Their father has resided for a long time at Zanesville, O., where, although quite advanced in years, he is still esteemed as a vocalist, singing in a church choir, and where he enjoys the respect of all for his many good qualities of heart and mind.

His two sons, John and Alexander, are now, as ever, devoted to the art of music; the former being a valuable member of the celebrated Hyer sisters concert and dramatic troupe, while the latter is vocal director of another company.

As a fitting close to this sketch, as a corroboration of my own testimony, and as an evidence of the noble qualities possessed by that rare musician and Christian gentleman, Asa B. Hutchinson, I add the following beautiful tribute from his pen:—

GENEVA, O., Dec. 15, 1875.

In regard to our dear friends the Lucas, I am glad to state that it was our pleasure to associate with them in public concerts "in the cruel days of the prejudiced past;" and this is our testimony: that, in all our concertizing for thirty-five years, we never formed an alliance with any musical people with whom we fraternized so pleasantly, and loved so well, and who evinced so much real genuine talent in their profession, and such courtesy and Christian culture "in their daily walk and conversation." Our dear lamented Cleveland was a thoroughly educated pianist, and won the enthusiastic admiration of the scientific musicians in every city and town we visited. He executed most rapidly, at sight, any and all of the difficult and new compositions that were presented to him by his friends, to their astonishment and our mutual joy; and when the three brothers, "Alex.," John, and Cleveland, united their respective instruments and voices in one grand choral, the effect was intensely thrilling and electrical. In some of our concerted pieces, where they united with us, we carried our reformatory sentiments and songs to a successful termination; and, notwithstanding the then great and bitter prejudice of our audiences against us all for daring thus publicly to associate together, they cheered our combined efforts with loud applause and frequent encores.

And now that each of our bands are broken by death, still believing that the freed spirits of the departed loved ones are re-united in "singing the songs of the redeemed" in that realm of light, liberty, and love beyond, it is a great satisfaction to me, a poor lingering pilgrim, to revert to one of the sweetest experiences of our entire concert-life,—the acquaintance and fellowship of the Luca family.

ASA B. HUTCHINSON.



VII.

HENRY F. WILLIAMS,

COMPOSER, BAND-INSTRUCTOR, ETC.

"Thy purpose firm is equal to the deed."

"His lyre well tuned to rapturous sounds."

A writer in "The Progressive American" for July 17, 1872, said,—

"Having occasion to visit Boston, I attended one of the unrivalled concerts at the Coliseum, where, to my great astonishment, I saw undoubtedly the greatest assemblage of human beings ever congregated under one roof, and heard a chorus of nearly or quite twenty thousand voices, accompanied by the powerful organ and an orchestra of two thousand musicians. I was highly delighted. But what gave me the most pleasure was to see among some of the most eminent artists of the world two colored artists performing their parts in common with the others; viz., Henry F. Williams and F.E. Lewis. Each of these was competent to play his part, or he could not have occupied a place in the orchestra. I was informed by the superintendent of the orchestra that both these man were subjected to a very rigid examination prior to the commencement of the concerts."



The pleasure afforded this writer, by witnessing our subject's appearance on the memorable occasion referred to, was shared by many other persons who were able to distinguish him in that vast concourse of fine musicians. It was not so easy to distinguish him from the others by his complexion as it was by his dignified, graceful appearance. Of this, as well as of Mr. Williams's musical skill, the organizer of the great orchestra, Mr. Baldwin, has, since the event, spoken to me in terms the most complimentary. He said it was not more Mr. Williams's good playing, than his handsome, manly appearance in the orchestra, that afforded him pleasure; and that in both of these particulars Mr. Williams stood in favorable contrast with many other members of the orchestra. This was high praise indeed, but no higher than its recipient deserved, as all will testify who know him.

As stated in the extract just quoted, Mr. Williams, before being accepted as a member of the Jubilee orchestra, was subjected to a severe test; being required to execute on the double-bass the parts written for that instrument in the celebrated overture from "William Tell," and also in Wagner's difficult "Tannhaeuser." In regard to this test Mr. Baldwin has since said to the writer, "I myself had no doubts as to Mr. Williams's ability as a musician. My object in arranging the test performance was, that I might afterwards point to its successful result, and thus silence many of the instrumentalists that came from other parts of the country, in case they should object (I knew that many of them would do so), on the weak ground of color, to playing with Mr. Williams. Neither Mr. Gilmore nor myself knew any man by the color of his face. What we wanted for the grand orchestra was good musicians, and, when any one objected to our two colored performers, we triumphantly referred to the exacting and satisfactory test they had undergone as sufficient answer to the foolish clamors of all those afflicted with 'color-phobia.' Seeing the managers of the Jubilee thus resolved, and convinced that the two colored men were artistic performers,—superior in ability to many with whom they were to be associated,—no one declined to play; and all was harmony thereafter."

And here I may be permitted to record the thanks of all well-meaning people for the noble action of Messrs. Gilmore and Baldwin. The two artists mentioned were not the only members of their race who took a part in the memorable Jubilee concerts. Several others in a vocal way occupied even prominent positions at these concerts. Some sang as artists on the stage, and several were members of that great chorus of nearly twenty thousand voices. In all these places they did their share in making the occasion a grand success, while they justified fully the wisdom of those by whom they were invited to participate. The action of the latter was no more than what was due and right, it is true; but it is well to remember (for we must take things as we find them) that Messrs. Gilmore and Baldwin were not obliged to engage these persons. Had the former not been men of pure principles and firmness, they might have yielded to the mean and by far too popular prejudice entertained against colored people, and have refused to allow them to take part in the performances. That they did not thus yield is much to their credit as musicians and gentlemen; and they are to be thanked, I say, for their manly action.

The little ripple of excitement caused by Mr. Williams's appearance among the musicians of the Jubilee might well have provoked from that gentleman a smile of contempt; for he was a far older and much more skilful performer than many who at first objected to playing with him. He had, indeed, more than thirty years of musical experience behind him,—years which were full of manly, persevering struggle against great odds, and years during which he had many times triumphed over opposition far greater than that met by him at the Coliseum. Born in Boston Aug. 13, 1813, beginning his studies when but seven years of age, he had, mainly by his own efforts (he is in the truest sense a "self-made man"), become a thorough musician; was a superior performer on the violin, double-bass, and the cornet; a fair performer on the viola, violoncello, baritone, trombone, tuba, and piano-forte; having been besides for years an esteemed teacher of most of these instruments. Nor did his musical powers stop here; for in addition to being a skilful arranger of music for the instruments just mentioned, and others, he was a composer, many of whose works bore the imprint of several of the most eminent music publishers of the day. Learning these facts, no wonder that those who at first opposed Mr. Williams's entrance into the grand orchestra (these persons, by the way, were not residents of Boston, but came from the West and South) afterwards were ashamed of their foolish prejudices, and became his warm admirers.

Mr. Williams, as an instrumentalist, devotes himself especially to the violin and the cornet. Upon these he executes in a superior manner the finest music of the day. Possessing fine natural talents, of great versatility, and of long study and experience, he is enabled to play any kind of music; passing with the utmost ease from the "light fantastic" of the dance to the grave and profound of the old masters: in either kind he is always noticeable for the finish and tastefulness of his performance. He has given much of his time to the formation and instruction of military bands, frequently arranging and composing music for them. In the former capacity—that of arranging music—he has often been employed by P.S. Gilmore, director of the celebrated Gilmore's Band, and projector of the two great Peace Jubilees. He was at one time connected with the famous "Frank Johnson's band" of Philadelphia, and of several others in the West, travelling extensively, and giving instruction in music. A short while ago, the manager of the Boston Cadet Band—successors of Gilmore's—showed me a quickstep in manuscript, of the merits of which he spoke very highly, composed by Mr. Williams for the first-mentioned band.

The following is only a partial list of the many songs (words as well as the music his own) of which our subject is the author:—

"Lauriette," [Transcriber's Note: 'Lauriett' in the Appendix] published by Firth & Pond, New York, 1840; "Come, Love, and list awhile," published by Pond & Hall, New York, 1842; "It was by Chance we met," published by O. Ditson & Co., Boston, 1866; "I would I'd never met Thee," published by O. Ditson & Co., Boston, 1876.

Of the above, "Lauriette" had a large sale, the publishers realizing a considerable profit from the same. In 1854 O. Ditson & Co. published his "Parisien [Transcriber's Note: 'Parisian' in the Appendix] Waltzes." These are a set in five numbers, with a fine introduction, and containing some very bright and sweetly-flowing melodies. These waltzes had a good sale, and added much to the composer's reputation. Besides the above, Mr. Williams has composed eight or ten polka-redowas, and several mazurkas and quadrilles (some of these have been published); and he is the author of several overtures.

Early in his career he composed an anthem which was much praised by persons of musical judgment. At that time so greatly was the judgment of people affected by color-prejudice, that many persons doubted the ability of one of his race to create a work so meritorious as the one just mentioned. They were, however, soon compelled to admit that Mr. Williams was the talented author of it.

Lowell Mason, the eminent composer of sacred music, was one of those who at first entertained doubts as to the authorship of the anthem; and he, like the others, finally yielded to stubborn facts. Moreover, becoming acquainted with our subject, and learning more of his fine abilities as a musician, Mr. Mason remarked that it was a pity one so talented should be kept down merely on account of the color of his face. I am sorry to say, nevertheless, that this gentleman could rise no higher above the common level of that day than to advise Mr. Williams to go to Liberia. Had Mr. Mason, who was so original and bold in music, been only half as bold in creating a sensible, a humane public sentiment; had he, as he looked with pity upon this gifted and devoted young musician struggling against the ignoble spirit of caste to gain a place in art, thrown his great influence on the side of what he confessed was right; and had he, instead of advising Mr. Williams to bury himself in Africa, declared that the latter should have an equal chance with others in this country in developing his musical powers,—had Mr. Mason done this, I say, I feel sure that such encouragement, coming in the very "nick of time," would have resulted in placing the subject of this sketch far above even his present excellent position as a musician, while such noble action on the part of Mr. Mason might to-day be considered as an additional gem in the latter's confessedly bright crown. I hope I do not seem too harsh. I love music and those who create it, and I greatly dislike to speak aught that is ill of such persons. And yet I love too, even more ardently, reform and its promoters; and therefore cannot regard with complacency the acts of those, who, possessing great talents and influence, yet fail to use them in furthering the cause of right. I have said that Mr. Williams has written several overtures: one of these was for the orchestra of the famous Park Theatre. At present he is constantly engaged in arranging and composing music.

In concluding this brief sketch, which I fear falls short of doing its subject justice, I will only add, that in the remarkably fine achievements he has made under circumstances and against difficulties that would have caused many to falter, indeed, to yield in despair,—chief among these difficulties being the hateful, terrible spirit of color-prejudice, that foul spirit, the full measure of whose influence in crushing out the genius often born in children of his race it is difficult to estimate,—in Mr. Williams's triumphs in a great degree against all these, I say, is presented an instance of art-love, and of manly, persevering devotion, that is truly heroic. Falling short, as he does, of an eminence, that, had he been born with a fairer complexion, would ere this have been his, his life is yet a grand example to those younger members of his race who are beginning their careers in the world of music when fairer skies light their pathway; when the American people, regretting the depressing, blighting cruelties of the dark past, now seek to atone for the same by offering encouragement to all who exhibit musical talents, and evince a conscientious desire to improve the same. Mr. Williams may remember with pride that to this gratifying result he has in a very marked degree contributed; and that therefore, in spite of some disappointments, his musical life has really been a noble success.



VIII.

JUSTIN HOLLAND,

THE EMINENT AUTHOR AND ARRANGER,

AND PERFORMER ON THE GUITAR, FLUTE, AND PIANO-FORTE.

"Gayly the troubadour Touched his guitar."

OLD SONG.

"Untwisting all the chains that tie The hidden soul of harmony."

MILTON.

No life can be called a truly great one that has not been a truly good one: a very simple saying, and one which, however trite, yet requires frequent repeating, since its importance is but too seldom considered. And the noble fame that sooner or later surely attaches to the author of such a life belongs chiefly, but not entirely, to him; it being in part, in a certain sense, the property of all who would follow in his footsteps, becoming for them an inspiring example; its history, with all its experiences of hope and fear, its occasional failures but frequent successes, its struggles when environed by poverty or other untoward circumstances, and its final triumph over all obstacles, serving as a guide, a beacon indeed, to illumine their pathway as they climb the same difficult but glorious hills of honor.



But such renown comes oftenest to those who seek it not,—to those who perform the right for the sake of right. These are they who

"Do good by stealth, and blush to find it fame."

Thoughts very similar to those just expressed are such as will naturally enter the minds of all who contemplate the history of Justin Holland, the distinguished musician. A mere outline of that interesting history is all that can here be given.

But first let me say, that if a little while ago, when arranging the title for this sketch, the writer had been quite sure that in placing after the name of the person to be treated a certain single word,—which really is one of very extensive meaning, although not always so used or understood,—had he been sure that from that word the general reader would have formed a complete idea of this artist's very varied accomplishments, then the heading would have been simply, "Justin Holland, musician." But judging that such brevity, however desirable in some respects, might yet fail in doing justice to one whose great native talents, joined to remarkable attainments made during a life of most industrious endeavor, entitle him to very particular mention from first to last, I have thought it best to state in detail the several departments of the musical art in which he has won the rarest of laurels.

I am not quite certain, though, that such minute mention will be pleasant to Mr. Holland; for I learn that he is as modest as he is learned, and that he has always had a sort of aversion to having his name appear in print at all, albeit during his long career in music it has thus appeared many times, in spite of said aversion, and always most honorably. But when he shall read these pages, on which nought shall be set down save with a regard for truth, and shall perceive by them, that while he steadily, quietly, and effectively worked for many years, with no attempts at ostentatious display, scarcely looking up the while to observe the outer results of his work, and to catch for inspiration the praises of men; when he shall see in his now mature years that all he so noiselessly invented, and fashioned into practical, useful form, is regarded by a well-meaning chronicler as of vast importance in serving as a noble example for the study and imitation of the youth of the land, and therefore to be faithfully recorded,—then it is hoped he will pardon the somewhat free but well-intentioned use that is here made of his name and deeds.

Mr. Holland was born in 1819 amidst the then "solitudes" of Norfolk County, Va. His father, Exum Holland, was a farmer. When quite a young child, Justin evinced a very decided fondness for music. But, nearly sixty years ago, a farm-life in Virginia, ten miles from any town, as may be imagined, afforded but poor opportunities for either hearing or learning music. Such opportunities, however, as were within reach, our subject very eagerly embraced. It is related of him, that, when less than fourteen years of age, he was in the habit of walking on Sundays to a log meeting-house five miles away, and there listening to and joining in such music (?) as was at that time discoursed in such places. But previously to this, when only a boy of eight years, he accidentally came into possession of an old song-book with words only. Being much delighted with this, he often perched himself upon a rail-fence, quite removed from the farm-house and all chance of interruption, where he sang and heartily enjoyed the songs, the music for which this would-be musician extemporized. Years afterward it was found that some of the tunes he thus early invented, and which he retained in his memory, were equal if not superior in merit to those that really belonged to the songs in the book mentioned. Thus was Holland almost born with the composer's art.

When about fourteen years old, Justin left Virginia, and went to Boston; from whence he shortly afterwards removed, going to Chelsea, Mass. Here he spent his youth and several years of his manhood. A short while after becoming a resident of Chelsea, he determined to study in earnest the science of music. At this time he happened to become acquainted with Senor Mariano Perez, a Spanish musician, and one of a troupe that was performing at the old Lion Theatre on Washington Street in Boston. He had many opportunities for hearing Perez play upon the guitar. The richness and beauty of melody and harmony, and the unsurpassed variety and fineness of expression, that were evolved from this beautiful instrument by this master-performer, so charmed Holland, that he decided to give his chief attention to the study of the guitar. Not that he then dreamed of ever becoming a teacher or professor of the instrument: he wished to learn music simply for his own amusement. His first music-teacher was Mr. Simon Knaebel, who was a member of "Ned" Kendall's famous brass band, and who enjoyed a high reputation as an arranger of music. After a while he began lessons with Mr. William Schubert, also a member of Kendall's band, and a correct and brilliant performer on the guitar. Under this teacher our subject soon made rapid progress, becoming a favorite pupil from his ability to play duets with his instructor; the latter being very fond of that kind of music. He afterwards made fine progress with the eight-keyed flute, taking lessons on this instrument from a Scotch gentleman by the name of Pollock. During all this time, it must be borne in mind that our zealous young student was unaided by any one in defraying the great expense incurred in pursuing his studies. He had to depend upon his own hard earnings. Besides, he had no time for practice save that taken from the hours usually devoted to sleep.

In 1841 (his age was then twenty-two years), desiring more education than his hitherto limited opportunities had allowed him to obtain, he went to that noble institution, Oberlin College, where, feeling anxious to make up for all time lost, he diligently pursued his studies, and made rapid advancement. In 1844 his progress had been so good, that we find him one of the authors of a book of three hundred and twenty-four pages on certain subjects of moral reform. In 1845 Mr. Holland went to Cleveland, O., then only a small city of less than nine thousand inhabitants. While prospecting in Cleveland for something to do, it was found that he was an amateur performer on the guitar, playing the best music with a fine degree of proficiency. This brought him applications to give lessons to members of some of the first families in the city, and caused him to make Cleveland his permanent home. His character had now become finely formed, he being quite noticeable for his gentlemanly, scholarly qualities, and for the close attention he gave to the subject of music and to all that concerned true advancement in the profession in which he had now resolved to remain for life. As illustrating the principles by which he was guided, I give the following extract from a letter of his to a friend, describing his life at the time just mentioned. He says,—

"I adopted as a rule of guidance for myself, that I would do full justice to the learner in my efforts to impart to him a good knowledge of the elementary principles of music, and a correct system of fingering [on the guitar], as practised by, and taught in the works of, the best masters in Europe. I also decided that in my intercourse as teacher I would preserve the most cautious and circumspect demeanor, considering the relation a mere business one that gave me no claims upon my pupils' attention or hospitality beyond what any ordinary business matter would give. I am not aware, therefore, that any one has ever had cause to complain of my demeanor, or that I have been in any case presumptive."

He had now become firmly established as a teacher, and was soon at the head of the profession in Cleveland as a guitar-instructor. This, however, did not satisfy him; and he determined to attain to still greater proficiency. Finding that the best systems for guitar-playing were such as were taught in the works (foreign) of Sor, Carulli, D'Aguado, Giuliani, Ferranti, and Mertz, Mr. Holland entered upon a course of study of the French, Italian, and Spanish languages, in order that he might read in the original the systems of those great masters, and thus be the better able to understand and apply the same. He soon by diligent study acquired a knowledge of the languages mentioned; and, as will hereafter appear, this knowledge became of great use to him.

The secret of our subject's great success as a guitar-virtuoso may be readily gathered from the statement I have just made about the foreign languages. He was always thorough, enterprising, singularly industrious. Loving deeply his chosen profession and instrument, he could never be satisfied with a position of mere mediocrity, either as a performer or teacher; but with most studious care he sought both near and far all sources of theoretical information, in order that he might thus secure skill in elucidation; while as a performer he reached to the innermost depths, so to say, of all forms of great musical expression, that he might bring from thence such sweets of melody and harmony as would charm his pupils, and rivet their attention on that beautiful instrument, the guitar. He ever aimed, in fine, to carry guitar-playing in this country to a state that comported with the highest laws of science,—to elevate it to the high level whence it had been taken by the great masters of Europe. His success in these aims will be more fully seen as this account progresses.

Mr. Holland, it seems, has not aspired to distinction as an original composer of music, although he has done something in that line. Of modest pretensions, and rather practical character, he has considered that he could do more for music and the guitar in seeking to make the meritorious compositions of others for other instruments available for guitar practice by skilful arrangements; and in this, his special field of musical labor,—speaking with respect either to the quantity or quality of his works,—he is without an equal in this country: indeed, in certain particulars which will be mentioned hereafter, it will be seen that he has surpassed even the guitar-virtuosos of Europe. His published arrangements for the guitar of the best music composed number more than three hundred pieces, all of them ranking as standard; while with guitar-students, and the principal music-publishers of the day, the name of Holland has been since 1848 as familiar as a household word. It is remarkable, too, that nearly all of this large number of arrangements were made from music sent to Mr. Holland by publishers, with a request that he adapt the same to the guitar. He did not need to sound his own praises. While he quietly worked with his pupils in Cleveland, his fame as a skilful musician was spreading over the country. Soon publishers began to send him orders for arrangements. Such pieces as he had written merely for diversion, or for use with his classes, when it became known that he had them, were eagerly solicited for publication. If the reader will examine the catalogues of the larger music-publishing houses of the country, he will find, that, under the head of Guitar-Music, the name of Holland appears far oftener than that of any other writer. A partial list of his works I have thought of transferring from the publishers' catalogues to the pages of this book; but this, perhaps, is not necessary, nor will space allow it. I will state that his arrangements, with variations, three in number, of "Home, Sweet Home," are considered by competent judges the best adaptations of this immortal air ever made for the guitar. The same opinion is also expressed of his arrangement, with variations, of "The Carnival of Venice." It is a five-page concert-piece, equal to ten or twelve pages of piano-music. Those who love the guitar, or who are desirous of testing the abilities of the author and the correctness of the judgment just given, would do well to procure these two selections: this they can do from any of the music-publishers. Nor is a guitar library complete unless it contains many more of this writer's works; such, for instance, as the following: "Winter Evenings," a collection of fifteen pieces, eight of them with variations; "Flowers of Melody," twenty-three pieces, among which is to be found the charming "Flower-Song" from the opera of "Faust," arranged as a solo; "Gems for the Guitar," twenty pieces; "Summer Evenings," containing an extensive list of songs; and "Bouquet of Melodies," a series of twenty-four arrangements from the most popular operas, all instrumental.

Most of Mr. Holland's writing has been for the eminent firm of S. Brainard's Sons of Cleveland, O., the most extensive music-publishing house in the country, with one exception; next to them, for J.L. Peters & Co. of New York; G.W. Brainard and D.P. Fauld, Louisville, Ky.; John Church of Cincinnati; and for a house in Michigan.

But our talented author has not confined himself to that department of guitar-writing just under consideration. Equal to his fame as an arranger is his fame as a writer of instruction-books for the guitar. These works are distinguished for comprehensiveness of study, general simplicity of arrangement, and for boldness of attack, and clearness of elucidation, of all guitar difficulties. His chief work is "Holland's Comprehensive Method for the Guitar," written for and published by J.L. Peters & Co., New York, in 1874. This book, while in manuscript, was by Messrs. Peters & Co. submitted to the judgment of some of the finest critics in New York, by whom it was pronounced the best ever prepared either in this country or Europe.

On this point I append the following from the Cleveland "Plain-Dealer" of Dec. 24, 1868:—

"AN IMPORTANT MUSICAL WORK IN PREPARATION.

"For several months, Mr. Justin Holland, who has long enjoyed an honorable fame as a teacher of the guitar, a performer upon that instrument, and a successful musical author, has been engaged upon a book of instruction for the guitar. The work was undertaken at the suggestion of Mr. J.L. Peters, the widely-known music-publisher of New-York City, who has purchased the book, and will publish it at once; Mr. Holland having so nearly finished it, that the first portion can be put to press immediately. The work was sent on to New York some time since for Mr. Peters's inspection; and he submitted it to several other prominent musical critics and guitarists, all of whom expressed themselves highly pleased with it. Mr. Dressler, of 'The United-States Musical Review,' published at New York, says, 'I have carefully and thoroughly examined this new method for the guitar, and must confess that it is already, in its present state, the best in this country,—the most thorough, explicit, progressive, agreeable, and satisfactory work ever written in this country or in Europe.' Higher praise than this a book could not receive. The method is very elaborate, and contains many points not heretofore touched on in works of the kind. Mr. Holland's abilities as a composer of music, and his skill as a performer upon the guitar, render him pre-eminently qualified to write such a work; and supplying, as it will, a want long felt, it will achieve popularity at once, we firmly believe."

Some time after the publication of the method just mentioned, the Messrs. Brainard engaged Mr. Holland to write a somewhat similar one, but smaller in size, for them. This they issued in 1876, it being styled "Holland's Modern Method for the Guitar." Although smaller in size than the first one, it is regarded as the best method for beginners that has as yet been produced.

It may perhaps be interesting to those possessing a scientific acquaintance with the guitar, as well, indeed, as to the general student of music, to learn how this accomplished author acquired the power to so clearly—more clearly than it was ever before done in guitar books—explain the method of producing on the guitar the harmonic tones. Writing a friend, Mr. Holland thus speaks of this:—

"When, in writing my first book, I came to the subject 'Harmonics,' I found myself at a loss as to how to explain these tones; not as to how to produce them myself, but to give a correct theory of their production. I searched in vain through a multitude of musical works, not knowing or thinking of anywhere else to look. I stopped for several weeks, and began a series of observations on the vibrations on the strings of my guitar; having nothing to aid me but my eyes, fingers, and ears, and a knowledge of the fact that the vibrations of a string were doubled in number for every octave of ascent in pitch of tone. I thus discovered the true theory of the harmonic tones to be the vibrations of a single string in a number of equal sections, more or less, and all at the same time; and that their production was at the pleasure of the operator as he desired higher or lower tones. Having fully verified my discoveries, I then corrected the erroneous theory on this subject of the great guitarist, F. Sor. I learned afterwards that the subject was discussed and explained in some scientific works that treated on acoustics."

I have before referred to the pecuniary disadvantages under which Mr. Holland had to labor in the beginning of his career. These followed him for a long period. It seems that much time must nearly always elapse ere even genius becomes acknowledged, and its possessor receives that pecuniary reward so necessary to his support. This acknowledgment, and, to an encouraging extent, this substantial reward, came to Mr. Holland after a while, but not until after he had passed through many very trying scenes. One of the latter has been thus described:—

"He always had a horror of asking any one for credit or a loan. At a certain time he found himself out of ready money. It was Sunday, and he had not the 'wherewith' to get his breakfast on Monday morning. He had always lived retired, forcing intimacy with none, and generally mingling only where business called him. He therefore did not feel intimate enough with any one to offer to borrow, nor did he feel like asking anywhere for credit. He had, however, a small job of writing that had been sent in, for which, when done, he was to receive about twenty-five dollars. Here was Mr. Holland's resource. He began his work about seven o'clock on Sunday evening. He wrote till late. Becoming weary, and his eyelids being heavy, he lighted a spirit-lamp; and with a very diminutive French coffee-pot he prepared, and soon was sipping, a cup of coffee that no doubt would have pleased the Arabian prophet, had he been present to partake. Refreshed by this, he continued his labors until the darkness grew to gray dawn, and the dawn to full light of day. At seven in the morning the last note was written. At eight o'clock he took the work to his patron, and before nine returned with a light heart and good material for breakfast."

A touching incident this, surely, but one that has had either a near or perfect counterpart in the lives of many music writers and teachers, who have often been obliged to labor in season and out of season for the bare necessaries of life. And yet how seldom it is that we are aware of the painful vigils that are kept by these gifted but toiling ones when creating the works that so much contribute to the pleasure of our leisure moments!

Of all the music-publishing firms for whom Mr. Holland has written, I believe the only ones that know him personally, and know that he is a colored man, are the Messrs. Brainard and Mr. John Church. On this point of color, a little incident in his life is well worth recording. One day, in 1864, Mr. Holland went into a large music-store (not in Cleveland) to purchase an instrument. The salesmen present seeming disposed—no doubt on account of his color—to give him no attention whatever, he quietly left, and made his purchase elsewhere. He has since been employed by, and has received large sums of money from, that very firm, as a writer of music for them. He does not even now personally know any one of the firm; nor is it supposed that the latter know him otherwise than by his reputation, and through correspondence with him. It is almost certain, that had it been generally known, as it was not outside of Cleveland, that this gifted and accomplished musician was a member of the colored race, his success would have been much curtailed, so greatly has the senseless, the ignoble feeling of color-phobia prevailed in this country. To the Messrs. Brainard and Mr. Church, who proved themselves superior to the low prejudices of the times, all honor be given! To them the brightness of the artist's genius was not obscured by the color of his face.

As another evidence of the esteem in which Mr. Holland is held by one of the firms just mentioned, I append the following extract from a letter which I received a few months ago:—

S. BRAINARD'S SONS' MUSIC-PUBLISHING HOUSE,

CLEVELAND, O., April 2, 1877.

Dear Sir,—... Mr. Justin Holland is one of our finest practical and theoretical musicians. He has written two large methods for the guitar, besides being the composer and arranger of a large amount of guitar-music, both vocal and instrumental. He is a refined and educated gentleman of very modest and unpretending character, but is a thorough musician and student.

Yours,

S. BRAINARD'S SONS.

A few years ago, on his return from a visit to New Orleans, he stopped at Leavenworth, Kan. The editor of the leading paper in Leavenworth, supposing that Mr. Holland intended to remain there, thus spoke of him editorially:—

"PROFESSOR HOLLAND.

"We had the pleasure of a visit yesterday from Professor J. Holland of Louisiana, who is an eminent music teacher and writer of thirty years' practical experience. He purposes locating in Leavenworth, and giving instructions on the guitar, flute, and piano. He has made an especial study of the guitar, and has written a work on it which is pronounced the best in print by competent critics. We need just such a man as the professor in this city, and are glad he has come among us, and hope he may receive a liberal patronage."

And the editor of "The Musical World," Professor Carl Merz, thus mentioned Mr. Holland in the number of that journal for October, 1877:—

... "Again we would mention Mr. Justin Holland, teacher of the guitar, and composer of music for this instrument. Mr. Holland is a great lover of art, a gentleman of culture, who reads fluently several languages, and whose labors are highly esteemed by publishers as well as by lovers of the guitar. From 'Der Freimaurer,' a monthly published in Vienna, Austria, we learn that Mr. Holland is now in his fifty-seventh year. He lives in Cleveland, where he enjoys the patronage of the lovers of music, irrespective of color."

As before intimated, Mr. Holland's pupils have been in many cases members of the richest and most highly cultivated families of Cleveland; and such have been his skill as an instructor, and his noble qualities of heart and mind in general, as evinced in his deportment towards them, that the persons just mentioned, and others of his scholars, have ever entertained for him not only feelings of deep respect, but those also of affection. Among other very pleasing instances of this is one found in the case of Mr. and Mrs. Briggs of Massachusetts, the former a son of Ex-Gov. Briggs of that State, and the latter a native of Cleveland, a lady of great refinement and general culture, who, up to the time of her marriage, was a pupil of Mr. Holland. This estimable couple, who formerly and semi-annually visited Cleveland, never failed at such times to pay their respects to Mrs. Briggs's former tutor, showing by this course that neither time nor space could obliterate the warm regard which had been created by previous pleasant associations.

The writer has thus far said but very little of Mr. Holland's abilities as a performer on, and teacher of, the flute and piano-forte. Let it suffice to say, briefly, that these abilities are such as to show, that, had he chosen to devote himself to either of these two instruments as much as he has devoted himself to the guitar, he might have attained to great distinction in the same. But, even as it is, he is regarded as a fine flutist and pianist. For the piano he has composed and arranged a number of pieces. He has played in public occasionally, of course always with the greatest acceptance. He has, however, never sought for nor made occasions to play in public; being always noticeable for a love of the quieter, and to him pleasanter, walks of musical life.

And now, if this were not intended as a book on musical history alone, the writer might occupy many more pages in narrating the many important events connected with the life of Mr. Holland as a distinguished member for years of the order of Free Masons. We may be allowed to mention incidentally, that his reputation as one of the "noble craft" is even greater than his reputation as a musician. It is more nearly world-wide; for we find that as a Mason he is well known in the South and West of this country, and in South America, Italy, Germany, and France. A sketch of his life, together with his portrait, was published at Vienna, Austria, in the illustrated monthly "Der Freimaurer" ("The Freemason"), in the number for February, 1877. From this journal I learn that Mr. Holland has been a most active and indispensable member of Excelsior Lodge No. 11 of Cleveland (which he assisted in forming in 1865), and of the Grand Lodge of Ohio. In the former he has held the offices of Secretary and Junior Warden; and in the latter he first served two terms (declining a third) as Worshipful Master, and afterwards was elected Senior Grand Deacon, Deputy Grand Master, Deputy Grand High Priest, of the Grand Chapter of Royal Arch Masons for Ohio,—serving three terms,—and Most Excellent Grand High Priest. In conducting the foreign correspondence of the Grand Lodge, Mr. Holland has for a number of years performed a most invaluable service. In this work, his familiar acquaintance with the French, Spanish, German, Italian, and Portuguese languages was put to uses the most important, as through the same, and his very intelligent and painstaking management, the colored Masons of Ohio have been fully recognized by, and brought into communication with, the Grand Lodges of France, Peru, Germany, Portugal, and Spain. Mr. Holland has also been appointed the representative in this country of the Grand Lodges of France and Peru, each appointment a very rare distinction. He has several times received complimentary mention in the addresses of the Grand Masters of the Ohio Lodge; and in 1866 he was the recipient from the members of the latter of a set of highly eulogistic resolutions, and of a valuable gold watch appropriately inscribed. All these honors were tendered as earnest tokens of the high estimation in which he was held by the brotherhood for the skill and zeal he had so often displayed in serving a cause founded on the noble principles of faith, hope, and charity.

What a busy, what a useful, honorable life, have we been following! It is hoped that the reader has been entertained and instructed by even this far from perfect unfolding of the same. As for the writer, he leaves its present consideration with feelings of affectionate regret; while he would fain remain to study again and again the valuable lessons that it teaches, and to watch with unabated interest the fortunes of its future. May the latter bring to our noble friend and artist as little of disappointment as may be! and when the end shall finally come, as come it must some day to all, may he have, as a crowning and sweet reward for the manly, the heroic past, a sleep like that of him who "lies down to pleasant dreams"!



IX.

THOMAS J. BOWERS,

TENOR-VOCALIST;

OFTEN STYLED

THE "AMERICAN MARIO."

"Sweet is every sound; Sweeter thy voice."

TENNYSON.

Thomas J. Bowers, who, owing to his resembling in the magnificent quality of his voice that celebrated Italian singer, has been styled by the press the "American Mario," was born in Philadelphia in the year 1836.



When quite a lad he evinced a decided fondness for music, and much musical talent. His father, a man of considerable intelligence, and for twenty years the warden of St. Thomas's P.E. Church in Philadelphia, being desirous that his children should learn music, first procured a piano and an instructor for his eldest son, John C. Bowers; intending, after he became competent so to do, that he should teach the other children. This purpose was accomplished; and our subject was instructed by his brother to perform upon the piano-forte and organ. At eighteen he had become somewhat proficient in the playing of these instruments, and succeeded his brother as organist of St. Thomas's Church.

I must not fail to mention here, that the younger of his two sisters, Sarah Sedgwick [Transcriber's Note: spelled 'Sedgewick' elsewhere] Bowers, became a fine singer. In the rendering of classical and all operatic music she exhibited much talent, was of handsome appearance, and elicited very complimentary notices from the press. I shall have occasion to speak of this lady more at length hereafter.

The parents of the subject of this sketch, although highly pleased with the natural musical qualities and with the accomplishments displayed by their children, were such strict church people as not to wish them to become public performers. Recognizing the pleasing, refining influence of music, they desired its practice by their children in the home-circle, for the most part; but were not averse, however, to hearing its sweet and sacred strains issue from choir and organ in church-services, nor to having their children take part in the same.

The wishes of his much-loved parents Mr. Bowers respected. For this reason he refused to join the famous "Frank Johnson's band" of Philadelphia, although strongly urged by its director; and all offers made to him to join other public organizations were declined for a long time.

But his very rare powers as a tenor-vocalist were those which previous to the attainment of his majority had most attracted the attention and excited the admiration of many persons. Indeed, his voice was considered as something extraordinary in its power, mellowness, so to speak, and its sweetness.

Thus endowed, it was not possible, in the nature of things, that he should remain only a singer in private; and so, at Sansom-street Hall, Philadelphia, in 1854, he was induced to appear with the "Black Swan" as her pupil.

Although it was not at this concert that he made his first public "hit," as it is called, yet the press of Philadelphia spoke of his performances on that occasion in the most flattering terms, and called for a repetition of the concert. This was given, our subject meeting with still greater success. At this time, one of the critics, in commenting on the voice and style of singing of Mr. Bowers, called him the "colored Mario." Considering the almost if not quite peerless position then held in the musical world by the distinguished Italian tenor, Mario, this was a most strikingly favorable comparison. But our artist was so modest as to doubt that he merited such high praise. The press, however, generally persisted in styling him the "colored Mario," the "American Mario," &c.; and by these sobriquets he is most known to-day.

Col. Wood, once the manager of the Cincinnati Museum, hearing of the remarkable singing qualities of Mr. Bowers, came to Philadelphia to hear him. He was so much pleased, that he entered into an engagement with him to make a concert tour of New-York State and the Canadas. This was in company with Miss Sarah Taylor Greenfield [Transcriber's Note: Elizabeth Taylor Greenfield], the famous songstress. The great vocal ability as well as the novelty formed by the complexions of this couple produced quite a sensation, and secured for them great success wherever they appeared.

During this tour Col. Wood wished Mr. Bowers to appear under the title of the "Indian Mario," and again under that of the "African Mario." He withheld his consent to the use of either of these names, but adopted that of "Mareo." This he has since retained as his professional cognomen.

Mr. Bowers was induced to engage in public performances more for the purpose of demonstrating by them the capacity of colored persons to take rank in music with the most highly cultured of the fairer race than for that of making a mere personal display of his highly-rated musical abilities, and for the attainment of the enjoyment which they would naturally be supposed to afford him.

Writing to a friend, he thus speaks of the principle that governed him:—

"What induced me more than any thing else to appear in public was to give the lie to 'negro serenaders' (minstrels), and to show to the world that colored men and women could sing classical music as well as the members of the other race by whom they had been so terribly vilified."

Nor would he ever yield to that mean and vulgar prejudice, once so prevalent, but now happily disappearing, which either sought to prevent colored persons from entering at all the public-amusement hall, or else to force them to occupy seats near the entrance, or away up in the gallery. All must be treated alike, or he would not sing. As illustrating this characteristic, I give the following incident connected with the concert tour in Canada:—

In Hamilton, a Dr. Brown purchased for himself and some friends six reserved-seat tickets, at a cost of one dollar each. After he had done so, Mr. Bowers's agent was informed by the proprietor of the hall in which the concert was to be held that "colored people were not admitted to first-class seats in Canada." This created much excitement. Our artist espoused Dr. Brown's cause; informed Col. Wood that he would not sing, if he refused to admit the doctor's party on the terms implied by his tickets; that if, after entering, there should be any attempt to oust them, he would assist them; and that he did not leave his home to encourage such mean prejudice. This noble stand against unjust discrimination resulted in granting to Dr. Brown the seats for which he had purchased tickets; and, after this time, no attempt was made to exclude colored persons from the concerts of the troupe.

Mr. Bowers, during his career, has sung in most of the Eastern and Middle States; and at one time he even invaded the slavery-cursed regions of Maryland. He sang in Baltimore, the papers of which city were forced to accord to him high merit as a vocalist.

When we consider the high ideal cherished from the very commencement of his career by our subject, it is not surprising that his musical performances have never been marred by the singing of other than classical or the best music. He does sing, at times, songs in the ballad form; but these are always of the higher class, and such as would be adopted by any first-class singer. His repertoire is composed of most all the songs for the tenor voice in the standard operas and oratorios. He sings with fine effect such gems as "Spirito Gentil," from "La Favorita;" "Ah! I have sighed," from "Il Trovatore;" and "How so Fair," from "Martha."

Mr. Bowers resides at present in Philadelphia, and is a little past forty years of age. He sings as well now as ever; some think better than ever. He appears occasionally in public, but only in company with the first artists, as he firmly believes in maintaining always for himself and others a high musical standard. His voice ranges within a semitone of two octaves.

He is a man of decidedly handsome form, and of graceful, pleasing stage appearance; is, indeed, an ideal tenor, and a real artist.

I append, from among the many press-notices that have appeared during his career, the few that follow.

"The Daily Pennsylvanian" of Feb. 9, 1854, after describing the Sansom-street Hall concerts, and alluding to some defects in the manner of his gestures, thus speaks of the performances of our subject:—

"He has naturally a superior voice, far better than many of the principal tenors who have been engaged for star opera troupes. He has, besides, much musical taste."

"The Boston Journal" said,—

"The tenor of this troupe (Mr. Bowers) possesses a voice of wonderful power and beauty."

Another paper said,—

"As most of our citizens have heard the 'colored Mario,' it is unnecessary for us to speak of his singing, as it is generally admitted that his tenor is second to none of our celebrated opera-singers."

Another said,—

"The concert given by the Sedgwick Company was a great success.... 'Mario's' fine tenor voice was never more feelingly exercised, nor more rapturously encored."

Again he is thus highly praised:—

"The 'colored Mario's' voice is unequalled by any of the great operatic performers."

A Montreal paper said,—

"'Mario' is a very handsome specimen of his race, and has a fine tenor voice.... He, too, was repeatedly encored, both in his solo-pieces and in his duets with Miss Greenfield."

The true value of the foregoing comments from the press will be better understood when the reader calls to mind the fact, that, when they were made, Mr. Bowers had as contemporaries the wonderful Signor Mario, the eminent "Swedish Nightingale," Jenny Lind, the not much less charming songstress, Parodi, as well as several fine tenor-singers connected with the Italian opera companies then performing throughout this country. With such models as these to elevate their tastes and guide their judgments, the critics knew well the worth of all they said in praise of Mr. Bowers. Forming our judgments, then, from what they did say of him (only a very few of their highly favorable comments have here been given), we may safely say that Mr. Bowers is to be ranked with the very first tenor-vocalists of his time.



X.

JAMES GLOUCESTER DEMAREST,

GUITAR AND VIOLIN.

"Soft is the music that would charm forever."

WORDSWORTH.

The guitar, although not of sufficient power for general orchestral purposes, is yet excellent for finished solo-playing, and as an accompaniment to a voice. It was much used by the ancient troubadours, its dulcet tones according well with their songs. In Italy and Spain, in other parts of Europe, as well as in some sections of this country, the guitar is much esteemed. It has always been the favorite instrument of the serenading gallant; and to perform upon it, previously to their more general adoption of the piano-forte, was considered as an almost necessary accomplishment for the gentler sex. Among the greatest of guitar-virtuosos that have lived may be mentioned F. Sor, Fossa, Aguado, Giuliani, Carulli, Holland, Douglass: and, as comparing favorably with these, I may mention Demarest, of whom I shall now briefly speak.

Mr. Demarest, for many years a resident teacher of Boston, was one of the finest guitar-performers in the United States, and, I believe, had only a few equals in the world. With him the numerous guitar "pickers" of the country are not at all to be mentioned; for, thoroughly educated in music, with rich natural gifts all fully cultivated, giving to the instrument the closest, the most conscientious study, and of long practice, he was thus enabled to draw from it music of such richness and beauty, as few, before hearing his playing, imagined it capable. He but rarely indulged himself or his hearers in playing accompaniments to songs (the use, by the way, to which the guitar is often put); but with masterly skill he ever aimed to develop its fullest resources, and showed that, when in his hands at least, the guitar could be rendered a solo instrument of very noticeable power, as well as great sweetness of tone. At public and private performances in Boston and elsewhere, Mr. Demarest has often delighted audiences by fine interpretations of the best music published.

He was also a proficient arranger of music for the guitar, and, besides, composed some fine pieces for it. I do not know that any of his works were ever published: I think they were not; they being prepared simply to facilitate the progress of his pupils, and for his own amusement.

It is said that on one occasion a prominent guitarist,—a teacher of and writer for the guitar,—when asked to give his opinion of one of Demarest's compositions, remarked that it was "too difficult for the guitar." However this may have been, no one could say that it was too difficult for the composer to perform; and, that being true, it ought not to have been considered as beyond the possible reach of other skilful players. Still the critic referred to may only have meant by his remark that the piece was too difficult to become "popular." I only mention the incident to show that Demarest always aimed high.

As a teacher of the guitar he took high rank with those who believed in advancing its performance to the most elevated standards. He found but few pupils, however, that were willing to give the instrument that closeness of study, or who were possessed with that spirit of patience, so necessary to render them remarkable performers. At the almost marvellously skilful manipulations of the strings by their teacher, they listened with the utmost delight; but some of them, regarding him as one exceptionally endowed, despaired of ever being able to follow him into those higher and fuller forms of guitar-playing whither he ever earnestly strove to lead them. He always insisted on a conscientious study of the instrument, and the practice of only the best music, in order that his pupils might place themselves on a much higher level than that occupied by the many who contented themselves with merely "thumping" a simple, unvaried accompaniment to the popular love-songs of the day.

Mr. Demarest was also a violinist of fair ability. In his performances on the violin he evinced the same scholarly spirit as he did in his other studies. He, however, but seldom performed upon the violin in public, and but little in private, save for his own diversion. In 1874, while still a young man, bidding fair to rise to the highest distinction as a musician, he died, deeply regretted by many, not more on account of his high musical than his gentlemanly, genial qualities.

"Sweet Mercy! to the gates of heaven This minstrel lead, his sins forgiven."



XI.

THOMAS GREENE BETHUNE,

OTHERWISE KNOWN AS

"BLIND TOM," THE WONDERFUL PIANIST

"Who ran Through each mode of the lyre, and was master Of all."

MOORE.

"Bright gem instinct with music."

WORDSWORTH.

He is unquestionably and conspicuously the most wonderful musician the world has ever known. No one has ever equalled him in quickness and depth of musical insight and feeling, nor in the constancy with which he bears within himself, in all its fulness, that mysterious power which can be called by no truer name than musical inspiration. He is an absolute master in the comprehension and retention of all sound (and in all sound he finds music); a being in whose sympathetic soul lies the ready, the perfect correlative of every note of melody in nature or in art that is caught by his marvellously sensitive ear. We often speak of those who have an "ear for music." Here is a musician who surpasses all others in all the world in the possession of this quality; for his is a perfect ear. You may sit down to the piano-forte, and strike any note or chord or discord, or a great number of them; and he will at once give their proper names, and, taking your place, reproduce them. Complete master of the piano-forte keyboard, he calls to his melodious uses, with most consummate ease, all of its resources that are known to skilful performers, as well as constantly discovers and applies those that are new. Under his magnetic touch, this instrument may become, at his will, a music-box, a hand-organ, a harp or a bagpipe, a "Scotch fiddle," a church-organ, a guitar, or a banjo: it may imitate the "stump speaker" as he delivers his glowing harangue; or, being brought back to its legitimate tones, it may be made to sing two melodies at once, while the performer with his voice delivers a third, all three in different time and keys, all in perfect tune and time, and each one easily distinguishable from the other! It would be vain to call such performances as these mere tricks. They are far, far more; since they show a musical intuition, and an orderly disposition and marshalling of the stores of the mind, quite beyond the powers of the performer of mere musical tricks. But, even were they such, this wonderful musician would not need to depend upon their performance for the greatness of his fame; for there is no work of the great masters too difficult for his easy comprehension and perfect rendering.



He remembers and plays full seven thousand pieces. In short, he plays every piece that he has ever heard. How almost godlike (it cannot be brought to human comparison) is this retentive, this perfect memory, as relating to all that is musical, or even unmusical, in sound!

Nor does he need to depend upon the music composed by others. His own soul is full of harmony, endless in variety, and most ravishing. Take from him, were it possible, all remembrance of the music written by others, and he would still be an object of delight and amazement on account of his matchless power in improvisation. Listen to his own "Rain Storm," and you shall hear, first, the thunder's reverberating peal, and anon the gentle patter of the rain-drops on the roof: soon they fall thick and fast, coming with a rushing sound. Again is heard the thunder's awful roar, while the angry winds mingle in the tempestuous fray,—all causing you to feel that a veritable storm rages without. After a while, the tempest gradually ceases; all is calmness; and you look with wonder upon this musical magician, and marvel that the piano-forte can be made to so closely imitate the sounds made by the angry elements.

No one lives, or, as far as we know, has ever lived, that can at all be compared with him. Only the musical heroes of mythology remind us of him; for he is

"As sweet and musical As bright Apollo's lute strung with his hair:"

And Ariel, Shakspeare's child of fancy, who on Prospero's island constantly gave forth melodies of ever-varied, ever-enchanting sweetness, filling all the air with delicious harmony,—that musical spirit was but an anticipation of the coming of this actual wonder in music. Of him an eloquent writer has beautifully said, "There is music in all things; but 'Blind Tom' is the temple wherein music dwells. He is a sort of door-keeper besides; and, when he opens the portals, music seems to issue forth to wake the soul to ecstasy." The skilful metaphysician or the psychologist pauses before him, completely balked: they cannot classify this mind, human-like indeed in some respects, yet in many others surpassing all humanity, and closely approximating that which is godlike.

Some persons, it is true, judging from certain manifestations of his, or from certain lack of manifestations, have had the temerity to say that "Blind Tom" is an idiot. Out with the idea! Who ever heard of an idiot possessing such power of memory, such fineness of musical sensibility, such order, such method, as he displays? Let us call him the embodiment, the soul, of music, and there rest our investigations; for all else is futility, all else is vain speculation.

Thus have I alluded in a general way to the characteristics of this most wonderful pianist. A more particular but brief sketch of his life from infancy to manhood cannot but be interesting, not only to the student in music, but to all classes of readers.

"Thomas Greene Bethune" (I am quoting from his biography), "better known to the public as 'Blind Tom,' was born within a few miles of the city of Columbus, Ga., on the twenty-fifth day of May, 1849. He is of pure negro blood, and was born blind. His first manifestation of interest in any thing was his fondness for sounds; the first indication of capacity, his power for imitating them. Musical sounds exerted a controlling interest over him; but all sounds, from the soft breathings of the flute to the harsh grating of the corn-sheller, appeared to afford him exquisite enjoyment. His power of judging of the lapse of time was as remarkable as his power of remembering and imitating sounds. Those who are familiar with clocks that strike the hours, have observed, that, a few minutes before the clock strikes, there is a sharp sound different from and louder than the regular ticking. There was a clock in the house; and every hour in the day, just precisely when that sound was produced, Tom was certain to be there, and remain until the hour was struck.

"He exhibited his wonderful musical powers before he was two years old. When the young misses of the family sat on the steps of an evening, and sang, Tom would come around and sing with them. One of them one evening said to her father,—

"'Pa, Tom sings beautifully; and he don't have to learn any tunes: he knows them all; for, as soon as we begin to sing, he sings right along with us.'

"Very soon she said,—

"'He sings fine seconds to any thing we sing.'

"His voice was then strong, soft, and melodious. Just before he had completed his second year he had the whooping-cough, from the effects of which his voice underwent an entire change; it became and continued for years exceedingly rough and harsh, though it did not affect the taste or correctness of his singing.

"He was a little less than four years of age when a piano was brought to the house. The first note that was sounded, of course, brought him up. He was permitted to indulge his curiosity by running his fingers over and smelling the keys, and was then taken out of the parlor. As long as any one was playing, he was contented to stay in the yard, and dance and caper to the music; but the moment it ceased, having discovered whence the sounds proceeded, and how they were produced, he was anxious to get to the instrument to continue them. One night the parlor and the piano had been left open: his mother had neglected to fasten her door, and he had escaped without her knowledge. Before day the young ladies awoke, and, to their astonishment, heard Tom playing one of their pieces. He continued to play until the family at the usual time arose, and gathered around him to witness and wonder at his performance, which, though necessarily very imperfect, was marvellously strange; for, notwithstanding this was his first known effort at a tune, he played with both hands, and used the black as well as the white keys.

"After a while he was allowed free access to the piano, and commenced playing every thing he heard. He soon mastered all of that, and commenced composing for himself. He would sit at the piano for hours, playing over the pieces he had heard; then go out, and run and jump about the yard a little while, and come back and play something of his own. Asked what it was, he replied, 'It is what the wind said to me;' or, 'What the birds said to me;' or, 'What the trees said to me;' or what something else said to him. No doubt what he was playing was connected in his mind with some sound, or combination of sounds, proceeding from those things; and not unfrequently the representation was so good as to render the similarity clear to others.

"There was but one thing which seemed to give Tom as much pleasure as the sound of the piano. Between a wing and the body of the dwelling there is a hall, on the roof of which the rain falls from the roof of the dwelling, and runs thence down a gutter. There is, in the combination of sounds produced by the falling and running water, something so enchanting to Tom, that from his early childhood to the time he left home, whenever it rained, whether by day or night, he would go into that passage, and remain as long as the rain continued. When he was less than five years of age, having been there during a severe thunder-storm, he went to the piano and played what is now known as his 'Rain Storm,' and said it was what the rain, the wind, and the thunder said to him. The perfection of the representation can be fully appreciated by those only who have heard the sounds by the falling of the water upon the roofs, and its running off through the gutters.

"There was in the city of Columbus a German music-teacher who kept pianos and music for sale. The boys about the city, having heard much of Tom, sometimes asked the boys of the family to take him to town, that they might hear him. Upon these occasions they asked permission of this man to use one of his pianos; and, though he would grant the permission, he would not hear him. If he was engaged, he would send them to the back part of the store, which was a very deep one; if he had nothing to do, he would walk out into the street. When Tom was about eight years of age, a gentleman, having obtained permission to exhibit him, hired a piano of this man, and invited him to visit his concert. He indignantly rejected the invitation.

"The man, however, succeeded in awakening the curiosity of the wife of the musician sufficiently to induce her to attend; and she gave her husband such accounts, that he went the next night. After the performance was over, he approached the man, and said,—

"'Sir, I give it up: the world has never seen such a thing as that little blind negro, and will never see such another.'

"Encouraged by this, the exhibiter the next day applied to him to undertake to teach Tom. His reply then was,—

"'No, sir; I can't teach him any thing: he knows more of music than we know, or can learn. We can learn all that great genius can reduce to rule and put in tangible form: he knows more than that. I do not even know what it is; but I see and feel it is something beyond my comprehension. All that can be done for him will be to let him hear fine playing: he will work it all out by himself after a while; but he will do it sooner by hearing fine music.'

"It has been stated that Tom was born blind. In his infancy and for years the pupils of his eyes were as white and apparently as inanimate as those of a dead fish. But nature pointed out to him a remedy which gradually relieved him from total darkness, and in process of time conferred upon him, to a limited extent, the blessings of vision.

"When he was three or four years of age, it was observed that he passed most of his time with his face upturned to the sun, as if gazing intently upon it, occasionally passing his hand back and forth with a rapid motion before his eyes. That was soon followed by thrusting his fingers into his eyes with a force which appeared to be almost sufficient to expel the eyeballs from their sockets. From this he proceeded to digging into one of them with sticks, until the blood would run down his face. All this must have been pleasant to him, or he would not have done it; and there is no doubt that he is indebted to the stimulus thus applied to his eyes for the measure of sight he now enjoys. When five or six years of age, a small, comparatively clear speck appeared in one of his eyes; and it was discovered that within a very small space he could see any bright object. That eye has continued to clear, until he is now able to see luminous bodies at a distance, and can distinguish small bodies by bringing them close to his eye. Persons that he knows well he can distinguish at the distance of a few feet; and it is hoped that in process of time his sight will so far improve as to relieve him from many of the difficulties to which he is subject.

"The mere technicalities of music Tom learns without difficulty. Its substance he seems to comprehend intuitively. To teach him the notes, it was necessary only to sound them, and tell him their names. With the elements and principles of music he seemed to be familiar long before he knew any of the names by which they were indicated; as a man going into a strange country may be perfectly acquainted with the appearance and nature of the material objects which meet his view, without knowing the names applied to them by the people.

"Considering that in early life he learned nothing, and later but little from sight, that he is possessed by an overmastering passion, which so pervades his whole nature as to leave little room for interest in any thing else, and the gratification of which has been indulged to the largest extent, it is not surprising that to the outside world he should exhibit but few manifestations of intellect as applicable to any of the ordinary affairs of life, or that those who see him only under its influence should conclude that he is idiotic.

"The elegance, taste, and power of his performances, his wonderful power of imitation, his extraordinary memory,—not only of music, but of names, dates, and events,—his strict adherence to what he believes to be right, his uniform politeness, and his nice sense of propriety, afford, to those who know him well, ample refutation of this opinion.

"Tom sometimes indulges in some strange gymnastics upon the stage, which are considered by many a part of his stage training. So far from this being the case, it is but a slight outcropping of his usual exercises. If those who see him upon the stage could witness his performances in his room, and the enjoyment they afford him, they would perhaps regret the necessity of his restraint in public. He never engaged in the plays of children, or manifested any interest in them. His amusements were all his own. With a physical organization of great power and vigor, and an exuberance of animal spirits, he naturally sought physical exercise. Compelled by want of sight to limit himself to a small space, he put himself in almost every conceivable posture, and resorted to those exercises which required the most violent physical exertion. They are now necessary certainly to his enjoyment, perhaps to his health.

"Tom has been seen probably by more people than any one living being. He has played in almost every important city in the United States and in a great many of the smaller towns, in Paris, and in most of the principal cities of England and Scotland.... Those who have observed him most closely, and attempted to investigate him, pronounce him a 'living miracle,' unparalleled, incomprehensible, such as has not been seen before, and probably will never be seen again."

I find, in reading his biography, that in Philadelphia and Pittsburgh, in England and Scotland, scientists were asked to give an opinion as to "Blind Tom's" musical genius. I select only one from these opinions. The others (from Charles Halle, I. Moscheles, and Professor H.S. Oakley, all very eminent musicians) agree with this one, and need not be given.

PHILADELPHIA, Sept. 16, 1865.

DEAR SIR,—The undersigned desire to express to you their thanks for the opportunity afforded to them of hearing and seeing the wonderful performances of your protege, the blind boy pianist, Tom. They find it impossible to account for these immense results upon any hypothesis growing out of the known laws of art and science.

In the numerous tests to which Tom was subjected in our presence, or by us, he invariably came off triumphant. Whether in deciding the pitch or component parts of chords the most difficult and dissonant; whether in repeating with correctness and precision any pieces, written or impromptu, played to him for the first and only time; whether in his improvisations, or performances of compositions by Thalberg, Gottschalk, Verdi, and others; in fact, under every form of musical examination,—and the experiments are too numerous to mention or enumerate,—he showed a power and capacity ranking him among the most wonderful phenomena recorded in musical history.

Accept, dear sir, the regards of your humble servants,

B.C. CROSS, JAMES M. BECK, G. BLANDNER, J.A. STERN, J.H. REDNOR, CARL ROESE, C. BLANCGAUR, J.A. GETZA, And several others.

Here are some clippings from American and English newspapers.

From "The Public Ledger," Philadelphia, Sept. 27, 1865:—

"Many professors of music of great eminence have been ready, after listening to him, to declare that they would never touch the piano again. What he has done in public in the way of playing the most difficult pieces after hearing them but once, and with a perfection that years of practice could not usually apply, is known to all the lovers of music in this city.

"The secret of this wonderful power is the most perfect ear for the harmonies of sound ever observed,—'only this, and nothing more.' To him every thing is music. Discords do not seem to disturb him; but his ear catches every harmony, and his whole being seems entranced and controlled by it. Let him stand with his back to a piano, and any number of chords be struck, and he will instantly tell every note sounded, showing that he has been able to discriminate, and his memory to retain distinctly and perfectly, each sound. The phrenologists say that memory is in proportion to clearness and strength of the impression produced at first; and this must be the case with him. From two years old this remarkable power of sound over him has been noticed. He has been blind from birth; and it would seem here, as often observed before, that, by a compensative law of our being, in proportion as one sense is defective, the expenditure of vital energy thus saved is absorbed by some other sense. Probably all our sensations are the result of vibrations; and the pulsations of light that usually enter and give all their exquisite pleasure through the eye-ball are in his case compensated for by the pulsations of sound, which strike on an ear possessed of nerves of double delicacy and vital energy from the absorption and concentration of two senses in one.

"'Blind Tom' is not, however, the senseless being that most imagine him, but rather like one completely guided and governed by this one sense alone. As a lad, the song of a bird would lead him to wander off into the woods; and then the sound of the flute would bring him to those who went in search of him....

"Perhaps a proper study of the case of this lad might show to what extent all (though in less degree) might be educated through music. It is certainly this alone that can be most easily developed. Probably the highest and best emotions might be thus permanently excited within him; while the desire for those pleasures leads him to put forth intellectual efforts that nothing else can.... But his performances in music show how the highest results of art and study are most easily reached by this lad in his one-sided culture and development,—that of the ear alone. It is with him a sort of inspiration. The science of music he will probably never be able to master; but we must remember that the art of it preceded the science in Egypt, in Palestine, in Greece, and in Rome, by long ages. Indeed, it was the music of the Hebrews, and then of the Christian Church, that gave birth to scientific music, and alone developed it, until that of the opera gave rise to a distinct branch of the culture. This re-acted powerfully on sacred music itself. 'Blind Tom' at present likes operatic music best."

"The Albany (N.Y.) Argus" of January, 1866, said,—

"Now test the power of analysis. Three pianos are opened: at two of them persons present hammer away, with the design of producing the most perfect discord imaginable; at the third piano, the professor makes a run of twenty notes. The confusion ceases, and Tom repeats in a moment each of the twenty notes sounded. Still another test. Tom takes the stool himself. With his right hand he plays 'Yankee Doodle' in B flat. With his left hand he performs 'Fisher's Hornpipe' in C. At the same time he sings 'Tramp, tramp,' in another key,—maintaining three distinct processes in that discord, and apparently without any effort whatever. 'Most marvellous!' you say; 'but can he express as well as he perceives?' The gentlemanly director will let you see. He asks Tom to render 'Home, Sweet Home,' by Thalberg. You know, that, of all productions in the current repertoire, there are none which have finer or more difficult shades than this. 'Blind Tom' proceeds; and, were you to close your eyes, you could not tell but Thalberg himself was at the instrument, so perfect and so exquisite is the conception and the touch. Then you have renderings in imitation from Chopin, from Gottschalk, from Vieuxtemps, from anybody you will mention who has been deemed a master of the art; and you turn away convinced, surfeited with marvels, satisfied that you have witnessed one of the most incomprehensible facts of the time."

From "The Manchester (Eng.) Courier," Sept. 26:—

"'Prodigies' of all kinds are presented ever and anon to the public nowadays; but we have had nothing yet produced so truly marvellous as the negro phenomenon known as 'Blind Tom,' who appeared for the first time in Manchester, at the Theatre Royal, last night. In order to test 'Blind Tom's' powers of memory, Mr. Joule gave a short impromptu, avoiding any marked rhythm or subject, but which was imitated very cleverly. To test his powers of analyzing chords, Mr. Joule played him the following discordant combinations: the chord of B flat in the left hand, with the chord of A with the flat fifth and sharp sixth in right hand; the chord of E in the left hand, and the chord of D, two sharps, in the right; the chord of A, three flats, in the left hand, with that of A, three sharps, in the right. All these chords were at once correctly named by enumerating each note in succession from the lowest. Mr. Seymour subsequently was called upon, and gave a subject, which he reproduced upon the piano-forte with great success."

From "The Glasgow (Scotland) Daily Herald," Jan. 2, 1867:—

"'Blind Tom,' the wonderful negro-boy pianist, made his debut in Glasgow yesterday, when he gave three of his entertainments, or rather musical exhibitions, in the Merchants' Hall,—two during the day, and one in the evening. He is, without doubt, an extraordinary lad; born blind, though he is now able to distinguish light from darkness; and having a defect in some of his mental faculties, though what that defect is it is very difficult to say. Nature seems to have made up for these deficiencies by endowing him with a marvellously acute ear and a retentive memory. It is not uncommon to find blind people with their other senses much more highly developed, and much more susceptible of impression, than in people possessing all their faculties; but in no case have we ever heard or known of one with auditory nerves so fine, or with memory so powerful, as 'Blind Tom.' Mozart, when a mere child, was noted for the delicacy of his ear, and for his ability to produce music on a first hearing; but Burney, in his 'History of Music,' records no instance at all coming up to this negro boy for his attainments in phonetics, and his power of retention and reproduction of sound.... He plays first a number of difficult passages from the best composers; and then any one is invited to come forward and perform any piece he likes, the more difficult the more acceptable, and, if original, still more preferable. Tom immediately sits down at the piano, and produces verbatim et literatim the whole of what he has just heard. To show that it is not at all necessary that he should be acquainted with any piece beforehand to reproduce it, he invites any one to strike a number of notes simultaneously with the hand, or with both hands; and immediately, as we heard him do yesterday, he repeats at length, and without the slightest hesitation, the whole of the letters, with all their inflections, representing the notes. Nor are his wondrous powers confined to the piano, on which he can produce imitations of various instruments, and play two different tunes—one in common time, and a second in triple—while he sings a third; but he can with the voice produce, with the utmost accuracy, any note which his audience may suggest. Yesterday afternoon, for instance, he was asked to sing B flat, F sharp, and the upper A,—a very difficult combination; and, beginning with the latter, he at once satisfied his auditors of his success. One very funny feat he executed, which, as much as any thing else, showed what he could do. When at Aberdeen, as Dr. Howard explained, Tom heard, in a large ante-room adjoining the hall where he was, a teacher of dancing tuning his fiddle, the strings of which apparently had been rather difficult to get tightened up to proper tune. Tom had but to listen, and he retained every sound which the dancing-master produced. Tom's imitation on the piano—first of the striking of the violin-strings with the fingers for some time, after the manner of violinists, then seeing if they chorded well, again touching up the strings, anon giving a little bit of a polka, and once more adjusting the strings, and so on, all exactly as he heard it—was as amusing as it was astonishing. No one with an ear for music should miss the opportunity of going to hear him ere he leaves."

From "The Edinburgh Scotsman:"—

"'BLIND TOM.'—Last night this negro boy, of whose remarkable performances so much has been said and written of late, made his first appearance here in the Operetta House. There was a crowded audience, among whom were a number of the musical cognoscenti of Edinburgh, whose curiosity had been excited by the reputation he had gained in America, as well as by the favorable notices of the press in this country, and the testimony of such men as Moscheles and Halle.... It is only when he sits down to the instrument, that he becomes, as it were, inspired. He played several pieces on this occasion from memory, and displayed great execution, and a greater amount of feeling and expression than we were prepared to expect. One of the best of these was the fantasia on the Hundredth Psalm, which was brilliantly executed. One of his most extraordinary feats is the reproduction of any piece once played over to him. On this occasion, Mr. Laurie, who was present, at the invitation of the manager ascended the platform, and played a composition by R. Muller, which occupied nearly five minutes. He no sooner left the instrument than 'Blind Tom' took his seat, and gave a correct imitation. His ability to name any combination of notes, no matter how disconnected and puzzling the intervals, was fully proved. The professional gentleman we have named struck simultaneously no less than twenty notes on the piano; and these 'Blind Tom' named without a single mistake."

From "The Dundee Advertiser:"—

"'BLIND TOM.'—This extraordinary musical prodigy gave two performances in Dundee yesterday, and on each occasion the powers displayed by him were so marvellous as to verge upon the miraculous. Our readers must not suppose that his proficiency is merely of an ordinary kind, or that his notoriety is another species of Barnumism. The letter we published yesterday from a private friend, in whose opinions we place the greatest confidence, shows that it is not so; and we believe the opinions of all who yesterday heard him will be found to be those of astonishment and admiration. History affords no parallel to 'Blind Tom.' His ability would be marvellous, even if he had his eyesight; but, as we have before remarked, when it is considered that he is blind, it is beyond measure strange. Unless one sees or hears him play, he is unable properly to understand the extent of his ability. Test him how you may, he never fails. His memory is as miraculous as his musical powers; and he plays over a piece he has never heard before with almost infallible exactitude. Yesterday several gentlemen went to the platform, and played over pieces; and, during the time they were so occupied, it was amusing to witness Tom's contortions of his body, and his movements generally. He swayed himself about, his eyeballs rolled, his fingers twitched involuntarily, and he seemed like one possessed; and, on being allowed to seat himself at the piano, he repeated from memory the various pieces which had been played to him. In the evening, Mr. Hirst played over a number of pieces of the most difficult character, all of which Tom produced with fidelity.

"On inquiry, we find that his proficiency is a natural gift. From his earliest infancy he betrayed the utmost interest in musical sounds of every kind,—the cries of animals, the moaning of the wind, the rushing of waters, and the like; and when he was allowed to go out in the fields, if he heard a bird sing, he rushed off towards it with frantic delight. We publish a letter we received the other day from an intimate friend in another town,—a gentleman of great musical taste, and no little executive ability,—who is well qualified to give an opinion on such matters. He says,—

"'I presume you have not heard "Blind Tom" play. If not, you never heard a better performer. Like most people, of course, I was inclined to regard this wonderful prodigy as a wonderful humbug; but I assure you, that so far from this being the case, or any thing like it, Tom is as genuine an artist, and possesses as much (and, for any thing I can tell, a great deal more) musical talent or power, either as regards the execution of the compositions of others or of his own, as either Thalberg, Halle, Madame Goddard, or anybody else you ever listened to. I write merely to disabuse your mind of the common impression which we are all apt to form of these singular geniuses; and very strongly recommend you not only to hear him play, but privately test him (as I have done) in any way you like. Improvise to him as difficult or elaborate or out-of-the-way piece as you please, and he will instantly reproduce it. Now, this is no common gift; and therefore you and I, and all who know any thing of music, should use our best efforts to let the public know, that, so far from there being any thing in the nature of clap-trap about Tom, he is, in fact, a musical gem of the first water. Of course I have nothing to do with him; but I have been so highly pleased with his performances, that I thought it might be as well to let you know beforehand (in case you have not already heard him) what my own real impression is of him.'

"He not only repeats every piece he hears from memory, but he improvises and composes; and he last night sang a song of his own composition,—'Mother, dear mother, I still think of thee,'—of great merit for its simple sweetness and pathos. As he cannot possibly remain longer in Dundee than to-night, we would earnestly urge upon all who can afford it the absolute duty of seeing and hearing this wonderful blind negro boy. He is only seventeen; but no man of any age could surpass him for executive ability, as his testimonials from such men as Moscheles, Halle, &c., prove. He performs two or three different melodies at the same time, and plays with his back to the piano with apparently as much ability as in the ordinary position. We would especially recommend all who are interested in anthropology, phrenology, and psychology, to see and hear him for themselves. His ability is a singular confutation of the theories of Hunt and Blake about the inferiority of the negro; for we may challenge any white man to compete with him, in perfect safety. His parallel is not to be found the world over, nor in any time of which the records are known."

As previously stated, Bethune plays full seven thousand pieces. From the subjoined partial list, which I take from his biography, some idea can be gained of the character, the ever-varied character, of the music contained in his amazingly extensive repertoire.