Music and Some Highly Musical People Part 15

"Tom sometimes indulges in some strange gymnastics upon the stage, which are considered by many a part of his stage training. So far from this being the case, it is but a slight outcropping of his usual exercises. If those who see him upon the stage could witness his performances in his room, and the enjoyment they afford him, they would perhaps regret the necessity of his restraint in public. He never engaged in the plays of children, or manifested any interest in them. His amus.e.m.e.nts were all his own. With a physical organization of great power and vigor, and an exuberance of animal spirits, he naturally sought physical exercise.

Compelled by want of sight to limit himself to a small s.p.a.ce, he put himself in almost every conceivable posture, and resorted to those exercises which required the most violent physical exertion. They are now necessary certainly to his enjoyment, perhaps to his health.

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

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

PHILADELPHIA, Sept. 16, 1865.

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

In the numerous tests to which Tom was subjected in our presence, or by us, he invariably came off triumphant.

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

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

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

Here are some clippings from American and English newspapers.

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

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

"The secret of this wonderful power is the most perfect ear for the harmonies of sound ever observed,--'only this, and nothing more.' To him every thing is music. Discords do not seem to disturb him; but his ear catches every harmony, and his whole being seems entranced and controlled by it. Let him stand with his back to a piano, and any number of chords be struck, and he will instantly tell every note sounded, showing that he has been able to discriminate, and his memory to retain distinctly and perfectly, each sound. The phrenologists say that memory is in proportion to clearness and strength of the impression produced at first; and this must be the case with him. From two years old this remarkable power of sound over him has been noticed. He has been blind from birth; and it would seem here, as often observed before, that, by a compensative law of our being, in proportion as one sense is defective, the expenditure of vital energy thus saved is absorbed by some other sense.

Probably all our sensations are the result of vibrations; and the pulsations of light that usually enter and give all their exquisite pleasure through the eye-ball are in his case compensated for by the pulsations of sound, which strike on an ear possessed of nerves of double delicacy and vital energy from the absorption and concentration of two senses in one.

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

"Perhaps a proper study of the case of this lad might show to what extent all (though in less degree) might be educated through music. It is certainly this alone that can be most easily developed. Probably the highest and best emotions might be thus permanently excited within him; while the desire for those pleasures leads him to put forth intellectual efforts that nothing else can.... But his performances in music show how the highest results of art and study are most easily reached by this lad in his one-sided culture and development,--that of the ear alone.

It is with him a sort of inspiration. The science of music he will probably never be able to master; but we must remember that the art of it preceded the science in Egypt, in Palestine, in Greece, and in Rome, by long ages. Indeed, it was the music of the Hebrews, and then of the Christian Church, that gave birth to scientific music, and alone developed it, until that of the opera gave rise to a distinct branch of the culture. This re-acted powerfully on sacred music itself. 'Blind Tom' at present likes operatic music best."

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

"Now test the power of a.n.a.lysis. Three pianos are opened: at two of them persons present hammer away, with the design of producing the most perfect discord imaginable; at the third piano, the professor makes a run of twenty notes. The confusion ceases, and Tom repeats in a moment each of the twenty notes sounded. Still another test. Tom takes the stool himself. With his right hand he plays 'Yankee Doodle'

in B flat. With his left hand he performs 'Fisher's Hornpipe' in C. At the same time he sings 'Tramp, tramp,' in another key,--maintaining three distinct processes in that discord, and apparently without any effort whatever. 'Most marvellous!' you say; 'but can he express as well as he perceives?' The gentlemanly director will let you see. He asks Tom to render 'Home, Sweet Home,' by Thalberg. You know, that, of all productions in the current _repertoire_, there are none which have finer or more difficult shades than this. 'Blind Tom' proceeds; and, were you to close your eyes, you could not tell but Thalberg himself was at the instrument, so perfect and so exquisite is the conception and the touch. Then you have renderings in imitation from Chopin, from Gottschalk, from Vieuxtemps, from anybody you will mention who has been deemed a master of the art; and you turn away convinced, surfeited with marvels, satisfied that you have witnessed one of the most incomprehensible facts of the time."

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

"'Prodigies' of all kinds are presented ever and anon to the public nowadays; but we have had nothing yet produced so truly marvellous as the negro phenomenon known as 'Blind Tom,' who appeared for the first time in Manchester, at the Theatre Royal, last night. In order to test 'Blind Tom's'

powers of memory, Mr. Joule gave a short impromptu, avoiding any marked rhythm or subject, but which was imitated very cleverly. To test his powers of a.n.a.lyzing chords, Mr. Joule played him the following discordant combinations: the chord of B flat in the left hand, with the chord of A with the flat fifth and sharp sixth in right hand; the chord of E in the left hand, and the chord of D, two sharps, in the right; the chord of A, three flats, in the left hand, with that of A, three sharps, in the right. All these chords were at once correctly named by enumerating each note in succession from the lowest. Mr. Seymour subsequently was called upon, and gave a subject, which he reproduced upon the piano-forte with great success."

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

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

From "The Edinburgh Scotsman:"--

"'BLIND TOM.'--Last night this negro boy, of whose remarkable performances so much has been said and written of late, made his first appearance here in the Operetta House.

There was a crowded audience, among whom were a number of the musical _cognoscenti_ of Edinburgh, whose curiosity had been excited by the reputation he had gained in America, as well as by the favorable notices of the press in this country, and the testimony of such men as Moscheles and Halle.... It is only when he sits down to the instrument, that he becomes, as it were, inspired. He played several pieces on this occasion from memory, and displayed great execution, and a greater amount of feeling and expression than we were prepared to expect. One of the best of these was the fantasia on the Hundredth Psalm, which was brilliantly executed. One of his most extraordinary feats is the reproduction of any piece once played over to him. On this occasion, Mr. Laurie, who was present, at the invitation of the manager ascended the platform, and played a composition by R. Muller, which occupied nearly five minutes. He no sooner left the instrument than 'Blind Tom'

took his seat, and gave a correct imitation. His ability to name any combination of notes, no matter how disconnected and puzzling the intervals, was fully proved. The professional gentleman we have named struck simultaneously no less than twenty notes on the piano; and these 'Blind Tom' named without a single mistake."

From "The Dundee Advertiser:"--

"'BLIND TOM.'--This extraordinary musical prodigy gave two performances in Dundee yesterday, and on each occasion the powers displayed by him were so marvellous as to verge upon the miraculous. Our readers must not suppose that his proficiency is merely of an ordinary kind, or that his notoriety is another species of Barnumism. The letter we published yesterday from a private friend, in whose opinions we place the greatest confidence, shows that it is not so; and we believe the opinions of all who yesterday heard him will be found to be those of astonishment and admiration.

History affords no parallel to 'Blind Tom.' His ability would be marvellous, even if he had his eyesight; but, as we have before remarked, when it is considered that he is blind, it is beyond measure strange. Unless one sees or hears him play, he is unable properly to understand the extent of his ability. Test him how you may, he never fails.

His memory is as miraculous as his musical powers; and he plays over a piece he has never heard before with almost infallible exact.i.tude. Yesterday several gentlemen went to the platform, and played over pieces; and, during the time they were so occupied, it was amusing to witness Tom's contortions of his body, and his movements generally. He swayed himself about, his eyeb.a.l.l.s rolled, his fingers twitched involuntarily, and he seemed like one possessed; and, on being allowed to seat himself at the piano, he repeated from memory the various pieces which had been played to him. In the evening, Mr. Hirst played over a number of pieces of the most difficult character, all of which Tom produced with fidelity.

"On inquiry, we find that his proficiency is a natural gift.

From his earliest infancy he betrayed the utmost interest in musical sounds of every kind,--the cries of animals, the moaning of the wind, the rushing of waters, and the like; and when he was allowed to go out in the fields, if he heard a bird sing, he rushed off towards it with frantic delight.

We publish a letter we received the other day from an intimate friend in another town,--a gentleman of great musical taste, and no little executive ability,--who is well qualified to give an opinion on such matters. He says,--

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

"He not only repeats every piece he hears from memory, but he improvises and composes; and he last night sang a song of his own composition,--'Mother, dear mother, I still think of thee,'--of great merit for its simple sweetness and pathos.

As he cannot possibly remain longer in Dundee than to-night, we would earnestly urge upon all who can afford it the absolute duty of seeing and hearing this wonderful blind negro boy. He is only seventeen; but no man of any age could surpa.s.s him for executive ability, as his testimonials from such men as Moscheles, Halle, &c., prove. He performs two or three different melodies at the same time, and plays with his back to the piano with apparently as much ability as in the ordinary position. We would especially recommend all who are interested in anthropology, phrenology, and psychology, to see and hear him for themselves. His ability is a singular confutation of the theories of Hunt and Blake about the inferiority of the negro; for we may challenge any white man to compete with him, in perfect safety. His parallel is not to be found the world over, nor in any time of which the records are known."

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

[Ill.u.s.tration:

BLIND TOM'S CONCERTS.

PROGRAMME.

=Cla.s.sical Selections.=

1. Sonata "Pathetique" _Beethoven_ 2. " "Pastorale," Opus 28 "

3. " "Moonlight," 27 "

4. Andante _Mendelssohn_ 5. Fugue in A minor _Bach_ 6. " in G minor "

7. "Songs without Words" _Mendelssohn_ 8. "Wedding March" "

9. Concerto in G minor "

10. Gavotte in G minor _Bach_ 11. "Funeral March" _Chopin_ 12. "Moses in Egypt" _Rossini_

=Piano-Forte Solos.=

13. "Trovatore," Chorus, Duet, and Anvil Chorus _Verdi_ 14. "Lucrezia Borgia," Drinking Song (Fantasia) _Donizetti_ 15. "Lucia di Lammermoor" "

16. "Cinderella," Non Piu Meste _Rossini_ 17. "Sonnambula," Caprice _Bellini_ 18. "Norma," Varieties "

19. "Faust," Tenor Solo, Old Men's Song, and Soldiers'

Chorus _Gounod_ 20. "Le Prophete" _Meyerbeer_ 21. "Linda"

22. "Dinora" _Meyerbeer_ 23. "Bords du Rhine"

24. "La Montagnarde"

25. "Sh.e.l.ls of the Ocean"

26. "La Fille du Regiment" _Donizetti_

=Fantasias and Caprices.=