Music and Some Highly Musical People Part 20

With his acquisition of skill as a performer on the piano-forte and organ already attained, as well as with his prospects for attaining to great distinction as a player of either of them, our artist might well have been content. But with these he was not satisfied: he longed to roam over the whole field of instrumental music, to evoke and to enjoy the harmonic beauties of the many other instruments. He had, in fine, become an enthusiast in music; and yearned to become a real connoisseur, theoretically and practically.

Mr. Lewis, therefore, next took up for study the violin, without other teachers than the best instruction-books treating on that instrument.

Becoming enamoured of the tones of that sweet and soul-expressing instrument, using in his work only music of the highest kind (he never, indeed, had a taste for any other), choosing for his models--when not guided alone by his own ideas of fine expression--the most cla.s.sical performers, he rapidly advanced as a pleasing and scholarly violinist, and made his first public appearance as a soloist at New Bedford, Ma.s.s., in 1861. About this time, having attained to a fine degree of general proficiency in music, and having overcome to some extent a certain shyness and timidity which had hitherto characterized him, he accepted invitations to appear in the best musical circles in Boston, and to take part occasionally in public performances there. This served to increase his desire to learn even other instruments, and caused him to study successively many of the pieces that are comprised in the formation of a large orchestra or a military band. He made, however, the cornet his princ.i.p.al study.

Having at this time become quite partial to stringed instruments, he soon gave most of his time to the study and practice alternately of the viola, violoncello, double-ba.s.s, and the guitar. As a performer on all of these instruments, except perhaps the guitar (an instrument which he never much liked), he has on important public occasions appeared, eliciting at such times the favorable comments of the press.

Leaving for a while the instruments just mentioned, he turned his attention to the clarinet and flute. To the former he is at present much devoted, playing upon it with much taste and skill.

Being asked why he so much enlarged his field of instrumental performance, and why he did not confine his studies to not more than one or two instruments, he said that it was in order that he might be the better able to arrange and write music for an orchestra or military band; and in this ambitious endeavor he has attained to a fine degree of success.

I should have mentioned before this, that, at the age of fifteen, our subject was considered quite a competent performer on the piano-forte, the organ, and the violin; and that at that early age he began to teach the playing of these instruments.

Although his talent and acquirements are displayed more particularly as an instrumentalist, Mr. Lewis is also a fair vocalist, understands thoroughly its theory, and teaches singing. He is a valued member of several musical clubs of Boston and vicinity composed of artists of the highest culture, such as the Haydn and Mozart Clubs of Chelsea, Ma.s.s. He, besides, meets with a select few in Boston, in a circle of studious amateurs where none but the finest and most cla.s.sical music is performed. He is a member of the "Boston Musicians' Union," which comprises in its membership most of the best musicians of the city; such as, for instance, Julius Eichberg, P.S. Gilmore, C.N. Allen, Messrs. Listemann, Lothian, &c.

In the Haydn and Mozart Clubs Mr. Lewis has played the part for first violin; and on several occasions, in the absence of the directors of those bodies, he has a.s.sumed acceptably the conductorship. His general musical accomplishments, and his acquaintance with each instrument used in these clubs, make him really the most useful and valued member; for, if a member fails to appear at a performance, he need not be much missed, since Mr. Lewis, if present, can take his instrument, whatever it may be, while his own regular place may be taken by the next first violinist in rank.

He has performed on several great occasions, notably at the World's Peace Jubilee, held in Boston in 1872, in an orchestra of nearly two thousand instrumentalists, all selected, and of fine skill. Before being accepted there, he was subjected to a most rigid examination by the superintendent of the orchestra, being required to play on the violin some of the most complicated and difficult compositions for that instrument. This test he stood so well, indeed, as to elicit from the superintendent, in the warmest manner, the comprehensive exclamation, "Lewis, you are a musician!" At the grand testimonial concert tendered P.S. Gilmore (the projector of the two great "Jubilees") at the Boston Theatre, prior to his going to New York to reside, Mr. Lewis appeared in a selected orchestra, and contributed not a little to the success of that interesting occasion.

He is constantly arranging and composing music for his cla.s.ses, for orchestras and bands. At present he is engaged in composing for the piano what he will call "A Meditation," and in which he will include some of the finest ideas that constantly fill his musical mind. Some of these thoughts I have heard him play; and I have been so pleased by them, as to beg him not to relinquish his purpose to give them to the public, being convinced that in so doing he would afford delight to all lovers of good music, and add much to his already fine reputation.

Many complimentary notices touching the musical abilities of Mr. Lewis have from time to time appeared in the public journals. A few of the briefest are given below.

One of these journals, a good while ago, said,--

"Mr. Lewis is an amateur performer of marked ability."

"The Boston Journal," June 11, 1874, said,--

"Mr. Lewis gained much applause for his violin solos; and a duet and also a sonata by Mozart, for violin and piano, were well received."

"The Boston Globe," April 16, 1874, said,--

"Mr. F.E. Lewis, violin soloist, appeared once on the list, and was so demonstratively applauded, that he was a second time forced to come upon the platform. His first solo and the response were very artistically given."

In these driving days, when compet.i.tion is so rife in all the trades and professions, and when, even among our best musicians, what begins as a spirit of honest rivalry often degenerates into that of detraction, it is pleasant to record instances in which it is shown that there are those who in their culture so strikingly unite the qualities of the skilful artist and the true gentleman, that their warmest admirers and friends are found among those of the same calling. Of Mr. Lewis, Mr. Alonzo Bond, director of Bond's Military Band, and a veteran musician of note, once said, "He is the finest accompanist (piano) in the United States." The writer has also in possession letters, highly commendatory of Mr. Lewis as a musician, from Mr. L.R. Goering, a skilful orchestra leader, member of that fine body of musicians, the Germania Band, and a teacher of great merit; from T.M. Carter, director of Carter's Band; from J.O. Freeman, and J.H. Richardson,--all musicians of high rank, and gentlemen of excellent general culture. From the letter of one of these (Mr. J.O.

Freeman) I quote the following reference to the subject of this sketch:--

"I look upon him as a person of remarkable musical ability.

His performance on the violin, viola, violoncello, double-ba.s.s, clarinet, and also bra.s.s instruments, is really surprising. But where we see his real talent is in his conception and rendering of cla.s.sical music on the piano-forte. Even in his own compositions he has shown much real talent. I regret that he could not have had the chances abroad that so many of our less-talented Americans have had.

Besides the numerous instruments I have mentioned, there is still another (which, perhaps, in character ranks higher than any of the others): I mean the church-organ, upon which he also plays."

This writer, like all the others mentioned, could not refrain from closing his letter by a very handsome reference to Mr. Lewis's gentlemanly traits of character.

Slightly below the medium size, of graceful form, with regular, expressive features, and thoughtful cast of countenance; always neat in appearance; of gentlemanly, Christian deportment; genial in manners,--so amiable, as to be almost without an enemy; of very industrious habits; fully impressed with the beauty, the grandeur, and the great usefulness, of the divine art, as a potent means, when properly employed, for elevating the mind, adding to innocent enjoyment, and as an aid to polite culture; and with a soul absorbed in music,--all this can be truly said of Frederick E. Lewis. Not much more can or need be said to mark him, as he is, the Christian gentleman and the wonderfully talented musician,--one whose charming qualities fill the measure of our highest conception of the true, the ideal artist.

XIV.

NELLIE E. BROWN,

THE FAVORITE NEW-HAMPSHIRE VOCALIST.

"The melody of every grace And music of her face."

LOVELACE.

"And thence flows all that charms or ear or sight; All melodies the echoes of that voice."

COLERIDGE.

All 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,--

"There is in souls a sympathy with sounds:...

Some chord in unison with what we hear Is touched within us, and the heart replies."

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 of feeling when listening to the tenderly touching strains of the voiceful violin; while the musical moanings of the violoncello have caused them to experience feelings of a tender sadness.

[Ill.u.s.tration: NELLIE E. BROWN.]

I saw this exemplified, when, a short while ago, I listened with rapt attention to the marvellously sweet singing of the violin of that rare virtuoso, Ole Bull. The performer appeared like one inspired; and his n.o.ble instrument seemed sentient as under his magnetic hand its pure, melodic, and at times human-like voice, so replete with poetic, soulful expression, gave out tones of most exquisite beauty and grandeur, while every heart of his vast, enraptured audience throbbed in unison.

Still it is only once in a great while that one may witness the production of effects like those just described: and I think, that although the lines of Cowper, previously quoted, may refer to the effect of musical sounds in general, they yet are more particularly expressive of the impressions produced upon the ear and the heart by the melodious echoings of a _human voice_ when heard in song; for then a real, a living soul, with aid of music's charm, breathes to soul its joys, its pathos, its inmost longings,--touching indeed the unseen,

"The electric chain wherewith we are darkly bound,"

while heart responds to heart.

Besides, we know that man, in his rudest, as well as in his most highly-civilized state, readily pays tribute to the power and beauty of song. In this form of musical expression the singer conveys to the listener's ear not only melodies that the latter naturally delights to hear, but utters also the words of sentiment, of instruction, that appeal to his mind, and touch his heart; thus doubly enchaining his interest, and enhancing his pleasure. Moreover, to the mere charm of resonant vocalization is added the one afforded by a warm, a living presence; the speaking eyes (so aptly called the "windows of the soul"), with their glowing, magnetic expression, and the effective gesture, forming together pleasure-giving elements that must ever be wanting in other forms of musical presentation.

And so easily are our musical sensibilities awakened, and so readily are we influenced by song-power, that these effects may be exerted upon us, to a very considerable extent, even by the singer of ordinary abilities. But by a beautiful cantatrice, gifted with a pure, resonant, sympathetic voice, its natural sweetness and power supplemented by careful artistic cultivation, possessing a pleasing, unaffected manner of appearance and expression, all these effects may be amplified, intensified. Such a one may often, nay, at will, call into life our most delightful emotions, and evoke the warmest admiration of those who see and hear her. Her sway is over all, and is absolute; the natural music of her voice merely serving as sufficient charm for those not highly cultured, while the embellishments of art which she so intelligently uses in her performance add to the pleasure of, as they satisfy, the aesthetic conceptions, the love of full, harmonious development, held by persons of the most critical tastes.

As prominent among those lyric artists of New England whose fine natural musical powers and many winning accomplishments have formed the theme of frequent praise, as they have been the source of constant delight for many persons in private circles and public audiences, I may confidently mention Nellie E. Brown of Dover, N.H.,--a lady who within a very few years has, by the great beauty of her voice, and the exhibition of many n.o.ble qualities of heart and mind, won a name of which she and all her many admiring friends may be justly proud.

At quite an early age Miss Brown evinced a fondness for music, the slightest sounds of which readily attracted her attention; and, long before she had acquired a knowledge of its rudiments, the natural sweetness of her voice, as she was heard merely humming a tune, often arrested the attention and called out the praises of those who heard her. Thus musically endowed, of an amiable disposition, with spirits ever as free as the mountain winds of her native State, she became the favorite of her school companions, and their leader.

A few years ago, while attending a private school in Dover, Miss Caroline Bracket, a teacher in the same, noticing that Miss Brown possessed a naturally superior voice, earnestly advised its fullest cultivation. This lady became her first music-teacher. Diligently pursuing her studies, she made rapid progress. Being induced to take part in occasional school and other concerts, our subject soon became quite prominent in Dover as a vocalist, and was engaged in 1865 to sing in the choir of the Free-will Baptist church of that city. Here she remained until November, 1872; at which time, having learned of Miss Brown's fine vocal powers, the members of Grace Church, Haverhill, Ma.s.s, earnestly invited her to become the leading soprano in their choir, offering her a liberal salary, besides the payment of her travelling-expenses twice each week between Dover and Haverhill.

This very complimentary invitation she accepted; and for four years her fine singing and engaging manners rendered her deservedly popular with the members and attendants of the church mentioned,--people of fine Christian and general culture,--as well as of the citizens of Haverhill generally, before whom, in the public halls, she sang on several occasions.

She remained in Haverhill until November, 1876; when, on the completion of the new Methodist-Episcopal church at Dover,--the largest and finest church in the city,--she was induced to become a member of its choir. Not, however, until after a severe struggle did the Grace-church people relinquish their claims to the accomplished vocalist. They say that they will yet have her back with them. At present, Miss Brown is directress of the choir in Dover which I have just mentioned.

I have thus given a rapid sketch of our subject's career as a choir-singer; a career which, it is seen, has been a most gratifying one. But her musical achievements have not been made alone in the positions and places mentioned: in others, near and far, she has displayed such abilities as a songstress as to have won golden opinions of those composing her many large and cultivated audiences, while the press have awarded her the highest praise.

While a leading member of the choirs before alluded to, and while winning encomiums that perhaps would, have turned the heads, so to say, of many, and caused them to have relaxed that a.s.siduous and scientific study so necessary to the attainment of complete success, Miss Brown continued a zealous student of her much-loved art, being ever resolved to cultivate her voice to the highest point of excellence. _Apropos_ of this, I may mention that she once wrote a friend as follows: "My motto is 'Excelsior.' I am resolved to give myself up wholly to the study of music, and endeavor, in spite of obstacles, to become an accomplished artist." It may be observed, that none but those who are actuated by the most n.o.ble motives, and who give utterance to them in words of such inspiring earnestness as these, _do_ become "accomplished artists."

Deciding, then, to secure the fullest development of her voice, and to gain those acquirements that belong to a technical education, living within a few hours' ride of Boston, she here became first a pupil of Mrs. J. Rametti, and afterwards entered one of the great conservatories, where she was placed under the guidance of Professor O'Neill, a gentleman highly esteemed as a teacher of voice-culture.

She had not long been connected with the New-England Conservatory of Music, when its director requested her to appear at the quarterly concerts of that inst.i.tution that were held in Music Hall. Here on two occasions, before large and highly-cultivated audiences, with beautiful voice, correct method of expression, and ease and grace of stage deportment,--singing, in Italian, music of a high order,--Miss Brown won the most enthusiastic applause. Predictions of her complete success as a brilliant lyric artist were freely made by many connoisseurs. But these have not been her only appearances in Boston.

She has many times sung at concerts in the finest music-halls of the city, before many critical audiences; her charming rendition of the numerous English, Italian, French, Scotch, and Irish songs in her rich _repertoire_ making her one of Boston's favorite cantatrices.