"A reporter of 'The San Francisco Chronicle,' who recently visited the industrial school, was very much impressed by what he saw and learned there concerning not only the taming, but the reforming and refining influence of a 'concord of sweet sounds.' Attached to the institution is a music-teacher, who has at all times in active training a number of boys, who perform on the various 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 very short space of time mastered the notes sufficiently to be able to read a tolerably hard score or piece of music. This seemed to him like a phenomenal phase, and he can only account for it on the ground that a 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 centuries been considered necessary for the proper worship of God. The harmony that issues in grand and melting 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 choir or by all the congregation,—these cause the sordid world with all its cares and wild passions to be for the while forgotten, and the soul, charged with the influences of divine harmony and most holy aspiration, is lifted to heaven. And so music, with its gentle, its ever-winning power, has constantly been used by the churches to secure the attendance of those who without it had been indifferent. This has been especially 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 baptism 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 finally, 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, especially 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, in united song, or in some other form of pleasing harmony; 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 Beethoven!

Most persons have remarked the superior affability, the polish of manners, that distinguishes the people of France. It is also observable that this nation is much devoted to music; that which is produced by their own composers, and most in use by the people, being usually of the graceful, brilliant style. An eminent French writer states, that, for the possession of these pleasing characteristics, this nation is indebted to that ancient order of musicians, the troubadours, whose musical qualities, politeness, and other winning graces, laid the foundation of the same.

It is said that the ancient Egyptians held music in such high esteem that they employed it as a remedial agent, believing it a sure cure for certain kinds of disease. 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 fanciful 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,—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, moreover, 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 malady, 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 correct,—the statement in the Bible, that David drove away this evil spirit by his skilful playing upon the harp, becomes easy to understand, since the occurrence is thus divested of its miraculous character.

But I must not fail to notice here the remark sometimes 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 human 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 classed with the conscientious, loving student of the art. Some among the former, gifted with phenomenal voices or with rare powers for instrumental performance, having reached, perhaps, with a few easy strides, their high positions, and caring but little for music save as it ministers 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 conscientiously seeks to know music's manifold beauties, and who with real appreciation for the beautiful in art, loving music for 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 thoroughness so necessary to a real comprehension and enjoyment of the art. Nearly all intelligent parents are frequent, and even fulsome, 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 history of music; hates classical works; knows few of the masters' names save Verdi, Donizetti, Offenbach, and Mozart, the latter only as the composer of 'Don Giovanni.' Gregorian or Latin chants convey no especial meaning to her mind: all she can tell you about them is that they are used in church. As for orchestration, scoring, and such like, they are only fit matters for professionals. She will call Wagner horrid, Gounod lovely, Mendelssohn dull, and Beethoven pretty, without knowing why she likes or dislikes any thing. She yawns at an oratorio, is bored at a concert, and only enjoys opera because she knows everybody that sits in the boxes."

Besides, I think a mistake is made in compelling girls to learn to play only the piano-forte. There are other instruments, for performance upon which many of them have talents. Nor need such performance detract from a graceful, ladylike appearance. I mention, 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 article recommending the violin as an instrument peculiarly appropriate for the use of ladies. It protests against the custom of teaching 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 referred 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 whatever way they choose. If taste or fancy incline them to wind-instruments, why should they not try them?"

Mr. Dwight, in his "Journal of Music," very justly and considerately discourses of the utility of violin accomplishment, and the adaptability of the instrument to womanly practice. He says,

"We have always wondered, that in a community where so much 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, the art of playing on the violin. The piano, to be sure, is a more representative 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, &c., is the more social instrument, bringing together groups of kindred spirits who can play in parts, and read together the quartets, &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 worthier of a manly aspiration. If it is often only vulgar fiddling, it is, on the other hand, with those truly schooled, the most gentlemanly of instruments. And we maintain that it is equally the most womanly. We have many times expressed our interest in female violinists. Who that has seen and heard Camilla Urso, or Teresa Liebe, or Mr. Eichberg's accomplished pupil, Persis 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 young woman skilfully 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 therefore 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 his fellows a knowledge of the 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 estimation 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 conspicuous 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 nation."



V.

ELIZABETH TAYLOR GREENFIELD,

THE FAMOUS SONGSTRESS;

OFTEN CALLED

THE "BLACK SWAN."

"A damsel with a dulcimer In a vision once I saw: It was an Abyssinian maid; And on her dulcimer she played, Singing of Mount Abora."

COLERIDGE.

"Hovering swans....

Carol sounds harmonious."

CALLIMACHUS' Hymn to Apollo.

In giving a brief sketch of the life of the celebrated cantatrice, Miss Greenfield, the writer is somewhat embarrassed by the amount and richness of the materials at his command. For it would require far too much space to give all, or even a considerable portion, of the many press notices, criticisms, incidents, and the various items of interest, that are connected with her remarkable career; while to judiciously select from among the same a few, so that, while justice is done the subject, the interest of the reader may not be lessened, is far from being an easy task, albeit it is a pleasant one. I find, indeed, that the pages of the public journals fairly teemed with praises of the great prima donna, as she was frequently called by them. The musical world was startled, intensely delighted, electrified, by her notes of sweetest melody. Her magnificent voice, in its great range in both the upper and lower registers, was regarded as nothing short of wonderful. Those who at first were incredulous soon became convinced of this, and were fairly taken captive; while the always friendly ones, especially those with whom Miss Greenfield was most closely identified, felt the keenest pleasure and most unbounded pride in her great triumphs.



All this was chronicled by the press, and formed the theme of constant conversation and correspondence. Many testimonials from persons in this country skilled in music and of fine general culture, as well as others from the Queen of England and several of the English nobility, were among her rich possessions, and were so great in number and so flattering in character as to have made hers almost, if indeed not altogether, an exceptional case.

These strong evidences of approval did not, however, make Miss Greenfield vain. The natural simplicity of her character remained unchanged. All the many exhibitions of great public and private admiration, and the praises that her performances constantly evoked, 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 amidst them all this noble lady and artist was ever 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 contemporaries,—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 "Biography," I proceed to give the following sketch of the career of this remarkable queen of song.

Elizabeth Taylor Greenfield, better known perhaps by her musical sobriquet, the "Black Swan," was born in Natchez, Miss., in the year 1809. When but a year old she was brought to Philadelphia by an exemplary 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 year 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.

"Previous to the death of this lady, Elizabeth had become distinguished in the limited circle in which she was known for her remarkable 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 almost invincible. At first she taught herself crude accompaniments 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 physician, 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 circumstances which formed the era of her life. Her pulses quickened as she stood and watched the fair Anglo-Saxon fingers of her young patroness run over the keyboard of a full-toned piano-forte, eliciting sweet, sad, sacred, solemn sounds. Emotion well-nigh overcame her; but the gentle encouragement of her fair young friend dissipated her fears, and increased her confidence. 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 unperceived stood gathered behind her. The applause which followed the first trial before this small but intelligent audience gratified as much as it embarrassed her, from the unexpected and sudden surprise. She not only received an invitation to repeat her visit, but Miss Price, for a reasonable compensation, undertook her instruction in the first rudiments of music. The progress of genius is not like that of common minds. It is needless 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 guardian. Elizabeth was rapidly acquiring an acquaintance 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 presence, 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." Elizabeth did so; and, when she had concluded her song, she was astonished to hear the kind lady say, "Elizabeth, whatever thee wants thee shall have." From that time her guardian was the patroness of her earnest efforts for skill and knowledge in musical science.

She began to receive invitations to entertain private parties by the exhibition of the gift which the God of nature had bestowed.

"Upon the death of her patroness, in consequence of the contested 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 Seneca, 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, especially the noble Mrs. Gen. P., feeling that the power and sweetness of her voice deserved attention, urged her to sing again, and were not satisfied until five or six more songs were given to them. Before reaching 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 herself 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 later, 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 Association; and her performances were received with marks of approbation from the best musical talent in the city, that established her reputation as a songstress. 'Give the "Black Swan,"' said they, 'the cultivation and experience of the fair Swede or Mlle. Parodi, and she will rank favorably with those popular singers who have carried the nation into captivity by their rare musical abilities. Her voice has a full, round sound, and is of immense compass and depth. She strikes every note in a clear and well-defined manner, and reaches the highest capacity of the human voice with wonderful ease, and apparently an entire want of exertion. Beginning with G in the bass clef, she runs up the scale to E in the treble clef, and gives each note its full power and tone. She commences at the highest note, and runs down the scale with the same ease that she strikes any other lower note. The fact that she accomplishes this with no apparent exertion is surprising, and fixes at once the marvellous strength of her vocal organs. Her voice is wholly natural, and, as might be expected, lacks the training and exquisite cultivation that belong to the skilful Italian singer. But the voice is there; and, as a famous maestro once said, "it takes a hundred things to make a complete singer, of which a good voice is ninety-nine." If this be so, Miss Greenfield is on the verge of excellence; and it remains for the public to decide whether she shall have the means to pursue her studies.'"

To several gentlemen in Buffalo belongs the credit of having first brought out Miss Greenfield in the concert-room. 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 the following certificate:—

BUFFALO, Oct. 30, 1851.

Mr. H.E. HOWARD.

Dear Sir,—At your suggestion, for the purpose of enabling Miss Elizabeth T. Greenfield to show to her Philadelphia friends 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 residence of Gen. Potter, with whose family she had become somewhat 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 generally, is a strong desire to hear her again.

Respectfully yours, &c.,

G. REED WILSON.

Rochester next extended an invitation for her to visit that city. We copy the invitation:—

"The undersigned, having heard of the musical ability of Miss Elizabeth T. Greenfield of the city of Buffalo, and being desirous 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 afford a satisfactory entertainment to our citizens." (Signed by a large number of the most respected citizens of Rochester.)

ROCHESTER, Dec. 6, 1851.

This evening, in Corinthian Hall, the anticipated entertainment 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 Buffalo, "The Express" says,—

"On Monday, Parodi in all her splendor, sustained by Patti and Strakosch, sang at Corinthian Hall to half a house. Last night 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 vocalists 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 performance was received with marked approbation and applause from those who knew what to applaud."

Another city paper says,—

"Much has been said and written of this personage since she was introduced to the public as a musical prodigy. All sorts of surmises and conjectures have been indulged in respecting the claim put forth of her merit; and generally the impression seemed to prevail, that the novelty of 'color' and idle curiosity accounted more for the excitement raised than her musical powers. Well, she has visited our place, and given our citizens an opportunity of judging for themselves. We are ignorant of music, and unqualified to criticise. But a large audience was in attendance at Ringueberg Hall last evening: among those present were our musical amateurs; and we heard but one expression in regard to the new vocalist, and that was wonder and astonishment at the extraordinary power and compass of her voice; and the ease with which she passed from the highest to the lowest notes seemed without an effort. Her first notes of 'Where are now the hopes?' startled the whole audience; and the interchange of glances, succeeded 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 different pieces. Suffice it to say, that there never was a concert given in this town which appeared to give more general satisfaction; and every person we met on leaving the hall expressed their entire approbation of her performance. No higher compliment could be paid to the 'Swan' than the enthusiastic applause which successfully greeted her appearance, and the encore which followed 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, consisting of some of Jenny Lind's most popular songs.

"The concert on Thursday evening was what in other cases would have been called a triumph. The house was full, the audience a fashionable one, the applause decided, and the impression made 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 assiduity to the cultivation of her extraordinary powers, and has attained great proficiency in the art which is evidently the bent of her genius. By her own energy, and unassisted, she has made herself mistress of the harp, guitar, and piano. We are informed that the proceeds of the entertainment this evening are to be wholly appropriated to the completion of her musical education in Paris under the world-famed Garcia. We predict for Miss Greenfield 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, however, before their wonder and astonishment were manifest in an interchange of glances and words of approval; and the hearty applause that responded to the first verse she sang was good evidence of the satisfaction she afforded. The aria, 'O native scenes!' was loudly encored; and in response she gave the pretty ballad, 'When stars are in the quiet sky.'"

The Buffalo "Commercial Advertiser" says,—

"Miss Greenfield is about twenty-five years of age, and has received 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 wonderful, especially for a female voice; and in these she far excels any singing we have ever heard.

"We learn that this singer (soon to become celebrated, we opine) will give a concert in this city on Thursday next. There is no doubt that the novelty of hearing a colored woman perform the most difficult music with extraordinary ability will give eclat to the concert. All representations unite in ascribing to Miss Greenfield the most extraordinary talents, and a power and sweetness of vocalization that are really unsurpassed."

"The Daily State Register," Albany, Jan. 19, 1852, said,—

"THE 'BLACK SWAN'S' CONCERT.—Miss Greenfield made her debut 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 prejudice. 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 only 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 voice, or power of lung, but want of training alone. If her present tour proves successful, as it now bids fair to, she will put herself under the charge of the best masters of singing in Europe; and with her enthusiasm and perseverance, which belong to genius, she cannot fail to ultimately triumph over all obstacles, and even conquer the prejudice of color,—perhaps the most formidable one in her path.

"She plays with ability upon the piano, harp, and guitar. In her deportment she bears herself well, and, we are told, converses with much intelligence. We noticed among the audience Gov. Hunt and his family, both Houses of the Legislature, State officers, 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 pleasure 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 unhesitating decision.... She is a nondescript, an original. We cannot think any common destiny awaits her."

"The Evening Transcript," Boston, Feb. 4, 1852, 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 vociferously applauded and encored in every piece. She sings with great ease, and apparently without any effort. Her pronunciation is very correct, and her intonation excellent. Her voice has a wonderful compass, and in many notes is remarkably sweet in tone."

From "The Daily Capital City Fact," Columbus, O., March 3, 1852:—

"Last evening proved that the 'Black Swan' was all that the journals say of her; and Miss Greenfield stands confessedly before the Columbus world a swan of excellence. She is indeed a remarkable swan. Although colored as dark as Ethiopia, she utters notes as pure as if uttered in the words of the Adriatic."

From "The Milwaukee Sentinel," April, 1852:—

"What shall we say? That we were delighted and surprised? All who were present know that, from their own feelings. We can only say, that we have never heard a voice like hers,—one that with such ease, and with such absence of all effort, could range from the highest to the lowest notes."

Said a Rochester (N.Y.) paper of May 6, 1852,—

... "The magnificent quality of her voice, its great power, flexibility, and compass, her self-taught genius, energy, and perseverance, combine to render Miss Greenfield an object of uncommon interest to musicians.

"We have been spell-bound by the ravishing tones of Patti, Sontag, Malibran, and Grisi; we have heard the wondrous warblings of 'the Nightingale;' and we have listened with delight to the sweet melodies of the fair daughter of Erin: but we hesitate not to assert, that, with one year's tuition from the world-famed Emanuel Garcia, Miss Greenfield would not only compare favorably with any of the distinguished artists above named, but incomparably excel them all."

"The Globe," Toronto, May 12-15, 1852, said,—

"Any one who went to the concert of Miss Greenfield on Thursday last, expecting to find that he had been deceived by the puffs of the American newspapers, must have found himself most agreeably disappointed....

"After he [the pianist] had retired, there was a general hush of expectation to see the entrance of the vocalist of the evening; and presently there appeared a lady of a decidedly dark color, rather inclined to an embonpoint, and with African formation of face. She advanced calmly to the front of the platform, and courtesied very gracefully to the audience. There was a moment of pause, and the assembly anxiously listened for the first notes. They were quite sufficient. The amazing power of the voice, the flexibility, 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 clearness 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 appearance of effort, or without any breaking. She can, in fact, go as low as Lablache, and as high as Jenny Lind,—a power of voice perfectly astonishing. It is said she can strike thirty-one full, clear notes; and we could readily believe it."

From a Brattleborough (Vt.) paper, June 23, 1852:—

"The 'Black Swan,' or Miss Elizabeth Greenfield, sang in Mr. Fisk's beautiful new hall on Wednesday evening last to a large and intelligent audience.

"We had seen frequent notices in 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 unaccustomed 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 testimonials and criticisms touching the singing of this remarkable performer, that filled the public journals during her career in the United States. I believe, however, that I have given quite enough to show that her noble gifts of voice, and beauty of execution, were of the rarest excellence, while in some notable respects they had never been equalled. Let it suffice to say also, in regard to the excerpts given, that they are but fair samples and reflections of the opinions entertained and expressed by the press, and by music-loving, cultured people, everywhere Miss Greenfield appeared.

After singing in nearly all the free States, she resolved to carry out her long-entertained purpose of visiting Europe, in order to perfect herself in the technique of her art. Learning of her intentions, the citizens of Buffalo, N.Y., united in tendering her a grand testimonial and benefit concert. The invitation was couched in terms most flattering, and signed by many of the most distinguished residents.

The concert took place on March 7, 1853, and was in all respects a grand success.

Leaving Buffalo, she went to New York, where, after singing before an audience of four thousand persons, she received the following complimentary note:—

NEW YORK, April 2, 1853.

MISS ELIZABETH T. GREENFIELD.

Madam,—By the suggestion of many enthusiastic admirers of your talents, I have been induced to address you on the subject of another and second concert, prior to your departure for Europe.

Your advent musical in "Gotham" has not been idly heralded among the true lovers of song, and admirers of exalted genius, of which your unprecedented success on Wednesday evening must have sufficiently convinced you; while all are eloquent in the commendation of your superior powers and engaging method.

Confiding, madam, in your reported magnanimity and generosity 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 New York in a British steamer for England, April 6, 1853; and arrived in Liverpool the 16th of April, 1853; rested over the sabbath, and proceeded Monday morning to London, in which metropolis she became safely domiciled on the evening of the same day.

"But painful trials awaited her from a quarter the most unexpected. The individual with whom she had drawn up the contract 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 granted her request, 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, the following remarks: 'A good many calls this morning. Among others came Miss Greenfield, the (so-called) "Black Swan." She appears to be a gentle, amiable, and interesting 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 could not imagine it to be a woman. While she was there, Mrs. S.C. Hall, of the "Irish Sketches," was announced. I told her of Miss Greenfield; and she took great interest in her, and requested her to sing something for her. 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 with me, and present her to Sir George Smart, who is at the head of the 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 waited for me, but had taken Miss Greenfield to him herself. She writes that he was really astonished and charmed at the wonderful weight, compass, and power of her voice. He was also as well pleased with the mind in her singing, and her quickness in doing and catching all that he told her. Should she have a public opportunity 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 affability with which the Duchess of Sutherland conversed with her, betraying by no inflection of voice, and nothing in her air or manner, 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 quietness and good sense.'

"Her Grace the Duchess of Sutherland afterward became her 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 and dreamy than ever. The piano was on the flat stairway just below the broad central landing. It was a grand piano, standing end outward, and perfectly banked up among hot-house flowers, so that only its gilded top was visible. Sir George Smart presided. The choicest of the elite were there,—ladies in demi-toilet and bonneted. 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 Delights 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 profound attention. Her voice, with its keen, searching fire, its penetrating vibrant quality, its timbre as the French have it, cut its way like a Damascus blade to the heart. She sang the ballad, "Old Folks at Home," giving one verse in the soprano, and another in the tenor voice. As she stood partially concealed by the piano, Chevalier Bunsen thought that the tenor part was performed by one of the gentlemen. He was perfectly astonished when he discovered that it was by her. This was rapturously encored. 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 after the concert. 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."'

"TUESDAY, 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 personages assembled by invitation at Stafford House to hear and decide upon the merits of a phenomenon in the musical world,—Miss Elizabeth Greenfield, better known in America as the 'Black Swan;' under which sobriquet she is also about to be presented to the British public. This lady is said to possess a voice embracing the extraordinary compass of nearly three octaves; and her performances 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 Lind."

Again: "The London Observer" remarks,—

"Her voice was at once declared to be one of extraordinary compass. Both her high and low notes were heard with wonder by the assembled amateurs, and her ear was pronounced to be excellent."

"The London Advertiser" of June 16 contained the following comments:—

"A concert was given at Exeter Hall last evening by Miss Greenfield, the American vocalist, better known in this country under the sobriquet of the 'Black Swan.' Apart from the natural 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 mellow tone in the upper register, and full, resonant, and powerful in the lower, though slightly masculine in its timbre. It is peculiarly effective in ballad-songs of the pathetic cast, several of which Miss Greenfield sang last night in a very expressive manner. She was encored in two,—'The Cradle-Song,' a simple melody by Wallace, 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 artist 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 fantasia by Lutz very brilliantly, and afterward, assisted by Miss Kate Loder (who, however, must now be known as Mrs. Henry Thompson), in a grand duet for two piano-fortes by Osborne. M. Valadares executed a curious Indian air, 'Hilli Milli 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 Sutherland, was highly successful, and went off to the perfect gratification of a numerous and fashionable audience."

* * * * *

"In July she gave two grand concerts in the Town Hall in Brighton, under the patronage of her Grace the Duchess of Sutherland, her Grace the Duchess of Norfolk, her Grace the Duchess of Beaufort, her Grace the Duchess of Argyle, the Most Noble the Marchioness of Ailesbury, the Most Noble the Marchioness of Kildare, the Most Noble the Marquis of Lansdowne, the Earl and Countess of Shaftesbury, the Earl of Carlisle, the Countess of Jersey, the Countess of Granville, the Countess of Wilton, the Viscountess Palmerston, the Lady Constance Grosvenor, and Mrs. Harriet Beecher Stowe.

"Vocalists.—Miss E.T. Greenfield (the 'Black Swan'), Madame Taccani, Countess Tasca, Mr. Emanuel Roberts (Queen's concerts).

"Instrumentalists.—Piano-forte soloist, Miss Rosina Bently [Transcriber's Note: Bentley elsewhere] (pupil of Miss Kate Loder); violin, M. de Valadares (pupil of the Conservatoire, Paris); accompanist, Mons. Edouard Henri; conductor, Mr. F. Theseus Stevens.

"She gave a series of concerts at the Rotunda in Dublin, Ireland."

* * * * *

"Extract from programme of Miss Greenfield's benefit concert, Aug. 17, 1853:—

"Vocalists.—Miss Louisa Pyne, Miss Pyne, and Mr. W. Harrison; pianist, Miss Rosina Bently; violinist, M. de Valadares from the East Indies; accompanist, Mr. R. Thomas."

* * * * *

"In October, 1853, we find her again at the Beaumont Institution, Beaumont Square, Mile End, London, at Mr. Cotton's concert, supported by Miss Poole, the Misses M'Alpine, Miss Alleyne, Mr. Augustus Braham, Mr. Suchet Champion, Mr. Charles Cotton, the German Glee Union, and the East-Indian violinist M. de Valadares; conductor, Herr Ganz."

* * * * *

"Nov. 3, 1853, at Albion Hall, Hammersmith, she made her appearance under the patronage of her Grace the Duchess of Sutherland, 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 [Transcriber's Note: Ailesbury], the Most Noble the Marchioness of Kildare, the Most Noble the Marquis of Lansdowne, Earl and Countess of Shaftesbury, Earl of Carlisle, Countess of Jersey, Countess of Granville, Countess of Wilton, Viscountess Palmerston, the Lady Constance Grosvenor, and Mrs. Harriet Beecher Stowe.

"Artists.—Miss E.T. Greenfield, Miss J. Brougham, Miss E. Brougham, Mr. Charles Cotton, Mr. Augustus Braham the eminent tenor; piano-forte, Miss Eliza Ward."

* * * * *

"At the Theatre Royal, Lincoln, Dec. 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. Augustus 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 Buckingham Palace on May the 10th, 1854, when she had the honor of singing several songs, which he accompanied on the piano-forte.

"'To Miss GREENFIELD, from Sir GEORGE SMART, Kt.,

"'Organist and Composer to her Majesty's Chapel Royal.

"'June 24, 1854. No. 91, GR. PORTLAND ST., LONDON.'

"'This is to certify that Miss Greenfield had the honor of singing before her Majesty the Queen at Buckingham Palace. By her Majesty's command,

"'C.B. PHIPPS.

"'BUCKINGHAM PALACE, July 22, 1854, LONDON.'"

* * * * *

"In May, 1854, she received an invitation through the Rev. Mr. Geary to sing at a concert, but declined, being advised not to sing at public concerts until her return to the United States. She therefore sang only at private parties until July, 1854, when that same noble benefactress, the Duchess of Sutherland, secured for her two places in 'The Indiana' steam-packet for New York.

"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 much benefit to Miss Greenfield in an intrinsic, artistic sense, adding decided eclat to her professional reputation. "The New-York Herald," a journal which in those days was generally quite averse to bestowing even well-merited praise upon persons of her race, was, however, so much moved upon by her exhibition of an increased technical knowledge of the 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 verdict.

During the years that intervened between Miss Greenfield's return from England and her death,—the latter event occurring at Philadelphia in the month of April, 1876,—she was engaged in singing occasionally at concerts, and in giving lessons in vocal music.

Remembering her own hard contests as she ascended the hill of fame, Miss Greenfield ever held out a helping hand to all whom she found struggling to obtain a 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 disposition enjoying the warm love of many friends in those private circles where she was always an ornament and a blessing, this wonderfully gifted lady at the age of sixty-eight years died, deeply mourned by all. Of her brilliant career, of her life, which, in many important respects, was so grandly useful, as well as of her peaceful death, nothing more need here be added, further than to place her name in the honorable list of those of whom Milton so eloquently says,—

"Nothing is here for tears; nothing to wail, Or knock the breast; no weakness, no contempt, Dispraise, or blame; nothing but well and fair, And what may quiet us in a death so noble."



VI.

THE "LUCA FAMILY,"

VOCALISTS AND INSTRUMENTALISTS.

"God sent his singers upon earth With songs of sadness and of mirth, That they might touch the hearts of men, And bring them back to heaven again....

But the great Master said, 'I see No best in kind, but in degree: I gave a various gift to each,— To charm, to strengthen, and to teach.'"

From LONGFELLOW'S The Singers.

While nearly all persons have to a greater or 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 extraordinary. 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 goddess who presides over the art of music. Only here and there is some one selected to whom is given great musical inspiration; into whose keeping is placed the divine harp, which, when swept by his hands, the people shall hear entranced.



Occasionally we may observe in families one member who appears particularly favored by nature in the possession of rich and varied musical talents, the same being improved by careful cultivation. Such a one readily attracts attention: his native endowments and his extensive acquirements often form the theme of 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 general private and public interest as to render their careers quite worthy of the best efforts of those who would make the same a matter of history.

The foregoing remarks, although made in a somewhat general way, may be particularly applied to that excellent 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, consisted of six persons,—the father, mother, and four sons. Some changes that occurred afterwards will appear as the narrative progresses.

Alexander C. Luca, the father, whose history shows most pointedly how much may be accomplished by devoted study, deserves especial mention. He was born in Milford, Conn., in the year 1805. He is, in the most proper sense, a "self-made" man. Possessing but few opportunities for acquiring an education, he yet made the most of those he had, and is to-day a man of varied culture, 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 occasionally into their school, listening eagerly to all they sang and talked about both there and in the shop, he soon learned their songs, and was induced by the surprised teacher to join the school. In a short time, by the aid of a naturally musical ear and a good voice, and by diligent study of the rudiments, he became quite a proficient scholar; surpassing, in fact, most of the other pupils of the school.

After learning his trade he removed to New Haven, Conn., where after a while he was married to a lady of fine musical qualities (she being especially remarked as a singer), and who was also of a musical family. Soon after his arrival at New Haven, Mr. Luca, having acquired by this time quite a fine knowledge of music, and being an excellent vocalist, was chosen chorister of a Congregationalist church. In a short time his choir was considered the equal of any in the city; which was high 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,[11] a sister of his wife, his two older sons, and himself, and gave in New Haven and vicinity a number of fine concerts. Mr. Luca trained all his children in music at an early age, and taught them to sing in his choir at the church.

[Footnote 11: She was a vocalist of rare powers, and was considered the equal of the celebrated Miss Greenfield, or, as the latter was frequently called, the "Black Swan."]

Mrs. Luca heartily sympathized with, and aided her husband in, the musical and general culture of the family. 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 which 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 frequently at school exhibitions, and often created much sensation in singing a temperance song called "The Old Toper."

Alexander C., jun., who in after-years became so noticeable as a tenor-singer and violinist, was at first the dullest of the boys.

Simeon G. possessed a tenor voice of extraordinary compass, singing high C with the greatest ease. He sang the choicest music from the various operas to 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 wonderful 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 parents 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 execution, 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 possessed by young Cleveland made his services indispensable, and he was of course taken as a member. As the "wonderful boy pianist," he everywhere created quite a furore. The ladies in the audiences were especially delighted with him; and forgetting often, in their enthusiasm, that he was black, it seemed that they would certainly carry him away.

Never satisfied to rest alone upon his fine natural endowments, our young artist pushed his studies, entering the classical, the technical domain of the great master-composers, and playing with easy, graceful, magnetic 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 observed 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 the gentlemanly, graceful manners of the young virtuoso, 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 versatility of talent. His repertoire was an extensive one, and decidedly "taking" in the varied character of its 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 musicians 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 constitution yielding to a fever, he died at the age of forty-five.

It is hard to over-estimate the great good this remarkable artist accomplished for his much-abused race in dissipating, by his wonderful musical qualities, the unjust and cruel prejudice that so generally prevailed against the former at the beginning of his career; for 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, moreover, of his intelligent parents, who, when they discovered 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 children, allowing the at first bright spark to go untended, to burn "with fitful glare," and to finally become, from this neglect, extinguished,—devoted themselves at once to their fullest and most artistic development,—this example, 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).

Instrumentally they performed as follows: Simeon on first violin, Alexander second violin, John violoncello (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 everywhere gave delight, refinement, and a new and high impulse, to the many thousands who heard them.

Their services were at first called into requisition at anniversaries and festivals, and they soon acquired an excellent local reputation. The event that most prominently 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 enthusiasm 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 immense concourse of people to advance the cause of human freedom, and entertaining and asserting, as they did, a belief of man's equality, we may well imagine the measure of their delight when in witnessing the display of genius by the wonderful pianist, and listening to the sweet strains of classical harmony formed by the tuneful voices and skilfully-played instruments of this troupe of colored artists, they found their claims for the race so fully sustained.

After the performances just mentioned, letters full of praise and congratulation from many sources poured in upon the "Lucas," as they were familiarly called; and Professor Allen, then editing a paper at Troy, N.Y., induced the parents to intrust the children, now so rapidly acquiring fame, to his charge, to make a musical trip through the New-England States in the interest of his paper. This tour resulted in adding to their fame, and confirming them in a belief of their ultimate general success; but, owing to poor management on the part of their business agent, the trip was not a financial success.

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 themselves to this kind of work; using their leisure time, nevertheless, in pushing their musical studies. Occasionally they would drop the awl and hammer, and make excursions into the country towns of Connecticut; sometimes returning with a full exchequer, and sometimes in debt even, but never without having added to their reputations as musicians.

During these times, the family received many valuable testimonials touching their musical abilities; but to none of these do they owe so much as to a highly 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 conveyances. But this barbarous treatment of those whose fine musical qualities and genteel appearance and deportment—albeit they were of dark complexions—gave them title to enter the very best places aroused the sympathy and indignation of many persons. And so, amidst all their disadvantages, the success and reputation of our artists steadily increased, and the critics accorded them high rank as musicians; Mason, Gottschalk, and others among the finest pianists of the country, receiving Cleveland Luca, the pianist, as an equal.

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. She proved to be a very valuable acquisition to the troupe; for she possessed a rich contralto voice, sang with excellent method, had a graceful, winning stage appearance, and was well known in New York as a very fine pianist.

The quartet thus arranged then (in 1857) began to travel more extensively, giving performances in the States of New York, Pennsylvania, and Ohio, where their success artistically and financially exceeded any thing before within their experience. Had they so chosen, they might have visited all the free States with assurance of good fortune. Wherever they went, the bitter color-prejudice, the chilling doubtings, or the cold indifference, displayed by those who had not heard these talented musicians, were rapidly dispelled when on the stage they beheld their easy, graceful appearance, 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 town became the scene of a most pleasant commotion. No such music had ever before been heard there, and praises of the "Lucas" were on the lips of all. The family were entertained at the residences of the first 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 employment, these talented artists, surrounded by a selected company of educated persons, shone even more brightly than when upon the public stage; for here they could confine themselves to a rendition of that higher class of music so suitable to their own tastes and powers, as well as most welcome to their cultivated audience. But what befell the Luca family in this town—the writer has mentioned somewhat particularly this instance, 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] brothers and their mother, gave a concert at Ringueberg Hall last (Monday) evening; and their performance was such as to elicit the enthusiastic approval of all present. Coming among us as strangers, their merits were not generally understood; and we presume that the entire audience were agreeably disappointed in the entertainment 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, evinced the highest order of musical culture, the most excellent taste, with that superior power of execution which long 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 there is no breaking of the majesty of its harmony until the last note is touched.

"The family, as has been before announced, are colored, and consequently labor under some disadvantages; but we predict for them a successful future. Such superior musical powers must win for them a reputation that will bring its recompense. The pieces they sing are selected with good taste, and evince a determination to deserve public favor. And we may here say, that we believe 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 emulate; and, when the 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 worthy of their superior merits. In the mean time we commend the Luca family to the press wherever they shall go, as every way worthy of their aid and indorsement."

During their second tour of Ohio, in 1859, the "Lucas" met and joined the famous Hutchinson family, giving many entertainments in conjunction with them. The Hutchinsons thus proved the entire sincerity of their professions that they loved their brother man "for a' that." The press of the country was much excited over this novel union, and the expressions emanating from the former were various. Without, however, minding the pros or cons, these two troupes travelled more than a month together, experiencing a pleasurable and profitable season.

I append below two advertisements of concerts given by these troupes at the time mentioned:—

(I.)



(II.)



As a reflection of the terrible, the foul spirit of caste, then so largely prevailing, I regret that it is my duty to append the following elegant (?) extract from a paper published at Fremont, O., Feb. 25, 1859:—

"The Hutchinsons,—Asa B., Lizzie C., and little Freddy,—accompanied by the Luca family, gave a concert at Birchard Hall on last Wednesday evening. The house was not more than a paying one. When we went to the concert, we anticipated a rare treat; but, alas! 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 community."

No doubt the writer of the above, if now living, would be ashamed to utter sentiments so uncharitable and so vile.

But as an evidence of honest criticism, and in pleasing contrast with the foregoing, I give the following.

"The Norwalk (O.) Reflector," March 1, 1859, says,—

"The concert given in this place on Saturday night last by the Hutchinsons and Lucas was among the best musical entertainments 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 concerts."

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 order, be otherwise than good. These bands, when they united, made a palpable hit. Their combined concerts are almost invariably successes."

A Wooster (O.) paper, February, 1859, says,—

"The Hutchinsons and Lucas—these two celebrated troupes—will give together one of their unrivalled entertainments at Arcadame 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 Tuesday evening; and will soon appear in this city, we understand."

Shortly after the return of the Luca family from the tour with the Hutchinsons, Cleveland the pianist, with a noble aim, resolved to go to Africa. This circumstance caused the disbandment of the troupe.