Part 1 (1/2)
Music and Some Highly Musical People.
by James M. Trotter.
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 n.o.blest devotees and the race to which the latter belong.
The inseparable relations.h.i.+p existing between music and its worthy exponents gives, it is believed, full showing of propriety to the course hereinafter pursued,--that of mingling the praises of both.
But, in truth, there was little need to speak in praise of music. Its tones of melody and harmony require only to be heard in order to awaken in the breast emotions the most delightful. And yet who can speak at all of an agency so charming in other than words of warmest praise? Again: if music be a thing of such consummate beauty, what else can be done but to tender an offering of praise, and even of grat.i.tude, to those, who, by the invention of most pleasing combinations of tones, melodies, and harmonies, or by great skill in vocal or instrumental performance, so signally help us to the fullest understanding and enjoyment of it?
As will be seen by a reference to the introductory chapters, in which the subject of music is separately considered, an attempt has been made not only to form by them a proper setting for the personal sketches that follow, but also to render the book entertaining to lovers of the art in general.
While grouping, as has here been done, the musical celebrities of a single race; while gathering from near and far these many fragments of musical history, and recording them in one book,--the writer yet earnestly disavows all motives of a distinctively clannish nature. But the haze of complexional prejudice has so much obscured the vision of many persons, that they cannot see (at least, there are many who affect not to see) that musical faculties, and power for their _artistic_ development, are not in the exclusive possession of the fairer-skinned race, but are alike the beneficent gifts of the Creator to all his children. Besides, there are some well-meaning persons who have formed, for lack of the information which is here afforded, erroneous and unfavorable estimates of the art-capabilities of the colored race. In the hope, then, of contributing to the formation of a more just opinion, of inducing a cheerful admission of its existence, and of aiding to establish between both races relations of mutual respect and good feeling; of inspiring the people most concerned (if that be necessary) with a greater pride in their own achievements, and confidence in their own resources, as a basis for other and even greater acquirements, as a landmark, a partial guide, for a future and better chronicler; and, finally, as a sincere tribute to the winning power, the n.o.ble beauty, of music, a contemplation of whose own divine harmony should ever serve to promote harmony between man and man,--with these purposes in view, this humble volume is hopefully issued.
THE AUTHOR.
MUSIC AND SOME HIGHLY MUSICAL PEOPLE.
I.
A DESCRIPTION OF MUSIC.
”In the storm, in the smoke, in the fight, I come To help thee, dear, with my fife and my drum.
My name is Music: and, when the bell Rings for the dead men, I rule the knell; And, whenever the mariner wrecked through the blast Hears the fog-bell sound, it was I who pa.s.sed.
The poet hath told you how I, a young maid, Came fresh from the G.o.ds to the myrtle shade; And thence, by a power divine, I stole To where the waters of the Mincius roll; Then down by c.l.i.tumnus and Arno's vale I wandered, pa.s.sionate and pale, Until I found me at sacred Rome, Where one of the Medici gave me a home.
Leo--great Leo!--he wors.h.i.+pped me, And the Vatican stairs for my feet were free.
And, now I am come to your glorious land, Give me good greeting with open hand.
Remember Beethoven,--I gave him his art,-- And Sebastian Bach, and superb Mozart: Join _those_ in my wors.h.i.+p; and, when you go Wherever their mighty organs blow, Hear in them heaven's trumpets to men below.”
T.W. PARSONS.
What 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 inadequately express its manifold meanings, its helpful, delightful uses. And yet the impressions made upon the mind and the depth of feeling awakened in the heart by music are such as to render only a partial (a far from satisfying one) description of the same possible, even to those most skilful and eloquent in the use of language; for, in fact, ordinary language, after exhausting all of its many resources in portraying the mind's conceptions, in depicting the heart's finer, deeper feelings, reveals, after all, its poverty, when sought to describe effects so entrancing, and emotions so deep-reaching, as those produced by music. No: the latter must be heard, it must be felt, its sweetly thrilling symphonies must touch the heart and fill the senses, in order that it may be, in its fulness, appreciated; for then it is that music is expressed in a language of most subtle power,--a language all its own, and universal, bearing with it ever an exquisitely touching pathos and sweetness that all mankind may feel.
And so I may not hope to bring here to the reader's mind more than a slight conception of what music is. Nor does he stand in need of any labored effort to teach him the nature and power, the beneficent attributes, of this beautiful art. With his own soul attuned to all the delightful sounds of melody and harmony that everywhere about him, in nature and in art, he constantly hears, the reader requires no great length of words in explanation of that which he so deeply feels, and therefore already understands. Nevertheless, a due regard for the laws of unity, as well as a sincere wish to make this volume, in all its departments, speak the befitting words of tribute to the love-inspiring art of which it aims to treat,--words which, although they may not have the merit of affording great instruction, may at least have that of furnis.h.i.+ng to the reader some degree of pleasure,--these are the motives that must serve as an excuse for the little that follows.
I have sometimes thought that only the elevated and elegant language of poetry should be employed in describing music: for music is poetry, and poetry is music; that is, in many of their characteristics they are one and the same. But, to put this idea in another form, let us say that Music is the beautiful sister of Poetry, that other soul-expressing medium; and who would create the latter must commune with the former, and be able to bring to his uses the sweet and finis.h.i.+ng graces of her rhythmic forms. In early times, the qualities of the poet and musician were generally actually united in the same person. The poet usually set to music, and in most instances sang, his effusions. Nor to this day have the
”Poets, who on earth have made us heirs Of truth and pure delight by heavenly lays,”
ceased to sing, in bewitching verse, the n.o.ble qualities of music.