here made, so highly complimentary to our subject, this writer does not stand alone; for the remarkably fine execution of Mr. Jamieson has often drawn from other piano-students praise none the less flattering; while his mastery of so many of the difficulties that are connected with 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 such brilliant proficiency (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 lessons 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 pianist. He has been a pupil of the Boston Conservatory; from which classical institution he graduated in honor in 1876, receiving its valuable diploma.