IV.

"I am satisfied that the English-speaking world is little aware at present of the immensity and importance of the work Wagner has done for art. Plato declared that the true musician must have poetry and music harmonized in himself; and the world has waited twenty-five hundred years for that combination to appear. Having carefully read the poems all written by himself which Wagner has set to music, or rather which incarnated themselves in music, and costumed themselves in scenery as he wrote them, I venture to affirm that none can so read them without the conviction that their author is a true poet. In the first place, the general conception of his chief operas, taken together, is in the largest sense poetic, and I might even say Homeric. This man has transmitted an entire religion to poetry, and then set it to music. And it is one of the greatest of religions,—what Nature engraved on the heart of our own Teutonic ancestors. It is all there,—its thousand phantasmal years, from the first cowering cry of the Norse savage before the chariot of his storm-god to the last gentle hymn that rose to Freya under her new name of Mary,—all. It is interpreted as a purely human expression; and, I repeat, no man has done so vast and worthy an artistic work in our time."

While America has perhaps produced as yet nogreatcomposers, it has several of very high merit, such as J.K. Paine, Dudley Buck, and others. In the United States there are many remarkable vocal and instrumental artists, a large number of classical musical clubs andsocieties; while several of its great vocalists, male and female, accept and decline engagements in Europe. Perhaps no finer orchestra exists anywhere than that of Theodore Thomas of New York; while nearly as high praise may be given to the Mendelssohn and Beethoven Quintette Clubs of Boston, and to others in different parts of the country.

Music is quite generally cultivated in this country; and there are many excellent critics, musical writers, and periodicals devoted to this beautiful and elevating science.

A very startling late American musical invention is the "telephone," a description of the working of which is given below:—

"MUSIC BY TELEGRAPH."A most interesting field for the musical student is the progress that is being made intelegraphing musical sounds."This is done by means of the telephone, which transmits simultaneously several different tones through one wire by means of steel forks made to vibrate at one end of the line, the pulsations passing through the wire independently of each other, and reappearing at the distant station on vibrating reeds."Some very interesting tests were made in the Centennial Main Building a few days ago in the presence of about fifty invited guests, among whom were noticed the Emperor and Empress of Brazil, Sir William Thompson, and quite a number of eminent electricians."The experiments were of a very interesting and successful character."The inventor, Mr. Gray of Chicago, asked his assistant, Mr. Goodridge, to transmit musical sounds, which were received very distinctly amid hearty applause from those present."It was the first time that many present had heard 'Home, Sweet Home,' 'My Country, 'tis of Thee,' or 'Old Hundred,' rendered so beautifully by telegraph; and they evidently enjoyed the treat."

"MUSIC BY TELEGRAPH.

"A most interesting field for the musical student is the progress that is being made intelegraphing musical sounds.

"This is done by means of the telephone, which transmits simultaneously several different tones through one wire by means of steel forks made to vibrate at one end of the line, the pulsations passing through the wire independently of each other, and reappearing at the distant station on vibrating reeds.

"Some very interesting tests were made in the Centennial Main Building a few days ago in the presence of about fifty invited guests, among whom were noticed the Emperor and Empress of Brazil, Sir William Thompson, and quite a number of eminent electricians.

"The experiments were of a very interesting and successful character.

"The inventor, Mr. Gray of Chicago, asked his assistant, Mr. Goodridge, to transmit musical sounds, which were received very distinctly amid hearty applause from those present.

"It was the first time that many present had heard 'Home, Sweet Home,' 'My Country, 'tis of Thee,' or 'Old Hundred,' rendered so beautifully by telegraph; and they evidently enjoyed the treat."

By this invention, music played upon a piano-forte or melodeon is reproduced upon a violin attached to the receiving end of the wire at a distance of twenty-four hundred miles.

Another important musical invention (English) is that of the "voice harmonium." Of this Mr. Theo. T. Seward writes,—

"To all such the invention of which I speak is a matter of deep interest, because in it is practically solved the problem of perfect intonation. It is called the 'voice harmonium,' because the securing of perfect intonation brings the tones much nearer to the quality of the human voice. The instrument has been invented and patented by Mr. Colin Brown of Glasgow, Ewing lecturer on music. By the use of additional reeds and a most ingenious keyboard, he has succeeded in giving each key inperfecttune. The 'wolf' is banished altogether, without the privilege of a single growl. I do not need to say that the effect upon the ear is rich, and extremely satisfactory. After listening to it a little while, the tones of a tempered organ sound coarse and harsh. I wish very much that some of our ingenious American instrument-makers could have the opportunity of examining it. It has been publicly exhibited at the South-Kensington Exhibition, before the recent meeting of the British Association, and elsewhere. The highest scientific authorities have pronounced most thoroughly in favor of its 'perfectness, beauty, and simplicity.' Whether the greater complication of the keyboard will interfere seriously with its popular use, remains to be seen."

Mr. Theodore Thomas recently gave an excellent performance of the works of American composers. Among those rendered were compositions by Dudley Buck, A.H. Pease, and William Mason. One of the gems of the evening was a symphonic poem by William H. Foy, entitled "A Day in the Country."

Mr. Thomas's orchestra, noted for placing upon its programmes only works of the highest merit, has recentlyalso presented with much success a new symphony by the talented composer of oratorios, &c., J.K. Paine.

In alluding to the progress of music in the United States, "The Music Trade Review" says, "If the centennial year could disclose all its triumphs, music would shine among its garlands. A hundred years ago was a voiceless void for us compared with the native voices and native workers who now know a sonnet from a saraband."

"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!"

"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!"

THE cultivation of the art of music has ever followed closely the progress of civilization; and those nations that have attained to the highest state of the latter have most encouraged the growth, and have been most skilled in the creation and performance, of music. Montesquieu avers that "music is the only one of all the arts that does not corrupt the mind." Confucius said, "Wouldst thou know if a people be well governed, if its laws be good or bad? examine the music it practises." Again: another has quite aptly said that

"Music is one of the greatest educators in the world; and the study of it in its higher departments, such as composition, harmony, and counterpoint, develops the mind as much as the study of mathematics or the languages. It teaches us love, kindness, charity, perseverance, patience, diligence, promptness, and punctuality."

And a writer in "Chambers's Journal" remarks, that

"In society, where education requires a submission to rule singing belongs to the domain of art; but, in a primitive state, all nations have their songs. Musical rhythm drives away weariness, lessens fatigue, detaches the mind from the painful realities of life, and braces up the courage to meet danger. Soldiers march to their war-songs; the laborer rests, listening to a joyous carol; in the solitary chamber, the needlewoman accompanies her work with some love-ditty; and in divine worship the heart is raised above earthly things by the solemn chant."

Happily for the world, this beautiful art is one, the delightful forms of which nearly all may enjoy, the inspiring, soul-elevating influences of which nearly all may feel. I say, nearly all; because it is a sad truth that there are some persons who have no ear whatever for music, and to whom the harsh, rattling noise of the cart on the stony street affords just as much melody as do the sweetest tones that may issue from a musical instrument. Again: there are those, who, although possessing to some extent a faculty for musical discernment, are yet so much governed by what is called a sense of the "practical" in life as to avoid all opportunity for the enjoyment of melody, considering such indulgence as a waste of precious time. It is, however, pleasant to know that the number of all such persons—who must, I think, be regarded as really unfortunate—is but a small one, and that almost every one has a born capacity for musical appreciation and enjoyment.

It is true that the mighty genius of Mozart and Beethoven soared far above common musical minds. With a love for the noble art of music almost sacred in its intensity, these great composers penetrated far, far into its depths, finding their greatest enjoyment in so doing. Starting with the simpler forms of the art left by their predecessors, they deepened, they broadened and variedthose forms; while, with every intricacy created, they experienced the sweetest of pleasure. And one of the most fitting tributes that can be paid to these and others of the noble masters of harmony is beautifully embodied in the lines of Rogers:—

But this far-reaching art, with all its difficult forms to awaken and enchain the interest, and to inspire the love of the man of genius or the ambitious student of æsthetics, has also those more simple ones for the delight of the humbler mind. Even the babe that lies in its mother's arms has within the yet narrow confines of its new-born soul the germ of musical sympathy. Often, when it is in a state of disquiet, its mother sings to it a simple, pretty song. Soon the crying ceases; the little eyes brighten with a delighted interest; the charm of music is working. The mother continues the touching "lullaby," and anon finds that her tender charge, with the pleasing sounds of melody gently ringing in its ears to the last, has been soothed into dreamland. Indeed, the power of music to touch the heart, to fill the soul, lies oftenest in those tones that are comprised in its least difficult melodies. Nothing is truer than that music, so beneficent in its influence, ismeantfor the comprehension, enjoyment, and improvement ofall; and that it should never be regarded as an all-mysterious art, the charming domain of which only the gifted few are to enter. Whoever can distinguish musical sounds from their reverse, is, in degree at least, a musician; and whether such a one may enlarge his faculty for musical discernment and enjoyment dependsonly upon the extent of his observations, or rather upon the amount and kind of his study.

As elsewhere remarked, some time has elapsed since the music-loving world has been called to the contemplation of any great, new revelation in harmony. Meanwhile devotees of the divine art have generally been so much employed in endeavors to properly interpret the sublime works left for their study and enjoyment by the great composers of the past, that they have had neither time nor desire to seek for newer creations. For nearly all seem convinced that what is most needed now is, not new music, but that the masses of the people should possess an intelligent appreciation of, and warm love for, the best of that which is already at hand; and as an intelligent, heartfelt religious faith is needed to carry light and happiness alike into the homes of the highly-favored and the lowly, so is the beauty-shedding art of music—a close ally of that faith—needed to cheer, to soothe their hearts, and to develop in the minds of all God's children a love for that which may be fitly called the "true, beautiful, and good." Associating music with the very highest form of happiness, one of the older poets imagines this beautiful scene in heaven:—

But I shall now more particularly invite the reader to a consideration of a few among the many forms inwhich the beauty, the power, and good uses of music are exemplified, and of the advantages to be derived from its conscientious study.

It may be noticed, that, in those towns and cities containing a preponderance of cultivated people, theatres do not flourish to the same extent as in neighborhoods where the reverse is true. The reason is obvious: cultured people have attractive and generally musical homes, and are thus made, to a great extent, independent of the amusements afforded in public places. This I mention, not to decry the theatre, which, I hold, has its appropriate, and, under proper conditions, educational and refining uses. In fact, the theatre (in which is performed the legitimate drama) would seem to be in certain respects a necessity, affording as it does occasional change of scene, and ministering to that desire for relaxation and amusement so naturally, so invariably felt by those persons who have not, in a true sense, homes. Nevertheless, our firesides should be made to compete with, nay, to far surpass in attractiveness, all places of public amusement; for it is very much better that the employments andentertainmentsof our homes should charm and retain their members, than that these should be sought for outside their, in some respects, sacred confines. The reasons for this are so apparent to the thoughtful, that they need not be greatly enlarged upon. Briefly, then, in the home issafety: over its members are extended the protecting wings of guardian angels; while without are often snares and danger, either in palpable forms, or in those hidden by the glittering, the alluring disguises which are so often thrown over vice. On this very subject with what truth and directness Cotton speaks, when he says,—

Nor need I dwell at great length upon the delights and benefits afforded the members of families whose leisure is given to the study and practice of an art so ennobling as music. How charming are those homes in which it is, in its purest style, cultivated! what refinement reigns therein! and what a gentle yet potent aid it is in parental government! The allurements to outside and often harmful pleasures lose their power over the children of that household in which music's engaging, magic influence holds delightful, elevating sway. And then at times, when instruments and voices mingle in a "concord of sweet sounds," how delightful is the effect, how serenely beautiful is the scene! Often have I, when passing in the evening a dwelling from which floated out upon the air the notes of tuneful voices, accompanied by the piano-forte or some other instrument, paused to listen, lingering long, the ear so ravished by the sweet sounds as to cause me to stand almost spell-bound, and to remain under music's magic influence even after its charming sounds had died away.

To the great aid afforded them by music in government, the teachers in our common schools can testify. Often a turbulent school, swayed by youthful passions, or wearied by monotonous study into a state of painfulunrest, has been stilled, calmed, and refreshed by the singing of a song,—an indulgence in the enjoyment of its melody affording delightful relaxation, and also awaking to life that better, that poetic sentiment that abides in every soul. The writer readily recalls his own experience as a teacher in gently enforcing lessons in polite deportment among his pupils by the aid of music. The exercises of each session of his school were always begun and ended with song; while sometimes, for reasons previously mentioned, books were laid aside, and all joined in singing, even during a part of the time usually devoted to study. By such procedure (the songs were of the simplest kind, and without the adding charm of instrumental accompaniment), even the most unruly pupils were generally induced to yield to the softening influences of "magic numbers and persuasive sound." In regard to the influence wielded over the mind and heart by songs, an eminent writer thus speaks: "Songs have at all times, and in all places, afforded amusement and consolation to mankind: every passion in the human breast has been vented in song; and the most savage as well as the most civilized inhabitants of the earth have encouraged these effusions." The following description of the effects of music at a reform-school is quite interesting in this connection. It is clipped from a recent number of "The Boston Transcript."

"A reporter of 'The San Francisco Chronicle,' who recently visited the industrial school, was very much impressed by what he saw and learned there concerning not only the taming, but the reforming and refining influence of a 'concord of sweet sounds.' Attached to the institution is a music-teacher, who has at all times in active training a number of boys, who perform on the variousinstruments that make up a brass band. This teacher, who is an intelligent German, and to all appearances an able instructor, testifies to the wonderful efficacy of music in softening the rugged nature of the boys, who are sent to school usually because they are uncontrollable by their parents or guardians. He says he has noticed the singular fact, that boys whose aversion to learning was so great that they could not or would not acquire even a knowledge of their 'a, b, abs,' took hold with evident relish of the comparatively difficult study of theoretical music, and in a very short space of time mastered the notes sufficiently to be able to read a tolerably hard score or piece of music. This seemed to him like a phenomenal phase, and he can only account for it on the ground that a love of music is inherent in the average bad boy. He has usually in training a band of twenty pieces: but he says that this number he could easily augment at any time to two, three, or even four times as many; for he very rarely finds a boy that has not a taste for some musical instrument. The greatest trouble he has yet encountered in the formation of his bands is the fact, that, as soon as his pupils become really proficient, they are ready for a discharge for good conduct, the music possessing such an influence for good over them as to completely reform dispositions that would otherwise be incorrigibly bad. Since he has held the position of music-teacher at the institution, several boys have been discharged for good and promising conduct, who have turned their knowledge of music, acquired within the walls of the industrial school, to profitable account."

We know that music, either vocal or instrumental, and in many cases the two combined, has for many centuries been considered necessary for the proper worship of God. The harmony that issues in grand and melting tones from the noble organ subdues the heart, and fills it with solemnity, sweetness, and hope: the sacred chant, the prayer or thanksgiving, uttered in melodious song by the choir or by all the congregation,—these cause the sordid world with all its cares and wild passions to be for the while forgotten, and the soul, chargedwith the influences of divine harmony and most holy aspiration, is lifted to heaven. And so music, with its gentle, its ever-winning power, has constantly been used by the churches to secure the attendance of those who without it had been indifferent. This has been especially the practice of the Roman-Catholic Church for inducing the attendance of Protestants, and is after the custom of olden times, when the Gentiles were thus drawn into the Christian churches, coming at first through motives of curiosity. They were, however, often so captivated by the music as to submit to baptism before departing. In most of our large cities, a considerable number of wealthy Protestants are induced, by the superior musical attractions of Catholic churches, to attend for a while, renting pews, and finally, in some cases, to become members; and Protestant churches, to sustain the interest in their services, and to insure the attendance of members and others, have been obliged to recognize this love among the people for the divine art.

The German race is remarkable for the intelligence, steadiness, and industry of its members, and their love for and cultivation of the art of music,—these latter characteristics prevailing to a most pleasing degree among all classes of the race. Indeed, it is rare to find a German not, in some sense at least, a musician. And in what beneficent uses do they employ the art, especially in their social relations! Their children are inducted into its charming beauties and helpful uses from their very earliest years. Of a steady-going, rather practical life, the Teutonic race yet seeks relief from care, and finds delightful rest and recreation, in united song, or in some other form of pleasing harmony;thus wisely uniting the practical with the poetical in life. How in keeping is a musical love so warm, and a musical proficiency so general, with a nation which has given to the world a Mozart, a Haydn, and a Beethoven!

Most persons have remarked the superior affability, the polish of manners, that distinguishes the people of France. It is also observable that this nation is much devoted to music; that which is produced by their own composers, and most in use by the people, being usually of the graceful, brilliant style. An eminent French writer states, that, for the possession of these pleasing characteristics, this nation is indebted to that ancient order of musicians, the troubadours, whose musical qualities, politeness, and other winning graces, laid the foundation of the same.

It is said that the ancient Egyptians held music in such high esteem that they employed it as a remedial agent, believing it a sure cure for certain kinds of disease. While such a belief—that is, in its entirety—may not be held in modern times, yet this notion of the curative qualities of music does not seem so very fanciful or mysterious after a little reflection. We know that nothing so generally conduces to recovery from sickness as those influences that inspire feelings of cheerfulness, and that serve to divert the mind of the patient from a contemplation of his bodily sufferings,—it being almost a proverb, that "a pain forgot is a pain cured,"—and that one of the chief of such agencies is the soothing, inspiriting charm of music. It is not meant by this, of course, that music is of itself and specifically a cure, but that it may be often employed as a powerful aid in effecting the same. We know, moreover, that this delight-affording art may be profitably used to "minister to a mind diseased," and that its aid is often invoked by those physicians who are most skilful, if not in curing, at least in ameliorating the condition of, persons afflicted with that terrible malady, insanity. Perhaps Saul of olden times, who is said to have been once possessed with an "evil spirit," was then simply insane; and, taking this view of his condition,—which is, after all, the one that seems the more correct,—the statement in the Bible, that David drove away this evil spirit by his skilful playing upon the harp, becomes easy to understand, since the occurrence is thus divested of its miraculous character.

But I must not fail to notice here the remark sometimes made, that the study and practice of music do not always give to those engaged in the same the graces of a true refinement; that even persons highly skilled in the art are sometimes unamiable in manners, and coarse in habits. To this I reply, that no art nor human agency is capable of elevating every character to perfection; and that the exceptions above mentioned become very noticeable, and cause surprise, because of the known good influence upon the heart and mind generally exerted by the study and practice of good music. Besides, all great musical "stars" must not be classed with the conscientious, loving student of the art. Some among the former, gifted with phenomenal voices or with rare powers for instrumental performance, having reached, perhaps, with a few easy strides, their high positions, and caring but little for music save as it ministers to their vanity, conceit, or cupidity,—these have missed that gradually unfoldingcultureof the mind and heart that belongs to the progress of one who conscientiously seeks to know music's manifold beauties, and who with real appreciation for the beautiful in art,loving music for music's sake, feels and exhibits in his deportment towards his fellow-men its delightful and elevating power.

And here I cannot forbear to remark, that the musical education of the youth of our country is not being pushed towards that state ofthoroughnessso necessary to a real comprehension and enjoyment of the art. Nearly all intelligent parents are frequent, and even fulsome, in their praises of music; and, when they speak or write of it, the laudatory exclamation is often brought into use. And yet they seem to be satisfied, generally, when their children obtain, by a mere skimming over its surface, but a peep into the realities and refining beauties of the science; when the favorite daughter in the use of the piano-forte, for instance, becomes only the most wearisome of "thrummers."

"The London World" is none too severe on the "accomplished" young lady of the period, when it says,—

"The ordinary young lady can only play set pieces on the piano that she has learned at the price of Heaven knows how many valuable hours' practising. She never remembers any thing by heart; could not compose two notes to save her life; and cannot repeat by ear the simplest melody out of an opera, though she has heard it a hundred times. She is perfectly ignorant of the history of music; hates classical works; knows few of the masters' names save Verdi, Donizetti, Offenbach, and Mozart, the latter only as the composer of 'Don Giovanni.' Gregorian or Latin chants convey no especial meaning to her mind: all she can tell you about them is that they are used in church. As for orchestration, scoring, and such like, they are only fit matters for professionals. She will call Wagner horrid, Gounod lovely, Mendelssohn dull, and Beethoven pretty, without knowing why she likes ordislikes any thing. She yawns at an oratorio, is bored at a concert, and only enjoys opera because she knows everybody that sits in the boxes."

Besides, I think a mistake is made in compelling girls to learn to play only the piano-forte. There are other instruments, for performance upon which many of them have talents. Nor need such performance detract from a graceful, ladylike appearance. I mention, for example, the harp, the violin, and, indeed, all the stringed instruments, and even others. But on this point another says,—

"A recent number of the London 'Queen' contains an article recommending the violin as an instrument peculiarly appropriate for the use of ladies. It protests against the custom of teaching girls to play the piano-forte only, arguing that they should have a larger field in music. There is certainly no reason why girls may not gracefully handle the bow; and it is stated in the article referred to, that they 'can learn the violin in half the time that boys can,'—a statement which indicates that a goodly number of girls somewhere have had the opportunity of learning. In this age of progress, girls may certainly have a choice of instruments, and an opportunity to pursue the delightful art of music in whatever way they choose. If taste or fancy incline them to wind-instruments, why should they not try them?"

Mr. Dwight, in his "Journal of Music," very justly and considerately discourses of the utility of violin accomplishment, and the adaptability of the instrument to womanly practice. He says,

"We have always wondered, that in a community where so much attention is paid to music, and where almost every girl and boy is taught to thrum the piano, so few acquire, or even seek to acquire, the art of playing on the violin. The piano, to be sure, is a more representative instrument, enabling one pair of hands to grasp the whole harmony of a composition, or a compendium thereof; but the violin, with the other members of its family, viola, 'cello,&c., is the more social instrument, bringing together groups of kindred spirits who can play in parts, and read together the quartets, &c., of the greatest masters, or play sonata duos, trios, &c., with the piano-forte. And the string-instruments are infinitely the most expressive: their tones lie nearer to the soul, spring more directly from the human breast. They are the heart of the whole orchestra, the most essential part of music, next to the human voice. It is a graceful, manly, healthy exercise, to play the violin. If it be very difficult to play it like an artist, so much the worthier of a manly aspiration. If it is often only vulgarfiddling, it is, on the other hand, with those truly schooled, the most gentlemanly of instruments. And we maintain that it is equally the most womanly. We have many times expressed our interest in female violinists. Who that has seen and heard Camilla Urso, or Teresa Liebe, or Mr. Eichberg's accomplished pupil, Persis Bell, could fail to feel that the violin seemed peculiarly fitted to the female constitution and capacity? How graceful the attitude and motions of a young woman skilfully handling the bow! Her finer sense of touch, her delicate tact, her instinctive feeling-out of the pure truth of tone, give woman a great advantage in this art; and the several examples we have had from time to time in the concerts of the Boston Conservatory of Music have shown that this was no mere dream."

But the limits of this book will not permit me to go much farther into this alluring subject. I shall therefore close this chapter by a brief reference to those who occupy the really noble positions of teachers of the sublime art of music.

He whose own mind has been illumined and whose own soul has been especially cheered and enlarged by the various contemplations, the studies and conceptions, of art, will not, in fact can not, hide his light for his own selfish enjoyment, but will seek to brighten the way of such as wish to learn its beauty, power, and uses. And how honorable, how enviable, is the mission of such a one as he who imparts to his fellows a knowledge of thebeautiful science of music, leading them, through all the delighting, soul-filling forms of melody, into the region of a very fairy-land!

And finally, as giving fitting expression to the estimation in which the true musician is held by all intelligent people, I append this elegant tribute by Dr. Burgh:—

"The physician who heals diseases, and alleviates the anguish of the body, certainly merits a more conspicuous and honorable place; but the musician who eminently soothes our sorrows, and innocently diverts the mind in health, renders his memory deservedly dear to the grateful and refined part of mankind in every civilized nation."

IN 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, theinterest of the reader may not be lessened, is far from being an easy task, albeit it is a pleasant one. I find, indeed, that the pages of the public journals fairly teemed with praises of the great prima donna, as she was frequently called by them. The musical world was startled, intensely delighted, electrified, by her notes of sweetest melody. Her magnificent voice, in its great range in both the upper and lower registers, was regarded as nothing short of wonderful. Those who at first were incredulous soon became convinced of this, and were fairly taken captive; while the always friendly ones, especially those with whom Miss Greenfield was most closely identified, felt the keenest pleasure and most unbounded pride in her great triumphs.

Elizabeth Taylor Greenfield

ELIZABETH TAYLOR GREENFIELD.

All this was chronicled by the press, and formed the theme of constant conversation and correspondence. Many testimonials from persons in this country skilled in music and of fine general culture, as well as others from the Queen of England and several of the English nobility, were among her rich possessions, and were so great in number and so flattering in character as to have made hers almost, if indeed not altogether, an exceptional case.

These strong evidences of approval did not, however, make Miss Greenfield vain. The natural simplicity of her character remained unchanged. All the many exhibitions of great public and private admiration, and the praises that her performances constantly evoked, while of course affording her much pleasure, served mainly as impulses to newer and higher efforts in her chosen and beloved profession. Nor was her disposition less tried by the many difficulties that often formed in her pathway. Of these I need not speak here. Butamidst them all this noble lady and artist was ever brave, patient, hopeful, ambitious in a certain sense, yet modest.

Fully aware of the magnificent quality of her voice, and of its phenomenal character; singing a higher and a lower note than either of her great contemporaries,—Parodi, Kate Hayes, and Jenny Lind,—she yet did not rest content, as most persons under the same circumstances would have done, with the enthusiastic plaudits elicited by her performances, but diligently applied herself to a scientific cultivation of a voice in natural power well-nigh marvellous, as well as to acquiring a scholarly knowledge of the principles of general music. In this commendable course she met with remarkable success, considering the circumstances by which she was surrounded.

And now, quoting at times largely from her "Biography," I proceed to give the following sketch of the career of this remarkable queen of song.

Elizabeth Taylor Greenfield, better known perhaps by her musical sobriquet, the "Black Swan," was born in Natchez, Miss., in the year 1809. When but a year old she was brought to Philadelphia by an exemplary Quaker lady, by whom she was carefully reared. Between these two persons there ever existed the warm affection that is felt by mother and daughter. In the year 1844 this good lady died. In her will the subject of this sketch was remembered by a substantial legacy. The will, however, formed the subject of a long legal contest; and I believe Miss Greenfield never received the bequest.

Her family name was Taylor; but, in honor of her guardian, she took the latter's name,—Greenfield.

"Previous to the death of this lady, Elizabeth had become distinguished in the limited circle in which she was known for her remarkable powers of voice. Its tender, thrilling tones often lightened the weight of age in one who was by her beloved as a mother."By indomitable perseverance she surmounted difficulties almost invincible. At first she taught herself crude accompaniments to her songs, and, intuitively perceiving the agreement or disagreement of them, improvised and repeated, until there was heard floating upon the air a very 'lovely song of one that had a pleasant voice, and could play well upon a guitar.'"There dwelt in the neighborhood of Mrs. Greenfield a physician, humane and courteous; capable, too, of distinguishing and appreciating merit and genius, under whatever prejudices and disadvantages they were presented. His daughter, herself an amateur in the science of harmonious sounds, heard of Elizabeth's peculiar structure of mind. Miss Price invited her to her house. She listened with delighted surprise to her songs. She offered to accompany her upon the guitar. This was a concurrence of circumstances which formed the era of her life. Her pulses quickened as she stood and watched the fair Anglo-Saxon fingers of her young patroness run over the keyboard of a full-toned piano-forte, eliciting sweet, sad, sacred, solemn sounds. Emotion well-nigh overcame her; but the gentle encouragement of her fair young friend dissipated her fears, and increased her confidence. She sang; and before she had finished she was surrounded by the astonished inmates of the house, who, attracted by the remarkable compass and sweetness of her voice, stealthily entered the room, and now unperceived stood gathered behind her. The applause which followed the first trial before this small but intelligent audience gratified as much as it embarrassed her, from the unexpected and sudden surprise. She not only received an invitation to repeat her visit, but Miss Price, for a reasonable compensation, undertook her instruction in the first rudiments of music. The progress of genius is not like that of common minds. It is needless to say that her improvement was very rapid."

"By indomitable perseverance she surmounted difficulties almost invincible. At first she taught herself crude accompaniments to her songs, and, intuitively perceiving the agreement or disagreement of them, improvised and repeated, until there was heard floating upon the air a very 'lovely song of one that had a pleasant voice, and could play well upon a guitar.'

"There dwelt in the neighborhood of Mrs. Greenfield a physician, humane and courteous; capable, too, of distinguishing and appreciating merit and genius, under whatever prejudices and disadvantages they were presented. His daughter, herself an amateur in the science of harmonious sounds, heard of Elizabeth's peculiar structure of mind. Miss Price invited her to her house. She listened with delighted surprise to her songs. She offered to accompany her upon the guitar. This was a concurrence of circumstances which formed the era of her life. Her pulses quickened as she stood and watched the fair Anglo-Saxon fingers of her young patroness run over the keyboard of a full-toned piano-forte, eliciting sweet, sad, sacred, solemn sounds. Emotion well-nigh overcame her; but the gentle encouragement of her fair young friend dissipated her fears, and increased her confidence. She sang; and before she had finished she was surrounded by the astonished inmates of the house, who, attracted by the remarkable compass and sweetness of her voice, stealthily entered the room, and now unperceived stood gathered behind her. The applause which followed the first trial before this small but intelligent audience gratified as much as it embarrassed her, from the unexpected and sudden surprise. She not only received an invitation to repeat her visit, but Miss Price, for a reasonable compensation, undertook her instruction in the first rudiments of music. The progress of genius is not like that of common minds. It is needless to say that her improvement was very rapid."

But the lessons above mentioned were taken quite privately, and without, at first, the knowledge of herguardian. Elizabeth was rapidly acquiring an acquaintance with music, when some one maliciously informed Mrs. Greenfield, with the expectation of seeing an injunction laid upon the pupil's efforts. The old lady sent for Elizabeth, who came tremblingly into her presence, expecting to be reprimanded for her pursuit of an art forbidden by the Friends' discipline. "Elizabeth," said she, "is it true that thee is learning music, and can play upon the guitar?"—"It is true," was her reply. "Go get thy guitar, and let me hear thee sing." Elizabeth did so; and, when she had concluded her song, she was astonished to hear the kind lady say, "Elizabeth, whatever thee wants thee shall have." From that time her guardian was the patroness of her earnest efforts for skill and knowledge in musical science.

She began to receive invitations to entertain private parties by the exhibition of the gift which the God of nature had bestowed.

"Upon the death of her patroness, in consequence of the contested will she found herself thrown upon her own resources for a maintenance. Remembering some friends in the western part of New York, she resolved to visit them. While crossing Lake Seneca,en routeto Buffalo, there came sweetly stealing upon the senses of the passengers of the steamer her rich, full, round, clear voice, unmarred by any flaw. The lady passengers, especially the noble Mrs. Gen. P., feeling that the power and sweetness of her voice deserved attention, urged her to sing again, and were not satisfied until five or six more songs were given to them. Before reaching their destined port she had made many friends. The philanthropic Mrs. Gen. P. became her friend and patroness. She at once invited Elizabeth to her splendid mansion in Buffalo, and, learning her simple story, promptly advised her to devote herself entirely to the science of music. During her visit a private party was given by this lady, to which all theéliteof the city were invited. Elizabeth acquitted herself so admirably, that, two dayslater, a card of invitation came to her through the public press, signed by the prominent gentlemen of Buffalo, requesting her to give a series of concerts."In October, 1851, she sang before the Buffalo Musical Association; and her performances were received with marks of approbation from the best musical talent in the city, that established her reputation as a songstress. 'Give the "Black Swan,"' said they, 'the cultivation and experience of the fair Swede or Mlle. Parodi, and she will rank favorably with those popular singers who have carried the nation into captivity by their rare musical abilities. Her voice has a full, round sound, and is of immense compass and depth. She strikes every note in a clear and well-defined manner, and reaches the highest capacity of the human voice with wonderful ease, and apparently an entire want of exertion. Beginning with G in thebass clef, she runs up the scale to E in thetreble clef, and gives each note its full power and tone. She commences at the highest note, and runs down the scale with the same ease that she strikes any other lower note. The fact that she accomplishes this with no apparent exertion is surprising, and fixes at once the marvellous strength of her vocal organs. Her voice is wholly natural, and, as might be expected, lacks the training and exquisite cultivation that belong to the skilful Italian singer. But thevoiceis there; and, as a famous maestro once said, "it takes a hundred things to make a complete singer, of which a good voice is ninety-nine." If this be so, Miss Greenfield is on the verge of excellence; and it remains for the public to decide whether she shall have the means to pursue her studies.'"

"In October, 1851, she sang before the Buffalo Musical Association; and her performances were received with marks of approbation from the best musical talent in the city, that established her reputation as a songstress. 'Give the "Black Swan,"' said they, 'the cultivation and experience of the fair Swede or Mlle. Parodi, and she will rank favorably with those popular singers who have carried the nation into captivity by their rare musical abilities. Her voice has a full, round sound, and is of immense compass and depth. She strikes every note in a clear and well-defined manner, and reaches the highest capacity of the human voice with wonderful ease, and apparently an entire want of exertion. Beginning with G in thebass clef, she runs up the scale to E in thetreble clef, and gives each note its full power and tone. She commences at the highest note, and runs down the scale with the same ease that she strikes any other lower note. The fact that she accomplishes this with no apparent exertion is surprising, and fixes at once the marvellous strength of her vocal organs. Her voice is wholly natural, and, as might be expected, lacks the training and exquisite cultivation that belong to the skilful Italian singer. But thevoiceis there; and, as a famous maestro once said, "it takes a hundred things to make a complete singer, of which a good voice is ninety-nine." If this be so, Miss Greenfield is on the verge of excellence; and it remains for the public to decide whether she shall have the means to pursue her studies.'"

To several gentlemen in Buffalo belongs the credit of having first brought out Miss Greenfield in the concert-room. The Buffalo papers took the matter in hand, and assured the public they had much to expect from a concert from this vocalist. The deep interest her first public efforts elicited from them gave occasion to the following certificate:—

Buffalo, Oct. 30, 1851.Mr. H.E.Howard.Dear Sir,—At your suggestion, for the purpose of enabling Miss Elizabeth T. Greenfield to show to her Philadelphia friendsthe popularity she has acquired in this city, I cheerfully certify as follows:—The concert got up for her was unsolicited on her part, and entirely the result of admiration of her vocal powers by a number of our most respectable citizens, who had heard her at the residence of Gen. Potter, with whose family she had become somewhat familiar. The concert was attended by an audience not second in point of numbers to any given here before, except by Jenny Lind; and not second to any in point of respectability and fashion. The performance of Miss Greenfield was received with great applause; and the expression since, among our citizens generally, is a strong desire to hear her again.Respectfully yours, &c.,G. Reed Wilson.

Buffalo, Oct. 30, 1851.

Mr. H.E.Howard.

Dear Sir,—At your suggestion, for the purpose of enabling Miss Elizabeth T. Greenfield to show to her Philadelphia friendsthe popularity she has acquired in this city, I cheerfully certify as follows:—

The concert got up for her was unsolicited on her part, and entirely the result of admiration of her vocal powers by a number of our most respectable citizens, who had heard her at the residence of Gen. Potter, with whose family she had become somewhat familiar. The concert was attended by an audience not second in point of numbers to any given here before, except by Jenny Lind; and not second to any in point of respectability and fashion. The performance of Miss Greenfield was received with great applause; and the expression since, among our citizens generally, is a strong desire to hear her again.

Respectfully yours, &c.,

G. Reed Wilson.

Rochester next extended an invitation for her to visit that city. We copy the invitation:—

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