While a student at the Boston Conservatory, he was nearly always chosen by the director, Mr. Julius Eichberg, to represent at the quarterly concerts the fine progress made by its pupils. At such times his performances of numbers, requiring rapidity of reading and execution, together with a good knowledge of piano technique, drew from the press the most favorable comments, and made him the favorite piano pupil at the institution mentioned. The following, as an instance of these comments, is taken from "The Boston Journal:"—

... "But the best thing in the piano line was the rendering of Chopin's 'Polonaise,' in E flat, by Mr. Samuel W. Jamieson. The 'Hungarian Rhapsodie,' No. 2, of Liszt, was most particularly characterized by a delicate touch, and a clear conception of the subject in hand.

"It is but just to say that this gentleman is an advanced scholar."

And this from "The Folio," referring to another like occasion:—

"Mr. Samuel Jamieson, pupil of the Boston Conservatory, but directly under the instruction of Mr. Tracy, carried off a good share of the honors of the recent matinee of that very successful school."

"The Boston Traveller," describing the performances of pupils of the Conservatory at Music Hall, after stating that all the performances were of a high order, makes special mention of Mr. Jamieson, saying that "his execution of a difficult number was worthy of the highest praise." Many other comments equally favorable could here be given, were it necessary.

His performances at these concerts soon made him widely known among the musical and general public of Boston and vicinity, and his services as a soloist became much in demand. As soon as he had attained to a fair degree of proficiency, he began to give lessons on the piano-forte; and by so doing, and by occasionally appearing at concerts, he secured the means to continue his studies at the Conservatory. His playing at one of these concerts was thus spoken of in a Boston paper:—

"The concert given on Tuesday evening at the Music Hall, though so little known as to be thinly attended, was a very satisfactory entertainment, and well deserved a large audience. Mr. Jamieson is a pupil of the Hungarian pianist Mr. F. Boscovitz, some prominent features of whose style he closely imitates. His playing shows him to be a careful, conscientious student, possessed of real musical sensibility, without any of the nauseous sentimentalism so common among young players. His best performance in every respect was Liszt's 'Rigoletto' fantasie, the mechanical difficulties of which he has well conquered, and the passionate meaning of which he interpreted very finely. In answer to an encore of this piece, he gave Mr. Boscovitz's exquisite little 'Chant du Matin,' Op. 68.

"He will make an excellent pianist if he prosecutes his study as faithfully as he has commenced it. Mr. Jamieson carries with him the good wishes and the highest expectations of those who heard him."

He early showed a singleness of devotion to his chosen work, and has always evinced a spirit of ambitious aim. Some particulars of the latter, while winning him the approval of the thoughtful, have caused him to be misunderstood and censured by others. With fine artistic taste, ever aiming high, fully in earnest, and with no more than (as the writer believes) a just estimate of his attainments and consequent rank as a musician, Mr. Jamieson has sometimes declined to appear at the "two-penny show" concerts given generally in the churches, and often by "artists" (?) of abilities so poor as to render them fit subjects for the training of a rudimentary music school rather than as objects of public view or favor. Still I do not believe that Mr. Jamieson has been unwilling to acknowledge the generally known fact, that much good has often been done by amateurs and others at church concerts, both by the aid thus afforded to meritorious causes, and by the musical practice and public acquaintance obtained for themselves. That he has not been without a ready sympathy for the persons or causes to be benefited by such entertainments is well evinced by the fact, that (notwithstanding he holds certain views mentioned in this connection) he has appeared at times at the same, at the better kind, making no charge for his services; and yet his occasional refusal to appear at certain of these concerts has been attributed—generally by ignorant persons, but sometimes also by others, who, as they knew better, must have been influenced alone by bad motives—to his possession of undue self-esteem, &c. But these unjust criticisms, although often causing him pain, could never swerve him from his chosen path. He would never lower his standard, and he always sought to enter the lists with those who contended for the highest prizes in art. The prominent position he holds to-day as an artist is proof that his course has been the right one, and the one which should serve as an example to all those young persons, who, endowed with musical talents, are yet neglecting to cultivate the same; who are, in fact, allowing them to gradually waste away by giving themselves to unmusical, injurious associations; and who quite too often spend the precious time that should be given under competent teachers to diligent, untiring study, in appearances before audiences whose applause, of doubtful value, is readily bestowed in unstinted quantities, and which serves, alas! but to dazzle, to deceive, and too often to permanently ruin, the young performer.

Mr. Jamieson's fine, ever-increasing musical abilities, his general intelligence and gentlemanly bearing, soon gained for him the entree of the best musical circles of Boston and vicinity, and secured for him association at concerts with the most advanced artists. During the winters of 1875 and 1876 he several times appeared before large and enthusiastic audiences at a series of entertainments given at Parker Memorial Hall. A writer thus mentions his performances at one of these concerts:—

"Mr. Jamieson, the pianist, was before the public last season, and then gained strong praise. He is a promising young artist, and his performances on this occasion showed marked improvement. His selections embraced a fantasie on the 'Wedding March' of Liszt, a fantasie on themes from 'Rigoletto,' and variations on 'Home, Sweet Home;' and in all three he won deserved applause."

He has devoted himself solely to the piano-forte, and makes no pretensions to a knowledge of other instruments, considering the former as quite worthy of his undivided study,—especially in these days, when, in his own city and state at least, fine piano soloists are so numerous, and whose best performances he desires to equal, and, if possible, to excel.

From the first, Mr. Jamieson has given himself to the performance of only the higher class of music. So determined is he in this respect, that he will not play dance-music, not even that of the best order. The writer once asked him to play one of Strauss' most bewitching waltzes,—one full of those delicious, so to say, entrancing melodies, for which the productions of this gifted composer are so noticeable, and one which at the time had taken nearly every one completely captive. I refer to the "Beautiful Blue Danube" waltz. But he declined to play it. I again and again entreated him; for I not only delighted to hear as often as possible this charming-selection, but, knowing Mr. Jamieson's rare powers as a pianist, I was especially anxious to hear him give life to its magic strains. No amount of persuasion could move him, however; and he finally ended the matter by telling me that he never, under any circumstances, played dance-music, as he deemed its practice an injury to one who wished to reach the highest positions as a pianist. So I was compelled to pocket my disappointment, and to go elsewhere for my "Beautiful Blue Danube."

Mr. Jamieson is an assiduous student, devoting several of the early morning hours of each day to practice on the piano-forte. Even during the heated term, when most artists neglect their instruments, and hie away to enjoy the refreshing breezes of the sea-shore or the mountains, he may much of the time be found at his rooms, undeterred by the hot atmosphere, diligently at work keeping up the nice degree of proficiency he has already attained, or bravely attacking whatever difficulties remain to be overcome. He does, it is true, go away every summer to a quiet nook in the country, remaining, however, only a short while, and during which he does not, to any great extent, lessen his hours of practice.

During the winter of 1874 he several times appeared at public concerts in Boston and in other parts of New England. His performances at a soiree musicale at the Meionaon, Tremont Temple, Boston, were alluded to in the following gratifying terms by "The Boston Globe:"—

"Mr. Jamieson exhibits much power and delicacy, and a certain confident but not obtrusive manner, which will go far, with his abilities, to place him in a high rank among our pianists. He gave much satisfaction; his performance of Liszt's fantasie on themes from Verdi's 'Rigoletto' showing great skill in mastering the difficult technicalities in the variations on the theme."

And in this manner by "The Boston Traveller:"—

"Mr. Jamieson has come into prominence in this city as a pianist, and the ability he has shown has won him the regard of musical people. His selections last evening were all of the highest order, and were uniformly well performed. Compositions of Chopin, Boscovitz, and Liszt, were given; and in each a clear appreciation of the character of the compositions was shown."

Referring to another occasion, "The Boston Globe" thus spoke of our artist:—

"The participant best known to the Boston public, perhaps, was Mr. S. Jamieson, who has appeared as pianist on several occasions in public and private with marked acceptability. He was on the programme for two solos, both of which were given with a skill and an artistic conception that sustained the favorable impression that he had previously made."

Mr. Jamieson has for some time cherished a hope of going to Europe, there to place himself for a while under the direction of one or more of the great masters of piano-forte playing; being firmly resolved to leave nothing undone the accomplishment of which will place him among the first pianists of the world. Those who know of his present abilities commend him for this desire, and feel warranted in predicting his complete success. Recently a few among the leading musical ladies and gentlemen of Boston tendered him a complimentary reception at the residence of one of the former, and at its close presented him a sum of money to aid him in carrying out the purpose just referred to. The occasion was thus alluded to by "The Daily Advertiser:"—

"A musical soiree was given last evening at the residence of Mrs. Jno. W. Perry in aid of Mr. S.W. Jamieson, the talented pianist of the Boston Conservatory, who contemplates a pursuance of his musical studies in Europe the coming summer.... The assemblage, which was one of the highest order of respectability, thoroughly enjoyed the choice music that was selected for their ears. Mrs. Kempton, Mrs. Perry, and Messrs. Jamieson, Jacobs, Tracy, Haggerty, Walker, Willard, and Sweetser, contributed in a programme made up of numbers from Rossini, Rubenstein, Schubert, Bendel, Mills, Campana, Chopin, Violetta, Liszt, and Gottschalk."

The writer of the above deemed it quite enough to merely mention the names of composers and artists, leaving to the musical reader to imagine (as easily he could) how rich and plenteous a feast of harmony must have been furnished to those fortunately present on this delightful occasion.

As may perhaps be inferred from the comments heretofore given, Mr. Jamieson, as a pianist, is noticeable for the clearness of his touch, the brilliancy of his style, and the thoroughness of his execution,—not failing to exhibit these pleasing qualities even when playing the most rapid passages,—while he ever shows a full and ready sympathy with the spirit and aims of the composer.

His remarkable proficiency as a pianist, and the private and public attention which the same has drawn to him, has secured him, from time to time, many pupils and as a teacher he has been quite successful.

If the doctrine of "heredity" be true, Mr. Jamieson may trace his possession of musical talent to his grandfather, who attracted much attention as a musician.

But there is no easy road to proficiency and eminence in the musical art; nor is there one in any other. Art is a right royal and exacting mistress; and he who would be numbered among the favored attendants at her court must fairly win the distinction by that devoted, undivided loyalty which is ever accompanied by the severest study, the most self-denying application. It cannot be denied, of course, that the possessor of genius or of talent may succeed far more easily than he who is without such powerful aid; but it is also true, that those who by their works present examples of great achievement in the science of music, and who cause us often to pause in utter amazement when reflecting upon the exceeding beauty, the magnitude and grandeur, of their creations, owed their brilliant success as much to indefatigable labor as to their great gifts of mind. Indeed, as has often been said, "there is no excellence without great labor."

So our young artist—of course I speak of him in this connection in a comparative sense—owes his present high success not more to his possession of rich natural talents than to the tireless zeal with which he has cultivated the same.

Possessing naturally a loftiness of spirit, and with a just conception of his powers; having full faith in and trusting himself; not unmindful of, nor unduly elated by, the many commendations he has received from critical judges touching his musical abilities; wearing easily all the attentions and honors he so constantly wins, and quickly noting and acting upon any suggestions of errors in his performances; at all times a conscientious, a zealous student, impelled by a deep and enthusiastic love for the art of music, and never satisfied unless working amidst its higher forms,—possessing, as Mr. Jamieson does, these rare and valuable characteristics, and being withal still quite young, it is but reasonable to believe that he will ere long attain to the highest distinction, and be ranked with the very first pianists of the time in either the New or the Old World.



XVI.

THE VIOLIN.[13]

[Footnote 13: The writer considers it proper to precede the sketch of the virtuoso, Joseph White, by a brief account of that wonderful instrument to which the latter has given his chief study, and in the playing of which he has become in at least four countries so deservedly famous.]

"Thou mystic thing, all-beautiful! What mind Conceived thee, what intelligence began, And out of chaos thy rare shape designed, Thou delicate and perfect work of man?"

"The Violin:" Harper's Magazine.

The violin, so often called the "king of instruments," is of great antiquity. As to just when it was invented is a point as yet unsettled, despite the indefatigable researches of historians of music and of general antiquaries. The instrument certainly existed, however, as early as the sixth century; this being proven generally by the figures of violins observable on very ancient and respectable monuments still existing, and particularly by a figure cut in the portico of the venerable Cathedral of Notre Dame in Paris, founded by Childebert in the sixth century, which figure represents King Chilperic with a violin in his hand.

It being thus used in a representative character shows, too, that it has for many hundreds of years been a favorite instrument. Of that ancient guild of musicians, the troubadours,—so long the principal devotees and custodians of the divine art,—those were most esteemed by royalty and the general public who were the best violists.

In the construction of most musical instruments, improvements have been constantly made up to the present time. This is particularly true of the piano-forte; the handsome form, and the purity and beauty of tone, observable in a lately-made "Chickering" or "Steinway," rendering them so much superior to a piano of the olden times, as to barely admit of the latter's being called by the same name. But this is not true of the violin, inasmuch as a long time has elapsed since any change has been made in its construction that would add to its delicate, graceful form, to its nicety, sweetness, and purity of tone, or general musical capacity. To-day a Cremona, or an Amati, as well as violins of other celebrated makers of the long past, commands almost fabulous prices. A Cremona very lately sold for four thousand dollars; while such instruments as I have mentioned, when in the possession of a soloist, are scarcely to be purchased at any price.

Up to the times of the celebrated violin-virtuoso, Paganini, there had not been, it would seem, much improvement made in performance upon this instrument. He startled and electrified the musical world, and in his wonderful playing developed and amplified such resources and effects, both as to instrument and performer, as were not, previously to his coming, thought possible. After him, and to be compared with him, have come Vieuxtemps, Ole Bull, Wieniawski, and Joseph White. The latter, although not as yet so well known as the others (he is only a little over thirty years of age), is considered by competent critics to be fully entitled to rank with them.

But these are "bright particular stars," men of genius. The instrument is so difficult of mastery, that few violin-students may hope to equal such marvellous players as those mentioned; although long-continued and severe application may make them good orchestral performers or fair soloists.

The violin is said to be the "king of instruments;" but, by this, reference is made to those powers and extensive resources of expression that are made manifest when the instrument is subject to the brain and hand of the very skilful performer.

At such a time it is made to sing a song, which, readily awakening the sympathies of the soul, causes the listener to recognize and feel the effects of the intonations of pathos, of passion, of deepest melancholy, or those of lightsomeness and wildest joy.

Indeed, this noble instrument, under the deft fingering and skilful bowing of a master-player, becomes almost sentient, and is shown to possess the superior and exclusive power of expressing nearly all the human voice can produce except the articulation of words. A music-teacher once wrote that "the art of playing on the violin requires the nicest perception and the most sense of any art in the known world;" and many there are who will agree with him.

The purity, the sweetness, of its tones,—to produce which calls into exercise the most delicate faculties of the mind,—and the power of these tones to awaken in the heart the most tender feelings, to lead the performer at times into delightful imaginations, into pleasing, restful reveries,—it is the possession of such charming qualities as these that has rendered the violin at all times the favorite companion of the leisure moments of men eminent in the walks of literature, of princes, and other persons of taste and refinement. Some among those first mentioned have excelled as violin-performers, notwithstanding their other occupations.

Girardini, when asked how long it would take to learn to play the violin, replied, "Twelve hours a day for twenty years." Another thus intimates how long and arduous must be the toil before its mastery can be acquired:—

"The difficulty of thoroughly mastering the violin—the difficulty, that is, of combining perfect execution with brilliancy of tone and perfect expression—is so vast, that nothing short of indomitable patience and perseverance, united with those indispensable faculties which all good players must possess, will succeed in overcoming them. 'Twelve years' practice,' says a musical critic, 'on the violin, will produce about as much proficiency as one year's practice on the piano.' If that is so, we may well imagine that a man, who by dint of perseverance has at length qualified himself to take his place in an orchestra, may content himself by merely maintaining his acquired skill, without attempting to rival the great heads of the profession.

"The time which some students will devote to fiddling is almost incredible. We have known a clever man to practise every waking hour in the day, rising early and sitting up late, and sparing hardly one hour in the twenty-four for meals, for two years together, in the hope of qualifying himself for the leadership in a provincial orchestra; which, after all, he failed in doing. We have known men who fiddled in bed when they could not sleep, rather than waste the time; and others who have carried a dumb finger-board in their pockets, in order to practise the fingering of difficult passages while walking abroad or travelling by coach."

It is, however, far from the purpose of the writer to discourage those who may wish to become proficient as performers on this delightful instrument, or to do otherwise than attempt to increase the number of those, who, having carefully listened to master-players, and having thus learned of the wonderful intonations and of the great refinement of musical expression of which the violin is capable, have resolved to become far more than mere "fiddlers;" and are therefore conscientiously and patiently addressing themselves to an endeavor to overcome its difficulties, and to take rank as real violinists. To many of this number a good if not a perfect degree of success must come, as it ever surely comes to the earnest, persevering student of any art.

To all such, then, the writer tenders his best wishes; while he earnestly commends the above examples to all who may have a desire to learn to develop the beautiful harmonic mysteries of this expressive, soulful instrument.



XVII.

JOSEPH WHITE,

THE EMINENT VIOLINIST AND COMPOSER.

"Across my hands thou liest mute and still: Thou wilt not breathe to me thy secret fine; Thy matchless tones the eager air shall thrill To no entreaty or command of mine.

But comes thy master: lo! thou yieldest all,— Passion and pathos, rapture and despair: To the soul's needs thy searching voice doth call In language exquisite beyond compare."

"The Violin:" Harper's Magazine.

Mr. Joseph White[14] is a child of the New World. He was born in Matanzas, Cuba. His first steps in art were made in his native town.

[Footnote 14: By permission of Mr. White, I quote now, and to some extent shall do so hereafter, from his Biography, published in Paris in 1874 by Paul Dupont. For the excellent translation used I am much indebted to my friend Mr. Joseph W. Hendricks of Boston.]

His father, an amateur in music, thought he had recognized from the early infancy of the great artist a more than ordinary taste for art. When the child heard the tones of a violin, he used to leave off play, and run in the direction where the instrument was singing, his eyes never losing sight of the virtuoso. Indeed, by his actions at such times, he seemed not to belong to this world.



As soon as his hands were large enough to hold a violin, they gave him one; and were much astonished, when, at the end of a few months, he presented himself before a large audience, striking the same with amazement by the manner, entirely magisterial, in which he so early attacked the instrument.

He continued his studies until the year 1855, when, at the suggestion of the famous Gottschalk, who had noticed the signs of genius in the young man, he started for Paris, the city of wonders, and centre of attraction for all aspirations.

He came then, this young virtuoso, and presented himself at the Conservatoire, asking to enter as a pupil. After going through a brilliant examination, and after fighting against more than sixty rivals, he was received with unanimity.

In July, 1856, one year from the time of his entering the Conservatoire, White won all the "approbations," and wreaths and laurels were given him.

But we will let the newspapers of the time speak; for our own pen will be powerless to give an account of the successes of the eminent artist. The "Gazette Musicale" of the 3d of August, 1856, speaks thus:—

... "We will say as much of the pupil who has won the first prize for violin, and who came the last in the list of concurrents. The Viotti Concerto had already been played nineteen times; and, notwithstanding the great beauties of this classic work, the jury began to listen to it with but a dreamy ear. Mr. White appeared the twentieth. He belongs to a race whose complexion is more of a copper-color, with black and frizzled hair. He carries the head high, and his look is proud and intrepid. He approaches the eternal concerto, and it instantly becomes an entirely new creation.

"The jury listened to it with as much pleasure as if they heard it for the first time; and scarcely had Mr. White finished this piece when the jury retired to vote, proclaiming him the victor.

"Mr. White is eighteen years and a few months old. Since a year ago he has been in the Conservatoire, and studies in Alard's class.

"But where has he taken his first lessons? How did this son of America become the equal of the greatest violinists known in Europe? That is what we do not know, and what we ask to know for the honor of the American school, of which Mr. White is a splendid example."

The paper, "Le Pays," of the 5th of August, 1856, expresses itself in terms none the less flattering:—

"The concourse of violinists has presented this year a beautiful sight. The fight has been one of the most brilliant. The first prize has been awarded to Mr. White, pupil of Mr. Alard.

"... As for Mr. White, he showed himself so much superior, that there ought to have been (so we think) created in his favor an exceptional prize. He has played with an extraordinary animation, not like a pupil, but like a master,—like a great artist who commands his auditory. The jury itself was electrified. In order to compete with that young man, there ought to have been masters there."

It was at this brilliant concourse that Rossini, the great composer, remarked of White, "Since the day he took an interest in him, and protected the young artist, there was no festivity at the maestro's without the violinist playing on his melodious instrument." Besides, this letter from Rossini, addressed to White at the time of his father's sickness, shows how much the master loved him:—

TO MR. WHITE. Sir,—Allow me to express to you all the pleasure that I felt Sunday last at my friend Mr. David's. The warmth of your execution, the feeling, the elegance, the brilliancy of the school to which you belong, show qualities in you as an artist of which the French school may be proud. May it be, sir, that through my sympathetic wishes I may bring you good fortune by finding again in good health the one for whom you fear to-day! Accept my blessings. Sir, I wish you a happy journey, and a speedy return.

G. ROSSINI.

In November, 1858, Mr. White was obliged to return to Havana, called back to his dying father. He then left France; accounts of his success in which, carried to the dying man, were a sweet consolation and happiness,—thus to see, before dying, his son who was called to such a brilliant career. After the death of his father, he started for France again; not, however, without having first obtained great success in different cities of Cuba, where he was received in triumph. Gottschalk, the celebrated pianist, who was one of the first who had advised White's family to send him to Paris, said that in all his life he had never seen such a beautiful success, and such a deserved one.

After his return to Paris, White gave a great concert. "L'Illustration" of the 4th of May, 1861, gives an account of that evening's entertainment in the following terms:—

"Mr. White, whom America sent to us a year ago, I think, through a courageous work, developed the talent which had caused him to receive the first prize at the Conservatoire. He played with equal success the concerto by Mendelssohn, and Paganini's fantasias: which is to say, that he is ready to play every thing you may wish; for there is a place for every thing between these two extremes. He played even his own music; and played at his concert a composition for violin and orchestra, very well instrumentated, full of happy melodies, and where the principal part contained features of a character as ingenious as piquant. He possesses an extreme dexterity in the use of the bow, and makes the staccato with as much audacity as perfection. He has the tone agreeable, the style elegant, and the expression just, and not affected. Here he is, then, placed in the first rank in that glorious phalanx of violinists which Europe envies us."

After having given a splendid description of this concert (which want of space forces us not to publish here), the "Patrie" of the 30th of April, 1861, speaks thus:—

"We have seen Mr. White begin. We have been present at the concourse at the Conservatoire, where he won successively all the prizes. Then it was but a scholar who gave brilliant hopes: it is a master that we congratulate to-day in him."

Some time after, he left for Spain, where he played at Mme. the Comtesse de Montijo's (mother of the Empress of France), and before the Queen of Spain. Her Spanish Majesty presented him, the brilliant virtuoso, with a magnificent set of diamond studs, and created him chevalier of the order of Isabella the Catholic. We reproduce some lines from "La France Musicale" of the 22d of November, 1863:—

"White, the violinist, has had the honor to be received on the 12th of this month by the Queen of Spain. Her Majesty has accepted the dedication of a piece composed by this eminent artist, and has told him that she would try and find an occasion for hearing him play it; and, in fact, our violinist played at the queen's on the 22d of December."[15]

[Footnote 15: For further accounts of his career in Spain, the reader is referred to La Correspondencia of 23d December, 1863; La Epoca, La Discusion, &c., of about the same date.]

After his return to France, he played at the Tuileries before their Majesties Napoleon the Third and the Empress Eugenie. These sovereigns congratulated the artist most fully. We reproduce an extract from the "Constitutionale:"—

"In the concert given at the Palace of the Tuileries on the 1st of March, Mr. White, violinist, and very distinguished, executed a fantasie on Nabucco by Mr. Alard, in which he displayed all the qualities of a virtuoso. He knows how to make his instrument sing; and, when a difficulty presents itself, he carries it with a fascinating majesty. He is an artist who has succeeded in taking place among the best violinists of France and Italy."

This was going on in the year 1864.

This same year, Alard, White's old professor, was obliged to be absent, and leave his class in the care of others. After considering into whose care he should leave his class, Mr. Alard thought that White was more able to help him than any other,—White, his old first prize. Since that day, it was he, who, during the absence of the master, has had the directing of his class at the Conservatoire. In order to thank him for his services so well given, Alard presented White with a magnificent bow ornamented with gold and with tortoise-shells.

One reads in the "France Musicale" of the 24th of December, 1864, the following lines:—

"Our celebrated violinist Alard, who has been on a short tour in the country, has just returned to Paris. During his absence, one of his pupils, Mr. White the violinist, took the management of his class at the Conservatoire."

The "Art Musicale" of the 15th of January says,—

"Our celebrated violinist Alard is now in Nice, where he expects to spend a month. It is the violinist, Mr. White, who is charged with the direction of his class at the Conservatoire."

The "Presse Theatrale" of the 26th of January, 1865, says,—

"In leaving Paris for a journey, the length of which is not fixed, Mr. Alard has confided the care of his violin class at the Conservatoire to Mr. White. This choice, there is no need to say, has been approved by the ministry of the emperor's house, and that of the Beautiful Arts. We need not say how much this honors the young artist who is the object of it."

After this new victory, our eminent violinist was heard at the Societe de Concerts of the Conservatoire of Paris, where he was admitted as a member. He played the piece in F by Beethoven; and, when a second time they encored the artist, he distinguished himself in a classic work—the concerto by Mendelssohn—which masters alone dare to confront. The success was complete. One could have heard the buzzing of a fly in the hall. All eyes and hearts were in complete subjection to the bow of the young virtuoso.

Here is how the eminent musical critic of the paper "Le Siecle," Mr. Commettant, expresses himself on the date of the 13th May, 1872:—

"At the last concert of the Societe de Concerts, Mr. White, violinist of our beautiful French school, a composer learned and inspired, executed the concerto by Mendelssohn, one of the most melodious and the best proportioned of this illustrious master. The virtuoso showed himself the worthy interpreter of the composer; and through his playing, full, correct, warm, and well-moderated, Mr. White has obtained a success which is akin to enthusiasm. They unanimously called back the artist; and he came to bow to the public, and then calmly went back to his place in the orchestra, from which he had just stepped forth. These are things which are only to be seen in this celebrated musical company of the Conservatoire, which, in spite of everything, remains the first orchestra of the whole world."

The "Menestrel" of the 12th of May, 1872, says,—

"Let us recognize the great success won last Sunday at the Conservatoire by the violinist White, in the concerto by Mendelssohn. He is an artist now complete, this young rival of the Sivoris and of Vieuxtemps. He is not only a virtuoso, but also a composer of note, having published several very remarkable pieces for the violin. We shall notice his six brilliant 'Studies for the Conservatoire.' He has composed one concerto with large orchestral accompaniment, a quatuor for strings, 'Songs without Words,' several fantasies, and several pieces for one and two violins."

His concerto brought forth the following lines in the "France Musicale" of the 3d of March, 1867:—

"Mr. Joseph White is one of the most distinguished violinists of the French school. While yet very young, he jumped with one bound to the first rank; and since then he has each day strengthened his reputation through new and incontestable successes. He has always distinguished himself as well by the manner, grand and magisterial, with which he renders the masters' works, as by his style, together elegant and sober, when he interprets music of our time. In order to be more than a virtuoso of note, there was only one thing wanting in him; and that was to cause himself to be appreciated as a composer.

"If virtuosity is acquired through obstinate work, guided by good studies, and helped by that indispensable element, natural aptitude, genius is a gift from Heaven, which neither treatise on harmony, nor the works on counterpoint, nor a given song, shall ever procure to those who have no sacred fire.

"Last Tuesday Mr. White gave a concert in the Herz Hall; and here he has had the good fortune to receive, from the delighted audience that surrounded him, a double wreath, given together to the violinist and to the composer. The concerto he played, and whose author he is, is one of the best modern conceptions we ever heard of the kind.

"The style of a concerto must be, at the same time, serious in thoughts and in their developments, graceful and brilliant, in order to bring forth the talent of execution of the virtuoso. Here is a double reef to avoid, and here many artists have been wrecked. Vieuxtemps and Leonard are the modern masters who have been the most successful in this difficult style; but how many have been less happy!

"Mr. White's concerto is very temperate, of unnecessary length. The fabric of it is very well cared for; the mother-thoughts are well separated from the very commencement; the harmonies are unmistakably elegant and fine; and the orchestration is written with a firm and sure hand, without fumblings or failings. The three episodes are naturally united by the tuttis; the third movement, 'rondo a la turca,' is charming in cut and manner, its rhythms original and frank, and has won all approbations, and brought forth several times unanimous bravos from the whole assembly. This composition of a high value has been, in one word, the object of a true ovation for Mr. White, who was both author and composer."

The "Art Musicale" speaks thus of this concerto:—

"From the first measures one feels himself in presence of a nature strong and individual, and not in the presence of a proletaire of the large tribe of virtuoso composers.

"Not a single note in the composition has been given to virtuosite, though the difficulties of execution be enormous. 'With every true artist there is an eternally vibrating chord, which goes to the heart,' says Boileau; and that is why Mr. White asks only that his own emotion shall excite emotion, and, to the astonishment of charlatanry, renounces at once those means of success employed by coarse musicians."

Then follows an analysis of the work, which want of space prevents us from giving. No need to say that it is favorable to our violinist-composer.

We will mention only some of the papers which have spoken of the evening in question,—"La France," "La Liberte," "La Revue et Gazette des Theatres," "La Presse Theatrale," "La Menestrel," "La Semaine Musicale," &c.

On the subject of the "Quatuor for Stringed Instruments" we will cite the article of the "Gazette Musicale" of the 12th of March, 1872:—

"The old Schumann Society, all concerts of which are consecrated to the liberation of the territory, is not as exclusive in the composition of its programmes as its title would make you suppose.

"Thus is it that one has there very vivaciously applauded, Saturday, a 'Quatuor for Stringed Instruments,' by Mr. White. We signal this beautiful composition to the amateur's attention. This young master shows in it the most serious qualities united to a perfect clearness and purity of melody, with execution very remarkable, and which received one of the warmest receptions."

Here is the document we have before mentioned:—

IMPERIAL CONSERVATOIRE OF MUSIC AND DECLAMATION.

(Extract of the Document of the Seating of the Committee on Musical Studies, 16th December, 1868.)

The Committee on Musical Studies for Violin, of the Conservatoire, has read with interest the work which Mr. White has presented for its approbation.

The work is composed of six studies for violin, where the principal difficulties of execution which that instrument presents are confronted.

One remarks in these pages ingenious combinations proper to develop the mechanism of the left hand.

The committee approves these six studies, called to fortify the talent of a violinist.

(Signed)

AUBER,

Director of Conservatoire, and Pres. of Committee.

Then follow ten signatures of members of the committee.

As a token of his artistic value, four great masters have presented White with their likenesses, with the following dedications:—

"Remembrance, admiration, and thankfulness are offered to my young friend White, a violinist very distinguished.

"(Signed)

"G. ROSSINI."

"To Mr. White, whose talent is an honor to the Conservatoire.

"AUBER."

"To Mr. White. Friendly remembrance.

"AMBROSE THOMAS."

"To my young friend White.

"GOUNOD."

The numerous medals sent to him by the musical societies are homages rendered to his merit.

What remains to say after all these proofs of an incontestable talent?

There is nothing we might wish for Mr. White in what touches his art: in it he unites every thing. He is certainly one of the most toasted and most appreciated professors of Paris, the soloist beloved by the public.

We repeat it, we can say nothing more, but that we wish to hear him as much as possible.

* * * * *

And here his biographer, after thus expressing, in terms the most affectionate and flattering, his inability to say more that would add to a fame so great, so nobly and so rapidly won throughout Cuba, France, and Spain,—here he closes the record.

With all these brilliant and remarkable achievements, with all these rare honors so enthusiastically awarded him by the most distinguished, the very elite, of the musical profession, both singly and combinedly, and by the sovereigns of France and Italy, White might well have rested, indulging himself in no further acquisitions.

But men of such transcendent powers, men within whose souls the fire of musical genius so brightly burns, cannot stop; for the essence, the very soul, of music, is the predominating, the all-absorbing quality that forms their natures; and therefore it is that their ever new, their ever charmingly beautiful revelations in divine harmony, cease only when the sacred flame is extinguished by death itself. Thus, then, it was with the subject of our sketch, who was to gain new laurels in still another country. To speak of the same briefly is the cause of this continuance of his history.

Although born so near the United States (in Cuba), White had never until the year 1876 visited this country. In that year, however, he came to New York. In keeping with that modesty of demeanor, which, despite the many and rare honors he had won in Europe, had ever characterized him, he came to our shores unpreceded by that blowing of trumpets (usually paid for) which generally heralds the approach of the foreign artist; and quietly, unostentatiously addressing himself to the duties that belonged to his beloved art, little was heard of him by the general public for some time. But such almost marvellous power as this artist, this master, possessed, could not long remain unrevealed. People of musical culture were ere long electrified by the sweet tones of wondrous melody which with perfect ease he drew from his violin. That terrible barrier so often, even at the present time, erected in this country, that shameful obstruction, color prejudice, could not long withstand the attacks of this quiet yet courageous musical genius; and people, at first indifferent because of his complexion, were won anon to his favor, not alone by his exceptional skill as a performer, but also by the polish, the ease and dignity, of his manners, so refreshingly free from ostentatious affectation on the one hand, or hesitating timidity on the other. They found that he was indeed the true, the conscientious artist, who loved music for its own sake, and was imbued with a spirit of truthful enthusiasm, in such pleasing contrast with the characteristics exhibited by many of the foreign artists who had preceded him, as to render the same decidedly charming. The possession of these rare traits of character served, of course, to add to the attractiveness of a form which was one of most pleasing symmetry.

A knowledge of his great abilities as a soloist spreading among musicians in New York, he was induced to appear in public. It is needless to say that his success was unequivocal. Of the impression he made in New York, a city that has so often been the scene of the success or failure of the foreign artist, I shall call another person—a purely disinterested and competent art critic—to testify in the following, written from New York to "The Musician and Artist" of Boston of March, 1876:—

"Joseph White is in some respects the best violinist who has visited this country within my remembrance, not excepting Wieniawski. He and his companion Ignasio Cervantes, pianist, made their appearance in this city some few months since, very modestly advertised, and unheralded by any sensational newspaper paragraphs, and at their very first concert insured themselves undoubted future success. This success has been due entirely to White; for, although Cervantes is quite a nice pianist, he is nothing wonderful. But White was a revelation. His first New-York introduction to a large general audience was at a philharmonic concert (the date of which I cannot now recall), when he played the Mendelssohn concerto and the Bach chaconne. The Mendelssohn concerto was excellently played, especially the last movement; but it was in the Bach chaconne that he proved how really good he was. I have heard this composition by every violinist of eminence (except Vieuxtemps) who has visited our city; but I never heard so satisfactory a playing of it. The three voices flowed on so smoothly and evenly, never seeming to be in each other's way: there always seemed to be plenty of bow, and just in the right place for each individual voice to receive exactly its due prominence. The vociferous recall that followed this worthy performance was well earned. White is a Cuban mulatto, fine-looking, and extremely gentlemanly in appearance and conversation. A Brooklyn writer speaks of him as follows: 'His style is perfection itself; his bowing is superb, and his tone exquisite. His execution is better than Ole Bull's; he possesses more feeling than Wieniawski; the volume of his tone is greater than that of Vieuxtemps.' All of which I indorse."

On March 12, 1876, he appeared in New York as soloist at a grand concert given by that justly celebrated and almost perfect body of musicians, the Theodore Thomas orchestra. His performances on this and several previous occasions elicited the most enthusiastic and unbounded praise from the critical "Arcadian" and the other New-York papers, nearly all of whom placed him beside the three or four great violin-artists of the world.

On the 26th of March, 1876, White appeared at a grand concert given in the Boston Theatre, in company with Levy the renowned cornetist. I shall long and delightfully remember the emotions of thrilling pleasure produced in my own breast by this virtuoso's magnetic execution, and the feelings of joyful pride that I experienced when witnessing, on this occasion, his great triumph. After he had played the first few bars of the "Ballade et Polonaise" by Vieuxtemps, the audience felt that he was a master; and his reception readily became a grand ovation. He received a double encore after the performance of each regular number on the programme. But of his grand success on this occasion I shall let the journals of Boston of March 27, 1876, speak.

"Daily Globe:"—

"The concert at the Boston Theatre last evening attracted one of the largest audiences of the season; and it is seldom that any artist receives such an ovation as that which was given to Senor Joseph White, the Cuban violinist, who made his first appearance before a Boston audience. The numbers on the programme assigned to this gifted artist were a 'Ballade et Polonaise' by Vieuxtemps, and 'Chaconne' by J.S. Bach; but a double encore to each of these was responded to by other selections, including the 'Carnival of Venice,' and a gavotte by Bach: all of which were rendered with a perfection rarely heard in violin performances, and recalled the best efforts of Ole Bull."

"Boston Journal:"—

"The chief feature of the concert at the Boston Theatre last evening was the appearance of a new violinist, Senor Joseph White, a Cuban, who has lately created quite a sensation. Rarely has any artist created so great a furore in a single hearing as Senor White. His really wonderful playing took the audience captive at once. His tone is remarkably true, pure, and firm, and his execution at all times clear and perfect. In short, he seems to have perfect command of the instrument."

"Herald:"—

"He handles the king of instruments with the utmost ease and confidence. He has no useless flourish in his manner, and none of the 'hifalutin' in his style. He draws and pushes his bow, and the instrument responds with delightful sweetness and passionate eloquence. He is probably entitled to a place in the catalogue of first-class violinists. Certainly those who heard him last night accorded him praises which would have perhaps ruined a less vain man."

"Daily Advertiser:"—

"But the success of the evening may be awarded to Joseph White. He plays in a style together firm and strong, and delicate and refined. His masterly rendition of Vieuxtemps' well-known 'Ballade et Polonaise' at once captivated the audience, and he was enthusiastically encored; and, the audience still calling for more, he played 'The Carnival of Venice.' This second selection was played without accompaniment; and he again was triply encored, the last time giving an air from 'Sonnambula.'"

I have reserved for the last a very excellent critical analysis of our artist's performances. It is taken from "The Daily Evening Transcript."

"The Sunday-night concert at the Boston Theatre last evening was made memorable by the introduction to the Boston public of Senor Joseph White, the Cuban violinist.... The musical fraternity, however, was very fully represented, the musicians knowing something of what was in store for the evening. But not even they were prepared for the wonderful and delightful playing of Senor White.... The first of his work last night was something of a disappointment. There appeared to be a deficiency of tone, owing, as it seemed, to the use of an instrument not loud enough for so large an auditorium. But it was soon evident that the selection of such an instrument was in accordance with the style and taste of the artist. Possessing the most perfect ease and freedom in his command of the resources of the violin, with a fine breadth of style, and an evidently strong and quick sensibility, yet he did not aim to produce his effects on a large scale of tone. He seemed to desire to confine his exhibition of the violin to the range where its fineness and sweetness, rather than its power, may be illustrated, and to check himself inside of the limit where a coarse, scratchy body of tone is obtained at the expense of purity and delicacy. His bow, though 'dividing the strings with fire,' seemed never to touch them. The direction or the position of its stroke, whether up or down, at the beginning or at the end of it, could never be told from any changes in the quality of the sound extracted. The tone flowed as though after the keen incisions of a knife-blade, not as if scraped out by the friction of horse-hair upon catgut. When to this delicious quality of tone was added an exhibition of the most perfect technique, the triumph of the virtuoso was complete. The mysterious flowing softness and smoothness of tone was carried with unflagging facility through the most rapid and difficult chord and harmonic playing; and this, with other wonderful feats of bowing, added new and bewitching charms to the diablerie of violin variations. The reception of the artist was cordial at the outset; but at the close of the first performance, a 'Ballade et Polonaise' by Vieuxtemps, the enthusiasm was overwhelming. In response to the encore, Senor White played a 'Styrienne' of his own arrangement; and this was followed by two more stormy recalls, the audience refusing to be quieted until he had again gratified them, this time with the 'Carnival of Venice,' arranged by himself in an elegant transcription of the familiar commonplace variations. At the conclusion of his second number, Bach's 'Chaconne,' a famous and difficult violin solo, which was played, and interpreted as well, in a most masterly manner, the applause was again equally enthusiastic, notwithstanding the character of the selection; and for an encore the scholarly artist responded with a finely intelligent and daintily clean-cut rendering of a gavotte by Bach. The tumultuous recalls that followed this would be satisfied with nothing less than another performance; and Senor White gave a rich and pleasing arrangement of his own upon a popular air from 'Sonnambula.' With these two 'double encores,' amid such excitement as is rarely witnessed at a concert, Senor White may well add Boston to the other American cities that have 'adopted' him."

And here, for the present, we will take leave of our great violinist.

It is not probable that he obtained, while in this country, a very great pecuniary success; and, from what has been heretofore stated in regard to his characteristics, this will not seem strange. White was not a showman. He has ever been too purely, too entirely devoted to his chosen art to admit of his using the means generally employed by the mere money-seeking musician,—means which seem so out of keeping with those finer aspirations which a contemplation and practice of the noble art of music are expected to promote, and the use of which, detracting as it does from his dignity, lessens the respect, the admiration, which people of culture would fain feel for the gifted performer.

A few months ago our artist sailed for Paris, the scene of his earliest triumphs. He has gone from our shores with his brow laden with new laurels, all honestly won; and he leaves behind an admiring multitude of musical people who will ever watch with deepest interest his future career, and fondly wish for his speedy return. Therefore we do not say to him "Adieu!" but "Au revoir!"



XVIII.

THE COLORED AMERICAN OPERA COMPANY.

"Who, as they sang, would take the prisoned soul, And lap it in Elysium."

MILTON.

"For, wheresoe'er I turn my ravished eyes, Gay gilded scenes and shining prospects rise; Poetic fields encompass me around, And still I seem to tread on classic ground."

ADDISON.

The opera, or music drama, in which, in lieu of the ordinary forms of speech, music and song are used to give elevated expression to thought, is the most extensive, and, to nearly all lovers of melody, the most charming, of musical compositions. In its construction several of the other forms of music are most pleasingly united.

In the opera, with the language of poetry, music is associated, giving increased ornamentation; and it is used also to bridge over, so to speak, the places where mere language, either common or poetical, could never pass. That is to say, there are some phases of feeling of such fineness and depth, that only the soulful tones of music can call them into exercise, or give them expression.

The requirements for operatic construction are of course very great,—so great, that none may hope to succeed in the same save those endowed, if not with genius, at least with very superior talents. They must possess both marked originality, and power for continuity of thought; in fact, must form in their capabilities a very "Ariel," a fountain-head of music, from which must constantly flow melody after melody, harmony after harmony, ever new, ever pleasing, the whole presenting an artistically-woven story of the vicissitudes of human life. In the composition of an opera, two persons are usually associated; the one creating the words of the drama (the song), and the other composing its music.

In this field of musical creation, men of great genius find a more varied, a wider scope for the employment of their powers; and but a few of the world's most eminent composers of music have failed to avail themselves of its opportunities for grand achievements, success in it being generally considered as necessary for a rounding-out of their inventive harmonic capacities; while, for the establishment of their titles to greatness, they have sought to make some grand opera the chef-d'oeuvre of their life-work.

I would not imply, however, that all the great composers of opera worked simply for fame. To assert that they did, would, no doubt, be unjust, as it would be denying that they possessed the "sacred fire of genius," and that deep and pure affection for art, which, judging from the noble beauty, the grandeur, of their works, they must have possessed. It does not seem allowable, for instance, to believe that Beethoven created the charming and exalted beauties found in the opera of "Fidelio" while inspired by no higher feelings than those which fill the breast of him who labors mainly for renown. No: we think of Beethoven, and of others like him, as those, who, while they were favored with extraordinary native powers, were also imbued with a pure love for music,—a love of such strength, that it formed a part of their very natures. To such minds and hearts elevated artistic work was as natural as life itself; in truth, we might almost say, was necessary to life.

But, if great powers are required by the composer of an opera, so also is it necessary that those who are to make known its meanings fully—especially those who are to interpret its leading parts—should possess, as singers and actors, more, to say the least, than ordinary abilities; and those who, in their capability for complete, soulful sympathy with the author's aims, who form, in fine, the very embodiment of the latter's ideals, certainly deserve to stand next to him in greatness.

Generally the brightest vocal stars have shed their effulgence upon the operatic stage: here these singers have found the widest range for their extensive powers of voice and dramatic action. The part of a performer in opera (and here I refer not alone to one who acts the leading role) is a most exacting one; for the artist must unite in himself the qualities of both the singer and the actor. While called upon to demonstrate with proper melody of voice and expression the meaning of the music of the opera, he is also required to portray by suitable dramatic movements its corresponding meaning as found in the libretto. These remarks apply more particularly to those who constitute the dramatis personae in operatic presentation. Of course we do not forget the very important aid afforded by those who are included in the pleasing chorus, nor those who by instrumental accompaniment add to the charm of—in fact, give indispensable support to—the whole performance.

It would perhaps be superfluous to here dwell, at least more than incidentally, upon the deep pleasure enjoyed by the lovers of music and of dramatic art when witnessing the performance of a good opera. At such a time their truly musical souls enjoy a delicious, a sumptuous feast of melody; while the kaleidoscopic prospect, formed by richly-costumed actors, and appropriate, beautiful scenery, fills them with delight. The harsh realities of every-day life are so much relieved by the poetic charms of the ideal, that they live amidst a scene of fairy-like enchantment. Nor does all that belongs to the bewitching occasion end with the regretted close of the performance; for

"Music, when soft voices die, Vibrates in the memory;"

And for days and days, nay, often throughout life, do the best melodies, the "gems of the opera," delightfully "haunt the memory," and awaken in the heart the most pleasing emotions. In all this, no more than a just tribute is paid to the noble genius of the composer, and the fascinating power of his faithful coadjutor, the lyric actor.

These few thoughts, which, it may be, present nothing new to the student of the various forms of musical expression, fall very short of doing justice to a subject of most delightful interest, and one which, for its proper treatment, requires far more of elaboration than can here be given. They are among such as come to me while reflecting upon an achievement, that, although not in a general way extraordinary, was nevertheless, in some important respects, exceedingly remarkable and noteworthy. I refer to a series of performances given at Washington and Philadelphia in the month of February, 1873, by an organization called "The Colored American Opera Company."

This troupe, formed in Washington, was composed of some of the most talented amateur musical people residing in that city. The following-named ladies and gentlemen were the principal members and performers:—

MR. JOHN ESPUTA Musical Director. MRS. AGNES GRAY SMALLWOOD Soprano. MISS LENA MILLER Contralto. MISS MARY A.C. COAKLEY Contralto. MR. HENRY F. GRANT Tenor. MR. RICHARD TOMPKINS Tenor. MR. WILLIAM T. BENJAMIN Baritone. MR. GEORGE JACKSON Baritone. MR. THOMAS H. WILLIAMS Basso profundo.

Mr. Henry Donohoe acted as business manager.

Around these, the central figures, were grouped a large, well-balanced chorus, and a fine orchestra; nor was appropriate mise en scene, nor were any of the various accessories of a well-equipped opera, wanting in the presentation.

The opera chosen for these performances was Julius Eichberg's excellent "Doctor of Alcantara."

The first performances were given in Lincoln Hall, Washington, on the evenings of Feb. 3 and 4, 1873; the next at Philadelphia, in Agricultural Hall, Feb. 21, 22, and 23. Returning to Washington, the two last performances of the series were given in Ford's Theatre.

Of the highly meritorious character of these presentations of opera there exists abundant evidence, emanating from disinterested, trustworthy sources, from which I quote the following.

From "The Daily Washington Chronicle," Feb. 4, 1873:—

"THE AMERICAN OPERA-COMPANY.

"The first colored opera-troupe of any merit ever organized in this country appeared at Lincoln Hall last night in Eichberg's opera, 'The Doctor of Alcantara.'

"Lincoln Hall was literally packed. Of course the majority of the audience was colored, and included a host of the personal friends of the singers. Glancing over the house, the full opera-dresses scattered liberally through the audience reminded one not a little of the scene at a concert by Carlotti Patti or the Theodore Thomas orchestra. Quite a third of the audience was composed of white ladies and gentlemen, largely attracted, perhaps, by the novelty of the affair; and among them were many representatives of the musical circles of the city, somewhat curious to hear and compare the performance with those they have been accustomed to hear.

"The criticisms, as a whole, were favorable. It was evident that the voices of two or three of the singers will be bettered by cultivation. The choruses were effective. In dramatic ability there was little lacking, and the singers were quite as natural as many who appear in German and French opera."

From "The Daily National Republican," Washington, Feb. 5, 1873:—

"The second representation of 'The Doctor of Alcantara' at Lincoln Hall last night was an improvement upon the first. The natural nervousness of the singers was better overcome, and they made a better use of their fine voices.

"For the sake of making some just reflections and comparisons, we select the name of Miss Lena Miller, who sang the role of 'Isabella.' Here is a young lady, really pretty in form and features, graceful in stage-presence, modest in manner, and imbued with true affection and spirit for art. At present she is not a great singer; but her voice is sweet and clear, and at times sympathetic. In this simple statement high but judicious praise is included; and here we might stop. But Miss Miller's presence in opera has a significance and a promise infinitely pleasing to all candid and well-judging minds concerning the race to which she belongs.

"Neither Miss Miller nor Mrs. Smallwood, nor any of the company, have had the advantage of musical training in European or American conservatories. They have to depend alone upon their natural gifts and personal acquirements. This fact is one which makes vastly in their favor, and protects them from the standard by which Adeline Patti or Louise Kellogg would be judged as artists. Under all the circumstances, they sing and perform extraordinarily well; and as for the chorus, it is superior to that of any German or Italian opera heard in this city for years.

"Mr. Benjamin's impersonation of 'Dr. Paracelsus' was really a good bit of acting, and Mr. Grant's 'Carlos' won for him deserved applause.

"The role of 'Don Pomposa' by Mr. Williams, the basso profundo, was finely rendered. His acting was good, and his voice full of richest melody.

"The opera last evening was largely patronized by distinguished people, among them being Senator and Mrs. Sprague, Gen. Holt, and many others.

"The experiment, doubtful at first, has proved a genuine success."

From "The All-Day City Item," Philadelphia, Feb. 22, 1873:—

"'The Doctor of Alcantara' has at last attracted a number of colored amateurs of Washington; and they have lately appeared in that city, with such success that they are induced to present it in Philadelphia.

"It must be remembered that this troupe is composed entirely of amateurs, and is the first colored opera-troupe in existence. We have had the 'Colored Mario' [Thomas J. Bowers], the 'Black Swan' [Miss Greenfield], &c.; but never until now have we had a complete organization trained for ensembles.

"The audience attracted to Horticultural Hall last evening was therefore prepared to make all sorts of allowances for the shortcomings of the amateurs; but it was hardly necessary, as the troupe—really excellent, well trained—possesses agreeable voices, sings intelligently, and with experience will, we are confident, attract a great deal of attention, and receive high praise.

"The principal success was achieved by Mrs. A.G. Smallwood, who sang the music of 'Lucrezia' remarkably well. Her voice is full and pleasing. Miss Lena Miller, however, sang 'Isabella' very prettily; her romance, 'He still was there,' being rendered with excellent taste. Miss Mary A.C. Coakley, as 'Inez,' acted and sang with considerable spirit. Her arietta, 'When a lover is poor,' was quite neatly sung.

"Mr. W.T. Benjamin, as the 'Doctor,' acted and sang with spirit; so did Mr. T.H. Williams as 'Don Pomposo.' Mr. H.F. Grant, the tenor, has a powerful voice, which, with cultivation, will become excellent. He sang 'Love's cruel dart' judiciously, and was effective in the opening serenade with chorus, 'Wake, lady, wake.' Mr. Grant is not yet at home on the stage, but acted and sang the duet, 'I love, I love,' with 'Lucrezia,' remarkably well.

"The chorus, numbering nearly forty, was worthy of warm praise. The serenade that opens the opera was charmingly sung by the male voices; and the finale to Act 3 was so spirited and effective, that it was encored. We do not exaggerate when we say that this is one of the best choruses we have heard for some time."

From "The Philadelphia Inquirer," Feb. 22, 1873:—

"THE COLORED OPERA-COMPANY.

"This opera-company made its first appearance in this city last evening at Horticultural Hall, and was most favorably received. The performance, which was given to quite a large and intelligent audience, was Julius Eichberg's opera entitled 'The Doctor of Alcantara,' which was excellently rendered.

"Miss Lena Miller, who sang the role of 'Isabella,' is young and graceful, with a pleasing voice; and her part was well given. Mrs. A.G. Smallwood was cast as 'Donna Lucrezia,' and had considerable to do. She sings well, and her acting far exceeds that of any other member of the company. 'Inez,' a maid represented by Miss Coakley, and a difficult part, was given with great accuracy. 'Carlos,' by Mr. H.F. Grant, was fairly rendered.... W.T. Benjamin as 'Dr. Paracelsus,' although a little stiff, fairly performed his part.

"The chorus, composed of probably thirty voices, male and female, was a feature; and their singing is really unsurpassed by the finest chorus in the best companies."

From "The Philadelphia Evening Star," Feb. 22, 1873:—

"COLORED AMERICAN OPERA-COMPANY.

"This company made its first appearance last evening at Horticultural Hall to an audience, which, though not large, was attentive and sympathetic. The attendance would, no doubt, have been larger, but for an unfortunate mistake.... As it was, the performance was an agreeable surprise to all who were present; not only being a decided success, but in the matter of choruses surpassing any performances of the same opera ever given in this city by any of the foreign or 'grand English' opera-troupes.[16] The cast of the colored troupe included Mrs. Smallwood, who has a beautiful ringing soprano-voice, a very easy lyric and dramatic method, and a carriage of unusual grace; Miss Lena Miller, whose voice, though less powerful, is very pleasant, and whose acting was notable for its unaffected style; Miss M.A.C. Coakley, a mezzo-soprano of very fair capacities; Mr. H.F. Grant, whose tenor-voice has good power, range, and quality; Mr. T.H. Williams, who possesses a deep bass-voice, controlled with a fair degree of culture; and Messrs. W.T. Benjamin and Smallwood, who filled their parts not unacceptably."

[Footnote 16: The same opera was performed here a few days before with the following cast: Miss Howson, Mrs. Seguin, and Miss Phillips, and Messrs. Seguin and Chatterson.]

From "The Age," Philadelphia, Feb. 22, 1873:—

"The colored opera-troupe gave their first performance in Philadelphia last night in Horticultural Hall. The selection for their debut was 'The Doctor of Alcantara,' by Julius Eichberg, which has frequently been given previously by various English companies, but, we venture to say, never so perfectly in its ensemble as by this company.

"There was a great deal of enthusiasm; and several numbers of the opera were vociferously re-demanded, including the finale of the first act, which revealed to us a choral effect which has never been heard upon the operatic stage in our country since the palmy days of Ullman's management. The chorus was large and efficient, every member doing his and her part; and, to all appearances, there was no 'dead wood' among them. It must be understood, besides, that all the music was sung; every part in harmony being taken with exactness and precision, whether as to time or intonation.

"Indeed, so admirably did the chorus sing, that we hope to hear them in a mass or an oratorio at some future time, being satisfied that they will make a most favorable impression."

From "The Philadelphia Evening Bulletin," Feb. 22, 1873:—

"A company of colored persons appeared at Horticultural Hall last night in Eichberg's opera, 'The Doctor of Alcantara.' The opera was given in a really admirable manner by singers who understand their business, and have vocal gifts of no mean description. The leading soprano, Mrs. Smallwood, has a full, round, clear, resonant voice of remarkable power; and she uses it with very great effect. She sang the music with correctness and precision, and played her part capitally.

"The tenor and bass are both excellent; but, while they display fine voices, they show a want of high training. This is also the single defect of the two subordinate female voices of the company.

"The chorus was very fine indeed; and its performance, like that of the principal singers, proceeded without a flaw or blunder from first to last."

From the Washington correspondent of "The Vineland (N.J.) Weekly," February, 1873:—

"On Tuesday evening it was the good fortune of your correspondent to attend the opera rendered by the 'Colored American Opera Company,' of which I spoke in my last.

"To say that every thing passed off well, simply, would be but faint praise. We all know that the colored race are natural musicians; and that they are susceptible of a high degree of cultivation is evinced by their rendition of the opera on the occasion of which I speak.

"As for the chorus, it is not saying any thing extravagant when I make the assertion, that it has never been excelled by that of any of the professional opera-troupes which have visited this city."

The comments just given, taken, as it may be seen they are, from the principal journals of Washington and Philadelphia, without regard to party bias, would be of little value here, were it not for the vein of candor that runs through them all. In them the writers have tempered very high praise with the faithful pointing-out of such defects as to them appeared in the performances. This is the spirit of true criticism, which, while it ever eagerly seeks to discover all the merits of a performance, fails not also to note, in the interest of true progress, all its errors. Praise, then, from such a source, is praise indeed. Moreover, it is not pretended that our little troupe of amateurs presented a perfect performance. Others of longer experience and of far more pretentious character had not done this. Nor was or is such a thing possible; for, as Pope says in his "Essay on Criticism,"

"Whoever thinks a faultless piece to see Thinks what ne'er was, nor is, nor e'er shall be."

But, allowing for such errors as caught the sharp eye and ear of the critic (it is seen that these errors were but trifling in number and character), the series of operatic representations under consideration was a fine, a brilliant success.

For the happy conception and successful carrying-out of the idea of presenting to the public a rendition of opera by musicians of the colored race, words too high in praise of these ambitious pioneers of Washington cannot be spoken. Never before had there been an attempt by persons of their race to enter, as the equals of others, the exacting domain of the music drama. The performances, although few in number, were of such a highly-pleasing description, and the movement was withal so entirely novel, as to render it a somewhat startling and a most delightful revelation.

Mingled with the feelings of just pride that many persons experience when reflecting upon the grand musical and dramatic success achieved by these artists, ever and anon arise those of regret,—regret that they did not longer continue their charming performances, extending the same to other cities besides those mentioned. It is therefore earnestly hoped that ere long they will again appear. It is hoped that even now they are devoting themselves to rigid study, and to the arrangement of matters of detail; and that, guided by past valuable experience, they will soon give representations of opera in a style even exceeding in finish that which characterized those which they formerly gave.

As the avants-courrieres [Transcriber's Note: avants-courriers] in art of those of their race, whom, let us hope, a fast-approaching day of better opportunities shall make plentiful enough; holding as they do their torches in the remaining darkness, to light the pathway of those that shall follow them into the bright, the delightful realms of the operatic Muse,—theirs is therefore a beneficent, a noble mission, the continuance of which promises the happiest results for all concerned.



XIX.

THE FAMOUS JUBILEE SINGERS

OF

FISK UNIVERSITY.

"The air he chose was wild and sad:... Now one shrill voice the notes prolong; Now a wild chorus swells the song. Oft have I listened and stood still As it came softened up the hill."

SIR WALTER SCOTT.

"If, in brief, we might give a faint idea of what it is utterly impossible to depict, we would adopt three words,—soft, sweet, simple."

"The Jubilee Singers:" London Rock.

The dark cloud of human slavery, which for over two hundred weary years had hung, incubus-like, over the American nation, had happily passed away. The bright sunshine of emancipation's glorious day shone over a race at last providentially rescued from the worst fate recorded in all the world's dark history. Up out of the house of bondage, where had reigned the most terrible wrongs, where had been stifled the higher aspirations of manhood, where genius had been crushed, nay, more, where attempts had been made to annihilate even all human instincts,—from this accursing region, this charnel-house of human woe, came the latter-day children of Israel, the American freedmen.

How much like the ancient story was their history! The American nation, Pharaoh-like, had long and steadily refused to obey the voice of Him who said, between every returning plague, "Let my people go;" and, after long waiting, he sent the avenging scourge of civil strife to compel obedience. The great war of the Rebellion (it should be called the war of retribution), with its stream of human blood, became the Red Sea through which these long-suffering ones, with aching, trembling limbs, with hearts possessed half with fear and half with hope hitherto so long deferred, passed into the "promised land" of blessed liberty.

Slavery, then, ended, the first duty was to repair as far as possible its immense devastations made upon the minds of those who had so long been its victims. The freedmen were to be educated, and fitted for the enjoyment of their new positions.

In this place I may not do more than merely touch upon the beneficent work of those noble men and women who at the close of the late war quickly sped to the South, and there, as teachers of the freedmen, suffered the greatest hardships, and risked imminent death from the hands of those who opposed the new order of things; nay, many of them actually met violent death while carrying through that long-benighted land the torch of learning. Not now can we more than half appreciate the grandeur of their Heaven-inspired work. In after-times the historian, the orator, and the poet shall find in their heroic deeds themes for the most elevated discourse, while the then generally cultured survivors of a race for whose elevation these true-hearted educators did so much will gratefully hallow their memories.

Among the organizations (I cannot mention individual names: their number is too great) that early sought to build up the waste places of the South, and to carry there a higher religion and a much-needed education, was the American Missionary Association. This society has led all others in this greatly benevolent work, having reared no less than seven colleges and normal schools in various centres of the South. The work of education to be done there is vast, certainly; but what a very flood of light will these institutions throw over that land so long involved in moral and intellectual darkness!

The principal one of these schools is Fisk University, located at Nashville, Tenn.; the mention of which brings us to the immediate consideration of the famous "Jubilee Singers," and to perhaps the most picturesque achievement in all our history since the war. Indeed, I do not believe that anywhere in the history of the world can there be found an achievement like that made by these singers; for the institution just named, which has cost thus far nearly a hundred thousand dollars, has been built by the money which these former bond-people have earned since 1871 in an American and European campaign of song.

But what was the germ from which grew this remarkable concert-tour, and its splendid sequence, the noble Fisk University?

Shortly after the close of the war, a number of philanthropic persons from the North gathered into an old government-building that had been used for storage purposes, a number of freed children and some grown persons living in and near Nashville, and formed a school. This school, at first under the direction of Professor Ogden, was ere long taken under the care of the American Missionary Association. The number of pupils rapidly increasing, it was soon found that better facilities for instruction were required. It was therefore decided to take steps to erect a better, a more permanent building than the one then occupied. Just how this was to be done, was, for a while, quite a knotty problem with this enterprising little band of teachers. Its solution was attempted finally by one of their number, Mr. George L. White, in this wise: He had often been struck with the charming melody of the "slave songs" that he had heard sung by the children of the school; had, moreover, been the director of several concerts given by them with much musical and financial success at Nashville and vicinity. Believing that these songs, so peculiarly beautiful and heart-touching, sung as they were by these scholars with such naturalness of manner and sweetness of voice, would fall with delightful novelty upon Northern ears, Mr. White conceived the idea of taking a company of the students on a concert-tour over the country, in order to thus obtain sufficient funds to build a college. This was a bold idea, seemingly visionary; but the sequel proved that it was a most practical one.

All arrangements were completed; and the Jubilee Singers, as they were called, left Nashville in the fall of 1871 for a concert-tour of the Northern States, to accomplish the worthy object just mentioned. Professor White, who was an educated and skilful musician, accompanied them as musical director. Mr. Theodore F. Seward, also of fine musical ability, was, after a while, associated in like capacity with the singers. The following are the names of those who at one time and another, since the date of organization, have been members of the Jubilee choir:—

MISS ELLA SHEPARD, PIANIST. MR. THOMAS RUTLING, MR. H. ALEXANDER, MR. F.J. LOUDIN, MR. G.H. OUSLEY, MR. BENJAMIN M. HOLMES, MR. ISAAC P. DICKERSON, MR. GREENE EVANS, MR. EDMUND WATKINS, MISS MAGGIE PORTER, MISS JENNIE JACKSON, MISS GEORGIE GORDON, MISS MAGGIE CARNES, MISS JULIA JACKSON, MISS ELIZA WALKER, MISS MINNIE TATE, MISS JOSEPHINE MOORE, MISS MABEL LEWIS, AND MISS A.W. ROBINSON.

This list might well be called the Roll of Honor.

I have not space to follow in detail this ambitious band of singers in their remarkable career throughout this country and in Great Britain. The wonderful story of their journey of song is fully and graphically told in a book (which I advise all to read) written by Mr. G.D. Pike, and published in 1873. A brief survey of this journey must here suffice.

The songs they sang were generally of a religious character,—"slave spirituals,"—and such as have been sung by the American bondmen in the cruel days of the past. These had originated with the slave; had sprung spontaneously, so to speak, from souls naturally musical; and formed, as one eminent writer puts it, "the only native American music."

The strange, weird melody of these songs, which burst upon the Northern States, and parts of Europe, as a revelation in vocal music, as a music most thrillingly sweet and soul-touching, sprang then, strange to say, from a state of slavery; and the habitually minor character of its tones may well be ascribed to the depression of feeling, the anguish, that must ever fill the hearts of those who are forced to lead a life so fraught with woe. This is clearly exemplified, and the sad story of this musical race is comprehensively told, in Ps. cxxxvii.:—

"By the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion.

"We hanged our harps upon the willows in the midst thereof.

"For there they that carried us away captive required of us a song; and they that wasted us required of us mirth, saying, Sing us one of the songs of Zion.

"How shall we sing the Lord's song in a strange land?"

And yet, ever patient, ever hopeful of final deliverance, they did sing on and on, until at last the joyful day of freedom dawned upon them.

To render these songs essentially as they had been rendered in slave-land came the Jubilee Singers. They visited most of the cities and large towns of the North, everywhere drawing large and often overwhelming audiences, creating an enthusiasm among the people rarely ever before equalled. The cultured and the uncultured were alike charmed and melted to tears as they listened with a new enthusiasm to what was a wonderfully new exhibition of the greatness of song-power. Many persons, it is true, were at first attracted to the concert-hall by motives of mere curiosity, hardly believing, as they went, that there could be much to enjoy. These, however, once under the influence of the singers, soon found themselves yielding fully to the enchanting beauty of the music; and they would come away saying the half had not been told. The musical critics, like all others in the audiences, were so lost in admiration, that they forgot to criticise; and, after recovering from what seemed a trance of delight, they could only say that this "music of the heart" was beyond the touch of criticism.

I have spoken of the origin and the character of these songs. Those who so charmingly interpreted them deserve most particular notice. The rendering of the Jubilee Singers, it is true, was not always strictly in accordance with artistic forms. The songs did not require this; for they possessed in themselves a peculiar power, a plaintive, emotional beauty, and other characteristics which seemed entirely independent of artistic embellishment. These characteristics were, with a most refreshing originality, naturalness, and soulfulness of voice and method, fully developed by the singers, who sang with all their might, yet with most pleasing sweetness of tone.

But, as regards the judgment passed upon this "Jubilee melody" from a high musical stand-point, I quote from a very good authority; viz., Theo. F. Seward of Orange, N.J.:—

"It is certain that the critic stands completely disarmed in their presence. He must not only recognize their immense power over audiences which include many people of the highest culture, but, if he be not entirely incased in prejudice, he must yield a tribute of admiration on his own part, and acknowledge that these songs touch a chord which the most consummate art fails to reach. Something of this result is doubtless due to the singers as well as to their melodies. The excellent rendering of the Jubilee Band is made more effective, and the interest is intensified, by the comparison of their former state of slavery and degradation with the present prospects and hopes of their race, which crowd upon every listener's mind during the singing of their songs; yet the power is chiefly in the songs themselves."

It would not do, of course, to assume that to the almost matchless beauty of the songs and their rendering was due alone the intense interest that centred in these singers. They were on a noble mission. They sang to build up education in the blighted land in which they themselves and millions more had so long drearily plodded in ignorance; and it was a most striking and yet pleasing exhibition of poetic justice, when many of those who really, in a certain sense, had been parties to their enslavement, were forced to pay tribute to the signs of genius found in this native music, and to contribute money for the cause represented by these delightful musicians.

But I must not give only my own opinion of these singers, as I am supposed to be a partial witness. Many, many others, among whom are the most talented and cultured of this country and England, have spoken of them in terms the most laudatory. Some of these shall now more than confirm my words of praise.

The Rev. Theodore L. Cuyler of Brooklyn, writing in January, 1872, to "The New-York Tribune," thus spoke of them:—

"When the Rev. Mr. Chalmers (the younger) visited this country as the delegate of the Scotch Presbyterian General Assembly, he went home and reported to his countrymen that he had 'found the ideal church in America: it was made up of Methodist praying, Presbyterian preaching, and Southern negro-singing.' The Scotchman would have been confirmed in his opinion if he had been in Lafayette-avenue Church last night, and heard the Jubilee Singers,—a company of colored students, male and female, from Fisk University of Freedmen, Nashville, Tenn. In Mr. Beecher's church they delighted a vast throng of auditors, and another equally packed audience greeted them last evening.

"I never saw a cultivated Brooklyn assemblage so moved and melted under the magnetism of music before. The wild melodies of these emancipated slaves touched the fount of tears, and gray-haired men wept like children....

"The harmony of these children of nature, and their musical execution, were beyond the reach of art. Their wonderful skill was put to the severest test when they attempted 'Home, Sweet Home,' before auditors who had heard these same household words from the lips of Jenny Lind and Parepa; yet these emancipated bondwomen, now that they knew what the word 'home' signifies, rendered that dear old song with a power and pathos never surpassed.