Part 22 (1/2)

... ”As to the singing of Professor Bliss and Miss Nellie Brown, it seems as though we are all in the third heaven at once, and that it is almost sacrilege to come down to meaner things.”

Said Andrew Fletcher, ”I knew a very wise man that believed, that, if a man were permitted to make all the ballads, he need not care who should make the laws, of the nation.” This certainly was placing a very high, but perhaps not a much too high, estimate on the song-writing power. As coming next in greatness to the composers of meritorious popular ballads, we may mention those accomplished persons, who, possessing sweetly-toned, sympathetic voices, and evincing by their mode of expression a ready, a full conception of the author's meaning, have, in an eminent degree, the power to correctly, charmingly render them. In this form of musical expression Miss Brown delights her audiences not less than in her rendition of songs of a more pretentious character. In singing the former she exhibits a most winning _navete_, enters wholly into the spirit of the song, and with a full, pleasing voice, impresses deeply its melody and meaning upon the hearts of her hearers, thus exhibiting the highest kind of lyric eloquence. As a singer, then, of ballads alone, she would take high rank in the musical profession, even if she did not excel--it has been seen that she does--in the rendering of songs of a more technical character.

And now, in nearing the close of this sketch, if any reader shall ask to know the secret of the fine degree of success to which our subject has thus far attained (for, in considering great instances of individual achievement, we are ever p.r.o.ne to attribute the same to mysterious or fortuitous circ.u.mstances), let him be a.s.sured that there is really no ”secret” about it. Miss Brown, no doubt, commenced her career with much musical talent, and Nature was otherwise kind to her: _but she has always been a diligent, persevering worker_; and to this cause, rather than to her possession of rich natural endowments, must be mostly attributed her praiseworthy achievements. Indeed, Nature's generous bestowment of talents, or even of genius, is of but little value when the favored one does not a.s.siduously labor to cultivate and develop the same.

”No good of worth sublime will Heaven permit To light on man as from the pa.s.sing air: The lamp of genius, though by nature lit, If not protected, pruned, and fed with care, Soon dies, or runs to waste with fitful glare.”

In her efforts to acquire an artistic acquaintance with music, and to reach her present high and enviable position as a vocalist, Miss Brown has had the warmest sympathy and active co-operation of loving parents and an accomplished brother.[12] Nor should I in this connection fail to advert to the helping, the inspiring influence of thousands of the n.o.ble people of New England, who, fond lovers and constant promoters of the beneficent art of music, are ever prompt in the recognition and encouragement of _all_ its talented devotees. To the words of private cheer from many of these, and to the inspiriting effect of their upturned, delighted faces, and frequent plaudits, when listening to her beautiful voice in the crowded music-halls, she must often revert with feelings not less of justifiable pride than of the warmest grat.i.tude. The writer is quite sure that he but echoes the sentiments of the admiring thousands just mentioned, when he predicts, that if Miss Brown shall continue to exhibit in the future, as in the past, the same conscientious, ambitious devotion to her chosen profession, she is destined to take rank with the world's greatest singers.

[Footnote 12: Eugene L. Brown. He was possessed of very promising histrionic ability, had frequently taken a leading part in amateur theatricals at Dover and elsewhere in New Hamps.h.i.+re, and was the author of a drama which was highly spoken of by the press of Dover.

Unfortunately, in 1875 he died.]

XV.

SAMUEL W. JAMIESON,

THE BRILLIANT YOUNG PIANIST.

”While a skilled artist's nimble fingers bound O'er dancing keys, and wake celestial sound.”

JULIAN.

”Nor Fame I slight, nor for her favors call: She comes unlooked for, if she comes at all.”

POPE.

”The 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 wors.h.i.+p 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.”

[Ill.u.s.tration: SAMUEL W. JAMIESON.]

Thus, a year or two ago, spoke one of Boston's first writers and musical critics, when, in an article published in ”The Commonwealth,”

alluding to the accomplished pianist, Samuel W. Jamieson.

In the comparison here made, so highly complimentary to our subject, this writer does not stand alone; for the remarkably fine execution of Mr. Jamieson has often drawn from other piano-students praise none the less flattering; while his mastery of so many of the difficulties that are connected with piano-forte playing, and his fine general musical talents, ent.i.tle him to a prominent place in books far more pretentious than this one. He has, in fact, attained to such brilliant proficiency (although quite a young man) as to cause him to be already ranked with the first pianists of the country.

Mr. Jamieson was born in Was.h.i.+ngton, D.C., in the year 1855. He began the study of music, taking lessons on the piano-forte, when about eleven years of age. Since then he has been under the instruction of some of the best masters of Boston, such as James M. Tracy, and Fred.

K. Boscovitz, the celebrated Hungarian pianist. He has been a pupil of the Boston Conservatory; from which cla.s.sical inst.i.tution he graduated in honor in 1876, receiving its valuable diploma.

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 inst.i.tution 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:--