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JAMES M. TROTTER.
JAMES M. TROTTER.
"A man should hear a little music, read a little poetry, and see a fine picture, every day of his life, in order that worldly cares may not obliterate the sense of the beautiful which God has implanted in the human soul."— Goethe . "'Tis thine to merit, mine to record."— Homer . BOSTON: LEE AND SHEPARD, PUBLISHERS. NEW YORK: CHARLES T. DILLINGHAM. 1881. Copyright , 1878, By JAMES M. TROTTER. James M. Trotter...
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PREFACE.
PREFACE.
The purposes of this volume will be so very apparent to even the most casual observer, as to render an extended explanation here unnecessary. The author will therefore only say, that he has endeavored faithfully to perform what he was convinced was a much-needed service, not so much, perhaps, to the cause of music itself, as to some of its noblest devotees and the race to which the latter belong. The inseparable relationship existing between music and its worthy exponents gives, it is believed,
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MUSIC AND SOME HIGHLY MUSICAL PEOPLE.
MUSIC AND SOME HIGHLY MUSICAL PEOPLE.
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I.
I.
W HAT is music? Quite easy is it to answer after the manner of the dictionaries, and say, "Music is (1) a number of sounds following each other in a natural, pleasing manner; (2) the science of harmonious sounds; and (3) the art of so combining them as to please the ear." These are, however, only brief, cold, and arbitrary definitions: music is far more than as thus defined. Indeed, to go no farther in the description of this really sublime manifestation of the beautiful would be to very inadequ
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II.
II.
T O the inventive genius of man must, of course, be attributed the present developments, and the beautiful, diversified forms, existing in musical art. But, before man was, the great Author of harmony had created what may be called the music of Nature. Afterwards, the human ear, penetrated by sounds of melody issuing from wind, wave, or bird, the rapt mind in strange and pleasing wonder contemplating the new and charming harmonies,—then it was that man received his first impressions, and took hi
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III.
III.
M USIC is as old as the world itself. In some form or other, it has always existed. Ere man learned to give vent to his emotions in tuneful voice, Nature, animate and inanimate, under the hand of the Great Master, sang his praises. Of this we learn in the sacred writings; while all about us, in the songs of birds, the musical sighing of the winds, the fall of waters, and the many forms of the music of Nature, we have palpable evidence of its present existence, and assurances of its most remote a
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IV.
IV.
"The soul lives its best hours when surrounded by melody, and is drawn towards its home, Paradise, dreaming of its hymning seraphs who adore with ecstasies that can find utterance only in song." "And how can happiness be better expressed than by song or music? And, if the body and mind are both attuned to a true enjoyment of their resources, how much more will the moral nature be refined and educated!" T HE cultivation of the art of music has ever followed closely the progress of civilization; a
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V. ELIZABETH TAYLOR GREENFIELD,
V. ELIZABETH TAYLOR GREENFIELD,
I N giving a brief sketch of the life of the celebrated cantatrice, Miss Greenfield, the writer is somewhat embarrassed by the amount and richness of the materials at his command. For it would require far too much space to give all, or even a considerable portion, of the many press notices, criticisms, incidents, and the various items of interest, that are connected with her remarkable career; while to judiciously select from among the same a few, so that, while justice is done the subject, the
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VI. THE “LUCA FAMILY,”
VI. THE “LUCA FAMILY,”
W HILE nearly all persons have to a greater or lesser degree musical sympathy and capability, or, to speak generally, capacity for the enjoyment or production, in one way or another, of harmony; and while, too, a goodly number there are who possess what may be called musical aptitude,—it is yet only once in a great while that we find those who are thus endowed in a degree which may be considered extraordinary. For the Muses, however often and earnestly invoked, are never lavish in the bestowment
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VII. HENRY F. WILLIAMS,
VII. HENRY F. WILLIAMS,
"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 music
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VIII. JUSTIN HOLLAND,
VIII. JUSTIN HOLLAND,
N o 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
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IX. THOMAS J. BOWERS,
IX. THOMAS J. BOWERS,
T HOMAS 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. Thomas J. Bowers THOMAS J. BOWERS. 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 lea
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X. JAMES GLOUCESTER DEMAREST,
X. JAMES GLOUCESTER DEMAREST,
T HE 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
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XI. THOMAS GREENE BETHUNE,
XI. THOMAS GREENE BETHUNE,
H E 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, t
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BLIND TOM’S CONCERTS.
BLIND TOM’S CONCERTS.
43. Imitations of the Music-Box. 44. " " Dutch Woman and Hand-Organ. 45. " " Harp. 46. " " Scotch Bagpipes. 47. " " Scotch Fiddler. 48. " " Church Organ. 49. " " Guitar. 50. " " Banjo. 51. " " Douglas's Speech. 52. " " Uncle Charlie. 53. Produces three melodies at the same time. 57. "Rocked in the Cradle of the Deep" 58. "Mother, dear Mother, I still think of Thee" 59. "The Old Sexton" 60. "The Ivy Green" 61. "Then you'll remember Me" 62. "Scenes that are Brightest" 63. "When the Swallows homewa
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PROGRAMME.
PROGRAMME.
43. Imitations of the Music-Box. 44. " " Dutch Woman and Hand-Organ. 45. " " Harp. 46. " " Scotch Bagpipes. 47. " " Scotch Fiddler. 48. " " Church Organ. 49. " " Guitar. 50. " " Banjo. 51. " " Douglas's Speech. 52. " " Uncle Charlie. 53. Produces three melodies at the same time. 57. "Rocked in the Cradle of the Deep" 58. "Mother, dear Mother, I still think of Thee" 59. "The Old Sexton" 60. "The Ivy Green" 61. "Then you'll remember Me" 62. "Scenes that are Brightest" 63. "When the Swallows homewa
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XII. ANNA MADAH AND EMMA LOUISE HYERS,
XII. ANNA MADAH AND EMMA LOUISE HYERS,
THE "HYERS SISTERS."—AN ACROSTIC. O NE day, two little girls, the one aged seven and the other nine years, came gayly, gleefully tripping into the room where their parents sat quietly conversing, and soon began to sing some of the songs and to enact some of the scenes from operas, performances of which they had occasionally witnessed at the theatre. This they did, of course, in childlike, playful manner, yet not without a showing, considering their ages, of a surprising degree of correctness. Hy
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(COLORED.)
(COLORED.)
These young ladies (as will be seen from criticisms annexed) have created a great sensation wherever they have appeared; and, it being the intention of their father (who accompanies them) to take them to Europe to perfect them in their art, he has been induced, at the request of numerous friends, to make a tour through the principal cities of America, to afford the musical public and those anxious to hear these truly wonderful artists of the colored race an opportunity of hearing them, and judgi
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XIII. FREDERICK ELLIOT LEWIS,
XIII. FREDERICK ELLIOT LEWIS,
I N musical versatility, in capability for playing upon a great variety of musical instruments, there may be possibly, among the large number of talented artists of this country, a few who equal the subject of the following sketch: the writer, however, confesses, that, if there be such, he does not know of them. But, be this as it may, such an instance as I am about to present is one, which, in its showing of great musical talents and diversity of acquirements in instrumental performance, will b
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XIV. NELLIE E. BROWN,
XIV. NELLIE E. BROWN,
A LL musical tones please the ear, and affect to a greater or lesser degree the finer senses; for as beautifully and expressively sings Cowper, explaining this sensibility,— The musical instrument, of itself lying cold and inanimate, may become, when touched by the hand of genius, seemingly a thing of life as the performer evolves from its board tones of melody so thrillingly sweet, so soulful, as to awaken in the listener's breast the holiest emotions. Even stout-hearted men have shed the tear
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XV. SAMUEL W. JAMIESON,
XV. SAMUEL W. JAMIESON,
“T HE entertainments at Parker Memorial Hall on Sunday evenings in no wise lessen in interest and numbers. One evening, listening to Gounod's 'Ave Maria' by the famous Germania Orchestra, we felt that the worship of the Virgin, of which was born such heavenly strains, if for no other reason, was not without its use in the world even now. Another evening Mr. Jamieson awoke the echoes of the piano in a manner to do credit to a Liszt and Chopin." Samuel W. Jamieson SAMUEL W. JAMIESON. Thus, a year
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XVI. THE VIOLIN.[13]
XVI. THE VIOLIN.[13]
T HE 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
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XVII. JOSEPH WHITE,
XVII. JOSEPH WHITE,
M R. 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. 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
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XVIII. THE COLORED AMERICAN OPERA COMPANY.
XVIII. THE COLORED AMERICAN OPERA COMPANY.
T HE 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 la
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XIX. THE FAMOUS JUBILEE SINGERS
XIX. THE FAMOUS JUBILEE SINGERS
"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. T HE 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 ho
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XX. THE GEORGIA MINSTRELS.
XX. THE GEORGIA MINSTRELS.
T HE origin of troubadours, or minstrels, dates back to the year 1100 (A.D.) at least. There are accounts, somewhat vague, however, which make them still more ancient. They were at one time almost the sole producers of poetry and music, always composing the songs they sang, accompanying the same generally, at first, with the music of the dulcet-toned harp, and, at a later period, with that of the guitar. Their accomplishments, especially in music, secured for them the ready entrée of the most re
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OTHER REMARKABLE MUSICIANS,
OTHER REMARKABLE MUSICIANS,
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I.
I.
O N the following pages I shall make mention in collective form, and somewhat briefly, of a number of artists whose histories, although not less important than those by which they are preceded, could not, owing to various causes, be placed in the first part of this book. The true value of musical proficiency does not consist alone in the power it gives one to win the applause of great audiences, and thereby to attain to celebrity: it consists also in its being a source of refinement and pleasure
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PROGRAMME.
PROGRAMME.
This concert gave delight to a large audience, and was very much praised by the public journals. I close the list of Boston musical people by presenting the following programme of a hastily-arranged concert given by a number of artists on the evening of April 15, 1874. It is given simply as a specimen of the numbers often performed at concerts by those whose names appear, and by others mentioned heretofore, with but little rehearsal. Although the music is of a fine order, it is by no means as di
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PROGRAMME.
PROGRAMME.
Mr. David T. Oswald , residing at Worcester, Mass., is an artistic violinist, performing in a finished style the most classical and difficult music for the violin. He has, besides, become deservedly popular as an organizer of musical entertainments, and as a promoter of a regard for good music by the people. He is quite well known in St. John, N.B., Portland, Me., and in Boston, in which places he has frequently appeared at public concerts; and has been often complimented by the press. James Cas
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II. SOME MUSICAL PEOPLE OF THE SOUTH.
II. SOME MUSICAL PEOPLE OF THE SOUTH.
"Songs from the sunny South-land."— A.K. Spence. T HE colored people of the South are proverbially musical. They might well be called, in that section of the country, a race of troubadours, so great has ever been their devotion to and skill in the delightful art of music. Besides, it is now seen, and generally acknowledged, that in certain of their forms of melodic expression is to be found our only distinctively American music; all other kinds in use being merely the echo, more or less perfect,
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III. NEW ORLEANS.
III. NEW ORLEANS.
B EFORE the late war, the city of New Orleans was often styled "the Paris of America." The Province of Louisiana, originally settled by the French, and until 1812, when it became a State of the American Union, contained a population naturally distinguished by the same general characteristics as those which marked the people of France. The Frenchman has for a long time been proverbially a devotee of the fine arts; and of these that gay and brilliant city Paris—which has ever been to its enamoured
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GRAND
GRAND
Miss A.F. will preside at the Piano. The Orchestra under direction of Mr. Louis Martin . DOORS OPEN AT 6.——CONCERT TO BEGIN AT 7 PRECISELY....
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PROGRAMME.
PROGRAMME.
Miss A.F. will preside at the Piano. The Orchestra under direction of Mr. Louis Martin . DOORS OPEN AT 6.——CONCERT TO BEGIN AT 7 PRECISELY. From the notes of a musical critic of New Orleans I learn that this concert was in all respects a fine success. The different overtures were well executed by an ensemble of twenty instrumentalists, all colored men; while all the numbers on the programme were rendered, generally, in a manner that would have been creditable, even had the performers been, as th
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PREFACE TO THE MUSIC.
PREFACE TO THE MUSIC.
It is deemed necessary to offer a few words of explanation touching the music printed on the following pages. The collection is given in order to complete the author's purpose, which is not only to show the proficiency of the subjects of the foregoing sketches as interpreters of the music of others, but, further, to illustrate the ability of quite a number of them (and, relatively, that of their race) to originate and scientifically arrange good music. For want of space, only a few selections ha
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ANTHEM FOR CHRISTMAS.
ANTHEM FOR CHRISTMAS.
Composed and Arranged by WM. BRADY. N.Y. 1851. [ Listen ] [ PDF ] [ XML ] Anthem music To Miss Florinda J. Ruffin, Boston....
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WELCOME TO THE ERA.
WELCOME TO THE ERA.
J. SAWYER. [ Listen ] [ PDF ] [ XML ] Welcome to the Era music Copyright, 1877 by John F. Perry, & Co. Used by per....
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AN ANDANTE.
AN ANDANTE.
For the Guitar, by JUSTIN HOLLAND. [ Listen ] [ PDF ] [ XML ] Andante music...
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THE PILGRIM.
THE PILGRIM.
Composed by JOHN T. DOUGLASS. [ Listen ] [ PDF ] [ XML ] The Pilgrim music...
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THE PARISIAN WALTZES.
THE PARISIAN WALTZES.
Composed by H.F. WILLIAMS. [ Listen ] [ PDF ] [ XML ] Parisian Waltzes music Copyright, 1867 by Oliver Ditson, & Co. Used by permission....
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LE SERMENT DE L’ARABE.
LE SERMENT DE L’ARABE.
Paroles de A. DEMARTON. Musique d'Em. DÉDÉ. [ Listen ] [ PDF ] [ XML ] Le Serment de l'Arabe music...
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LA CAPRICIEUSE.
LA CAPRICIEUSE.
BASILE BARÈS. Op. 7. [ Listen ] [ PDF ] [ XML ] La Capricieuse music Copyright, 1869, by A.E. Blackmar. Used by permission....
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AU CLAIR DE LA LUNE.
AU CLAIR DE LA LUNE.
LUCIEN LAMBERT. Op. 30. [ Listen ] [ PDF ] [ XML ] Au Clair de la Lune music Respectfully Dedicated to Mrs. Amelia Nahar....
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“LAURIETT.”
“LAURIETT.”
Composed by H.F. WILLIAMS. 1840. [ Listen ] [ PDF ] [ XML ] Lauriett music Copyright by O. Ditson & Co. Used by permission....
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LES CLOCHETTES.
LES CLOCHETTES.
SYDNEY LAMBERT. Op. 9. [ Listen ] [ PDF ] [ XML ] Les Clochettes music Alphonse Leduc. Paris....
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“RAYS OF HOPE.”
“RAYS OF HOPE.”
Composed by WALTER F. CRAIG. Op. 1. [ Listen ] [ PDF ] [ XML ] Rays of Hope music...
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SCENES OF YOUTH.
SCENES OF YOUTH.
By F.E. LEWIS, Op. 3. [ Listen ] [ PDF ] [ XML ] Scenes of Youth music...
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MASS
MASS
By SAMUEL SNAER, New Orleans. [ Listen ] [ PDF ] [ XML ] Mass music...
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